Dr. Snares Introduces HexInverter’s Mutant Machine

The new Mystery Mutant Drum unveiled!

Our pal Dr. Snarold showed us around his lab while he played around with his new Mutant Machine, so we caught it on video.

The Mutant Machine is a pure analog percussion synthesis module coming at winter NAMM, 2015 from hexinverter.net

It will be a eurorack format synthesizer module and DIY project.

Richard Devine & Surachai Improv Set At NAMM

MNAMM

Richard Devine and Surachai will be doing a special live improv set together at the Make Noise booth Saturday, January 24th 4:45PM, Hall E Booth 1471 at NAMM. Come get wrecked and say hello.

Mutable Instruments – Clouds & Elements Overview

Know what you’re lusting over. Excellent videos by DivKidMusic

DivKidMusic

BL_K NOISE. Complex, LA. Jan 23, 2015.

Most of the T_A crew will be playing out, come hang out.

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Featuring a night of hardware / Modular / Drum machine performances from artists.

Mark Verbos (Drop Bass Network / Verbos Electronic Synths)
Oliver Dodd (Enclave / Konstruct Records)
Richard Devine ( Schematic / Warp Records)
POLYFUSE (Trash Audio)
Surachai (Trash Audio / BL_K NOISE)
Annie Hall (Blank Code / Detund)
κεΓο Δϕ (Detroit Underground / Pole Group)

$10.00 admission
Suggesting Early arrival

Funktion One Sound
21+

Facebook Event
Ticket Sales

Goike Case #2

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Every promise I’ve made to myself, in regards to the modular, has been broken. Here is yet another notch in my belt of lies.

This is the second case Goike has constructed for me. The first case had specific instructions – make it as dark as possible + Tip Top Audio power. This second time however, I wanted Goike to indulge himself and make a case that he’d be personally proud of and, of course, Tip Top Audio power.

Aside from the obvious beautiful aesthetic, one of the first things I noticed when unpacking it was its scent. The smell of a wood shop now comes from my studio. It’s nice to finally have most of my modules accessible all at once, lets see if it changes the sounds that come out of the studio. I’m sure the pain he felt seeing this leave his workshop is equal to the excitement I had when receiving, sucks for him..

Goike

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First patch with the Mutable Instruments, Clouds, Elements, Streams and Shelves modules

First patch with the Mutable Instruments, Clouds, Elements, Streams and Shelves modules from Richard Devine on Vimeo.

Sequence starts with a cable connection to the clock output from the Steady State Fate Ultra Random module. This clock output was sent to a intellijel hub mult. From here the clock was sent to first to a 4ms RCD/QCD, Delptronics Trigger Man, and to the MakeNoise Rene. First output gates from 4ms RCD 4 divide output to the trigger input on the Braids module top row, running in “WLM” mode. Second multi output was sent to a 4ms QCD output green channel 4, set at division trigger time of 16. This would trigger single notes on the “Elements” module, that begin at 1:42. The playback mode is running in “Secret Easter Egg Mode” :-) The selected note sequence from the QCV output from Rene. Final output from Elements was sent to the Eventide “Pitch” pedal using the “Crystalizer” algorithm.

Clouds – was processing recorded chunks from the drum percussion, kick used from the top row “Peaks” 808 kick drum synthesis model. Then a snare created from the “grey” noise output from the SSF Quantum rainbow running through right side of Streams to make a snare drum, which was running in envelope mode with shape position to the left, short decay. Then a third voice using the blue noise output from the SSF quantum rainbow for hi-hats. Amplitude triggered/controlled by a HexVCA. The drum sequence was programmed from the Delptronics Triggerman, using all 8 patterns stringed together running in pattern play mode but being CV controlled by the S&H # 1 output from the SSF Ultra Random. Output for all voices was grouped and multiplied into two separate mixers. First three channels of the Intellijel Mutamix, which was then sent to output channel B. From there the summed mix was sent into the “left” side input of Clouds. Then triggered in time with the sequence by a 8th division trigger from the 4ms RCD. The freeze input in Clouds was triggered in time 7th divisions from the 4ms RCD, so that the chunks would process and record then play back in spurts of timed randomness. The mode was set in the pitchshifter/timestretcher configuration, where the grains where spliced so that created interesting granular pitching repeats and percussive glitch effects, as the rhythmic beats played through. Focused ranges where selected for the “Density/Pitchshifter” and “Timestetcher/Texture” controls. These where being controlled by the S&H #2 output from the SSF Ultra Random. The 1/volt pitch input was controlled by the toggle A/B output from the SSF ultra random. The clean drum outputs also sent to the channels 5, 6, and 7 on the Blue Lantern “Mix ‘Em Up” module.

