Friday, July 02, 2010
"There has been scant information about the Moog SL-8 so I am going to take this opportunity to tell you what I know about it.
I started with Moog as a Sales Rep in March of '83 taking Bob Wehrmann's place who went to Sequential Circuits. I was probably Moog's worse factory Sales Rep (Central Division) although I had sold a many $100K's of product in Dallas. I was brought to the factory in late May before the Summer NAMM show at McCormick place and was told that I would be performing the "demos" of a new instrument in the hotel room.
Rich Walborn came and took me back to the back development area and I met a long haired gentlemen I believe was Ray Dennison who was the software engineer of the SL-8. The name SL-8 means the SPLIT/LAYER eight voice and the idea behind it was to create a low cost variant of the MemoryMoog that would be more reliable and penetrate the market segmentation that the Prophet 600 and Juno 60 was currently reaping.
The SL-8 was based upon the TI 99/4 16 bit microcomputer and the SW development was done on the TMS 9900 development system. A single precision relaxation oscillator circuit was reset by pulses that were generated by "lookups" within the microcomputer memory and the resultant "DCO" based design was very stable. Standard waveshaping components were derived from the basic sawtooth waveshape and enabled/disabled through CMOS switching. A master output VCA of the oscillator allowed the discrete transistor ladder VCF (also DCO) to be overdriven and be "phattened" in the Moog tradition.
A "Variable Harmonic Multiplier" quasi 2nd oscillator section could be "soft synced" to the main DCO and the VHM reset pulses were generated by the 99/4 controller and this overcame some of the single oscillator stigma since the waveshape of the VHM could be modulated as well by an EG or LFO.
The VCA path was CEM and a stereo chorus programmable per patch with variable spped and depth parameters really fattened up the sound.
When I first saw and heard the instrumant in early June it was barely working. Rich and I worked on HW issues and Ray toiled at writing the code that would make the SL-8 usuable as a hotel room "BUZZ DEMO" synthesizer. After many hard hours of testing and SW debugging, the SL-8 finally started becoming a decent sounding Moog that would split, layer, and edit from the panel scan and store about ten patches. It ran on the development system until two days before NAMM when I suggested that we try running it on a 99/4 in the socket instead of the emulation environment. There were numerous issues, but it actually ran on the IC computer instead of the emulation system before we left for NAMM.
At the hotel suite across the suite from McCormick Center, we had a sales meeting before NAMM and I had been pledged to secrecy not to "spill the beans". Nancy Kewin, Lee Hargrove, and other Sales Reps were booted from the room and Ray, Rich, and yours truly set up a SL-8 with the hidden TMS9900 development environment behind a backdrop. The system was booted and with a pair of SynAmps (for stereo) and started programming the ten demo sounds into the SL-8. I remember hearing Rich say "He really knows how to program this instrument!" as I continued. Nancy, Lee and all the rest of the other Sales Reps had their ear to the door outside until I said, "OK....I'm Ready!!???!"
I performed about a 15 minute demo with the ten sounds and then watched the faces with big smiles thinking ($$$$$$$) commissions.
After a few drinks and everyone discussiong how to market the instrument to the "big dogs" that would be brought over to the hotel from the NAMM floor for a demo.
Next day the major synth sellers in the US were given private demos and the vaporware SL-8 was given thousands of units of token orders.
On the last day of the show I finally got some time to go over to floor and at the Moog booth and I saw an ashen faced Herb Deutsch say to me "Craig, go over to the Yamaha booth". I went over and saw a sleek keyboard with velocity/pressure sensing and put on the headphones.....to my great surprise the six operator DX-7 synthesizer with the new algorithms and feedback added to the older GS-1/TRX FM was astounding. I asked how much...and the $1995 answer explained Herb's crestfallen demeanor. How would Moog compete with this?
Tom Rhea was brought in, there was downsizing, and the rest is known.
The SL-8 blew away the Phophet 600, Juno 60, Poly Six, and the other subtractive synths, but the DX-7 was a megaton range instrument in the sea of synths and went on to decisively command the market.
The DCO and assignment algorithm was capable of polyphonic portamento unlike the other DCO instruments of the time. We discussed emulating the four assignment algorithms in the MemoryMoog although only the NEXT mode was operational for the demos. The integration time of the poly portamento was a linear response curve. This was because that was easiest to do quickly with the time we had. An exponential portamento response curve would have only taken a few more days.
The EG resolution was very high with 7 bit accuracy for all of the envelope values. The Prophet 600 was 4 bit, the Roland 5 bit so the sound design was much easier and predictable. The VCA and VCF would "snap" if you set a 50% to 60% sustain level with no attack, delay, or release just like the Mini or MemoryMoog.
The oscillator had a Schmitt triggered suboctave square wave available that could be switched in at equal output. PWM (ok rectangle wave mod) could be manually set, EG mod with atten, or LFOed with the dual slope integrator LFO triangle/square wave.
The Variable Harmonic Multiplier also allowed some wave shape modulation from the EG or LFO with its own attenuator.
If you carefully set up the DCO with some smooth PWM, and modulated the VHM with some tweaking, you got a pretty good dual oscillator unison sound. The amplitude nulls between beating oscillators on a true 2 or more oscillator synth were not audible, but the waveform animation was phat and very distinctive. With a little syrup on the VCA EG and the internal stereo chorus tweaked it did a great string chorus sound that was very versatile.
I realized great brass, organ, monster unison dual layer basses, great tearing sync, and many other highly usuable patches with relative ease because of the controls' resolution, Moog ladder LPF, and distinctive wave shaping circuits taken from legacy moog designs. The inaccuracy of pitch control through exponential current converters was gone and just enough slop was in the oscillator integration circuits to keep it from being totally sterile with "perfect" interger derived tuning (which is what you really want).
One of the really cool attributes of the TMS 9900 MCU was it had a considerably faster 3.3 MHz clock than the 8051/8031 MCU used in the Roland and the 8085 in the Korg units at the time. It ran rings around a Z80 because of the 16 bit data path and the unique ability of the 9900 to store all user registers in RAM and update the "RAM Registers" in a single instruction cycle. If you called a subroutine or a NMI call was true, you could update the user register directly. This was how all of the parameters were stored/updated once a program or configuration change was made. It also made complex multi tasked threading for the housekeeping, DCO timing, triggering, MIDI, and controller interaction much simpler to code.
Which brings up another point......this baby would have been reliable if built. Almost all of the issues associated with the needed tuning accuracy that the MemoryMoog did not have were mitigated. The MemoryMoogs 12bit DAC only allowed 4096 tuning units. With all of the summed trims there are in the MM, it's a wonder that they even tune at all. You have to get everything right and then it's an evanescent experience. If you are really competent and make it a labor of love, then a MemoryMoog tune may last a few months, but its the Fluke 87 III, mirror, and a crooked neck after that time span.
