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Logic ES2

Step 1 – Create An ES2

Start a new project (I think we’ve covered this!) with a Software Instrument track. Load in an ES2 synth.

Step 2 – Initiate the Synth

In the presets list go to Tutorial Settings and load in the ‘Saw Wave Init’ patch. This is just a blank canvas and is usually a good place to start new sounds from.

Step 3 – The ‘Randomizer’ Section.

Just below the filter section you’ll find a set of controls for randomizing parameters on the ES2.

Step 4 – Select Parameters

On the far right you’ll see a drop down that says ‘All’. Click on the menu and you’ll see a list of parameters you can target for randomization. If for instance you only wanted to randomize the filter section you’d choose ‘Filters’. All other setting would remain intact. We’re going to choose ‘All’ of course!

Step 5 – Randomize Amount

The middle slider is the Randomization amount. If you only want some subtle changes choose a low value. Set the slider around half way for now.

Step 6 – Randomize That Patch!

The final setting is the actual Randomize button which is marked ‘RND’. Go on, Press it!

Here’s the initial sound we started with. It’s just a saw wave.

Here it is after the randomization.

Not too far off the initial saw wave. Your version will sound totally different as it is after all ‘Random’.

Step 7 – Randomize it Some More!

Pressing the Random button again will give you another variation based on the current setting. You may want to keep hitting it till you find something you like. Here’s the sound after a few randomizations.

We’ve now got some crazy sci-fi effect happening.

Step 8 – Now Really Randomize It!

If you want to go really crazy turn the slider up to 100%.

Now we get something totally crazy! Keep on going with this and see what you get!

A word of warning. Some of the sounds that the ES2 comes up with are pretty fierce! It may be a good idea to lower the channels volume to avoid any hearing loss!

Conclusion

The shear number of weird and wonderful sounds that can be made by this are unlimited. As a creative tool this can be used for all manner of things from FX and Transitions to samples that form the bases for other instruments, like in an EXS24 maybe.

Make sure you save any sound you like in the presets list. It’s possible to build quite an enormous library of sounds you could never actually stumble upon otherwise. You can start from scratch or use a preexisting sound from the Library as a starting point.

There are a couple of other synths that use this feature as well. Most notably is Native Instruments ‘Absynth 5?. The ‘Mutate’ function is a great way to generate randomization’s in patches.

It even goes one step further by allowing you to choose what kind of sound you would like it to mutate into by choosing characteristics from the browser library. Pretty smart!

Till the next time!

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Prism

In addition, though, today’s Komplete 7 announcement brought some new tools to the table, as seen in the image gallery above. (Click on the thumbnails for a closer look.) They include a number of surprise effects announcements, and one less-surprising – but intriguing – synth for the new release of Reaktor from NI’s sonic scientist-in-chief.

• Reaktor Prism is a new “modal synth” created by NI founder and ReWhen it comes to software sonic goodies, loads of virtualized gear you can add to the digital, computer-based studio, Komplete is one of the deepest boxes out there. Komplete 7, announced today, is the latest edition of Native Instruments’ bundle of virtual studio software. As always, that means a refresh of what’s in the box to recent upgrades of synths like Absynth, FM8, and Massive, plus drum instrument Battery, guitar effects and amp simulation Guitar Rig, and the modular creation powerhouse Reaktor.aktor creator Stephan Schmitt. Stephan walked me through Prism when I visited him in Berlin earlier this summer, and I have to say, it’s one of the software releases I’m most excited about – Stephan’s ideas about synthesis are always refreshing and inspiring. It makes a lot of use of the new objects in 5.5. It’s hard to describe, so stay tuned for more on it soon.
• Reflektor is a “zero-latency” convolution engine for simulating reverbs and other effects.
• Traktor’s 12 brings some of the effects from Traktor into producer’s hands. That’s good news, because some of Traktor’s far-out and granular-based timbres seem a natural for non-DJs.
• Rammfire is a new amp emulation developed with Richard Z. Kruspe of Rammstein.

While some standalone instruments and effects have been casualties of a trimmed Komplete suite — Spektral Delay, Vokoder, B3, and Akoustic Piano come to mind — those are replaced in this version by the addition of extensive soundware for the remaining flagship instruments. Scarbee Vintage Keys and MM-Bass, Abbey Road 60s Drums, and the Classic Piano Collection more than make up for the omission of dedicated piano and organ instruments, folding these instead into the consistent interface of the Kontakt and Battery samplers.

