Retronyms and Akai have submitted an update for iMPC Pro to Apple. iMPC Pro version 1.1 includes several bug and performance fixes, plus adds a sound delete option.
This video offers a sneak preview of the changes in the new version. Continue reading
RealiTone has released Realivox Blue – a new vocal synthesizer that can translate words you type into vocals.
Realivox Blue is based on 12,000 samples, carefully edited to allow individual sounds to be composited into words and phrases.
Here a video intro to Realivox Blue: Continue reading
Developer Mod Phon Ltd has introduced Voxen – a new voice synthesizer for iPad.
Voxen is a voice synthesizer. It’s designed not for realistic text-to-speech vocal effects, but for creating synthesized ‘singing voices’.
Here’s what the developer has to say about Voxen:
Voxen is *not* a text-to-speech system. You cannot provide it with lyrics and expect it to sing them. Voxen is a synthesizer that acoustically simulates a glottis and vocal tract, allowing you to manually control the sound. It synthesizes sounds, not words.
Because a human voice is more complex than nearly any other musical instrument, a synthesizer of human voices is also very complex. To control one can require the real-time manipulation and coordination of dozens of separate parameters.
If you are looking for something that creates a musical performance from a piece of sheet music and some lyrics on a scrap of paper, hire a good vocalist. On the other hand, if you are looking some new and different sounds, use Voxen.
No official demo is available at this point, but here’s an unofficial demo, by thesoundtestroom: Continue reading
Omenie has introduced Sopranotron – a new app that they call the first ‘virtual soprano’ for iPad.
Sopranotron is Omenie’s M3000 HD ‘English Soprano’ library, provided as a standalone instrument. Soprano Caitlin Downie, right, has been recorded and assembled into a huge vocal collection.
The instrument features 525 different samples, 15 different voices, with chromatic sampling over the M3000′s 35-note range, and note stretching below and above the range to deliver 5 octaves in total. Continue reading
Cicadas is a sound art project, created by Berlin-based musician/sound artist Bob Meanza, that explores the idea of creating artificial ambient soundscapes with robotic insects.
The project is based on small, battery-powered ‘insects’, which are built using programmed AVR microcontrollers and sound emitting components (relays, piezos, buzzers…). Continue reading
The Computer Orchestra is a crowdsourcing platform, created by Simon de Diesbach, Jonas Lacôte, Laura Perrenoud, that allows users to create and conduct their own orchestra.
Users can choose to upload their own music or download samples to integrate into their formation Once the ‘orchestra’ is configured, users can direct it with the movements of their body.
Here’s a demo of the Computer Orchestra: Continue reading
Marinus J.G. van de Molengraft has released DrumPerfect – a drum sequencer for IOS 7, designed for creating natural sounding drum tracks.
DrumPerfect features three extensive editors to create very ‘human’ drum sequences:
- An extensive pattern editor in which each individual drum stroke has its own velocity, timing and probability. Each pattern has its own BPM, time signature and beat subdivision settings. Multiple strokes can be linked to a single probabilistic event.
- An extensive kit editor with up to 16 different drum kits with 16 instruments each. Every instrument consists of up to 16 different user-selectable audio samples.
- An extensive song editor in which a song is built of pattern/kit events.
The ‘Two-handed’ and ‘Humanize’ features give a human feel to the rhythm by modeling the human drummer restrictions and variations.
Here are audio demos of DrumPerfect in action: Continue reading
Warp Records has announced a new EP, composed by Squarepusher and performed by three music robots (the Z-Machines) will be released on 7th April (8th in North America).
Here’s what Squarepusher has to say about the project:
The main question I’ve tried to answer is ‘can these robots play music that is emotionally engaging?’
I have long admired the player piano works of Conlon Nancarrow and Gyorgy Ligeti. Part of the appeal of that music has to do with hearing a familiar instrument being ‘played’ in an unfamiliar fashion. For me there has always been something fascinating about the encounter of the unfamiliar with the familiar. I have long been an advocate of taking fresh approaches to existing instrumentation as much as I am an advocate of trying to develop new instruments, and being able to rethink the way in which, for example, an electric guitar can be used is very exciting.
Each of the robotic devices involved in the performance of this music has its own specification which permits certain possibilities and excludes others – the robot guitar player for example can play much faster than a human ever could, but there is no amplitude control. In the same way that you do when you write music for a human performer, these attributes have to be borne in mind – and a particular range of musical possibilities corresponds to those attributes. Consequently, in this project familiar instruments are used in ways which till now have been impossible.