#blinksonic

BlinkSonic Updates all 4 Reaktor Ensembles

Blinksonic is excited to announce further new stuff related to RUIDOZ°, AETØNZ°, SUBSTANZ° and VOZ°. This is about an awaited update of this 4 instruments, with open structure, some fixes and improvements, additional sounds and banks, a new custom program offer and the availability of new discount codes for this summer. Here the details :

OPEN STUCTURE :

Want to customize BLINKSONIC instruments !? Blinksonic is happy to announce that « EDIT » mode is back on the 4 ensembles, RUIDOZ, AETONZ, SUBSTANZ and VOZ with the last update. These updates comes with some minor bug fixes on RUIDOZ and SUBSTANZ. No major improvement have been implemented, this to preserve presets and snapshots created by users, but just allowing reverse engineering again, sounds promising enough for all owners of the full Reaktor 6 version. Now it’s possible to visit the structure of each patches and to mod, combine a lot of things. It also simplifies the access to snapshots, midi/OSC, samplemap manager, and many other features inside R6 (player & full version)

PERSONAL CUSTOM PROGRAM :

I received a lot of interesting feature requests during the last years. Some were very pertinents but it’s not easy to implement all the features without impacting the GUI and all users snapshots and personal settings. In short, I was in front of an hard choice. To bring some new stuff on the original build, with in mind the challenging wish to harmonize all this requests in one version suited for everyone. Finally I found an other path..

I propose until now a new service. Let’s call it “Personal Custom Program”. If you need some modifications or additional functions on your ensemble structure , I am ready to offer a personal customization of it following your request and suggestion. To know the conditions of this offer, write me a mail with the object “custom program”, with few lines explaining what you want to add or modify. After this, no warranty of approval, but I will evaluate with you what’s possible and this for a very fair price (determined by how ambitious or doable is the project).

VOZ UPDATE & ADDITIONAL SOUNDS :

In addition to this, VOZ vocalist generator, the semi modular sampler based on vocal formants, comes with a new sexy feature. An optional new bank of vocal formants have been implemented inside the audio engine. The banks are accessible inside a slightly modified GUI and are based on female voices (297 new waveforms in total). Also to give a starting point or some sound design ideas, there’s 125 new snapshots, gathered inside 3 banks which can also be found inside Native Browser (NKS).

SUMMER SALES – DISCOUNT CODES  :

Also good to know, new promotion codes are available on the site : – For more than 69€ of purchase, get instant discount 15% off with the code « blnksnc_18 »* – For more than 159€ of purchase, get instant discount 25% off with the code « full_bundle18 » * (*both offers valid until 31th August 2018)

50% OFF ON REAKTOR FULL VERSION

Also good to remind, all Reaktor Player users who own a license of one BLINKSONIC instrument, can benefit 50% off, on the full Reaktor 6 version. For more details about this promotion, go connect to your NI account : https://www.native-instruments.com

RELEASE NOTES :

RUIDOZ 2.3 :

Fix: Loss of some pitch parameters values when you re-open the instrument as a plugin. A new switch have been implemented in the GUI for enabling the LFO and avoid the pitch parameter to be set on its default value.

VOZ 1.3 :

Voice numbers (which define the polyphony and the number of similtanous notes interpreted) have been change from 8 to 4 to reduce CPU consumption, but it can now been manually set in the properties of the ensemble in “edit” mode.

New switch in the GUI for getting access on the 3 new female formants banks & 5 additional empty user banks where you can drag n’ drop your own sample collection.

AETØNZ 1.4 & SUBSTANZ 1.4 :

No change except that the structure is now open.

