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Topics - Julio Di Benedetto

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21
Music Gearheads Tech Talk / Reverb Plugin Sound Demos
« on: February 17, 2014, 04:12:59 PM »
After the thread I started on other options than my Eventide Eclipse the software comments got me curious so I downloaded these demos to hear whats happening in the plugin world.  At this point Ive been listing for several days and I have not formed an opinion about any preference one over the other.  They are all good!

To keep it as even a playing filed as possible I used factory patches for Medium Hall or as close to what was available.  Only tweaking I did was to low the output from the plugin on a few as they were too loud compared to the majority . The graphics are not the actual setting I used just pictures I found on the web.

An interesting note is that the algorithm designer for the Exponential Audio Plugins R2 & Phoenix Revreb is the same man who designed the Lexicon Hardware PCM96 & PCM Native Reverbs...Michael Carnes.

Lexicon, the company impressed me as the demo of the PCM Native plugins expired before my iLok 2 arrived. In a day they had deposited a new 3 month trial to my iLok account.

The Verb I found most intuitive was the Softubes TSAR 1...very easy to get what I wanted quickly and with not much tweaking.....the opposite would be Aether, way to many parameters and not easy to see whereas the Sonnox verb is deep but makes more sense when editing IMHO.

All reverbs have some sort of tone shaping / eq but none have the scope that the Sonnox Reverb offers...handles like a scaled down Sonnox Eq.  I found it very handy for shaping.  Sure you can drop in Eq plugin before a reverb but this is all in one and cuts down on cpu usage.

Most  plugins did not work the cpu much on my 17" Macbook Pro 2.4 ghz Intel i7 with 8gb ram, except the Relab LX480.  Its a liitle bit more hungry then the others.

Ive left out alot but these are some of the best I found after a good deal of researching.

The patch from the Matrix 12 is an evolving buzzy 1 minute recording completely dry with no eq, compression or limiting.  Personally I can't stand listing to the patch anymore after days of auditioning...going to delete the thing from the synth ;D.  The patch does show off the verbs well as its quite dynamic.  The recording is 44.1k @ 16 bits

All demos are ilok based except Aether & the Valhalla verbs which cut out after 45 seconds.

Please suggest plugins you think should be included.

The differences are subtle so careful auditioning with headphones recommended.

Enjoy

Added a Guitar Recording kindly provided By Pete Kelly / Igneous Flame....http://www.luminasounds.com

Same preset was used as on the Synth patch except I change the wet dry mix to 60% wet as most plugins washed out the guitar at around 100% which the Synths mix level is set at.



Oberheim Matrix 12 Dry Patch



Guitar Dry





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Here is a link to the Synth reverb demo wav files for those who wish to load them up in their daws for closer auditioning.....https://www.dropbox.com/sh/osj98tu6mv4xcnq/dC7C_gjBSQ

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Just curious as to what others use and or recommend in a hardware box.  Not opposed to software options but currently us no software verbs.  I do like this box a lot....very good reverb, though I image not quite as good as top of the line boxes from Lexicon and TC electronics.  I also like the more unusual "Black Hole" type fx in the box.

Other than its big brothers the H7600 & H8000 which are too deep for my needs is there something else out there?

Thanks

23
Music Gearheads Tech Talk / Mixing tips.
« on: January 23, 2014, 05:15:31 PM »
This may seem like it has nothing to do with ambient......it does not, and yet it has everything to do with getting a good dare say great mix regardless of genre.  Put this through your best monitoring system. The differences cans be subtle.

Just came across it, I really dont know how I found it....still, quite enlightening....enjoy

P.S. This man has serious credentials.

