Angel Rada

Angel Rada
Angel Rada in concert

Friday, 20 September 2013

Alphasphere

Alphasphere May Be The Most Original New Instrument At Musikmesse 2012 – But It Still Does Dubstep


Alphasphere

At Musikmesse 2012, the most original new musical instrument may be the Alphasphere, a unique programmable spherical controller.
The AlphaSphere allows you to be expressive with music through a series of 48 tactile pressure sensors. You can load the Alphasphere with your own sounds, or connect to your existing digital audio workstation (DAW) with the intuitive software.

AlphaSphere Hardware
By itself, the AlphaSphere is a controller which communicates to a computer or synthesizer via USB. Though it has the ability to send MIDI messages, it is not strictly a MIDI controller and is more programmable than a standard MIDI controller.
The AlphaSphere offers full polyphonic aftertouch compatibility as standard, each of the pressure sensitive pads affecting the sound individually.
The AlphaSphere’s form is conceived as a departure from the western tradition of music. The combination of tactile pads in a playable form ‘unlocks a new experience of music making, a synergy of form and function’.

AlphaSphere Software



AlphaLive is a standalone application that enables the AlphaSphere to operate as a number of common devices found within electronic music production.
The software allows you to program the functionality of the AlphaSphere to a highly customized level.
The AlphaSphere may be a unique new instrument, but that doesn’t mean it can’t do dubstep, as the official intro video shows:

Thursday, 31 January 2013

TALK BOX FOR GUITAR PLAYER


Talk box


Peter Frampton's talk box
A talk box is an effects unit that allows musicians to modify the sound of a musical instrument. The musician controls the modification by lip syncing, or by changing the shape of the mouth. The effect can be used to shape the frequency content of the sound and to apply speech sounds (in the same way as singing) onto a musical instrument, typically a guitar (its non-guitar use is often confused with the vocoder) and keyboards.
This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2012)
A talk box is usually an effects pedal that sits on the floor and contains a speaker attached with an airtight connection to a plastic tube; however, it can come in other forms, including homemade, usually crude, versions, and higher quality custom-made versions. The speaker is generally in the form of a compression driver, the sound-generating part of a horn loudspeaker with the horn replaced by the tube connection.
The box has connectors for the connection to the speaker output of an instrument amplifier and a connection to a normal instrument speaker. A foot-operated switch on the box directs the sound either to the talk box speaker or to the normal speaker. The switch is usually a push-on/push-off type. The other end of the tube is taped to the side of a microphone, extending enough to direct the reproduced sound in or near the performer's mouth.
When activated, the sound from the amplifier is reproduced by the speaker in the talk box and directed through the tube into the performer's mouth. The shape of the mouth filters the sound, with the modified sound being picked up by the microphone. The shape of the mouth changes the harmonic content of the sound in the same way it affects the harmonic content generated by the vocal folds when speaking.
The performer can vary the shape of the mouth and position of the tongue, changing the sound of the instrument being reproduced by the talk box speaker. The performer can mouth words, with the resulting effect sounding as though the instrument is speaking. This "shaped" sound exits the performer's mouth, and when it enters a microphone, an instrument/voice hybrid is heard.
The sound can be that of any musical instrument, but the effect is most commonly associated with the guitar. The rich harmonics of an electric guitar are shaped by the mouth, producing a sound very similar to voice, effectively allowing the guitar to appear to "speak".
History

