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Kamis, 10 Juli 2014

AmpliTube Jimi Hendrix




AmpliTube Jimi Hendrix TM is based on the AmpliTube engine. As a package it promised far more than amp models, including cabinets, some rare classic effects, different microphones, and the ultimate in time savers – Hendrix presets. Performing the review I wanted to see just how it stacked up (forgive me), how versatile both the configuration and sound were and ultimately answer the question.. would I use it for more than just fun?

Performing The Review


                           
I decided to try the stand alone version first, focusing on the sound and usability aspects of the review, moving onto running it as a VST plug in allowing me to focus on one aspect of functionality at a time.

I decided to approach my review without first reading the manual. My experience has taught me that by far the majority of users approach software this way, only turning to the manual when they hit a stumbling block. It relies on a fairly intuitive interface to be reasonably successful, so I jumped right in and noted the questions that occurred to me as a I browsed for later reference in the user manual.

Input / Output Interface

Located at the bottom of the AmpliTube window, here you can adjust your input gain, and perform basic signal conditioning using a noise gate (took me a while to find based on browsing the application before using the help system). This section also contains a selected parameter display for adjusting individual controls on selected stomp boxes or rack effects, and a preferences section.


Modules

There are 5 different sound modules:
- Tuner
- Stomp Boxes
- Amplifier
- Cabinets
- Rack Effects

A full list is provided at the end of the review.


Signal Chain

Choice of 8 preset signal chains for connecting the modules together with 2 side by side rigs that you can configure as 1 large rig, 2 simultaneous rigs, or something between the two.


Preset Manager

The preset manager allows you to load complete sound set ups covering the full Hendrix studio discography plus a variety of other common set ups and sounds. You can also create, save and load your own set ups.

Speed Trainer

Ideal for playing the original track at a reduced speed for learning a riff or entire song. You can set loop points and adjust the tempo and pitch variation.

Getting A Particular Sound

Armed with the trusty “Hey Joe” as a starting point my initial goal after connecting up my guitar was to see how easy it was to get that particular sound set up. I found the preset manager pretty quickly however my initial attempt was a bit confusing. Initially I was a bit daunted by the standard menu tree that popped up when I clicked “Preset Folder”. It was the only thing that said “preset” on the screen. A bit lost I closed that and clicked about. It took some minutes to find the interface based preset menus which was a mildly frustrating start.


Having found the menus I had no problem in finding “Hey Joe” with all the song set ups categorized by album, song and song part.

My instant reaction on playing was “Hey, that’s pretty damn good!”. Very evocative and convincing. No Fuss. I liked that.

I spent the next while navigating the presets, trying all the parts for all the songs, spending most of my time on my favorite tracks. Understandable, the sound truly is impressive. The ability to load each up with such ease somehow seemed like cheating but a most welcome cheat at that.

I didn’t have a midi wah-wah pedal to hand (or foot as the case may be) so I resorted to the auto-wah feature for tracks involving the wah-wah pedal and then to using an external wah-wah. The former provided less than spectacular results and the latter firmly place the tonal sweep at the beginning of the signal chain which was less than satisfactory. So I deferred the evaluation of these patches until I recorded in my chosen DAW.

I loaded the Hendrix CD tracks into the SpeedTrainer and played along for a more direct comparison with the tracks. There were discrepancies in the sound but considering variables outside the simulation such as the guitar used and its settings, the performer, the environment and the CD mixing/mastering it was hardly surprising. All in they were close enough to the sounds on original tracks.

After the Hendrix discography I also had a browse through a number of other typical amp set-ups provided by IK Multimedia. In general it was very easy to hear a use for these “out-the-box” presets.


Creating A Sound

I delved into dial twiddling trying out some settings of my own. I wasn’t disappointed. I could tell the difference between AmpliTube Jimi Hendrix and a real valve amp, but it is so close, some sounds particularly. A difference you are unlikely to notice in a mix. While I was more impressed with the dynamic changes in the sound than with previous amp simulators I did feel the amps still lacked some of the breadth of harmonics and the feel of the real amplifiers when they were being overdriven. It lacked that “untamed beast” quality.

I changed the amplifiers and cabinets, the signal chain, the stomp and rack effects and the microphone selection and position and saved and reloaded my customizations with no problems.

Using With A DAW

I used Sonar to perform the DAW perspective of AmpliTube Jimi Hendrix. I had no issues launching it from within Sonar. Each parameter of each effect or amp or any part of the interface can be controlled from within the DAW. In this I referred to the manual from the start.

My first port of call was to control the tone of the wah-wah pedal. I loaded the intro set up for Voodoo Chile (Slight Return) then recorded the intro as a raw unprocessed track while monitoring the sound from the amp simulator. After checking the midi assignments I drew in the wah-wah filter position in the controller window for an accompanying midi track. It did as expected sound wise and there were no real issues hooking the two together.
Interface


It looks pretty good, and in general it’s not too hard to find anything. A more integrated help system would have been nice and perhaps more clearly defined sections gathered under headings such as “Presets” would have made navigation easier. I viewed the application at 1920 x 1200 resolution and I did find navigation menus such as the preset browsing a little awkward, having to repeatedly go back a step or two to pop up the right menu when an errant mouse move took me out with the zone for that menu. For me it was too sensitive.

Models

AmpliTube Jimi Hendrix includes a range of amps typical of the makes and models used by Jimi Hendrix.

I’m most familiar with the Marshall but each amp definitely has a realistic performance characteristic of the amps and cabinets they are modeling. Impressively the models behaved like the real amplifiers across the settings spectrum.

IK Multimedia’s DSM technology really does make a difference. The Marshall was accurately responsive to the nuance of my playing. When I played with a delicate touch on the Marshall I got that nice clean tone, more aggressive playing brought out the overdriven amp sound distinctive to Marshalls.

It’s a pretty flexible system. You can combine the pre-amps and power amps and cabinets any way that you like, and the ability to have dual signal chains was interesting.

