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Rock sampling from space – Analog-1

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Roland Juno-DS + Moog Samples from Reverb SYNC Analog Synthesizer Rik Marston

Roland Juno-DS + Moog Samples from Reverb SYNC
Synthesizer Demo by Rik Marston 100% NO TALKING!
**Watch in HD** **Turn it UP!!**

Here is the Roland Juno-DS loaded with some fine samples
of a Moog Little Phatty from the budget-friendly Reverb SYNC
Moog Synth Collection Sample Pack. Here is the link:


There are Single Patches & DUAL Patches featured here.

MR.Spock @ 00:06
70's Moog @ 00:30
Bite @ 01:22
CleanSAW @ 01:45
Darkvibe @ 03:36
Dresden @ 04:35
Galactic @ 05:47
Holy Moog 1 @ 06:26
Hyper @ 08:17
Opus 3 @ 09:55
Dual - Hyper / Dresden @ 11:15
Dual - Opus 3 / Galactic @ 12:03
Dual - Holy Moog 1 / Opus 3 @ 13:08
Subspace @ 14:40
Dual - Subspace / Opus 3 @ 15:56

**Spirit ORB pops out of my hand & flies away @ 00:31**

In this video demo there are audio NO EFFECTS used, just dry.
You can hear how powerful these sample .WAV's are and they
can be used in ANY DEVICE that reads / loads .WAV's!! ;)
Samplers, DAWs, Grooveboxes, Synthesizers, Music Workstations..

Reverb SYNC Moog Synth Collection Sample Pack

Summary:
Multi-sampled Moog analog sounds right in your sampler.

What it is:
A collection of samples from the synths that changed music.

How we use it:
Any and all Moog synth needs.

Why it’s cool:
Samples recorded on C2-C3-C4-C5 so you can drop them right into your sampler and have instant access to iconic Moog analog sounds.
Reverb SYNC Moog Synth Collection Sample Pack

Moog analog synthesizers sampled and multi-sampled for any Sampler or Digital Audio Workstation. Each sample is extended, 3-28 seconds or more, enabling full release control.

Samples recorded on C2-C3-C4-C5 so you can drop them right into your sampler and have instant access to iconic Moog analog sounds. All samples are high quality WAV files. Produced by Ahnyxian Sound Design exclusively for Reverb SYNC.

Includes:

227 Little Phatty samples in Stereo
327 Minimoog Voyager samples in Mono
115 Minimoog Voyager samples in Stereo
499 Minitaur samples in Mono

Categories:
53 One Shots
135 Bass
2 Brass
10 FX
81 Leads
32 Pads
2 Strings
7 Perc

Total:
2.7 GBs
1,168 Samples

Thank you for watching!
PLEASE SUBSCRIBE!
More Synthesizer Demos
Ambient Music
Electronic Music
COMING SOON!!!!!
Rik
SynthgodXXX / Earth Empire
Ahnyxian Sound Design
#buyanalogsamples #buymoogsamples #buysynthesizersamples
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That Pedal Show – Mega Delays Part 1: DL4, TimeFactor, TimeLine, H9, Tonal Recall & Echolution

Welcome to That Pedal Show! Please subscribe to our channel and visit our store

We are also members of Patreon if you would like to support us.

In this episode Daniel and Mick take a brief look at the venerable Line 6 DL4, before moving on to the delay revolution that it spawned.

It wasn’t so long ago that having more than one delay option on your board was for pros only. These days it’s absolutely commonplace, and the DL4 plays an important role in that evolution, offering a huge number delays in one pedal, with three at your feet.It changed everything for pedal-loving delay users all the way back at the turn of the century. Phenomenally popular, they still make ‘em.