Singing guitar

In 1939, Alvino Rey, amateur radio operator W6UK, used a carbon throat microphone wired in such a way as to modulate his electric steel guitar sound. The mic, originally developed for military pilot communications, was placed on the throat of Rey's wife Luise King (one of The King Sisters), who stood behind a curtain and mouthed the words, along with the guitar lines. The novel-sounding combination was called "Singing Guitar", and employed on stage and in the movie Jam Session, as a "novelty" attraction, but was not developed further.
Rey also created a somewhat similar "talking" effect by manipulating the tone controls of his Fender electric guitar, but the vocal effect was less pronounced.[1]
[edit]Sonovox
Another early voice effect using the same principle of the throat as a filter was the Sonovox. Instead of a throat microphone modulating a guitar signal, it used small loudspeakers attached to the performer's throat.[2] It was used in films such as A Letter to Three Wives (1949), The Secret Life of Walter Mitty (1947), the voice of Casey Junior the train in Dumbo (1941) and The Reluctant Dragon (1941), the instruments in Rusty in Orchestraville, the piano in Sparky's Magic Piano, and the airplane in Whizzer The Talking Airplane (1947). The Sonovox was also used in many radio station IDs produced by PAMS of Dallas and JAM Creative Productions. Lucille Ball made one of her earliest film appearances during the 1930s in a Pathé Newsreel demonstrating the Sonovox. The Sonovox was commercialized by the Wright-Sonovox company, an affiliate of the Free & Peters advertising agency.
The Sonovox makes an even earlier appearance in the 1940 film You'll Find Out starring Kay Kyser and his orchestra, Bela Lugosi, Boris Karloff, and Peter Lorre. Lugosi uses the Sonovox to portray the voice of a dead person during a seance.
British rock band The Who included a cut on their album, The Who Sell Out, that consisted of the days of the week "spoken" by guitar chords using the Sonovox.
Talking steel guitar
See also: Pete Drake
Pete Drake, a Nashville mainstay on the pedal steel guitar, used talk box on his 1964 album Forever, in what came to be called his "talking steel guitar". The following year Gallant released three albums with the box, Pete Drake & His Talking Guitar, Talking Steel and Singing Strings, and Talking Steel Guitar.[3] Drake's device consisted of an 8-inch paper cone speaker driver attached to a funnel from which a clear tube brought the sound to the performer's mouth. It was only loud enough to be useful in the recording studio.[1]
Talk box
The first high-powered Talk Box was developed by Bob Heil[4] but there is clearly prior art in the form of the Kustom Electronics device, "The Bag",[5] which is the same concept housed in a decorative bag slung over the shoulder like a wine bottle, using only a 30-watt driver, and sold in 1969, two years before Heil's high-powered Talk Box. The Bag is claimed to have been designed by Doug Forbes,[6][7] who states that exactly the same concept (horn driver attached to a plastic tube and inserted into the mouth) had previously been patented as an artificial larynx.[8] But it was Heil that came up with the first high-powered Talk Box that could be reliable when used on high-level rock stages. His first Heil Talk Box was built for Joe Walsh's Barnstorm tour. Heil and Walsh both avid ham radio experimenters (K9EID and WB6ACU), along with Walsh's guitar tech "Krinkle" combined a 250-watt JBL driver and suitable low-pass filter which was used for Walsh's single "Rocky Mountain Way". Walsh gives credit to Bill West, an electrical engineer, Nashville steel guitarist and first husband of country music legend Dottie West, for inventing the talk box for him in the May 2012 issue of Guitar World magazine.
Pete Townshend, in his 2012 biography Who I Am, claimed to have invented a version of the Talk Box during a Who tour of the USA in 1976. "I built a speaker in a small box, attached a tube and put the tube in my mouth, allowing me to speak music". Townshend did not specify if his version was for guitar or only for music.
In 1988, Heil sold the manufacturing rights to Dunlop Manufacturing, Inc., which currently builds the Heil Talk Box to the exact standards that Heil designed in 1973.
The 1974 hit single "Tell Me Something Good", performed by Rufus and Chaka Khan and written by Stevie Wonder, which peaked at number three on the Billboard Hot 100, was among the earliest hits to use the guitar talk box.
In an interview for the 1999 DVD Live in Detroit, Peter Frampton says he first heard the talk box in 1970 while sitting in on sessions for George Harrison's All Things Must Pass. While he sat next to Pete Drake in the album sessions at Abbey Road studio, he heard Pete using it with a pedal steel guitar. Frampton said in the same interview that the sound it produced reminded him of an audio effect he loved listening to on the pirate radio station Radio Luxembourg in the later 1960s. Frampton acquired one as a Christmas present from Bob Heil in 1974. It was a hand-built Talk Box in a fiberglass box using a 100-watt high-powered driver. This was the Heil Talk Box used for the Frampton Comes Alive tour and album.[9][10][11][12] He then promptly locked himself away in a practice space for two weeks, and came out with some mastery of it. Due to the success of the albums Frampton and Frampton Comes Alive!, and particularly the hit singles "Do You Feel Like We Do" and "Show Me the Way", Frampton has become somewhat synonymous with the talk box.
