#Groove agent acoustic agent

[greyszing]

Groove agent acoustic agent

GROOVE AGENT ACOUSTIC AGENT SOFTWARE

GA5's increased velocity layer limit is made good use of (some sounds have up to 20 velocity layers) and a good collection of presets configure GA5's mixing options to deliver a wide range of acoustic drum styles. It was sampled with high-end equipment in an equally high-end room. This is based around a combination of Pearl and Yamaha drums and predominantly Zildjian cymbals. GA5 certainly ticks that box and the highlight is a new acoustic drum kit simply called The Kit. Of course, the first thing most potential new users or upgraders might look for is new sonic content. The ease with which you can audition, for example, a number of different kick or snare sounds in place, while your project is in playback, is incredibly useful. It does take a little while to get your head around what's possible, but the new Load Panel is both flexible and powerful. While this doesn't do much to counter the 'compact' nature of some of the controls and buttons, it does mean that you can, for example, make more room for detailed sample editing or for the pattern editor.Īs well as acoustic and electronic drums, GA5 also includes percussion instruments via the Percussion Agent.Second, the UI now offers an integrated browser (called the Load Panel) which can be docked or floated. First, the UI is now fully resizable, whether used stand-alone or as a plug-in. However, GA5 brings two significant UI changes that, in different ways, help on this front. That's great for existing users familiar with the interface but, equally, means that it can still be somewhat daunting on first encounter. The overall look of GA hasn't really changed. In short, for users looking for a single solution for all their drum needs, GA4 was already a good bet and, in retaining that core functionality, GA5 remains so. Multiple audio outputs are also supported. You can, therefore, build your own kits - acoustic or electronic - within Beat Agent. If you want additional content, Steinberg have a series of genre-based expansion packs for sounds, patterns and styles.įor the Acoustic and Percussion Agents, the user gets plenty of mix options for tweaking the sounds (although not direct access to editing the samples themselves), while the Beat Agent provides very detailed sample editing, support for velocity layering, sample import and excellent options for slicing audio loops. There is also a very neat Style Player system for easy triggering and performance creation as well as a comprehensive MIDI pattern editing environment. As well as a substantial collection of sounds, there is an excellent set of 'styles' (collections of preset MIDI patterns) in various musical genres, and these can also be assigned to a pad system for triggering. In brief, that means you get three different drum Agents - Acoustic, Beat and Percussion - any combination of which can be loaded into the four Agent slots in a single instance of Groove Agent. However, the core functionality found in v4 - and summarised in the June 2015 SOS review - remains intact. The focus here will obviously fall on the new and improved features in the v5 release.

GROOVE AGENT ACOUSTIC AGENT SOFTWARE

With software as deep as Groove Agent, any review is only likely to scratch the surface of what's possible. So, if GA4 was the 'ultimate drum studio', where do you go from there? With Groove Agent 5 now with us, what have Steinberg done to take their flagship drum tool to an 'even more ultimate' status? Status Quo With a very deep feature set, and multiple 'Agents' covering electronic drums, percussion and acoustic drums available within a single instance, it certainly staked a pretty good claim for the 'best all-round drum tool', combining elements found in the likes of virtual drummer products such as Superior Drummer/EZ Drummer and virtual MPC-style drum machines. GA4 was certainly a very significant change from previous GA-badged virtual instruments. How do you improve on the ultimate drum studio? Steinberg attempt just that with the latest version of Groove Agent.īack in 2015 Steinberg tagged Groove Agent 4 as the 'ultimate drum studio'.

[drumhunter267]

Cubase Pro 8 For Mac

Cubase Pro 8 Mac Os

Cubase Pro 8 For Mac Catalina

Welcome to Steinberg Steinberg. Cubase Pro 8 or Cubase Artist 8! Cubase has a very long and successful lineage, going all the way back to 1989. Since its first release on the legendary Atari computer, Cubase has become a household name around the globe. And this is just one of many reasons why. Reason 8 mac osx 10.7 crack. Reason 9 full crack is the first third party DAW to add support for Ableton’s Link technology. Users of Reason 9.1 can effortlessly sync their music making apps across WiFi, and Link will. Cubase Elements 8 Keygen. Cubase Pro 8 Crack plus Activation Code is the best and famous music production software. OS X Version 10.9 / 10.10; Windows: Windows 7. / Windows 8. Cubase 7 crack mac osx incl keygen free trial version download. Steinberg cubase 7. Cubase pro 8 crack. All Posts; Search. Log in / Sign up. Jan 9; 3 min read; Cubase Elements 8 Crack Mac Os. Updated: Mar 12.

Cubase Pro 8 Mac

Mac OS X 10.9 · 10.10 · 10.11 Windows 7 · Windows 8 · Windows 10 May 19, 2016 Update from Cubase Pro / Artist 8.x Cubase Pro / Artist 8.0.40 · Update · 812 MB Version History / Issues & Solutions May 19, 2016 Update from Cubase Pro / Artist 8.x Cubase Pro / Artist 8.0.40 · Update · 672 MB Version History / Issues & Solutions New Installation Cubase Pro / Artist 8 · Vollinstaller · 10 GB New Installation Cubase Pro / Artist 8 · Vollinstaller · 10 GB If needed, please find the latest update for the plug-in Grooove Agent SE 4 (included in Cubase Pro 8 / Cubase Artist 8) here.If you are working with VST Connect SE 3, please make sure you have installed VST Connect Performer 3.0.40 or later.

Mac OS X 10.9 · 10.10 · 10.11 · macOS 10.12 Windows 7 · Windows 8 · Windows 10 May 19, 2016 Update from Cubase Elements / AI / LE 8.x Cubase Elements / AI / LE 8.0.40 · Update · 570 MB Version History / Issues & Solutions May 19, 2016 Update from Cubase Elements / AI / LE 8.x Cubase Elements / AI / LE 8.0.40 · Update · 381 MB Version History / Issues & Solutions New Installation

Cubase Elements 8 · Full Installer · 2.7 GB Groove Agent SE Acoustic Agent for Cubase Elements 8 · 658 MB Please install Groove Agent SE Acoustic Agent for Cubase Elements 8 only after full installation of Cubase Elements 8 has been completed.

New Installation

Cubase Elements 8 · Full Installer · 2.5 GB Groove Agent SE Acoustic Agent for Cubase Elements 8 · 573 MB Please install Groove Agent SE Acoustic Agent for Cubase Elements 8 only after full installation of Cubase Elements 8 has been completed.

Cubase Pro 8 For Macbook Air

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[dustedmagazine]

Dust Volume 6, Number 7

Stars Like Fleas

The summer rolls on in a very peculiar way, with masks and zoom calls and brief, furtive trips to the grocery and the growing realization that normal is months, if not years, away.  Even so, the music remains excellent. Thank god it’s downloadable and accessible even in these strange days we inhabit. Here writers including Bill Meyer, Jennifer Kelly, Jonathan Shaw, Ian Mathers, Justin Cober-Lake and Ray Garraty consider improvised drone, precocious alt.country, experimental banjo tunes, rap metal and jazz.  Enjoy.

75 Dollar Bill — Live at Café Oto (75 Dollar Bill’s Social Music series)

Live at Cafe OTO by 75 Dollar Bill

Before 75 Dollar Bill put out those widely revered LPs for Thin Wrist records, Che Chen and Rick Brown made a series of tapes. You could pick them up at shows, packaged in a clamshell case with a business card advertising their services. 2020 is a plague year, so it’s going to be a while before anyone hires them for another party or a parade, but this download-only release fulfills similar functions. It captures the band at a particular moment in time, and it gives you a chance to throw a few bucks their way. Do so and you probably won’t be sorry, because the late 2019 tour documented by Live at Café Oto was unique in 75 Dollar Bill’s history. Chen and Brown did the whole run of shows with double bassist Andrew Lafkas, but they also did nearly all of them without essential gear. It wasn’t until near the end, when they played in England, that Brown was reunited with the big wooden box that is his main percussive instrument. Spread across three sets, this three-hour long album shows how swell they sound when they’ve got a committed agent of swing adding his subtle shift to their Bo Diddley meets Mauritanian wedding music groove. If you know I Was Real, you’ll recognize many of these tunes, and you’ll likely appreciate the differences that 75 Dollar Bill works and reworks upon them.

