Tomorrow, saturday 27th February 2010 at 2pm, a not-to-be-missed event for all monome users (and computer music aficionados) in Berlin.

Berlin monomeet is a gathering of monome users. In their words "it will provide an opportunity to share ideas about performance setups, applications, Max for Live patches as well as have people performing (tbd). Of course, this also applies to anybody out there using other interfaces with monome emulators and the like.
So if you interested in computer music, open source music applications and interfaces, Max/MSP, M4L or just like to hang out and listen, then just drop by and join us – there is plenty of space."

Location: NK

FREE ENTRANCE

Tonehammer has been steadily growing a reputation as a company that creates great-sounding virtual instruments, catering specifically for the needs of soundtrack composers. The owners of the company, Troels Folmann and Mike Peaslee, have many years experience in the worlds of Film, TV and Video games. As a result, the virtual instruments they create have a devoted following, and have garnered credits from many top productions such as “CSI: Miami”, “SplinterCell”, and the Oscar nominated “District 9”.

“Transmissions” is the first volume in the Ambius Series, focusing on creating ambiences, drones, and evolving pads that reflect, in their words, “the dark, the cryptic, the unnatural and the subliminal…”

The instrument is designed specifically for NI’s Kontakt sampler (version 3 and up) and comes with 2.5GB worth of content, consisting of 288 patches, and the accompanying 24bit stereo wav file samples. It is possible, with a fair amount of work, to use this library with other samplers, but it would be nice if other formats were supported, as has been the case with the Microhammer series.

The Sounds

At the moment, I’m writing the soundtrack to a video game that requires a certain amount of tension and suspense, so I stuck “Transmissions” alongside the software I’m currently using in Logic, and put it through its paces.

The sounds are, as promised, mostly ambient pads, drones, and soundscapes. They are split into 3 categories, entitled, “tuned”, “melodic” and “horror”. Each patch comes with a custom set of controls, for Low pass filtering, multi-layer cross-fading, and reverb wet/dry.
Straight away the sonic qualities, and organic nature of the patches, capture your attention. The audio samples used in this instrument are all field recordings from various sources – the usual (bells, choirs, pianos), to the slightly more unusual (wind, swarms of bees, a dentist drill, an empty factory) These samples, combined with the included bonus convolution reverbs, provide a great foundation for the mysterious atmospheres that the creators intended.


A lot of contemporary soundtrack music contains elements of both traditional harmonic composition, and sound-design, and I found that this instrument complements that style very well. Just by browsing the presets of the instrument, I could create harmonically rich, slowly evolving pads to bolster the melody, or just as easily, create creaking, gurgling atonal textures, to give the music a sinister edge, or as transitional soundscapes between scenes.

Of course, all these patches can be easily and instantly manipulated and tweaked, by using the custom-built (automat-able) controls in Kontakt.
Standout patches to me were the “Watervox” variations (beautifully warm, haunting and complex pads of convolved human voices), and the EVP patch (Stark, echoing, groaning, creaking soundscapes.)

The one slight disappointment with the instrument were the ‘pulses’ patches. The set of small percussive blips didn’t really inspire (unlike the rest of the sounds). I felt like they were a bit of an afterthought to what is otherwise a deep sample set.

“Transmissions” is an average memory consumer. If you are trying to conserve RAM, however, there are “lite” and “solo” versions of all the patches.
For more detailed information on the sounds of Ambius 1: Transmissions, and requirements to use it, check out the product page (see link below).

CONCLUSIONS

Tonehammer live up to their reputation for quality, with a focused and beautiful palette of organic atmospheres to use for those more mysterious moments in your compositions, ranging from the subtle and ethereal, to the downright dark and disturbed.
NOTE: it is on sale at the moment, for $59. It will go back to the original price of $79 on the 28th of Feb.

Ambius 1: Transmissions is a beautiful sounding, intuitive virtual instrument, providing great value for money for the atmospheres it’s capable of creating.

Product's page

PROS

• Does a great job of creating a wide range of otherworldly atmospheres
• Intuitive – simple to control, yet deep
• Comes with a useful PDF manual
• Lite and Solo options great addition for less powerful computers
• Bonus Convolution reverb patches
• Great value for money

LOVE-IT OR HATE-IT

• It all depends on Kontakt. If you’ve got it, you’ve got instant ambient playtime. If you haven’t got Kontakt, you’ll be very limited until you’ve created the instrument in another sampler.

CONS

• “pulse” sounds are not very inspired
• Some full multi-layered patches use a lot of RAM
• Kontakt patches only, no EXS24 or SFZ

by Andy Dollerson

So, let's say you're using Blogger, and you also have an account on Soundcloud to host your music and podcasts.
In this tutorial you'll find how to integrate these simple but powerful tools to stream your podcast as an RSS feed and spread the news around the web.

