Look at this beautiful iPad granular sampler called Borderlands from Chris Carlson. I can see many of these futuristic interface elements influencing other pro-audio app developers. We live in a great time being able to touch our sounds like this. I can’t wait for this to be released.
“The audio files can be moved and resized using typical single and double finger gestures. Currently the orientation of each rectangle may be toggled by touching the object with a third finger. A grain cloud can be created by double tapping anywhere on the interface. This immediately opens the cloud for editing, exposing a number of parameter regions around the cloud. Each region can be dragged or thrown between a hard coded min and max value. Users may edit the number of voices in the cloud, duration of each voice, overlap of the voices, playback rate or “pitch” of the voices, and the frequency of an LFO controlling the pitch of each voice. This view may be hidden by double tapping on the grain cloud again. Several discrete parameters are available as buttons at the bottom of the interface. These include the grain direction (random/forward/backward), the window type (hanning, exponential decay, exponential growth, sinc), and the stereo distribution of the grains (two modes – unity preserves the original spatialization of the audio file, stereo pans grain voices left and right sequentially.” – Chris Carlson
WaveShaper is a new iPad app that lets you scrub samples. You can load your own and morph between sample locations. The description sounds a lot like the NI’s Skanner however the results are far less musical, more glitch. I really like using my own samples in iOS apps but connected to iTunes to transfer samples in isn’t elegant. $5.99 in the App Store.
“WaveShaper is an audio synthesis app that lets you control a unique sound generating algorithm using a large XY controller. Use two fingers to control four parameters in real-time. This app is full of surprises and will create sounds unlike any you might create in a typical sound design plugin!” – waveshaperapp.com
Wave Alchemy has created a Kontakt sampled version of the classic Sequential Circuits Pro One synthesizer called the Pro-II. The Pro One is best known as the synth heavily used on every Yaz record. It has a very clear sharp sound with very fast envelopes. In addition to the sample library there is a sequencer and “fully editable effects as well as specially created reverb IR’s (Impulse Responses) recorded from our Eventide DSP-7000 Harmonizer.”. As usual I recommend getting the real thing. However, with the Wave Alchemy you can save your presets, work on an airplane, have polyphony and skip the vintage synth repair bills. 3.9GB sound library including 6587 multi-sampled 24-bit WAV samples. £39.95
“Inspired by one of the most popular synths of its time, Pro II combines classic sounds with modern sound shaping tools to achieve a versatile and fully programmable hybrid synthesizer!” – wavealchemy.co.uk
Mike Sweeton has SirenAudio asked me to take a look at his products. He has three stand alone applications for Mac & PC. They are simply titled Feedback, Generative and Sampler. Mike created the apps using Max/MSP. What do you think? Have any of you tried these out?
“A folder of audio files or a single file can be used as the source of the 16 random samples. Each sample is given a random start time and can be triggered via MIDI from either a sequencer or an external device. The length, pitch, pan, and filter values can be set to randomise within specified ranges.” – sirenaudio.co.uk
This morning I’ve been playing with the newly released RealBeat. It’s for iOS AND Mac. Upon launching the app it has sequence blocks set up. You hit record on a few sample slots and everything starts playing. There are a few effects on Kaosillator type pads. You can edit the samples and sequences. RealBeat is a slick and fun audio app. What you hear above took less than a minute with my own voice. Recommended.
“Record your voice, your fridge, your neighbour’s dog or let your iPhone or iPad speak and make rhythms out of the sounds immediately. RealBeat concentrates on simplicity and fast results. No steep learning curve or cluttered screens! Get creative in an instant!” – apps.piringer.net
The original Fairlight CMI is heading to the iPad soon. In the past I’ve mentioned the great sounds which are definitely associated with the 1980s the CMI produces. My first sampler, a Roland S-50 had a very nice set heavily inspired by the CMI. You can read that blog post which also talks about my father buying me the S-50 here: My father and my Roland S-50 sampler. You can also get a faithfully recreated CMI Reason Refill from PowerFX. If you’re unsure of the type of sounds I am talking about the best example is the song Close to the Edit from Art of Noise (video above). Lastly, if you don’t actually want to make some noise but still want some black and green screen nostalgia there are some nice Fairlight CMI iPad cases, T-Shirts, coffee mugs and more on Cafepress: cafepress.com/fairlight. The iPad CMI should be in the App store soon with a price of 50 Australian dollars.
“In early 1983, two of Trevor Horn’s production team, programmer JJ Jeczalik and engineer Gary Langan were working on a scrapped drum riff from a session from Yes’s 90125. They sampled it into a Fairlight CMI, using the then new Page R sequencer. This was the first time an entire drum pattern had been sampled into the machine. They then added non-musical sounds on top of it, before playing the track to producer Trevor Horn… The technological impetus for the Art of Noise was the advent of the Fairlight CMI sampler, an electronic musical instrument invented in Australia that Horn was reportedly among the first to purchase.” – Wikipedia (Art of Noise)
Stuck at your desk today at lunch? Need to get your Electrohouse on for a few minutes? I’m not sure if director Ron Winter created this “bangin” browser sample player or it’s from someone else. Nevertheless it’s a good five minute time waster. To try it out: click here
“In music, sampling is the act of taking a portion, or sample, of one sound recording and reusing it as an instrument or a different sound recording of a song. The wide spread use of sampling in popular music originated with the birth of hip hop music in New York in the 1970s. This is typically done with a sampler, which can be a piece of hardware or a computer program. Sampling is also possible with tape loops or with vinyl records on a phonograph. Often “samples” consist of one part of a song, such as a break, used in another, for instance the use of the drum introduction from Led Zeppelin’s “When the Levee Breaks” in songs by the Beastie Boys, Dr. Dre, Eminem, Mike Oldfield, Rob Dougan, Coldcut, Depeche Mode and Erasure, and the guitar riffs from Foreigner’s “Hot Blooded” in Tone L?c’s “Funky Cold Medina”. – wikipedia.org/Sample
If your a hardware sampler guy or let’s say someone who likes the idea of Ableton but hates computers the forthcoming Octatrack from Elektron is for you. I’ve never been an Elektron guy but there’s a certain group of synth geeks that swear by these things.
“The Octatrack is an elegant sampler. Recording of sounds is a breeze thanks to the intuitive user interface, but the fun really starts once the samples are inside the machine. Loops are now completely elastic. They will always stay in sync no matter if they are pitch shifted or if the tempo of the sequencer is changed. Single sounds can be molded into any shape or form. The static nature of samples are finally a thing of the past.” – elektron.se