Bill Meyer

  Bandgang Lonnie Bands \ Bandgang Javar – The Scamily (TF Entertainment \ Empire)

After Bandgang broke up, Lonnie Bands made a successful solo career. His only misfortune, apart from a murder rap prosecutors tried to stick him with, was that he picked up a no-talent partner Javar. Here, surrounded by aggressive but undistinguished artists Mascoe and Paid Will, Lonnie hasn’t learned lesson. Thankfully, Javar makes his presence on The Scamily scarce, and the second half is basically Lonnie’s solo effort with some guests. As usual, Lonnie makes himself busy in illegal activities: drugs, scams, pimping, firearms. He neatly sums up his bad deeds on “Me Too”: “You on that bullshit? Me too.” The Scamily is not that focused as last year’s KOD but Lonnie, with his slick rhyming and catchy hooks, always reinvents a bad man’s lexicon.

Ray Garraty

 Sammy Brue — Crash Test Kid (New West)

Sammy Brue is no longer quite the wunderkind he was when he released his first full-length at 15, but he is still quite impressive here on the follow-up, hitching the spit and fire and wordy angst of, say, Ezra Furman, to the downhome pyrotechnics of Bob Log III. “Teenage Mayhem” explodes with teenage aggression, building out a twitchy blues riff into a monumental rock chorus, while “Crash Test Kid,” is softer sonically, but just as unflinching in its narrative. “Skatepark Doomsday Blues” is epic and grandiose but carries it off, infusing an old man’s blues progressions with the eruptive feelings of young manhood. All the signs point towards Brue growing into his art. He’s already channeling raw emotion into sharp song structures and lyrics without sacrificing their force. It’s a drag getting old, but it doesn’t have to be a step back.

Jennifer Kelly

 John Butcher — On Being Observed (Weight of Wax)

On Being Observed by John Butcher

English saxophonist John Butcher has a deep and diverse discography, much of it on CD. Since the standard of his playing is so high, and the settings and accompanists he selects so diverse, they’ve never been merely about documentation; you’d have to look hard to find a dud on the shelves. But as format preferences, economic shifts, and that damned virus turn everything upside down, Butcher has, like everyone else, found himself suddenly with plenty of time to comb through the hard drives and reassess the music stored there. And since CD manufacturing and distribution has been snarled up worldwide, what better time to transfer some of it straight to yours? On Being Observed comprises six solo performances recorded between 2000 and 2006, and you could not ask for a better introduction to what he does on his own. It features him in the studio, at a jazz festival, and in some unusual acoustic environments which afford a number of ways to understand what it means to read the room. Whether he’s playing to an audience or a 20 second delay in a dis-used gas storage facility, acoustically or amplified, using a soprano or tenor sax, Butcher’s tone is unmistakable, and his sense of how long to develop ideas and how to develop them is peerless.

Bill Meyer.

 Carling & Will — Soon Comes Night (self-released)

Carling & Will (banjo player Carling Berkhout and multi-instrumentalist William Seeders Mosheim) have spent the last few years working out new twists on old-time music. Their debut album Soon Comes Night takes another a step forward from their previous, more traditional sound. Much of the album relies on the interplay of banjo and electric guitar. The pair don't go for outre sounds, but Mosheim provides textures for Berkhout's banjo playing. “Lillie's Lullaby” offers a highlight, not only in its prettiness, but in its revelation of Berkhout's idiosyncracies as she shifts in and out of more typical patterns. The album in itself makes for a lovely collection of songs, but it has both the ups and downs of an act starting to find itself. Carling & Will have a distinct voice, and the more they work to develop that (probably by letting Berkhout get odder and Mosheim explore his voicings a little), the more impressive they'll become. If the pair decides to just focus on smaller updates to mountain music, they've already shown a worthy artistry in that.

Justin Cober-Lake

 Cloud Rat — “Faster” (Self-released)

Faster by Cloud Rat

Like a lot of us, the folks in Cloud Rat have been cooped up behind walls, watching the world burn. But that hasn’t stopped them from making some terrific music. This new track, “Faster,” has been posted to Bandcamp as a benefit for Black Lives Matter-aligned organizations. The song is somewhat in the mode of their most recent EP, Do Not Let Me off the Cliff (2019). That record traded in the band’s characteristic grindpunk intensities for some weirdo experiments in dreampop, noise and gauzy gothic nightmare soundtracks. “Faster” isn’t quite as far out there, and longtime listeners of the band will recognize some of the textures of tracks like “Moksha,” “Raccoon” and “Luminescent Cellar.” The song starts and ends with some lovely acoustic finger-picking by guest musician Andy Gibbs of Thou. In between, there are clean vocals by Madison Marshall that border on the ethereal, and electric riffs that build and build toward majestic heights. Good cause, great tune.

Jonathan Shaw  

 Drakeo the Ruler – Thank You for Using GTL (Stinc Team)

Recorded through a phone line from prison, with beats later provided by JoogSZN, Thank You For Using GTL right after its release was named best prison album since Penitentiary Chances, by now classic joint effort by C-Murder (still incarcerated) and Boosie Badazz (now free). It was too strong a claim to be true. On that duo’s album you can hear a sense of doom hanging over them. When all hope is lost, there is only a prayer, and even that can get lost on its way to God. There was no tomorrow. Drakeo the Ruler, on the other hand, raps like there is tomorrow. Even rough sound of voice recording and “This call is being recorded” tags are more like a necessary sound effect and a gimmick rather than an effect of reality (he couldn’t do it any other way). Strip this tape of all these effects, and you end up with an ordinary rap album, exactly like others released by dozens every week. Maybe there is no reason to thank GTL. It did us a disservice.

Ray Garraty

 Holy Hive — Float Back to You (Big Crown)

These super laid back funk soul cuts stay well inside the pocket, except when they veer unexpectedly into indie-folk. The funk parts come from one-time Dap King Homer Steinweiss, whose loose but transcendent way with a groove can be best heard on “Hypnosis.” Paul Spring, the singer, brings in the psychedelic falsetto, more Justin Vernon than Curtis Mayfield, but still radiant and chilling. The title track plays like a lost 78 soul classic, Spring’s mournful melody wafting skyward as big loopy bass notes and splayed jazz guitar chords drop into a slink and strut of snare drum. That’s maybe what you’d expect from Steinweiss’ Brooklyn soul revivalist resume, but elsewhere, there are surprises. “Red Is the Rose” sounds like Tunng, all space-bopped folk magic and electro-pinging drums, and “Be Thou By My Side” is lattice-picked folk without the slightest hint of syncopation. Both sides of Holy Hive have their sweetness, but only the funk stuff buries a stinger.

Jennifer Kelly    

 Dustin Laurenzi’s Snaketime — Behold (Astral Spirits)

Behold by Dustin Laurenzi

Here’s an irony for you. Composer Louis Hardin, whose habit of dressing up like a Viking and hawking his wares on the streets of mid-20th century NYC turned him into a bona fide attraction, may have conversed with jazz musicians, and shared a record label or two with them. But he didn’t really like jazz. Nonetheless, jazz musicians liked his music back, and they still do. The melodies are graceful, but malleable, and the Bach-meets-powwow rhythms have plenty of productive implications for a percussionist willing to work between the lines. After years of study Chicago-based tenor saxophonist Dustin Laurenzi formed Snaketime, a project named after one of the composer’s rhythmic notions, that turned seven of his compatriots loose upon the Moondog book. Maybe loose isn’t quite the right word, since Laurenzi’s arrangements show deep respect for the original melodies and their exotic vibe. But there’s not a lot of music that can’t be made a bit better when you ask bass clarinetist Jason Stein to improvise from its foundations. This half-hour long tape adds four tunes to the seven on last year’s excellent LP Snaketime: The Music of Moondog, and any one of them could have made the cut if Laurenzi had been given enough rope to make a it a double album in the first place.

Bill Meyer  

 MachineGum — Conduit (Frenchkiss)

Like its Pepto-Bismol-pink cover, these songs seem a bit over-sweet and undernourishing at first, but damned if their synth and disco and art-rock grooves didn’t start to catch on after a few listens. The project, launched in New York City with the mysterious appearance of pink gum machines, is not what you’d expect from a Strokes offshoot, but give Fabrizio Moretti credit for branching out. Here tight, “O Please”’s sleek, wah-wah’d guitars and fat-fingered bass throws off a funk shimmy, but soft, dream-y choruses add an element of electro-pop introspection. “Act of Contrition,” by contrast, swells and swirls with gothy new wave drama, but also vibrates with indie earnestness; it’s like the National playing a New Order cover. If you’d told me a month ago, that I’d be enjoying a super clean, super precise synth-dance album by a member of the Strokes, I’d have laughed, but here we are.