Good range of stomp boxes appropriate to the time. You can easily assign each to a different place in the stomp box signal chain. The stomp boxes were good, although I was disappointed in the wah-wah when set to auto mode. Most were fuzz pedals of one kind or another, but as it is a Hendrix set up that is to be expected.

There is an online Preset XChange where users can swap presets with each other.

It did occur to me that it would have been nice to be able to expand AmpliTube by allowing the user to buy and install individual amp/cab/effects models without having to buy further full collections. XGear does provide the ability to use the amp/cab/effects from multiple AmpliTube packages via one interface.

Tuner

A pretty straight forward tuner. I tried a few different guitars and had no real problems with the exception of when I used a “noisy” guitar.


AmpliTube Fender v1.0.VST.RTAS


IK Multimedia's AmpliTube is one of the most acclaimed software amp simulators on the market. It's been rolled out in various forms, including AmpliTube 2, Jimi Hendrix, Ampeg SVX, Metal and now the officially endorsed Fender version.

All bear the 'Powered by AmpliTube' legend, and between them they cover an impressive 38 amps, 45 cabinets, 57 pedals and 30 rack effects.

AmpliTube Fender includes 12 amps, 12 cabinets, nine microphones, six pedals and six rack effects. Like all AmpliTube products, Fender comes in both plug-in and standalone formats, the latter intended for live performance (or practice, of course).

You can choose from a number of preset routing configurations, to create, for example, dual amp setups. The standalone version also includes the rather useful SpeedTrainer audio player, which enables you to slow down tracks to aid in learning parts.
Overview

As the name implies, AmpliTube Fender only emulates Fender guitar gear. With such headline amps as Twin Reverb and Vibro-King in the pack, this is patently obvious, but the rack effects (Pitch Shift, Tape Echo, Sine Flange, Triangle Chorus, Wah and Compressor) are sourced from Fender's more recent Cyber-Twin amp, while the pedals (Blender, Phaser, Fuzz Wah, Tape Echo, Volume and '63 Reverb) are from throughout the company's history.

There are cabinets to match their respective amps (although you can mix and match) and, with the exception of the Bassman 300 and Metalhead, these are all combos. Mic emulations vary from the commonplace SM57 and U87 to the more unusual Beyer M160 ribbon and Sennheiser MD441. On- and off-axis settings and near and far positioning allow for plenty of sonic variety from the mic options alone.

IK is keen to point out that AmpliTube Fender is its most accurately modelled package to date, citing extensive use of their Dynamic Saturation Modelling (DSM) and the recreation of each and every stage of the amps and effects. The company has also developed something called Volumetric Response Modelling (VRM), which has enabled it to capture the sound of the Vibratone Rotary Speaker.

Of course, Fender has approved the sounds of the package, too. You'll also find options for activating oversampling for pedals or amps and a high-resolution mode – inevitably, these carry an accompanying CPU hit.
Amps

Clearly, AmpliTube Fender's big draw is its amp emulations. Half of these stem from Fender's rock 'n' roll hey-day and include the '59 Bassman LTD, '57 Deluxe, '64 Vibroverb Custom and '65 Deluxe Reverb, as well as the '65 Twin Reverb and Vibro-King Custom already mentioned.

The other six amps are more recent: the Champion 600, Super-Sonic, MH-500 Metalhead, Pro Junior, Bassman 300 and TBP-1 Bass Preamp.

So, if you're after the full-scale classic valve-driven sound to couple with a Strat or Tele, you've got six great choices in the older units. The other models offer broader capabilities, such as bass-specific amps. The Bassman 300 is a modern rig with graphic EQ and compression, while the TBP-1 offers a classic tube preamp with modern overdrive and EQ.

For a more contained, 'studio' sound for electric guitar, you've got the Pro Junior and Champion 600 amps, while metal maniacs should try the MH-500 Metalhead rig, which has a solid-state power amp.

Finally, Fender's recent Super-Sonic valve amp gets a look-in, although only the Burn channel is included (the Vintage channel is absent).
In use

Just dropping the plug-in onto pre-recorded guitars in a mix revealed plenty of recognisable Fender tones, from the thickness of the Bassman to the direct, punchy sound of the Champion 600 and on through the rich, creamy Twin Reverb.

Purely in amp terms, you're spoilt for choice, and while the pedal effects aren't very extensive, at least they're all good.

The fun really started for us when we used AmpliTube Fender in real time with a Stratocaster – it successfully sculpted that potentially weedy Strat tone into all manner of rich, solid and distinctive sounds.

Our favourite amp is definitely the '57 Deluxe, but each model offers something slightly different. Overall, the Metalhead impressed us the least, but by contrast, the recent Super-Sonic is brilliant.

Much like the pedals, the rack effects are only really the icing on the cake, but they're useful for certain effects, such as chorus and flanging. It is frustrating, though, that the effects are rigidly divided into pedal and rack categories – since there's no compression pedal, we'd love to be able to place the Compressor rack before the amps, but you just can't do it.

And you still can't reorder the effects, either, though if you use X-Gear (a free download for registered users) you can combine elements from different AmpliTube products to create monster rigs.

X-Gear lets you access presets for individual elements (amp, cab, pedal, rack) as well as the full rig presets, and they're all categorised by product (Jimi Hendrix, Metal, Fender, etc). There are also presets that combine modules from multiple AmpliTube titles, although you'll need to own the particular editions used in a patch to load them up.


X-Gear offers the same automation system as the regular AmpliTube: each module parameter (ie, knobs and switches of pedals/amps/effects) can be assigned to one of 16 host automation parameters.

There's also a MIDI implementation that's exclusive to X-Gear, but it only gives access to controls for preset next/ previous, stomp bypass, and volume/ wah/Wharmonator. This is pretty lacking compared to some of the competition, such as Overloud TH1, which lets you control almost any combination of parameters via MIDI CCs, and jump to specific patches.
Summary

Gripes aside, AmpliTube Fender is IK's most convincing amp sim product to date, and it can produce so many new and old tones that you really are spoilt for choice.