Pedals in this episode
• Line 6 DL4
UK & Europe:
USA:

• Eventide Time Factor
UK & Europe:
USA:
Australia:

• Strymon TimeLine
UK & Europe:
USA:
Australia:

• Pigtronix Echolution 2

• Eventide H9
UK & Europe:
USA:
Australia:

• Chase Bliss AudioTonal Recall
UK & Europe:
Australia:


Interesting bits and go-to sections…

DL4 intro and recap: 2:18
Today’s overdrive and amp choices: 4:18
Line 6 DL4 sound samples: 5:36
Eventide Time Factor discussion and sounds: 9:12
Strymon TimeLine discussion and sounds, including dry analogue through discussion vs DL4: 14:00
More TimeLine sounds: 21:30
Pigtronix Echolution 2 discussion and sounds: 23:55
Eventide H9 discussions and sounds: 30:12
Chase Bliss Audio Tonal Recall discussions and sounds: 35:14
Yep, all at once: 42:12


Guitars in this episode
Gibson USA Derek Trucks Signature SG
Fender Custom Shop ’63 Telecaster

Amps this episode
Mesa Lonestar head into 1x12 cab with Celestion G12-75 Creamback
Hamstead Artist 20+RT into 1x12 cab with Celestion Alnico Blue
UK & Europe:

We hope you enjoy this video. Please subscribe to our channel.

You may even want to buy a T-shirt to support our efforts

We are also on Patreon – crowdfunding for creatives



UK & Europe: Andertons Music
Australia: Pedal Empire
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Daft Punk Synth Tutorial

This week I thought I'd demo three Daft Punk synth sounds / samples on original hardware.

As these are all VCO-based analogue synths that are the best part of 40 years old, you'll probably find that settings vary slightly from one unit to the next. In fact, the settings vary on a daily basis on my own synths, depending upon temperature or how long they've been switched on etc.

Here's the settings.

Korg MS-20 (Mark I):

KYBD CV OUT patched into VOLTAGE CONTROLLED HP FILTER CUTOFF FREQ

SIGNAL OUT patched into EXTERNAL SIGNAL PROCESSOR SIGNAL IN. Output from AMP OUT.

Signal level 8.8

OSC 1: Sawtooth at 8'
OSC 2: Sawtooth at 16' tuned up a 5th

HP filter: Cutoff 3, Peak 0, MG 0, EXT 10
LP filter: Cutoff 3.1, Peak 7.8, MG 0, EG2 7.8

EG2:
Hold 0
Attack 1
Decay 5.2
Sustain 0.2
Release 4

Roland TB-303:

G down
A# up
G slide
F up
D# accent + slide
C# down + accent
C# down + accent + slide
C# accent
D# up + slide
D# down
F up + slide
G up + accent + slide
G# down
G down + slide
C down + slide
G slide

Distort with a stomp box or unit of your choice and dial in the cutoff and envelope with resonance all the way up. Tweak decay and accent. I was using the square wave setting.

Sequential Circuits Pro~One:

This is matching the quite tame sync preset from the Prophet 5, you can get lots of variations of the sync sound, including more aggressive versions.

Oscillator A: Octave 1, square, 50% PW, Sync On.
Oscillator B: Octave 1, no waves, Normal, KYBD

Oscillator A level: 10
Oscillator B level: n/a as we've no waves
Noise: 0

Filter:
Cutoff 2
Resonance 0
Envelope amount 6
Keyboard Amount 4
Attack 4
Decay 7
Sustain 3
Release 3

Amp:
Attack 2
Decay 5
Sustain 10
Release 0

Mod matrix:
Filter envelope direct to Oscillator A freq. Amount 10.

LFO frequency 6.5, shape triangle
LFO wheel to Oscillator B freq. Amount 1.5. Dial up mod wheel.

Alternatives to these synths:

Korg MS-20:




TB-303:








Pro~One:

There's a Behringer clone coming, but in the meantime there's these emulations. I have Repro-5 / Repro-1 and it's remarkably similar to the real thing.



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How to EQ Kick and Bass for Better Low End | LANDR Mix Tips #9

Kick and bass can be the most difficult things to get right in a mix.