The Top 5 Things To Do Every Mix - Into The Lair #69


Top 10 Mix Mistakes (Part 1) - Into The Lair #54


Into The Lair #38 - Instrument Levels in a Mix




24
Music Gearheads Tech Talk / The Buchla Music Easel Ships
« on: December 19, 2013, 05:26:31 PM »
I think this is very exciting.....an almost identical recreation of the 1973 original Easel available for order. This is a truly a great time for electronic synthesis, analog or digital

CHARLES COHEN AT THE BUCHLA MUSIC EASEL on Vimeo

25
Music Gearheads Tech Talk / The THX sound
« on: December 09, 2013, 05:17:41 AM »
I had read somewhere that the THX sound was created on a 90 oscillator Serge system...it was not so.  Heres the story behind it

THX INTRO HD QUALITY

I like to say that the THX sound is the most widely-recognized piece of computer-generated music in the world," says Andy Moorer. "This may or may not be true, but it sounds cool!"
>> It's called 'Deep Note'. 
>> It was made by Dr James 'Andy' Moorer in 1982, who has had a very cool career: Four patents, one Oscar. In the '60s he was working in Artificial Intelligence at Stanford. In the '70s he was at IRCAM in Paris, working on speech synthesis and ballet. In the '80s he worked at the LucasFilm DroidWorks, before joining Steve Jobs at NeXT. Today, he consults, repairs old tube radios and plays banjo.
>> At one point, the THX sound was being played 4,000 times a day at cinemas around the world (that's once every 20 seconds).
>> The Simpsons got permission for this [mpg movie] parody. Dr Dre was less lucky. He asked permission to sample 'Deep Note' but was turned down. He used it anyway, to open '2001', and LucasFilm sued.
>> Stanford student Jesse Fox tried to recreate 'Deep Note' for a course. His version sounds like a nasty accident in an organ factory. 
>> There are various theories on the web about how the THX sound was created - some people say it was a Yamaha CS-80, others that it was a Synclavier. I emailed Andy Moorer to ask how it was really made. The short answer was "On a big-ass mainframe computer at LucasFilm". But I thought I should give you the long answer here in full, just because it feels like Andy's writing his own history for the first time...
>> "I've never written the THX story down (nobody ever asked). So, here's the whole story:
>> "I was working in what was then called the "Lucasfilm Computer Division" that existed from roughly 1980 to 1987 or so. It spawned several companies, including Pixar and Sonic Solutions. I was head of the audio group. In about 1982, we built a large-scale audio processor. This was in the days before DSP chips, so it was quite a massive thing. We called it the ASP (Audio Signal Processor).
>> "At the same time Tom Holman was also working at Lucasfilm. He had developed what is now called the THX sound system. It was to premiere with Lucasfilm's "Return of the Jedi." They were making a logo to go before the film. I was asked by the producer of the logo piece to do the sound. He said he wanted "something that comes out of nowhere and gets really, really big!" I allowed as to how I figured I could do something like that.
>> "I set up some synthesis programs for the ASP that made it behave like a huge digital music synthesizer. I used the waveform from a digitized cello tone as the basis waveform for the oscillators. I recall that it had 12 harmonics. I could get about 30 oscillators running in real-time on the device. Then I wrote the "score" for the piece.
>> "The score consists of a C program of about 20,000 lines of code. The output of this program is not the sound itself, but is the sequence of parameters that drives the oscillators on the ASP. That 20,000 lines of code produce about 250,000 lines of statements of the form "set frequency of oscillator X to Y Hertz".
>> "The oscillators were not simple - they had 1-pole smoothers on both amplitude and frequency. At the beginning, they form a cluster from 200 to 400 Hz. I randomly assigned and poked the frequencies so they drifted up and down in that range. At a certain time (where the producer assured me that the THX logo would start to come into view), I jammed the frequencies of the final chord into the smoothers and set the smoothing time for the time that I was told it would take for the logo to completely materialize on the screen. At the time the logo was supposed to be in full view, I set the smoothing times down to very low values so the frequencies would converge to the frequencies of the big chord (which had been typed in by hand - based on a 150-Hz root), but not converge so precisely that I would lose all the beats between oscillators. All followed by the fade-out. It took about 4 days to program and debug the thing. The sound was produced entirely in real-time on the ASP.
>> "When we went to sync up the sound with the video (which I hadn't seen yet), we discovered that the timings were all different. I readjusted the times, generated a new score, and in ten minutes, we had the sound synced up with the video perfectly.
>> There are many, many random numbers involved in the score for the piece. Every time I ran the C-program, it produced a new "performance" of the piece. The one we chose had that conspicuous descending tone that everybody liked. It just happened to end up real loud in that version.
>> "Some months after the piece was released (along with "Return of the Jedi") they lost the original recording. I recreated the piece for them, but they kept complaining that it didn't sound the same. Since my random-number generators were keyed on the time and date, I couldn't reproduce the score of the performance that they liked. I finally found the original version and everybody was happy.
>> "If you get permission from THX, I can supply you with the written "score" for the piece (in music notation - this was used to get the copyright) or even the original C program that produced the parameter lists. I can't supply you with a program that makes the sound itself.
>> "The ASP was decommissioned in 1986 and later sold for scrap."

