SKU: HL.1458386

Sound particles is an immersive audio software capable of generating thousands (even millions) of sounds in a virtual 3D audio world. Creating highly complex sounds has never been this quick. The Ultimate 3D Audio Software With Sound Particles, you will take the art of creating sounds to a whole new level. It doesn't matter if you work on film, videogames, TV or VR, this audio software will let you create everything you can imagine. Create Sounds Like Never Before Sound Particles uses computer graphics techniques applied to audio. Our software combines particle systems with a 3D Computer Graphics-like engine. That is why Sound Particles is capable of generating thousands of sounds to create complex sound effects, enriching the audio results. Immersive Audio With Sound Particles, you can create sounds in virtually any output format you can image: mono, stereo, Ambisonics, 5.1, 7.1, Dolby Atmos beds, Auro 3D, and many more. New Audio Engine The 2.1 update incorporates a new audio engine, responding to real-time changes with optimized iterations, delivering the best audio quality possible. Scale Sound Particles opens the door to the creation of high-scale sounds. From the sounds of thousands of violins playing to the sound of one million people talking. Batch Processing Create your session and set Sound Particles to output hundreds of different renders in one pass. This feature makes mass productions of sound effects a reality. Greatest Features Sound Particles is something completely different from any other professional 3D audio software that exists today with batch processing, CGI integration, binaural monitoring, and doppler effect. Randomness We can think of the sounds we hear in the real-world as random events. That is why Sound Particles has a randomized set of parameters that you can control in order to create the most realistic sounds. Postproduction Use Sound Particles to add depth and richness to your sounds. Import videos and match particle system to exact events. Unlimited Resources Sound Particles doesn't have any type of limitations regarding the amount of sounds you can use. Import hundreds and hundreds of audio files to a particle system and let them do the rest. Track Presets Create and save an infinite number of track and microphone settings, recall track setups with just two mouse clicks. Binaural Monitoring Sound Particles will let you monitor binaural audio by decoding any type of audio format.

SKU: HL.1458385

Sound particles is an immersive audio software capable of generating thousands (even millions) of sounds in a virtual 3D audio world. Creating highly complex sounds has never been this quick. The Ultimate 3D Audio Software With Sound Particles, you will take the art of creating sounds to a whole new level. It doesn't matter if you work on film, videogames, TV or VR, this audio software will let you create everything you can imagine. Create Sounds Like Never Before Sound Particles uses computer graphics techniques applied to audio. Our software combines particle systems with a 3D Computer Graphics-like engine. That is why Sound Particles is capable of generating thousands of sounds to create complex sound effects, enriching the audio results. Immersive Audio With Sound Particles, you can create sounds in virtually any output format you can image: mono, stereo, Ambisonics, 5.1, 7.1, Dolby Atmos beds, Auro 3D, and many more. New Audio Engine The 2.1 update incorporates a new audio engine, responding to real-time changes with optimized iterations, delivering the best audio quality possible. Scale Sound Particles opens the door to the creation of high-scale sounds. From the sounds of thousands of violins playing to the sound of one million people talking. Batch Processing Create your session and set Sound Particles to output hundreds of different renders in one pass. This feature makes mass productions of sound effects a reality. Greatest Features Sound Particles is something completely different from any other professional 3D audio software that exists today with batch processing, CGI integration, binaural monitoring, and doppler effect. Randomness We can think of the sounds we hear in the real-world as random events. That is why Sound Particles has a randomized set of parameters that you can control in order to create the most realistic sounds. Postproduction Use Sound Particles to add depth and richness to your sounds. Import videos and match particle system to exact events. Unlimited Resources Sound Particles doesn't have any type of limitations regarding the amount of sounds you can use. Import hundreds and hundreds of audio files to a particle system and let them do the rest. Track Presets Create and save an infinite number of track and microphone settings, recall track setups with just two mouse clicks. Binaural Monitoring Sound Particles will let you monitor binaural audio by decoding any type of audio format.

SKU: HL.49044450

ISBN 9790001198639. 9.0x12.0x0.124 inches.

