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Pourpres » de Mathieu Kassovitz avec Nadia Farès. FARESTUDIO F



- Remix d’une scène d’action du film « Les Rivières Pourpres »

de Matieu Kassovitz. CH
- Sound design pour Wackyloo (programmeur de Mutt Lange) sur

plusieur productions telles que Britney Spears, Céline Dion,

The Coors, etc. (N°1 mondial dans les charts). S-PRI Studio CH
- Compositon, sound design et montage de la bande annonce TV

et cinéma du Festival International du Film Fantastique de Neuchâtel. CH
- Programmation et edition sur AKAI S6000 d’une banque sonore

de 5 Go provenant du « London Philarmonic Orchestra » pour

un client (artiste et compositeur de musique de films). CH



- Montages, Installations et maintenance de stations informatiques

audio et formation de base sur celles-ci aux divers clients :


  • Franz Treichler (The Young Gods)

  • Yves Meylan (compositeur de musique concrète)

  • Pierre-Alain Hofmann (compositeur de musique de films)

  • Fernando Soares (compositeur de musique électronique)

  • Marco Orlando (compositeur de musique électronique)

  • Pierre-Edward Jaquerod (Ingénieur et compositeur)

  • P. M. (compositeur de musique de films, artiste)

  • Satsuki (designer)

  • Strek (compositeur de musique électronique)

  • Mutt Lange at « Sully Sound Records », producteur de :

AC/DC, Tina Turner, Brian Adams, The Cars, Schania Twain, etc
- Création d’une base de donnée regroupant tous les programmes

informatique audio de toutes les plat formes existantes. CH
- Poursuite du dépôt d’un brevet international concernant un

dispositif de transaction financières. CH

2001
- Sound design, composition, édition, post-production,

mixage et mastering pour EBEL (The architects of time),

membre du groupe LVMH (pour la montre Classic Wave)

et la vidéo de présentation Brand Vision de la Foire de Bâle 2001. CH

- CD de sons « Indian Traditions » Soundscan vol. 45 pour Univers Sons, Paris.

- CD de sons « House Side of 2 Step » Soundscan vol. 51 pour Univers Sons, Paris.

- CD de sons « Physics Modelisation Synthesis » pour Univers Sons, Paris.

- CD de sons « Asian Tradition » pour Univers Sons, Paris.
- Tous les CDs ont été fait à : CKSDE Studio CH
- Mastering pour la 2e compilation « La vie continue »

pour l’organisation Life. CKSDE Studio CH
- Mastering EP Delphin des Myriades. CKSDE Studio CH
- Mastering EP Volvox. CKSDE Studio CH
- Mastering de la compilation « Dimanche.ch » pour Wackyloo. CKSDE Studio CH
- Création de programme informatique audio (plug-ins)

développés en collaboration avec Pierre-Edward Jaquerod

(Ingénieur en électronique). Programmation, design et

développement d’algorithmes de traitement, d’analyse

et de synthèse sur la plate-forme MAX/MSP. CH
- Montages, installations et maintenance de stations informatiques audio

et formation de base sur celles-ci aux divers clients :


  • Franz Treichler (The Young Gods)

  • Yves Meylan (compositeur de musique concrète)

  • DJ Nelson de Jesus (compositeur de musique électronique)

  • Marco & Friends (compositeur de musique électronique)

  • François Jaques Idée appliquée (artiste contemporain, vidéaste).

  • Rudy Frey (compositeur de musique classique).

  • Frederic Latino (designer).

  • Copy Quick, Neuchâtel.

  • Wackyloo (compositeur de musique électronique)

  • M. Carlos (étudiant en musique).

  • Strek (compositeur de musique électronique).

  • Sky 69 : David & Andrea (compositeurs de musique électronique).

  • June (compositeur de musique électronique).

  • Delphin des Myriades (compositeur de musique électronique).

  • Pierre Alain Hoffmann (compositeur de musique électronique).

  • Claudio & Jean-Luc (compositeurs de musique électronique).

  • Didier Liechti (compositeur de musique électronique).


- Préparation d’une nouvelle compilation « 3e Life ». CKSDE Studio CH
- Bulgari : mix live de conférences annuelle. F
- Consultant pour la sélection des films de la 2e édition du

Festival International du Film Fantastique de Neuchâtel. CH
- Projet pour l’expo national 02 « OUI »

(le concept étant la mise en place d’une structure permettant

de se marier symboliquement pour 24 heures). CH
- Composition, programmation et arrangements d’un

nouveau morceau avec Djays. CKSDE Studio CH
- Réalisation d’une installation sonore ambiphonique (multicanal)

pour l’exposition « Canibal » (2 salles) du musé d’ethnographie

de Neuchâtel. Neuchâtel CH
- Poursuite du dépôt d’un brevet international concernant

un dispositif de transactions fiancières. CH
- Figurant pour le film « L’adversaire » de Nicole Garcia.