HOW TO INSTALL THE UPDATES : – Before anything, rename the old folder (e.g. “VOZ 1.2” -> “VOZ 1.2_old” or so). Keep it as an archive to be sure saving a copy of your personal settings. – Unzip and place the full new folder which contains the update in the same previous path. When you overwrite the old .nicnt with the new .nicnt the version number doesn’t get updated in Native Access at the moment, you need to use the ‘Repair’ feature in Native Access. – Open Native Access and see the “Repair” button show up (because Native Access can’t find the (i.e.) 1.2. .nicnt any more) – Now click “Relocate” and point to the new folder (e.g. “VOZ 1.3”) – A rescan of the product in Komplete Kontrol or Maschine preferences would be best afterwards as well. A video tutorial is available on the NI Support page here : https://support.native-instruments.com/hc/en-us/articles/115005770205-Using-the-Repair-Function-in-Native-Access-VIDEO

Blinksonic Releases FR3TZ°

FR3TZ° – String Harmonics meet Euclidean Beats.

A MINIMAL CONCEPT OF A 3-STRING-MECHANICAL MUSIC BOX TO GENERATE FAST AND ORIGINAL MELODIC, PERCUSSIVE AND AMBIENT SONIC ENVIRONMENTS.

-> PLAY GUITAR HARMONICS IN A FULL POLYPHONIC AND CHROMATIC RANGE OF 5 OCTAVES.

-> A PACK OF 300 « SQUELCH PICKING » SAMPLES WITH A COOL GRANULAR SYNTHESIS TOUCH.

-> PROGRAM EVOLUTIVE SCORES WITH AN EUCLIDEAN-TYPE STEP SEQUENCER AND A RANDOM NOTE LAUNCHER SYSTEM.

-> SCULPT THE SHAPE AND THE MOVEMENT OF YOUR PATTERNS WITH 6 EFFECTS AND A BINAURAL/DOPPLER MODULE.

-> FUTURISTIC USER EXPERIENCE WITH A “MATERIAL DESIGN”-INSPIRED USER INTERFACE.

-> FIND IDEAS FROM THE 177 INCLUDED PRESETS.

FR3TZ° also embed a really cool feature called “TRAVELIZER mode”, which allows to travel over the waveform with the mouse to obtain a wide palette of glitchy effects. This extensive set of features combined between each other provides a unique recipe to design sounds and enhance your music production.

REQUIREMENTS

– a MAC or a PC with a FULL version of Reaktor 6.2.2 (CAUTION : the .ens is not encrypted for Reaktor Player) – A screen resolution with a minimum of 1920 x 1200 megapixel for a full display on screen. FR3TZ° is 630×900 megapixel. – Intel Core 2 Duo equivalent must be enough with 4 GB of Ram. To give an idea this ensemble has been created on a 2,7 Ghz Intel Core i7. – CPU usage : Around 23% and 35% with a 2,7 GHz Intel Core i7, 16G Ram and Reaktor 6. A maximum of 36% have been measured with all the effects enabled. – An internet connection to download the files and potential updates. – Size : 148 Mo

FR3TZ can be open with Reaktor Player but you will be authorized to play with it for only 30 minutes. For an unlimited experience with the instrument you need a full version of REAKTOR 6

CONCEPT

String harmonics have a particular sound rendering and easily provide one of the most mysterious and subtle sonic mental images when they are punctually used in a guitarist performance. Obtained with a slight pressure on the strings with the tip of the finger raised above the frets, the harmonics deliver one of the most fascinating sounds that can be extracted from a guitar. The tonal result of this technique gives a sound with a high pitch value, some really interesting natural distortion and artefacts, to be used as a substantial waveform source inside a granular sampler.

Basically, there are only 3 octaves of «  nodes  » available on a guitar, but here, FR3TZ lets you play this little «  squeals  » and «   squelch pickings  » in a granular synthesis process with MIDI. On the 4 sampled instruments, up to 5 octaves have been constructed, after a process of resampling and retuning all the original signals.

Due to the tonal differences and characteristics of each node, the result is a playable set of prepared strings based on multi sample instruments. Background noise, buzzes and unwanted frequencies are part of the original recording takes, and have been preserved on purpose in order to keep a similar acoustic feeling of a prepared piano. Then, various granular synthesis options and the complete effect chain allows to take advantage of this minimalistic waveforms to create organic pieces of reverse guitar, sweet string notes and even e-pianos tones.

