Many of the videos I've converted to mp3 were rare tracks, out of print albums, synthesizer demos, or special lectures.
Now the big music companies are persecuting this fantastic tool, because the fat cats are greedy and paranoid.
An anonymous reader quotes a report from TorrentFreak:
Two weeks ago, the International Federation of the Phonographic Industry published research which claimed that half of 16 to 24-year-olds use stream-ripping tools to copy music from sites like YouTube.
The industry group said that the problem of stream-ripping has become so serious that in volume terms it had overtaken downloading from 'pirate' sites.
Given today's breaking news, the timing of the report was no coincidence.
Earlier today in a California District Court, a huge coalition of recording labels sued the world's largest YouTube ripping site.
UMG Recordings, Capitol Records, Warner Bros, Sony Music, Arista Records, Atlantic Records and several others claim that YouTube-MP3 (YTMP3), owner Philip Matesanz, and Does 1-10 have infringed their rights.
The labels allege that YouTube-MP3 is one of the most popular sites in the entire world and as a result its owner, German-based company PMD Technologies UG, is profiting handsomely from their intellectual property.
YouTube-MP3 is being sued for direct, contributory, vicarious and inducement of copyright infringement, plus circumvention of technological measures.
Among other things, the labels are also demanding a preliminary and permanent injunction forbidding the Defendants from further infringing their rights. They also want YouTube-MP3's domain name to be surrendered.
"YTMP3 rapidly and seamlessly removes the audio tracks contained in videos streamed from YouTube that YTMP3's users access, converts those audio tracks to an MP3 format, copies and stores them on YTMP3's servers, and then distributes copies of the MP3 audio files from its servers to its users in the United States, enabling its users to download those MP3 files to their computers, tablets, or smartphones," the complaint reads. "Defendants are depriving Plaintiffs and their recording artists of the fruits of their labor, Defendants are profiting from the operation of the YTMP3 website. Through the promise of illicit delivery of free music, Defendants have attracted millions of users to the YTMP3 website, which in turn generates advertising revenues for Defendants," the labels add.
The Knifonium is a unique 25 vacuum tube monophonic synthesizer, with a 4th order ladder filter and a ring modulator.
Oscillator 1 (5 tubes)
Sawtooth, Triangle, Pulse, Sine
Octaves 64, 32, 16, 8, 4, 2
Oscillator 2 (3 tubes)
Sawtooth, Triangle, Sine
is master for sync and modulator for FM
Octaves 64, 32, 16, 8, 4, 2
Noise (2 tubes):
Noise generator is a special tube that is subjected to strong magnetic field. -White, Pink and Red.
Ring modulator (3 tubes)
Input is sine waves from both oscillators or anything from external inputs, feedback et cetera, drive volume can be adjusted
Very wide nonlinear range available.
Mixer (2 tubes)
A tube op amp, virtual earth mixer with one external input.
3 of the input levels can be modulated.
Filter (7 tubes)
4th order ladder filter.
Can go from clean to messy to violent depending on levels and resonance.
VCA (2 tubes)
Transformer coupled variable mu pentode design.
More than 40dB of linear range. Capable of total shut down. A switch to increase internal level by 10 dB for extremely nice distortion.
Output amplifier (1 tube)
Pentode tube, transformer coupled
3 operation modes for different distortions.
Provides truly professional transformer balanced output that will drive anything, anywhere.
I'm extremely fond of ribbon controllers (like on Metasonix S-2000 Vacuum Tube Synthesizer) and touch pad operations (Kaossilator).
Check out this demo of the Metasonix S-2000 ribbon controlled vacuum tube synth.
Some comments on this video:
Analogue Wings --
Metasonix - charging you $1500 for the same sound you get from plugging pretty much anything into a $20 DOD Buzz Box.
the delay makes it sound like crap.
Pete Horam --
Well that was ear-wrenchingly awful. Sounds like a slow grungy, painful, death! I think i'll stick to Square / Sawtooth / Sine & Triangles!
Steven Streight --
So you can keep doing imitative music in the styles of Keith Emerson. Tangerine Dream, and Vangelis?
Clayton Brown --
that slide thingy makes the synth sound very horror movie esque like The Hills Have Eyes or something, very disturbing as far as hobby style music.
I guess if you like rednecks that live in trailers and do meth all day and can't wait for it to get dark so they can eat your flesh, then this synth is the way to go.