2002
- Post-production pout Tag Heuer « Sénat ». CKSDE Studio CH
- Post-Production pour Tag Heuer « Tag Quality ». CKSDE Studio CH
- Création d’une base de données regroupant tous les CD de sons

audio et ROM du marché, en collaboration avec Jean-Baptiste Marceau. CKSDE Studio CH
- CD de sons « SFX Tool box vol. 2 » pour Univers Sons, Paris. CKSDE Studio CH
- Montages, installations et maintenance de stations informatiques audio

et formation de base sur celles-ci aux divers clients :


  • Franz Treichler (The Young Gods).

  • Danny Lerouge (compositeur de musique électronique).

  • DJ Nelson de Jesus (compositeur de musique électronique).

  • P. M. (compositeur de musique de film, artiste).

  • Marcel Isler (musicien).

  • Till Rabos (musicien, vidéaste, artiste).

  • Delphin des Myriades (compositeur de musique électronique).

  • Copy Quick Neuchâtel.

  • Wackyloo (compositeur de musique électronique)

  • Strek (compositeur de musique électronique).

  • Pat Panik (compositeur de musique électronique).

  • Sky 69 : David & Andrea (compositeurs de musique électronique).


- Remise on-line du site internet du groupe :

Cyber Kitchen Sound Design Enterprise : www.cksde.com CKSDE Studio CH


- Mesures acoustiques pour le studio Damp Productions. CH
- Développement d’impulse responses pour une réverbe à convolution. CH
- Consultant et sound design pour le musée des Mines d’Asphalte. CH
- Poursuite du dépôt d’un brevet international concernant

un dispositif de transactions financières. CH
- Poursuite du développement de plug-ins en collaboration

avec Pierre-Edward Jaquerod (Ingénieur en électronique). CH
- Formation d’un assistant (Jean Baptiste Marceau) en tant que

Sound Designer et Ingénieur du sons. CKSDE CH

Dossier de Presse


Distribué par:
CKSDE

&

East West – Amérique du nord, du sud & Australie

Time & Space – Angleterre & Europe

Media Intergration – Japon

Univers Sons – France

Megamidi – France

Midiware – Italie

Midimusic – Norvège

Metra Sound – Suisse, Allemagne, Europe de l’est

Music Mind – Danemark

The Mix - UK - March 1995
XLS The Bass Appetiser
Those in search of a wide selection of original bass sounds would do well to check out this selection of samples from Swiss bass demons XLS. This CD is extremely well presented and recorded, and the accompanying booklet lists each sample, with suggested applications. These are only suggestions of course, but it is nice to have a style reference when searching for that elusive bottoill end sound to sit in amongst the other magical timbres in your mix. There are phat funk and hip hop basses, new jack and garage sounds, as well as a wide selection of trance and techno sounds, providing a selection of original bass sounds for almost every taste in modern music.
Each one-shot sounds (no loops here), is recorded at various pitches, and these too are listed alongside the name and description, followed by the instrument used, and whether the sound is stereo or mono. A variety of synths have been utilised here, from the JD800 to the Oscar, and a wide range inbetween. Encompassing everything from a DX7 to and Akai S3200.
Ultimately, in true techno.
Sound On Sound - UK - July 1995

The Bass Appetiser (sample CD)
This CD comes directly from the somewhat oddlynamed plot, Spocksone at Swiss company XLS Food, whose CDs are currently distributed by Time & Space here in the UK, There's no mucking about as far as the contents are concerned; Track 1 dumps you straight in at the deep multisample end. Seldom has a sample CD been more straightforward: 98 tracks are given over to one big bass synth set each, with samples taken at approximately quarter-octave intervals. Sounds are extremely well annotated.
The liner notes detail the music style (trance, techno, and so on), the number of samples (around 10), the source synth, and whether the sample is mono or stereo. Synths used include the Ensoniq ASR10, Yamaha CS70 and DX7, Roland JD800, JD990, Juno 106 and Jupiter 8, Kurzweil K2000, Oberheim Matrix 12, Waldorf Microwave, the Minimoog, Roland MKS50, the OSCar and the SCI Prophet 5.


A fine collection of firm favourites, What you are buying is the sound of these instruments and the synth programming expertise (and tastes) of a quartet of Euronationals from France and Switzerland. Oh, and some extremely sympathetic engineering undertaken on some of the jewels in audio's crown. A quick check of the outboard employed reads like a Who's Who of desirable audio sweetening - Rupert Neve's Medici and a couple of Focusrite units get a mention, as do contributions from Summit Audio, Tube-Tech, GML and Eventide, among others. Editing was by Digidesign (isn't it always..,?).
The great thing is, none of the patches sound particularly affected by this arsenal of electronics, whose combined value would buy many decent 24-track studio outright. Certainly, nothing has been added or taken away that forecloses any obvious options (no gratuitous reverb, and no whine either). The sleeve notes are pretty good, with hints and tips on (for example) how to use the velocity-to-function on your Akai sampler to simulate velocity resonance. But you knew that already, didn't you...?
And the sounds themselves? They cover a wide-range of modern dance styles, from techno, acid and hip-hop, to ragga, reggae and jungle.

