10 Soundware Mixer Feedback model B K KONTAKT-VONG

TEAM VON.G | 08.07.13 | KONTAKT | 50 MB

英文简介：

No-input mixer. Mixer Feedback model B K by 10 Soundware is a sound set for Native Instruments Kontakt 5. Designed by Taichi Furudate, these patches are based on audio captured from a no-input mixer, an instrument contrived by connecting the output of an audio mixer with its input to incite feedback. The third in a series of four titles, each centered on a different mixer, this release features a contemporary, mass market model by a German manufacturer.
As a member of a duo, Shimettainu, whose instrumentation consists solely of no-input mixers (even signal processors are not used in their performances), Taichi Furudate’s prowess in the art of mixer feedback is extreme.

Repurposing audio mixers as oscillators and tweaking onboard settings, he induces gradational shifts between timbres such as squealing, serrated noise akin to low pitched sawtooth waves, and many others, ranging from euphonic to discordant, sonorous to shrill. More radical forms of interaction with his sounds involve methods such as tampering with cables and on/off switches.

The timbres generated by the mixer used in Mixer Feedback model B K can be described as “like a cheap digital synthesizer”, according to Taichi Furudate. Due to its inexpensiveness and replaceability, this model is the most violently handled mixer in his collection (it has been thrown during performances), and bares damages to its electronics, resulting in a highly “customized” device. Driven by his preference for physical interaction and “rough and chaotic” behaviors of no-input mixers, this model is often configured with a piezoelectric microphone and a small speaker to form the feedback loop. In this configuration, the angle, position, and pressure of the two components serve as parameters in which to acoustically shape the feedback signal, by introducing precariousness and imperfection.

The sound design executed in Kontakt 5 transposes mixer feedback to the realm of synthesis. The sampler’s formidable tapestry of DSP tools were savvily exploited to contort the captured audio to synthesizer paradigms (tuned patches based on seamlessly looped tones and drum kit presets) and into noise instruments, yielding patches ranging from stunningly simple to stupendously intricate. As a universal feature within the sound set, MIDI cc#1 was programmed to trigger vivid timbral transformations.

官网: http://www.10soundware.com/10proddetail.asp?ID=1003