One of the best movies I’ve seen that had amazing room for creative sound design. While watching the movie yesterday, I definitely noticed that the team went beyond the calling of standard sound design. This video is a great summary of how the sound department approached into populating the soundscapes of Inception. I hope a longer version of this video surfaces!
Original link: Soundworks Collection – Inception
Gorilla Box’s first product, the Gorilla Cage, is now available at their Online Store (Product Page). This is targeted towards DIY folks who would like the constructed rack but want to find their own power supply. Gorilla Box is also selling a number of miscellaneous utility products to customize your Eurorack system including colored screws and caps. Other product releases will be announced soon like that complete Gorilla Cage with the Tip Top power supply.
Here are the specs of the Gorilla Cage:
- Custom made for Gorilla box by Vector Electronics. This is without the power system, just the rack.
- Comes with flat black metal anodized backplate with bussboard screw holes prepunched. The large hole on bottom of prototype not included in final rack. backplate is solid black anodized at the bottom.
- Black front handles easily removed with a screwdriver.
Every once in a while I like to hook up my ‘analog’ (No computers) setup and jam out while broadcasting the results on a videocast. Well, I was getting ready to disconnect all the gear in preparation for a big move so I thought’d I’d do one last analog session. This time I remembered to record the audio, so here it is. 1 hour and 22min of analog improvisations:
Direct Links to MP3′s:
Live Analog Session – Part 1
Live Analog Session – Part 2
Live Analog Session – Part 3
All part’s in one ZIP:
Download (183mb)
POLYFUSE – LIVE ANALOG SESSION – 2010
Recorded with the following:
Cwejman S1mk2
x0xb0x
TR-808
Grendel Drone Commander
Tubeworks Overdrive
Ross 10 Band EQ
Alesis Ineko
Soundcraft MFXi8
Stereo Output recorded with RME Fireface 800. Stereo two track mastered with UAD-2 Suite
sonoio1 from Alessandro Cortini on Vimeo.
I’ve been helping Ezio Alessandro Cortini put together some teaser videos for his latest project and album named Sonoio. In the following weeks Sonoio be posting videos, interviews and downloads that will lead to the release of the album, all of which will be found here.
For more information and up to date information visit his site: Sonoio.org
Tons of progress has happened since my last post about this project I got myself into! When we first started, I assumed it would take a solid year before I was able to move any of my gear in. If everything goes as planned, I could be in there by mid-September. It may not be a completely ‘livable’ place by then, but it should have electricity, walls and a floor.
Here is the new and current plan we are moving forward with. We ended up running into an interesting problem with the plumbing situation that made us take our interior room layout plan and completely reverse it. This turned out to work so much better. Now the ‘back’ of the building will be the front, and the main entry door will be a large set of french doors. We also decided not to do dual sliding glass doors as we originally planned. Mainly because I really need the wall space for equipment and shelving. The other big change that happened is with the lofted bedroom area. In the original plans we thought this would only be a 10′x8′ room, but we are now extending the room into the other garage half of the building. So it will almost double in size and become a lot more usable.
From left to right are three rooms. Kitchen, bathroom and soundbooth. The soundbooth is about 5×7 feet or so. No drum recording will be happening in here, but that’s ok because I never do that kind of stuff. However, this room has an extra door on it that will lead out into the garage half of this building. So in the event that I need to record in a really big space, I’ll be able to open this door and run a snake out into the larger garage room. Of course I’ll have to figure out some means of acoustic treatment for that scenario, but this space will still be isolated from the main control room.
We’re still finishing up the interior framing and we’ll be running electric, CAT5e ethernet, and audio cables for an XLR / TRS patch panel in the sound booth. After that we’ll do all the drywall, lighting and maybe even a ceiling fan or two.
Harvestman Malgorithm Bit Crusher
Volume drastically changes the response of how the Malgorithm interacts with the incoming signal.
Bit Crusher – Bit Depth goes from 1 to 8 bits.
Nyquist (Sample Rate) – 20kHz max.
Devil On activates the Volvulus modes – 8 total can be achieved through the 3 switches.
Rectify acts an overall distortion/waveshaper
Using an LFO as the source audio creates interesting results.
This Malgorithm in the video is the latest revision and here are the differences between the new and old:
Maximum bit depth has been extended to 10 bits. Maximum sampling rate is doubled.
The ‘devil’ section works a little differently: when engaged, the Bit Depth control changes function and becomes a modifier for your selected devil function. The rectify switch adds some high-frequency garbage in this mode instead of strictly rectifying the signal.
Harvestman Hertz Donut Dual Oscillator
Primary Oscillator
3 waveforms: Sine, Triangle, Saw, and Pulse which has it’s own dedicated output and requires the Destination button to be held for it to activate.
All waveforms can be affected by the Waveform Discontinuity knob which is a waveshaper
To enable FM on the attenuated Frequency jack for the primary oscillator, hold down the Primary waveform select button.
All lights on = Linear
No lights = Exponential
Sync In for external audio rate signals
Modulator Oscillator
3 waveforms: Sine Triangle, Saw and can be LO (LFO) or (HI) Audio Rate modes.
Like Primary, Pulse has it’s own dedicated output.
Destination sends the modulator signal to the selected parameter. Frequency, Shape, and Amp.
Modulation Index determines the amount of signal being applied to the modulation.
Like Primary, to enable FM on the attenuated Frequency Jack, hold down Mod
XOR output.
To activate the XOR output hold the Destination button until XOR is lit.
Tracking determines how accurately the modulation finds the target: Bad, Worse, Stupid.
Harvestman Piston Honda Wavetable Oscillator
Waveforms can be scanned manually and also with CV.
Rom A – Noisy Waveforms
Rom B – Additive Waveforms
Rom C – Classic Waveforms
Rom D – Bosch Gardens
Morph Discontinuity determines length of transition.
Higher value knob settings on the the morph discontinuity cause sharper transitions.
Lower values cause the transitions to be smoothed.
Holding the Wave Discontinuity button (lights on) smooths out digital artifacts.
External signals can be processed.
In this mode the frequency knob acts as a pseudo volume/gain control.
Rom Select can be selected manually or with gates.
Hard Sync and FM are both achievable by sending audio rate (Hard Sync) or LFO (Hard Sync and FM) signal to the Frequency jacks.
Here is some serious next level gear porn from our Workspace and Environment participant Magnetic Stripper. His article can be found: HERE. The top video was mooched off of Matrixsynth if you couldn’t tell by the green Youtube skin. The bottom video is of his live setup. I’m glad someone is doing that but personally I’d have to say fuck touring at that point.