THE SL-8 would have had none of those issues, but it was still a Quiotic Quest for Moog Music. The Japanese Stentorian Monoliths of Yamaha, Roland, and Korg had the research and investments. They were in it for the long haul as are most Asian companies, and they gathered Traction in the 80's with only Sequential, Emu, and a few others able to eke out some profit.
BTW Roger.....who got the cool Hockey Game in the cafeteria with the great sound effects? Very Happy
Wednesday, June 23, 2010
Tuesday, June 22, 2010
A bunch of updates now! :) Fairlight Supremacy 1.3 has just been released and it contains 200 Mb of additional samples for all Fairlight CMI Legacy refill users - a free update as always. The new sounds include for instance D-50's Pizzagogo, the Chariots Of Fire sound as used by Vangelis (synthesized on a Roland D-50 and then sampled in 24 bits), over 50 new Combinator patches, about 30 new NNXT patches.
Also new - a completely new free ReFill called "Dreams Of Robots.rfl", 10 Mb of samples directly from a Roland Jupiter 8 kindly provided by Firechild, a producer / songwriter from Sweden. The sounds were Jupiter 8 renditions of Eurythmics' "Sweet Dreams" main lead synth and the LFO-animated patch used by Kraftwerk for their legendary "The Robots".
I have now also made a 13 page PDF document with the entire patch lists from the De Light, Orlando and Fairlight refills. You will find it in the menu - and users will find it in the dropboxes. Might come in handy. Print it out and use it for putting your own notes on the sounds and what you like or dislike. Let me know!
As for the music production, I'm working on different deep house tracks now and I even made a new track with the Supremacy 1.3 sounds - you can find it on my SoundCloud page. The track's title is Hauz Vaib. Rickard K (Richie Kay) and I form the DJ-friendly "Groovekissing" and we're working on new things for release, hopefully, on iTunes and the regular DJ spots for purchasing trax.
Mid summer is coming up by the end of this week and the weather in Sweden is now better and better. It's been rainy and rather cold but I hope for HEAT now.
Friday, June 04, 2010
Tuesday, May 25, 2010
The OctoRex holds 8 loops in memory at once, and will contain a new file format; loop packs of 8 loops will be easily loaded in one go with the Combinator-like top display. I see a lot of possibilities with this. It also has very cool playback features like the ability to switch loops every bar or even every 16th step. It doesn't take much to get the imagination spinning on what can be done with this. Take 8 nice synthesizer loops for instance, playing notes. Just a little bit of tweaking and voilá; instant modular synthesis-like sequencer patterns can be done. I really think it feels amazing.
I will update this post with the four remaining new items to be presented this week.
Wednesday, May 19, 2010
Tuesday, May 18, 2010
Monday, May 17, 2010
A worldwide survey was conducted by the UN. The only question asked was:"Would you please give your honest opinion about solutions to the food shortage in the rest of the world?"
The survey was a huge failure... In Africa they didn't know what "food" meant. In Eastern Europe they didn't know what "honest" meant. In Western Europe they didn't know what "shortage" meant. In China they didn't know what "opinion" meant. In the Middle East they didn't know what "solution" meant. In South America they didn't know what "please" meant. And in the USA they didn't know what "the rest of the world" meant.
By the way, my site is under maintenance tonight so if you haven't been able to reach it, now you know.
Thursday, May 13, 2010
I will post a number of blog posts with the results but let's begin with the late Michael Jackson who to the huge shock of the entire world past away last year. I still feel like crazy writing that. That can't be. Mike will live forever and peace to his soul - rest in peace.
Man In The Mirror
Intro: The Roland D-50/550 preset patch "Afterthought", recorded in stereo (that'd be two overdubs; Bruce Swedien says he always tracks things on one side at a time).
Tuesday, May 04, 2010
Wednesday, April 21, 2010
Happy joyful times!
To be honest I love the minimoog. Anyone into synthesizers do. It's impossible to resist it, I just wish I had silly amounts of dough so I could jump on the train and get one... ;)
Tuesday, April 20, 2010
This is really, really happening. Or - it was; just a few days ago. Nature's powers are truly staggering beyond words. I can really only let the video speak for itself. Impressing and scary at the same time. Eruption.
Now this is a classic song.
Remember to never, ever listen to the just released new remixes. Because they suck and they kill the track. I just heard them and they made me feel really bad. In a way that transfer my classic hero Paul Hardcastle into someone who should be called Paul Hasbeen.
This version, however, feels just as fitting on clubs and discos as it always did. It's a classic.
They say "kill your darlings" and that may be something good at times, but here - all of what was cute, groovy, sweet and wonderful about the original song just got lost in the post... editing.
As I'm starting out I decided to get back and hold my horses a bit - therefore - a new site has been built at the address I've had now for a while - http://bitley.laconicsounds.net.
I tried the blogging functions at Squarespace and it was so good I was ready to abandon this blog. Now, this blog is free to use. That's got to be good? I think it's great. So why abandon a fully functioning thing? Exactly - so I changed my mind. I'm going to stick with this site for that.
Anyway - now I've managed to set up some paypal links from my site and I've fixed automated direct downloads for some smaller products. Also new: SysEx banks for synths. Check out bitley.laconicsounds.net. Sorry for going back'nforth!
Monday, April 19, 2010
Friday, April 16, 2010
Friday, April 02, 2010
Thursday, April 01, 2010
If the following will be large enough, I will keep adding patches, demo songs and whatnot to the Supremacy refill, keeping it alive and kicking. Users who wish to contribute - send your zipped patches to patrick.fridh [at] gmail [dot] com and I will add them into next revision.
Friday, March 26, 2010
Wednesday, March 17, 2010
Some people have asked for WAV/AIFF libraries in order to use the samples in other sample players. Problem: No one has found out such a smart way to package sounds as Propellerheads. To my knowledge. The Refill format is just great. One file with everything. All 1700 sampled sounds.
Remember Master And Servant?
It's a lot.
It's a lot.
Wednesday, March 10, 2010
Wednesday, February 10, 2010
Jim's got a lot to say and he does it with style, as always.
Jim Aikin's blog
Tuesday, February 09, 2010
Tuesday, February 02, 2010
Saturday, January 30, 2010
Handla tyskt? Ja, det låter nästan som skällsord. Handla tyskt. Smaka bara på uttrycket. Det känns ju liksom lite fel. Bo här och handla från Tyskland. På något vis känns det som om det skapar en ojämn handelsbalans.
Men på något vis känns det som en smart grej. Vi är ju med i EU. Från barndomen minns jag att det fanns en massa kampanjer för att handla svenskt. Var det Volvo och Saab som samarbetade om det uttrycket? Har dock inte sett det sedan Dackefejden. Köp Svenskt!
Idag landade trevlig post i min brevlåda. Den fullkomligt hemska katalogen från Music Store i Köln. Hemsk på ett tyskt vis. Fantastisk på ett tyskt vis. Stort sortiment. Många special bundleprice! och liknande. Det finns liksom ingen finess - men å andra sidan, vad gör det när priserna är så låga som de är?