More interesting, you also get some more unusual instrumental creations: Reaktor Spark (also by Schmitt), Tim Exile’s insanely-brilliant performance effect The Finger, and the sonically-adventurous Acoustic Refractions.

So, that’s what’s new in terms of new stuff. But the new Komplete also represents some shifts in strategy, ones that mean cheaper access to sounds for those who don’t want all of the editing capabilities. That shift goes beyond even previous player and Kore soundware from NI.

Player for Guitar Rig, Reaktor

In addition to the expanded sonic palette, Komplete reflects a different way of delivering instruments. Guitar Rig Player allows effects to be delivered standalone in a “universal” (well, that’s what NI calls it – it’s universal for them) effects platform. Reflektor and Rammfire are delivered on the Guitar Rig Player platform, a bit like the soundware we’ve seen for Kontakt.

More notably, Reaktor Player means that Reaktor patches can finally be distributed without having to buy the full release of Reaktor. Unlike previous Kore versions, these won’t have a crippled UI. You’ll get the full, graphical user interface for some brilliant Reaktor patches, without having to buy the whole Reaktor package if you don’t want to edit them. Depending on how much NI exploits this idea, that could make Reaktor a more compelling tool for artists to create new instruments and effects for the platform, at least for those who work with NI directly.

Pricing and “Elements”

At US$559 for the whole set ($229 update), Komplete is also looking more economical, and I think is competitive with the pack-in instrument bundles in tools like Logic and Live.

If half a grand is steep, there’s also a budget “Elements” edition at US$119, which incorporates the Kontakt, Kore, and Guitar Rig engines plus 12 gigs of sample materials and 2000 sounds. You don’t get the full editing capabilities of the whole packages, but it means a cheap way to get a huge dose of preset sound content. There’s also a $60 voucher for adding on a la carte instruments and effects presets.

But this isn’t a review – merely an acknowledgement that some of this is stuff I think will get us excited. Stay tuned for a full review, and details on some of the stand-out creations here, soon.

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M-Audio introduces new versions of its Axiom USB MIDI keyboard controller series designed for live performance and software-based music production: Axiom 25, Axiom 49, and Axiom 61. Building on the comprehensive feature set that popularized the original Axiom line, new features and highlights include:

DirectLink technology: Provides dedicated control surface functionality that automatically maps keyboard controls to common mixer and virtual instrument parameters, giving users hands-on control over their mix and their music, without any complicated set up or user configuration required. DirectLink works with popular DAWs, including Pro Tools, Ableton Live, Apple Logic Pro and Steinberg Cubase.

Enhanced keybed: An updated semi-weighted piano-style keyboard delivers a musically satisfying playing experience—ideal for playing software and hardware instruments.

Redesigned user interface: Offers better ergonomics for the studio and stage with an angled top panel that makes controls easier to access and view in any environment. New low-profile mixer-style faders (Axiom 49 and Axiom 61 only) enable a hands-on mix experience, while smooth rotary encoders provide precise control over software and MIDI parameters. All models provide informative feedback via a graphic LCD, which is centrally positioned on the Axiom 49 and Axiom 61 for easy viewing.

The Axiom 61 is priced at 360€, the Axiom 49 at 320€ and the Axiom 25 at 230€. Products are available in EMEA from September 2010

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Big L

’98 Freestyle by [r]OZz

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Hey Champ Neverest (Uncensored) from Paranoid US on Vimeo.

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guitarjackside

2010 Summer NAMM Show: Sonoma Wire Works, makers of the FourTrackrecording app, has announced the GuitarJack audio interface for the iPhone & iPod touch.

GuitarJack lets you connect a wide range of instruments, microphones, and other audio hardware to iPod touch (2nd and 3rd generation), iPhone 3GS and iPhone 3G via 1/4 inch instrument and 1/8 inch stereo mic/line inputs.

GuitarJack lists at $199 and is expected to ship in Q3 2010.

Note: Sonoma notes that GuitarJack is not Apple certified on iPhone 3GS and iPhone 3G. iPhone 3GS and iPhone 3G will display the following message: “This accessory is not made to work with iPhone. Would you like to turn on airplane mode to reduce audio interference? You will not be able to make

or receive calls.” Sonoma Wire Works recommends that you turn on airplane mode whenever recording on an iPhone. It is also not compatible with iPhone 4 or iPad.