• 1. Let's start uploading your show to Soundcloud. Click on upload file and select the file on your HD (in this case it's an old Flash Gordon radio show). While uploading the file, fill in the form fields (file name, keywords, etc.).
• 2. Select Public (the file needs to be available for everyone).

• 3. Then, check both Download Options.

• 4. Click on Save and your file is ready on Soundcloud. Copy the resulting URL.

• 5. Now, open Blogger (if you have not a blog already, sign up and get one, it's free). In our example the blog's title is test4podcast. Click on the Settings tab, and then click on Formatting. Scroll down until you see a Show Link Fields option. By default this is set to NO. Change it to YES and save settings.

• 6. Create a new post. Once you're done with its content, click on Add enclosure link.

• 7. In the enclosures field, paste the Soundcloud file's url and add the following suffix: /download.mp3

• 8. Publish your post. Please note, if you try to visualize your post on blogger you won't see any audio file. But don't worry, your show is there and ready to be used, keep on reading...

• 9. Now it's time to create an RSS feed for your podcasting blog. Go on Feedburner and burn a feed.You'll just need to put your blog main url and check the "I'm a podcaster" option.

• 10. If Feeburner finds more than one feed associated with your blog, choose the RSS one. Ok, the feed is ready, but some more options need to be added. Click on Next.

• 11. Here you tell iTunes how to list your podcast. Please select a category (and a subcategory, in case) and fill in the relevant fields.

• 12. Add a copyright message, and the podcast's author name.

• 13. A few more options to check here, and your podcasting feed is ready

• 14. Check the feed clicking on the little RSS grey icon in the upper part of the screen.

• 15. You should see your feed now (the visualization could be different from the screenshots here, just check that both the article and the related audio file are there).

• 16. Copy the feed url. Go back to Blogger. Click on Settings, and then on Site Feed. Allow a full blog feed, and paste the feed url you've got from Feedburner.

• 17. Now it's time to check if your podcast blog is working fine. Using your news reader of choice (here you see Google Reader, but it could be any other service), add a new feed/subscription using the feed url (in our case http://feeds.feedburner.com/test4podcast). You should get something like this...

• 18. Also, you can check your podcast in iTunes. Click on Podcast in the sidebar, then click on the Advanced main manu voice, and choose Subscribe to Podcast. Paste here your feed url and your podcast should start downloading.

• 19. If you like, you can submit your podcast to the iTunes Store's Podcast section. Just click here or go to the iTunes Store, choose Podcast and then scroll down until you find the Submit a Podcast image. 

• 20. Click on it and follow the instructions (you'll need an iTunes account, you can get one for free). Just keep in mind this process is not automatic. As reported on the Apple website: "the iTunes team reviews each podcast submission. Depending on demand, it may take a week or two before your podcast is added".

The Ableton Live User Group Berlin got in touch with us to announce a new meeting.
What's gonna happen? Well, there will be a new M4L showcase and a young Berlin based experimental label, looking for new artists, will introduce itself.
As usual, "Open stage" for all those willing to perform on a very good soundsystem in front of other Live users or performers, to get some feedbacks and to gain some experience. Just bring your laptop/controller/soundcard and be ready to have some fun.
For those who'd like to play/perform: please send a confirmation to catrax AT gmail DOT com beforehand (of course you should also be there as early as possible, that would help setting everything up in time).
As the organizer points out "the main aim of the meeting is the community building of like-minded Ableton users and more in general audio/music lovers, so join in and meet and talk to other folks, exchange tips and tricks, help each other out with problems you might encounter and generally have a jolly good time over a beer simply meeting each other".

When and where? February 24th, 7 pm, at Raumklang, Kopernikusstr. ecke Libauerstr., Berlin.

Don't kill me: I love presets. I've always thought a bunch of well-designed presets can really bring a good product to a higher level (and also help as a great starting point for further tweaks).
Making presets is a mix of art, science and craftsmanship. We've already covered this topic once, talking with Howard Scarr (sound-designer for Access, Roland, NI, U-he, etc.).
Now we'd like to introduce the work of a younger presets wizard, Simon Ball alias Soundsdivine. He's been quite active last year, creating sounds for many popular soft synthesizers, like DCAM, Imposcar, Minimonsta, etc.
Lately he released two new soundbanks (25$ each), for Ace (one of our 2009 awards' winner) and XILS 3 (by the way, this one is really worth checking out, we'll cover it later).
We've asked Simon to tell us more about his work (thanks for your suggestions, Chad ).

When you started playing synths, were you attracted by the wow-factor of the factory presets or...?
When I started playing synths, I was just in awe of the potential they offered. As is the case with many synths, my first synth (a Korg 01W/Pro) contained a mixture of inspiring and bland presets and everything else in between. But the factory presets were only a jumping off point for exploring the possibilities.