Streams left side processing from the MakeNoise Mysteron output, which was being triggered by the 5th division output, for the metallic ripple delay like sounds, with the mutation knob set to counter clockwise, low bit mode.
The “Shelves” module was processing the acid like filter parts that get un-muted at 12 seconds. The sound source running into “Shelves” was the “Braids” module bottom row, running in “CSAW” mode. CV controlled by the CV output from the MakeNoise Rene sent to another intellijel hub mult. From here each CV output was sent to the “Frequency” inputs pink, green and white jacks on “Shelves”. The “Tides” high tide output modulation the CV controlling the top frequency input on “Shelves” Each filter knob was set so the incoming “CSAW” input was being processed like a formant filter effect.

Smooth Sub OSC bassline coming from the MakeNoise STO. This was being CV controlled by a intellijel µScale (B) output. Playing back 8 notes while being triggered from the 2nd division trigger on the 4ms RCD. Triangle wave output from a Intellijel Dixie (syncd) to the sequence controlling the input (1V/Oct). Second STO at 55 seconds, alternating high note triggers from the 1 channel output from the 4ms QCD 6th division output. The second STO output sent to a MakeNoise Optomix for short quick plucks.

The light reverb soft lead at 1:15 from sine wave output from another intellijel Dixie, being CV played from the 1V/Oct input from MakeNoise PressurePoints. The output was then ran into a Strymon “BigSky” pedal running the “nonLinear” reverb algorithm. The Chords coming in at 1:35 played by a Qu-Bit Nebulae module. The 4 chord sequence was hand played and recorded from a Roland Jupiter-6,. The sample was then cut into a 32 bar loop and then was restarted/played from a the 3rd output trigger on the 4ms QCD. This output was manually volume controlled by a Intellijel µAttQuad log/lin attenuator. Grids was being clocked from multi output from the SSF Ultra Random, from here the first output trigger channel was sent into a Addac 101 .WAV Player. Notes sequenced and recorded from the Mutable Instruments “Elements” Module. 4 notes in a specific order was played 4 times 32 bars/samples. This was triggered by the gate input triggered by the Gate Y output on Rene. Trill high notes from Microbe Modular Equation Composer running in Synth3Osc is a 3 osc synth mode.

http://mutable-instruments.net/modules/shelves/
http://mutable-instruments.net/modules/clouds/
http://mutable-instruments.net/modules/streams/
http://mutable-instruments.net/modules/elements/

Mutable Instruments Elements – Incidences/Resonances Patch

Mutable Instruments Elements – First Look – Incidences/Resonances Patch from Richard Devine on Vimeo.

First look at the Mutable Instruments “Elements” Modal Synthesis Oscillator. This patch was inspired by Bernard Parmegiani Incidences / Résonances piece on | De Natura Sonorum | INA-GRM | 1978.
To imitate nature and acoustic instruments, modal synthesis breaks down the creation of sounds into two steps:
1. Synthesizing a noisy and/or percussive excitation signal, which represents the raw energy transferred to the instrument by the musician when (s)he strikes, bows or blows it.
2. Processing this excitation by a resonator modeling the vibrating structure itself – be it a string, tube or plate. Properties such as its size, tuning, shape and material can be simulated by adjusting the parameters of the resonator.

SoundWorks Collection: Godzilla

Probably the best SoundWorks Collection episode yet. Very thorough, insightful and beautiful look at the sound design of Godzilla.

In this exclusive SoundWorks Collection sound profile Michael Coleman talks with Supervising Sound Editor and Sound Designer Erik Aadahl and Supervising Sound Editor Ethan Van der Ryn about the sound of Director Gareth Edwards Godzilla.

This 45-minute conversation covers the creative and technical process that the sound team of E2 pursued to create the dark and powerful sound of the king of all monsters, Godzilla.

Braids v1.6 Illlustrated

Gorgeous visual overview of the newly updated Mutable Instruments’ Braids. Full PDF below.

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BraidsPercussive

Braids percussive models from mutable instruments on Vimeo.

http://www.vo1t.com/Euro/BraidsIllustrated.pdf
Braids Upgrade Procedure
Braids 1.7 Firmware Upgrade

Synthesis Technology – E370/E371 Expander – Drone

Synthesis Technology – E370/E371 Expander – Drone from Richard Devine on Vimeo.

Just doing a Drone test with the E370 and E371 Expander prototype Quad VCO. It’s a combination of features from the E340 and the E350 using a new class of ARM processor with high-quality Cirrus Logic audio DACs. The audio was ran through a new Mutable Instruments module for light processing. :-)

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