SynthWizards Krell Modulator VST

Talk about music gear for noise music

Moderator: xome

Post Reply
User avatar
WhiteWarlock
Posts: 713
Joined: Tue Apr 10, 2018 7:58 am

SynthWizards Krell Modulator VST

Post by WhiteWarlock » Fri May 18, 2018 6:53 pm

Image
SynthWizards Krell Modulator VST
Forbidden Planet Barrons Tribute
Extreme Ring Modulation VST
23 various mathematical algorithmic methods of Ring Modulation
2xVCO signal generators(operators) 2xLFO ADSR w/Inversion mode
multiple standard waveform selection
LFO ranges BPM SYNC from 512 bars to 1/64
Sample and Hold modes with LFO
LFO modulation matrix function for automating parameters
External input or can be used as VST Instrument with midi
Recording experiments forthcoming
Alpha Test Version Download
http://www.n01ze.com//synthwizards/ARKI ... ulator.rar
Image

User avatar
WhiteWarlock
Posts: 713
Joined: Tue Apr 10, 2018 7:58 am

Re: SynthWizards Krell Modulator VST

Post by WhiteWarlock » Sun May 20, 2018 7:10 pm

Image
modified/revised/updated version at same .rar link

User avatar
WhiteWarlock
Posts: 713
Joined: Tue Apr 10, 2018 7:58 am

Re: SynthWizards Krell Modulator VST

Post by WhiteWarlock » Mon May 21, 2018 4:43 am

Image

https://archive.org/details/bebebarroninterview

Forbidden Music

During the early 1950s they and their studio were hired by John Cage for his first tape work, Williams Mix – Louis and Bebe recorded over 600 different sounds, cutting, arranging and them to create a four and a half minute piece. The Barrons moved on to produce music and sound effects for several short experimental films, scoring three of Ian Hugo’s short films based on his wife Anaïs Nin writings, the most notable being Bells of Atlantis (1952). Their next big project was to provide incidental music to a conventional orchestral score for Forbidden Planet, however the Barrons ended up scoring the entire film, along with many of the film’s sound effects. Louis designed individual sound generator circuits for particular themes and motifs, rather than using standard sound generators – this was an innovative approach to composition, where each circuit had its own characteristic voice. It took them 8 months just to record the raw sounds and a total of three years to complete the soundscore. The scoring for Forbidden Planet blurred the boundary between sound effects and music so they became indistinguishable from one another – the Barrons had a vast new electro-acoustic territory to explore and began laying down the lines for the future of electronic and dance music.

http://www.effectrode.com/echorec-3/louis-barron/

http://barronsoundportraits.com/about-the-barrons/

Post Reply

Who is online

Users browsing this forum: No registered users and 4 guests