Archive for the ‘Experiments In Sound’ Category

Vibesware Releases The Guitar Resonator – Harmonic Feedback Generator

Monday, March 8th, 2010

The Vibesware Guitar Resonator, created by Markus Pahl, is a new harmonic feedback generator for electric guitar. It generates “string vibration feedback” live on stage, in recording studios and at home.

Pahl claims that you can achieve the same powerful and reproducible harmonics at any sound volume — even when playing with headphones, including: feedback sounds of a fully turned up amplifier stack and tones passing into feedback. Pahl even suggest that with the Guitar Resonator you can create your own custom feedback style.

The Guitar Resonator works by agitating one, or multiple guitar strings, with a magnetic field from a string driver mounted on a stand. Unlike the Ebow, it can drive multiple strings and is not hand-held, so normal playing with both hands is possible. It works with every guitar that has steel strings and pickup(s) — even acoustic guitars with piezo’s can be applied. In addition, you don’t need to modify your guitar in any way. Feedback harmonics can be controlled by the playing technique and by phase switching. Optionally, harmonic modes can be controlled by a foot controller in a CryBaby-like enclosure (optional).

The Vibesware Guitar Resonator costs €339 and is available now. More information on the Vibesware Guitar Resonator

Weekend Fun: Somnus-Neu, The Most Advanced Bed On The Planet

Sunday, February 7th, 2010

New Zealand based designer Grier Govorko has created the Somnus-Neu, an advanced, multimedia bed that features state-of-the-art surround sound, a retractable video screen, Wi-Fi, an iPod dock, motorized curtains, and three different kinds of LED lighting turned for specific activities, reading, ambient, and “don’t trip while going to the bathroom in the middle of the night” with a halo of floor lighting.

The whole dealio is controlled by two 17″ touchscreen monitors on either side of the bed. So what’s up with that name? Somnus is the Roman god of sleep, and neu is German for new.

Govorko, a set designer for the Red Hot Chili Peppers, hopes to have the Neu’s installed in several hotels during 2010.

4MIDILoop 4-Track Traktor DJ MIDI Controller Announced

Saturday, February 6th, 2010

Details are pretty slim on this one, but BassDas Productions has announced the 4MIDILoop Traktor DJ controller. Looking like more of a Controllerism DIY project at the moment, the tweakers at BassDas have dropped a dynamic video on YouTube demonstrating the 4MIDILoop (catchy, right?) in action.

Features:
» Optimized for Native Instruments Traktor PRO
» Clearly arranged, control of 4 decks
» CNC shaped aluminium case
» All controllers are full size, high quality faders
» 90 buttons, 5 faders, 13 push encoders, 22 turning knobs
» All MIDI controllers are freely assignable
» USB bus power: via USB
» Compatible with Mac OSX and Windows XP/Vista

BassDas has no real plans to produce the 4MIDILoop, and in fact, they may create a whole new concept with a Mac Mini built-in. However, as the DIY controller moment gains momentum, the plausibility of this launching as a limited run or as a proper kit appears quite possible.

More information on BassDas Productions 4MIDILoop DJ Controller.

Metasonix Announces Vacuum Tube Drum Machine

Tuesday, January 26th, 2010

Metasonix, known for their vacuum tube synths has announced the D-1000, the first vacuum tube drum machine since the Wurlitzer Sideman of 1959. The D-1000 consists of only four sounds, 2 toms, a snare and a cymbal, although control voltage inputs provide additional flexibility.

Each of the tunable drums is made from a vacuum tube ringing bandpass filter, and can be tuned to sound from below 20 Hz to over 2 kHz. They are also tunable with external control voltages, allowing complex patterns to be built up with external CV or pulse sources. Resonance of each filter circuit is set by internal trimpots. The cymbal sound is an extremely primitive circuit, with white noise gated by a pentode tube. The cymbal’s attack is knob-variable and CV variable, from a sharp click to a soft whoosh. The four outputs mix to a single tube preamp that allows for overdriving via the mix-level controls.

In keeping with the primitive nature of the soundmaking section, the pattern sequencer is extremely simple. There is a single 8-pulse sequence with separate enable switches for each drum sound, set a toggle switch up to get the sound at that point, down for silence.

The internal clock is settable from 60 BPM to over 1000 BPM. There is also a “roll” clock signal built-in, to generate a faster drumroll on any drum sound by pressing a button (speed is preset with an internal trimpot). If you don’t like the internal sequencer, there are separate trigger inputs for each of the four sounds (the trigger pulse must be 0 to +5v, and less than 40 mS long). These trigger inputs operate in parallel with the built-in sequencer, so the D-1000’s sounds may be triggered by its internal sequence and external pulses at the same time. As a bonus, the three tunable drums can also be used as tunable bandpass filters, by feeding a line audio signal to each trigger input.

