Artists & Community

Richard Devine

Google / Warp Records / Schematic Records
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“Waverazor’s synthesis approach is very unique in that you can splice almost any combination of multi-shape waveforms, and multiply, degrade, destroy or mutate them with a wide variety of different parameters. The sounds are very organic and interesting. I honestly can say there are some sounds I created with this instrument that I have never heard before.”

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Avalanche Studios

Just Cause / Mad Max / Renegade Ops

“One of the really unique aspects of Waverazor is the ability to create communicative sounds, be it really tactile, tech UI stuff or actually routing an audio input through the synthesiser itself to create a lot more complex soundscapes.”

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Shadoe

Independent Music Artist / Shadoemusic.com

“All my records start with one thing, and that is Waveform 10. The flawlessness of the audio engine and smooth workflow has been so reliable over the years I have never switched to another DAW…ever! A fan since Tracktion 2, with the top notch sound quality, audio engine, and editing while recording, you will be making complete recordings faster then you can release them. Waveform and Tracktion has brought my wildest dreams to reality, and I will never use anything else for my records…EVER!!!.”

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MG The Future

Music Producer / Educator / mgthefuture.com

“For the price point and feature set, nothing comes close to Waveform. I was able to get up and running in no time, and was pleasantly surprised with the musical toolset, often overlooked by other DAWs.”

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Jörg Hüttner

Fifty Shades of Grey / Independence Day / Total Recall
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“The new granular oscillator in BioTek 2 adds a lot of variety to an already versatile soft synthesizer. The user sample capability of the granular oscillator makes BioTek 2 a formidable weapon for film, trailer, and TV composition. This combined with the nearly endless modulation options BioTek offered from the start, and being able to use more than one granular oscillator at a time puts its granular synthesis into a completely different league.”

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Mark Mothersbaugh’s Mutato Muzika

The Lego Movie / Windows / Samsung

On Tracktion’s BioTek
“I don’t think people understand just how deep this plugin is..”
John Enroth – Composer Mutato

“It’s unique…. when you’re looking for something different this is the go to synth”
Albert Fox – Composer Mutato Muzika

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Thomas Ragsdale

HyperNormalisation / Telefon Tel Aviv / Daniel Lanois

“I’m a total vintage nerd and one of the things I’m always looking out for are VSTs that not only pay tribute to the originals, but also add a little something else to their sound. I’ve been using the RetroMods a lot and I honestly can’t tell these apart from the originals. They even behave similarly almost like they have their own circuits. Everything is laid out very nicely and intuitively in their interfaces so that you can quickly grab a control and sweep up a filter or ramp up some ring mod. The FAT plugin is my favourite, which as you can probably imagine is indeed FAT.”

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Hernan Calvo Pardo

Geoff Emerick / Carajo / Professor at UNTreF

“When I first came across Waveform I thought it was interesting. After using it for a while, I realized it’s awesome! The workflow is very powerful and intuitive. The audio engine sounds great, it’s very stable and runs smoothly. Plus, being able to create your own shortcuts and macros, is a very friendly way to adapt to the system if you are coming from another DAW.”

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Community Spotlight

Each month we indulge in a little Q&A with our customers and put them in the spotlight. This month we’re talking with Gavin (zer0Page) Graham.

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Hi Gavin, tell us a little about yourself and your musical background

Currently living in Brisbane, Australia and my days are spent working as an IT Manager and studying for my Masters in Business Administration. I temper my career and studies (read: keep myself sane) through my creative outlet in making music. I started writing music back around 1983 using a home computer.

I took a long break from music to pursue my career then later I got involved back in music when I had this crazy idea of mashing chiptunes with vocals and modern production techniques. I consider myself and my music to be an anarchic display of the pop-culture anti-hero by re-purposing defunct computer sound hardware to create a bridge between an underground electronic music culture and the mainstream music medium.

What inspires you to create and produce music?

I was born in Brisbane, Australia but grew up on the Sunshine Coast at a time when 8 bit computers and consoles like the Atari 2600, Commodore 64 and Nintendo Entertainment System were the machines to have. Although the games were fun, I developed more of an interest in programming and the demoscene. The games on the Commodore 64 included music and sound effects by some expert musicians/programmers such as Martin Galway, Rob Hubbard, David Whittaker and Fred Grey that pushed the C64 Sound Interface Device (SID) to its limits. I was in awe of these musicians and wrote my own machine code music player to attempt to sound like them. I was a programmer first and a musician second.

Being a demoscener, most of the short snippets of music I wrote on the C64 ended up in intro screens to cracked versions of games.

Being as enamoured with the style and sounds that uniquely identify the SID Chip music in Commodore 64 computer games as I am, I wondered what the SID sound synthesiser would sound like with some fewer limitations as were originally planned for it and although there are online archives that preserve the software and music from computing history’s past, I wanted to find some way to make the sounds of these old computers more accessible to a new audience in hope to draw them to the original classic machines, software, sounds and games.

My attempt to do this has been fusing 8 bit sounds with popular songs from the same (and newer) eras and with vocals – essentially a recreation of pop music with 80s computer sounds in the Bitpop genre.

When did you start using Tracktion products and how do they compliment your workflow?

I became a waveform user at version 8 because I wanted to start trying a different workflow and then when Waveform 9 introduced the missing piece of the puzzle for me in the Multi-Sampler, I transitioned to Waveform 9 exclusively. Since all my sounds (instruments) are sampled from an emulated Commodore 64 that runs my SID chip sound driver, it was the Multi-Sampler that I needed to make my 8bit Lo-Fi pop covers.

I’ve also been an exclusive Linux (currently Ubuntu) user for nearly 20 years and I needed a DAW that could run in an environment that I have come to rely upon for its reliability and freedom. My previous DAW was short of features such as time stretching and it required time consuming micro-level actions that were impinging on my creative expression.

What’s the number one Tracktion feature or workflow that you couldn’t live without?

There’s quite a few features in Waveform that I couldn’t bear to not have nowadays such as its nice project management, being able to alias clips and have changes be applied across all copied instances of the aliased clip is a great time saver. Time stretching was something I didn’t have and Waveform’s implementation of this feature is so nice to use.

Even navigation around the tracks and clips and transport controls fit really well with how I like to do music. Waveform feels like an artists brush to use rather than a paintball gun.

Tell us about some of the projects you’ve been working on recently.

I’ve released over 100 bitpop covers across albums Bitpop 1-13 and I have albums 14 to 16 in production now. I was doing previously at least one song per week previously but I slowed to one song every two weeks while my studies have ramped up.

I’ve temporarily slowed but I have no intention in stopping by Bitpop series yet. I do have some original music and album themes in the pipeline so there’s plenty more Tracktioning for me to do.

What else would you like to share with the Tracktion community?

Two things. The first is that I appreciate the active Tracktion community in forums and I like to listen to what people have done musically and what tips they provide.

Secondly, in the spirit of preserving the past, I want to share my favourite outdated joke: “Operator, I wish to make a long distance phone call; how far away from the telephone do I have to stand?”.

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