On the downside, CPU usage can be considerable, particularly with the high resolution and oversampling modes activated. But all told, we're enormously impressed by this package, as all it's really lacking when compared to the real thing is that physical guitar-amp-player interaction.


Rabu, 09 Juli 2014

Native Instruments Guitar Rig 5 Pro v5.1.1



What is Guitar Rig ?

Guitar Rig is one of the major components of the Komplete environment created by Native Instruments. Its an audio effect rack which is fully aimed at processing guitar (based) sounds. It contains several amplifier and cabinet devices and dozens of other audio effects. Apart from the audio effects it also provides a lot of specific tools which can be used to further expand on your sound.

Tools such as an LFO, step sequencer, envelope processor which can all be seen in this screenshot, but also tools like a ring modulator, a loop machine, or what to think of a splitter which allows you to treat the left and right channel in a different manner?

On the right you see an overview of all the module categories which are provided by Guitar Rig.

Apart from the standard collection of tools and effects the Guitar Rig engine as a whole also forms the basis for many other (separate) effects. From specific amplifiers such as Rammfire, “DJ Tools” like Traktor’s 12 to specific reverb effects such asReflector. There’s much more to Guitar Rig than guitar sounds alone. Sure; some effects maybe tailor made to process guitar (or string) sounds, but why would that stop you from using them in a totally different fashion?

A small side step but if there’s one thing which using Reason over the years has taught me its that you shouldn’t take anything for granted. What do I mean by that? Just because a sound effect such as ‘Tape Echo’ is part of the Kong drum designer doesn’t mean you can only use it within Kong. Dare to experiment!
Guitar Rig is no different.


Workflow

Using Guitar Rig is actually quite easy, although just like with Live you really want to experiment with it because there’s a lot more than meets the eye.

As mentioned earlier Guitar Rig (“GR5″) is an audio effects rack. You basically select the components which you want to use from the components or navigator section and drag them into the main window on the right. Here all the effects get stacked together, the sound basically travels from top to bottom.


Rack tools

Apart from the several audio components shown above there are also a few so called “rack tools”:


As you can see there’s much more to GR5 then ‘merely’ a bunch of audio effects. So what do we have here; from top to bottom:
Tapedeck PRE: You could consider this to be a sampling device of some sort. It allows you to record your pre-processed audio (so before it gets processed by the audio effects) but can also load wav, mp3 or aiff files. As can be expected you can transpose your sound, change the tempo (without affecting pitch), etc.
Tuner: GR5 is aimed at guitars and this proofs it once more. What good is a “Guitar Rig” without a tuner? Tune your guitar or other (string-based?) instrument; it can even optimize itself for specific use such as guitar or bass (and more).
Metronome: Should be pretty self explaining, no? Nope. Not only can the metronome be used to keep yourself on track, it can also synchronize some rack modules (like delay effects).
Preset volume: The input volume can heavily influence the way the several effects react. So to make sure that the input signal doesn’t get too high you can use this device to optimize the volume for your effects rack.
Tapedeck POST: Should be obvious enough by now I think; where the tapedeck PRE could record the incoming signal before it was being processed, the POSTdevice does the opposite. This can record the signal after it has been processed. And you can easily link this with the PRE device for even more control…
Master FX: Shouldn’t be too much of a mystery. This is a container which can hold several audio effects which will process the audio at the end of the chain. The several effects you drag onto the GR5 rack are basically insert effects; this device contains the so called “Sends” or “Global” effects.

And if you’re wondering which rack tool I didn’t show up there:


The Rig Kontrol tool is a section used to configure how the ‘Rig Kontrol’ should respond to GR5. Rig Kontrol is a foot pedal which contains an audio interface, 8 switches, and its fully meant to be used as MIDI controller to quickly control certain aspects of GR5 using your foot:

The Guitar Rig ‘Rig Kontrol’.

So as you can see GR5 is all about recording and processing sounds which you make with your guitar, the hardware controller is fully setup with this goal in mind too.

Even though I don’t play a guitar I can’t help think that GR5 is an ideal tool for using your computer as a bad ass amplifier.

Don’t forget that you can use GR5 both as a VST (inside a DAW) or stand alone!


The sound effects
Apart from the amplifiers and cabinet devices there are quite a lot of other sound effects which you can use. Which is also why I think GR5 makes an excellent effects tool, even if you don’t play the guitar. In fact, there are simply so many available that I can’t address them all, but to give you a good impression I’ll pick out some of the tools I considered quite interesting and maybe somewhat special. I won’t address “obvious” tools such as delays, reverbs, distortion effects and limiters because quite frankly; I think it should be obvious that GR5 has its share of those too.


The Harmonic Synthesizer is a pitch effect which adds 3 synth voices to the incoming signal which can then be mixed using the controls seen above. This creates some very special synthetic effects to your sound which can really make it stand out.


Electric Lady is an LFO based effect which adds some wobbly as well as a very specific flanger effect. I think the combination of the two can really add that little bit of spice to your sound.


The stereo tune is an effect which gives a stereo effect to your sound by detuning your signal and spreading it across both channels, thus generating a somewhat ‘widening’ effect. It doesn’t sound very special if you apply this on regular tones (such as those produced by the default Operator settings) but on more “fuller” sound I think you’ll soon come to appreciate this one.
Side-chain compression

Now, I know I said I wasn’t going to address any “common” effects but I still think this is special enough to mention…


This is one of the 3 compressors available in GR5. Notice the sidechain button up there?

If you have loaded a compressor in GR5 then you can actually use audio signals from within your DAW (Live in my case) to be used as a sidechain input which can then trigger the actual compression of the signal processed by the GR5 audio effects rack.

As you can see in this screenshot its quite easy too; just point “Audio To” to the track on which Guitar Rig 5 resides and Ableton Live will figure out the rest itself.
Concluding

Although Guitar Rig is fully designed to be used as a signal processor for guitar (-like) sounds its also one heck of an audio effect rack which allows you to create some pretty unique and maybe plain out bizarre sound effects.