26
Stephan Schmitt founder of NI has step down as CEO and is now spearheading  http://nonlinear-labs.de/org/about.html

Heres his 1st prototype idea....



Perhaps the future of soft synths is hardware?

27
Other Ambient (and related) Music / Vangelis
« on: December 07, 2013, 06:02:23 AM »
Some Vangelis videos I came across yesterday.....

V.A.T.J.T.I. (excerpt) on Vimeo


S.O.C. - T.M.T.M.T.M. (Vag scenes) on Vimeo


Anyone know what instrument he is play?

28
Other Ambient (and related) Music / Drone Masters
« on: October 11, 2013, 03:49:27 PM »
I have been think about drone music and what it actually is, who makes it and what defines it as such.
I feel I have quite a few recordings that could be called drone but really I could not swear that this music is drone because I can't for sure say what it is.......Who are the Drone Masters?

29
Music Gearheads Tech Talk / Experimental Exotic Wood Synth
« on: October 04, 2013, 05:21:10 AM »
Stumbled across this yesterday.....its pretty far out there.  Interesting and very amusing at times

The Shnth Comes to England - with Peter Blasser on Vimeo

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Other Ambient (and related) Music / Ambient music creation for everyone!
« on: August 17, 2013, 04:40:41 PM »
Scape by Brian Eno and Peter Chilvers - Available for iPad


Thanks to Tomas Weiss (El culto) for posting the 80 minute Eno interview recently.   In it Eno mentioned a iPad app he had developed called Scape.  This is it.  It is quite amazing and I have been making scapes for a few weeks now, in fact I bought an iPad just because I wanted this app.  I often create a scape and just let it evolve instead of putting on music in the studio, change elements from time to time and.....well its just really fun, actually its just very ambient for anyone.  It does benefit to send the sound signal through some reverb/effects which may not be readily available to non musicians but as I have discovered theres lots of ways to do so within the iPad environment for a few $.

Do you remember when "Drum Machines" came out and human drummers could not get gigs anymore..... :o

Enjoy

31
Art and Literature, Movies and TV / F8..... Computer Animation Movie
« on: July 22, 2013, 02:49:14 PM »
Watched this again today....its a favorite.  I think I first saw it here, or maybe I posted it here but it seems not to be here now so here it is again, maybe.

f8 - A Film by Jason Wen on Vimeo

32
I have been looking to make an upgrade to my Adobe CS4 software and discovered that CS6 is the last "creative suite" series to be released.  It is now Adobe Creative Cloud,  as in Photoshop CC. In short Adobe has become a subscription service.  I actually did upgrade to Photoshop CC as I do use this a lot for processing photographs.  I do not use Illustrator and Indesign except for cd artwork production so an upgrade to the full suite was not called for.  Unfortunately there is no upgrade path from CS4 to CS6 or I might have gone that route.  This is not the case with the creative cloud.  I have Photoshop CC installed in my laptop for $9.99 a month with a one year commitment.  This is the special price for registered CS3 - CS5 users.  I believe Photoshop would be $19.99 for first time users. $29.99 would get me the entire Adobe collection.  Here is the link for those interested http://www.adobe.com/products/creativecloud.html

Makes sense to me for the creative professional who spends much of the day design etc.....For my self, lets see how it goes.  I like the idea that one will always be working with software that is at the peak of its development that is until something better(more effective) is created and then these new apps are freely available as part of the subscription. 

This delivery format is not new....I downloaded Logic 9 from iTunes not so long ago.  Imagine if Native Instruments made their soft synths available on a subscription basis.  It would not make sense if a software company did not continue to develop their software.  Why keep paying for the same thing, better to buy it one time.

Another approach and not one Ive seen yet would be to use the software on a case by case basis...I guess rent would be the word, as a pro photographer might rent a big telephoto lens fort a special job but may not want to drop $5k on lens that does not get much use.

