Archive by Author

Workspace and Environment: radicalfashion

Justin and I are both in California, finished our NAMM expedition and will meet back in Chicago in a couple of weeks. We have finished gathering all the content from NAMM and will post it up when we have time to piece it all together. Don’t worry, you can find the newest miracle products from any other music source. We’ll have pictures and videos of some of the great content NAMM had. We were introduced to many great products(both new and old) and met so many amazing people. To get away from NAMM a bit, here is a short and sweet interview from the man behind radicalfashion on Hefty Records.

I started learning to play piano when at primary school. At first I didn’t like practice and soon quit it. About a year later, though, I began playing piano again. That’s the starting point. Besides, I have taken part in several bands, and I suppose that experience has helped me develop the sense of functioning as a part of the whole picture.

Favorite Hardware
It is a digital instrument called TENORI-ON. I’m interested in this kind of interface that allows quite intuitive manipulation, as it might enable you to capture the passing moments that you sometimes, quite unconsciously, bring about.

Favorite Software
Basically, I don’t use plugin…

Workspace and Environment
The moderate size of my working room is quite comfortable for me, leaving no wasteful space. I’m considering making a window these days. As you can see in the picture, the pianos are well arranged, aren’t they? This moderateness is convenient for choosing among the instruments. When I want clearer sound images I use the front one, for example.

Extra Curricular
I composed some soundtracks for film by friends made.

Japan’s radicalfashion releases out of the Chicago based Hefty Records. Be sure to check out their album ‘odori’.

Live in LA : NAMM Afterpartys, This Friday & Saturday!

Create Digital Music is hosting a killer unofficial and free NAMM afterparty…

Performances from Trash_Audio Include
The Deep Element
Justin McGrath

Friday, January 18th
Handmade Music + Motion 8:00pm
Live sets start 9:30pm – late

Basswerks in Mid City LA
5411 W Adams Blvd
Los Angeles, CA 90016
(323) 939-2535
Free! (Cash bar)

Thanks to:

Saturday January 19th
Droid Behavior + F.I. presents NAMM Afterhours
129 E. 3rd st. LA 90026
10pm – 6am :: $10 :: 18+/21+

Droid Behavior is joining forces with the Darkmatter Soundsystem and it will be massive. Richard Devine, The Flashbulb, Captain Ahab, Eustachian, D2 and Surachai (my grind/metal project) will destroy you. Come prepared for an aural assault. This party is so massive that the flyers gobble up all the space on your screen, check them out for the complete lineup! If this night doesn’t melt your face off, then I will do it personally afterwards in an alley. Keep current: Here or Here Additional Information…

Friday, January 18th
ALSO from Create Digital Music, Workshops!
Handmade Music + Motion:

– Bring your own DIY music or motion creations and other hardware toys and geek out with an international crowd of hipster-nerdsters! All projects welcome (space first come, first served — think small, bring portable speakers if you can)

– Put together free kits to make your own ribbon controllers without soldering

– Learn how Bryant Davis Place (future-tense-cpu) built his own DIY VJ sequencer for M8 using the Lemur multi-touch controller.

– Learn about the wonders of wireless MIDI sync in AV Performance with Acid&Bass&Momo producing a live remix of Karate Kid.

How we get girls (To leave the room)

Surachai (left) is on the TR-808 and Justin (right) is on the keyboard playing the Oddity, an Arp Odyssey emulator.

Upcoming Events

We will have another announcement on a gig in the works but until then, here are three things I’ll be involved in.