I can understand Sonoma not wanting to make you pay an Apple tax to get their device Apple certified. But $199 seems pretty high for a device that isn’t compatible with Apple’s latest generation of devices – and one that will give you a warning message every time you try to use it.

GuitarJack Features:

• 1/4 inch instrument input with configurable pad, Lo-Z and Hi-Z modes
• 1/8 inch stereo mic/line input with pad, normal and boost modes
• Each input has 60dB of continuous level control
• 1/8 inch stereo output with increased drive for headphones
• Sleek and rugged metal shell
• 30 pin connector compatible only with iPod touch (2nd and 3rd generation), iPhone 3GS and iPhone 3G

GuitarJack controls in FourTrack allow recording in these modes:

• Instrument (1/4 inch) mono
• Mic/Line (1/8 inch) mono, dual-mono or stereo
• Both inputs, with the instrument input and the mic/line input (right channel) recording to separate tracks

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What are Transient Markers?

Transient Markers in Logic are similar to other ‘recycling’ markers found in apps like Recycle, Live and iZotope’s pHatmatic Pro. Essentially they are a timing reference within an audio file referring to a start and end point within the audio file. Transient Markers in Logic don’t actually destructively split the file into ’slices’ they just point to where the ’slice’ should begin playing and where it should stop.

They are generated in all of these apps by algorithms that detect the transient peaks in a waveform effectively splitting the audio into it’s individual elements.

This concept of Transient Markers has been around for a while at Apple in the form of the Apple Loops Utility which is the application that is used to create (yep!) Apple Loops. Although similar in concept to the REX file format created by Propellerheads, Apple Loops work in a different way as they essentially ’stretch’ the slices defined by the transient markers whereas REX files simply play back the slice at its original pitch independent of tempo.

There are advantages and disadvantages to both formats which both offer the same result. Playback of a sample at a different tempos independent of pitch.

Recycle was a breakthrough piece of software and the REX format is now a standard in audio production. Logic has been able to import the REX format for some time now. The only disadvantage was you had to own Recycle as well to actually create the REX files. This is now a thing of the past and Apple have sort of cut out the middle man with it’s Transient Marker technology. So how does it work?

Creating and Editing Markers

Markers are created in the Sample Editor window in Logic 9. This function is not available in previous versions. This process is basically the same as in Recycle.

I’ve loaded a WAV file of a loop I made with some noise in Metasynth. Here’s what it sounds like.

To add the Transient Markers to it. Activate ‘Transient Editing Mode’ by clicking this icon in the Sample Editor window. The icon will turn orange.

You will see that Logic has automatically created the markers based on the waveform transients. Logic will generally do a good job at this provided the audio file has clearly defined transients and is a good quality recording (lots of background noise will yield less successful results). You can always normalize your file to ensure, or at least help Logic out a bit! Also sounds with minimal transient information like distorted guitar, or in fact any distorted sound will require some work.

To add or subtract markers using Logic’s algorithm you can use the + and – buttons located beside the ‘Transient Editor’ button. This does the same thing as the sensitivity slider in Recycle.

To manually edit the markers use the following commands.

• Add a marker: Press ‘Command’ and click where you want to place the marker.
• Move a marker: Click on the marker and drag it.
• Delete a marker: Double click the marker.

Once you have all the markers you need, save your work and let’s see what uses we can put them to.

Flex Time and Transient Markers

Flex Time as you probably know was introduced in Logic 9 and enables you to stretch audio on the fly (similar to Melodyne). This is the coolest feature yet in Logic and works really well. It essentially makes editing audio files by cutting them a thing of the past.

When you enable Flex Time on a track and select a setting like ‘Rhythmic’ Logic will create Transient Markers for all audio regions on that track based on an optimal algorithm for the Flex Time setting.

This produces some varied results and you invariably won’t end up with a definitive set of markers but it will be pretty close. So how do you edit the results? That’s right in the Sample Editor! Just enable the ‘Transient Editor’ button so you can see them and fine tune the results. Here’s an example on a vocal take.

Now, I’ve found that creating a good set of markers before you enable Flex Time can be more beneficial in the long run as there’s so much you can do with them. It can also prove to be a big help further down the line when editing your audio.

I ended up making a decent custom set of markers making sure each word is separated.

Also I made sure that the silences are in their own slice. This prevents the preceding word from being effected by any Flex stretching.

It’s a good idea to differentiate between Flex Markers and Transient Markers. Flex markers are mostly created at Transient marker points, especially when creating multiple Flex markers (made with the Flex tool by clicking in the lower half of the region). This will create three Flex markers. One where you click and two either side at the closest available Transient Marker.