Steven Streight --
This is not "crap" -- this is Real Analog, using vacuum tubes like analog is supposed to have. Everbody yearns today for that gritty, distorted, earthy, warm, growling analog sound. Well, you need vacuum tubes to get it. I can't wait until I can order one of these S-2000 and the drum machine D-2000 from Metasonix.
These days, the market is overwhelmed with DSP gear.
Secondhand analog stuff is hard to find and even harder to maintain.
Sherman offers you the Filterbank, which is basically a small modular synth that includes two multimode filters with an external audio input instead of oscillators.
The box is equipped with 23 rotating knobs, a rotary and 6 toggle switches, 7 indicators, and 11 jack connections plus 5 MIDI sockets on the rear side. No analog machine on the market contains so many features in just one handy box!
The main idea behind the Filterbank is that the sound of an analog synth is determined by the filter and the VCA; the reason for the absence of an oscillator is because nowadays there are plenty of sound sources. The architecture of this Sherman is based on filters and VCAs—they shape the sound. It's the missing link in your setup!
The Filterbank incorporates a lot more than just a low pass filter and a normal VCA. The wide-range knobs allow you to go 'over the top' like you've always wanted to but never could. The VCAs are specially designed to achieve tube overdrive behavior. Once familiar with a Sherman you will fully understand what it means to have no limitations in sound shaping. Beware: the Sherman user group is one that you can enter, but never leave!
The Sherman Filterbank feels at home in a variety of surroundings. If you're lucky enough to posess a modular system, the Sherman will be your favorite module.
It is patchable at any point in your modular chain and will provide simply exquisite filtered and overdriven sound. Connections may also include trigger and voltage signals in both directions.
Wipe the dust off your old FM synth, as the Sherman Filterbank generates nice results with this type of signal. Even a simple sawtooth will be enough to discover new, amazing sounds at the turn of a knob.
The Sherman Filterbank is an analog synthesizer with no competition in its price class. In any studio it's the most inspiring effect unit of all.
From precise equalizing on critical tracks to brain-frying filter sweeps, you always have total control. The knobs have different colors to guide you quickly. Get a hands-on feel and just keep kicking the sonic energy in this pure analog machine, over and over again.
It's no wonder many engineers become real Sherman Filterbank addicts.
Guitar and bass players will discover a whole new dimension in the creation of their personal sound; what's more, without giving up their familiar way of performing they will find an updated place in today's sound world.
Filterbank's input sensitivity is a perfect line level adjuster up to the middle position; there it becomes more sensitive, up to overdrive with microphone level.
Plug in a mic and enjoy processing any acoustic sound source.
Drums and percussion can trigger the ADSR and AR generators, or you can apply their dynamics via the envelope follower, e.g., to a string pad passing through the Filterbank.
In the meantime, MIDI out will send out the acoustic triggering in a very accurately timed way for later re-use or for direct triggering of another Filterbank.
Simple, but more useful in practice than you might think.
Not happy with the internal filter sound of your sampler?
Sherman Filterbank is the cure, providing the nice velvet feel of a rotating knob for each parameter included!
Sherman is small company founded in 1988 by musician and producer Herman Gillis.
Although his passion for electronics dates back to his childhood, it wasn't until 1995 that he decided to market his gear.
All the features of the Filterbank are basically the 'best of' many earlier experiments. Such a long development time is rather unusual these days!
Every unit is finished, adjusted and checked with care. The small overhead costs and the lack of a huge marketing budget make the Sherman a good value-for-money tool.
The heavy duty steel case is of high quality and finish: as your music deserves quality sound shaping, your eyes and fingers have the right to pleasure, too.
You get the power of a real modular system in a compact box, your inspiring friend in studio or on stage.-
- 4U rack version moves all the jack connections and MIDI sockets to the front of the unit
- A powerful analog filtering and distortion unit with a huge frequency range and killer tube-style overdrive behavior
- An affordable small modular filter, easy and fun to use both live and in the studio
- Application: processing every sound source, effect mixing, expanding modular systems, etc.
- Independent low pass, band pass and high pass filters with resonance, frequency and bipolar ADSR envelope controls
- The two filters are switchable between parallel or serial
- The second filter has a 6 octave switch, and is synchronizable with the first filter
- ADSR generator with an external output for use with more Filterbanks or modular systems, triggered by the incoming signal, by a second sound source or by a gate
- FM input for the filters, usable with internal or external audio, LFO or CV
- VCA overdrive with separate AR generator
- Ring modulator input, usable with internal or external audio, LFO or CV
Studio jam on Roland JD-Xi, Roland V-Synth, Korg Kaossilator Pro Plus, Korg Kaoss Pad, Moog Sub 37, Novation Circuit.