FEATURES LIST :

– 6 maps with 300 harmonics waveforms taken from 4 guitars (+50 percussion sounds ) – 6 banks with 177 snapshots/presets – Granular sampler with start/length, pitch/fine tuning commands and grain definition settings – ADSR envelope – Travelizer Mode – XY axis pad with automation recorder – x3 16 Step Mono Sequencer with time sync and direction options. Define offset, number of step, channel velocity, note length – Note selector on each sequencers to select the aleatory notes that will be launched with a random octave shift. – Distortion with 6 types (Clip, Sat, Q, Saw, Tri & Sin) – Stereo Chorus – Simple Delay with “Boost” function to create instant infinite feedback loop – Space Reverb – 4 type Filter coupled with LFO on Cutoff – Binaural/stereo module with Doppler effect – Automated XY pad for recording the Binaural/stereo movements

LOAD YOUR OWN SAMPLE

FR3TZ° takes advantage of the “Grain resynth module”, a primary macro which enables to embed external samples.

Use the Reaktor “Sample Map Editor” to import your own sound libraries. It is as easy as dragging files from your browser inside it. If you want to know more about this, it’s fully explain in Reaktor User guide.

Note : Every sample must be loop-enabled inside the Sample Map editor to work properly with the tone sampler engine.

ORIGIN

FR3TZ contains an assortment of 4 sound banks that have been recorded with the most minimalistic way to preserve the basic waveform of the original instruments and without any additional sound processing. The waveforms aim to be processed directly inside FR3TZ with the various effects available. Here is the detail of each bank :

ACOUSTIC GUITAR : A basic acoustic guitar pinched with fingers, recorded from a high output dynamic microphone. Number of harmonic octaves : 4/5 Additional sounds : 12 (on the first available octave of the map)

STRATOCASTER : A double mic Fender Stratocaster, used strings, pinched with a pick, directly recorded to soundcard. Number of harmonics octaves : 5/5

STRAT/COMP : The same double mic Fender Stratocaster, used strings, pinched with a pick, directly recorded to soundcard, but with a dynamic compressor processing. Number of harmonics octaves : 5/5

TELECASTER : A Squire Telecaster pinched with fingers, directly recorded to soundcard. Number of harmonics octaves : 4/5 Additional sounds : 8 (on the first available octave of the map)

BASS GUITAR : An Ibanez GIO bass guitar pinched and slapped with hand, directly recorded to soundcard. Number of harmonics octaves : 4/5 + last octave of the map is slapped.

RUIDOZ° SELECTED : This bank is a selection of micro clicks, kicks, and electronic percussions taken from on one of the previous Blinksonic instrument called RUIDOZ°. This set aims to explore a different use of FR3TZ with a more rhythmic-orientated sound source. You can also use this slot as a user bank if you want to load your own samples and take advantage of the granular sampler combined with the sequencer and the effect suite.

SEQUENCER

Based on a 3 mono 16 steps sequencer, you can create similar rotation as an Euclidean sequence generator by playing with the number of steps and offset knobs.

You can drastically modulate the patterns produced using the various time signatures and direction modes available (reversed, bounced, random…)

A virtual piano keyboard on every channel allows to select the exact notes that will be randomly played on every toggled step of the sequencer. A random dose can be set and it is also possible to apply an octave shift like an arpeggiator.

Note : It is possible to play the instrument without or over the sequencer, via a Midi Keyboard. Polyphony is set to 4 notes by default but it can be increased inside the ensemble properties.

GRANULAR ENGINE / TRAVELIZER

Based on the «  grain resynth  » Reaktor primary module which allows control over the grain settings and loop points, with this granular synthesis method, a microsound time scale is operated. The sample is not played conventionally but by short-split bits of around 1 or 50 ms. This determines the size and the smoothness of these bits called «  grains  » in order to obtain very interesting formant structures. The original tones can be stretched. This is a synthesis process that produces drastic sound design on the guitar harmonics waveforms embedded inside the engine. They are encapsulated within 6 sample maps that you can browse via the BANK SELECTOR.