In this video, I’ll show you some of the best ways to EQ kick and bass to get the low end you’re looking for.

Before we start, the specific EQ frequencies we’re using in this video are just starting points. As always you have to use your ears to determine the best ranges to apply EQ.

Beginner and intermediate producers almost always underestimate the effects of their listening environment.

You could perfect your mix in a bad sounding room—only to realize that it’s completely wrong when you hear it in a different environment.

Your low end is particularly affected by your mixing room. But there are a few things you can do to make sure you’re judging your bass frequencies as accurately as possible:

Mix reference as often as you can: Referencing different tracks in different environments will help you get an idea of where the biggest flaws are in your room.

Use good open headphones to check lows: If you know your room is flawed, a good pair of headphones can go a long way to help you make mix decisions.

If you have a good idea of what frequencies are problematic, you’ll know to be careful when EQing them.

When you first start mixing with EQ, it seems like you could just boost the low end to get that powerful bass you’re looking for.

Too much low end energy in the mix can actually make your tracks sound weaker.

All speaker systems have a limit of how low they can go. If there’s a lot of sonic information at a lower frequency than a speaker can play, it will struggle—and fail—to reproduce it.

If your kick or bass instruments have too much sub bass, you’ll need to use a hi-pass filter to reduce it.

By bringing up an EQ on this bass track I can see right away that there’s a lot happening at very lowest frequencies.

I’ll start with a 48 db/octave low cut at 30 Hz. The timbre of the bass hasn’t changed at all, but I can already hear a bit of a tightening effect when I add the kick back in.

I’ll gradually move the frequency of the hi-pass filter up until I start to hear a negative change in the sound of the bass.

It’s actually best to do this with your eyes closed since the visual feedback from an EQ can affect how you judge low end.

I’ll backtrack a bit right as I start hear the body of the bass get weaker . That should be a pretty good spot for the high-pass filter.

Sculpting

EQing a track is like putting together a puzzle. You have to shift things around to make space.

For your kick and bass to punch you need make space for them in the mix.

The inverse is also true. If your mix doesn’t have the right space for your bass, you’ll never get the beefy sound you’re looking for.

Example: This kick drum sounds great solo’d, but I can tell that it’s fighting the other elements when I listen in the mix. The low-mids is especially congested.

To deal with this, I’ll carve out some of this area in the kick to let the rest of the mix sit. I’ll start by sweeping a fairly tight Q, -10 db cut in the 200-500 Hz range.

As I sweep my EQ band I can hear the other mix elements becoming more clear right around 300 Hz, so I’ll park the filter here.

Lows are the foundation of great kick and bass tracks, but that’s not all there is to the story.

“Big” and “punchy” kicks and basses often have a lot going on in other frequency ranges.

Experiment with EQ in ranges other than the low end to find which frequencies bring your kick and bass into focus.

As I’ve been EQing I’ve noticed that the kick lacks the presence it needs compete with the rest of my mix. I’ll take another EQ band, but this time a more bell shaped 6dB boost.

Sweeping from 1kHz-5kHz, I can hear the point of the kick pop out at about 2kHz. In the mix, this gives my kick a ton of authority and provides nice separation from the bass.

In some cases, adding a bit top end detail can bring out the articulation in the bass. I’ll check it out by sweeping an even gentler broad Q boost around the high end—listening from about 5k-10k.

With this bass sound, there’s not a lot going on in the top end, so I won’t bother boosting any frequencies here.

That’s why you always have to rely on your ears first to find out where to add EQ.

General guidelines can be helpful, but they may not always be perfect. Make sure to decide for yourself in the context of your own tracks.