Ample inputs and outputs: mix output (with overdriveable tube preamp), separate outputs for each drum sound, external trigger inputs for each drum sound, and a main clock output (0-5v) for slaving external generators to the internal clock.

Specifications: Inputs and outputs 1/8″ jacks, except main mix output on 1/4″ jack. Enclosed in rugged, moisture-resistant ABS utility box with hinged lid, carrying handle and latch. Size with lid closed 12.25″x7.4″x6.5″ (314mmx186mmx168mm), weight (minus AC adapter) approx 3 lbs (2.1 kg). Power: 12-16 volts AC, 50/60 Hz, 1.5 amps. Uses Jameco 167151 AC adapter for power in 120v countries. Power inlet: 2.1mm coaxial jack.

Clearly the market for the D-1000 is not large, but there may be some individuals who are interested in exploring this yellow beast…

No pricing or availability has been announced. More information on the Metasonix D-1000.

Misa Digital Guitar Surfaces

Tuesday, January 19th, 2010

From Sydney, Australia comes the Misa Digital Guitar, an open source, Linux-based MIDI controller, that utilizes buttons for frets and a multi-touch screen for strumming and sound manipulation.*

Guitars by their very nature have limitations. To create sound you need to hit a string, so that the sound at its most intense point is always the beginning of the pluck. The left hand controls what notes to play, and the right hand controls when to play these notes and the intensity of the notes. Effects can be inserted into the signal chain, but they are usually foot pedals which makes the experience of controlling effects disjointed from what your hands are doing. Plus, you can only really make use of one pedal at a time. Even in the (rare) case that controls are mounted on the guitar, the hand needs to switch between strings and controls. This may be okay if you only use effects occasionally, but when every note you play needs the controls set differently – good luck with that.

Electronic music cannot be played effectively with such constraints. In electronic music, the timbre (or colour) of the sound can be morphed in an infinite number of ways. For a guitar to accommodate this, the right hand needs more control than just plucking strings. You need to be able to control elements of the sound, such as sustain, pitch, filter cutoffs, contour or any other synthesizer parameter, in a way that has no physical constraints.

This was my thought process when designing the Misa digital guitar. There are no strings on this instrument. The right hand doesn’t pluck strings, it controls sound.

*Never use the Misa Digital Guitar as a flotation device.

The Misa Digital Guitar is actually available for purchase, but details are pretty sketchy. More information on the Misa Digital Guitar.

Moldover Releases Limited-Edition Mojo Performance MIDI Controller

Thursday, January 14th, 2010

Controllerism genius, Matt Moldover, has released a production-quality version of his own Frankenstein-Controller. The innovative, performance oriented controller, dubbed the Mojo, features many of the concepts that Moldover has time-tested via his own performances around the world.

“Assimilating ideas from traditional instruments, DJ hardware, and game controllers, the Mojo puts an unprecedented level of power and completely intuitive control in your hands. Combining ergonomic elegance, rapid-fire tactile responsiveness, and bullet-proof construction, the Mojo is the sexiest controller in the entire multiverse,” Moldover reveals.

Features:
» Works with all MIDI compatible music software
» Includes new Moldover template for Ableton Live
» 10 ultra-responsive touch strips
» 24 competition-grade arcade buttons
» Rubberized knobs, rugged faders and burly toggle switches
» Assembled in San Francisco CA by Andy from Pance Party
» Sexy mahogany body by Livid Instruments
» Scratch-resistant anodized aluminum faceplate
» Environmentally sealed twist-lock USB cable included
» USB bus powered electronics by Hale Micro
» Class-compliant USB device (no driver to install)
» Free copy of Moldover’s self-titled album included
» Will totally get you laid
» Dimensions: 11.5″ x 18″ x 4″, 7.5lbs

Although we can’t substantiate the “Will totally get you laid” feature until we get our grubby hands on the device for a review, buying a Mojo will probably be more cost effective than buying all those penis enhancement products you’ve been wasting your money on.

Moldover’s Mojo costs $1799 and will be available in March in limited quantities. More information on the Moldover Mojo.

Specimen Unleashes Little Horn Speakers

Thursday, January 7th, 2010

Specimen Products has unleashed a new pair of speakers dubbed, The Little Horn Speakers. Specimen claims the special inverted design enables the low frequencies to emerge at the top of the enclosure. The structural rigidity of the horns octagonal geometry minimizes resonances yet allows sound waves to expand freely the way nature intended.

The Little Horns unique Patent Pending design is made using high-density fiberglass. The base is made using heavy, void-free Baltic birch plywood. The base houses the driver and acts as a compression chamber for the horn. The horns are fitted to their base like a neck should be fitted to a guitar – with an exacting alignment and flush fitting surface to ensure the best performance and tonal transmission.