Jennifer Kelly

 Phosphene — Lotus Eaters (Self-Release)

Lotus Eaters by Phosphene

Portland’s Phosphene drifts and drones in a satisfying vintage 4AD-ish way, the serene vocals of Rachel Frankel wafting out over intricate tangles of shoe-gazey guitars as Matthew Hemmerich pounds out motorik rhythms on the kit. This album, the band’s second, was written in the turbulent aftermath of the 2016 election, but it exudes a murky calm. In “Carousel,” for example, Frankel sings about how “everyone gets lost in their own power,” but the temperature remains cool, dream-like, lit by arcs of guitar sound and undergirded by a thudding mantra of bass (Kevin Kaw). The two singles run closest to pop. Bright, upbeat “Cocoon” is spiked with Spoon-ish piano chords, while “The Wave” damn near bubbles with girl pop exuberance. I can see why they’re leaning on those cuts, but I like the cloudy radiance of “Seven Ways,” the morose moods of “The Body” better.

Jennifer Kelly

 Sara Schoenbeck / Wayne Horvitz — Cell Walk (Songlines)

Cell Walk by Wayne Horvitz/Sara Schoenbeck

Bassoonist Sara Schoenbeck and pianist Wayne Horvitz built to their first duo release slowly. They've been playing together since the previous decade in Horvitz's Gravitas Quartet, working together in various styles. The bassoon doesn't necessarily lend itself to jazz, but Schoenbeck's experience with artists like Roscoe Mitchell and Anthony Braxton — as well as in various orchestras and symphonies — has revealed her fluency in different languages. Horvitz and Schoenbeck develop that approach on Cell Walk, mixing composed and improvised tracks, moving from jazz to classical and back again, happily residing in a new music space. The pair's chamber background comes to the fore more than anything else, but the artists' experimental ideas and Horvitz's occasional electronics keep the duo moving forward. The album mostly stays cool, although a few tempo shifts and Schoenbeck's varied tone create unexpected energy any time the disc starts to settle. Schoenbeck and Horvitz fill an unlikely niche, but they also make a good case for expanding it.

Justin Cober-Lake

  R.E. Seraphin — Tiny Shapes (Paisley Shirt)

Tiny Shapes by R.E. Seraphin

Ray Seraphin makes sweet, sharp songs out of guitar jangle and whispers that seem to nestle right in your ear. His first cassette under his own name after a stint in the slightly more abrasive Talkies kicks up a power pop dust and haze a la Luna or, more recently, Plates of Cake. Like these bands, however, he envelops smart, coiling melodies and wild spiralling guitar hijinks in daydreaming inchoate jangles. In “Streetlight,” Seraphin vamps and caroms in spike-y mid-temperature anthemry, crooning “And I won’t feel a thing,” and indeed there’s a misty, nostalgic remove around most of this album’s emotional content. Yet there’s also a classic pop shape that can’t quite be obscured by muttered, offhand delivery. “Fortuna” is the best bit, to my ears, a summer radio megahit heard from several rooms away, bittersweet and slipping away even as it plays.

Jennifer Kelly

 Stars Like Fleas — DWARS Session: Live on Radio VPRO (Amsterdam) (self released)

DWARS Session: Live on Radio VPRO (Amsterdam) by Stars Like Fleas

New York collective Stars Like Fleas are still gone, but the tracers and streamers left in the air by their passing continue to be entrancing. Whatever collapsed in the wake of their work on the follow up to their epochal LP The Ken Burns Effect can perhaps be glimpsed a little in the bulk of this first (and hopefully not last) release from what they describe as “a huge archive of live and session material.” As the title indicates, six of the 11 tracks here come from a radio session they did during their final tour (coming apart and leaving the final album unfinished upon their return to America). Along with a couple of Ken Burns highlights that session is all new material and it is as rich as anything they released during their lifetime. The collection is rounded out with some brief improvisations and another track intended for the final album, the 7” single “End Times”, and a wonderful performance of “Falstaff” from a Toronto show. Perversely and beautifully enough, the result is not only a must listen for fans of the group, it makes an excellent introduction for anyone who missed them the first time. Bring on the archives!  

Ian Mathers  

 Thecodontion — Supercontinent (I, Voidhanger)

Supercontinent by Thecodontion

 A death metal band entirely devoted to songs about ancient, paleolithic lifeforms and geological history? It’s not the most harebrained musical concept you may have heard — it even makes a sort of sense. What better musical genre to address such massive, atavistic and lumbering forms? Supercontinent is the Italian duo’s first LP, following 2019’s Jurassic EP. As its title suggests, this new Thecodontion record goes way, way back, to primal landforms, before continental drift assembled the earthball’s map into its current shape. Appropriately, the longest track on Supercontinent is “Pangaea,” named for the unimaginably huge late Paleozoic landmass. Thecodontion’s featured instrument is Giuseppe D’Adiutorio’s bass, which he variously thrums, hammers and shreds. He gets some pretty amazing sounds out of it, sometimes producing the soaring, moaning, keening sounds that Greg Lake coaxed out of his bass on the early King Crimson recordings. The proggy reference is pointed; Thecodontion’s high concept project smacks of prog’s grandiosity. But where prog shoots for the heavens, Thecodontion goes bone hunting. It’s interesting work.  

Jonathan Shaw

 Various Artists — Building A Better Reality: A Benefit Compilation (JMY)

Building A Better Reality : A Benefit Compilation by Various Artists

As Bandcamp’s choice to waive its portion of transaction proceeds in favor or certain needs and causes has evolved from an occasional to a monthly event, releases have started to appear which take advantage of both the event and the rapidity of production when no physical objects are being produced. George Floyd died under a policeman’s knee on May 25; this compilation was released just 24 days later, on Juneteenth. Brent Gutzeit of TV Pow secured 106 contributions from friends, friends of friends, and customers of friends — and that’s just the parties that this writer recognizes. They range in length from Kendraplex’s 58 seconds of metallic shredding to Joshua Abrams’ half hour of mournful clarinet and cathartic double bass. You’ll find acoustic protest music, swinging jazz, harsh noise, hip-hop, and a sound collage that includes sounds of protest and mourning. The participants include Simon Joyner, Jsun Borne, I Kong Kult, Jesse Goin, Chris Brokaw, AZITA, Keith Fullerton Whitman, and the Jeb Bishop Trio, along with many, many more. Have I listened to them all yet? Of course not! But the thing with a set like this is that you don’t need to. Put it into your shuffle play and it’ll yield surprises for years to come. Income goes to Black Lives Matter, NAACP Legal Defense Fund. and the Greater Chicago Food Depository.

Bill Meyer

 Michael Vincent Waller — A Song (Longform Editions)

A Song by Michael Vincent Waller

At first listen, you might not guess that composer Michael Vincent Waller’s new EP/song A Song is an improvised piece, and as the surrounding material on Bandcamp makes clear, that’s kind of part of the point. Composition vs. improvisation is the kind of duality where both sides are never really distinct, and Waller is both interested in the history of composers improvising and (possibly naturally) improvises in a way that’s not a million miles away from his compositions. Which also means that just on that first listen the 21 minutes of solo piano found here are frequently beautiful, whether patiently probing a set of arpeggios or momentarily going somewhere a bit darker and deeper near the end. Whether considered as work done around or between more composed ones or in its own right, A Song makes for both a fine follow up to Waller’s 2019 collection Moments and a brief thesis on the always permeable boundary between two methods of creation.  

Ian Mathers

[fairycastlesintheair]

Pluie/Noir Studiocast 01 "Erik Sature"

Sound Mixed and Performed by Vadim Svoboda Visual Interpretation by Max Binski

Soundcloud Link: soon

Pluie/Noir teams up with Make Sense's Vadim Svoboda for a new series featuring artists exploring their favourite musical gear through improvisation.

Vadim's session is particularly educational. As a true connoisseur of Elektron's Machinedrum and a lover of classical music, Vadim decided to focus on the ROM feature of Elektron's infamous first drum machine and deconstruct Erik Satie's music on the fly. 

Used in the video: 

Elektron Machinedrum SPS1UW+ mkII 

Strymon Deco 

Zoom H6 

YouTube (sampling source)

Cleymoore interviews Vadim Svoboda:

Hi Vadim, such a pleasure to have you at P/N finally, especially having you bring a new format to the series. How are you, all things considered, amidst this global chaos?

Hello Bruno! Thank you, the pleasure is mutual! Been a long time we met each other and I’m glad to participate in Pluie/Noir's very subtly sharp universe. Regarding my physical being, I’m safe and sound. Thankfully, isolated in the countryside of France with people I love, so I feel lucky! I guess music producers are somehow trained for social distancing, but this is a serious threat to humanity, so it has to be taken very seriously. I wish we will learn lessons from it.

We’ve met a while ago, back when I was living in Paris. Makesense was on its 3rd release and you were still resident at the Sundae parties in Paris. How did the scene change after all these years?