Peter Frampton also now sells his own line of custom-designed "Framptone" products, including a talk box.[13]
Two early examples of a talk box being used on studio recordings are Sly and the Family Stone's "Sex Machine" from their album Stand! and Al Kooper with Shuggie Otis' "One Room Country Shack" from their album Kooper Session, both released in 1969. The band Steppenwolf has used the Talk Box since at least 1970. On the album Live Steppenwolf, the talk box can be clearly heard on the tracks "Hey Lawdy Mama" and "Twisted". On the track "Someone Told A Lie", from the album Hour of the Wolf, some of the lyrics are sung through a talk box. John Kay was observed using a talk box on stage at two shows in New Jersey (Wildwood and Cherry Hill) in 1971. The band Iron Butterfly used a talk box in the song "Butterfly Bleu" from the album Metamorphosis in 1970. Alvin Lee used a talk box for the Ten Years After song "I Say Yeah" from the album Watt in 1970. Young-Holt Unlimited featured a talk box on their song "Wah-Wah Man", also released in 1970, on the album Born Again. Stevie Wonder first used a talk box on his album Music of My Mind in early 1972. Jeff Beck used the Kustom Bag talk box on "She's A Woman" from his 1975 release Blow by Blow, and was seen using it for the song on a BBC television performance in which he also demonstrates its use to the host of the show. In 1975, Nazareth lead singer Dan McCafferty used a talk box in the popular single "Hair of the Dog". In 1975, Aerosmith guitarist Joe Perry used a talk box in the band's highly popular singles "Sweet Emotion" and "Walk This Way", both off the album Toys in the Attic. In 1976, Steely Dan guitarist Dean Parks used a talk box during a solo in "Haitian Divorce", on the album The Royal Scam. It was also used in a solo section of "East St. Louis Toodle-Oo", on Steely Dan's 1974 album Pretzel Logic. Pink Floyd has used the talk box in "Pigs (Three Different Ones)" from 1977's Animals album, and in "Keep Talking" from 1994's The Division Bell. The band Stillwater used a talkbox on their song "Mind Bender" in 1977. Roger Troutman, lead singer of the R&B group Zapp, used the talk box on the group's first hit single in 1980, "More Bounce To The Ounce", and in other songs.
Matthias Jabs, lead guitarist for Scorpions, has used the talk box in many of their songs, most notably the 1980 song "The Zoo". Joe Walsh used a talk box in the song "Space Age Whiz Kids" on the 1983 album You Bought It You Name It, and in "I Broke My Leg" on the 1985 album The Confessor. Walsh, along with Don Felder, did a dual talk box guitar solo in the song Those Shoes from their 1979 album, The Long Run. The 1986 Daryl Hall hit 'Foolish Pride' features the talk box played by English guitarist Richard Morcombe.
Bon Jovi guitarist Richie Sambora used the Heil Talk box in many of the band's songs, including 1986's "Livin' on a Prayer" from Slippery When Wet, 2000's "It's My Life" from Crush, 2002's "Everyday" from Bounce, 2007's "We Got it Goin' On" (Lost Highway) and 2009's "Bullet" (The Circle). Lead guitarist Slash of the hard rock band Guns N' Roses used a talk box in "Anything Goes" off their album Appetite for Destruction, released in 1987. Mötley Crüe's Mick Mars used a talk box in "Kickstart My Heart" off their 1989 release, Dr. Feelgood.
In an interview with Nuno Bettencourt, Brian May was questioned about whether the song "Delilah" was recorded using a talk box on Queen's 1991 Innuendo record. May answered: "Yes, I finally succumbed and used one ... I suppose there’s no other way to make the meow sounds, meow, meow, meow." Tom Morello of Rage Against the Machine used a talk box on their song "Wake Up" in 1992. Bob Hartman, from Petra, used the talk box during the 1993 song "Underneath the Blood", from their Wake-Up Call album. Metallica have used the talk box during the solo on "The House Jack Built", from the 1996 album Load. The Foo Fighters' Dave Grohl used a talk box during their song "Generator" off their 1999 release, There Is Nothing Left To Lose; the usage of the device was partly inspired by Grohl's admiration of Peter Frampton and Joe Walsh. Dream Theater guitarist John Petrucci used the talk box in studio and live for their song released as a radio single, "Home", from their 1999 album Metropolis Pt. 2: Scenes from a Memory. Avenged Sevenfold vocalist M. Shadows used a talk box in their song "Lost" off their 2007 self-titled album, Avenged Sevenfold. In Godsmack's cover of the Joe Walsh song "Rocky Mountain Way", frontman Sully Erna used a talk box.
Alice in Chains, Adam Jones of Tool, Slash, the Eagles (which had a solo with one box in "Rocky Mountain Way" and two talk-box guitars in "Those Shoes"), Chromeo, plus dozens of other groups continue to keep the Heil Talk Box in their song sets.
The talk box was used in Elton John's 1975 album Rock of the Westies, on the song "Dan Dare (Pilot of the Future)", as played by Davey Johnstone.




