- Recording and making music on the PC or Mac
The Polybius video game expansion pack is a free set for Z3TA+ 2, inspired by all your favorite old-school video game titles. Includes video game themes, game over themes, boss themes, attack effects, blaster effects, and even some timeless sounds you are sure to recognize. The Polybius expansion pack proves the true power behind Z3TA+ 2’s synth engine and best of all, it’s totally FREE!
Polybius Video Game Sound Pack Info:
How to Download Polybius: If you already purchased Z3TA+ 2, you can download the free Polybius Sound Pack from your My Account page on the Cakewalk Store. If you have not yet created an account, you will need to use the same email address as your Z3TA+ 2 registration. Then proceed to the My Account section and under “My Registered Products” you will see the Free Polybius Expansion Pack for Z3TA+ 2.
If you buy Z3TA+ 2 through the Cakewalk Store then the free Polybius Sound Pack will be included with your Z3TA+ 2 download.
Wanna try Z3TA+2 for free? Download the 30-Day Trial of this incredible synthesizer.
Did you know Z3TA+ 2 comes stock with a Sine Wave Generator and a White Noise Generator? Both can be used to enhance your Kick and Snare Drums.
PUTTING MY FACE ON YOUR NAME:
Remixing is one of my favorite things to do in the studio for many reasons. For one thing the song has been written, so the pressure of writing a masterpiece is off my shoulders. I’m also able to listen to a song from beginning to end; a completed thought, if you will. I get creatively juiced immediately if I connect to it. That’s where the magical third thing kicks in – I get to put my musical stamp on another artist and pay tribute to their work by recreating their art through my eyes. It’s an opportunity to let the world crawl inside my head (scary as that may be) and hear it the way I do. (more…)
Z3TA+ 2 has been making a lot of noise lately and continues to be a favorite with critics and users all over the world. If you haven’t tried Z3TA+ 2 yet, you are missing out on one of the greatest synths of all-time. MusicRadar.com did a round-up of the 39 best plug-in synths in the world and Z3TA+ 2 came in at #13.
Now through June 30th, we are sweetening the deal even more for Rapture, Dimension, and Studio Instruments users. Regularly $99, you can download Z3TA+ 2 today for only $69/£55/€69 – get 30% off the price.
Z3TA+ 2 features 1000 new sounds from top sound designers including:
The new sounds alone are worth the price of Z3TA+ 2 but you also get much more:
Hey world, forget your Monday-hate and dive in with me to make the first day of the week a little less sucky and a bit more murderous. Henceforth, it’s NorMonday. So if you find crawling back into the grind a bore, let’s get board–maybe a little chitty-chat about production techniques, tricks, voodoo, esoterica and sleight-of-hand. No blahs here, just blast.
MURDER FM has been blessed with some really nice response to our sound both here at home and the U.K. and the Cakewalk folks were kind enough to ask me to talk a little about the things that go into producing our sound. Hahhh! The real trick’ll be to shut me up, let’s get to it—hopefully it’s helpful.
The nuts, bolts and screams of “We The Evil.”
Coming back from our Sold Out UK Tour, I really wanted to push the envelope with MURDER FM’s new record, so when SONAR X2 arrived, I immediately went to work on using it to shape what would become MURDER FM’s heavier and darker sound.
I recorded the Vocals for “We The Evil” using a Cakewalk UA-101 as my interface into X2. Using a Nady condenser mic, I always track as direct and flat as possible, including no preamps for multiple reasons, 1.) I have the cleanest signal for optimal mix options and preamps will color the signal nicely, which leads to reason number 2.) Cleaner signals force me to have to be a better singer and really develop my character versus letting the effects and preamps shape my tone. It’s a bit more work in the end, but much better for what I am trying to do with my own signature production techniques.
Oh yeah, screamage. There’s a lot
Mic, pre and chain (or not).
Here is where I would sing the praises of the Nady SCM-1000 Wired Cardioid Studio Condenser Microphone. For it’s price, this thing is a beast and has yet to let me down. It captures my voice perfectly and really accentuates things without me having to going into a preamp. On “We The Evil” I used and abused X2′s ProChannel feature for everything I needed vocal wise. It’s such an amazing and powerful tool from the PC2A and Console Emulator Channel/Bus to the Compressor and Saturation Knob, it really gave me everything I needed for the vocal track and is perfect for drums and my master bus.
Getting my grit on: Not a perfect science.
For FX, I used VX-64 Vocal Strip. The doubler really helps the chorus vocals pop out, especially in the gang vocal sections and the Compander in the vocal strip really brings out the “throaty” tone in verse vocals, so much so, when mixing I cranked the tracked and could literally feel the grit in my throat in my stomach, it’s really a powerful tool. TheDeesser in the strip helps to clean up the throaty “s and p” mishaps. The “tube equalizer” allows me to bring out that mid range punch. I used the Delay within the VX-64 on my main chorus vocal help to create the hugeness of the chorus vocal by putting it just a tad out of time with the backup vocals and harmonies. That way, everything isn’t hitting directly at you–but more at slight little milliseconds off of one another, much like the natural movement of a choir…Too perfect is tooo bland in my opinion.
Scene of the rhyme.
All of the new MURDER FM record was tracked at my studio, THE SOUND FOUNDATION in Dallas. I’ve got multiple amp setups, drum isolation booth, a collection of different mics and all the latest Cakewalk plug-ins. One of my new faves for guitar tones is OVERLOUD. I track a mic’d amp tone and a clean DI signal for both post production and editing purposes. Heavier sounds such as MURDER FM’s tend to brickwall with distorted tones. Having a clean signal helps to view the transients gives me the flexibility to plug in anything missing in the mic’d amp tone to obtain the fullest guitar tone I possibly clean and avoid that “thin” one dimensional tone.