This work is part of a cycle of five short pieces for a single instrument and piano, focused on the five ages in the cosmogony of Ancient Mexican civilisation. The peoples of the Mexican highlands believe that time follows specific cycles and that the world was created following the pattern of 'trial and error'. The creation of the world is divided into several periods which are termed 'suns' (we are currently living in the fifth phase named 'Ollin'). Each period will be brought to an end through a natural catastrophe.Solei-Feu refers to the first attempt to create a world out of a rain of fire (nahui quiahuitl).The element of fire is reflected in the musical soundscape of this work, constructed from rampant, rhythmic motifs, fragmented splinters, spinning upswings and impacts reverberating through space. An intimate dialogue develops between violin and piano on the basis of extremely simple figures. Interconnecting lines and dense musical material are thrown against each other in a play of contrasting registers and blended tonal colouring, creating a mysterious and disturbing mythological universe coloured by its ontological pessimism. Thierry Pecou

Soleil-Feu refers to the first attempt to create a world out of a rain of fire (nahui quiahuitl) as described in the cosmogony of Ancient Mexican civilisation. The element of fire is reflected in the musical soundscape of this work; rampant, rhythmic motifs, fragmented splinters, spinning upswings and impacts reverberating through space create a mysterious and disturbing mythological universe coloured by its ontological pessimism. Thierry Pecou.

SKU: GI.G-CD-914

UPC: 747313307074.

The first major choral setting of The Diary of Anne Frank takes the teenager's remarkable and penetrating observations, written whilst hiding in an Amsterdam attic, as the basis of its extaordinary and moving libretto. Whitbourn's music for this work has been described as woundingly beautiful (The Daily Telegraph). He reflects sounds of the Westerkerk bells and tunes heard on the radio in the Annexe, along with representations of Anne Frank's Jewish and German heritage, details that add to a score whose respectful understatement is its greatest strength (The Times). This Grammy Award Nominated recording is conducted by James Jordan with Soprano, Arianna Zukerman, the Westminster Williamson Voices, and The Lincoln Trio with Bharat Chandra, on Clarinet. For an insightful look into the making of this heartbreakingly stunning recording, be sure to read The Musicians Trust (G-8388) written by James Jordan and James Whitbourn. A portion of the book chronicles the process that culminated in the now Grammy nominated recording and details the journey to its creation.  Visit the Grammy's website.

SKU: HL.1436084

UPC: 196288203858. 6.75x10.5x0.029 inches.

“Let every breath on earth be raised, and every creature join in praise!” This anthem begins with an energetic and engaging invitation to join the sounds of celebration in response to the goodness and greatness of God from all His creation! The syncopated rhythms in the opening accompaniment quickly set the tone for an uplifting time of worship and lead to an interlude of praise to the familiar tune, “Praise Him, Praise Him.”.

SKU: HL.1122872

UPC: 850031640146. 6.5x8.25x4.0 inches.

The Warm Audio Centavo is an accurate recreation of the most sought-after overdrive pedal of the 90's and beyond. Whether you're after the fabled clean boost tones, transparent overdrive, or you want to push your dirty channels to true grit, the Centavo has all of the adored tones of the vintage box. In addition, the Warm Audio Centavo has the infamous “MOD” selectable on the back. When in the “up” position, low-end response on the bottom strings is extended. With a true-to-original, custom-cast golden enclosure & all the signature sounds of the original, Centavo delivers an authentically legendary pedal experience.

SKU: HL.275913

ISBN 9781495177538. UPC: 888680745134. 9.0x12.0x0.756 inches. As Told By The Artists Foreword by George Martin Introductory Essays - Robert Santelli.

This book was inspired by the eight-part Grammy(r) nominated film series titled, Soundbreaking: Stories from the Cutting Edge of Recorded Music. As Executive Producer, Sir George Martin, was the inspiration and intellectual force behind the series, which explores a century's worth of innovation and experimentation in the creation of music to present a behind-the-scenes look at the birth of new sounds. From the Beatles' groundbreaking use of multitrack technology to the synthesized stylings of Stevie Wonder, from disco-era drum machines to the modern art of sampling, Soundbreaking tells the stories behind the sounds and reveals how innovation redefined not only what we listen to and how we listen to it, but our very sense of what music is and can be. Soundbreaking features original interviews with more than 150 of the most celebrated artists, producers, and music industry pioneers of our time. This volume presents a curated selection of those interviews from across eras and genres. The twenty-one artists featured here share their personal insights, which point to themes that emerge and echo throughout: the importance of varied cultural influences on music careers; the role of technology innovation in the creative process; and most commonly, the human connection to music. Through their lens we discover fascinating new insights into music and especially into the relationship between artist and genres, an area that has been rarely studied. For some readers, this book will evoke many of the sounds and textures of days gone by. For others, it will serve to open doors to further enjoyment and that those readers will pursue artists and others whose names may not be familiar. Robert Santelli's introductions to each of the profiles puts each artist in context. They have all made valuable contributions to what has often been referred to as the soundtrack of our lives. Their music is as relevant today as when we first heard it. Recorded music has crossed the lines that separate cultures, ideas, and generations. In exploring the story of their own music, the voices in this book provide thoughtful insight to the extraordinary influences of recorded music on the modern world.