I guess Paris became a bigger target for booking agents and famous DJs, but those « headliner » performances in big events didn’t necessarily help build our scene further. On the other hand, the reaction it provoked was good, and I see more and more promoters having the guts to do something special, and focusing more on the local talent, with 100% original music. This is, in my opinion, the best way to build a strong french scene. Booking one big name from the ’90s won’t really push our scene further, whereas booking 100 locals actually might.

After a long hiatus period, Makesense returned in 2018 with your own album 'Hasard Ordinaire'. A total shift in style for the label, it presented a side of you a lot of people didn’t know: bold, experimental and tremendously deep. Is this the direction you want to explore?

Yes, I’ve planned to explore different musical styles with Makesense from the start. Makesense has always placed a focus on emerging talents and promoting forward-thinking music. That’s what we pride on, and that’s what drives us. This year will feature at least two new releases. The first one from a very close friend of mine, someone I consider to be one of the most innovative french producers around, and the second one will be the first release of a Japanese Machinedrum master; glitchy, breaky and yet, so romantic. I have goosebumps while typing this, and I can't wait to show it all to you. We are back and for good. 

There’s a lot of sound manipulation of Pianos in Hasard Ordinaire. Is Piano is a big part of your creative life? 

I’ve been playing the piano since a very young age, so it plays an enormous part in my creative life. Throughout my life, I've used it mainly for advertisements and soundtracks. When I was about 18yo I’ve fallen in love with step sequencers, which lead me to the discovery of Elektron's Machinedrum. Because it's so simple to play, sequence and perform, almost like a piano, I've decided to perform live with it. I’m now trying to mix both of these worlds, and both creation processes: acoustic, grid-free, and synthetic pattern sequences. 'Hasard Ordinaire' is a gathering of several tracks I composed between 2009 and 2018: a compilation of musical drafts, or test tracks, that for some reason I’ve always hesitated to share.

When we met, you already had a deep love for the Elektron machines. I remember seeing you perform live with 2 Machinedrum, and carefully observing you flow with them in a very peculiar way. Is the Machinedrum currently your drum machine of choice? 

Yes, even though I've tried to take my distance from it many times. But it became an expansion of my soul, and most certainly a big part of my trademark sound. After 3 years of abstinence, I’m very excited to be back to this machine. I’m now separating outputs, applying external audio processing, reverbs, and compression, in order to improve it's sound while facing new challenges at the same time.

Do you record your samples always through the same mediums? 

The samples I use in my regular productions are always transferred to the ROM machine of the Machinedrum, and those can come from anywhere, including internet samples banks, vinyl records, youtube, iPhone recordings, etc. Those sources are converted by the Machinedrum into a 12-bit lo-fi sound that I like and are never left untouched. I like to create the groove from A to Z, so I use the timber of the sample to create texture, and sequence it upside down. I like to put a sample in the centre of special projects, like in "Erik Sature".

This session seems like an educational experiment. What did you intend to reach? 

Every couple of days someone asks me something about this machine. I love it. I’ve never met anyone at Elektron but I feel like I'm probably one of their earliest Machinedrum owners. I bought my first SPS1-UW in 2005, and I've spent a minimum of 4 hours per day, every day, for more than a decade, on this machine. It just took me a long time to find the best way I could share my knowledge. I wanted it to be fun to do (hence the improvisation), fun to listen to (like a normal live performance/mix) and yet, still educative (like a tutorial). I’m ultra-passionate about the Machinedrum, and I feel a special connection with the people that feel the same about it.

Why Erik Satie? 

In my opinion, the best sample is the one you can't recognize. Satie brings a lot of emotion with very few notes, so it’s somehow easy to grab the texture of a certain piece, or its central mood while transforming it and creating a whole new melody on the fly, with very little effort. I think minimalist piano players are fun and easy to sample. You can quickly appropriate yourself of their sound. Chopin or Rachmaninov, on the other hand, would need more slicing precision, and I guess the podcast wouldn’t have this « easy-listening » touch. I wanted the first one to be simple, and clear. 

What can we expect from you in the near (or not so near) future?

I almost finished a piano album that took me 2 years of practice and re-organising of my entire studio. I hope to be able to perform this album in small intimate venues (if we survive this virus!). Playing keys in a concert has nothing to do with playing keys in a recording studio. Then I'll get back to clubs, which I’ve missed very much.

Links:

http://www.makesenserecords.com http://vadimsvoboda.bandcamp.com http://www.maxbinski.com http://pluienoir.tumblr.com https://www.elektron.se/legacy-products/

Web: http://www.ringsofneptune.com / info (at) pluienoir (dot) com

[mamba-posts]

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[rosedalemike]

The Mood: Blog #13 “The Taco Tuesday Theory/updates”

    Very few people know this but Tuesday has been kind of an inside joke (...hence why very few people know this...) amongst the revolving door of Rosedale team members. "Wait until Tuesday, They'll probably reply on Tuesday...Follow up on Tuesday...ask them on Tuesday...hit'em up! For it is Tuesday" etc.

     I don't mean for this to come across as cynical, but Tuesday has kind of become the day where everyone is more likely to get things done. Based on nothing but statisticless experience, people are more likely to say "yes" on Tuesday for whatever reason. Humans are more willing to ignore all distractions and Crush It on Tuesday.

      Come to think of it, this is probably the same reason why there's $1 bowling on Tuesday. And movies are half price on Tuesday. And EVERYONE knows about Taco Tuesday! A little closer to home, In Canada, I remember a bunch of fast food places had "Toony Tuesday" advertised on their windows (a Toony is a $2 coin). These leisure-y businesses probably recognized drastic dips in sales on Tuesdays because everyone was too busy Crushing It to go bowling, watch movies, eat tacos etc. So they made Tuesday specials.

     I still haven't totally figured out why a day of the week has such significance as to why we perk up and Get Shit Done. But the most reasonable explanation would probably come from our counter-motivation to the general perception of weekends. Here's what I invision: Friday night is social/party night (ie.Tacos and Movies), Saturday maybe you'll beach/golf/mimosa (.../more tacos) or maybe you’ll get stuff done around the house during the day then more social events (like bowling...and tacos) at night, then Sunday is so chill that Chick-Fil-A is straight up closed (I know about religion, don't worry).

      But then why not Mondays, right? Well Monday becomes most people's time to just get back into the groove; they'll get some stuff done, ie. reply to some of the workaholics who filled their inbox over the weekend. I'd guesstimate that the average normy gets 20% of the amount of work done on Mondays than they do on Tuesdays. Maybe it's also because on Monday we're all simultaneously subconsciously thinking "I can watch that viral thing that Mr.Normy was talking about at the water cooler...I've got the rest of this week to get the thing done".

    Anyway, that's what generalization looks like from the guy who once assumed all dogs are male and all cats are female. So now that you're all in on my Tuesday theory (and know what a Toony is) I guess I'll try to finish out this here blog and give you some updates:

      Rosedale is still in the re-branding stage. I've been tossing ideas around with friends. Some like/hate certain names, other friends are on completely different pages (hating/liking what was liked/hated...if that makes sense.) But overall I'm still just trying to figure out what to do from a branding standpoint in general! Do I assemble a band finally? Keep the one man show going but give it a clever name? Have a couple different projects with different names (one with a band, one solo with video screens, maybe even one more chilled out piano/acoustic??) I feel like the name’s will be narrowed down if I can organize the overall brand plan first.

      I guess I've been more focused on writing songs (and parts for those songs) than anything. I've got about 30ish songs that I'm happy enough to keep working on. Many others have been scrapped but might make their way back somehow. So that has me juggling a lot of computer files and lyrics messaged to myself randomly throughout my days. It has been nice to focus on creating songs and recording demos as opposed to spending hours grinding away as a small time booking agent for a project whose name is nearly unsearchable.

      But yes, it is really time to buckle down and figure out what to do with these songs/project/name/podcast/YouTube ideas. So if anyone has any suggestions feel free to send them my way and I'll put them in the ever-growing vault of ideas. And I promise to start making some moves soon.

      Speaking of moves, I recently moved to San Diego and am currently living out of my trailer and a rehearsal studio in El Cajon. That has been a throbbing idea of mine since around the time I spent Christmas 2015 in Time & Distance's rehearsal room in Charleston, WV and edited the entire video for Written By The Artist. I've always wanted to live in SoCal since I started skateboarding at 12 years old. Now I'm 30 and I still love this scene so I finally just did it in the most cost efficient way possible and I’m glad I did. Big thanks to Vocal Eze for helping me make ends meet with getting down here for NAMM (namm is a big music trade show). It has been really fun working as an artist ambassador for that amazing throat spray and I’ve been learning a lot. Check out some of the #ShareYourVoice vids I make too!

