"And the thing that I always tried to do with important singers when I met them was to sit down and record everything they knew, give them a first real run-through of their art." Alan Lomax
Capriccio etneo, Serenata-Capriccio and Yo, el Rey.
The birth of Italian hardcore punk. The cities and the hotbeds of punk. Self-management, squats, politics. D.I.Y., tapes and vinyl. Independent labels. Fanzines and counter-culture word-of-mouth. Concerts, rallies, demonstrations. The battles, the violence, the excesses and the drugs. The antagonistic relationship between the punk movement and the press, daily papers and magazines. The beginnings, rise and fall of the big bands of the '80s. Interviews and rare live footage from Raw Power, Wretched, Negazione, CCM, Indigesti, Kina, Peggio Punx, Impact, Upset Noise and many others.
Official relase date: September 7th 2015
Produced by LoveHate80.it
The D-50 is an all-time favorite digital synth that's still just as popular today as when it first came out in '87. Once Roland's hottest digital synth, it competed against the Yamaha DX7, and was much easier to use. By joining 8-bit PCM samples with "LAS" synth-generated sounds, the D-50 is capable of unique and complex sounds. The PCM samples contained the attack transients, while the rest of the sound came from the Linear Arithmatic Synth (LAS) section which sounds very analog, with subtractive-style synthesis and low-pass-resonant filters. Built-in chorus and (for the first time) digital reverb are also included for giving your sounds space and life! It also has a joystick controller for real-time timbre manipulation. The D-50 was great for new and non-acoustic, percussive, ethereal and beautiful pads & sounds. (Source vintage synth explorer)
Thanks to Retronyms Support I'm testing iMPC Pro beta pre-release Version 1.5 (19420) for iPad since yesterday.
|What to test 1|
|What to test 2|
|What to test 3|
|The new pad effect, Bit Crusher|
My first test results: greatly improved stability; finally a good CPU and RAM management; some bugs still present, but that does not make it impossible operability. Nice work, Retronyms.
SPEAR by Michael Klingbeil
SPEAR (Sinusoidal Partial Editing Analysis and Resynthesis) is an application for audio analysis, editing and synthesis. The analysis procedure (which is based on the traditional McAulay-Quatieri technique) attempts to represent a sound with many individual sinusoidal tracks (partials), each corresponding to a single sinusoidal wave with time varying frequency and amplitude. Something which closely resembles the original input sound (a resynthesis) can be generated by computing and adding all of the individual time varying sinusoidal waves together. In almost all cases the resynthesis will not be exactly identical to the original sound (although it is possible to get very close). Aside from offering a very detailed analysis of the time varying frequency content of a sound, a sinusoidal model offers a great deal of flexibility for editing and manipulation. SPEAR supports flexible selection and immediate manipulation of analysis data, cut and paste, and unlimited undo/redo. Hundreds of simultaneous partials can be synthesized in real-time and documents may contain thousands of individual partials dispersed in time. SPEAR also supports a variety of standard file formats for the import and export of analysis data. Spectral files produced by SPEAR can be used to generate pitch and other data for use in AC Toolbox, an algorithmic music composition program.
Spectral Analysis, Editing, and Resynthesis: Methods and Applications.