Caja de Peter Frampton
Un cuadro de charla es una unidad de efectos que permite a los músicos para modificar el sonido de un instrumento musical. El músico controla la modificación introducida por sincronización de los labios, o cambiando la forma de la boca. El efecto puede ser utilizado para determinar el contenido de frecuencia del sonido y para aplicar sonidos del habla (de la misma manera como el canto) en un instrumento musical, típicamente una guitarra (su uso no guitarra se confunde a menudo con el vocoder) y teclados.
Esta sección no cita ningunas referencias o fuentes. Por favor, ayudar a mejorar este artículo añadiendo citas de fuentes confiables. Material de referencias puede ser impugnado y eliminado. (Marzo de 2012)
Un cuadro de charla suele ser un pedal de efectos que se sienta en el suelo y con un altavoz conectado con una conexión hermética a un tubo de plástico, sin embargo, puede venir en otras formas, como hecho en casa, el crudo por lo general, las versiones, y una mayor calidad a la medida versiones. El altavoz está generalmente en la forma de un motor de compresión, la parte de generación de sonido de un altavoz de bocina con el cuerno sustituye por la conexión del tubo.
La caja tiene conectores para la conexión a la salida de altavoz de un amplificador de instrumentos y una conexión a un altavoz normal del instrumento. Un interruptor de pedal en la caja dirige el sonido al altavoz talk box o al altavoz normal. El interruptor es por lo general un tipo push-on/push-off. El otro extremo del tubo está adherida al costado de un micrófono, que se extiende lo suficiente como para dirigir el sonido reproducido en o cerca de la boca del ejecutante.
Cuando se activa, el sonido del amplificador es reproducida por el altavoz en el cuadro de charla y dirigida a través del tubo en la boca del ejecutante. La forma de la boca filtra el sonido, con el sonido modificado de ser recogido por el micrófono. La forma de la boca cambia el contenido armónico del sonido en la misma manera que afecta el contenido armónico generado por las cuerdas vocales al hablar.
El intérprete puede variar la forma de la boca y la posición de la lengua, cambiar el sonido del instrumento siendo reproducidos por el altavoz de la caja de conversación. El intérprete puede articular palabras, con el consiguiente efecto suene como si el instrumento está hablando. Esta "forma de" salidas de sonido la boca del ejecutante, y cuando entra en un micrófono, un híbrido instrumento / voz sea escuchada.
El sonido puede ser la de cualquier instrumento musical, pero el efecto es más comúnmente asociado con la guitarra. Los armónicos ricos de una guitarra eléctrica son moldeadas por la boca, produciendo un sonido muy similar a la voz, lo que permite efectivamente la guitarra parezca que "hablar".
Historia:
Canto de guitarra
En 1939, Alvino Rey, W6UK aficionado operador de radio, que se utiliza un micrófono de garganta de carbono con cable de tal manera como para modular su sonido de la guitarra eléctrica de acero. El micrófono, originalmente desarrollado para las comunicaciones piloto militar, fue colocado en la garganta de la esposa de Rey Rey Luise (una de las hermanas King), que estaba de pie detrás de una cortina y la boca las palabras, junto con las líneas de guitarra. La nueva combinación de sonido que se llamó "Guitarra Canto" y se emplea en el escenario y en la Jam Session película, como una "novedad" atracción, pero no fue desarrollado.
Rey también creó un tanto similar "hablar" efecto mediante la manipulación de los controles de tono de su guitarra eléctrica Fender, pero el efecto fue menos pronunciado vocal. [1]
Sonovox
Otro efecto de voz temprana utilizando el mismo principio de la garganta como un filtro era el Sonovox. En lugar de un micrófono de garganta modular una señal de la guitarra, lo que solía pequeños altavoces conectados a la garganta del actor. [2] Fue utilizado en películas como Una Carta a tres esposas (1949), La vida secreta de Walter Mitty (1947), el voz de Casey Junior el tren en Dumbo (1941) y The Reluctant Dragon (1941), los instrumentos de Rusty en Orchestraville, el piano Piano Magic Sparky, y el avión en Whizzer El Avión Talking (1947). El Sonovox también fue utilizado en muchos identificadores de las emisoras de radio producidos por PAMS de Dallas y JAM Producciones Creativas. Lucille Ball hizo una de sus primeras apariciones de cine durante la década de 1930 en un noticiario Pathé demostrar la Sonovox. El Sonovox fue comercializado por la empresa Wright-Sonovox, una filial de la agencia de publicidad gratis y Peters.
El Sonovox hace acto de presencia incluso antes en la película 1940 te darás cuenta protagonizada por Kay Kyser y su orquesta, Bela Lugosi, Boris Karloff y Peter Lorre. Lugosi utiliza el Sonovox para representar la voz de una persona muerta durante una sesión de espiritismo.
Banda británica de rock The Who incluye un corte en su álbum, The Who Sell Out, que consistía en los días de la semana "hablado" por los acordes de guitarra utilizando el Sonovox.
 Pete Drake, uno de los pilares de Nashville en la guitarra pedal steel, utilizado talk box en su álbum de 1964 Forever, en lo que se dio en llamar su "guitarra hablando de acero". Al año siguiente Gallant lanzado tres álbumes con la caja, Pete Drake & His Guitar hablando, hablando cuerdas de acero y Canto, y el hablar guitarra de acero. [3] Dispositivo de Drake consistió en un controlador de altavoz de 8 pulgadas de papel cono fijado a un embudo de donde un tubo transparente trajo el sonido de la boca del ejecutante. Fue sólo lo suficientemente fuerte para ser útil en el estudio de grabación. [1]
 Caja Talk
La primera de alta potencia caja Talk fue desarrollado por Bob Heil [4], pero claramente hay arte previo en la forma del dispositivo Kustom Electronics, "La Bolsa", [5], que es el mismo concepto ubicado en un bolso decorativo colgado del el hombro como una botella de vino, utilizando sólo un conductor de 30 vatios, y vendido en 1969, dos años antes de que Caja de Heil Talk alta potencia. La Bolsa se afirma que ha sido diseñada por Doug Forbes, [6] [7], que establece que es exactamente el mismo concepto (conductor bocina conectada a un tubo de plástico y se inserta en la boca) había sido patentado como una laringe artificial. [8 ] Pero fue Heil que se le ocurrió la Caja de hablar primero de alta potencia que puede ser confiable cuando se usa en escenarios de rock de alto nivel. Su primer cuadro Heil Talk fue construido para la gira Barnstorm Joe Walsh. Heil y Walsh ambos experimentadores jamón ávidos de radio (K9EID y WB6ACU), junto con la guitarra de Walsh tecnología "Krinkle" combina un conductor de 250-watt JBL y adecuado filtro de paso bajo que fue utilizado para un solo Walsh "Rocky Mountain Way". Walsh le da crédito a Bill West, un ingeniero eléctrico, Nashville acero guitarrista y primer marido de la música country leyenda Dottie West, por inventar el cuadro de charla para él en el 05 2012 cuestión de la revista Guitar World.
Pete Townshend, en su biografía de 2012 ¿Quién soy yo, afirmó haber inventado una versión de la caja de conversación durante una gira Quién de los EE.UU. en 1976. "Construí un altavoz en una caja pequeña, que se adjunta un tubo y colocar el tubo en la boca, lo que me permite hablar de música". Townshend no especificó si su versión es para guitarra o solo por la música.