When did the idea for Soundsdivine come out?
When the recession hit Ireland, landscaping contracts dried up very quickly. With no work, I sat down at the computer and started programming presets for Gforcesoftware's Minimonsta, then PSPAudioware's PSP84 & Nitro plugins. At the time I didn't think about it being a viable business, I just went with it. Soundsdivine really grew from that 3 months of programming presets.

What's the typical workflow when you start working on a new soundbank? What's the process to arrive at some of those unusual textures? Do you start out with a goal in mind?
Generally I don't have a specific idea for a soundbank, I sit down with whatever synth I'm attracted to at the time, and start exploring what it is capable of. Almost all of the sounds develop from there. I try not to plan what Im doing and just go with the flow of creative energy as it happens. The search for those unusual textures is the main driving force behind many of the presets.


Your presets for XILS 3 are very musical and creative. Would you like to give our readers a few tips about this powerful and highly peculiar software synth?
1. Use the sequencer for small pitch / pwm / filter variations
2. Max the resonance and assign an oscillator to filter , experiment with the oscillator tuning
3. Use oscillator 3 square wave to pitch modulate oscillators 1+2 . Experiment with square wave level
4. Assign Ring modulator to Filter / Res then experiment with different Ring modulator combinations , then modulate the individual components of the ring modulator
5. Use noise at barely audible levels , everywhere
6. Use very short unsynced delay times with high feedback then modulate the delay lines with LFOs / Oscillators / looped Envelopes to get a range of comb filtering effects
7. Experiment with different tunings , use 3 oscillators but only assign Keyboard - Pitch with 2 oscillators
8. Experiment!

Looking at your catalog, it seems additive and sample-based synthesis are not your thing. Can you see yourself working on stuff like, for example, Alchemy or Absynth in the near future?
Alchemy, yes. Absynth , not in its current incarnation. I find the workflow awkward, and the sound less than inspiring.

I know it's your job, but I guess you (like most of us) don't like using the mouse to program a software synth. Is there a hardware controller you recommend? And do you think touch-based devices (like the iPad) will finally give software synths the "interaction environment" they need?
I've become so accustomed to the mouse I haven't considered any touch based devices but I'm sure that will change in the future . I use an Akai MPK 25 but not as a hardware controller , just simply as a keyboard , its the best piece of hardware I've bought in years .
I think as the integration between softsynths and touch based devices deepens , softsynths will benefit hugely from the immediacy that physical interaction offers .

Last but not least, what kind of music do you listen to? And do you "compose" while sculpting your presets?
Everything except heavy metal and country. I'm loving Boozoo Bajou & Pascal Barbare at the moment. I don't compose while making presets. It's more productive for me to focus solely on making sounds.

Twisted Tools is a young software company, created by Igor Shilov (Reaktor designer SonicTwist) and Josh Hinden (Director of MIDI, Expression.edu).
Vortex is their first commercial release. It's a powerful yet easy to use, well designed, six tracks polyphonic sequencer Reaktor ensemble (it requires the latest v.5 release).
Yes, there are hundreds of free Reaktor ensembles around the web (and Twisted Tools has a few to offer as well, just sign up on their site to get them), but Vortex goes one step further.

First of all, the layout/design. While I love Reaktor's potential, I've often found its ensembles difficult to use, especially because of their ugly (especially in the past) and complicated interfaces.
In that regard Vortex is so good (read also: easier to the eye) that... well, it doesn't even look like a typical Reaktor ensemble! I'm sure this required a lot of work and dedication.

Then I thought, ok, it's a six tracks polyphonic sampler/sequencer, it has to be a CPU killer. Wrong, Vortex is highly optimized, and it can be used even on old PPC machines (this should tell you something!).
Another plus: a useful pdf and a bunch of (really well made) HD videos will guide you through Vortex' features and workflow. I recommend having a look at these tutorials (before and after buying), their full screen resolution is perfect to check even the most subtle submenus' actions. Have a look (select the 720 dpi option if you have enough bandwidth)...


Vortex comes with a huge collection of samples (courtesy of several sound-designers like c2, Richard Devine, Josh Hinden, Noklip, GlitchMachines.com, Mike Huckaby, Sonictwist, Tipper and Vinja). Of course you can replace the factory samples with yours, once you've taken control of the ship.

These are the most important features, at a glance:

• Six Track Sequencer, 4 Sequencers Per Track
• Six-Voice Polyphonic Granular Sampler
• Color-Coded Modulation System
• Two Cross Modulating LFOs
• Extensive Randomization Features
• MIDI Learn System with Controller Feedback
• Alternate View Option
• Multi-Out Support (in Logic too, check Twisted Tools' video page)
• Extensive Cut/Copy/Paste/Select/Randomize Functionality
• Advanced 'Graphic Layer' Editing
• Scene Sequencing (create arrangements within each preset)

If you're a Kore or Maschine user, you'll get a template for these devices too.