      In the midst of all of that I got very show deprived from going to see the many great bands down here so I picked up some acoustic shows thanks to Nick from Mainsail. We've been accompanying each other's songs along with some covers - half-jokingly calling it "MainDale". I also started filling in on bass for Mainsail. Check them out asap they're great and super good dudes. A lot of big things to come for that band for sure.

     Then I randomly took a gig for Rosedale this Friday April 5th at Himmelberg's in San Diego (cus why not) so if anyone wants to see that it starts at 8pm PST this Friday April 5th. Rosedale is on last at 11pm so please stick around, tell some friends it'll be worth the late night. Here's the flyer:

     Mainsail has a show at Blonde Bar on April 8th which is also a headlining set. From there I'm driving 38 hours back to Toronto to re-import all my gear back into Canada and renew my work permit (as both my bond and permit expire April 12th). Not gonna be fun, but has to be done. I'm technically not aloud to work or bring my gear into the United States until my new permit starts (May 3rd). But Mainsail has some more SoCal shows in April that I might fly back for... or just help make BassDale tracks for. We're not sure what we're doing about that yet. I really need to figure out dual citizenship though. 

     Most of this + more was already covered in the @Palapalooza podcast I did on my bday. Here's the link for that. 

actually here it is:

     Shout out to Troy from Ready Set Survive for spreading his passion for music/new bands and having me and Mainsail Nick on that.

     One last update; I was working on video edits and mixing for a live hometown Rosedale show that I multi-tracked with Zedpromedia on my last tour and I was working off my 2T hard drive (because the files were so massive) and it crashed the other day while transferring that Palapalooza video onto it. I had so much on that hard drive (old videos, shows, pictures etc) and I've been trying to recover the files but it has not been very successful. I got most of them back with a $90 app but they're all re-organized and renamed or Corrupt and the sessions won't even open. The drive is still sitting about 90% full of files but I worry there's no way of getting any use out of it. Unless I bring it somewhere and pay a bunch of money for someone (that knows something I don't) to do their thing. Which I'm thinking I should probably do.

     I guess that's all the updates for now. What have you all have been up to? I really miss seeing friends at shows and hearing about what they have going on in their lives. So feel free to reply here or message me anytime even if you feel like you have NOTHING going on (we all feel that way sometimes). Any new music/Podcasts you've been listening to? Blogs or vids I should check out? And of course, the perfect band name for me?? Let me know! 

Thanks again to Vocal Eze and Westone and Ernie Ball for helping me out so much over this re-brand transition! I'm extremely lucky to have such great support from these awesome companies.

     I also wanna give one last special shoutout to an awesome fan/friend who has really inspired me to get back to writing these blabbering blogs. Mellyssa Woodward recently started a blog that exposes new bands via very interesting interviews. She was hesitant to do it because she wasn't sure if anyone would care. Then she just decided to do it for herself and I assure you that they are so good because she is right in her element with these! I think we can all relate to that on so many levels with the many ideas floating around in our heads. Just go do it for yourself however you would like it to be done! That's what Mel (@AssyllemNaej on insta and twitter) did and here's a prime example of how it can only do good for yourself and the world...and of course my favorite Georgia band, LIKE MIKE: https://notesonnotes.tumblr.com/post/183814739906/notes-on-like-mike

Thanks for reading! Hope to see you in San Diego this Friday night or sometime soon :) 

Enjoy your Taco Tuesday and GET’R DONE! If you’re not having any luck, TRY AGAIN NEXT TUESDAY ;)

[odysseywritings]

(earlier ones here)

Kim and Moonzo

Kim Wilson is a cool-headed, soft, and kinky haired woman with a love for catchy grooves and healing bass work in various sessions from synthpop to soul to dance music. Doesn’t seek the limelight at all and prefers to be her own agent in musical ventures and to avoid drama. Likes to enjoy studying her craft and tends to be sitting or standing, acting like an anchor for divas and hooligans. 

Moonzo is a fun-loving, cavalier, yet personable large red alien with wild, frizzy orange hair like a lion’s mane and yellow eyes who simply likes to jam out. He rarely skips a beat and keeps up with excellent stamina, making him dependable in any music choice. He sometimes forgets deadlines and has a very large appetite, but the feline-like fella has a very friendly rapport with others that makes the issues very minor.

The duo love to make catchy music to dance to, and love the joy that music can bring out. Kim’s level headed nature makes her easy to follow for Moonzo’s easily distracted and impulsive head. As well, Moonzo encourages Kim to get out of her shell and try new forms of playing and to experience life with more zest.

Pedro and Sommera

Pedro Moreno is a humble and talented acoustic guitar player who loves to write his own songs without pressure. A hefty man with a clean voice and a healthy mustache, he sees singing as only a part of his musical storytelling, which involves anything from romantic yearning to pride in his country to sarcastically talking about the state of his environment. While valuing his own independence, he does not mind sharing the spotlight, and can be a great rhythm player as well.

Sommera is a whimsical, elegant, and free spirited alien with long oaky hair, leaf green skin skin, pink eyes, and a grin on her 90% of the time. A romantic in every sense, she lives and plays with an immensely proud, if somewhat idealistic, view of life. In tune to violins but can let out a whistle that's akin to a flute for added music.

The pair are content to play without care from others, doing traveling sessions to spread their talents to strangers. Sommera's carpe diem lifestyle is a great muse to Pedro's more cynical work and extends his creative juices. However Pedro's sense of mystery and wryness intrigues Sommera and gives her a full, warts and all picture of humanity. 

[runephoenix6769]

Shattered Part 5

Widowmaker attempts to break free from Talon.

( From all povs.. Lena is not overly friendly to begin with. I shall be uploading here, continoulsy editing and eventually when I’m far enough ahead on Ao3.) 

You can find Parts 1 - 4 under the shattered runephoenix6769 tag. If not i can just reupload. Enjoy.) 

                                        Shattered Part 5

Pushing open the door that would lead to the female communal showers, the ex RAF pilot was greeted by a wall of steam and the heady aroma of cleanliness and wafts of feminine scented shampoos.  It was a reprieve from the stench that still lingered in her nostrils and Lena was convinced had got into the lining of her clothes and hair.

Dumping her wash bag onto the bench,  she swiftly removed the chronal accelerator with practiced ease, stashing it into the specifically created water proof charging dock before the fine mist of minuscule droplets could play havoc with the inner electronics, safe in the notion that Winston would have considered such an eventually especially with her penchant for traipsing the streets of an usually over cast London and taken steps to incorporate it into the design of the life grounding  equipment’s design, it still paid to be cautious.

With a shaky breath, she checked the connection to ensure it was charging correctly and that the seals hadn’t corroded in the often damp atmosphere before punching in her personal code to insure its security.

Her personal locker not more than a few feet away, was sandwiched between Zarya’s and Mei’s, whose remained empty. Lena ran her finger over the piece of scotch tape with her name written in sharpie checking the adhesive. It has been left in the hope of the off chance that the Eco Point operative would change her mind and return to the fold. Peeling at the edges, it would need replacing soon. Lena noticed DVa Nano cola stickers had been added to the collection of pink butterflies and decals of Lucio’s frog, a sign that not only she missed the climatologist’s chipper demeanour.

Letting out a small sigh, she turned the dial of the locker giving it an extra wiggle when it stuck on the number 7 as it always did.  It’s not like she didn’t understand Mei’s trepidation at answering the recall, being left out in the cold by the International organisation was something they both had in common but the glaring difference, Lena had Winston who had worked tirelessly in his own time, risking court martial in a bid to bring her home safely, Mei on the other hand had woken up to the realisation that Eco Point and their team had been forgotten entirely in the fall. Lena couldn’t imagine what it must have been like waking up to find her team mates dead, trapped and with no hope of escape as they suffocated in their pods.

Similar to a cockpit.  Tight. Sucking in oxygen from the tank. Enclosed and inescapable    

Hands fading in and out of existence as fingers tried to grasp the eject button, gasping for air, fists banging on the cockpit’s encasing . Lena’s hand instinctively lashed connecting with the bottom left hand corner of the locker door. Dented from the repeated action of over the years, it popped open.

“Are you ok my little peroskie” came the low toned voice.

Lena blinked, quickly flicking a bright smile on her face to look at the towering form of the Russian Weightlifter; Lena barely came up to her chest.

“Sorry, didn’t hear you come in there.”

Zarya deadpanned, in broken English,

“In Mother Russia, the element of surprise is needed to hunt Omenics. All Russians are silent. We don’t cry when we come out of mother’s womb!”