En 1988, Heil vendió los derechos de fabricación para Dunlop Manufacturing, Inc., que actualmente construye la caja Heil Talk a las normas exactas que Heil diseñados en 1973.
El golpe 1974 single "Tell Me Something Good", interpretada por Rufus y Chaka Khan y escrita por Stevie Wonder, que alcanzó el número tres en el Billboard Hot 100, fue uno de los primeros éxitos de utilizar el cuadro de charla guitarra.
En una entrevista para el DVD en vivo 1999 en Detroit, Peter Frampton dice que escuchó por primera vez el cuadro de charla en 1970, mientras estaba sentado en las sesiones de todas las cosas para George Harrison Must Pass. Mientras que él se sentó junto a Pete Drake en las sesiones del álbum en el estudio Abbey Road, oyó Pete usarlo con una guitarra de acero del pedal. Frampton, dijo en la misma entrevista que el sonido que produce le recordaba a un efecto de audio le encantaba escuchar en la radio pirata Radio Luxemburgo en la década de 1960 tarde. Frampton adquirido una como regalo de Navidad de Bob Heil en 1974. Era una caja Talk construido a mano en una caja de fibra de vidrio con un 100-watt de alta potencia del controlador. Esta fue la Caja Heil Talk utiliza para el Frampton Comes Alive gira y el álbum. [9] [10] [11] [12] A continuación, rápidamente se encerró en un local de ensayo durante dos semanas, y salió con algo de dominio sobre ella . Debido al éxito de los álbumes y Frampton Frampton Comes Alive!, Y en particular los exitosos sencillos "Do You Feel Like We Do" y "Show Me the Way", Frampton se ha convertido en algo sinónimo con el cuadro de charla.
Peter Frampton ahora también vende su propia línea de diseño personalizado "Framptone" productos, incluyendo un cuadro de charla. [13]
Dos ejemplos tempranos de un talk box que se utiliza en grabaciones de estudio son Sly and the Family Stone stand de "Sex Machine" de su álbum! y Al Kooper con Shuggie Otis "One Room Shack País", de su álbum Sesión Kooper, ambos publicados en 1969. El lobo estepario banda ha utilizado la caja de conversación por lo menos desde 1970. En el álbum en vivo Steppenwolf, el cuadro de charla puede ser escuchado claramente en las canciones "Hey Lawdy Mama" y "Twisted". En el buen camino ", le dijo a alguien A Lie", del álbum Hour of the Wolf, algunas de las letras que se cantan a través de un cuadro de charla. John Kay se observó utilizando un talk box en el escenario de dos conciertos en Nueva Jersey (Wildwood y Cherry Hill) en 1971. La banda Iron Butterfly utiliza un talk box en la canción "Butterfly Bleu" del álbum Metamorphosis en 1970. Alvin Lee usó un talk box para los Diez Años Después canción "Say Yeah" del álbum Watt en 1970. Young-Holt ilimitado ofreció una charla sobre la caja de su canción "Wah-Wah Man", también lanzado en 1970, en el álbum Born Again. Stevie Wonder utilizó por primera vez un cuadro de charla sobre su álbum Music of My Mind a principios de 1972. Jeff Beck utilizó la Bolsa de Kustom caja charla sobre "Ella es una mujer" de su liberación Blow by Blow 1975, y fue visto usarlo para la canción en una actuación televisiva de la BBC en la que también demuestra su utilidad para el conductor del programa. En 1975, el cantante de Nazaret Dan McCafferty utilizó un talk box en el popular single "Hair of the Dog". En 1975, el guitarrista de Aerosmith Joe Perry utilizó un talk box en muy popular de la banda singles "Sweet Emotion" y "Walk This Way", tanto fuera como dentro el álbum Toys in the Attic. En 1976, Steely Dan guitarrista Dean Parks usa un talk box durante un solo en "El divorcio de Haití", en el álbum The Royal Scam. También fue utilizado en un tramo solitario de "East St. Louis Toodle-Oo", en 1974 Steely Dan álbum Pretzel Logic. Pink Floyd ha utilizado el cuadro de charla en "Pigs (Three Different Ones)" del álbum de 1977 animales, y en "Keep Talking" de 1994, The Division Bell. La banda Stillwater utilizó un talkbox en su canción "Mind Bender" en 1977. Roger Troutman, vocalista de la Zapp grupo R & B, que se utiliza el cuadro de charla sobre el primer éxito del grupo, solo en 1980, "Más de rebote a la onza", y en otras canciones.
Matthias Jabs, guitarrista de Scorpions, ha utilizado el cuadro de charla en muchas de sus canciones, sobre todo la canción de 1980 "The Zoo". Joe Walsh utilizó un talk box en la canción "Whiz Kids Space Age" en el álbum 1983 You Bought It lo que sea, y en "Me rompí la pierna" en el álbum 1985 El confesor. Walsh, junto con Don Felder, hizo un cuadro de doble discurso solo de guitarra en la canción Los zapatos de su álbum de 1979, The Long Run. "Foolish Pride 'El 1986 Daryl Hall cuenta con el hit talk box interpretado por el guitarrista Richard Inglés Morcombe.
Guitarrista de Bon Jovi Richie Sambora utiliza el cuadro de Discusión Heil en muchas de las canciones de la banda, incluyendo 1986 "Livin 'on a Prayer" de Slippery When Wet, 2000 "Es mi vida" de Crush, 2002 "Everyday" de rebote, 2007 "We Got It Goin 'On "(Lost Highway) y 2009 de" Bullet "(The Circle). El plomo guitarrista Slash de las Rosas de la banda de hard rock Guns N 'utiliza una caja de charla en "Anything Goes" de su álbum Appetite for Destruction, lanzado en 1987. Mick Mars Mötley Crüe utilizó un talk box en "Kickstart My Heart" de su comunicado de 1989, el Dr. Feelgood.
En una entrevista con Nuno Bettencourt, Brian May fue interrogado sobre si la canción "Delilah" fue grabado usando un talk box en el registro de Queen Innuendo 1991. May respondió: "Sí, finalmente sucumbió y se utiliza uno ... supongo que no hay otra manera de hacer los sonidos miau, miau, miau, miau". Tom Morello de Rage Against the Machine utilizó un talk box en su canción "Wake Up" en 1992. Bob Hartman, de Petra, utiliza el cuadro de charla durante la canción de 1993 "Por debajo de la Sangre", de su álbum Call Wake-Up. Metallica han utilizado el cuadro de charla durante el solo de "The Jack Casa de Piedra", del álbum de carga de 1996. Dave The Foo Fighters, Grohl utilizó un talk box durante su canción "generador" de su comunicado de 1999, There Is Nothing Left To Lose, el uso del dispositivo fue inspirado en parte por la admiración Grohl de Peter Frampton y Joe Walsh. Dream Theater guitarrista John Petrucci utiliza el cuadro de charla en estudio y en directo por su canción lanzada como single radio, "Home", de su álbum de 1999 Metropolis Pt. 2: Escenas de una memoria. Avenged Sevenfold vocalista M. Shadows utilizó un talk box en su canción "Lost" de su 2007 álbum homónimo, Avenged Sevenfold. En la cubierta de Godsmack de la canción Joe Walsh "Rocky Mountain Way", el vocalista Sully Erna utiliza una caja de charla.
Alice in Chains, Adam Jones de Tool, Slash, los Eagles (que tenía un solo con una caja en "Rocky Mountain Way" y dos cajas de conversación guitarras en "Those Shoes"), Chromeo, además de docenas de otros grupos siga manteniendo la Caja de Heil Talk en sus conjuntos de canciones.
El cuadro de charla se utilizó en Rock Elton John álbum de 1975 de los Westies, en la canción "Dan Dare (Pilot of the Future)", interpretado por Davey Johnstone.