Unfortunately creating Flex markers in a wide open space doesn’t create a Transient Marker as well, something Apple should take a look at.

Transient Markers and Audio Regions

Transient Markers are really handy for editing audio in the Sample Editor. Because the region is separated by these markers I can select parts of the audio file by simply double clicking on the ’slice’.

This now makes it super easy to perform edits on any part of my audio file. You could say ‘Silence’ the gaps, or do a ‘Change Gain’ on separate words, even use the ‘Pitch and Time’ to even out the tuning if need be.

Another nice feature is ‘Slice at Transient Marker’. This can be found by ‘Control’ clicking on the audio file to bring up the pop up menu.

Your audio file is now split up into separate regions.

You can now easily clean up silences, reshuffle regions or drop single words down onto FX tracks if you like.

Transient Markers and Apple Loops

Now that the Transient Marker technology is native to Logic there is really no need to use the Apple Loops Utility anymore. As I said in the Quick Tip tutorial once you have a good set of Markers in your region, it’s a cinch to create an Apple Loop from inside Logic. It’s also possible to tweak any pre made Apple Loop imported into Logic.

Lets quickly make an Apple Loop from our Metasynth Loop. Just ‘Control’ click on the region and select ‘Add to Apple Loops Library’.

You’ll now be presented with a dialog box. Name your Apple Loop and give it some search parameters.

Go to ‘Loops’ in the Media browser and refine a search using your tags. You should see your loop.

Your now free to use that loop in any project at any tempo. Cool!

Extracting Quantize Templates from Apple Loops and Audio Regions

This is really cool! Every Apple Loop already has Transient Markers built in. You can use these to extract a Groove Template from the Loop. This also goes for any audio region you’ve added Transient Markers too manually, or by enabling Flex mode for it.

Step 1

I’m going to drag in an Apple Loop called ‘Effected Beat 3?. Here’s what it sounds like. You can hear it has a swing feel to it.

Step 2

If I open it up in the Sample Editor and turn click the ‘Transient Editor’ button I can see all of the pre defined Markers in the Apple Loop.

Step 3

To extract the timing information I have to turn on the Flex mode for the track. It doesn’t really matter what setting as the Markers are all ready in place.

Step 4

Now go to the Inspector on the left (make sure the region is selected) and in the Quantize list choose ‘Make Groove Template’.

Step 5

Select the loop you want to transfer the groove too. In my case the Metasynth loop with is totally straight 16th’s. Make sure Flex mode is enabled on this track.

Step 6

With the new region selected choose the groove template you made from the Quantize list.

Step 7

My loop is now perfectly in sync with the Apple Loop I bought in.

This means you can also re-Quantize any Apple Loop too. The creative possibilities of Groove Templates is enormous! It can come in handy for tightening/syncing BV’s to a main vocal. Just create your markers for all the parts ensuring they have the same structure (this is what I mean about creating custom Transient Marker maps) and extract the template from the main vocal. Then quantize all the BV’s to that template.

It doesn’t end there folks! Now let’s look at all the cool thing’s we can do using the EXS24.

Transient Markers and the EXS24 Sampler

REX files need a 3rd party player to use them. Good examples are Reason’s DrRex and Stylus RMX. These players allow for precise control over every slice in the REX file. This included Transposing, filter, envelopes and more.

Well the EXS24 can also play REX files using the Recycle Convert option inside the EXS24 editor. It will do all the things that Stylus and Dr.Rex can do including exporting the MIDI file for you.

More importantly it can make Apple Loops (and any audio region with Transient Markers) behave like REX files. Now the Apple Loop format is great. You can have tempo independent from pitch, Transpose independent from tempo and re-Quantize their groove.

The trouble is you can’t do this on individual slices with Apple Loops….that is until you load them into the EXS24.

Step 1

I’ve brought in an Apple Loop called ‘Folk Mandolin 02?. Here’s what it sounds like.

Step 2

I like it but I want to mess it up a bit. Instead of chopping it up manually I can now using Logic 9 turn it into a EXS24 Sampler Instrument using the new ‘Convert to New Sampler Track’.

Step 3

You’ll see a dialog box with the option to choose ‘Transient Markers’ as a basis for zone creation. Since it’s an Apple Loop the Transient Markers are already set for you. Select the key range for the instrument and hit OK. That’s it!

