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DivKids Month of Modular Magazine

Interesting idea of consolidating and curating a scene that has blown up exponentially the past couple years. Excited to see what DivKid does with future issues! Link at the bottom.

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Issue #1 October 2015
Published on 29 October 2015 in “Music, Hobbies”, language — English. 6 pages.
Issue description:
The first issue, seems like a big step forward seeing this go live and public. Already ideas are flying around for how to develop this so feel free to get in touch about it at any of the links inside.
Magazine description:
A magazine to support and promote the modular synth scene based around the video demo work of DivKid – http://www.youtube.com/divkidvideo You’ll find news and features from around the web alongside more personal news from me and an interview each month.

DivKid Month of Modular Issue 1

Autechre Melts IDM – Austin Chronical

Great insight and interview with Autechre at The Austin Chronical.

Austin Chronicle: Are the components of chance in your music premeditated or do you stumble upon elements and allow them to run amok?

Sean Booth: Even though a lot of it is deterministic, there’s quite a lot of feedback within the software. I’ll use conditionals. If one thing is occurring, another should occur, or if one occurs too much, another should occur or not occur, but the thing occurring may also have conditionals attached to it, which relate, to say, a third thing that may have conditionals relating to the first. You can quickly get into territories where you can’t necessarily predict the output of the system.

But I still wouldn’t call that chance. I would say it’s a limitation of my brain, of not being able to perceive the pattern that’s there. When I discuss chance elements and randomness – because there are lots of different types of randomness – certainly where computers are concerned, there’s no such thing as pure random. It’s just implementations of different ways of achieving something that’s unpredictable to a human in a given context.

AC: And what about Warp’s role in the visual design of your records?

SB: Warp literally has no involvement in anything creative we do. If you see any graphics, it’s because we’ve approved them and worked with the artists. We’ve worked with a few different designers over the years. Mainly Designers Republic, who have done the vast majority of our releases. But also, a guy called Alex Rutherford. And then we did a few sleeves ourselves. In terms of Designers Republic, they’re the most awkward and the most likely to do something we don’t expect, but it’s usually something we’re into. We have occasionally not liked ideas they have come up with, but more often than not it’s something that grows on me quite quickly and I end up really liking.

Visual aesthetics obviously play into what we do. We’re visual people, which is why we put the lights off, otherwise we just think about visuals. But we don’t really think of the visual aesthetic when we’re making music. We only think about presentation when compiling for releases. And that’s partly why we use designers. They offer different vantage points.

Full Article

Trent Reznor | Archetype of a Synthesizer

Great interview/monologue of Trent’s beginnings with synthesizers.

Through personal stories, Trent Reznor recounts his relationship with an iconic analog synthesizer and describes how it has fit into his creative process over his storied career.

Original score by The Haxan Cloak, co-producer of Bjork’s Vulnicura. Befitting the occasion, the artist used a Minimoog Voyager and a prototype Mother-32, Moog’s newest synthesizer, to create the score.

Noise Engineering – Loquelic Iteritas Demo

Noise Engineering

WMD DPLR delay… a preview of its capabilities

Been using mine non-stop. Beautiful sounding delay and deep for such a small module.

This is a short demo of what can be done with the DPLR, and what happens when you crank up the REGEN. This is mono input with a stereo delay with feedback between channels, as can be heard.
You can get many tones with the feedback type button at the top, shown near the end.

Important Logic Update

It’s too early for this, Justin…

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From Alessandro
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Datach’i – Monarchs

no computers or external hardware were used in this performance :)

FREE download of this track here if you want it:
bit.ly/Datachi_Monarchs
facebook.com/datachiofficial
datachi.com

patch basics:
sequencers used are the tiptop audio circadian rhythms (CR), z8000, modcan touch sequencer (TS), intellijel metropolis and 2x make noise pressure points with brains.
CHORDS: make noise tELEHARMONIC sequenced by the CR and two pressure points. processed through the tiptop audio ZDSP reverb.
LEAD MELODY: intellijel atlantis sequenced by the intellijel metropolis and processed through the qu-bit electronic RT60 reverb.
KICK: blue lantern asteroid BDv4 sequenced by the CR.
SNARE: noise engineering BI triggered by the CR and processed through the make noise erbe verb and synthesis technology e580 delay.
HAT: SSF quantum rainbow MKII purple noise with maths expo envelope sequenced by the CR.
SUB KICK: tiptop audio BD808 triggered by the CR.
MID SECTION PERCUSSION: mutable instruments elements sequenced by the CR and Z8000.
MID SECTION TO END HARMONY: modcan triple osc through the modcan multimode filter sequenced by the modcan TS and processed through mutable instruments clouds.
my brother says:
“Sounds like some kind of scale in the key of F minor. the chords are Bo dominant 7th first inversion followed by Dd major first inversion, Ab major then another Ab major an octave higher.”

Venetian Snares Interview with Fact Magazine

Here is Aaron breaking down the ridiculousness of the current state of music media, how critics write as if they’re paid in coupons, and how being musically relevant is equivalent to playing a game. Absurdity complete with clickbait title, “Venetian Snares hates the music industry, hates FACT Singles Club and hates you”. Awarding him a TRASH_AUDIO Breakcore coupon good for a Thai massage from Surachai or an IDM Banana sticker redeemable for a hair combing from Alessandro. Really though, Aaron is usually the smartest guy in the room – and tallest.

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At odds with his career
“In order to make a living I have to allow people to hear my music and I have to go fucking clown show it for them at some fucking club”

Conforming art
“It doesn’t even sound anything like self-expression, it’s like… I’m awesome within these predefined parameters that are presented to me. Which I guess most artists feel is what’s exciting about a genre. They see a few people doing a similar thing and then everyone just jumps on it and goes, “I’m this now!” It’s like if a bunch of people wore the same fucking outfit from the Gap, you know?”

Imbecile
“‘[Venetian Snares] came on while I was giving someone a back massage.’ That’s the best one. A fuckin’ back massage. [Venetian Snares is] not compatible with massages!? No shit! I’d like to give them a back massage with a belt sander. God. I’d like to get into a time machine and drown their parents. This is the state of modern critique?! Holy shit. I don’t know.”

Full Interview at Fact Mag
Workspace and Environment: Venetian Snares

Qu-Bit Electronix – Tri-ger Tutorial

Any sort of gestural interface or humanizing patterns is always welcome!

Elektron Overbridge Walkthrough

Excellent Overbridge walkthrough by Dataline. Seems to be working a lot better than some other hardware/software integration systems.

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