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Circadian Rhythms By Joseph Fraioli

Circadian Rhythms from Joseph Fraioli on Vimeo.

a patch focused around the tiptop audio circadian rhythms (CR) as the heart of the system that provides the main clock source and triggers for events.
the programming was done on all 8 channels of the CR in 2×32 mode. fills are set to 16th note. mutes, fills and additional programming are performed on the fly.
patch basics:
CR ch 1: main kick
sound source is the blue lantern BDv4 going through the modcan frequency shifter.
CR ch 2: snare
sound source is the make noise mysteryon who’s pitch is being modulated by the mod can quad lfo who’s synced to the CR main clock output. the output was split into a separate VCA who’s being opened by the sound machines light plane and sent to the mungo d0 with macro machines storage strip. the storage strip is being sequenced by the CR main clock output.
CR ch 3: closed hat
sound source here is the SSF quantum rainbow blue noise.
CR ch 4: open hat
sound source is the SSF quantum rainbow white noise though the intellijel µfold and then a bit of delay from the synth tech e580.
CR ch 5: glass percussion as well as delayed bass and end melodic thing
glass percussion sound source is the noise engineering BI. pitch modulation from the tiptop z8000. delayed bass is an intellijel dixie square run through the cwejman res-4 and.end melodic thing is the harvestman piston honda MKII.
CR ch 6: chord bursts
this is the intellijel/cylonix shapeshifter in sequence mode then run thorough the qu-bit electronic RT60 reverb.
CR ch 7: tonal accents
sound source is braids in meta mode. also being sequenced by the CR and pith modulated by the tiptop z8000.
CR ch 8: sub kick
sound source is the tiptop audio BD808.
acidy bass: trigger source for the acidy bass is the intellijel metropolis that is synced to the CR via the clock output. sound source is the intellijel rubicon thats being FMed by a DIXIE sine, then put through the cwejman MMF1 in low pass.
tonal drones: trigger source here is the divided output of the intellijel metropolis into two make noise pressure points that have been micro tonally tuned. the sound sources here are synth tech e350 and make noise DPO that share a common mutable instruments peaks ADSR. the sounds are then processed through the serge resonant equalizer and tiptop audio zdsp with halls of valhalla reverb card.
hi plucked melody in mid section: this is the qu bit nebulae playing back a sample of mutable instruments braids in PLUK mode playing a melody sequenced on metropolis then fed to the mungo d0. the nebulae is then processed through flame FX6 reverb.
no computers or external hardware were used in this performance :)

Synth Meet. March 1st. Hideout in Chicago.

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March 1st, 2015
12-4PM.
The Hideout.
1354 West Wabansia
Chicago, IL

FREE. Shake off the frost and bring your systems.

Facebook Event Page

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.

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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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.

BraidsModel

BraidsPercussive

Braids percussive models from mutable instruments on Vimeo.

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

Surachai – Form Volume II

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Form Volume II consists of four archived performances and four new recordings. Form Volume II can be found on Bandcamp. The vinyl is shipping out around December 16th, 2014. Since most time, effort, and money went into the physical product – I’ll start there and work backwards.

Vinyl
As a response to the deluxe presentation of Ritual and because Form Volume II wasn’t supposed to exist, I decided to keep the theme of non-existence with the vinyl and artwork by calling it the Void Presentation. Firstly: there is no artwork. The vinyl is clear and with no center sticker making it an entirely transparent vinyl record. Again, the record is pressed at GottaGroov Records. The transparent information card was manufactured by Offbeat Press and the reference I gave them was the winning ticket to Fhloston Paradise from The Fifth Element. The clear jacket is also clear and originally intended for picture discs. If you’re not looking for this album, you’re not going to find it – basically its a marketing nightmare.

Pre-Master & Mastering
Because all tracks were recorded in single takes to stereo or mono tracks and mixing was performed on the fly, the results were raw, hugely dynamic, and sometimes lackluster. All tracks were mixed afterwords and pre-mastered with the Thermionic Culture Vulture Super 15 with a couple dynamic processing UAD plug-ins. I turned these pre-master versions into Shawn Hatfield of Audible Oddities to officially master the album and tame the inconsistencies between the tracks while preserving the dynamics.

“In general, I used all the different input/output transformer stages on my gear, driven just enough to saturate a little. Dave Hill Titans were used to add weight and body, Knif Vari-Mu II mid/side compression to glue things together and further enhance the stereo information followed by a BAX EQ to help open things up a little more where needed. And I also ran them through some custom op amps built around a 1970’s design that impart a smooth character.” – Shawn Hatfield of Audible Oddities.

Recording
Despite the length of time between recordings, the recording sessions were almost identical to each other: construct a patch, tweak the patch anywhere from 5 minutes to 2 weeks, record the patch, keep the 1st or 23rd take. There were no limitations of modules used and as you can tell in the videos, there were plenty – although the last track is using only one module.

Background
Form Volume II is not supposed to exist. The album started with Aaron Funk requesting source audio files from a few Form session videos. That was an easy ask: track down the sessions folders, zip up a few bounced files, and send them over Dropbox – that should have been the end of the transaction. But this small request spiraled into obsession to the point where I found myself finishing an album I hadn’t known I was working on for more than two years – in the mountains of Tennessee. The first four tracks were previously recorded from June, 2012 to August, 2014 in Chicago and the last four tracks were recorded in a weekend with Richard Devine and his live system in Tellico Plains, Tennessee in August, 2014.

Release
I’m writing this a day before the official release and am confused after looking at Bandcamp’s best seller’s column for electronic vinyl. Currently, Make Noise Records: Shared System Series – Surachai 7” is number 1 and Form Volume II is in third place. What does this mean? For Make Noise Records, its makes a bit of sense – We’ve released some of the top names in experimental music on our short 5 record, 2 year stint and mine being the last, the momentum is expected. As for Form Volume II being a top seller, initially I’m skeptical. I haven’t utilized active PR for the past 3 vinyl releases and am constantly hopping labels and switching musical styles. The only thing I can think of is that I know who you all are. I order, assemble, pack and ship the vinyl to you and that must mean something. Whatever is driving the sales, thank you for the support over the years.

Form Thirty Recorded in Chicago, IL. June 9 2012
Form Thirty-Two Recorded in Chicago, IL. November 12, 2013
Form Thirty-Four Recorded in Chicago, IL. May 3, 2014
Form Thirty-Five Recorded in Chicago, IL. August 12, 2014
Form Thirty-Six Recorded with Richard Devine in Tellico Plains, TN. August 31, 2014
Form Thirty-Seven Recorded with Richard Devine in Tellico Plains, TN. August 31, 2014
Form Thirty-Eight Recorded with Richard Devine in Tellico Plains, TN. August 31, 2014
Form Thirty-Nine Recorded in Tellico Plains, TN. August 31, 2014

Limited to 250 copies of vinyl
Mastered by Shawn Hatfield of Audible Oddities
Released by BL_K NOISE

Surachai – Form Volume II

Harvestman Tyme Sefari MKII Tips

“Here’s some tips I think might be useful for some people with their Tyme Sefari MKIIand the A Sound of Thunder expander modules. There’s a lot more to do with those modules and this video dont show every aspect of the possibilities.”

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