Monday, 17 December 2012

KORG MINISAMPLER





Korg has prepared yet another compilation of bonus sounds for your microSAMPLER, downloadable for free from the microSAMPLER

First, we invite you to experience a bit of Korg history with our exclusive Doncamatic samples! The Doncamatic is the first product ever produced by Korg; an electro-mechanical rhythm box made nearly 50 years ago. Korg engineers restored the original Doncamatic at our Korg Product Museum in Tokyo to its original condition to create these samples! The Doncamatic was used most recently on the single “DONCAMATIC,” released by the internationally famous group Gorillaz. Enjoy One-Shot sounds, Loops, and Patterns of this important classic.

Next up is three banks created by our friends at
 SampleMagic, and compiled by Sharooz Raoofi. Each of their Deep Tech-House, Nu-Rave, and Organic House selections includes a great set of patterns tempo-synced to the pattern sequencer for instant use. More details are available with the free download. Click on Support and explore all of the free downloadable sample for your microSAMPLER

The latest addition to the Korg "micro" series serves up sampling with a powerful performance punch! The microSAMPLER delivers multi-mode sampling, resampling, Pattern Sequencing and over-the-top effects – and all under a fun-to-use intuitive interface. More than just a sampler, the microSAMPLER is a complete sound design studio for creating up-to-the minute loops and phrases.



Giant Sampling / microSIZE
The microSAMPLER hosts a solid complement of top-end sampling features to expand your creative potential. This full-fledged instrument offers fourteen-voice polyphony, reverse playback, editing operations such as Normalize and Truncate, and a Time Stretch feature that lets you change the tempo without affecting the pitch. Selectable sample rates of 48 kHz, 24 kHz, 12 kHz, and down to 6 kHz let you sample at rates beyond CD clarity or add in that Lo-Fi vintage vibe. Each bank contains 36 samples (a maximum of approximately 160 seconds of recording time for monaural samples at a 48 kHz sampling rate) and sixteen patterns of sequence data; the microSAMPLER lets you store eight such banks in internal memory. The Keyboard mode takes a single sample and assigns it chromatically across the keys for instant playability. With its recessed controls, bright LEDs and informative display, the microSAMPLER is fun to use and easy to operate – for beginners or seasoned pros.
 



Swiss Army Sampling
Too many instruments simply offer sampling as an added feature. The microSAMPLER is all about sampling, in every creative form. Five distinct sampling methods allow you to work the way you want, to get the results you need. The microSAMPLER offers traditional One-Shot and Loop sampling, plus a number of creative sampling modes – Loop, Key Gate and Auto-Next. When it comes to sampling, the microSAMPLER has it all.
 

  • Loop sampling for recording grooves and phrases, drum loops, etc.
  • One-Shot sampling for grabbing and triggering single events such as drums, etc. 
  • Gate sampling for playing a sound musically across the keyboard
  • Auto-Next sampling for capturing phrases as multiple samples. For grabbing a groove as separate samples on individual keys, choose the AUTO NEXT mode and use Tap Tempo to match the BPM of the source material. The microSAMPLER will automatically divide the sample equally across multiple keys. Each key can be set to capture anything from a 64th note to a full two measures. This method lets you automatically perform the same type of sampling as KEY GATE.
  • Key Gate sampling is best for grabbing multiple samples from the same source. With Key Gate, you can take multiple samples from the same source or phrase and assign them to different keys as you play them! The individual keys assign the sample and enable recording all at the same time. This intuitive method of sampling, editing, and mapping in a single step is fun, interactive and fast. 
In addition, there's a resampling function that lets you play existing layered samples processed by an effect and played by the pattern sequencer – and capture it all as a new sample. You can even sample while playing, allowing the sampling process itself to become part of your expressive performance. 