Ibland är detta dock en myt. Om man jämför med våra svenska handlare så kan butiken runt hörnet vara bra mycket billigare än Heinz Von Knackwurst & Co där nere i den europeiska högborgen. Men det är tyvärr bara ibland. Med betoning på ibland.
Man bläddrar igenom katalogen med skräckblandad förtjusning. En otrolig mängd prylar. I en salig röra. Omöjligt att hitta vad man söker. Lättklädda damer, vad ska jag tänka nu. Vackra också. Hoppas inte flickvännen råkar se mig över axeln just nu. Bläddra förbi. Ah, där är ett säkert uppslag. Nå´n tabell av något slag. Tumgrepp där så man har en "boss key" om hon råkar tjuvtitta. Man vill ju inte bli anklagad för att ha blivit fluktare på äldre dar.
Texter som ser ut att vara översatta av Altavista´s Babelfish eller någon annan digital maskin. Ibland ett ganska bra engelskt språk, ibland rent komiskt, sjukt dåliga översättningar. "The absolute mega hit!". Tyskar har ibland också en förmåga att skriva samman engelska ord. Så de blir tyska. "Brandnew!". Man riktigt hör hur den düska brütningen tar överhanden.
Hur mycket jag än vill hävda den svenska smakfullheten så finns det en motsägelse i detta. Ni har väl sett reklamtidningen från Musikbörsen? Inga lättklädda brudar (tyvärr), men i stället ett fullkomligt horribelt språk. Av svenskar, för svenskar. Kan känna att hur komisk Music Store´s katalog ändå är mellan varven så gör de i alla fall ett försök. De breddar sig och säljer utanför landets gränser. Jag tvivlar inte på att Music Store exempelvis kan skriva bra tyska - för sin tyska publik. Och inte alls uppfattas som stötande bland tyskar. Lättklädda damer, ha! Det hör ju till vardagen. Där. Så vad är då problemet?
Var är svenskarna? Var är våra svenska reklamutskick, var är våra svenska internethandlare för musikutrustning? Jodå, det finns några. Jag känner till tre: Sagda Musikbörsen (som nyligen öppnat en "webstore" på allvar), JAM (som inte har store-funktioner men använder websajten väldigt aktivt) samt Feedback Music i Malmö. Se´n har nästan alla musikaffärer websidor, men samtliga känns lite svårgenomträngliga. Inte övertydligt med KÖP-knappar, utan mest informativa sajter. Ibland snygga produktioner för övrigt, men med en klar "kom in i butiken!"-stämpel. Det är inte dumt. Musikaffärer är trevliga.
Vad de dock glömmer är att det ofta är söndag då man har bestämt sig för Den Där Prylen. Eller rent av sen kväll. Med eller utan Luuk. Och man känner att det vore rätt kul att få hem prylen rätt snart. Utan att behöva gå och pruta hos tomtenissarna i butiken. Tomtenissarna som ibland inte ens bryr sig om att man försöker få uppmärksamhet. Tomtenissarna som i värsta fall får dig att känna dig som Den Beige Kunden, som du säkert minns från Roy & Rogers mack.
Det är väl klassiskt. Kunden som kommer in i musikaffären och bara ska köpa ett plektrum. Får han bra service kommer han in nästa vecka då ProTools ska inhandlas. Men musikaffärerna hoppar runt i ett ekorrhjul. Kunden som bara ska köpa ett plektrum får sällan den där toppenservicen han tänkt sig.
Och då står Tyskland där och bankar. På dörren. Achtung, polizei! Vi har 30% lägre priser på allt. Hur ska du ha det?
Det är frågan det. Handlar du svenskt? Eller tycker du tysk internethandel funkar bra? Får du bra service när du ska handla plektrum? Bildligt talat, naturligtvis. Översätt till det språk som passar dig. Plektrum, midikabel, DAT-kassett, CDR-skiva. Ska musikaffärerna vara som de är, lite sävliga sådär, lite hemtrevliga men ibland ganska frustrerande? Eller ska de vara som skoaffärer med ihärdiga tanter som rusar fram och möter dig i dörren? "Kan jag hjälpa dig med något" och ett trevligt leende? Ja. Både och. Men inte bara ungdomsgård. För då kan man ledsna. Gå hem och sätta sig vid datorn och knäppa upp en Bier, ta en bit tüsk ölkorv och surfa in på en sajt där man serverar allt på ett stort fat, sedan få hem sin Prül två dagar senare. No worries.
Svenska musikhandlare borde vara frustrerade, slita sitt hår... men jag ser inga motaktioner. Privatimporten tillåts växa i lugn och ro. Och samma sak gör tysklands BNP. Vi fattiga svenskar bidrar. Sned balans eller sund konkurrens?
Texten kan vara något utdaterad, den skrevs och publicerades 2003 på forumet 99musik.
Roland TR-909 var typexemplet på den misslyckade trummaskinen i samplingens premiärdagar. När den kom 1984 så hade redan Linn brutit mark med sina trummaskiner, som till och med användes på hårdrocksplattor för att de kunde låta trummis, med den tidens mått (och med duktiga studioteknikers hjälp). TR-909 ansågs med andra ord låta riktigt, riktigt illa. Den enda som använde den var Phil Collins och något ytterst fåtal andra, möjligen Cabaret Voltaire någonstans.
De flesta 909:or hamnade snabbt på second hand-butikernas hyllor och rasade där i pris så pass mycket att de som inte visste något om tekniken men var intresserade, såg någon konstig box från det där stora märket Roland och köpte den billigt.
Det här är samma sak som hände med SH-101, MC-202 och TB-303. Instrument som ansågs ganska meningslösa i DX7:ans högtidsdagar. Små monofoniska syntinstrument som lät som "leksaker". De var ekonomiskt sett värdelösa.
Roland själva fick panik och hade bråda dagar att snabbt göra en maskin med samplingar, och rusade ut 707:an redan året därpå. Väldigt få 909:or hann faktiskt byggas. Tänk att dessa glada japaner på allvar tyckte att 909 lät tillräckligt mycket "riktiga trummor". Ännu konstigare är egentligen hur de tänkt om CR-78 och TR-808. Var det så nära man lyckades göra ett riktigt trumsound på syntetisk väg?
Någonstans på vägen inträffade magi. Någon upptäckte att 909:an hade en ganska magnifikt fet bastrumma. Och en rätt nice handklapp också. Nästan ibland fetare än klappmaskinen nummer ett, 808:an (känd från Marvin Gaye's "Sexual Healing"). Men vänta nu. Vilka hihats. Housemusiken som börjat göras på TR-707 rullade ut på obskyra tolvtumsplattor. När man provade att efterlikna beatsen med TR-909 måste det ha varit en rasande trevlig dag. Kompisarna som först fnös och skrattade svalde nog snabbt sin besserwisser-förståsigpåar-koll. "Öh, du kan faktiskt få byta den mot min 707:a om du vill". Det lät ju f*n så mycket fetare. Vips tömdes hyllorna på den stora trummaskins-besten som stått och samlat damm i många år. TR-909 blev en hit och där skapades sagan om en flopp som blir en dundersuccé.