TRAVELIZER MODE

This optional feature aims to travel with the mouse over the waveform when notes are launched by the sequencer or a midi keyboard. It acts as a granular scanner controled by a XY pad which replaces the START and LENGTH knobs

EFFECTS

FR3TZ° comes with 6 complementary effects that aim to sculpt the shape of your tones. These 6 effects are the ones you can typically find on a guitar pedalboard and have been chosen to enhance the original signal.

– a Pitchshifter with pitch and grain parameters. – a 4 type Filter (Lowpass, Bandpass, Highpass, notch) which comes with a 4 waveforms LFO wired to the Cutoff value. – a Fire/Distortion with 6 types (Clip, Sat, Q, Saw, Tri, & Sin). – a Delay with a Boost feedback system – a Stereo Chorus – a Space Reverb which can produce long tails or room type acoustic resonance.

BINAURAL / DOPPLER

FR3TZ° have a particular sonic palette and can also produce evolutive soundscape patterns. We found it interesting to add a special feature that would bring dynamic movement to the mix. On the first line of the effect chain, a Binaural/ Stereo and doppler effect module have been implemented. This feature makes possible to record automations of the 2D position (Left/Right/Front/Rear). It can also simulate the distance and a natural head filtering. Finally, an ultra fast movement over the center creates a simulated pitch and distortion delivered by the doppler effect.

https://www.blinksonic.com/portfolio/fr3tz/

thetapelessworld Interview with Blinksonic

thetapelessworld Interview with Blinksonic

Here is an Interview we did with Sylvain Stoppani of Blinksonic. Blinksonic make 3rd Party Device for Native Instruments Reaktor plugin. BlinkSonic currently have 4 Commercial Products Ruidoz Electrtonic Percussion Mangler, Aetonz Hybrid Polytonal Sampler, Substanz Beatmaking Station, and Voz Virtual Vocal Generator.  Blinksonics Devices are great for all Modern Producers. First I love the Gui’s their modern and easy to use and understand. It’s also very easy to take a preset and turn it into something unique. All Blinksonic Devices are unique and can bring something special to your music productions. And thanks to Reaktor framework its easy to use your own Samples to further customize Blinksonic devices to make original content. These Devices belong in any Electronic Musicians or Sound Designers Toolbox. So be sure to Check out their Products.

https://www.blinksonic.com/

https://www.blinksonic.com/blog/

https://www.blinksonic.com/about/

So on to Blinksonic Interview

What got you interested in music?

Music is such essential and important for me since my youngest age, that I finally forgot what’s kept me interested at the early beginning. Probably the possibility to escape, to let off steam, to express oneself, to mentally visualize kind of images and representations through sounds ... In the auditory field of our perceptions, music and more precisely sounds, are a powerful vector for communication. Whatever the mother tongue, I tend to think that we should not look any further to find a form of audible universal language.

 Do you remember the first piece of music that moved you? And how has that influenced you?

Very early, my parents gifted me a slot-in record player with a whole collection of 45 rpm vinyl disks for kids. I remember owning a lot of Japanese manga music (Captain Harlock, Grendizer, Captain Future ), French cartoon ( still have a strong remembering of the introduction of « The Mysterious Cities of Gold »  anime ) and also some original soundtracks of children's movie like E.T.

It really took me out and it was a great time !

Much later as a teenager, I loved listening/dreaming with headphones to psychedelic rock of the 60s, 70s.

Like many young person who only had access to pop music (before internet), I was fascinated by the ability to play with sounds and turn noise into art as did guitarists like Jimi Hendrix.

I also loved the energy that emanate from some bands, more or less extreme, indie rock and metal of the 90s.

My attraction to the sound is certainly wrought through larsen/feedback screams’ and a lot of sound effects abuse. I always have been fascinated by sequences that suggest emotions not describable via a riff or melodies. The way Sonic Youth was creating chaotic guitar parts on some moments of their tracks, impressed me a lot.

Thanks to my discovery of hip hop, I also have been very quickly interested in the art of sampling.

It was much later that I came across electronic music.

Aphex Twin - Come to daddy is a EP that definitely brings me to this playground as a musician and music lover, as much this record brought together stylistic elements that I loved to hear together.

