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W: beatskillz. One that could have gone in the synth section, as the results are more than percussion!

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For kicks with added extras, and plenty of them. W: distocore.

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Finally — something light on your processor and easy to use, a part drum machine and sample player. Yes, there are more expansion packs available for your money, but these will show off the flexibility of Rupture. W: dopekitz. Check out the latest collection of Freeware Synths here.

Friday, August 16, Flume releases samples for the public to remix.

Freeware The Top 6 Freeware Drum Machines

Review: Softube Monoment. Ed Harcourt on establishing and maintaining a career as a songwriter. Remembering the sounds of Casio VL-1, a pocket calculator with chiming…. Working with Retrologue 2 in Cubase Pro How to comp vocals effectively in Pro Tools.

Definitely a contender for audio tracking. At that time, no computer could create or process audio in real time, so Csound is a text-based rendering language: You type a bunch of code and then hit the Render button to save your audio file to disk or, these days, to listen to it immediately. Why would anybody still use something so primitive?

Easy: Csound is arguably the most powerful and best-sounding computer music system around.

It does lots of types of synthesis and processing; it has a text-based scoring language that can run rings around a high-end MIDI sequencer; and it can do bit floating-point audio, which is unimaginably clean. Csound and Blue are also compatible with general-purpose programming languages such as Python. If algorithmic composition is your thing, you could hardly ask for a better set of tools.

Gleetchlab For: Macintosh Site: gleetchplug.

How eccentric is it? Every time you fired it up, you had to plug in a bunch of patch cords. Illformed Glitch For: Windows Site: illformed. Glitch is a VST 2. When running, Glitch switches from one effect to another, either randomly or in an order that you specify. Switching can happen at any sixteenth-note.

Sixteen separate patterns are a mouse-click away, and your knob moves can be automated. It operated well at first in Ableton Live 7, but then crashed Live the second time I tried to open its panel. The screen features a standard dual-deck layout, capable of loading and playing two songs at once and crossfading between them. You can send a separate mix to headphones, nudge a track forward or backward so its beat will line up with the other track, and so on.

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When installed, Mixxx asks where to find your song library, and then scans it, loading all the titles plus length and bpm into its own browser panel. A primitive flanger and equalizer are also provided. A small amount of sound editing is provided via the eight macro knobs, which have been pre-assigned to useful parameters.

The download will take a while, as the installed sample library is over MB. One important difference is that the graphic interface of Pd is primitive and ugly as the screenshot shows , while Max is quite tasty to look at. As with Max, the included tutorial files in Pd are actual running patches. You can experiment with them or block-copy them into your own patches, which makes the process of learning to use Pd considerably easier.

The Windows version is called PsyCollider. SuperCollider is reputed to be better than Csound at doing real-time processing, and its use of OSC Open Sound Control means you can run it on several computers over a network, so the potential processing power is greater.


If there were more hours in a day, SuperCollider is a program I would definitely dig into. Triple Cheese is clearly based on the same technology as Zebra2, but with a fixed set of modules. It uses an unusual type of synthesis: In place of dual oscillators and a lowpass or multimode filter, you get three comb filters, which seem to operate in series or parallel depending on what mode you choose for them. Two ADSR envelopes, two LFOs, and a single effect processor with various algorithms phaser, reverb, and so on round out the feature set.