Tillgång och efterfrågan gjorde att TR-909 runt 1990 var värd runt 3000:- i Sverige, men då hade man gjort ett ganska bra klipp ändå. För raskt var den uppe i fyra... nej fem, nej sex, nej sju... nej! Åtta tusen kronor. Runt 1994 låg den redan däromkring och skvalpade. Året därpå var den nog uppe i tio lakan.
Precis samma ekonomiska utveckling drabbade TR-808 och TB-303. Många började samla på hela Rolands äldre (och framför allt analoga) x0x-serie (303, 606, 909, 808, 101, 202). Plötsligt var de omöjliga att hitta. Dök en TB upp så kunde man se priset 12.000:- helt plötsligt. Och även mer. Men de såldes ändå.
De såldes till dessa priser av en anledning; instrumenten bildade ryggraden i house- techno och acid-musiken som börjat bubbla under mitten av 80-talet och framåt. Framme vid 1994 hade housemusiken kommit så långt att den skulle komma att förändra klubbmusiken på ett sätt som varit ihållande sedan dess. Den hårda och feta baskaggen i 909:an har använts på så många houseklassiker att det är löjligt, det går inte ens att räkna antalet låtar innehållande just denna trummaskin. Men för att nämna en låt som brukar omnämnas i sammanhanget kan man ta Adamskis monstruösa hit "Killer" med sång av den där okände killen som kallades för "Seal".
We get a little bit... crayyyyyyzeeee...
Och för oss som växte upp med soundet så kvarstår 909 som en ypperligt fet klassiker. Väldigt få lyckade house-baskaggar görs med någon annan maskin än just 909 än idag, även om soundet blivit långt mer komprimerat och utstuderat. 909 är en välbyggd best, med separata utgångar för ypperliga möjligheter att processa ljudet.
Då det också är en häftig pryl rent allmänt så kan man nog också säga att mycket av värdet ligger i att människor samlar på dessa maskiner. Även om de inte används så ofta så ger det en positiv känsla för vem som helst som gillar dansmusik att ha en 909:a i studion. Den är ofta lika given som Technics 12x0-skivspelare och Rolands Juno 106.
Ett tag rasade värdet en smula på 808 och 909, då Novation släppte DrumStation som var en trummodul som kunde återge dessa två på ett rättvist sett, men erbjöd lättare MIDI-möjligheter. 808 hade ju inte ens MIDI även om 909 triggade hyfsat snabbt över gränssnittet. Men det var en kort succé för rackmodulen, snart återtogs balansen och maskinerna från Roland blev åter i ropet.
Det är som om åren inneburit prövningar; samplingsbanker med ljuden har gjorts i mängder, men ändå söker många originalburkarna "bara för att".
Jag tycker personligen TR-909 låter förträffligt än idag, inte minst så är reglagen ganska balla och man kan ändå förändra soundet ganska mycket med bara 909:an själv. Addera sedan kompressorer, delay, reverb, pitchshifters och annat och möjligheterna blir ganska outtömliga. Åtminstone för dem som jobbar med nämnda musikstilar.
Så likt Minimoog, Jupiter 8, TB-303 och Juno 106 så har TR-808 och 909 kommit att bli "evergreens". Oavsett det digra sortimentet kloner och kopior, samplingsbanker och till och med nya mjukvarutrummaskiner som kan göra helt nya ljud i samma stuk så är originalen numera vintage. Klassiker. Odödliga.
Att 909 säljs för 12.000:- än idag är alltså ingenting konstigt.
Wednesday, January 13, 2010
However, I'm still working on the Fairlight CMI Legacy ReFill and if you click the headline, you'll get to hear some of the demo songs I'm also making. I just now added "The DX Element" featuring DX7 sounds... or A sound... THE sound... or so. :)
Thursday, December 10, 2009
The bank will contain hundreds of 100% Fairlight II (& possibly III) patches!
This is one of several demo songs / fun sequencer moments that you'll hear over time when we're programming up more patches. Oh yes, we're going to maximize the Combinator, too. Check out PowerFX for my producer page with ReFills!
Click the headline to hear the brand new all Fairlight track! :)
Thursday, November 26, 2009
I just got a JX8P again and I seriously think it's one of the best keyboard synths ever produced. It's fat, lush, bright, wonderful.
Think leather couch, Manhattan view, drink in hand. Fat.
Wednesday, November 18, 2009
Thursday, October 29, 2009
Here's all the info:
The Orlando JX10 ReFill
Imagine having a classic Roland synthesizer at your fingertips - a JX10 SuperJX (the huge keyboard that also came in the form of the rack-mount MKS-70. Imagine having more sounds than it could ever hold in memory (it had a memory of 50 user sounds, 50 factory sounds and 64 patches - which combined the 100 tones in memory). Imagine having things it never had - like multi-timbral operation, no limit on simultaneous sounds and voices, built-in effects and more. This ReFill gives you a total amount of 444 synth sounds, as well as 25 drum kits. The sounds are sampled from unique patches made by Patrick Fridh as well as a couple of classic factory sounds.
Not only do you get "analog feel" into your Reason rack, you also get a healthy amount of tape saturation to spice things up even more. Most of the JX10 sounds were recorded to cassette tape before being sampled. This gives these sounds a special feel which is great combined with the ultra-clean sound of Reason.
Interesting Combinator sounds
Full advantage has been taken of the Combinator module, making it possible to create not only 4-oscillator sounds like the JX10 could but why not 16-oscillator sounds with full polyphony? Make sure to try out buttons and switches - many patches were made to make the Combinator become an instrument of its own, combining the lush analogue feel of the JX10 with the synths in Reason to create sounds you have never heard before.
In this ReFill, be prepared to get huge bass sounds, new and original synth sounds (even some tricks with the Subtractor you probably didn't think of before), amazing pads and sound beds, a wide selection of drum samples taken not only from the JX10 but also from a TR-909 and the amazing V-Synth. Added to this is a couple of great lead sounds, poly and mono synths, synth FX sounds and more. A special selection of techno & oldskool rave sounds have also been included, so this ReFill could clearly become one of your best sound sources for your music production.
291 Wavesamples (142,1 Mb of samples)
189 Subtractor patches
102 Combinator patches
90 NNXT patches
38 Thor patches
25 NN19 patches
25 ReDrum kits
14 Songs and demo files
12 Rex files
10 Malström patches
ReFill size: 113,3 Mb
Copyright info: Roland, TR 909, JX10, MKS 70 and V-Synth are registered trademarks of Roland Corporation, Japan.