Step 4

You’ll now have that Apple Loop converted to what is essentially a REX file, it’s now split into it’s component parts that are mapped to your keyboard complete with MIDI file. Note it will have lost it’s Apple Loop stretch qualities because it’s no longer on an audio track.

Step 5

Your now free to go mad with it! Change slice pitch, add FX’s, add envelopes, assign slices to outputs. Basically any thing you can do in Stylus.

60 seconds later you have something different!

One thing to bear in mind is that some Apple Loops have really shoddy split points that will generate pops and clicks when converted (move the marker to a zero crossing on the waveform). It maybe worth you checking before you create the instrument.

Quick and Dirty Instrument Samples

Step 1

A great use for this is doing Sample Instruments of stuff that’s laying around you. I have a plastic box in the studio that’s full of bits of junk like dongles, allen keys, metal finger picks, coins etc. I quickly just recorded myself hitting it about 25 times in different places.

Step 2

I did a quick sweep of the file by enabling the ‘Transient Editor’ button and cleaned up some markers by deleting them.

Step 3

Control clicked the region, chose ‘Convert to New Sampler Track’ and created the Instrument.

Step 4

Then I just programmed a beat using the hits I had recorded.

A new and unique loop made in about 3 minutes start to end! Just add some effects if you like to mangle it.

For the stutter effect I used Audio Damages cool Automaton plugin.

Conclusion

Hopefully this has shed some light on how useful Transient Markers can be. And I hope it’s opened up creative possibilities for you as well. Leave a comment if you have any questions and I’ll do my best to check in and answer them. Till next time.

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Illuminated Sounds has released a Roland TR-626 sample library:

Recently I picked up a used Roland TR-626 from ebay. I finally got around to sampling beeps and buzzes that this guy makes. Here is a sound library of all the sounds this drum machine makes. Each sounds has 15 different pitch levels that I label -7 to +7, 0 being the original sample. All the samples were recorded into Pro Tools at 44.1/16 bit.

Also I circuit bend the hell out of this thing, so expect future posts with pictures and samples of it glitched out.

It’s a free download.

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Dopeness

Premier Japanese retailer nano universe unveil a new set of watches made in conjunction with Casio’s G-SHOCK division. Both the classic DW-5600 and popular DW-6900 platforms are used, each playing off a color theme of black, pink, and white. Capping off the tri-tone and two-tone designs is slight branding from nano universe on the band.

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www.soundsonline.com

Answer a short survey, CLICK HERE, and get a FREE starter version of the most popular professional symphonic orchestra virtual instrument ever made. It works with most sequencer/notation hosts including Ableton Live, Cubase/Nuendo, Digital Performer, Finale, FL Studio, Garageband, Logic, Pro Tools, Sibelius, Sonar, etc. Or you can use it as a standalone application with your music keyboard.

If you like the starter version, you can upgrade to the Gold, Platinum, or Platinum Plus versions. Using the promotional code in your email, CLICK HERE, enter the promotional code and you will see the discounted price. European customers CLICK HERE. This offer expires January 31, 2010.
Of course, if you choose not to upgrade, you get to keep this version which is not time limited, and not copy protected!!

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Based on a 59′ Les Paul Jimmy Page purchased in 1973, The Gibson “Number Two” is a careful recreation of that very guitar right down to the special modifications and electronics Jimmy developed for the original guitar.

The guitar features a two-piece Eastern maple top matched with a one-piece mahogany back, grover tuners, and a quarter-sawn mahogany neck. 325 examples will be built based on a prototype that was extensively evaluated by the guitar legend himself. Link: $11,176-$25,882

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Taka Hayashi x Vans Vault Spring 2010

Inspired by the Native American Culture, Taka Hayashi continues his run with Vans Vault for their 2010 collection. This set includes both a low and high top strapped sneaker and a leather flip flop. The sneakers are presented in two colorways; brown/black and purple/green, and the flip-flops are brown with Native American inspired colors on the toe strap. In fact, the sneakers, the low with one and the high with two, sport similarly colored straps.

These definitely will add some variety to your collection. We look forward to bringing you more information as it is released.[via Provider]

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Metempsychosis from Alain Lores on Vimeo.

Metempsychosis is a Short experimental animation by Alain Lores with Audio by Armando Gonzalez. Enjoy!

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The Mona Lisa”

Author: Mark Garrison

Mark is a recording engineer, multi-instrumentalist and graphic designer. He has worked in the recording industry for 10 years and has taught recording for 5 years. He is currently working on a book about home recording.