I told you—get me going and I don’t stop. But hey—God is in the details and I don’t wanna make him mad, so I spend a lotta time there. Besides, who wants to think about how far it is to the weekend when you could be thinking interfaces and plug-ins. ‘Tis the diff between a mere Monday and a NorMonday.
First and foremost is the legacy of Z3TA+ Classic. Released over 10 years ago, Z3TA+ set the bar for modern analog style soft synths with unparalleled tweakability and waveshaping control. Z3TA+ was pumping out synth leads and fat basses back when EDM was know to most as simply “Techno,” and Dubstep was in it’s infancy. It’s impossible to quantify the impact of Z3TA+ on the EDM/Synth universe, but from what our users tell us, there are likely tens of thousands of musicians still using their trusty Z3TA+ 1.5 waveshaping synthesizer in music today.
Secondly, Z3TA+ 2 includes over 1000 new sounds AND all 1,093 that ship with the original. Frankly speaking, Z3TA+ 2 is a preset goldmine. These sounds hold up against any synth on the market. Listen to Z3TA+ 2 sound examples for a taste.
But of course there is also the UI redesign and usability overhaul that came with the second version. Z3TA+ 2 now has the sleek, modern interface that is easier on the eyes and easier to navigate. Controls are more spread out, intuitively placed, and easy to access. Plus new controls have been added to allow even more sound design possibilities. New features for performance and playability raise the bar again for soft synths. Plus, Z3TA+ 2 is now (at last) available for PC & Mac.
MusicRadar recently updated their list of the 39 Best VST Plugin Synths in the World Today which ranks Z3TA+ 2 at the 13 spot among some formidable competition.
Should Z3TA+ 2 be #1? We think so. Try Z3TA+ 2 for free today and decide for yourself!
When people ask me what I do for a living, it is often difficult for them to grasp the words; I record sounds and musical instruments that musicians use to create music. At Digital Sound Factory we breakdown the instrument to the fundamentals and capture the sounds that make up its character. Each note and playing style is recorded. We are essentially creating a ‘digital archive’ of musical instrument sounds that render playback on modern computers.
Creating sound expansion packs for Cakewalk synthesizers involves many steps in the development process. It’s a long journey from defining the scope of the sound set to hearing a sound when playing a MIDI note. This is an overview of how an expansion pack is born and what goes on behind the scenes.
Defining the Project
First we take a close look at the scope of the project and define the instruments and samples required.
Musicians, engineers, and studio time are not free, so the better prepared we are, the more we capture. Each instrument requires different considerations. Sampling drum’s is different from sampling synthesizers is different from sampling brass or winds. In the case of drums, how the drum should be tuned, number of velocity hits on center to the edge of the head, matching rim shots, various microphone placements, to name a few. Sampling brass or woodwinds will entail multiple volume levels of sustain, more breath, less breath, breath only, mutes, staccato, and more.
The Recording Process
Sampling is similar to recording music in some ways, but in other ways it is very different. The similarities are musicians are recorded in professional sound environments using microphones, mixing console, speakers, etc. The very different part is we are not there to record music. We record the instrument and its characteristics. I can’t begin to tell you how many sessions I have walked into and the musicians are ready to impress with great music. In these sessions we focus on the technique, not the music.
Each note the instrument is capable of playing is meticulously recorded at various amplitude levels and styles (ie: sustained, mute, fast attack, slow attack, soft, loud, etc.) using 4 – 16 microphones, fast computers, and Sonar. It is imperative that any addition sounds that are not part of the instrument, such as squeaky chairs, breathing, or noise from the musician are identified and eliminated during the recording process. Occasionally there are sounds that make their way into the sample and need to later be isolated and removed using software tools. All microphones, takes, tracks, hard drives, etc. are documented for use during the editing process.
Selection and Editing
After days, weeks, or months of recording, the tracks are reviewed and the best takes are sliced and copied to a new project. This may include as many as 4 to 16 tracks of microphones that can be mixed or separated to create the final individual .wav files for each pitch/velocity/etc. Selecting the best ‘takes’ involves a lot of listening and is essential to delivering the highest quality instruments. Any additional DSP (Digital Signal Processing), such as leveling, noise cancelation, equalization, and amplitude fades are completed at this stage. Sustained notes require looping the recordings to create a seamless pitch at the loop points. Loops are adjusted to lengths based on memory size targets. Each .wav file is tagged with the instrument name, style, and pitch identification.
SFZ files are created and used to map the incoming MIDI controller note number to the correct .wav file and location. The SFZ files are text files and use ‘opcodes’ or operation codes that are used to control various synthesizer program parameters. It contains relevant information about the instrument such as velocity, filter types, envelopes, LFO’s, and others. SFZ files are programmed for each playing style and sometimes combined to create layers.
This is where the instruments develop personality and flavor. SFZ files can be combined as elements to create layers. Filters, modulation sources and destinations, and effects are assigned. The program is named and saved to the relevant style folder.
Digital Sound Factory Recording Video
This video includes recording sessions for orchestral strings, winds, brass, and percussion in the concert hall and studio, drum kits and percussion, ethnic instruments, and grand piano.
Buy Sounds for Cakewalk Synths
Digital Sound Factory offers over fifty expansion packs for Cakewalk’s Dimension, Rapture, Sound Center, Z3TA+2, and Session Drummer 3. Digital Sound Factory on the Cakewalk Store
Download DSF Expansion Packs for as low as $19.95
Stock up this weekend on DSF expansion packs for Dimension Pro/Dimension LE. The DSF collection features thousands of sounds for all types of music and genres. Included are Grand Pianos, Guitars, Basses, Classic Keys, Orchestral, Hollywood Sound FX and much more. Buy one or buy them all and save big during this special offer. Ends February 28th, 2013.