This is but a review so I’m keeping things a little broad to try and also keep this interesting for people who don’t own Guitar Rig (yet?); but rest assured that I’ll go over some specifics in a future blog post.

SO; if you’re interested to learn more then you should consider visiting the Guitar Rig 5 Pro product page on the Native Instruments website. More information about the Rig Kontrol device can be found on its own product page.

And if you simply would like to give this a test drive yourself then the free of charge available Guitar Rig player is all you need.

Small sidestep: It is free but you still need to register. I’m quite the critic when it comes to people or companies which claim to provide “free stuff” and “only” want your e-mail address, but in this case I can guarantee that this is different. The only reason Native Instruments wants you to register is because this is part of their copy protection. Although its free you actually get a license for the free player(s) as if you would have bought them. Don’t forget to keep the installer and copy it to somewhere safe; the download link which is provided will only work for a limited amount of time.

And as for me; I consider Guitar Rig to be a very special and specific tool. I like how it has a rather ‘easy’ look and feel to it but once you start experimenting with it a little more you’ll eventually discover that it can do soo much more (like the sidechain compression).

It maybe designed with guitar play in mind, but I also consider it to be a very valuable effects tool for other music genres which is something I really came to appreciate.

And there you have it.


DOWNLOAD Native Instruments Guitar Rig 5 Pro v5.1.1( 617Mb )





Selasa, 08 Juli 2014

T - Racks CS v4.2 FULL


Close your eyes and picture a store full of cool processing gear: compressors and limiters are in a rack over here, EQs are over there – tube, solid state, digital – you name it, this store’s got it all. There are reverbs, de-essers, multiband processors, and a shelf full of vintage emulations. In short, a candy store of tone for recording musicians, engineers, and producers.

Just a gear geek’s fantasy? Nope, this store is very real, and it’s available to you 24/7. It’s the new T-RackS Custom Shop, where you can browse a huge collection of IK’s high-quality processing plug-ins for mixing and mastering, and purchase only the ones you want, when you want them. And the best part is, you can get started without spending a dime by downloading T-RackS Custom Shop.



DOWNLOAD T-Racks CS to v4.2 ( 386 Mb )

PART 1

PART 2

PART 3

PART 4

Senin, 07 Juli 2014

Guitar Pro 6 + Sound Bank


Guitar Pro is a musical software program offering all of the functionalities that all guitarists need.

  • Edit, visualize, and share your scores
  • Learn to play or improve your technique
  • Accompany yourself by creating the instrumental tracks of your choice
  • Enjoy a series of essential tools: scale-validating tool, tuner, metronome, guitar fretboard...
Now is your turn to play!

SEJARAH MUSIK GRUNGE

Banyak pihak mengatakan bahwa Grunge pertama kali muncul di tahun 1980-an. Namun pada era 60-an sudah ada sebuah band yang memaikan musik grunge yaitu Crosby, Still, Nash and Young. Tapi sangat di sayangkan band-band ini tidak bertahan lama karena ledakan punk pda era 70-an. Hanya Neil Young yang masih tetap bertahan sehingga membuat band ini di juluki “The Goodfather Of Grunge”.

Grunge adalah subgenre dari aliran Alternative dengan ciri khas Distorsi gitar kenceng, riff2 gitar kotor, beat drum juga kenceng  ditambah suara berat vokal…itu ciri2 Pure Grunge. Band yg bawain Pure Grunge sebut saja Mudhoney, Mother Love Bone, Greenriver, Nirvana, Butterhole Surfer dan masih banyak lagi.

Grunge tidak lahir dengan sendirinya, Grunge tidak sama dengan music hardrock atau heavy metal, tapi Grunge anaknya hardrock era 70-an dan di padukan dengan musik punk rock.
Suatu musik pastilah terpengaruh oleh gaya hidup yang dianut, contohnya dalam kehidupan kita sehari-hari. Begitu pula Musik Grunge sangat dipengaruhi oleh gaya hidup NgeGrunge. Lalu kalian pingin tahu gaya hidup Grunge yang sebenarnya? Bener kalian pingin tahu? Kalian sudah siap sakit hati? Okelah kalau kalian sudah siap untuk sakit hati. Gaya hidup Grunge yang sebenarnya adalah Sampah!.. It's True!. Bahwa gaya hidup Grunge yang asli dari sananya memang adalah gaya hidup yang erat kaitannya dengan sampah. Mereka makan sehari-harinya dari sampah yang dipungut dan dari koin recehan yang dilempar orang,hidup dari tunjangan sosial pemerintah, tidur mabuk di trotoar atau di bangku-bangku taman, sekali-kali ngompas dan melakukan tindak kriminal dan banyak hal lain yang kurang pantas untuk kita terapkan dalam kehidupan sehari-hari.

Itulah mengapa para musisi pengusung musik Grunge menolak dengan tegas apabila mereka dijuluki musisi Grunge! Mereka antara lain :
Sound Garden dan Alice in Chains. Mereka lebih bangga disebut musisi Hard Rock (pernah lihat album mereka dalam HardRock Compilations#1).
SilverChair dan Pearl Jam lebih bangga jika disebut musisi Alternatif/modern Rock. Hal ini dibuktikan pendapat dari Daniel John(SilverChair) yang mengatakan dirinya sangat menyukai musik Grunge tetapi menolak dengan keras jika disebut musisi Grunge. Dia menolak karena mereka mempunyai fasilitas, mereka kuliah,hidup layak dan kemana-mana naik mobil.