A Note About Mic Placement

The techniques below are quick-starts: they are meant as ways to start the process of choosing a mic placement. The way to get a great sound is to take your time and experiment with different mics and mic placements. This is arguably the most important part of the recording process because it affects all other stages of the recording, so it is well worth taking the time necessary to find the perfect placement.

The Variables

There are four main variables that affect the sound you get from a mic placement. These are the mic you use, where you place it, the room you are in, and the position of the mic and the instrument within the room. I encourage you to experiment with all these variables to find the right mic placement for your situation.

Technique 1: The 1:1 placement

This is an easy, one-size-fits-all kind of mic placement that’s based on a simple rule of proportion. To use this technique figure out how wide or tall the instrument is and place a cardioid microphone that same distance away. For example, if you are recording a hammer dulcimer that is 3″ wide, the mic should be placed 3″ away from it. Most if the time this technique will yield a perfectly usable sound.

Technique 2: The Performer’s Ear

As the name implies, this technique is done by placing the instrument next to the performer’s ear. The idea is that if the instrument sounds good to the performer, it should sound good to the microphone. A decent wide diaphragm condenser mic is usually the best choice for this technique.

Technique 3: Miking the Walls

If you have the luxury of recording in a room with pleasant acoustics, then this technique is an option. It’s not terribly versatile, but it can be effective. For this technique you will need one or two boundary mics (also called PZMs – Pressure Zone Microphones). The way a boundary mic works is that you place it on a flat surface, and it picks up in a hemispherical pattern – basically everything on the one side of that surface. Hanging the mic on the wall will pick up a fairly even sound of everything that is happening in your room. If you are using two mics make sure to follow the 3:1 Rule (the mics should be 3x as far apart as they are from the instrument – eg. if they are 1″ from the instrument, they should be 3″ apart) to help avoid issues with phase cancellation.

Technique 4: Points of Contact

For most instruments, the points where the player makes contact with the instrument are also places where the sound is being produced. So, for example if you are miking a flute, the embouchure (where the player puts his or her mouth) and the keys are the points of contact, on a harp it is the strings themselves. The results from this technique will vary greatly depending on the instrument, but it is worth experimenting with on an unfamiliar instrument. Remember, the spot where the most sound is being produced is not necessarily the spot where the most tone is being produced.

Technique 5: Analyzing The Instrument

This one takes a little more time and effort than the others, but it is worth it because it also tends to yield the best results. What this involves is taking the time to understand how sound and tone are being produced by the instrument. For example, many people’s first instinct when miking an acoustic guitar is to out a mic at the sound hole. While it is true that this is where most of the volume is coming from, the tone of the instrument is coming from other places.

When we strike the string of the acoustic guitar, sound is created by the vibrating string. This sound is transmitted into the instrument in two places: the nut and the bridge, so miking at the nut or the bridge can provide interesting results. The half-way point between the two (the 12th fret) is another interesting place to mic, as we begin to see harmonics forming there.

The sound from that vibrating string is transmitted through the bridge into the top of the guitar which itself vibrates, creating much of the tone of the instrument. On the underside of the guitar’s top are a series of braces which form any of a number of different patterns. This means that different parts of the top will sound different, so when miking the top of a guitar, small changes in placement can make a big difference.

This same technique can be used for any instrument. In some cases it may take a bit of research, but the results are well worth it. The good new is that most musicians (particularly those that play obscure instruments) enjoy talking about their instrument, so often the extent of your investigation can be simply asking.

Conclusion

There is no right or wrong way to mic any instrument. Often the best sounds, and certainly the most unique ones, come from taking the time to experiment with different placements, mics, and rooms. It may seem tedious at times, but if you embrace it this can be the most creative part of the recording process. Have a little fun with it.

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Set for a Spring 2010 launch, Nike continues it Vintage series with two new additions to its already extensive lineup. Featured is the Neon Pack, consisting of both a neon green Vandal and complimenting grey/neon pink design. Both take on the vintage effects to the max, with distressing seen throughout the uppers, midsoles, and heels. Look for these to drop soon through select Nike retail accounts.

Source: Dunk

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Urban Electro

Sonic Specialists has released Urban Electro, a drum kit sample library for Hip Hop and Electronic producers.

The perfect and incredibly experienced use of High-End Hardware Gear with precise use of High-End Software Plug-Ins is the only way a product like Urban Electro can come into fruition.