Sample anytime, anywhere – or anything!
The microSAMPLER can run on batteries, so you can perform on the go – or capture samples anywhere. Both line input and mic input are provided to allow a broad range of input sources including electronic musical instruments, CD, and voice. A gooseneck microphone is included so you can capture sounds with ease. The convenient caddies (located beside the mic jack) provide a cradle for your portable MP3/audio player when using it as a sample source. Truly, the world is yours to sample anytime and anyplace.
 

Pattern Possibilities
The pattern sequencer uses an overdub operating style that lets you continually layer your performances. You can switch between patterns during playback for seamless performances. Up to sixteen patterns (16,000 notes per pattern, or a maximum 64,000 notes) can be stored in each bank.

The KAOSS Effect(s)
Developed for
 Korg's KAOSS PAD series, the effect engine serves up a great selection of effects – so important when editing samples. The twenty-one effects include not only traditional delay and chorus, but also ring modulator and grain shifter, and even a Looper that's derived from the Loop Recording feature of the KAOSSILATOR Dynamic Phrase Synthesizer. The effects can be applied to any sound while resampling, allowing the effects to be used over and over again for more sonic expression.

Made to be Played
The microSAMPLER features our new Natural Touch micro keyboard, offering greatly enhanced playability and expressive power. By adjusting the proportion of the black keys and white keys, we've made chords easier to finger, and the touch has been improved so that rapid phrases can be played more easily – and with less fatigue. The box-shaped keys project a sense of quality, and also allow smoother glides and smears. The controllers you need for an exciting performance are laid out on the panel for intuitive operation. The status of the samples assigned to each key (and the item being edited) is indicated by the lit state of the LEDs running along the top of the keyboard, ensuring excellent visibility even on stage.
 

USB-eautiful
By using the free editor/librarian software for the microSAMPLER, you can manage a gigantic sample library that's all your own. You can back up sample and pattern sequence data to your computer via USB, or load samples and patterns back in just as easily. . Importing and exporting of WAV/AIFF data on your computer is also supported. The possibilities are endless…

Wednesday, 12 December 2012

RAVI SHANKAR

RAVI SHANKAR

Es triste que haya fallecido Ravi Shankar, lo conocí junto a Gerry Weil en el Teatro Municipal de Caracas cuando dio su concierto con Allah Raka , discípulo de Ustad Allauddin Khan, gran maestro de la música India Clásica , Gerry Weil y yo recibimos ciertas nociones de los Ragas Hindúes y yo aprendí la nomenclatura Hindú del Sitar, ya que incursione en este instrumento como su antecesor fue la Veena , de ahí partí a hacer Ragas en mis Albums , la ultima la toque en el Concierto en Caracas en Noviembre del 2010, tanto me influyó este maestro que entre a practicar la disciplina del Yoga, dejar de Comer Carne, leer los Vedas y los Upanishads, me case con Hindú que aun sigue siendo mi esposa, quien a veces me acompaña con la tampura y las tablas..Gloria a este ser Luminoso!! Viva Ravi Shankar!! Espero que hayas alcanzado la Liberación...Namaste  Ravi!!!


John Moore , uno de los mejores diseñadores gráficos , me regalo uno de los mejores Álbum de Ravi Shankar junto a Yehudi Menuhim, no éramos aun amigos, pero conservo la amistad con John y también el Álbum que él me regaló.

YEHUDI MENUHIM & RAVI SHANKAR 

Ravi Shankar de dio la amistad de Gerry Weil y de John Moore, y cumplió mi sueño de tocar con Gerry Weil en escenario, eso ocurrió en el encuentro de Música electrónica en Caracas Febrero de 1983.
Dios Bendiga a Ravi Shankar que mucho influyó en la música Occidental ¡!!

RAVI SHANKAR PLAYING SITAR 


Sadly deceased Ravi Shankar, I met with Gerry Weil at the Teatro Municipal de Caracas when he gave his concert with Allah Raka, disciple of Ustad Allauddin Khan, the great master of classical Indian music, Gerry Weil and I received notions of Indian ragas and I learned Sitar Indian nomenclature as forays into this instrument as his predecessor was the Veena, hence I left to do in my Albums Ragas, the last touches on the concert in Caracas in November 2010, both this teacher who influenced me from practicing the discipline of Yoga, stop eating meat, read the Vedas and Upanishads, Hindu marry me even still my wife, who sometimes accompanies me with tampura and tables .. Gloria this being of light! Ravi Shankar Live! I hope you've reached ... Namaste Ravi Liberation!


YEHUDI MENUHIM & RAVI SHANKAR 

John Moore, one of the best graphic designers, gave me one of the best album of Ravi Shankar with Yehudi Menuhin, we were not even friends, but I keep friendship with John and also the album that he gave me.
Ravi Shankar's friendship gave Gerry Weil and John Moore, and fulfilled my dream of playing on stage with Gerry Weil, this happened at the meeting of electronic music in Caracas in February 1983.
God Bless Ravi Shankar much influenced Western music!