Dan yang ini mungkin paling menyakitkan , Nirvana dan Kurt Cobain juga menolak disebut musisi Grunge. Cobain sendiri lebih senang disebut Punkers, karena mereka lebih bisa berfikir dan menyelami jiwa masing - masing, bukan hanya karena lagunya enak lantas mereka menari dalam berbagai istilah (pogo,moshing,ect..) tetapi nggak tahu apa yang mereka inginkan disampaikan dari lagu tersebut. Cobain sangat membenci ulah anak-anak Grunge yang sedemikian apatis dan egois , ingat lyric In Bloom? Lets check the Lyric!). Kalian pernah melihat t-shirt "Grunge is Dead " ? kalo kepengen lihat bisa sekalian aku copykan. Cobain sendiri sebenarnya pingin membentuk Nirvana band Punk (do you remember ?). Ini dibuktikan bahwa dengan pendapat Christ Novoselic yang menjelaskan bahwa Cobain sebenarnya menginginkan Nirvana menjadi sebuah band Punk bernuansa seperti Sex Pistols tetapi karena ia kekurangan referensi maka jadilah Nirvana menjadi sebuah band Punk yang aneh.
Tetapi band-band tadi sependapat dalam satu hal bahwa Grunge bukanlah gaya hidup yang mereka anut walaupun mereka memainkan musik Grunge, tetapi lebih pada unsur bahwa Grunge is Soul yang mencerminkan tentang kejiwaan yang redup, bercerita tentang sisi lain dari dunia yang orang lain menganggapnya sinting dan lebih pada sifat koreksi pada diri sendiri (gimana kalian setuju nggak dengan yang satu ini?). Di Amerika sendiri kaum Grunge berbaur dalam kehidupannya sehari-hari dengan kaum Punk dan ketika ditanya kenapa nggak sekalian masuk ke musik Punk? Mereka menjawab bahwa itu adalah masalah selera, tidak semua orang menyukai hamburger, ada juga yang suka steak atau hot dog(masuk akal juga).

Kesimpulannya adalah Grunge bukanlah gaya hidup yang mereka anut walaupun mereka memainkan musik Grunge, tetapi lebih pada unsur bahwa Grunge is Soul yang mencerminkan tentang kejiwaan yang redup,kebebasan,kemarahan dan kekuatan untuk bangkit dari keterpurukan.

Para legenda band grunge Berhasil memperlihatkan bahwa grunge itu ada tanpa harus di bicarakan dan di akui.Karena grunge selalu dan harus lahir dari hati bagi para pencintanya bukan di gembar gemborkan untuk lebih di kenal dunia.

PERKEMBANGAN MUSIK GRUNGE

Bagaimana perkembangan musik Grunge di daerah asalnya sana? Jawabannya adalah: menurun drastic. Bahkan sekarang disana muncul lagi dengan trend baru dari musisi pengusung / yang memainkan musik Grunge(tahu khan bedanya musisi Grunge dengan musisi pengusung Grunge?). Trend baru ini disebut Seattle Sounds Coopment yaitu pengembangan dan pencampuran antara musik Grunge dengan musik Seattle Sound(lain waktu mungkin akan aku ulas mengenai seattle sound berdasarkan data yang aku peroleh). Para pengusung Seattle Sounds Coopment ini antara lain: Creed dan juga dapat dilihat dari album terbaru Bush dan Pearl Jam, sedangkan SilverChair dengan kecerdasannya dalam bermusik telah berhasil menggabungkan antara Grunge, Seattle Sound dengan musik kontemporer dan Modern(industrial).

Mereka menyebutnya "Musik of Future"(well down). Yang paling mengesankan justru perkembangan musik Grunge di Australia, oh ya di Australia kaum Grunge berbaur dengan penduduk asli sana yaitu kaum Aborigin. Mereka bersatu dan bekerja sama karena musuh utama mereka adalah kaum BONE HEAD. Dan hal ini sama sekali tidak membuat pemerintah untuk membuka matanya menyelamatkan suku Aborogin walau pernah perkampungan mereka dibakar habis!(kalau mengenai ini aku dengar dari wartawan Australia yang kemarin nongkrong di kampus dan bicara omong kosong selama lebih dari dua jam). Kembali ke topik pembicaraan semula! Perkembangan Musik Grunge disana terdongkrak dari kebijaksanaan pemerintah setempat dalam bidang kepariwisatannya. Musik Grunge disana dimasukan dalam agenda pariwisata, dicetak namanya dalam pamflet dan brosur-brosur dan main di Pub-pub elite sekelas dengan musik Jazz dan mempunyai penggemar dan pencinta seni dari kalangan elite pula(sumber: Agenda Pariwisata Australia th'98; perpustakaan Departemen Pariwisata Seni dan Budaya Jawa Timur).


Era keemasan GRUNGE dan Para Legend Bandnya

Musik beraliran GRUNGE mulai dikenal antara tahun 70-90 an saat band rock Nirvana terkenal lewat singlenya Smeel Like Teen spirits. Grunge merupakan perpaduan antara Heavy Metal dngan Punk dan dasar sound yang muncul ala The Stooges dan Black Sabbath. Meski suara gitarnya mirip musik metal 70′an, tetapi estetika Grunge jauh berbeda dari musik metal tersebut. Lirik dan musiknya lebih mengarah ke punk dan idealisme indie sperti aliran American Hardcore.
Saya akan sedikit menyebutkan band-band Grunge yang di nilai berpengaruh besar dalam perkembangan aliran musik tersebut yaitu diantaranya Nirvana, Sound Garden dan Pearl Jam, Audioslave (semuanya dibentuk di Seattle, Washington) yang kerap di jadikan acuan bagi pengusung grunge yang lain seperti Stone Temple Pilots, Bush dan Seven Mary Three, SilverChair, Everclear, CandleBox .

Setelah mengeluarkan album kedua mereka yang bertajuk “Nevermind” Nirvana dianggap berjasa dalam mempopulerkan GRUNGE sehingga aliran tersebut menjadi mainstream di Amerika .Sound Nirvana sendiri mirip Black Sabbath dan Cheap Trick dengan pengaruh dari band-band indie rock seperti The Vaselines dan Meat Pupppets. Jadilah musik Nirvana yang berideologi indie dngan melodi pop dan distorsi heave metal yang sangat idealis.