SKU: HL.1458137

Introducing the Marsling Octafuzzdrive – a pedal as distinctive as its sound. The Beings at IAM take a modern spin on the discontinued '70s era fOXX, enhanced with two interstellar modifications. First, the octave-up effect is now at your feet, offering on-the-fly versatility with a footswitch. Additionally, a tone control toggle switch has been incorporated, empowering players to select from three unique tonal profiles. The Marsling stands out as the epitome of versatility within the Interstellar galaxy. The Marsling Octafuzzdrive is a recreation of the fOXX Tone Machine, first released in 1971 and discontinued in 1978. The Tone Machine is a thick fuzz that uses a phase spliter and complementary rectifier to create an octave overtone. The Tone Machine has a lot in common with the Fender Blender, but with a more pronounced octave and smoother tone, as well as the ability to disable the octave by turning off half of the phase splitter. And the tone is not unlike the Superfuzz, although it uses a different method of octave generation to get there. The Marsling is faithful to the original, but with two added modifications. First, the octave switch for octave up is on a footswitch for on and off capabilities instead of a toggle switch. The second modification is the tone control. The tone control of the original is somewhat similar to the Big Muff, but many people find it's difficult to get good sounds from the treble side of the rotation. By increasing the value of the treble-side tone capacitor, it improves the usability. A switch has been added to let you choose between two different capacitors in addition to the original.

SKU: FZ.50529

12.5 x 14 cm inches.

Anne Fuzeau Classique propose to discover our facsimiles' music in CD. Regis Allard, historical organ of Saint Michel de Bolbec (Calvados). Mass in the 8th tone for organ - Gaspard Corrette. Processional of the Royal Abbey of Chelles - Guillaume Gabriel Nivers. Romano-Monasticum Gradual - Guillaume Gabriel Nivers. Divine Office for use by the Ursuline Ladies of Dijon - Charles Derey. Improvised verses on the organ, Regis Alard.
Alternating with Nivers's 'musical plainchant', Corrette's Mass sounds like a homage of the organ to itself, as it gracefully takes on the role of preacher of the Divine Cult.
Regis Allard was trained by Andre Isoir and Michel Chapuis (for several years he had private lessons with the latter) as well as at the Schola Cantorum in Paris, where he graduated. He devotes himself exclusively to the interpretation of early music and participates in numerous events centred on historic instruments in France, Spain, Holland and northern Germany. He was a prize winner in the International Competition of French Music in Toulouse. His first disk, with pieces by Heinrich Scheidemann on the Arp Schnitger organ in the Stade church in northern Germany, received a Choc from Le Monde de la Musique. His latest recording, J. S. Bach's Art of the Fugue under the Hortus label performed on the new instrument of the church Saint Louis en l'isle in Paris, received critical praise.
Ad Limina This group of women cantors, all trained in the Conservatory, themselves music teachers, choir directors, soloists, come from either side of the French-Swiss border, whence the name Ad Limina, which means 'at the border'.
This ensemble pursues a novel exploration of the paths of religious music, from the baroque period to our day, with emphasis on Gregorian plainchant and European music from the 19th century to contemporary creation.

SKU: GI.G-DVD-1030

SKU: BT.EMBZ8377

English-German-Hungarian.

The idea of composing 'Games' was suggested by children playing spontaneously, children for whom the piano still means a toy. They experiment with it, caress it, attack it and run their fingers over it. They pile up seemingly disconnected sounds, and if this happens to arouse their musical instinct they look consciously for some of the harmonies found by chance and keep repeating them. Thus this series does not provide a tutor, nor does it simply stand as a collection of pieces. It is a possibility for experimenting and not for learning to play the piano.Pleasure in playing, the joy of movement - daring and if need be fast movement over the entire keyboard right from the firstlessons instead of clumsy groping for keys and the counting of rhythms - all these rather vague ideas lay at the outset of the creation of this collection. Playing - is just playing. It requires a great deal of freedom and initiative from the performer. On no account should the written image be taken seriously but the written image must be taken extremely seriously as regards the musical process, the quality of sound and silence. We should trust the picture of the printed notes and let is exert its influence upon us. The graphic picture conveys an idea about the arrangement in time of even the most free pieces. We should make use of all that we know and remember of free declamation, folk-music parlando-rubato, of Gregorian chant and of all that improvisational musical practice has ever brought forth.Let us tackle bravely even the most difficult task without being afraid of making mistakes: we should try to create valid proportions, unity and continuity out of the long and short values - just for our own pleasure! (BMC CD 139).