Waldorf Blofeld - License Sl Hack
May 25, 2016. [justify]To make sure that every user is able to use the full potential of Blofeld, we offer a 50% discount for License SL between the 27th and 30th of May. This can be overcome by hacking the output stage to use SPDIF output, IIRC I saw someone mod theirs online somewhere, a great idea for anyone. I've been borrowing a friend's Blofeld w/SL Glad I am before buying. I won't be getting an SL option. You're absolutely right. Samples are only worth it if you plan to use multi mode a good deal, and if that's the case good luck. I found Blofeld in sound mode + Nord Drum to be much more enjoyable than Blofeld in multi mode running drum samples. Re: Loaded soundset into Waldorf Blofeld. Post by meatballfulton » Sun Dec 06, 2015 4:17 pm Blofled sysex files specify which of the banks (A, B, etc.) to load the sounds into.
At the, Studiologic introduced Sledge 2.0 – an updated version of its vintage-inspired digital keyboard that offers a lot more synth for less money. With Sledge 2.0, Studiologic and Waldorf Labs (working as a team) have made it more flexible as a pure synthesizer, added Dual mode for Split/Layer functions, introduced support for user samples, expanded the instrument’s polyphony from 8 notes to 24 and improved its effects engine.
Meanwhile, they’ve dropped the street price by about $600. Here are the details: This slideshow requires JavaScript. SonicState did a pretty thorough review when it came out after 2013 NAMM. It does sound really nice and all of those controls make it much easier to edit than a Blofeld.
However, this is not a Blofeld. From what I was told at the StudioLogic booth back then, the Sledge has a dedicated soundboard made for this synth. I suggested they consider a black version (Sledge Stealth?). They said they wanted it to stand out. Which it does. I wonder which would sell more? Perhaps a Synthtopia poll would shed some light on that?
With the addition of user samples and the price drop this becomes a very serious alternative for anyone looking at VA synths. It sounds really good and has lots of real time control. Just reading comments here and I was thinking just that.
I don’t really mind a thumbs up or thumbs down personally, any feedback is good in a desensitized world. But reading sane rational comments here, and simple questions from people, and they are getting 4 thumbsup and 3 thumbs down for asking a question!? Here is my post from above: “Great price for this.
Are the sounds a basic Waldolf Blofeld sound, or is something added other than per knob function? But, that makes me think they should do a Waldolf Pulse II version of this synth. But this is nice bit of kit without me dreaming on.” That seems reasonable to me, mild praise followed by a simple question and the musings of a Pulse version – harmless. But it gets 3 thumbs up and 2 thumbs down – How does someone get so offended by normal rational comments to then take the time and effort to respond negatively? How does a person get to such a low point to engage like that? To actually be riled about nothing particularly to a level to take action to publicly dislike it – that is pathetic.
For people asking about the release date, it’s got an estimated arrival date at US resellers around May 7th, 2015. Pre-ordered, here. 🙂 Best of both worldsfirmware softsynth, but onboard realtime programming like the good old days. Cuts out the downsides of the delicate analog electronics, but gives you a lot of synth power. It does way more than VA, too. I’ve read VA, subtractive, additive, and FM, as well as the new sampling.
Compare this to the Prophet 6 in terms of cost:features. This wins, hands-down. I’m convinced you’re paying for the Sequential name with the Prophet 6.
Devin Anderson himself! Thanks for doing this interview! What's your real name, and where do you live? Thanks for having me, Gabbe. I live in Los Angeles. I work for Akamai.
I'm a software engineer in Akamai's Protocol Optimization department. What's your musical background like? What music do you like, and do you play any instruments? I first became interested in music when I was 4-5 years old.
I remember sitting outside my older sister's (closed) door, listening to the records she played, and to KNAC FM, which now has a sort-of cult status among heshers and their ilk. She listened to a lot of metal and punk rock, and I developed a certain fondness for it too. When I was 15, I started learning to play guitar. I had this awful acoustic guitar with really horrible action.