---
Learn how to get kick and bass sitting right in your mix:


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10 Synth Riffs That Shook the World

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These riffs all whipped me into shape as a keyboard player, and composer in the mid 80s, all in a different way.
Thriller by the build-up into the main hook, The Final Countdown by it's majestic synth brass sound and also build up. Take on Me by it's catchy almost arpeggio-like way of playing, along with the staccato DX synth bass, Save a Prayer by utilizing the pitch bend wheel in a new way as well as the different keys the chords take throughout the song. Axel F for simplicity yet intoxicating main hook and bass, New Song for the way Mr. HJ so effortlessy managed several synths at the same time, yet playing that catchy riff. Light my Fire by sheer awesomeness in the outragious use of different keys and chords in that short amount of time the solo lasts. Deep Red by its use of different time signatures and the way is so hypnotizing together with the visuals of the movie. Lastly Toccata and Fugue in Dm, pure madness and every note just adds to the madness. I've taken insoiration from this piece for years and many of my songs have snippets of that in it, in different ways.






Links to the songs:
Thriller:
The Final Countdown:
Jump:
Take on Me:
Axel F:
Save a Prayer:
New Song:
Light my Fire:
Deep Red:
Toccata and Fugue in Dm (the version I like the best):

Please join me on social media:





I use DistroKid for all my releases onto streaming services.
Try out Distrokid yourself and get a 7% discount off your first year by using this link:


Growing up I listened to so much synth-pop and it's only natural that my own music takes inspiration from many of the acts I loved back then. I still love them and listen to them!

Howard Jones, Depeche Mode, Pet Shop Boys, New Order, Erasure, Thompson Twins, Tears for Fears, The Human League, Propaganda. FGTH, Ultravox, OMD, Eurythmics, Duran Duran, Giorgio Moroder, Jean Michel Jarre, Jan Hammer, Alphaville, A-ha as well as loads of artists doing what is now called Italo Disco. And many more great acts like Nik Kershaw, Spandau Ballet, Wham, Dire Straits ++

The Vocal Delay Trick: How to Mix Powerful Vocals | musicianonamission.com - Mix School #22

→ Learn how to mix vocals like a pro with this free effects cheat sheet:

Are you still relying on reverb? You could be making a huge mistake.

In this video you're going to learn a simple vocal delay trick that could improve your mixes in seconds.

This is the exact vocal delay technique I use in every mix, and learning this was a crucial turning point in my 12 year career as a mixer.

Don't start another mix until you know exactly how to get a radio-ready sound with vocal delay effects, because you're about to learn exactly how to use delay on vocals like a pro.

And if you're ready to take a big step closer to professional mixes, and make sure you get this right every single time, be sure to grab the free vocal effects cheat sheet:

--

Learn more about mixing vocals here:

The Philosophy of Berlin School Synthesizer Music (also known as Space and Cosmic Rock)

Ralph Baumgartl is talking to the band Thau (Bernd-Miachel Land and Frank Tischer) about the philosophy and their understanding of the Berlin School musical heritage. Berlin School of Electronic Music is sometimes also referred to as Space Rock and Cosmic Rock. It's a music genre that was created in the 1970's by german musicians such as Ash Ra Tempel, Klaus Schulze and Tangerine Dream.

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Line 6 Helix Guitar Multi-effects Floor Processor Tone Demo

Sean Halley from Line 6 gives an in-depth overview of the Helix multi-effects processor. Helix uses Line 6's most advanced amp, effects and cabinet modeling to date. Line 6 actually modeled the behavior of every analog component found in classic effects and amps, a six-year project that has resulted in amazingly detailed tones.

After the video, click here for even more on the Line 6 Helix:

#Sweetwater #Line6

Re-creating Classic Rock Synth Sounds with Daniel Fisher

Daniel Fisher, Sweetwater’s Classic Rock evangelist, walks you through the recreation of five iconic synth effects from the 1970s, using the new Novation PEAK Polyphonic Desktop Synthesizer. Daniel is controlling the PEAK with Novation’s Impulse 61 Keyboard Controller. The output of PEAK is going directly into the video camera’s line inputs with no additional processing.