Countless hours of recording, re-sampling, building & rebuilding, crafting, creating, distorting, equalizing, compressing, stereomastering has created one of our most proud achievements!! imaging, noise removing, and

The sample library features over 300 fully mixed & mastered noise-free 24 & 16-bit drum and percussion samples.

Urban Electro is available to purchase for $74.95 USD.

More information: Sonic Specialists

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H.A.L from Kibber Films/Jackpot in the West on Vimeo.

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2010 NAMM Show: Nord has announced the Nord Piano, a dedicated stage piano with 88 keys and a weighted hammer action.

The Nord Piano is designed with the performing musician in mind and is very lightweight at approx. 18 kg (39.6 lbs).

The Nord Piano comes equipped with several acoustic and electric pianos and harpsichords. Other pianos are available as free downloads from the Nordkeyboards.com website.

The sounds are stored in a Flash memory with a 512 MB capacity. This allows you to replace every piano if you wish and the sounds are kept intact in the memory even when the unit is turned off, no loading time is necessary. The sounds are available for free and easily exchanged by using the Nord Sound Manager application, which runs on Mac OSX, Windows XP, Vista and Windows 7 computers. The Nord Sound Manager allows you to quickly organize your programs according to your needs and allows you to create backups of the entire content in your Nord Piano.

String Resonance

One of the Nord missions is to deliver more, in every aspect. Using the Nord Resonance Ready pianos (e.g. the R-labeled Grand’s and Upright’s), you can activate the Resonance feature on the panel, which will add this acoustic phenomenon to the Nord sound. The Nord crew has gone to great lengths to ensure an accurate reproduction of the acoustic resonance, using the actual sound of the source instrument in an extremely realistic way.

Nord Piano Pedal with extended functionality

The Nord Piano can use the new Nord Piano pedal, providing the functionality of all the three pedals found on an acoustic grand piano. The Nord Piano pedal functionality have been closely modeled to allow you to “play the pedal” in the same fashion as on an acoustic grand.

The soft pedal (also known as the una corda) makes the sound significantly softer. The sostenuto pedal in the middle provides the latching sustain functionality that sustains only held notes, when activated. When you activate the sustain pedal, you can hear pedal noise and the dampers being lifted from the strings. The force with which you operate the pedal will influence the levels of the components and you can even add percussive sounds from the mechanism by just striking the pedal itself. With the Nord Piano pedal (or a continuous sustain pedal from another manufacturer) you can also use half-pedaling and other techniques like “catching” released keys with the pedal, a unique feature on the Nord Piano.

Effects, EQ and Amps

Dial in your preferred sound with the effects and the powerful three-band equalizer with sweep-able mid, and save the settings with a quick double tap on the Store button. The effects in the Nord Piano are just as detailed as the piano sounds them selves. The tremolo adds that perfect vibe, the pan sweeps across the stereo panorama, and the auto-wah brings out the funk in you, like never before.

Whenever you want to spice up a sound with a beautiful phaser, a screaming flanger, a lush chorus, these are readily available. These modulation effects are modeled from a couple of highly desirable vintage effects.

The Nord Piano Speaker models faithfully reproduces the overdrive response of different amplifier/cabinet combinations, lending your sound that authentic feel. Select the desired speaker model – Small, JC or Twin – and use the Drive knob to add powerful tube amplifier distortion to your piano sound. Even the slightest amount will make a big difference to the sonic character.

No pricing or availability has been announced.

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The Ekdahl Moisturizer, experiments with slinky coils. from Richard Devine on Vimeo.

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MIDIbox 64: controller inaugural performance with Ableton Live from Stuart Mitchell on Vimeo.This is a demo slash jam by Stuart Mitchell, using his DIY MIDIBox 64 with Ableton Live.

MIDIBox is a DIY custom MIDI controller solution.

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Serge M-Class from HexEnduction on Vimeo.
Here’s a Saturday Synth Porn fix for those of you with a Serge fetish: A Serge M-Class modular system, featuring Quadslope, Creature, SQP and Gator M-odules.

Delay provided by 2 Malekko 600 Bright pedals. Shot on Kodak Zi6 in macro.

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GrindMusic T.V. in Studio from Talkeye on Vimeo.

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• Professional music production for the price of a laptop.
• 24-bit/ 192kHz A/D converters (same as Pro Tools HD 192 I/O interface).
• 8000+ preset sounds and effects
• Includes Cubase LE, Sonar LE, LIVE LE and more.