I would play for hours each day until my fingertips were raw, learning any song I could either learn by ear or via tablature. I loved every minute of it. It was also around this time that I first came upon MARS FM, a radio station that would eventually completely change how I thought about music. MARS FM played all sorts of music that I was totally unaware of up to that point. It was MARS FM that first exposed me to Joy Division, Nitzer Ebb, Bauhaus, My Life with the Thrill Kill Kult, Lords of Acid, Front 242, etc. Unfortunately, I wasn't in a place in my life where I could fully appreciate what I was hearing.
A little later, I bought my first electric guitar, and started jamming with my friend Jason, who played drums. We decided to form a band with some of our schoolmates, which we called 'Full Frontal Nudity'. We played so-called 'alternative music'. We played live shows at coffeehouses, and at a few clubs around the San Fernando Valley. I enjoyed playing live, but wanted to write music with more intensity. One day, on the way to a gig, a friend of mine (another Jason, who's made quite a name for himself as DJ Bractune, a member of a fantastic band called Whiteqube, and the founder of Bractune Records) inserted a disc into the CD player, and 'Last' by Nine Inch Nails came out of the speakers. I was amazed at the intensity, and how electronic elements could be blended with harsh, distorted electric guitars to create amazing soundscapes.
In addition to developing an immediate love for NIN, I also had a new appreciation for the stuff I'd listened to on MARS FM; unfortunately, when I went back to listen to MARS FM, I found that the station no longer existed. Devin Anderson rockin' a mohawk. NIN turned out to be a gateway band.
Waldorf Blofeld License Sl Hack
KMFDM, Ministry, and Front Line Assembly followed closely behind. And then I found Skinny Puppy. That was magical.
By the time I turned 21, I was listening to industrial music almost exclusively. In my mid-twenties, I started to try to write electronic music. I bought a Roland MC-909, which ultimately ended up being an expensive mistake. I did learn a lot about basic electronic music concepts - filters, envelopes, etc. but the lack of real synthesis in the MC-909 ended up leaving me frustrated and wanting. I bought my first real synthesizer - a used Waldorf Blofeld desktop - when I was in my early 30s.
I learned a lot about synthesis from the Blofeld. I also learned a lot about what I want in a synth.
Since then, I've also acquired an Elektron Machinedrum and an Elektron Monomachine. These days, I find myself listening to EBM, industrial music, and 80s post-punk. I don't play guitar (or write music) quite as much as I'd like, but I hope to change that in the near future.
What's your history with Linux, and with using Linux for audio? I learned about Linux back in 1998, right around the time when I made a decision to focus on computer science. I bought a copy of Red Hat Linux 5.2, and installed it on my PC.
Nothing worked out of the box. I had to configure all of my hardware manually. Getting from a keyboard and a command prompt to a working GUI (old Enlightenment!) desktop was a fantastic (albeit frustrating) learning experience. Since that time, I've been using Linux exclusively on the computers I own. Around 2004, I installed Fedora Core and Planet CCRMA on my desktop. Again, nothing worked! It didn't help that I didn't quite understand JACK and the applications that used JACK, but I pushed forward anyway.
I eventually gave up, as I started to focus on dealing with other issues in my life. Around 2008, I installed 64 Studio. The situation had improved drastically. I started recording stuff I had written using my Roland MC-909. Around this time, I became frustrated with my MC-909 and wanted to sell it. However, there were some patches that I wanted to keep from the MC-909. I envisioned a tool that could capture audio data from the MC-909, and save the data as a sample library.
That's how the first version of `synthclone` came to be. Since then, I've tried many different audio distributions. I used for quite a long time ( does a fantastic job), but eventually settled on Lubuntu, tweaked for realtime use. At work on the computer.