Lena scanned the Russian’s face for a hint of a lie, finding none, she breathed in wonderment,

“Cor, blimey. Really?”

Zarya broke out into a booming laugh that echoed with the acoustics of the locker room,

“No!” a bear sized hand landed on the pilot’s shoulder causing the much smaller woman to slightly buckle under the weight.  Zarya shook her head, “British so gullible.”

Water trickled in divlets along the grooves of the sculptured muscles, from Zarya’s neck, glistening on their journey along her bicep before dripping from her elbow and splashing with a little plink on the tiles. Zarya quirked an eyebrow and gave a polite cough. A flush of heat rose to Lena’s cheeks.

“Im .. Im .sorry.” her fingers reaching out, “Your biceps are the size of my thighs!”

Zarya’s grin widened and she flexed her biceps for show, nodding in permission for the younger woman to touch them. Lena tried to circle both hands round the bulging muscle and found her fingers too short.  The Russian began to flex in body builder poses, turning this way and that. She turned to show off her back muscles only for the towel to slip down completely. Unashamed, Zarya turned giving Lena a full frontal eyeful. The pilot threw up her hands and closed her eyes, squealing,

“Jesus Christ!”

Zarya stood hands on her hips, revealing in her glory and teasing Lena’s reaction.

“Do you not like the female form? “ She theatrically boomed.

“Yes! Yes!” Lena hurriedly replied whilst trying not to laugh at the ridiculousness. “Just put something on!”

The Athlete let out another rolling jovial laugh as she retrieved her towel and wrapped  it back around herself.

“You feel better now?”

Lena returned it with a genuine smile and a nod,

“Thanks.”

The two women settled into a comfortable silence as they got changed, Lena stripping down to her underwear and stuffing her clothes unceremoniously in to her locker. Retrieving her wash bag, she felt Zarya ruffle her hair as she passed.

“Come, find me when finished reports. Help me take Cowboy’s money in card game, da?”

Once more Lena gave the chornal accelerator dock the once over, testing the handle and double checking that the line of code continued to play in a loop flashing on the interface.

“Yeah, as long as you promise to challenge Reinhardt to an arm wrestle.”

“Done. German knight no match for Russian Bear!”

With a grin Lena slipped into the shower room to the sounds of another booming laugh.

  Making quick work of her shower and dropping off her dirty uniform on the way, Lena was finally able to relax in the safety of her room. The life grounding piece of equipment, once again, was safely stashed in its charging dock not a few feet from where she sat at her desk in her shorts and baggy hoodie.

“Athena, be a luv and turn on the holopad.”

“Of course Lena.”

Whilst she waited for her holopad to come to life she stretched out from her seat yanking on a mini fridge door, blindly searching  it’s depths until her fingertips grazed the familiar shaped neck of a bottle. Balancing precariously she continued to struggle to find purchase, cursing under her breath as she heard the glass bottle tip over rattling against the tray. Slowly she teased it forward by her finger nail in the bottle lid, finally coaxing it into a position whereby she could grasp it.  Happy she pushed the fridge door closed with a foot whilst simultaneously unscrewing the cap off the large bottle of Bishop’s Finger.

Taking a huge gulp of the cool bubbly liquid she praised good old fashioned home brewed British red ale. Resting one foot on the edge of the chair, she relaxed back rubbing out the kinks in her neck. After all these years she thought she would be used to the extra added weight of the accelerator and she was, until she took it off and realised just how much lighter she felt, sometimes swinging round and continuing on an often unexpected trajectory .

“May I enquire as to the mission? All went well?” Asked the A.I.

“Yeah, after a fashion I suppose.”

Stretching up until her breast bone cracked and the muscles in her shoulders gave the tell tall sound of grating together, Lena made a mental note to ask Zarya who her competition masseuse was as she was in dire need of the kinks to be worked out. The last time she had ignored it had been at her own peril, not wishing a repeat of a trapped nerve resulting in sleepless nights, handfuls of painkillers and anti-inflammatories and being bumped off the roster until Angie gave her the all clear.

The tinkling music of the holopad coming to life almost caused her to startle.

“Athena. Can you pull up a report form?”

Taking another much needed sip, her eyes danced across the light screen.  In a strip across the bottom international news headlines played in a loop. The top left hand corner the roster played over as to personnel   away on mission, who was on active on base, who was on downtime. The little icon next to Lena winked green, DVa’s and Zarya’s green with a line through.  Lucio’s red with a line through. Mei’s remained dormant, permanently grey.  Lena had witnessed it flicker green once with an X through it meaning the climatologist had been using the system somewhere in the world and had no wish to be disturbed.

The report template appeared on the screen as Lena took another gulp of beer. Swiftly her fingers tap danced across the keyboard filling in relevant information such as mission code, clicking a drop down menu adding the names of the operatives in attendance, fuel and equipment used.  Her fingers paused in mid-air when she came to equipment collected.

Her eyes flittered round the room before coming to rest on the gun case haphazardly tossed on the spare bed Lena often used as a wash basket and extra storage, a room to herself one of the many perks of being a Specialist Agent.

Under ‘Retrieval’, she began to type only to furiously hit the back space button.  Sitting back again, she absently mindedly took a sip as her eyes focused intently on the gleaming state of the art case.  

Overwatch headquarters having a state of art damping field for any such beacon or tracking device, she had in her haste to get out of her sweaty and stinking uniform put no thought to the weapon she had so excitedly retrieved.  

It couldn’t hurt to look, could it?

Better to be sure that Talon hadn’t somehow found cutting edge technology that could circumvent Athena’s protocols. By all means that pesky Talon hacker Sombra could have found a way.

It was her duty to check wasn’t it? Just in case.

Leaving the bottle on the table, she used her toes to scoot the chair over, the wheels spinning and threatening to go in any direction.  

Pulling the case closer, she turned it over this way before examining the clasps and giving them a quick flick to reveal its treasures within.

Nestled beside Widowmaker’s famous grappling hook gauntlet, the gun gleamed.

Widow’s Kiss.

She doubted is was named that out of any sort of sentimentality on Widowmaker’s part, more than likely some sort of dark gallows humour, if the woman was capable of such things.

Reaching out, she hesitated, her hands hovering over the sleek weapon. The light playing over the hues of black and intermingled purple coating the metal gave it the quality of a living breathing thing.

How would she feel if someone got their grubby little hands on her trusty twin pulse pistols?

Her excitement getting the best of her, she unhooked the straps that kept it in place before teasing it out of its nest.  It was deceptively light, given the information Overwatch had gleaned that it also housed a sniper rifle barrel somewhere in its mechanics.

Fitting it snug under her arm, she gave it a few experimental swings.  Suddenly she jumped up, enjoying the feeling of the weight, hefting it until she found a comfortable way to cradle it. Getting a good grip on the stock and holding it firm against her shoulder, she peered down the sights and the barrel.

She had been on the end of that muzzle intent on snuffing her out of existence plenty of times. And once in Numbani she had held it in her hands, firing it and instantly regretting the recoil, but in the heat of the skirmish she hadn’t had the time to admire the craftsmanship, only wonder how someone who looked so statuesque yet frail could expertly wield such a thing.

Turning she caught her reflection in the long mirror on her wardrobe door. Correcting her stance she admired her reflection, attempting to sound seductive and intimidating in a mock French accent,

“Foolish girrrrl.”

She stepped to one side, only to jump back in front of the mirror,

“Mwaa ha, ha, baguette, hon, hon, croissant!”

She let out a snort of laughter at herself in her tiny shorts, oversized hoodie with one of the most feared weapons in the world in her tiny hands and against her slender frame.

In heady excitement her finger tips began to feel out all the tiny nodges, searching for the trigger mechanism that would open up Widow’s Kiss in all its beauty.  Noting the difference, she was sure she had found the culprit. To press it was so tempting but she would look like a daft bint if once she had the sniper rifle unfolded she wouldn’t be able to get it back in. Who knew what protocols would be in place? For all she knew it might self-destruct reducing her and Watchpoint Gibraltor to nothing more than a crater. Thinking better of it she carefully placed it on the bed, making sure the muzzle was pointed at the wall.

Instead she turned her attentions to the piece of equipment that made the Talon assassin glide through the air and cut soldiers in half. If Widow’s Kiss was sleek and sophisticated, the grappling gauntlet came off as industrial by comparison.  Positioned in the all at once soft but solid packing foam, it looked to Lena that to remove it one had to slip the arm into the gauntlet’s wrist hold and pull.  It’s dull grey exterior belied its predatory allure as Lena slipped her forearm into the wrist hold. Fastening it as tight as it would go she found the interior against her skin surprisingly soft and snug. The pilot gave it an experimental tug only for the full case to follow her and hang uselessly.  Holding it steady with her other hand, she tugged again only for this time the foam came slightly loose from its corners.