Dimensions:
» 36” tall overall
» The bell of the horn is 14” across
» The base is an 8” cube and will sit nicely on a 10” deep shelf

Specifications:
» 8 ohms
» 90 db sensitivity
» 77Hz – 23kHz frequency response
» Power handling: 24 watts maximum

The Little Horns can be used with almost any stereo system, and are also uniquely suited to low-power (10-watts or less per channel) single-ended triode (SET) tube amplifiers— a standard for audiophiles everywhere. Pair these speakers with our matching stereo tube amplifier and create a unique ensemble to connect an iPod or other sound source.

The Specimen Little Horn Speakers will set you back $1850. More information on the Little Horn Speakers and many other wonderful creations.

Eigenharp Announces New Pico Model

Thursday, December 17th, 2009

Eigenharp has announced that it will be adding the Pico, to its lineup of instruments that were inspired by the Cantina Band in the first Star Wars movie. The Pico is the baby brother to the Alpha, a £4000 experimental musical instrument that utilizes a breath controller to shape software-driven sounds.

Eigenharp claims the Pico is simple to use and anyone can play it. You can play it solo by jamming along with recorded loops, and it allows you to change scale and key, transpose, alter tempo, program beats, create arrangements, switch and layer multiple sounds, all while playing live.

With 18 playing keys and 4 mode keys, a strip controller and breath pipe, the smaller Pico has the majority of the playing features of the Eigenharp Alpha. It plays an unlimited range of sounds and is available in two finishes. The Eigenharp Pico, with its ease of playing and transformational approach to learning scales and music theory, represents a new and easier way to learn to play a musical instrument.

Features:
» 18 playing keys; Sampled at 2000 samples/second, per key; 10 bit (1024 values) resolution; Sensitive to direct pressure and to lateral pressure in both directions.
» Breath pipe; Sampled at 2000 samples/second; 10 bit (1024 value) resolution.
» Sensitive to blown and drawn breath
» Removable, interchangeable mouthpiece
» 180mm Strip Controller; Sampled at 2000 samples/second; 10 bit (1024 values) resolution
» 4 Mode Switches
» USB powered
» Conformable, height adjustable thumb hooks
» Neck strap

You can load and play your own Soundfonts, Audio Unit Plugins and MIDI instruments with the Eigenharp Pico. In addition, the Pico comes with its own native instruments (at present a software model of a Cello, Clarinet and a Synth engine). The Pico also ships with a collection of loop libraries and several acclaimed instruments from our partners including:
— 1500 AIFF format (timestretch and tempo change capable) varied Percussion and Drum loops.
— Sampletekk ‘Black Grand Steinway D, sampled at 20+ levels in a 6 Gigabyte set that includes three recordings from dry to highly ambient.
— Sampletekk ‘Tubed Rhodes’, a multi sampled Rhodes Electric Piano.
— Sampletekk ‘Tubed Wurli’ electric piano in a Gigabyte multi sample set.
— Camel Audio’s Eigenlabs Player version of “Alchemy” – The sample manipulation synthesizer

Eigenharp’s Pico prices costs £399 and requires a Mac computer to run. More information on the Eigenharp Pico.

Thomas Mascall Designs Touchtable, Palm-Sized Turntable Player/Controller

Friday, December 11th, 2009

Thomas Mascall, a Falmouth design student, has created the Touchtable, a compact turntable player/controller concept. The Touchtable contain a digital music player and a turntable paradigm into a single, palm-sized unit. His idea is to have the user interact more with their music, but the real takeaway for gear whores like ourselves is how great this would be to use with Traktor or the like…

EKS first captured our imagination when they debuted their XP10’s a number of years ago. Even more scaled-down then the Touchtable, the XP worked with Virtual DJ, or EKS’ anemic Bison software. It was compact, had a turntable wheel and a built in soundcard. Due to it’s inability to play nice with the leading mixing software on the market at the time, as well as it’s flimsy construction, it never really caught on. However, the Touchtable, with it’s seemingly more robust construction and advanced controls is a step in the right direction.

Although the Touchtable is just a concept, if priced correctly, it could find some traction in the market.

More information on Thomas Mascall’s Touchtable.

Christian Bannister Unleashes The SubCycle Multitouch Instrument

Thursday, October 15th, 2009

Christian Bannister, a musician, designer and developer located in Portland, Oregon, turned us on to his Subcycle multitouch instrument.

Here’s how he describes the Subcycle in his own words: This is part of a series of sketches exploring the potential to bridge the gap between sound visualization and musical instrument. With multi-touch interaction it is possible to manipulate multiple characteristics of a sound—visually, and simultaneously. This shift has the potential of bringing the experience of synthesizer as music instrument to a whole new place. This approach allows the performer to have a more tactile and immediate experience of the synthesizer and also creates a visual reference for the audience. In the performance of electronic music it is fairly common that the audience is alienated from the process and performance of the musician. This project hopes to create a common visual language and experience for the electronic musician and the audience by enhancing the perception of sound and music on both sides.

More information on Christian Bannister’s SubCycle project.