Di masa itu Nirvana terus membuat karya - karya yang luar biasa, membuat album - album yang fantastis..Dengan aksi panggung yg sangat di nanti – nanti  para penggemarnya..

Sayangnya Kesuksesan Nirvana tidak diikuti dngan kesembuhan Kurt, Kurt semakin tenggelam dalam depresinya dan beberapa kali berusaha untuk bunuh diri. Puncaknya, Kurt dikabarkan meninggal akibat bunuh diri dengan menembakan kepalanya sendiri pada bulan April 1994. Kematian Kurt membuat Krist dan Dave memutuskan untuk membubarkan Nirvana. Sebelumnya, mereka merencanakan merilis album MTV Unplugged (1994) dan From Muddy Banks of the Wishkah (1996) secara live version. Dua mantan personil Nirvana kemudian membentuk grup baru. Krist membentuk trio Sweet 75 dan Dave menjadi Gitaris dan vocalis Foo Fighters.kematian Kurt masih simpang siur sampai sekarang, kebenaran kenapa dia meninggal..Tidak bisa ane jelaskan Karna Memang Simpang Siuur .
KESIMPULAN DARI ARTIKEL INI :
Grunge adalah Jiwa (Grunge is Soul) ,bukan gaya hidup yang dianut oleh sebagian besar musisi pengusung musiknya.
Kita tahu adanya perbedaan antara musisi Grunge dengan musisi pengusung Grunge (kalian termasuk yang mana?)
Aktif berfikir dan berorganisasi yang positif sehingga menjadikan musik Grunge sebagai musik pergerakan, musik yang meneriakkan kemuakan kita terhadap apa saja yang kita anggap perlu untuk diubah. Dalam hal ini kita tidak boleh kalah dengan Punk/Hardcore yang telah melaju meninggalkan kita. Sekali lagi mari kita tinggalkan jiwa apatis dan egois yang kita adaptasi dari kaum Grunge. Dalam hal aktif berorganisasi positif ini banyak dari musisi pengusung Grunge dan Seattle Sound yang dapat kita teladani. Mereka antara lain :

1. Christ Novoselic(Sweet'75), Aktif mengurusi dan menggalang dana bagi organisasi yang peduli dengan kaum pengungsi korban perang.

2. Dave Grohl(Foo Fighter) dan Sonic Youth, bersama mereka aktif menggalang dana dengan mengadakan konser-konser amal keliling kampus demi kemerdekaan Tibet(Concert of Tibetan Freedom).

3. SilverChair, aktif dalam kampanye perlindungan terhadap hewan, menentang perburuan hewan liar dan percobaan kimia terhadap hewan(Animal Liberation Organization).

4. SilverChair dan Pearl Jam, aktif dalam organisasi menjaga kelestarian laut(check compilations Album: Music for Our Motheroceans).

5. Bush, aktif dalam organisasi semi politik melawan segala bentuk rasisme(Artist Against Racism).


10 Band Grunge Terbaik Sepanjang Masa

1.Nirvana


Sulit untuk membantah Nirvana sebagai band grunge nomer satu dari 10 daftar terbaik band Grunge, karena pada dasarnya mereka mampu menempatkan genre musik mereka pada peta musik 1991, melalui album ‘Nevermind’. Tetapi hal-hal tidak berhenti dengan ‘Smells Like Teen Spirit,’ atau ‘Come As You Are,’ adalah ‘Lithium’ dan mereka ” In Utero’, ‘Heart Shaped Box’ dan ‘Rape Me’ menjadi yang terbaik saat kemunculan Nirvana dalam dunia musik grunge. Sayangnya, kami kehilangan Kurt Cobain pada tahun 1994, namun fakta bahwa band mencapai status ikonik berbicara kepada kualitas musik dan dominasi mereka sedemikian powerfull namun singkat.

2.Pearl Jam


Terbentuk setelah runtuhnya band Mother love Bone, Pearl Jam muncul dari abu untuk terbang dengan album 1991 ‘Ten’. Berirama berat dalam lagu ‘Alive’ yang mengatur nada untuk grup, sementara menghentak keras lewat lagu ‘Even Flow ‘ mengukuhkan status mereka sebagai sebuah band yang patut diperhitungkan. Dan pada saat ‘Jeremy’ memerintahkan gelombang udara MTV, semua orang tahu Pearl Jam. The ‘Vs. “dan album ‘Vitalogy’ terus menggetarkan musik grunge yang nyaris tenggelam, dan band ini masih menjadi salah satu band paling sukses hingga saat ini.



3.Alice in Chains



Apakah ada kekompakan duet yang lebih berdampak dalam adegan grunge dari Alice in Chains gitaris / vokalis Jerry Cantrell dan pembangkit tenaga listrik vokalis Layne Staley? Harmoni pasangan itu yang tak tertandingi, dengan Staley memberikan pukulan ekstra ketika hal-hal menjadi benar-benar berat. ‘Man in the Box’ menempatkan mereka di peta musik pada tahun 1991, dan pada tahun berikutnya, mereka menelurkan karya grunge, ‘Dirt,’ yang menampilkan klasik seperti ‘Would?,’ ‘Rooster,’ ‘Them Bones’ and ‘Angry Chair.’

4.Soundgarden


 

Setelah terbentuk di Seattle di era 80-an, Soundgarden akhirnya berhasil menembus pasar musik di tahun 1991 dengan single ‘outshined’, ‘followed by the spirited follow-up’, ‘Rusty Cage’. Memadukan unsur grunge di beberapa akar punk mereka, Soundgarden memberikan interpretasi hingar-bingar musik mereka sebelum akhirnya menetap aliran grunge, moodier lebih berjalan dengan susah payah. Penyanyi Chris Cornell bersinar pada hits seperti ‘Spoonman,’ Black Hole Sun ‘, ‘Fell on Black days’, dan Preety Noose’. Soundgarden tidak diragukan layak mendapat peringkat empat daftar Top 10 Grunge Band.