Thursday, 6 December 2012

BUCHLA SYNTHETIZER


Buchla
Buchla & Associates, Inc. is a manufacturer of electronic musical instruments, notably synthesizers and unique MIDI controllers. The 200e Electric Music Box and Lightning III are currently in production.




History
Buchla Music Box (1963)
The original Buchla Music Box was the brainchild of Don Buchla and came from a commission by composers Ramon Sender and Morton Subotnick. First built in 1963, this synthesizer was composed of several "modules" that generated or modified a music event. Each box served a specific function: oscillator, filter, sample and hold, etc. This would have an effect on the pitch, timbre, amplitude and spatial location of the sound. The idea was to allow musicians and composers to create sounds suited to their own specifications. Previously, one had to utilize either discrete audio generators such as test oscillators or via musique concrète, recorded sounds from natural sources. Although it was a fresh and exciting idea and an excellent way to get new sounds, this was very time-consuming and arduous. The Buchla Box allowed musicians to bend and manipulate sound all in one device. This would lead to the many kinds of electronic instruments available today.



Buchla 100 series (1963)
The Buchla 100 series Modular Electronic Music System[2] was commissioned specifically by Subotnick in 1963 for use on his first major electronic work Silver Apples Of The Moon. He gave Don Buchla ideas and specifications for what the instrument should do. It was also used on Buffy Sainte Marie's influential 1969 album, Illuminations. Along with Robert Moog's Moog synthesizer, it would go on to revolutionize the way music and sound is made.
Buchla 200 series (1970)
The Buchla 200 series Electric Music Box[3] replaced the previous model in 1970 and represented a significant advance in technology. Almost every parameter can be controlled from an external control voltage.
Computer controlled instruments
Buchla 300, 500, Touché (mid 1970s)
In the mid 1970s, Don Buchla began experimenting with digital designs and computer controlled systems. The results were the 500 series[4] and the 300 series,[5] both of which paired the new technology with existing 200 series modules to create hybrid analog/digital systems. The Touché[6] was also the result of this research, and was also his final attempt to market a "mainstream" Buchla synth[citation needed].
Buchla 400, 700, and MIDAS (1980s)
Also in 1980s, Buchla released the 400 series[7] and the 700 series[8] software controlled instruments operated by MIDAS, a Forth language for musical instruments, and also equipped MIDI.



Buchla's unique synthesizer designs
Earliest analog sequencers (array of knobs on the bottom) on Buchla 100
Buchla 250e Arbitrary Function Generator
Buchla tends to not refer to his instruments as synthesizers, as he feels that name gives the impression of imitating existing sounds/instruments. His intent is to make instruments for creating new sounds. This convention is evidenced by the omission of a standard musical keyboard on his early instruments, which instead used a series of touch plates which were not necessarily tied to equal-tempered tuning. He also has different naming conventions than most of the industry: for example, one of his modules is called a "Multiple Arbitrary Function Generator." These differences run deeper than nomenclature though. The Multiple Arbitrary Function Generator (or MARF) goes well beyond what a typical sequencer is capable of performing and is capable of acting as an envelope generator, LFO, CV selector, voltage quantizer[disambiguation needed] or tracking generator. Another module that sometimes gets cited for its uniqueness is the Source of Uncertainty. The Source of Uncertainty provides many different flavors of randomness, from noise of different colors, to a LFO-like fluctuating random voltage, and a couple forms of triggered static random voltages, all under voltage control. The Source of Uncertainty goes well beyond a noise and random module in a typical synthesizer.



Buchla Music Easel
It is also important to note that Don Buchla and Robert Moog simultaneously invented the modular synthesizer in 1963, Moog in New York and Buchla in San Francisco. This is an apparent example of multiple discovery. While there had been previous synthesizer experiments, Moog's and Buchla's major development that made the synthesizer portable and flexible was that of using control voltage to manipulate the various elements of the circuits.
Buchla's instruments, such as the Music Easel (pictured),[1] use a different method of timbre generation than Moog synthesizers. Moog units use oscillators with basic function generator type waveshapes and rely heavily on filtering with 24dB resonant low-pass filters, while Buchlas are geared toward complex oscillators using frequency modulation, amplitude modulation, and dynamic waveshaping to produce other forms of timbre modulation. Many of Don Buchla's designs, including the Low-Pass Gates (later called Dynamic Managers) contain vactrols, photoresistive opto-isolator employed as voltage-controlled potentiometers, which contribute to a very "natural" Buchla sound.
MIDI controllers (late 1980s)
Buchla Thunder, Buchla Lightning, Marimba Lumina
By the late 1980s, Don Buchla had stopped creating instruments and shifted his focus to alternate MIDI controllers. His controller designs have included the Thunder, Lightning, and Marimba Lumina.




Oberheim OB-Mx (1995)
In 1995, he was brought on to the team that designed the Oberheim OB-Mx,[12] the so called "Ober-Moog", in the 11th hour to help make it a working instrument. A hybrid analog/digital design, the OB-MX uses many of the lessons learned when researching for the 300 and 500 systems.



Buchla 200e series (2004)
Finally, in 2004, Don Buchla returned to designing full blown modular electronic instruments with the 200e, a hybrid system using digital microprocessors that uses the same size modules and signals as the 100 and 200 series systems. The 200e modules convert all signals to analog at the panel, appearing to the user like an analog system, with patch cables. Systems can be built using a combination of 100, 200 and 200e modules. The 200e modules connect through a digital communications buss, allowing the system to store the settings of the knobs and switches.