The ReFill will retail for $49 at PowerFX. If I'm lucky, they'll find time to put it up online starting tomorrow.
Monday, October 19, 2009
Sunday, October 18, 2009
Saturday, October 17, 2009
Wednesday, October 14, 2009
The average age of the US soldier was nineteen. 19.
Nineteen years ago. Nine teenyears. Of my middle age. Crisis. I'm 37.
Click the blog headline to enter this malfunctioning muzak!
Monday, October 12, 2009
Patrick Fridh Aka Bitley™
Sound designer and musician
E-mail: patrick.fridh AT gmail.com
UNIQUE REMIX COMPETITION
Uppsala, Sweden, October 12, 2009
The Reason specialist Patrick Fridh invites all musicians of the world to participate in a remix competition which incorporates video.
KOOLKORDZ 2009. The iTunes and Spotify musician Patrick Fridh (also known as Bitley™), known from (but not affiliated to) producing factory sounds to Propellerhead's Reason software package as well as sound banks for PowerFX AB, welcomes all creative musicians in the world to participate in an unusual remix competion for his track Koolkordz 2009, presently only available on YouTube.
In 1994, Patrick Fridh wrote "Koolkordz" using an Atari, a Yamaha TX81Z and an Ensoniq EPS 16+ sampler. Now he has made a new version of the track using Reason 4.
This new version is open for being remixed using any tools available today. All remixes are to be placed on YouTube only - this is the remix artist's duty, and should feature original video material or "video samples" taken from the original video (by recording Fridh's YouTube video using any video recorder).
The remix kit is uploaded to SoundCloud and free to download. See link above.
The competition entree finishes his or her remix, adds video and edits this with any tool (Windows Movie Maker for PC and Apple iMovie for Mac recommended as basic choices) and then adds a comment about where on YouTube the remix is placed - this comment is to be added in the comment field of Patrick Fridh's Koolkordz 2009 video on YouTube. See link above.
The remixes will then be linked and voted for by members of the free internet forum 99musik. See link above. As a note, Patrick Fridh also formed the original version of 99musik in 2002. 99musik is today one of Sweden's largest independent, national music forums (however welcoming visitors from all over the world).
The competion winner and two runners-up recieves sample CDs and recognition. The best remixes will later on be released on iTunes Music Store, and all incomes from the remix album will be shared equally to all participants. This is a great opportunity for both known and unknown artists to reach out and gain more listeners. The unique thing about this remix competition is that not only audio shoud be provided, so should video.
This is - in other words - the first time anyone merges the powerful possibilities of the combined forces of YouTube, iTunes, SoundCloud and web forums in order to reach out and touch new listeners and viewers.
Deadline for the remix entries is November 15, 2009.
Entrants should be able to provide a full WAV or AIFF file with their remix for the planned, future release on iTunes.
Press releases of this will be sent to some major music sites to make sure lots of creative people will participate.
The original idea with this remix competition
The idea is that you not only remix the track, you also make your own video (or sample snippets from mine, found via my YouTube channel http://youtube.com/bitleytm). You then post the result on YouTube, linking your remix to mine by writing a comment to my video.
There will be a voting to see who's making the winning remix, and the voting will take place on the music forum 99musik.se (http://www.99musik.se) - to vote, you need to become a member. This is free.
Winner and runners-up (places 1, 2 and 3) will recieve sample CDs (and perhaps more) AND they will possibly also earn money from it since I am thinking about releasing this on iTunes later on. The 10 best mixes (if we reach that quality, who knows? Even more?) will be released on iTunes Music Store.
Friday, October 09, 2009
And please comment nicely & fly me some stars.
I need your - the world's attention.
History of the track
In 1993 or 1994 I worked with an Atari 1040 STFM and some hardware synthesizers, like a Yamaha TX81Z and an Ensoniq EPS 16 Plus sampler. I got tired of using the Lately Bass patch on the TX and tried to find new uses for other types of sounds [that I liked]. I ended up creating this line on the Xylophone preset which formed a starting formula for the song. Piano was added to the main melody.
The original version is online somewhere, possibly on iTunes or Spotify. I will post it on Youtube as well just shortly.
Now in October 2009, I finally decided to sample that xylophone lead and try to take the track to an updated stage.
While I was trying to edit something visually in iMovie I browsed around for tutorials, and I found this great one by a guy named Anthony & called Oneironaut420 on Youtube. Being from Sweden I have always appreciated english spoken natively (american or english or australian, respectively). Anthony has a soft american way to talk and I got the somewhat weird idea... can't I use that on my track? So I asked him and fortunately enough he was online on Youtube and replied promptly, saying it was a kind of fun idea.
Following this great reply from him, I just taped of his speech onto my trusty old Technics cassette & reciever combo, recorded that back into Peak 4 on my Mac and normalized the gain. I then opened the file in Propellerhead's ReCycle 2.1 and had it slice up the phrases. Saved that as a REX file and opened my Reason 4 project with the song again. I added the small mixer as a submixer (since the 14 ch stereo mixer already was filled with synthesizers and effects). I opened the REX file - which comes up like a "folder" when browsing samples with the NNXT. I selected 89 clips and had them mapped up on the keyboard (NNXT does this by just two simple commands). I then played the song and trigged samples and chose a few that sounded nice.
As for the video material, I used Berio (mentioned here earlier on) to screendump the Reason sequence running. The original idea was to simply show others the Reason track running.
Then I got the idea to add some video footage. I had old clips on my harddrive and it seemed like a good thing to try and make use for them. So I added some clips, and striped off the audio from most of them. Some of the clips' audio were kept and can be heard in the track, like when my family sings to congratulate my grandfather GP who turned 85 years old last year.
There's also a little swedish in there when my son says "Är du klar?" (meaning "Are you ready?") when I asked him to walk around with a carbon box over his head - I don't know for what reason. Some clips are made with Apple's PhotoBooth which we've had a lot of fun with. The kids love performing in front of the camera and seeing themselves mirrored back in a twisted manner.
Not just the kids - even my friend Jens Kallback (known as ~~~ nowadays on 99musik.se) who did a mysterious little dance. When the beat comes on he kind of stops dancing, which pretty much goes in line with how he feels about my music, he doesn't get it (lol). But we've done some tracks together which more fits his electronica & underground taste for music.
All in all it's a "80's" kind of track which shouldn't harm anyone, really.
Thanks for reading.
Again - the music video can be found here.
I hope you're not analyzing at which time I wrote this post... ;)
Once a geek, always a geek...
Thursday, October 08, 2009
For doing the screenshot-recording I use the free app called Berio that I found today. You can find it easily by just clicking this blog post's headline. It's a free app from a guy who's doing work for Apple so he seems to know what he's doing. I know OS X 10.6 can do this natively, but unfortunately Apple has dropped support for the PPC machines, so I'll stick with 10.5.