5.Stone Temple Pilots

Bisakah musik grunge tumbuh di luar Seattle? Itulah pertanyaan pada tahun 1992, ketika Stone Temple Pilots yang berbasis di San Diego rocker Temple tiba dengan album mereka ‘Core’, memimpin gelombang kedua grunge. The lead single brutal ‘Sex Type Thing’ memperkenalkan band dan gaya vokal Scott Weiland. Ada juga nomor ‘Plush,’ lagu kedua dengan garis-garis yang berkesan ritmis gitar yang benar-benar membentuk band. Meskipun mereka akan berkembang menjadi sebuah band rock yang lebih lurus ke depan dari waktu ke waktu, para ‘Core’ and ‘Purple” memiliki catatan lagu tegas yang ditanamkan dalam suara grunge.

6.The Melvins


The Melvins, yang dipimpin oleh penyanyi / gitaris dan drummer Buzz Osbourne Dale Crover, dianggap sebagai salah satu pelopor dari apa yang akan menjadi cikal bakal musik grunge, dan dengan demikian mereka layak mendapat tempat di antara 10 Band Top Grunge. Bergerak lambat mereka, suara berjalan dengan susah payah menjadi pengaruh untuk band-band Seattle up yang datang setelah mereka seperti Nirvana dan Soundgarden. Band ini masih akan kuat hari hingga ini, dan lagu-lagu seperti ‘Hooch,’ adalah ‘Honey Bucket’ dan ‘Night Goat’ sekokoh saat mereka muncul.

7.Screaming Trees


Screaming Trees mulai dilirik para pecinta musik grunge saat mereka melakukan gebrakan besar dengan lagu ‘Nearly Lost You’, tapi band berpengalaman yang baik dalam suara panjang khas mereka ini sempat tenggelam sebelum kebanyakan orang megalihkan perhatian mereka ke grunge. Dipimpin oleh vokal semakin mendalam Mark Lanegan dan bass mengemudi dan bekerja gitar Van bersaudara dan Gary Lee Conner, band ini muncul sebagai salah satu pemimpin gerakan grunge. Sementara lagu ‘Nearly Lost You” menjadi kartu as panggilan mereka, lagu seperti ‘Dollar Bill,’ ‘Shadow of Season,’ dan ‘Bed or Roses’ juga favorit di katalog band.

8.Mother Love Bone



Bagi banyak orang, terutama para pakar musik, kecemerlangan Bone Mother Love tidak ditemukan sampai setelah band ini  mulai menggebrak panggung grunge dengan ciri mereka sendiri. Sayangnya, penyanyi Andrew Wood meninggal karena overdosis obat hanya beberapa hari sebelum rilis disk pertama mereka. Album ini tidak menghasilkan hits favorit grunge seperti ‘Stardog Champion’ dan ‘Crown of Thorn” (bagian intro ‘Chloe Dancer’ akan ditambahkan untuk soundtrack ‘Singles’). Kelompok ini juga penting untuk menjadi cikal bakal Pearl Jam oleh Jeff Ament dan Stone Gossard.

9.Hole















Grup band Hole, dengan Courtney Love sebagai vokalis 
Butuh beberapa saat bagi grup Hole muncul dari bayang-bayang almarhum suami Courtney Love, Kurt Cobain. Tapi di tahun 1994 lagu ‘Life Trought This” menjadi album yang akhirnya mengantarkan band mereka ke khalayak ramai industri musik. Suara serak Courtney Love yang sangat sempurna di lagu ‘Miss World, ‘ Parts Doll ‘,  dan ‘Violet, ” dan meskipun gaung band ini mulai berkembang di tahun 1998 melalui album Skin Celebrity, lagu-lagu dengan judul lagu nan ‘ mengerikan ‘ masih menjadi ciri khas mereka yang memang berakar dari grunge yang notabene diusung oleh almarhum suami sang vokalis Courtney. Hits band ini adalah lagu ‘Miss World’.

10. Mudhoney



Mudhoney, adalah salah satu band grunge yang paling konsisten solid dan abadi. Kelompok ini memiliki akarnya di Green river pada akhir80-an, sebuah band yang banyak disebut sebagai salah satu titik pelopor dari suara grunge. Mark Arm dan Steve Turner muncul dari Green River untuk memulai Mudhoney dan sementara mereka tidak mencapai keberhasilan komersial dari beberapa rekan-rekan mereka, trek seperti ‘Touch Me I’m sick,’ Let it slide’ dan ‘Suck You dry’ menjadi sangat dihormati sebagai lagu kebangsaan grunge pada awal kemunculan aliran musik tersebut. Hits Mudhoney yang paling populer adalah ‘Touch Me I’m Sick’.

Sumber artikel :













Minggu, 06 Juli 2014

Presonus Studio One Professional v2.6.2 WIN OSX x86 x64 TERBARU

Studio One 2.6.2 has the following new features and enhancements: 

- Support for Studio One Add-ons 
- The last ten autosaves are now automatically archived into the versions list 
- Optimized ARA data-saving to speed up autosave 
- “Remove unused files” command in the Pool now removes associated Melodyne data 
- The Activation window can accept email address instead of user name 

Studio One 2.6.2 fixes the following issues: 

- Melodyne plays sound only inside of an audio part range 
- MIDI tempo import rounding error eliminated 
- Tempo info only writes as a Wave file on mixdown when this format is selected in Options 
- “Send to Sample One” slice order no longer inverted when sending from audio track 
- [Windows] Studio One window now always on top 
- [Mac OS X] Audio-device selection no longer lost after system reboot 
- [Mac OS X] Plug-in GUI stays on top of detached mixer 
- [Mac OS X] First drag from the browser now working 
- [Fat Channel plug-in] Improved visibility of parameter values 

Studio One 2.6.1 fixes the following issues: 