Synthclone and other projects You've done work on a couple of different Linux audio related applications and projects. Could you talk a bit about what kind of applications and projects you've built yourself, as well as helped out with? An introduction to your work, if you will. There are two projects for which I'm the sole code contributor; `` and ``. `synthclone` is a sample-based instrument generator.
The most common workflow involves four steps:. If you intend to acquire samples via sampling another instrument, then you'll need to create zones for the samples you'd like to acquire. There's a zone generator plugin that simplifies this process. Acquire the samples, either by sampling the sounds of another instrument (via or PortAudio/PortMIDI), or by loading the samples from your filesystem. Apply various effects to the samples. Effects include compressors, limiters, choruses, delays, etc. Via the plugin, and effects that are specific to cleaning up samples (faders, reversers, and trimmers).
Save the samples as a sample-based instrument. Supported formats currently include drumkits, Renoise instruments, and SFZ instruments. `midisnoop` is a simple monitor, with the added benefit that you can create your own MIDI messages to send to a device with the purpose of seeing what the device does in response. It's useful for tinkerers, and developers that want to write code that interfaces with instruments via MIDI.
I wrote `midisnoop` so that I could figure out what MIDI messages I would need to send to my various synths in order to save and restore patches, which allowed me to write Lua plugins in Renoise to automate the saving of patches from my hardware synths. At some point, I'll likely open source those plugins too. I've also contributed quite a bit of code to JACK 2 with the intention of improving latency and jitter in JACK 2 MIDI drivers, including the `alsarawmidi` driver, which, IIUC, is going to be ported back to JACK 1 by Paul Davis.
I've made a few other minor contributions to a handful of Linux Audio projects, but nothing noteworthy. What's in store for the future of Synthclone? I'm not currently motivated to work on `synthclone`, so I can't say when changes will occur, but I do have several things in mind:. Name change: The name `synthclone` indicates that the primary use of the application is to clone synthesizers, which was true when `synthclone` was created, but isn't true anymore. `synthclone` has evolved into a more general sample-based instrument creator. Qt 5 support: At some point, distributions will stop including Qt 4 in their distributions. Sample library import functionality: Support already exists for importing samples from Hydrogen kits, and I'd like to add the functionality to import samples from Renoise instruments and SFZ instruments.
Effect buses: Right now, there's just one effects bus that is used for all samples. You.can. apply different effects and effect parameters to different samples, but it's currently a very tedious process. Multiple effect buses would solve this problem. More target formats: There are many target formats that aren't supported, including Kontakt, Gigasampler, Akai, and others.
Mac OSX support: I've already done some work on this front, but I'm not finished. Developer involvement: I'd really like to attract more developers to work on `synthclone`. I created a plugin API, hoping that it would provide developers with an easy way to add functionality to `synthclone`, but I haven't been able to generate much interest in doing so yet. Having other developers to add their own ideas in the form of plugins would be awesome. How can non-coders contribute to your projects?. Documentation: I'm not motivated to write documentation (for now).
Documentation would be extremely helpful. Tutorials: Glen MacArthur created an awesome video tutorial for `synthclone`. Having more tutorials showing different workflows and use cases for `midisnoop` and `synthclone` would be awesome. Translations: The only language I speak fluently is English. Adding translations for more languages would make it easier for people that don't speak English fluently to start using `midisnoop` and `synthclone`.
Instruments: Create instruments with `synthclone`, make the results public, and mention that you used `synthclone` to create the instruments. UX/UI Suggestions: I'm a developer, and I know that I build applications in such a way that I can understand them easily. Often, that means that users may not have the best experience, or that the UI may be lacking in some serious way that I'm not aware of.
If you think something can be improved, let me know. Donations: If you have some spare change that's burning holes in your pockets, then donate to my projects using Flattr. Screenshot of how Devin's computer looks. Is there any other project you have your sights set on, or that you'd eventually want to get around to doing? There are.lots. of projects I'd like to get around to; unfortunately, my time is limited, and if I spend all my time writing code, I'll never create any music! That being said, here are some ideas I have rolling around in my head:.