Fly Like An Eagle - Steve Miller Band @ 1:00

Karn Evil 9 - ELP @ 2:18

Frankenstein - Edgar Winter Group @ 4:08

Life’s Been Good To Me So Far - Joe Walsh @ 6:42

Won’t Get Fooled Again - The Who @ 9:08


Novation PEAK Polyphonic Desktop Synthesizer:

Novation Impulse 61 Keyboard Controller:

Psychedelic jam session - KORG ms-20, TR-8, analog four, line6, volca - (BURG - The saucer people)

If you like my music you can find it here and also please consider supporting me at patreon for as little as 1 USD

As a BURG patreon You will get access to behind the scenes materials, exclusive live streams, tiers with stems, loop packs and other perks including access to the exclusive BURG discord.

Track info:

So, something strange just happened... I connected one of my guitars to the setup and it got all psychedelic. BURG goes ... weird? Yeah, I know I cant stop playing (18 minutes, really?) Haha, whatever, I had some great fun, I really hope you like it! :)

Gear used, synths:

KORG volca bass x2, keys, ibanze es-2, jomox t-resonator II, elektron analog four, roland TR-8, kaoss pad, KORG ms-20 ---

Gear used, guitar:

Line6 variax 700, strymon timeline, zoom G3

The mininova and beer is not used on this track, just turned on and looking great :)

As always, no multitracking/overdubbing, all is played live and recorded straight into 2-track on the awesome zoom-Q4 camera.

Now available on bandcamp:
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Psychedelic Rock Live Synth Jam | ARP 2600, Volca Keys, Electribe, Roland Vocoder, Strymon BigSky

A Live Synthesizer Jam by Ralph Baumgartl and Andreas Eimecke. The jam session is a blend of Psychedelic Rock, Ambient, Cosmic Rock and Berlin School of Electronic Music. For this jam I connected my old ELKA Elkatwin 61, which has an incredible rich Organ sound that gives you that nice 1970s Krautrock vibe.
Gear used:
Ralph Baumgartl plays: ARP 2600, Arturia Keystep, ELKA Elkatwin 61, Roland Vocoder VP-330, Roland JD-Xi, Korg Volca Keys, Korg Electribe 2, Strymon BigSky, Strymon Timeline, Zoom MS-70CDR, Boss BX-600.
Andreas Eimecke plays: Roland GR-55, Boss GT-10, Akai Rhythm Wolf, Boss SL-20, EHX micro Pog,  Boss GE-7, Chapman ML 1, Alesis Midiverb3, Behringer UB1002, Behringer XENYX X1222 USB, Kenton Midi Hub, Boss RC-50.
Cameras: GoPro Hero3 Black, Panasonic Lumix GH2, GoPro Hero2, Canon Legria mini X (Camera operating and Video Edit by Ralph Baumgartl)
_______________________________
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Space Rock Masterclass 1/2 - with VST plugin giveaway

Please read the full description.
TIME STAMPS
00:00 Intro
00:29 Welcome
01:00 Space Rock track
04:39 Start
04:58 Disclaimer: important notes about this project
WHAT HAS BEEN DONE
09:52 We will start from this point
13:13 The synthesizers (MIDI)
19:49 The synthesisers (Audio)
21:48 The guitars
32:29 Male voice
THE MASTERCLASS
33:51 The drums (MIDI)
58:14 The drums (Audio)
01:08:30 The importance of the synth pad
01:09:15 The hats
01:09:42 The guitar without AUX 1
01:15:11 The intro male voice
01:15:38 The intro percussion 1
01:20:55 The intro synthesizers
01:37:04 The guitar without AUX 2
01:38:06 The intro inspiration
01:38:56 Small jump - things done
01:39:48 New guitar
01:42:00 New guitar - with bottleneck
01:46:28 The intro percussion 2
01:52:30 The intro guitar with FX
01:54:22 Correcting the excessive delay level
01:54:54 The guitar without AUX 3
01:55:30 The intro percussion 3
01:57:05 End of part 1

The VST plugin giveaway is somewhere in there.