- [OSX] Window handling may be broken on 10.9 Mavericks 
- Function keys for browser pages do not toggle browser 
- Transport controls removed on 1280 pixel wide displays 
- Midi preview player does not stop when using external devices 
- Optimized MCU Sysex handling 
- [OSX] Crash when quitting Studio One via Dock 
- [OSX] Missing button bar in UAD plugins 
- [OSX] Cursor only correctly drawn 
- [OSX] Crash when closing performance monitor 
- [Project Page] Strings converted to uppercase 
- [Project Page] Phase meter not working 
- [FatChannel] LM HM Q settings not restored

Studio One 2.6.0 has the following new features and enhancements: 

- Improved Mackie Control support (incl. Send slot navigation, Sends support. Control Link mapping, momentary Mute/Solo, Track Edit mode, FX Bypass Mode (EQ Button), Add       insert/send/instrument) 
- Extended Capture session import (includes StudioLiveAI mix scenes with Fat Channel settings, level, pan, sends, busses) 
- New Plug-in "Fat Channel" (the native version of the StudioLive AI mixer channel strip) 
- [Win] ASIO Direct Monitoring support enabled via cue mix setting in I/O setup 
- Nimbit dashboard on Startpage (provides access to up-to-date Nimbit user account stats: number of fans, number of active promotions, sales) 
- Nimbit Upload defaults to WAV format 
- SoundCloud dashboard on Startpage (displays key stats from a user's SoundCloud account, as well as a scrolling display of the SoundCloud activity stream.) 

- Arm instrument tracks via mixer remote control (FaderPort for example) 
- Enhanced Tempo Resolution (Song Tempo and Tempo Changes now accurate to 1/10000 of a beat) 
- Note Length for Paint Tool in instrument editor for painting notes with user-definable length independent from the grid 
- Expanded "recent files" list on start page 

- Metronome enhancements 
* Selectable click in Precount Option to record with a precount click. 
* Visual count-in on Record button 
* Adjustable offbeat click 
* Repeat Accent to repeat accent on time signatures with a 3rd counter 
* Additional click samples 
* Add custom click samples via Drag&Drop and menu option 
* Render click to audio track 
* Click Presets 
- Auto-Save restore less naggy - When the user denies to load a found autosave file, it's now always copied to history, without asking "Do you want to keep the backup as a version?" 
- [Win] Keep Space bar focus on S1 when Plugin window is open 
- Enabled inserting automation points to expanded Envelope Lane 
- Instrument part is selected after merge 

- 384 KHz audio export support (WAV/AIFF/FLAC only) 
- MIDI Options - Pitch Bend filter 
- Improved handling of floating windows on OSX 
- New command Shift+F11 to open the Instrument editor of the selected track 
- Open channel editor opens FX editor always also on Instrument tracks 
- Channel Editor remembers last device (F11) 
- Drag&Drop for FX Chains to Send Slots 
- Add Event FX to multiple selected events (with ALT) 
- New Link function for Strip Silence 
- "Layer follows Events" Option now defaults to ON 

- Grouping Improvements 
* Removing a track from a group deselects the track 
* Dissolving a group deselects all but the first tracks of the group 
- Use aftertouch for note repeat velocity 
- CC11 - Expression doesn't reset on stop 
- Adjustable rate for MIDI controller automation: External MIDI devices now have an adjustable MIDI cc transmit rate (range: 10 - 100 ms). A slider has been added to the device edit panel.   Default is 10ms (fast). 
- Performance Monitor now has Show On-/Off-State / Access Devices for plug-ins and instruments 

- [Project] CD Time display shows the current CD length of your project 
- [Project] Transport bar shows relative song position 
- [Project] Limit ISRC input to valid characters 

Studio One 2.6.0 fixes the following issues: 

- Improved MIDI Timing when looping back MIDI data from plugins or instruments 
- Melodyne data not removed when using "Remove Melodyne" 
- Melodyne playback cursor not visible when using FX with latency in input channels 
- Edit with Melodyne function bounces the event with all Event FX 
- Edit with Melodyne function removes already loaded Event FX on event 
- Sample offset in Advanced Audio options not saved 
- MIDI Preview playback does not show correct position 
- Mixer channels don't follow when moving audio tracks in folders 
- Soundcloud download in File Browser fixed 

- [Win] Double click not working on Win 8 touch screen 
- [OSX] GUI issues with a lot of 3rd party plugins 
- [OSX] Tab inserted when jumping to next input field 
- [OSX] Wacom tablets do not work with Drag&Drop 
- Send to sample one not working with rex files at different sample rate 
- Japanese localization fixes 
- Long macro list not scrollable 
- Autosave invoked while text-box is open 
- Key-command doubled when assigning NumPad keys 
- [Phaser] Spread parameter not working 
- [Chorus] Improved square LFO behavior 
- VST patch is changed when using VST program list scrollbar 
- [Impact] Decay fader broken 

- Crash when deleting I/O busses 
- Delay compensation not working for instrument tracks when exporting stems 
- Layers messed up after deleting layer via shortcut 
- Record to layers option not saved after restart 
- Duplicate and insert broken when folders involved 
- Move to cursor inserts new marker when start or end marker are selected 
- Dragging an instrument from the instrument rack to the track set track name to default 

- Mixer channel navigation unhides hidden tracks 
- Dirty flag set when loading song with editor open 
- Empty event when recording a short time with max Pre-Record time 
- Compressor bypass not working 
- Some VST plugins not working in stereo mode 
- Automapped plugin automation recorded with steps 
- Audio tracks with no input can be monitored 
- Invert Selection not working within open folders 

Installation:
-------------

Unpack and Install 

Launch Studio One, select "full Version", 

choose "Offline Activation" and copy the activation code

Open keygen and paste activation code into (Machine Id) field

and generate a 'Studio One 2 Professional.license' key

The License file will be created alongside keygen


Drag this file onto Studio One activation window.

LINK DOWNLOAD :

PART 1

PART 2

PART 3