 What are some of your favorite musicians, composers or sound Designers. and does that influence Blinksonic?

All the early and actual catalogue of Rephlex, Schematic, Skam, Planet Mu, Mego, Ghostly, Raster Noton and Warp Records… Really did my school days by listening to their releases.

I feel linked to Richard Devine which was the first to support me. I love the way he makes beats, this unique techno-organic rhythmical time signatures only him have the secret !

The sound designers who impresse me the most are also both good composers and live performers… I love the very versatile fantasy brings by Otto Von Schirach.

Today however I am a little less connected than before, there’s every month excellent stuff that comes out and it's not easy to be aware.

It takes time and I rather be focused on my own work.

However on artists more or less recent, I like VHS Head, Meat Bingo, Com Truise, Kelpe, Patten, Vaetxh (aka Rob Clouth), Freeform, Cristian Vogel, Baby Kruger and Freeka Tet.

There are many artists I admire for their talent of crafting their own sounds and merging the music with other artistic practices.

I like composer that can tell a story, not only with melodic structure but with the expressive power of sounds.

 What made you decide to start making Reaktor Ensembles?

I mostly use Ableton Live until the beginning (from 2002) and I have always used Reaktor since version 3, to provide myself with sound contents, which I mount and arrange thereafter in Live.

I quickly realized that I had a tool as powerful as it was original. I have almost learned with it more about synthesis and sound processing than on any other platform or hardware instrument.

At first, modifying the existing ensembles, I ended up doing mine. I have always wanted to generate my music from a custom interpretation process .. and Reaktor is perfect for this.

After a lot of experiences and discographic projects more or less discreet and anonymous, I started to find that the diffusion of my creations did not meet the format of diffusion that I wished ..

It was not enough adapted to the way I work and the things I wanted to express in music production. I wished a more interactive diffusion which would include the process of creation itself, and not something locked/achieved in time as a classic EP or LP format. I wanted something that let the structural forms of the composition to be possibly autonomous or manipulable.

That's what led me to release the first version of RUIDOZ° with many presets included .. like pieces of an album that was not completely achieved… A sound material which aims to be eternally modified by end users.

  What makes you stick out from other developers. What is Blinksonic doing that others are not?

Maybe precisely the singular character of this approach. I do not propose an algorithmic killer way to make music but rather an original playable sound environment.

According to the inspiration and the technical level, I think we can use these tools as something serious .. but also as an interactive trip that you open as a video game :D And it’s also a collection of ideas that only wait to be incorporated inside tracks..

Beyond that, I must remain humble, I am new in this field.. lots of things to learn yet..

But I think my main asset is to offer a successful and unique user experience.

Many Reaktor instruments have not been enough achieved at the graphic interface level to become really interesting.

A good instrument is not only an instrument that sounds good. It must be take in hands in the best way possible for taking advantage of it.

The GUI really did the difference even if it can be considered as secondary for a sound making tool. With screen technologies, this the interface which provides this feeling and helps being inspired.

In computer music and in term of algorithm, nothing is really new actually, apart the renewal of graphical interfaces and some new integrations of concepts related to spectrum analysis and processing, artificial intelligence and machine learning. I have the impression that developers are more focused to recycle algorithms on making them more tangible and improving the usability of applications, making them more convenient and easier, more immediate and fun.

 Aside from the visual aspect of my instruments, I think it’s the stylistic orientation suggested and the non academic character that makes the difference and helps my work to meet an audience. I work alone so it's also a form of freedom, with no limit or drastic specifications to respect. I walk through inspiration .. and always with the intention to provide my own arsenal .. for a bit that one day I stop developing to try to use my tools to compose or interpret music again :-D

 What direction do you see yourself taking Blinksonic?

It's pretty vague at the moment, because I have a lot of ideas and it still necessary to choose the good ones .. I would like for example to release album concepts or EP based on Reaktor.

I really like the idea of using Reaktor as a final format for broadcasting a musical work with a graphical interface which aims to manipulate it in real time, play and illustrate the universe described by the music ...