"Go ahead and eat another plate of dog food. Either way you vote, I'm afraid this nation is so screwed. Have another plate of dog food, courtesy of the government oppressing you and me. It's just a gang with a flag. It's going to make you sag. It's always headed by a hag. I'm in a good government mood. Pass me another plate of that dog food."
I forget which model of sampler and synthesizer Curran is playing. One of you freaks who are pro musicians will know.
Curran has used VCS3-Putney and also Serge modular synthesizers.
At the Kunstmuseum, Bern on November 16, 1990, he used Akai 6000 sampler and Midi keyboard, while Richard Teitelbaum performed on Prophet 2002 sampler, DX 7 keyboard,and Macintosh computer.
... as seen in Kero & Annie Hall video:
Monophonic TB-style analog synthesizer tied to a step-based pattern and song based sequencer, designed for the techno, trance, acid, and electro-blip-beep-bop musicians.
On-board analog and DSP effects processing, and various interfacing options for controlling MIDI, CV/Gate, and Din Sync devices.
The Revolution uses true analog synthesis throughout its entire sound engine. Only the DSP effects are digital.
Future Retro wants you to know that this is as faithful a replication of the TB-303 sound as they can get using todays top quality circuitry. Its oscillator provides the exact same waveforms as the TB (square/saw) but under much more stable and purer circumstances.
Even the quirky 3-pole (18 dB/oct) filter, gated amplifier, accent and glide circuits of the TB-303 are all replicated.
And all the original knob/controls of the TB-303 are represented, as well as a new CV Modulation amount control which allows the filter's cutoff frequency to track either internal or external control voltages.
There is also an Accent Decay time control for tweaking the attack of the Accent effect which can create some funky zap and zoom accents.
The Sequencer: Future Retro have taken the TB's linear sequencer and gone circular with it.
Play a pattern and you'll see the first benefit of this new design as LEDs run around in a circular loop, each LED representing 1-step of the pattern, giving more natural visual cues as to the playback and timing of your patterns.
Some may find this instantly exciting and better than the old linear style.
There is memory for 256 Patterns to be stored. Each pattern records note duration, pitch, accent, glide, loop point, time signature, and swing amount.
Pattern editing features include copy/paste, pattern shifting, pattern transposing, multiple pattern cueing for chaining patterns together live, and LED chase.
The Revolution also provides the ability to play patterns forwards or backwards, and remotely select patterns to play using MIDI program change messages.
There are 16 songs to arrange the patterns in.
In addition, the Revolution provides a unique Remix feature which provides 256 variations for every pattern and song, for more than 65,000 possible patterns right out of the box.
Effects and Interfaces: It has analog and digital effects. The analog effect is an Overdrive.
The digital effects include 24 bit stereo chorus, delay, flange, reverb, leslie, etc.
Round back are MIDI connections for syncing playback with external sequencers, playing MIDI sound modules, or having external sequencers or MIDI keyboard controllers play the Revolution's analog section.
Din Sync out is included for syncing up the playback of the early Roland TR and TB type devices to todays MIDI sequencers.
Also provided are CV and Gate outputs for playing other analog equipment using the Revolution's sequencer, or using the Revolution as a MIDI to CV converter. And there's a CV Mod input.
"Extended Technique" is what classical musicians call non-standard, inventive ways of playing an instrument.
Physical Modeling Synthesis attempts to replicate Extended Technique sonic events on acoustic musical instruments, to make the instruments sound more realistic with the human touch.
Extended Technique includes:
behind-bridge bowing, string scrapes, snap pizzicato, finger muting, node point piano harmonics, lipping pitch blends, half-valving, tuner glissando, resonant percussion, cymbal stacking, slap tonguing, string popping, "seagull" bowed harmonics, and ululation.
Are there any Extended Techniques in the realm of synthesizer playing?
I mean, beyond Keyboard Slapping, where you bang two synths together for an acoustic percussive sound?
QUOTE All sounds in this composition were created by myself, using analogue synthesisers - including all drums and percussion. These were taken from SYNTH DRUMS, a drum Sample Library I co-produced with Wave Alchemy. Many thanks to Boris Sass for the mixdown and also Dan Byers of Wave Alchemy for his drum processing and for mastering this track. END QUOTE
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