Yesterday I also wondered which OS X version would run best on my machine, but I couldn't find a really good answer to this even though I googled quite a bit. I've got the original 10.3 discs and I wondered if 10.3 would make the machine feel even faster. Some people say OS X is continously developed into running faster but some people say older OSes are better on older machines.
This Mac has 4 Gb's of RAM and 650 Gb's of hard disk space so I guess 10.5 delivers just fine and dandy, but if anyone recommends 10.3 instead, I'll give it a try.
I used a MacBook 2,4 Ghz (early 2009 model) before and I shame to admit it, but it's faster than the dual G5 Powermac. Some of my Reason projects from that period can hardly be played back; I used too many instances of the Thor synthesizer for that.
On new projects, I work the way the G5 likes me to, using just one or two Thor synths and more Subtractors again. It's not bad either, considering I know my way around the Subtractor so well, having used it ever since Reason 1.0 came out.
Saturday, October 03, 2009
Currently I'm working on something funky, it's gonna swing, gonna be the big thing, aaah... luv it.
Thursday, October 01, 2009
Monday, September 28, 2009
I have an uncle who works with rescue; he's a firefighter. Meaning he has seen more shit than you and I wouldn't dare to imagine - on the roads (or - more likely, off the roads). He's of course signed a lifetime ethical principle of confidentiality through taking this job, but I once asked him about sleepy drivers. He told me most of the accidents happen when people are just a few miles from home. On long journeys like from a working week in Stockholm back to home in Gothenburg, drivers who fell asleep on the wheel did it just outside Gothenburg. It's all more simple and human than you might think. It's simply a sign of relief, having the dead tired driver think... oh, I'm finally home. And this sends relaxation through the body. There. Goes. The car. Slides off... I guess in most cases, nothing serious happens, perhaps just a micro second of sleep. Causing the driver to steer the car back on track again, jolted, in a state of "what-the-fuck-am-I-doing. I need to shape up!"... but Thinking isn't Doing. No gory details here, but some people never woke up. Do you want to be on that list? I wouldn't.
What always should be done, of course, is stopping several times during a long journey. It's really good having an old car with a halfway broken radiator on the car. Meaning you've got to turn the heat all the way up, turn the windows all the way down and stop for new refills of cooling water every two hours or so. This is really how one should treat the human body as well. It also needs proper water circulation. Don't ever ignore a simple need to urinate, just stop wherever it's safe and perhaps a tad private (but a car passing you in full / albeit legal speed travels about 100 yards every second! So they won't see much of your hotspot anyway).
Talking about heat, heat is really bad as well. I once had a Baader Meinhof Wagen... oh sorry, a BMW... and in its excellent manual, proper descriptions of how to stay alert while driving were printed. The most important factor is to keep your head pretty cold. A roof hatch is good to have, climate control in the car is better. The more tired you feel, the less heat should be flowing around you. Of course, turning the heat all the way down could make things just as bad, as you wouldn't take your jacket off if it were too cold. Enter car in something like jeans and a t-shirt. If you're wearing sneakers, don't. You wouldn't find a worse example of a shoe, really. They look nice but they give your feet zero air circulation. Nike Air Jordan, righty. Just marketing. No air. No air!
Now, what I did yesterday was I held a huge lecture on synthesis in front of a mildly interested crowd, meaning I had to tell jokes as well. I started lecturing while still in Stockholm, and my lecture ended just when I needed to reverse the car into a parking spot here in Uppsala. I was alone in the car, but I talked as if I'd had an audience in front of me.
Other times, I've had meetings with myself, going "Hi Patrick, how are you?". "Thanks Patrick, I'm fine, but...", then letting my heart out. Naturally, the subject for most parts is love issues. Or non-love issues, as for the time being. And dealing with that.
So talk and drive, stay alive, keep singing, stop thinking too much. And stop the car every hour and a half. Get out. Stretch a bit. Drink some water or coffee. And if you smoke, do it OUTSIDE the car (it's also keeping your car's market value more intact). No stress. Forget about stress. You will arrive when you arrive. Simple as that.
Friday, September 25, 2009
Thursday, September 24, 2009
My Trig page is now totally reconstructed, featuring tons of REMIX MATERIAL. People who's remixed me, tracks I've remixed from others. FREE AND STREAMING BRAND NEW REMIXES OF STUFF. It feels like I'm shouting out to a dead crowd here.
I need to find my channel, my room, my space, where my words are counted as meaningful. Where people say with surprise: "Oh, have you made anything new!? Let me have a listen!"...
How do I... how do I reach out and touch faith? On the music?
Wednesday, September 23, 2009
As for production, it doesn't stop - I'm collaborating with a DJ here in Uppsala and we're building deephouse stuff for the future!
The discography is updated - clickable links to both iTunes & online streaming sites for many remixes & more!
PATRICK FRIDH AKA BITLEY™ DISCOGRAPHY
Friday, September 18, 2009
My swedish pop song "Hoppet" (on Spotify via this URL) is just fading out on local radio, "P4 sormland", where it's one of two songs this week, trying to reach their Top 5 list. For Swedish viewers, if you vote for me that'd be highly greatful.
Send your SMS to number 72250 (in Sweden) and text "P4sörm 6" to bring my track to life!
By the way, just learned how to make a screendump on the iPhone; just press the home button, keep it held, then press the lock button just shortly. A camera sound should be heard; tadaaa... image captured.
Monday, September 14, 2009
I used my track "Nevertheless (A Green Moon)" from the Aurora Borealis album as starting material;
Click here for a sound example and description.
... various things happens to the music when the effect is applied.
Friday, September 04, 2009
Starting this fall, I will be holding demonstrations for kids showing synthesizer technology, sampling, music production, sound FX and more. Kids finds this subject highly entertaining and I let them participate by recording samples (audio recordings) of their voices and other things (slamming doors etc), building tracks with this material. Videos will be posted on Youtube when allowed from parent groups. I can travel around in the Stockholm & Uppsala area. Booking info: patrick.fridhATgmail.com - +46 731 502205. I can also do this on an international basis provided payment upon agreement + flight & cargo (not much) and hotel room / bed & breakfast.
Thursday, September 03, 2009
New track posted scheduled for iTunes placement by 09|09|09 celebrating the date and the dated (but beloved) Roland TR-909 drum machine. Track length 9.09, 122 BPM. A happy little housey & pop'ey tune.
Speaking of 9's... my favourite music forum 99musik has just got out of the 99.se network and is on its own legs again, on its very own and very Swedish domain.
Wednesday, August 26, 2009
Wednesday, August 19, 2009
Sweet jazzy'n pleasant, highly skilled productions, beats, vocals, chords, harmonies, basslines, samples. An amazing collection of broken beats / nu jazz / deep house / moodz / headnoddin'.
I'm teamin' up with Richie Kay here in Uppsala to create shiiieee like this, we luv this kinda shiieee. :) Inspired by the sounds of the 60s, 70s and 80s, this is what has happened to the music on the dancefloor... or some floors, like... the best floors out there. Focusing on the interesting parts, the odd breaks'n'stuff of the past, building new atmospheres.
