This limited circle of pure sounds must be broken, and the infinite variety of “noise-sound” conquered. Russolo
The latest build of Spunk, our particle-based synthesizer, includes a slew of improvements and some nifty new particle control options. The point attractor has been augmented with a couple planar attractors, one of which can pulse at a variable frequency.
Included in the download is a TouchOsc template, so you can run Spunk fullscreen while controlling it with your iPad. Tune in at port 1666.
Performance recording just got released with Curtis for iPad 2.2, and it’s queued up and awaiting approval with CP 1919 version 1.2 along with a slew of nifty additions and the odd bug fix. We’re eagerly awaiting the release, but in the meantime, here’s a preview:
At last! CP 1919 1.1 is runnin’ smooth and on its way to an App Store near you.
The backstory: We held off updating our development iPad to iOS 4 while finishing the app to keep it compatible with the old OS, and after launch we found it ran like molasses on the latest iOS. Imagine the horror! A great deal of low-level optimization later: we have a far slicker CP 1919 for you, clipping along at the 30fps we’ve all grown to love. Same great taste, more responsive interface.
Per your demand, audio recording is next in the queue. Audio copy will follow. But what about MIDI? Are y’all clamoring for MIDI?
A huge thanks to the early-adopters; you keep this all possible!
Sound Scope Space for iPad just got a major facelift along with the addition of the number one user-requested feature: presets. You can now save and recall all settings and wave shapes. We hope this will help make Space more of a tool and less of a toy. Enjoy!
New in 2011, Curtis 2.1 adds a keyboard along with XY pads for even better touch control! Turn any recorded sound into a synthesizer!
The keyboard controls the grain cycle length to match standard twelve-tone tuning. However, the content of the source sound file at the current time point along with other parameters will determine the pitchiness of the sound heard. When the time point is static, Curtis behaves like a wavetable synth. When you pinch to create a grain range or apply the time LFO, things get.. stranger.
Two new XY pads control pitch and time LFO’s for still more wonk. The horizontal axis controls LFO frequency, while the vertical controls its depth. One wiggles the source point in the audio file, the other wiggles grain size, which in many cases corresponds to pitch.
We also gave the interface a twice-over, greatly improving multi-touch performance. Now you can apply all kinds of fingers and toes to the sound mangling craft.