Asynchronous library for realtime: I love boost::asio, and have created a library with a similar API to boost::asio with the purpose of dispatching the execution of functions from a realtime thread to non-realtime threads, and vice versa. It still needs some testing before release, but I've found it to work well thus far. Disk-streaming library: I'd like to create a disk-streaming library that covers the greater majority of disk-streaming use cases so that other applications can take advantage of disk streaming without worrying about the implementation details. Visual modular plugin creation system: There are certainly modular plugin systems available (Ingen, CLAM Network Editor), applications that allow you to visually put together components (PureData), and programming languages for creating plugins (faust), but there's nothing quite as friendly and complete as FlowStone.
If FlowStone came out for Linux today, I would buy it immediately. I don't know if I'll ever have the time to work on something like this.
Sync external hardware with sessions: I'd like to be able to save/restore patches from/to my external hardware when I save/load sessions. I've written Renoise plugins to do this, but a more general system that interfaces with different sessions management frameworks would benefit other users. System/library for creating software editors for external hardware: There are some applications out there that try to make it easier to write software editors, but the ones I've seen are sub-par. Devin again at work in his studio. Final questions Could you talk a little about what kind of hardware setup you are using?
Devin's studio setup. Do you feel like anything is lacking in Linux audio today, and if so, what? I feel like quite a few things are lacking in Linux Audio:. A decent sampler: IMHO, samplers should be instruments themselves, not just software that loads sample-based instruments. I want to edit my sampled instrument and play my instrument at the same time.
If the fire spreads or enough damage is done, you may even see the plane come apart in mid-air. This gives you much better feedback on how much damage you have done to an enemy, and helps you decide whether you can shift your attention to another plane. Damage done to your own plane is also sharply represented, and once you have been shot up or see that you are on fire, you can flip out to an external view to survey just how bad things really are. You may think you are still in control of the plane, only to find that your engine is engulfed in flames, your tail has come off, and half of a wing is missing. Combat flight simulator 2 free download. Time to bail out!
My ideal sampler would have the creativity of the Elektron Octatrack and the tweakability of Vember Audio's 'Short Circuit'. Harry Haaren's `` and ``, and Renoise all have some elements of what I'd like to see. Better user interfaces: You can make some awesome sounds with Yoshimi, but the UI makes it a very difficult process. The applications I've written are likely guilty of this too. Good external MIDI hardware support: Renoise has this nailed.
3 may do this well too, but I haven't tried it. MIDI sequencers should include MTC, MIDI clock, and latency compensation, and should not introduce significant amounts of jitter.
Visual DSP software: Something similar to FlowStone would make it much easier to learn and experiment with DSP. It'd also make it easier to create synths and plugins.
I think one of the reasons that there are so many VST plugins is that applications like SynthEdit and FlowStone make plugin creation much more accessible. LV2 plugin API friendliness: It's very difficult and intimidating to actually create an LV2 plugin due to all of the different extensions. Host integration is easy because `lilv` and `suil` make it easy.
Perhaps there needs to be a similar library for LV2 plugins. Note that this isn't meant to be a slight at David Robillard. I think Dave is a fantastic developer that has done an extraordinary amount of work he does for the Linux Audio community. kernel support for syncing sound cards: The 'multi' interface is a cheap hack that doesn't work reliably for all users.
What's your favorite free and open source plugin currently? I don't have a favorite. I haven't found a use case that isn't satisfied by Renoise native plugins. Where can people get a hold of you, and where can they find your work and music? I can be contacted via e-mail at: surfacepatterns (at) gmail (dot) com My Linux audio projects can be found at: -Finally, you won't find my music anywhere.
I spend way too much time writing code, and not nearly enough time writing music. Hopefully, that will change soon.:) Thank you very much for the interview Devin! That was Devin Anderson. Thanks to Devin for participating, and thank you for reading!