If it feels at times like everything has been done in sound synthesis, every new sound uncovered, then look to physical modeling for a way forward. This collection of techniques simulates the way sound is produced by acoustic objects. Applied Acoustics Systems (AAS) of Montreal has been one of the leaders in that field – and they’ve got a new product out that might be the friendliest offering in this field yet.
You can already connect your music software to MIDI devices. But why not Internet data, video, the weather, or physical worlds of Arduino and LEGO Mindstorms, too? With a new pack released today, making connections is a matter of adding some building blocks.
Want to go from four on the floor to, sort of four thousand all over the place? Yotaro Shuto is a Japanese electronic musician who performs in DUB-Russell, and he’s decided to turn his monster Max performance patch beat machine into a product. That’s meant taking it to Kickstarter.
iZotope has a new delay out, and like many plug-in developers of late, they’re using a limited time free offer to rise above the din of Internet noise. But while the new “DDLY Dynamic Delay” is free, it’s not something cut-down. On the contrary: you might fall in love with this delay right away.
Elektron’s machines are so beloved, they’re almost an electronic instrumental category all their own. But much of that love is focused on the hardware workflow. The challenge lately has been how to make the latest generation of Elektron hardware fit better with other gear – and specifically, the computer. Some of those improvements are coming from Elektron. But some, too, come from third-party developers. And that’s the case with a useful Mac app.
The piano has been living with a beautiful legacy, but that legacy can double as tyranny. The Steinway Model D, favorite instrument of mine that it is, has also frozen the technological development of the keyboard instrument. And that’s why the Una Corda is different. Built custom by David Klavins, and associated with that builder’s collaboration with pianist Nils Frahm, this lightweight piano is unlike any you’ve seen or heard before. And now, you can get a taste of playing the real thing with a software instrument.
The funny thing about Ableton Link is that it doesn’t require Ableton Live. It isn’t even an app. It’s a sync technology, one that allows software to jam together, wirelessly, without any one clock having to be the source or “master.” But as of today, if you do use Ableton Live, that wireless magic is built-in – and requires almost no configuration.
Celemony’s flagship Melodyne audio editor has long been reaching past the limits of what most people imagine as pitch correction. It was clear the mission of the software was no less than seamlessly transforming audio – shaping sound as directly as you can MIDI notes. Well, now it’s gone even further. Now we’re not just talking about moving polyphonic notes around. In Melodyne 4, we’re talking reaching into the spectra of polyphonic sound material itself. It’s like playing God with a recording.
Urs Heckmann just combined “reverb” with “experimental, possibly sonically unstable plug-in with unpredictable results.” And it’s free. Urs – how did you know exactly what I wanted for Christmas?
There may be an Ableton logo splashed on it and integration designed specifically for Live. But one of the nice things about Ableton’s Push and Push 2 hardware are that, at their core, they’re open. Everything sends and receives standard MIDI messages. As we’ve seen, even the display is hackable. And that is admirable not only from an engineering standpoint, but because it means the hardware you invest in has a life beyond just specific drivers and software updates. Now, that extends even to rival software Bitwig Studio – which means you can even use a Push 2 on Linux.