Curious to see how this will develop and see who follows Adobe.

33
Music Gearheads Tech Talk / Moog Movie
« on: June 15, 2013, 05:26:04 PM »
Came across this and actually Im still watching it as I post.....not sure if its been posted before but here it is. Its an hour and change that gear heads will enjoy yet listening to Mr Moog talk is something everyone should hear.

Very organic and universal

Robert Moog-the documentary


34


I would like to use my sing bowls in music I plan to record over the summer but have no clue about microphones.  Have not held a mic in more than 20 yrs.  Not certain if I will record a performance or just record individual bowls in a sampling manner.  From what I have read on the net, and there is not much out there on recording singing bowls is that because of the the low volume and complex tones a good pre amp and AD converters are recommended.  As far as mics go it seems wide open.  Perhaps a matched stereo pair?  Like any gearslut I know the names and the insane price some mics can go for but they are just names to me.

Im Looking for a good microphone(s) to get the job done well without getting a second mortgage.

Your thoughts are most welcome.

35
Music Gearheads Tech Talk / Is Analog the future for hardware synths?
« on: February 09, 2013, 06:21:39 AM »
Seems there is a lot going on with analog synths recently......the new Korg MS 20 Mini, various mono synths from Moog and Arturia, Oberheim has the 4 Voices SEM coming soon and now Dave Smith has released the Prophet 12.  This looks really special to me as my Matrix 12 depending on the day can be a Matrix 7 or 11 as voice chips die and seem to resurrect themselves.  Perhaps soon vintage analog gear will just be for collectors not players.

Imagine a polyphonic offering from Moog, or something from Roland that is worthy of the name Jupiter.

I think its exciting times for analog hardware synths especially as digital synthesis development in hardware has stopped.

 
Introducing the Prophet 12 Synthesizer - Dave Smith Instruments

36
Computers, Internet and Technology / Allflac.....Ambient Flac Titles
« on: January 02, 2013, 09:16:57 AM »
Im in the process of ripping my cds to disk and I was doing so with Mondell & Mantrs's Sonic Continuum while searching the web for artwork which quickly came up first under  (LINK DELETED - CAREFUL WITH YOUR CREDIT CARD INFORMATION, EVERYONE!)

Im finding quiet a few titles.  Is this new, Allflac......Am I late to the game.  Prices are cheap.  Is it legit.  Must be, someones getting paid.


37
Got this in my email box today....interesting.


I was having dinner last night with Black Tape For A Blue Girl's vocalist Athan (check out his new project, NOIR). We talked about the "why?" of making art. What drives artists to create? I know that for me "in the old days," art was about working through angst and sadness. Getting it out of my head and into some sort of tangible form. The process of making music was tense, obsessive, and conflicted, but I did enjoy the expression. It wasn't about the supposed "fame" attached to being an artist; though (in the mid-90s) Blacktape was somewhere near the top of the pack of independent American darkwave acts. It was nice to have a lot of people experiencing my art and it was nice to see the checks that came with success. Somewhere along the line, these disparate things merged into one thing. Sales = Success.
But sales are a hard thing to quantify in this new era of the music industry when so much music is consumed for free by "fans" who obtain albums through unauthorized channels. I don't feel a connection with the listener, anymore. I'll admit I've grown quite disheartened by this. I've always run my own mail-order business, so I used to have a direct connection to my audience. But CDs (and downloads) don't sell much anymore, I don't see evidence of my music going out to listeners. I feel my creations lie dormant, nothing but bits of data somewhere in personal and digital memory. 

I've done a few things to rethink my connection to my art. Wayne Dyer has a phrase, "When you change the way you look at things, the things you look at change."

I started a Bandcamp page http://blacktapeforabluegirl.bandcamp.com/album/mesmerized-by-the-sirens-free-download afew months ago, and put some of my music up for free. There is something really sweet in seeing over 800 combined downloads for Archive 01 and A chaos of desire. Of that, 14% of you felt like giving me a little something for my work. It's not enough $$$s to pay my rent for the month, but it's something... your contributions show me that my music matters and you appreciate it enough to give a little something for it.

