SynthWizards Krell Modulator VST - Printable Version +- Vortex Sound Research (http://www.n01ze.com/synthwizards/Forum) +-- Forum: Sonic Warfare Weapons (http://www.n01ze.com/synthwizards/Forum/forumdisplay.php?fid=9) +--- Forum: Software, Effects, & DAWs (http://www.n01ze.com/synthwizards/Forum/forumdisplay.php?fid=8) +--- Thread: SynthWizards Krell Modulator VST (/showthread.php?tid=2345) |
SynthWizards Krell Modulator VST - HardWired - 12-04-2018 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/ARKIVE/SynthWizardsKrellModulator.rar RE: SynthWizards Krell Modulator VST - HardWired - 12-04-2018 modified/revised/updated version at same .rar link [youtube]YSFoILcyqAU[/youtube] RE: SynthWizards Krell Modulator VST - HardWired - 12-04-2018 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/ |