I'm noting to myself... buy this record as soon as the matafakin salary says hi.
Monday, August 10, 2009
new problems will arrive
You might think you're on your way
when something happens like today
Met a girl I instantly liked
I don't know but it just felt right
Happened to say "I want this to last"
And she went "you're moving too fast"
Then she said "I wanna think a while"
I began to see I'd sink a mile
She left me just like that
She let me just pass
(c) patrick fridh 2009
Click here to listen at Trig, just press play.
Friday, August 07, 2009
Sunday, June 28, 2009
If you want some seriously good reading about MJ - you need to read Lisa Marie Presley's blog on her Myspace.
Now, as said in the header, I've remixed Peter Gabriel again.
The result is online at Realworld Remixed.
Games Without Frontiers - Bitley's Greetings From Uppsala Remix
You only need flash to be installed on your computer to play it; of course good speakers are recommended.
It instantly flew into chart position #4 just in a couple of days.
I am very greatful for that.
Love to the music,
Patrick Fridh Aka Bitley™
Friday, June 26, 2009
Michael Jackson leaves us
I sit her, remebering phrases from songs I love - and I'm in a state of mental emptiness. Saddened by the news reports of today, now trying to take the fact in - Michael Jackson is no longer with us. It would be a crime stating this on a blog had this been yesterday, now - it seems, I'm afraid, it's true. Michael Jackson will live forever through his music and videos, but he has left our universe for some other mission now.
I can't believe it's true but I'm trying hard to do it.
Michael Jackson is no longer with us.
Rest in peace, my brother. You have given me the finest music known to man.
Tuesday, June 16, 2009
Please check out my new remix of this african world music track, my mix is more of a slick trip into Arif Mardin & Quincy Jones landscapes! I really appreciate votes and neat comments. For you music makers out there, Realworld offers remix competitions and remix packs - start creating. The original track is also available at the site for reference listening. Enjoy!
Monday, June 01, 2009
Tja! Orkar inte skriva på engelska, så högtravande... å ingen läser ändå. Eller? Jag har iaf precis flyttat till Uppsala... eller håller på. Officiellt datum är den 1:a juli. Söker nya vänner i denna stad! Av en händelse började jag jobba här i januari. Får se om jag får förlängt, hoppas på det. I vilket fall bodde jag i Gnesta innan & det var pisstrist, så Uppsala borde kunna ha förutsättningar. Förutsättningslöst får du gärna skriva ett hej - patrick.fridhATgmail.com har jag - är en frånskild tvåbarnspappa på 37 bast som brinner för... (nähä?!) syntar å elektronisk musik, grillning i en skön park, ... jobbar på Uppsala Kommun numera, fastighetskontoret - där jag bygger webbsidor för glatta livet. Har cykel! :) Mitt hood är Ekeby! TJABA!
Saturday, March 28, 2009
Sunday, March 01, 2009
• Alesis Fusion 8HD
• Ensoniq EPS 16 Plus (dysfunctional!)
• Roland MKS-50
• Roland MKS-80
• Roland Juno-106
• Roland JV-1010 (expanded with the built-in Session card and a Vintage card)
• Yamaha TX802
For quite some time, I've had this equipment right at hand, but it's just sitting here. The Alesis Fusion have been used, more or less, like a hardware controller to Propellerhead Reason 4, my main production area. I'm also using Logic but I'm not finding it too logical these days, even though I used to love Logic 3 & 4 back in the days of the AMT 8 & more.
I have stumbled upon hardware synths from time to time even though I decided to go all software back in 2001 when I worked for Propellerhead. The love of synths takes me back down the road of Nostalgia (sung to the tones of Nasa's wonderful 'Road To Newtopia', check it out!). I've borrowed most of the vintage gear listed above. Then plan was to use them, sample them, program new patches for them, whatever.
The problem is that it seems impossible to find a really good MIDI application today that integrates the hardware synths with the software in a smart way. Of course, I can send MIDI to them from Logic, but how the h*ll do I chose patch 129 in bank 13 of the Fusion, chose the right FX setting for it (working in a multitimbral patch), the right pan & volume settings? In a word: impossible. At least from the computer. I can set all this in the Fusion itself but it's cumbersome and uneffective. In the same amount of time, I could make a Combinator patch for R4 that sounds fatter, better and more interesting. But if I'm a bit decided in my quest to really use the Fusion, then? I don't know. There's a program called MidiQuest XL (in a true 1987 manner of name conventions and all). I checked it out. It's kind of horrible and it doesn't even have an Alesis Fusion layout.
So, from surfing the net on the subject for hours and hours, I have now decided to try sampling the gear instead.
So, yeah, right, you think I'll go ahead and just spend some time multisampling all of the 194,650 patches available in these synthesizers? No way.
I'll try a robot application called SampleRobot!
Now, things finally starts to look interesting, at least from looking at the surface of it all.
First things first, I'm most fond of using my iMac ('08 model, the one Apple sells today in '09 as well). It's silent, has a wonderful monitor and feels awesome to work with.
The program is a Windows program.
So, first steps first... I'm using the Windows 7 'experimental' version (nothing pirated here, it's Microsoft's free, public beta) and I've just installed Parallells 4 - a 15 day free trial. I've download the demo version of SampleRobot 3. Total cost: Zero, zip, zilch. Just some spare time.
Now, Windows 7 is installing. So I'll get back as soon as I know more.
Project Synthesizer Preservation has begun!
Friday, February 27, 2009
Tack för din otroliga vänskap under många år Mattias. Vi fick umgås nästan dagligen mellan 1998 och 2005 då våra familjer hade kul och trivsamt ihop. Sedan tog detta slut i och med min och Janes skilsmässa. Men jag tänkte på er i alla år. Och fick höra om er då och då, under perioder då jag och Jane varit vänner åtminstone. Du fick leukemi. Vi blev djupt chockade. Men du besegrade den. Men så kom cancern tillbaka och tog ditt liv alldeles för snabbt. All värme till de som stod dig närmast. I morgon begravs du men du kommer alltid leva i mitt hjärta som en av de finaste vänner jag någonsin haft. Tack för detta.
Kram från Patrick, Packa, Puttefnask, Putte, Fnasket.
Friday, February 13, 2009
Sunday, February 08, 2009
Access has just updated the Virus synthesizer again - this time around it's the second incarnation of the TI hardware for the big brothers in the gang. The Virus TI Snow (pictured above) remains the same - after all, it's pretty recent anyway. Being a synthesizer nerd I had to find out more about all of it, and it's really quite simple facts - I'll add more details as soon as I find out more about it.
The very basic information of the Virus synthesizer is that it's a virtual analogue instrument which has been around for about 10 years now. It's been upgraded from time to time; the first one was the Virus A, followed by B, C and TI ranges. The Virus TI added USB interfacing and does work as a software synthesizer in a modern sequencer, using the synth as a DSP engine, a front end to the software, midi and audio interfacing for other duties as well.
