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Yesterday, was interesting…

At the studio yesterday, I was sitting at my desk chatting with Surachai on aim when I noticed a slight movement out of the corner of my eye, near some cables on the floor. I didn’t think much of it and didn’t see anything right away, but looked again…

Surachai: LOLLLL
Surachai: LOLLLL
Justin: holy hf’dsl;k
Surachai: pics brah
Surachai: is it hissing or just chilling?
Justin: both
Justin: it’s in the corner
Justin: i saw something move from the corner of my eye
Justin: and im like, ey, seeing things
Surachai: EYYY TONY
Justin: i dont’ know what to do with it
Surachai: push it outside
Surachai: police are chasing a car that is throwing money out its window
Surachai: LA

Here’s a little video I took while we struggled to remove the suspect from the premises. It turned out to be a Fox Snake.

KNOBCON! Chicago, Friday the 14th – Saturday the 15th

“Friday night: it’s a party. live music and a cash bar. live video art by Brownshoesonly. musicians TBA. doors at 6 pm. music starts at 7pm and runs until 11pm or so.

Saturday: the main event. the beautiful social chaos of people and their things in one room, workshops in another. Monotribe Demolition Derby will be judged on Saturday night. There will be a drawing for door prizes from our sponsors (Five12 and STG Soundlabs) as well. you can arrive as early as 10 am, i will kick people out by 10pm. ”

– ALl details:
Facebook Event

Photos from TA Synth Event 12

If you’ve got more, we’ll add them! Email us!

Videos from TA Synth Event 12

A few videos I’ve managed to find from Synth Event 12, thanks for coming everyone!

Also a nice little write up at!


“Their early work was a little too new wave for my tastes, but when Sports came out in ’83, I think they really came into their own, commercially and artistically. The whole album has a clear, crisp sound, and a new sheen of consummate professionalism that really gives the songs a big boost. He’s been compared to Elvis Costello, but I think Huey has a far much more bitter, cynical sense of humor. “

POLYFUSE – We Were Wrong

Whenever I post a new polyfuse release I like to give a brief overview of how it was generally crafted. Previous output from me has either been done live in one take and recorded to a stereo track or produced in Logic with external hardware being introduced track by track. This release, for the first time, is a mixture of both of my processes. Elements I have learned from playing hardware live with a lot of limitations involved actually opened up some new ideas for me when for producing with a computer. I thought I’d just go track by track and briefly mention the main bones of the production for those interested. Please feel free to throw me some questions in the comments as well.

1 – We Were Wrong About You
This entire track is one realtime live recording using the Octratrack for kick, snare and hats. The modulating distortion comes from parameter locks on the kick track using the built in bit crusher. Other modulation in the hi-hats comes from the crossfader on the Octatrack slightly modulating pitch. I recently acquired a Roland RE-201 Space Echo and I am sending the modulating kick drum through that and using the feedback for variation, fills and more distortion. I synced the tempo as best I could by ear but it tends to slide a bit, I left all those parts in because it sounds like the entire song is going to fall apart at any moment. That pretty much goes with the theme of the whole EP. The last element was vocals, which I never do but lately I feel like I need them. The delay on the vocals comes from the internal lexicon processor on the soundcraft mfxi mixer I am using. For built in FX on a mixer, I am always very surprised. I use them all the time despite having ‘better’ options.

2 – Empty
The basis of this is a single recording of the Cwejman S1. The distortion comes from Logic’s built in phase distortion plugin and then a dose of plate reverb. This is one of my favorite combinations that makes things sound very angry and metallic. After that, it’s just a kick drum, Virus TI and a bunch of UAD-2 plugins.

3 – Pushed Pulled Buried
Octatrack again for the main percussion. In fact, I did the drums 100% live in one take through the whole length of the song, all other parts were layered in with logic after the drum recording was done. I have my Octrack setup so that I am using all four outputs to send Kick, Snare, Hats to various places with the mixer. I usually use a lot of guitar pedals and random processors for this. The pad sound comes from the Virus TI, bassline from NI Massive and those metallic sounds come from a Waterphone.