CONCLUSIONS

If you enjoy tweaking rhythms and samples (and even if you're not a hardcore Reaktor user), you should spend these 29$ (fair price!) and get Vortex. The flexible modulation and randomization features make it a "mental workstation", suitable for live performances (here the MIDI Learn System comes handy) and studio use as well (the scene sequencing lets you quickly test new arrangements).
I'd love to see an Undo button somewhere in the interface but maybe it's a Reaktor's limitation (I've asked the developer, and I'm waiting for an answer).. It seems the Undo will be added in a next release, good to know.

Vortex is a powerful yet easy to use, well designed, six tracks polyphonic sequencer Reaktor ensemble

Product's page

PROS:

• easy to use, also thanks to the tutorial videos
• powerful and flexible features
• CPU-optimized
• very fair price

LOVE-IT OR HATE-IT:

• you'll need Reaktor 5 to use it. And even if Vortex is highly customized (compared to most ensembles), a native coding would have probably given more freedom to the developers

CONS:

• no Undo (at least at the moment)
• the sensibility of the knobs could be improved

Do you enjoy writing about music technology, hardware, software, analog and digital techniques, etc? AudioNewsRoom is looking for guest writers (now also for iPad apps!).
This is an unpaid position (anr is just a labor of love, at least until now), but, if you're still reading, you could get some free original software licenses and discounts on hardware too, besides having lots of fun trying out the latest gear, plug-ins, and sharing your thoughts with our readers.
Also, you'd increase your online exposure, and gain some links back to your personal/business website.
Short term, long term? No problems, it's up to you.

If you know your stuff (needless to say, original content only) and enjoy sharing your knowledge, please get in touch using our contact page.

Thanks!

(photo CC: matsuyuki)

If you've been thinking about adding Antares vocal processing plug-ins to your system, or upgrading to the newest versions of Auto-Tune Evo, AVOX Evo, or Harmony Engine Evo, now is the time.

Antares is partnering with Rotary International to help provide relief though ShelterBox, a Global Rotary Club Project.
For every Antares product sold or upgraded from 12:00 AM Thursday, February 11th through midnight, Sunday, February 14th (Pacific Standard Time), the software house will donate 25% of the purchase price to Rotary International's Haiti relief effort.

How does it work?

If you're going to use the Antares webstore, the process is automatic.

If you buy through an Antares dealer, please fax or email a scan of your dated sales receipt to us by February 17, 2010.

• Fax your receipt to: 831.461.7801.
• Email a scan of your receipt in JPG or PDF format to haiti_relief@antarestech.com

A moment of bliss. Ryuichi Sakamoto playing Bibo no Aozora (piano solo) in Tokyo, 2005. I've been lucky enough to watch him performing it during the recent European piano solo tour. Enjoy it!

For those wanting to try the Lexicon PCM Native Bundle, the demo version is finally available. An iLok and these instructions are all you need to activate the trial period (14 days).
Since we're talking of a 1.500$ software, I'd recommend trying the plug-in (and comparing it to other reverbs in your plug-in folder) before buying.
Be patient though, at the moment the average download speed here is 15 KB/Sec. Time to get some more bandwidth, dear Lexicon...

Soundtoys is almost ready to launch its new and much-awaited product: Decapitator, an analog saturation modeling plug-in inspired by the sound of vintage and modern preamps.

Decapitator can currently be tested for free as a public beta (until February 28th, an iLok is required). To join the beta click here. The public beta supports RTAS, AU, and VST, on Mac and PC. TDM is coming.

Having spent a few hours with the beta (quite stable by the way) I can safely say that Decapitator is a dirty partner for any track in need of some more "spice". I've used it on drums (both acoustic and electronic), synth lines, pads, piano, etc., and it always added something interesting to the sound.
Decapitor's saturation has the analog vibe you would expect from Soundtoys' modeling knowledge (it's not harsh as most digital saturations out there). Also, keeping the Drive control to the minimum can lead to some cool results and, for those who dare, the Punish button is there to make your tracks as aggressive as they get.
The final release should add a gain control knob, which will make easier to control the plug-in while mixing.
Anyway, since we're talking of an unfinished product, it would not be fair to say more about it. I'll make a proper review as soon as the final version is out.

Decapitator should be released in early March.
As all Soundtoys plug-ins it will be available both as part of the TDM/Native bundles and as single product.

If you're already a bundle owner the update price for the upcoming v4 (featuring Decapitator and a new preset management system) will be $199 for the TDM one and $99 for the Native one.

If you buy the v3 of the bundle in this period, the update will be free.

If you are not interested in the bundle (I'd strongly recommend getting it anyway), the single plug-in will cost $349 for TDM users, and $179 for native users.