This is a project for sharing ideas, sounds, techniques, plugins,… I tried to be simple but creative and informative, exploring crazy methods and techniques: no compressors, crazy effects chains, using analogue gear,…
This started as a small VST plugin test and it evolved to a full tutorial - from my brain to the Master in tape.
This project took more than two months to finish and stole all my spare time - come on, give it a like!

Get the project audio files here:

We run 3 websites and all have free plugins.
Get SB-3 LE and Speaker Blower limiter here:
Get TNT and OuraPhat here:
Most of our plugins can be found here:

If you are interested in all our effects and synthesisers (with presets) check this:

Have fun with this! Cheers!






Get The Balance Right by Depeche Mode, Behringer Pro 1 demo + Analog Keys and Volca Sample

Live take of Depeche Mode's Get The Balance Right with the Behringer Pro 1 on bassline 2 vs Analog Keys Pro 1 patch on bassline 1, and the Volca Sample on drums to a Roland VS880 HDR to a Canon 6D + 50mm 1.4 lens.



IG: mattelicasynths

END OF DAYS Two Nu:Tekt NTS-1 Ambient Outdoor Jam. Jamman XT Pulpit Rock #synthisolation #quarantune

Out-Dawless Ambient Improvisation / Jam on two NTS-1s recorded on #ZoomH6
All effects live from Korg Nu:Tekt NTS-1 Loop on Digitech Jamman Solo XT
The loop at the start is capturing three layers from the right NTS-1 only. The left NTS-1 is acting as the main reverb and delay but also main arpeggiator after the opening section ...

Composed & Performed © Gary P Hayes on Pulpit Rock, Mount Victoria, Blue Mountains Australia


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BUY GEAR
If you buy from these affiliate links below, you won’t pay more but I get a cup of coffee!!
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Volca Drum
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Elektron Analog Four mkii
Elektron Digitakt
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Roland SE02
Waldorf Streichfett
Korg Kaossilator Pro
Arturia Keystep

The DEEPEST Healing Sleep | 3.2Hz Delta Brain Waves | REM Sleep Music - Binaural Beats

Deeply relaxing Binaural Beats Brainwave Music for healing REM Sleep, Meditation and Relaxation. The soothing frequency combination generates Binaural Delta Brainwaves @3.2Hz which are the perfect accompaniment for sleep and to beat insomnia, stress or anxiety. During sleep the body heals from toxins and restores it's energy. Enjoy the healing powers of REM sleep and wake up full of positive energy and refreshed.

Relax your mind and slow down anxiety or stress with the 65 bpm beat- the ideal heart rate to fall asleep. This deep music for healing sleep is also ideal as sleep meditation, Zen music, Reiki music and as spa music.

Listen on a comfortable (low) volume when you sleep, relax, or meditate. Easily relief nervousness, insomnia and worrying.

Binaural Beats have shown to reduce levels of stress and anxiety.
The Binaural Beat frequencies may affect brainwaves - a process called entrainment. Examples of entrainment are gently rocking a baby to sleep, or falling asleep in a moving train. In history it has been used as ceremonious chanting to enter trance like states. Nowadays many people use entrainment for relaxation, sleep or meditation purposes.

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CREDITS
Music composition, editing and animation: Zac Kaiser
Picture licensed from Inigocia via 123rf.com

Hello! If you’re new here, my name is Zac. I compose and produce original calming music and relaxing visuals- my goal is to help you beat stress, anxiety and insomnia here on YouTube.

I get asked about my gear, software and creative process so here are some FAQ:

*Why is there a 'spinning' circle in most of your videos?
SleepTube is the first and only sleep music channel with a unique breathing meditation circle. Deep breathing is shown to reduce stress with as little as six breaths.

Deep Breathing Study Reference:


*What software do you use?
I use a variety of DAW’s (Digital Audio Workstation) and software synths as well as sampling techniques. All compositions are original and produced by me personally. Visuals are created with Adobe's CC tools.