• The new TI 2 models (Key, tabletop and Polar) has improved design visually and features 25% more processing power compared to the original TI range. However, the new 3.0 software is backwards compatible so the "old" TIs are basically just about as cool as the new ones. However, I think the new design is really attractive. Small but efficient changes have been made. The computer plug-in has been updated as well. The 3.0 update adds some interesting effects such as a tape delay and more.
• The Snow model has these disadvantages: It's 4 part multitimbral compared to 16 part on the bigger models. It's got stereo outputs only - where the big brothers has separate outputs and digital in- and outputs (SPDIF). It's unclear if it has less processing power - the PDF brochure states that all models can have up to 110 voices of polyphony. The earlier TI range had up to 80 voices of polyphony. I don't know if the 3.0 update can give the older models more polyphony than that. The Snow model is interesting because it's quite a reasonably priced unit; it's about €1100 where the tabletop TI 2 is about €1700 and the keyboard versions cost about €2300 each. Since audio tracks could be used for recording the synth, 4 part multitimbrality doesn't have to be a restriction - just record it to audio and add more after that.
• In TI mode (TI means 'Total Integration') the instruments does double duties as audio and midi interfaces.
A web presentation of the TI 2 range here!
Access 2009 product catalogue (PDF) here!
And here's some more information - the press release for the TI 2 instruments;
"We is pleased to announce the immediate availability of the Virus TI2 series. The successor of the acclaimed range of totally integrated synthesizers adds 25% more calculating power and sports a redesigned housing and front panel. We also used new materials to bring down the weight of the keyboard versions. On the software side of things, a major feature update, OS3, will be available by the time you read this. The new operating system adds several new FX such as a Tape Delay, Frequency Shifter and several new Distortion algorithms along with a new feature called Character.
Character allows you to adjust the overall tone of a preset reminiscent of several vintage and well-known synthesizers. In addition you can emphasis certain aspects of the patch to allow it to cut better through the mix, or fade it into the background with an extra-wide stereo field.
The new distortions were built from scratch and feature an extreme dynamic range along with sophisticated controls to tailor the sound to your specific needs. They can add everything from warm, tube-like overtones to complete sonic deconstruction more reminiscent of circuit-bending. The new algorithms also include a revamped bit and sampling-rate reduction, allowing you to change the quality and cutoff point with precise, continuously variable control.
The stereo Frequency Shifter and the new Ring Modulator are state of the art algorithms modelled with old '70s stomp boxes in mind.
The Tape Delay goes way beyond the possibilities of the real Tape Delays in the '60s and '70s. It smoothly syncs to tempo, lets you decide if a Doppler effect takes place when changing the tempo, and even switching the delay time between presets is all smooth, making it perfect for performers. Last but not least, a modification to the main "VCA" algorithm enables OS3 users to design gating FX known from electro and minimal influenced music.
Virus Control has received a completely redesigned user-interface thanks to various improvement requests over the last years. The plug-in now features a side chain input allowing you to mangle audio from a sequencer track with the FX and sound engine of the hardware Virus (for selected hosts only). The best news, however, is that OS3 is compatible with all legacy Virus TIs and the Virus TI Snow, thus enabling Access' vast user base to update their existing instruments with all the new software features totally free of charge.
OS3 will be available immediately. The Virus TI2, which comes in the following flavours will also be available shortly after NAMM.
Virus TI2 Desktop 19" desktop synthesizer with wooden front application.
Virus TI2 Keyboard 61 keys (semi weighted) keyboard model with wooden side panels.
Virus TI2 Polar 37 keys (synth action) keyboard model with alloy and wooden side panels.
For pricing information please contact your local dealer or distributor."
Sonic State's video review of the Access Virus Snow synthesizer module.
Tuesday, January 20, 2009
The new song "Hoppet" is pure swedish 80s-inspired, happy pop music. Perhaps our language seems exotic to a foreigner, but I could be talked into doing an english version too. I'm currently asking a friend to make a french version, watch out! ;)
Hoppet (c) Patrick Fridh 2009
Känner ett hopp när jag tänker på det här
Gav nästan upp av alla besvär
Som jag har längtat efter nya tider
Men jag vet ju att sår försvinner
Jag kommer hitta rätt till slut
Nu kommer våren 2009
Jag var en svår en i fjol
Jag säger välkommen, här är min hand
Du får inte flytta till nåt annat land
Jag tror jag hittat vägen ut
Nu är hoppet här och jag tar för mig
Nu är dagen där livet förför mig
Nu är hoppet här och jag tar för mig
Nu är dagen där livet förför mig
Tänk om chansen aldrig kommer tillbaks
Ja vad fanns sen när man hade sitt kval
Du verkar fantastisk å alldeles perfekt
Jag hoppas rent praktiskt på kärlekseffekt
Nu är hoppet här och jag tar för mig
Nu är dagen där livet förför mig
Nu är hoppet här och jag tar för mig
Nu är dagen där livet förför mig
Thursday, January 08, 2009
Patrick Fridh Aka Bitley & some cool synthesizers
MY SONG "HAGAGATAN 10" will be played on P4 Radio Sörmland, Sweden, tomorrow the 9th of January. They'll also perform a live (telephone) interview with me so I can chat about the track.
The song is about (the total cult of) synthesizers & the music stores in Stockholm during the early 80's, a pure 80's nostalgia track. Follow the first link to hear it - I'll also place it on my Myspace page shortly.
I will have a chance to get in @ the TOP 5 list tomorrow, given that enough telephone votes will be done - so tell everyone in Sweden to check this out... ;)
Wednesday, December 24, 2008
Patrick Fridh Aka Bitley™ - Nevertheless Remixes
This is a remix album officially released on the Pirate Bay as a silent protest against IPRED. To show good & fresh music can be FREE and LEGAL.
1. Nevertheless (Bitley's Booyakahasha Remix)
2. Nevertheless (Carl Cadello's Never More A Green Moon Remix)
3. Nevertheless (Lanigans Van's Greenmixed Remix)
4. Nevertheless (Spacecave Intermezzo)
5. Nevertheless (Odd Bob's Venus Mix)
6. Nevertheless (Daniel Hulth's Remix)
7. Nevertheless (Deadbeat's Vocal Edit)
8. Nevertheless (Sector One's Green Moon Remix)
9. (BONUS TRACK) Nevertheless (Bitley's Poorly Edited Version Just For Show)
The original album is on iTunes Music Store and called "Aurora Borealis". But this remix album is OK to download and ENJOY! Please buy the album if you like the music & like the idea of supporting me as an artist!
(c) Patrick Fridh 2008
(p) Patrick Fridh 2008
The copyright is the track itself, you as a user can download it and share it. Please seed. Radio stations must report to STIM and other organizations but they can also obtain this music here and play it. This will render money to the ones involved.