I'm pretty sure WerkBench is now featured in as many videos as Animoog! Here's a new one from the developer.
Here we are using WerkBench to make a groove using sounds from a late-1970's analog drum synth known as the Synare 3.
The Star Instruments Synare is most famous for its use on disco records as a simple 'tom-tom' sound (the first sound I play in this video). Despite its cheesy historical use, the Synare actually a beastly little analog synth with two oscillators (with noise and LFO modes respectively), a self oscilating low-pass filter, and envelopes for filter and volume. I only scratch the surface in this video.
WerkBench is a tool for crafting rhythmic loops from any source material in real-time. WerkBench is great for grabbing sounds on the fly from analog synths that lack patch memory (like the Synare, Monotron, or any modular rig).
In stores now for about $60, this little box let's you mix iOS apps into a more traditional signal path, like guitar pedals.
For the first time, guitar and bass players can now integrate their favorite iOS signal processing apps into their existing live pedalboard setup for enhanced tone shaping and effects processing using an iPhone/iPod touch or iPad.
iRig STOMP is based on the wildly popular AmpliTube iRig interface and is compatible with any iOS (dare we say decent sounding?) guitar / amp / instrument app. With its compact, standard stompbox shape, iRig STOMP is packed with many smart features found here for the first time in an iOS audio accessory.
Reader Aaron Apter has an excellent blog post up about his misadventures with a broken weight plate and a lot of iOS apps.
He's got a way with words and will take you on quite a journey.
I’ve been trying to establish rules for myself lately, which (for a self-employed musician riddled with ADD) is about as effective as starting a diet at Christmas time. However, the other day I stumbled across a set of boundaries that immediately made me want to explore it’s four walls. During a Labor Day group workout my gym, someone dropped a bar and accidentally broke in half a well-worn 25lb plate. Half-jokingly, I asked if I could take home the remains and attempt to put them to musical use. While permission was granted, I definitely got the vibe that others thought I either was up to my antics or a fool to think I could make music out of such a dull and lifeless looking/sounding piece of rubber. That perceived slight was both the motivation and boundaries I had been desperately seeking!
My visions of serendipitously discovering a new musical holy grail were quickly dashed as I played with the weight at home. Usually found objects have some sort of unique tonal characteristic to them. The hollow bong from an empty 2 liter of Coke, the clank of a piece of scrap metal, the bass heavy thump from a large water cooler jug. Yea, this had none of that. No resonance, no shimmer, no nothing. It sounded exactly as lifeless as one would expect a dense scrap of rubber to. Perhaps those doubters at the gym were right.
He frames the whole article as a parable on finding creativity through limitations. This is very true, but I think it is also a testament to the fact that if you know what you're doing, you really can make music out of garbage. You can see both for yourself in this video!
We rebuilt the TB-3 mk. II from scratch starting from the original synth schematics and circuit diagrams. We created hundreds of samples of the original TB-303 hardware along with more samples from a modified version of the x0xb0x so that we could study every nuance and characteristic of the true sound.
It starts with the oscillator signal which at first seem like a very standard saw and square wave, but while traveling down the circuitry, get transformed into very frequency dependent shapes. From there the signal enters the filter which is special resonant 4-pole design with an 18dB frequency response.
The most difficult part was calibrating the complex interactions of knob controls. For example, on accented notes, high resonance values actually soften the filter envelope while accent affects both overall amplitude and cutoff frequency. Just subtle difference in knob positions can dramatically change the sound.
Note the switch, in the top-right of that pic, which lets you toggle back to the old synth engine. This is for maintaining backwards compatibility, as well as allowing it to run smoothly on older hardware. RhythmStudio's developer, Pulse Code, has always kept an eye on supporting older iDevices and I really respect that.