ASMR Microphone:
Olympus LS-10 Linear PCM

Speakers:
Genelec 8020 DPM

Headphones:
Sennheiser HD 300 Pro

*How about your camera?
I love my vintage analogue reflex cameras like the Minolta X-700 but I also shoot digital with my Canon 5D Mark II and Iphone 8 plus ☺

*What do you edit with?
Before FCP, now mostly Premiere. Both great.

*Which microphone do you use for your ASMR recordings?
I mostly use the Olympus LS-10 Linear PCM Recorder.

*Can I use your music?
All music/audio are original compositions created and produced by me. They can not be copied, reused, remixed or distributed.

Thanks for watching and much love to you if you subscribe or share this video with someone!

Zac ????
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Space Trip - Chillwave Sample Pack [Synthwave Retrowave]

Feel how you are floating. The sounds from this pack will take you high where there is no gravity. Lightness and freedom. Rest yourself.

All samples were created for chillwave producers. Calm, deep synth sounds melt along with slow Drum Loops. Everything under the influence of professional Tape Filters. Subtle noise will calm your mind and let you focus.

More info i download:


Facebook:
SoundClound:
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Email: infoostaudio@gmail.com

#chillwave #retro #samplepack

ISS astronaut drives lunar rover from space

(25 Nov 2019) LEAD IN:
Italian astronaut Luca Parmitano has successfully completed a ground breaking experiment - driving and controlling a lunar rover from the International Space Station.
The special test took place between the ISS and a state-of-the-art test area back on earth that mimics the surface of the moon.
The European Space Agency hopes to explore what challenges an astronaut may face by taking control of a remote system.

STORY-LINE:
The lunar robot, called Analog-1 rover, moves around a hangar in the Netherlands, expertly navigating over an obstacle course.
The human navigator, however, is in space.
Italian astronaut Luca Parmitano is at the controls high above the earth onboard the International Space Station.
Parmitano is steering the rover to a sampling site, where it collects rocks – all while circling our planet at speeds of 28,800 km/h on the ISS.
This test is one in a series to prove technology ESA has developed to operate rovers from distance.
The experiment is as authentic as possible, using the International Space Station as a stand-in for a lunar gateway and the hangar made to resemble a lunar landscape.
Analog-1 passes with flying colours.
Given one hour of precious astronaut time, Parmitano ticked almost all the boxes for the exam in less than half an hour.
The programme's goal is to research and develop technologies needed for future space exploration missions to the moon and beyond, exploring how humans and robotics can work together.
It's thought a rover under human control will be able to achieve the required scientific investigation and overcome obstacles quicker than current autonomous systems.
The Analog-1 rover is equipped with haptic (force) feedback, so astronauts can feel what the robot feels and adjust grip accordingly on a joystick that allows for six-degrees of motion.
The astronaut is feeling the same thing that the arm is feeling. And that is really the thing that is very novel here, says robotic systems engineer Kjetil Wormnes.
ESA's exploration strategy foresees astronauts controlling robots from orbit around the moon or Mars, or from inside a planetary or lunar base.
What we wanted to show is that the combination of the tools and technique that we are foreseeing in lunar exploration, by combining the best of the technologies that we have, for example, the technologies that we foresee for our mission to Mars and leveraging that for the moon that we are able, actually, to perform very significant activities and very complex activities, says lead ESA systems engineer Jessica Grenouilleau.
The Analog-1 experiment is proving the value of human-robotic cooperation in space and demonstrating the technology that will be used as the basis for ESA's exploration projects.
We will send and build a gateway in lunar orbit that the astronauts will visit before going to the surface of the moon. So in this case, we will have a robotic precursor missions, says Grenouilleau.

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Space Dementia / Sonic Reducer / Randale Pedale

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Operating a rover from space – Analog-1

ESA astronaut Luca Parmitano took command of a rover in the Netherlands on 18 November 2019 and expertly drove it over an obstacle course to a sampling site and collected a rock – all while circling our planet at 28 800 km/h in the International Space Station.

