The RZ062, as you may or may not be aware, were originally designed in 1960s Germany and were installed in mixing consoles to produce particular tonal colouring and a certain acoustic impression. Unlike today’s modern EQ’s, the RZ062 were designed with fixed bandwidths that simultaneously boost and cut on the selected bandwidth, something that I have not personally come across before and had me somewhat intrigued from the start. Brief history lesson over.
A lot of my current output, both for upcoming releases and for tv/media, have been composed ‘live’ on my modular synth. I tend to record a few takes in one shot, until I get something that I’m happy with as a complete piece. Once I have a stereo file I am content with, I will apply various mastering processes in the box to get the audio sounding balanced and enhanced as appropriate.
Eventide should need no introduction, their digital reverbs are known as some of the best in the business. The SP2016 rack in the early 80’s, provided many of those super-clean shimmering time-based FX, synonymous with that era of audio production.
Until recently, if you wanted to obtain one of their effect algorithms to use on a track, such as the legendary BLACKHOLE preset, you would have to purchase one of their hardware boxes, like the Space pedal for example. That’s all changed now and Eventide have started releasing select effects from their range as plug ins, hurray!
So I’ve been on the lookout for a quantiser for my modular synth. My rig is based around a Make Noise Shared System (SS) with a couple of extra modules. Continue reading “This Thing, is The Disting!”
There’s not a whole lot to say about Moog synthesisers that hasn’t already been said in countless books, articles and TV documentaries. The big creamy tone and trademark ladder filter are synonymous with the ‘Moog sound’, which is not just marketing gumpf, they really do sound great and you can instantly tell it’s a Moog when you hear one.
The 4ms Spectral Morphing Resonator (SMR) is possibly my favourite module in my eurorack rig. It gets a lot of use. So naturally, I was buzzing to try out the new software emulation by Softube. The version I got to review also has all the other Softube modules bundled with the modular plugin, so it was a nice intro on how Softube’s take on the eurorack experience works behind a screen.
To kick off the reviews section I was keen to get something really juicy to feature, and well, it doesn’t get much more succulent than a new orchestral library inspired by the works of legendary composer Bernard Herrmann. Anyone with even a passing interest in films will have heard the iconic ‘stabbing’ strings in Hitchcock’s Psycho and that butt-clenchingly tense Vertigo score, or the moody and melodic saxophone in Scorsese’s Taxi Driver.