Those payments deposit directly into my PayPal account. I have a PayPal debit card which my son and I have rebranded as my "FanPal"

When I pay for apple juice, veggie chicken nuggets, and avocados at the local bodega, I pull out this card and remind myself it is you - my fans - paying for our food. And that feels really nice. It's not just anonymous cash coming out of my bank account. It's your love and support.

See: Change the way you think about things, and the things you think about change.

Income from sales of my novel, Rye, works the same way. Your payment goes to my debit card, and I buy dinner! : )

But let me get back on track here, because the subject was, Why do I make art?

One of the most rewarding things about creating art is having it received. Art is about communication. It's about some wacky idea I had in my head, that I converted into reality; somebody experiences that, and the connection is made. Whether in the form of lyrics; or now, in the form of my novel.

I really love hearing from people as they read Rye. Hearing their thoughts about the characters, their interpretations of motivations, their interest in the identity and gender topics I discuss. That communication and exchange is what makes art exciting to me. It's not the money (though don't get me wrong, money is nice, and I'd love to sell enough books to be a full time artist), it's the connection. The communication. These characters I've invented that seem real enough to make you want to turn the page, and learn what they do next.

As you read Rye, feel free to message me at Facebook or here, and tell me how you're getting along. What interests you, excites you, or confuses you?

To say thanks! for your interest and support, I've uploaded another Black Tape For A Blue Girl album for you to download for free at Bandcamp. This is Blacktape's second album, from 1987, Mesmerized by the Sirens.

It's been at least a decade since I've listened to Mesmerized. As I was preparing the page today, I streamed it beginning to end. As Rain would say, eyebrow raised, "Fascinating, captain!"

I was twenty-one when I recorded Mesmerized. Listening to it earlier today, I thought: "Huh? What kind of bizarre twenty-one year old writes an album like that!" It's emotional, torn, confused, happy (in moments), dark, dense, beautiful, complex and advanced! If someone sent me a link to this album, and an email, "Hey Mister, check out my demo, what do you think?" I'd be damn impressed! That's not ego talking, it's looking back through more than half-a-lifetime of experience, and hearing what's here! Of course, I hear the 4AD influence, and the Brian Eno influence; but think about it in the context of 1987 (From the top-10 of 1987: 1. "Faith" George Michael 2. "Alone" Heart 6. "La Bamba" Los Lobos 7. "Livin' On A Prayer" Bon Jovi 10. "(I've Had) The Time Of My Life" Bill Medley & Jennifer Warnes! This was also the year Dead Can Dance released Within the Realm of a Dying Sun).

Mesmerized is a very fluid, cohesive and rewarding listen.

For the free download, I added two related bonus tracks. A cover of "Jamais Pars" by my other band, Thanatos; and a cover of "Seireenien Lumoama" created with Bleeding Like Mine. Nice stuff!

On the bandcamp page, you can stream Mesmerized by the Sirens for free, or you can download it for free, and when you download you can even leave a little something. And rest assured we'll be buying some of that yummy tomato & basil soup at the bodega, and I'll be thinking of you!

Thanks for supporting of my art,

Sam


38
Music Gearheads Tech Talk / iPad Daw Control
« on: December 12, 2012, 05:49:26 PM »
V-Control Pro with Logic Pro (Embedding disabled, limit reached)

This might force me to get an iPad.......works with all major Daw's and was built for 1st generation iPads and up.  I use Logic but follow the link to see more http://www.neyrinck.com/v-control-pro

39


the tide ebbs and leaves behind
memory held by the grace of the moon
until surya returns its flow
a moment to welcome
the magnetic release



A Tide Pool of Memories 59::43

Composed, Performed & Produced by Julio Di Benedetto 2012.

Synthesizers :: Access Virus TI & Oberheim Matrix 12

Mastered by Taylor Deupree @ 12k Mastering

Photography & Design :: Julio Di Benedetto


In the spirit of the season of giving I have released the full version of this music as a free download from my Bandcamp site through the month of december. http://digitalvoices.bandcamp.com/releases

Enjoy......Happy Holidays!

40
Art and Literature, Movies and TV / Television is Dead......So Says Mr Eno!
« on: November 14, 2012, 06:43:17 PM »
Eno seems to be popping up here recently...so heres a short little nothing thats says everything, or not.

brian eno talks about youtube and television (Embedding disabled, limit reached)

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