A similar trip to the Demomakers or, I do not know if you remember it, this R3-based application, called « Mewark - Stoderaft » by Lazyfish that NI released for free in the early 2000’s.

At that time, I was fascinated by this futuristic music diffusion concept !

I also dream to be able to produce an hardware effect in a close futur…

 Also gotta say love the Interfaces of your devices. What influenced them and do you also like design?

Thanks!

I am generally influenced by any technological objects that are currently offered to us and I am directly influenced by current trends around what we can call "tablet design" and « industriel design ».  I also love the work on HUD/GUI for sci fi movies.

Today, we all have in hands smartphones and all the user experiences that goes with it, with the most minimalist design possible, infographic that responds to information codes of representations. I am influenced by this and I completely abandon skeumorphic and realistic graphic models. It looks gorgeous but it tends to not be readable and practical as the original emulated hardware are.

Flat design is not just a trend. It really brings something more optimized and kind of technological elegance to applications and well suited for screens.

This said, I am not against bringing back some shadows as « Material Design » suggest it.

In all case, I am very focused on all the possible trends and field of development that can improve the User Experience of an application. So I watch a lot what happens in that domain.

 Is there a designer, Art or Software developer that influenced your GUI's.

I am always amazed by the design work of Teenage Engineering. It must be felt on my own work that they influenced me. :)

To my eyes, it’s truly THE way to of designing. This vision of graphically illustrate technical sound parameters in a scalable way… I love the idea that the symbol or the icon to become the object of control.

In pure software design on audio, I love Sugar Bytes, Sinevibes, Audio Damage, iZotope, FAW, Unfiltered Audio and obviously many instruments edited by NI.

Last but not least, I can’t forget to mention Thomas Hennebert (Inear Display) and Ivo Ivanov (Glitchmachines). I feel also very close to their vision of sound design.

 What are your 5 favorite Reaktor Ensembles (non Blinksonic) that you like or wish you made ?

RAZOR !! This the killer one !! it is timeless .. I dream that someday this synth will be replicated as an identical hardware! It would be crazy!

ROUNDS is an amazing instrument too !

NODE by Antonio Bianca.. it's so small and fine, beautiful, effective and inspiring at the same time ..

The FLOW by Tim exile.. also GRAINCUBE ..

There is plenty which I love and I certainly forget .. SPACEDRONE, METAPHYSICALL FUNCTION ...

Ah yes probably the one that I particularly like .. a very old one, TRAVELIZER from the original library of R4 ... I found it crazy to be able to manipulate a wave file that way when I discover it !

  Do you have a favorite Reaktor Ensemble Developer (non Blinksonic)?

I think that Sasha Lazyfish is above any hierarchy. He invented a lot of things in the early beginning of Reaktor that still inspire me.

I also have a lot of respect for Twisted Tools. They were the first to release premium ensembles with the same quality of a AU/VST plugin. They injected on their instruments and effects such singular method to produce electronic music with always a both forward thinking GUI.

I can not forget to mention Tim Exile, but he’s out of any category… This guy is cracked of talent and naturally inspired !

I was going to forget Antonio Bianca. But it's people everybody knows ! :D

 I love this artist called « Even Iter » whose sharing amazing generative ensembles on the User Library. All ensembles always contain geometrical visualizations of sounds, generated and drawn via Reaktor coding.

 And since the Blocks framework advent, I am keep a lot of attention on COLUGO_ stuffs.

I also have been lucky enough to collaborate with Sandy Small, who has rebuilded in Core most of the structure off my block PROCESSORZ°. 

Sandy is as accurate and logical as he’s brilliant.

 Which BLinksonic Ensemble are you most proud of ?

I think VOZ brings something special, it looks a bit like OUTPUT EXHALE, but the concept is pushed a little further with the ability to randomly change samples from a limited range of incoming notes. This is not my most popular instrument, but it's the one I find the most achieved and powerful .

With this semi modular approach ported to a tone sampler, I regularly discover many new ways to use it and create textures. The sound bank compiles 15 years sound recordings of my voice, so it’s necessarily something special for me. It gives a strange second life to the provided vocal formants.