There are no wasted bullets - pretty much every voice has its place on the dancefloor. And while the wildest regions of synth programming are studiously avoided, the sounds on The Bass Appenser form a pretty robust collection of sensible-but-with-attitude patches whose production quality would be hard to beat.


Conclusion: well, I've said it already. This is a definitive collection of 99 essentially dry and delicious multisample bass synth sets. Full patches will not be particularly cheap on memory: don't expect to get more than a few loaded in at once when auditioning for your half-finished tune - The best thing to do is to make up a one-sample economy version of each patch, so that you can load in a decent number of bass sounds at once. Then, once you've more or less decided which ones are likely to fit the groove, go back and pick up the full versions.

This is quality product for discerning dance samplists, and not really too much work either, unless you want to get into looping. And why bother?

Wilf Smarties

Iransonic Hacker

(The independent News Magazine for Ensoniq Users).
Product: The Bass Appetiser - 98 synth bass samples on audio CD.
For: EPSs, ASRs, TSs, From: XLS FOOD.
CH 2000 Neuchâtel, Switzerland.
I've been writing Hacker reviews of sounds and samples for quite a while now, and a pattern has emerged. Most sound sets come with a little introductory note explaining that this particular set was put together because nobody else had ever done the job right and the creators felt that they better just do it themselves (in one of those Escher-ian twists our universe is so fond of, one might come to the conclusion that all of these sound designers are implicitly insulting each other). By now, I've learned that most of these introductory notes lead to sounds that are perplexingly un-unique. Ah well. So here comes another, The Bass Appetiser (sic), from Switzerland's XLS Food, an audio CD with a library of synth bass sounds. Usual introductory justification ensues, but, wait -- lookit all this stuff. Can you spell "comprehensive?" (Um..."c"...uh...)

I thing it's safe to say, if you're into synth bass and don't mind doing your own sampling, you're gonna like The Bass Appetiser. It's a $99.95 collection of 98 synth basses taken from a variety of sources: JD 800, Jupiter 8, Prophet 5, DX-7, WaveStation, CS-70, K2000, Matrix 12, SH-101, Oscar, MiniMoog, XB-2, Microwave Waldorf, MKS-50, Prophet 600. There are also samples taken from the ASR and Akai S-3200, themselves samplers (paging Mr. Escher, paging Mr. Escher...).

Most of the basses here are in mono. The stereo imaging in the 10 or so stereo basses is often pretty subtle, though there are a few that are very stereo. Of course, most of the time, mono bass sounds are what you're going to want. The basses provided range from tubby to ripping to weird to buzzy to tasteful. Some of the sounds have a resonant filter component.
The Good News.
Well, there's a lot to say in this category.

One of the pitfalls in sampling synths is that they're such noisy old eusses. The bass sounds here have been intelligently massaged using the latest Mac tools, like Digidesign's DINR (As in "someone's in the kitchen with?" Or is it, ''Get, I wish it was time for...?"). The sounds wound up about as quiet as they can be without losing their intended edge.
One of the things I like best about The Bass Appetiser that most of the basses are multisample-ready, which is say that XLS Food offers between 7 and 11 different pitches for each sounds, at intervals of 4 or 5 semitone. This means you don't have to stretch notes beyond recognition as you play up and down the keyboard, and it make looping really easy.
Synth bass sounds usually work well with short loops late in the sample, but the catch is that loops that sound good on one end of the keyboard may sound lousy on the other. Multisampling spares you the dilemma, since no sample has to be stretched more than few notes in either direction, and loops can maintain the sonic integrity. XLS has also done an excellent job in matching the multisamples-as you move around on the keyboard, you've really got to listen very carefully to perceive that you're moving front one sample to another.
Good job, XLS.

As far as getting these puppies into your sampler, well that's also a snap. The reason that there are only 98 samples is that number 99 is an alignment tone. Play this track into your sampler to set your input level so that the peak light is just flickering, and all the samples should arrive at usable levels. I found it easy to set the threshold on my ASR sampling input screen so that I didn't have to trim the note attacks at all. The variety of samples offered is quite good. It's hard to imagine a usable synth bass stone XLS Food has left unturned. Some of the sounds differ from each other only in subtle ways -- perfect for synth bass aficionados. And there are some low lows here, too. One of the sounds was so deep, it slipped right past my Sony MDR headphones; I could only tell it was there by the valiant efforts the little sub-sonic secret they were being told. My speakers confirmed that this wasn't just my imagination -- they produced the missing notes.
The Bad News.


The bad news is that there's no bad news. Sorry (oh, wait, is that more good news?). Conclusion (you saw it coming, didn't you?) : The Bass Appetiser is a great deal if you're the type who rumbles at the sound of synth basses. There's a large selection of high-quality, easy-to-sample sounds, at a very reasonable price. Actually, it's downright cheap, given how much time and effort The Bass Appetiser must have taken to put together. And no sound designers should be able to whine about not being able to find synth bass sounds anymore. This is one appetizer that leaves you completely sated.


Robby Bermar
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