A tiny piece of white caught Lena’s eye. Peeking out from one of sides, caught between foam and steel of the guncase was the small edge of something . Taking off the gauntlet, Lena used her thumb and forefinger to fish out the curious object. Finally working it loose and pulling it from its hide out, she let out a small gasp.

Only the old fashioned and rich used film stock, everyone else preferring digitalised photo frames that played a number of images on a loop or the more modern holo frames that played snippets of video that back in the ancient internet days were referred to as gifs.

Turning it over in her hands, her eyes roved the image.  Recognising Gérard, she dropped it as if burned. Never taking her eyes of the photograph, she slumped in the chair.

The last time she had seen him had been just before the Slipstream test flight. Being a mentor and a friend, he had drawn her into a one armed hug, telling her how proud he was of her, that she had this in the bag. That he had been rooting for her to be the one picked out of all the hopefuls from the start and no other pilot had been more deserving. That morning something in her gut had told her something was off and she parted her pre-flight jitters he had reassured her, steadying her by giving her a quick nip of schnapps out of a hip flask he called Dutch courage and she had joked that was it because the French didn’t have a word for courage? He had given her a playful cuff over the ear and with one arm slung over her shoulders  walked beside her as the tannoy called out that the test was about to start.  As she had settled herself in the cockpit she had flashed him a quick thumbs up before he had turned walking back into the darkness of the flight hanger, neither knowing it would be the last time they saw each other.

By the time Lena had returned, Gerard Lacroix was dead, said to be killed in the line of duty.  

Gerad’s death wasn’t something that was discussed much and if it was it was done in hushed tones. Rumours had flown rife at the cadets canteena . A Talon operative had snuck like a viper into his home, murdering him and his Prima ballerina wife in their sleep. Eventually as Lena had worked her way up the ranks and her clearance had been changed accordingly, the story had taken a different twist.  

One that the Londoner wasnt entirely privy to.

With shaky fingers and heart pounding in her chest she retrieved the photograph. Treating it with care and reverence she re-examined the image. A happy husband and wife on their wedding day, Gerad looking dashing and handsome in his tuxedo smiling down at a stunningly beautiful woman nestled into him, proudly showing off her wedding ring. Lena recognised the elegant and fine features. She had been up close and personal enough, usually trading blows and those pouty lips pulled back in a sneer ridiculing her.

There`was no mistaking it, the woman in the photograph was Widowmaker.  

She had heard snippets of the sad tale of caution.  She was aware that Anglea and Gerard’s wife had been close. That’s for years they had assumed his wife dead. That Widowmaker had been responsible for the ‘death’ of Ana Amari. Beyond that it was a relative wall of silence shrouded in mystery.

Scooting back across the floor, Lena reached for the bottle of beer taking a sip.

“Athena.”

“Yes Lena.”

“Pull up everything you have on Gerad Lacroix, namely to do with Talon Operative Widowmaker.”

Her thumb lightly brushed over the face of the blushing bride in thought.  Why would Talon’s top assassin keep this? This physical form of a happy memory?  A tangible part of her past?

“Sorry luv, could you add anything to do with Amelie Lacroix to the search?”

“That could take some time Lena.”

Clearing a space on her magnetic organiser she trapped the photograph to the board with a Beefeater fridge magnet.

“Don’t worry luv, I’ve got plenty of time.”

A chatbox pinged in the top left hand corner.

~~ She-Bear~ @FlyBoi  “Weak Cowboy man dare me to a wrestle with mechanical arm. Come watch Russian Muscle crush robot reliance.”

~~DVaInternational~~ @FlyBoi. Lena where are you? McCree is in as idiot. Im gonna live stream it~~

Lena grinned at the invitation, typing out a hasty reply.

~~FlyBoi~~ @She-Bear @DvaInternational. Lemme  finish this an I’ll be over. Don’t start without me!~~

Quickly her fingers flew over the keypad, noting time and date. Describing the mission, she left out the parts about Fareeha and Angela butting heads. She catalogued the guncase and gauntlet and left out the hidden memento. Satisfied she hit copy, save and send taking pains to make sure she had one copy in her personal folder and all T’s were crossed and I’s dotted.

Quickly she got changed, swapping out her shorts for comfy pants, and slipping into her chronal accelerator before secreting it under an oversized zip up hoodie.  Tugging on a pair of ked’s she checked Athena’s progress and setting her own chatbox icon to green with a line through indicating she was available but off duty. Carefully she returned the Talon operatives gun back to the gun case, checking it was secure. One last look at Athena’s progress she grabbed the case before flicking off the light and dashing out the door.

Eriey light bathed Lena’s messy room in its glow. In the top left hand corner the personal roster continued to update. Mei’s grey notification flickered in quick succession coming alight in bright green,  X flashing before  disappearing and turning into a line.

[dolphintonki]

Groove agent se5 tutorial

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MIDI patterns are the most straightforward. When in Pattern mode, each pad can have either a MIDI pattern or a Style assigned to it. Many but not all of the bundled kits have patterns associated with them that can be loaded along with the kit but you can also load kits and patterns as separate entities. PatternsĪs well as being a drum sampler, Groove Agent SE also packs pattern-playback capabilities, accessible by switching the trigger pads into Pattern mode. All of this serves to create a very realistic and believable acoustic drum-kit emulation but it also limits how deeply you can dive into editing and personalising an Acoustic Agent kit. Here, each drum instrument (kick, snare, etc) has multiple velocity switches, and each velocity layer has multiple articulations (that is, alternative samples that are played in turn so that no two consecutive hits sound identical).Įach close-mic’d drum hit sample is accompanied by samples recorded through overhead mics and room ambience mics, and you can even simulate the kick drum sound bleeding into the snare mics. The second engine, Acoustic Agent, approaches things in much the same way as virtual drum-kit instruments such as Superior Drummer and BFD do. Each pad can hold multiple velocity-switched samples, and sample start, end and loop points can all be modified from within Groove Agent SE. Samples are assigned to the trigger pads – which are themselves associated with a MIDI note, of course – and are passed through a conventional sample-and-synthesis signal path featuring envelopes, filters, etc. Beat Agent is the more conventional of the two, and is most like a traditional MPC-style hardware drum sampler, to the extent that it can actually import some MPC file types. Groove Agent SE can host two different drum engines, referred to as agents. It integrates exceptionally well with Cubase (and Nuendo), complementing the DAW with a surprisingly versatile drum toolset. Groove Agent SE is, in fact, a veritable drum and rhythm powerhouse.

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But, as is often the case with free plug-ins, appearances can be deceiving. It’s a set of trigger pads and an editing area. Nowhere is this more true than with Groove Agent SE, included in Cubase Elements, Artist and Pro.Īt first blush, Groove Agent SE looks fairly straightforward. In Cubase’s case, however, the majority of the bundled plug-ins are actually rather impressive. They’re tools that will be useful in a wide range of recording scenarios but are relatively primitive examples of their ilk. Many of these, it’s fair to say, are of the bread-and-butter variety. Most DAWs come bundled with an endless assortment of effects and instruments.

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Groove agent 4 demo

#Groove agent 4 demo how to#

Load an Acoustic Agent kit into track 1 (these can be found using the "Content Set" attribute or Search field).If you want to use a style with a Beat Agent kit, you'll need to drag and drop one into the Style Player manually. Notice that the Beat Agent kit DOES NOT contain a style in the Style Player. Load a Beat Agent kit into track 1 (these can be found using the "Content Set" attribute or Search field).Create a new project in Cubase and load 2 Groove Agents (on 2 different tracks).Without good rhythm, your music will unfortunately be much less compelling… Now that we’ve gained perspective on how we can create more dynamic rhythms using Groove Agent, its time to actually get to work - making great drum tracks! Here are some simple steps to follow: Rhythm is the most essential part of any music. After all that work, I've concluded that Groove Agent is one of the very best tools available for generating drum parts and I'll share my tips and workflow in this course. The techniques in this course are based on years of trial and error, MIDI drum programming and software evaluations.

#Groove agent 4 demo how to#

This course will show you how to create original drum parts quickly and easily. Tips for dealing with common MIDI drum frustration.How to slice drum loops into customized, playable drum kits.How to create, save and share custom kits.How to create intros, main beats, fills and endings with a few clicks.Based on my experience with Groove Agent, I'll show you how to produce life-like drum tracks in minutes! The lessons learned in this course can transform your production routine and solve one of the most common production challenges facing home studios. I've been recording, editing and mixing audio for over 15 years using Cubase and I know that recording or programming drums is one of the most challenging parts of any studio project. If you've found it difficult to program realistic drum parts in the studio (without a real live drummer), then the tips and guidance in this course are going to change the way you produce music!