4 – Laconic
Laconic – brief and to the point; effectively cut short; “a crisp retort”; “a response so curt as to be almost rude”; “the laconic reply; `yes'”; “short and terse and easy to understand”

I have a lot of tracks named Laconic. They are just tracks that serve as a bridge to the next song. Kind of a break in the action. In this case I am sending MIDI to a Moog Prodigy via the Moog’s CV and S-Trig inputs. I added some tape delay noise underneath after that. This is actually an intro to a full song that I am not done with yet, it might reappear in the future. Probably not.

5 – One Mile Underground
This was the very first track I made when I first brought my gear to the new studio. I wanted to make something loud and powerful that sounded kind of like being in an underground missile silo. This one started in Logic as drums from somewhere I can’t remember and a bassline made in NI Massive. I then took this loop and sent it through my mixer and treated it in the same way as if I was doing one of my all-hardware productions. This led to a lot of awesome textures that I think would have taken forever to achieve just with software. The plate reverb comes from the first FX processor I ever bought when I was 16 or so; the Lexicon MPX100. It’s still awesome to me these days. Not much to say about the rest of the track. There’s a bit of distorted guitar and acoustic drums which I almost never use.

POLYFUSE – We Were Wrong on Bandcamp
– Photography by Jesse Meyer

Neon Indian: PAL User Initiative!

I recently received this unusual transmission via a shortwave weather-fax signal that was bouncing off of the ionosphere and originating from none other than the Arctic Circle. It was too good not to re-broadcast to local viewers and enthusiasts. Neon Indian recently released an album called Era Extraña that came with a nice little three-oscillator noise synth that has many options for input, hacking and destruction. Co-developed by Bleep Labs, whom by now you are all familiar with, the PAL198X synth is now available for purchase outside of the album in case you missed it the first time around. There’s now even a ribbon controller expansion you can pick up for it.

Neon Indian’s Alan Palomo also has a contest running: Users of the PAL198X are encouraged to create and submit music and / or noise made on their PAL198X synth for a chance to have their own limited 7-inch vinyl released via Alan Palomo’s Static Tongues imprint! Full details, instructions and rules are available here. There’s also an example video submission created by Johnny Woods of LZX Industries:

Pal User Initiative
Buy a PAL198X Mini-Synth, $15!
Ribbon Controller add-on, $5!
PAL198X Instructional Video
More info and Videos from Bleep Labs on the PAL198X

Synth Event 12: Tickets now on sale…

Tickets are now officially on sale for TRASH_AUDIO’s Synth Event 12 that’s happening in Chicago on July 29th! We’ve got over 100 RSVPS and we’re closing the invite when we reach 100,000 people. Better get tickets now!

Facebook Event

Part 1 (Synth Market)
Part 2 (Performances)
DAY PASS (Greatest Value!)

A Studio Visit with Matthew Dear

All of the sudden and without warning I feel like I have a little bit in common with Matthew Dear. I admit, I haven’t heard too much of his music aside from random tracks on a few Ghostly comps. This is a short video, more like a commercial, but it’s quite beautiful anyway.

“Shot on location in Williamsburg, the black-and-white short features a potpourri of city and studio imagery as Dear narrates his first experiences with electronic-based music and becoming a performer. “Her Fantasy,” the celebratory lead single from Beams, serves as a suitably optimistic backing track for the video.”

More on the Ghostly Blog

Mixing Music & Patterns In Vinegar Hill

“When musician/ photographer Justin King first came across the space that he would transform into Vinegar Hill Sound in the historic Vinegar Hill section of DUMBO in Brooklyn, it was, as he put it “just an empty, grungy warehouse with concrete floors and crumbling walls.” Six months later, he had transformed it into a welcoming and inspiring place to practice and record.”

More, Via Apartment Therapy
Studio Tour Slideshow

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