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Producer Loops has introduced Classic Bollywood, a library that features the sound of Bollywood movies.

The library features 11 royalty-free construction kits composed, recorded and produced by Bollywood film xomposer Gaurav Dayal.

Description:

This library was recorded on location in New Delhi, India, home of the Bollywood Film industry, by soundtrack composer, Gaurav Dayal. ‘Classic Bollywood’ includes music loops, percussion loops and vocal phrases.

In addition to the percussion loops, this library features the sounds of an Indian string orchestra (recorded live) along with melodic male/female solo vocals and chorus phrases.

Classic Bollywood is available at Producer Loops for  £69.95 / 78,59 EUR / $100.81 USD.

You can preview Classic Bollywood below. Oy! Oy! Oy!

About the Kits:

The library has been assembled into kits of varying tempo & key. All filenames include the Key and Tempo of the loop. For ACID and Logic users, the key has been programmed into the files, so they will match the key of your existing tracks instantly without alteration.

List of Live Instruments Recorded:

• 01. Indian Violin & Viola Section
• 02. Bansuri (Indian flutes)
• 03. Dholak Ensembles
• 04. Tabla Ensembles / Pakhawaj
• 05. Ghungroo percussion
• 06. Indian Tamborine & shakers
• 07. Sarangi
• 08. Rabab
• 09. Mandolin
• 10. Tenor (Bass Pluck Mandolin)
• 11. Sitar Ensemble
• 12. Swarmandal
• 13. Tumbi
• 14. Shehnai
• 15. Chung / Duffli
• 16. Indian Choirs (Male Female)
• 17. Solo Voices (Male, Female Solo phrases)

Specifications:

• 3,5 GB (Total Data)
• ACIDized Wave
• Apple Loops/AIFF
• REX
• Reason Refill
• WAV
• Files include Key+BPM
• 44.1 kHz / 24-Bit
• PC/Mac Compatible
• Royalty-Free (No Exceptions)

About Gaurav Dayal:

Gaurav Dayal, 32, is a celebrated soundtrack composer hailing from New Delhi in India. His first record went platinum at the age of 21 with Punjabi Pop Icon, Jasbir Jassi. Gaurav soon followed this with hits like “Gabru” for Mika and many others.

Gaurav composed the Music (Score & Songs) for movies “Say Salaam India” (2007) and “Sorry Bhai” (2008). He also has the most downloaded album, “Groove Punjab” (2008) ever to come out of India! He now runs Beatfactory Academy, India’s first Professional Music Production Institute, where making music on Logic, Protools, Ableton Live , Sound Recording and Engineering techniques are taught.

Gaurav has been in and out of New York since 2005, producing music for people like Jerry Wonda (Wyclef-Jean, Shakira), TAZ (Stereo Nation), Fathy Salama (Grammy Winning Arranger). More and more international mainstream artists are now in line booking Gaurav for their music productions.

Aside from Bollywood Soundtracks, Gaurav also composes Rock, Pop, Jazz, Hip Hop, RnB, House, DnB and Dub. He has won countless awards and nominations in the “Bhangra Category” at the ETC Channel Punjabi Music Awards. Finally, he has worked with artists including K.K., Sunidhi Chauhan, Sonu Nigam, Shubha Mudgal, Kuldeep Manak, Surinder Shinda, Lehember Hussainpuri, Sardool Sikander, Jasbir Jassi, Mika, and many others.

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Feast your eyes on the Lacoste Niseko M3 Collection. This latest lifestyle shoe is to be available in both a high and low form; both will feature soft leather, fabric lining and a vulcanized sole in a thin silhouette. As you can see, the initial drop will see two colourways of each model. The Lacoste Niseko M3 Collection will be at select Lacoste footwear stockists across South East Asia later this month.

 

 

 

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• Built-in sound card
• Touch sensitive hi-res jog wheels
• Mic input
• Mix record function
• Discreet headphone outputs
• Automix and beat sync functions
• USB power
• Dimensions: 14”(w) x 9.5” (h) x 1.5”(d)
• Controller Weight: 3.2 lbs

• Spin (DJ midi controller)
• Microphone with adapter
• USB Cable
• djay 3 with license key
• User manual (Set-up basic guide)
• 1/8” to 1/4” adapter for headphone or microphone

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Gristleism Teaser from Chris Carter on Vimeo.

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Kid Cudi: GOOM Radio @ Lollapalooza 2009 from Goom Radio on Vimeo.

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