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Steinberg Groove Agent 5 Content + Additional Content (Premium)

Steinberg Groove Agent 5 Content + Additional Content (Premium)

Steinberg Groove Agent 5 Content + Additional Content free Download Latest. It is of Steinberg Groove Agent 5 Content + Additional Content free download. Steinberg Groove Agent 5 Content + Additional Content Overview GROOVE AGENT EXPANSIONS Get ready to push the boundaries of music productoin with tons of Groove Aqent expansoins. Get in qreat detail encoded acoustic drum kids with a smorqasbord…

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Cubase Pro 9.5.41 Crack Full Keygen [Win + Mac] 2018 Free Download

Cubase 9.5.30 Crack is the most famous among the professional musicians, music mixers, and producers. It is known as the best music editing as well as mixing tool that puts heart touching effects to the music creations develop by this program. It is the product of Steinberg that claims it the best music developing source in the market. So, Cubase Patch has the most advanced and well experienced DAW developed by the experts. Cubase Patch is successfully being used by the music developers, professionals in millions around the globe. Cubase 9.5 Keygen is the first choice of the many famous DJs, Hip Hop producers, songwriters from the Hollywood film industry. Every TV play or a Film is incomplete without the music. If there is a good sort of music having magical sound effects in the drama or movie, it will lead to the success otherwise not.

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Exploring the Versatility of Garages

In the past, the garage used to be the space where the family car is kept as well as for stashing junk from the main house. Today, through the help of companies offering garage door repair services, the garage serves other purposes. Modern garage designs have made it possible for garages to be transformed according to the homeowners' lifestyle, needs, and budget.

The Next Best Thing to do with the Garage

• Home Studio - By simply installing the right equipment, the garage can be crafted as a home studio fit for a future rock star in the house. A part of the garage can be designed as an enclosed area fitted with acoustic equipment for creating and recording music. The storage garage becomes a protected space for storing musical instruments and equipment. Check out stores that sell garage doors and accessories to see if there are inclusions that could help you accomplish this purpose.

• Sporting Equipment Gallery - Clear one side of the wall to install racks and hooks for hanging bikes and other sporting gears after using them. You can hang other sports equipment such as racquets, golf clubs, bats, and balls on the wall alongside these.

• Workshop - Live your passion to the max. Create a workbench system with customized storage according to your working style. If you are into woodworking, attach a grooved panel at one end of the bench where you can have easy access to frequently used tools. Try to check if it's possible to change the current door into an overhead one for accessibility. It's easier to open an overhead garage door to allow natural light to filter through especially if you're tinkering in the workshop.

Modern Designs for Garage

In the past, little attention was given to the aesthetic appeal of the garage. It was there merely to keep the family car safe from harsh elements outside. A simple attachment to the house that looked like a box was enough to be called a garage. However, homeowners have come to realize that keeping the costs low when constructing a garage can greatly affect the overall visual appeal of the house. Besides, a big garage that serves multiple purposes can put the extra space on the property to good use. Here are a few modern garage designs to consider:

• Attached or Detached - An attached garage is more conveniently accessible to the main house, especially during cold and wet weather. However, a garage next to the house can greatly limit the design options in the event that homeowners decide for an expansion. If you are in the process of building a garage, weigh the pros and cons of having a separate garage unit from the house. If you're concerned about accessibility, choose to use an automatic door. Browse the Internet if you want to explore design options.

• The Bigger the Better - In the '70s, a large number of American homes had one-car garages. After three decades, the trend shifted, making room for two-car garages. Now, garages keep getting bigger to accommodate larger vehicles like SUVs, pickups, and RVs. Garages that are large enough for four to five vehicles seem to be the minimal standard in high-end villages. Even real estate agents will affirm that big garages are great assets with good selling point.

• A New Perspective - Modern homes have garages constructed in such a way that the entrance is angled away from the street. The degree can be varying, but a slight offset can significantly change the street view from the garage entrance.

• More Living Space - If you plan to have a functional space above the garage, make sure the roofline is higher than the main house. Your architect can work this into the plan, and once this is realized, the garage becomes an extension of the house where a real living space can be enjoyed. You may then transform this quiet nook into a home office, hobby room, or a private gym.

Today, modern garages are designed to look as nice as the main house. In fact, some don't even look like garages anymore because they have the same finishing elements as the house itself. If you are not convinced, check out some websites that have photo galleries of garages. You would be amazed at the wonderful construction and designs of these. Indeed, a modern garage is more than just a storage space, but something that complements the main house beautifully.

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Steinberg cubase 5 dvdr-airiso with cubase v5.12 air-update 無料ダウンロード.Steinberg Cubase 5 DVDR AiRISO With Cubase V5 12 AIR UPDATE 1

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Q: But we had to wait so damn long for this release - Why? A: The amount of time to analyze and reverse the current syncrosoft implementation was just that high. Think about it like this: around 25 of the program code is MCFACT protected and therefore protection-related. As you can imagine the effort to analyze and reverse such a target is incredibly high. This time it took us almost man hours to emulate the little beast!

Q: Will it work with the 64bit version? Are there plans to make a release of the 64bit version? A: No and No! Nevertheless it will perfectly work as a 32bit application on a 64bit OS like Windows7. A: One of the two heads behind all the previous syncrosoft emulations. This is my kind of get well soon greetings to you brother! If you really have to leave this world that young it would definitely be the end of an era! It has always been a pleasure to work with you well DELPHI still suxx and I really wish we could have done this project together too!

Q: What do you you think about peace-out? A: Bunch of wannabe crackerz. None of their current releases work properly. They dont even understand the basics of the protection. Were happy to see other groups giving it a go if those other groups can produce quality. We dont see that with peace-out, really they should leave the big boys pool and go play with the toddlers.

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WORKIFI – Acoustical Furniture

INTRODUCTION

Exactly when incalculable agents are working out of open work environments (like homes) as opposed to ordinary office spaces, acoustical furniture transforms into a need. Exactly when you have to improve delegates' productivity by dodging interferences, for instance, external uproars and resonation, ensure security and prosperity for them, acoustical furniture transforms into a need.

 With the spread of the Corona Virus (COIVID-19) pandemic, associations are by and by choosing a circumstance where they can uphold social eliminating (the need vital to swear off getting polluted) without moving interminably from the standard related and open office spaces.

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Sound interferences are standard at workplaces with people neighboring visiting or talking on their phones. These interferences are difficult to ignore since they possess your obsession, so every time you should arrange hands on that should be finished. You end up requiring extra occasion to complete the apportioned work and wasting significant minutes of your workday.

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- By just setting up the correct gadgets, the garage might be crafted for a residence workshop fit for the long run rock star in your house. A Section of the garage is often created being an enclosed spot fitted with acoustic equipment for videotaping as well as making audio. The cupboard space garage involves certainly be a secured spot for conserving music instruments and gear. Take a look at outlets that offer garage doorways and add-ons to determine if you will find inclusions That may help you attain this goal.

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An easy attachment for the residence that seemed similar to a box was enough to become referred to as a garage. Homeowners have arrive at recognize that retaining the costs reduced when setting up a garage can significantly influence the whole aesthetic attractiveness of your residence. Right here are some modern day garage models to acquire into account:

A garage close to the home can substantially limit the design and style alternate options within the situation that homeowners make a call for just a expansion. In case you are during the procedure of developing a garage, weigh the pros and drawbacks of having another garage product from your home.

- The Bigger the higher

- While in the '70s, lots of American homes experienced a single-auto garages. Soon after 3 yrs, the sample moved, creating space for 2-automobile garages. Now, garages maintain expanding to support greater automobiles like SUVs, recreational motor vehicles, as well as decide on-ups. Garages which have been huge more than enough for 4 to 5 lorries appear to be the very little regular in premium towns. Even realty agents will certainly validate that huge garages are fantastic Qualities with great offering stage.

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- A lot more Family room

- If you intend to acquire an valuable Room above the garage, make sure the roofline is bigger than the key home. Your engineer can function this appropriate into the method, and when this is recognized, the garage gets to be an extension of your own home where a genuine house can be savored. You might after that change this tranquil Room into an Workplace, leisure activity location, or a private Exercise Centre.

Right now, present-day garages are intended to look as superb as the key residence. A contemporary garage is over merely a space for storing, nevertheless something that complements the main home magnificently.