This test was the first in a series to prove the technology ESA has developed to operate rovers from afar. Called Analog-1 the test could hardly have gone any better. Given one hour of precious astronaut time, Luca ticked all the boxes for the exam in less than half an hour.

Robots can be fitted for special tasks and go places where no humans can go, but nothing beats our quick and adaptive thinking and the human touch. The Analog-1 rover is equipped with force feedback so astronauts can feel what the robot feels and adjust grip accordingly on a joystick that allows for six degrees of motion.

ESA’s exploration strategy foresees astronauts controlling robots from orbit around the Moon or Mars or from inside a planetary base.

A week later all elements of the overarching Meteron project will be put to the test. Luca will drive the robot to three sites in the hangar in the Netherlands and decide in collaboration with a science team based at the European Astronaut Centre in Cologne, Germany, which rocks to pick up and keep for later analysis.

This experiment is as authentic as possible using the International Space Station as a stand-in for a lunar gateway and the hangar made to resemble a lunar landscape. Whereas the first “proficiency run” was used to test the systems and Luca had to follow a determined path, next week he will be more free to explore to meet the objectives set up by the science team at the European Astronaut Centre.

The same science software designed for guiding the ExoMars rover mission on the Red Planet will be used that allows the science team to indicate sites of interest as well as overlay dangerous areas that are beyond the limits of the rover’s capabilities.

The Analog-1 experiment is proving the value of human-robotic cooperation in space and demonstrating the technology that will be used as the basis for many of ESA’s exploration projects.

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Rock sampling from space – Analog-1

ESA astronaut Luca Parmitano made robotics history, reaching out from the International Space Station in orbit around Earth at 8 km/s, to control an Earth-based rover, equipped with an advanced gripper possessing the equivalent mobility and dexterity of a human hand.

This gripper was able to pick up and collect rock samples from the mock-lunar environment. In the future a comparable system may well be used to explore alien environments, with astronauts controlling surface rovers from the safety and comfort of a surface habitat or an orbiting spacecraft.

The Analog-1 test project, which concluded with this two-hour space-to-ground test on 25 November, had multiple technical goals. High among them was to assess the use of ‘force-feedback’ controls – like a high-end gaming joystick pushing back on their user, giving them a sense of touch – in space, to evaluate if this technology would enable high-precision robotic control in weightless conditions.

“Imagine the robot as Luca’s avatar on Earth, providing him with both vision and touch,” says ESA engineer Kjetil Wormnes, heading the Analog-1 test campaign. “It was equipped with two cameras – one in the palm of its hand, the other in a manoeuvrable arm – to let Luca and the remotely-located scientists observe the environment and get a close-up on the rocks.”

As journalists watched, the Luca-controlled rover completed its sampling campaign right on schedule, traversing between a trio of sampling sites along challengingly narrow pathways. While selecting rocks Luca received advice from a team of geological experts based at the European Astronaut Centre (EAC) in Germany, simulating a real-life surface exploration survey.

“We benefitted from Luca’s previous training through our Pangaea programme, giving astronauts practical experience in geology,” adds Jessica Grenouilleau, Meteron project lead at ESA’s Exploration Systems Group. “It helped tremendously in having an efficient discussion between the crew and the scientists.”

Analog-1 has been the latest in a series of progressively more challenging human-robot test campaigns involving the ISS, collectively called Meteron – Multi-purpose End-to-End Robotic Operation Network. The first 1 degree of freedom force-feedback test took place back in 2015 with ESA’s Haptics-1 experiment, progressing to DLR’s 2 degrees of freedom Kontur-2 the following year – advancing now to a full 6 degrees of freedom movement.
The next step will be an outdoor test campaign in a Moon-like terrestrial location. A rover would examine and collect genuine rocks in an operational scenario resembling the complexity of a full mission on the Moon.

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