  What's are some of your favorite hardware or Software gear to process samples?

As mentioned above, and beyond the design aspect, I am conquered by the OP-1 of TE. This kind of "soft" sampler never existed before on hardware , or in any case, not in this compact format . I’m waiting for the OP-Z with the same excitement as kid during Christmas.

As much as I am unconditional of Ableton, I recently put my fingers on MASCHINE, there is room for it to become a complete DAW, but besides that, I think it's the best software sampler on the market today. The functions to handle audio slices, the maneuverability + an app that comes with a controller. I really observe with a deep interest all the coming new features and improvements that will be implement to it.

Otherwise, I watch with attention also New Sonic Art, James Walker Hall is a pure developer  and also SoundGuru « the Mangler » is extremely attractive concept ..

An also ! ... The impossible to forget sampler, but unfortunately only available on iOS: SAMPLR. I can spend hours on it, it's very intuitive and fun to play !

 What are some of your most used plugins and what do you use them for?

I already mention some of them above. As much as I observe and test everything possible that exist on the market, but I keep the same habits, and come back very often to the same tools.

By cons, I also use some additional hardware, like my old subtractive synth CRUMAR BIT 99, a kind of JUNO, very typical eighty sounds and I recently acquired the 2 Nozoïd synthesizer. (nozoid.com) They are amazing !! By the way, for the sound quality but also for their modular design in a compact format. I will never have been able to mount an Eurorack with the equal features for the same price.

  Are you working on something that you would like to tells us about?

I can’t say a lot about it but I hope to come back this next spring with a new concept of instrument. I am actually inside development days, and even if I have my idea, I don’t know myself what kind of sonic craziness it will be at the end ;)

Apart this I will participate to the next NATIVE SESSIONS called FUTURE TECHNIQUES, the 17th February, in Paris. I will perform with my instruments and give a short masterclass.

For Info on Native Session: https://www.native-instruments.com/fr/community/native-sessions/native-sessions-future-techniques-2018/

Blinksonic Releases SUBSTANZ

 SUBSTANZ° IS OUT ! May you already took notice of this new release via social networks and blogs.

Here, I am very happy to announce the availability of this new ensemble for Reaktor 5/6 :

- A four voices sample based groovebox and finger drumming platform .

- Remix the 4 tracks with the fx processor (25 effects) and included master chain.

SUBSTANZ concept provides a complete solution for switching between pre builded sequences and more lively performance with real time drum taps launched by an external midi devices.

With its wide flat design dashboard, all parameters are within a comprehensive workflow for creating a various range of beats and building modern rhythmic structures.

SUBSTANZ features

4 Sample Decks with pitch, decay, grain size, reverse mode, LP/HP Filter, panner.

Launch samples with external midi or intern midi step sequencers.

Switch easily between this 2 performance modes (manual tap or step seq).

4 banks of 41 prepared hybrid digital and vintage drum kits.

Random mode with zone and range parameters for the selection of the waveform of each decks.

« Global Pitch » and « Global Grain Speed » for modulating the 4 decks in real time.

Pre mixer, mute track and FX send level.

4 x 16 steps sequencers, with time sync and direction selector. Set pitch per step, Adjust swing, start point and add some randomness to the loop.

Add midi gate events over the sequencer in real time with the virtual pads (can be controlled with Midi).

Quantize these events with the time sync selector for creating rolling drum effects.

Quantize trigger.

25 effects : Distortion, Bit Reducer, Feedback, Gate, Autopan, UFO, Ring Modulator, Phaser, Flanger, Freq Modulator, Resonator, Vowe, Lowpass, Bandpass, Highpass, Pitchshifter, Reverse, Scratch, Stutter, Looper, Delay, Reflection, Repeat, Reverb, Drop. All can be enable on the fly and adjust by 2 parameters.

Fx modulation LFO for controlling the 2 fx parameters (X/Y).

3 band Equalizer.

Spring reverb.

Compressor.

Flat/pump crossfader. Kind of finalizer/limiter.

Snapshot Arranger for building songs or more structured sequences.

Intern BPM/Clock function with Divide button.