Tuesday January 15th
Ascend Training – 410 South Michigan, Suite 433, Chicago
There is a massive Motion Graphics Festival in Chicago and I will be facilitating the class ‘Introduction to Ableton Live’. Though Live isn’t my top choice for post production, I’ve used it for projects and its surprisingly applicable for certain productions. Though I won’t be around for the rest of the festival I advice you to check it out if you can. You can find information on my deal: here

March 20th – May 14th
European Tour

Eustachian and Teknoist will be on a European tour this spring and I will be latching onto a their shows. We are looking for shows within this time period in all of Europe. I will be using Paris as a home base, so I will be relatively close to everything and filled with cheese. Please help us if you can! Check out their press kit:

The current schedule is as follows:
Mar 21 2008 – Dissonant Festival w/ The Teknoist – Antwerp
Mar 28 2008 – Day of the Droids w/ The Teknoist – Barcelona
Apr 11 2008 – TBA w/ The Teknoist – Liverpool
Apr 12 2008 – Noise:Tek – Manchester
*Apr 25-27 2008 – Bangface Weekender – Camber Sands
*Apr 2X 2008 – Day of the Droids – Barcelona
Apr 30 2008 – Ghent (Charity Benefit) – Ghent
May 1 2008 – Drum Disciples w/ The Teknoist – Bristol
*pending approval.

And if you are not interested in brutality, my other projects can be booked:
the deep element or Myspace
[co]sen_tasi or Myspace
Please drop a line at

Workspace and Environment: 000 aka Axiom Crux

We’ll have full details about some gigs we’re involved with in the next week. Chaos is coming! Speaking of chaos here is 000!

Ive been making music since I can remember, some of my first memories are recording sloshing my leggos around in their box and messing with the tape, and playing my sisters tiny vltone Casio, I loved casiochord mode. I played violin in elementary school, and was in choir for a bit (awesome, surrounded by girls, there was like 1 other guy in there). I also started animating very early as well, making flipbooks of sonic the hedgehog for my dads birthday. I think he still has it. My friend across the street, who was in high school when I was about 7, helped me learn basic programming and electronics, and I would program simple generative audio visuals and video-games. I also made a very simple keyboard. When I got a computer with a real soundcard I would spend days messing with my voice in soundedit16 or goldwave.

Favorite Hardware
My favorite would have to be my infusion systems ICUBEX sensor kit. I was given it by the Museum Of Contemporary Art in trade for doing a performance for their Merce Cunningham dance series. We hooked this awesome dancer, Ana Mendez up to it and had her movements control the audio and visual. Its really great because it gives me direct intimate control over sound and visual design, in a way you could never draw automation or design sounds with a keyboard or sliders. It allows me to create organic, synchronized audio and visuals at the same time, live. I have some videos of it up on my site (Internal Reflection, E-Merce at MOCA, and []). I own a cello, sax, flute, and a bunch of other instruments that I love, I find organic played instruments can be more soulful then sequenced.

Favorite Software
I love logic 8, I feel like with a good mac and logic 8, and the Native Instruments Komplete bundle, you could make anything. Max/msp/jitter is something that I felt a serious connection with since I was first introduced to it. I feel unlimited when I use that software. I’m liking the free Michael Norris spectral plugins, and the grm tools are always classic. Metasynth, I love the swishy spectral quality, and you can get so detailed with a single sound. I was also circuit bending and building some custom electronics stuff a few months back. It’s insane what you can do with raw electricity. So much different then the sound of digital, feeding back parts of the signal into places they aren’t meant to go, it can get insane very fast. I’m also designing my own software that I plan to make into a commercial product. Its very different from anything I’ve seen on the market. It will be for sale through my website.

Workspace and Environment
I feel that this is one of the most important things about working. When I lived in Detroit in a cold basement, it provided a totally different type of inspiration then living down here on Miami Beach. I used to go to Cranbrook art community campus, amazing forests and lakes, installations and walk around for my inspiration. It is so immensely beautiful there. I would love to have more nature around me, right now Im living in basically a tourist mall of sorts, on Lincoln road, and I can look out my window and see these art deco pastel buildings, one of them looks like its from greece, but when you go closer to it, the facade is all painted on, haha its so great. I would love to go down to the beach and write a track, but sadly the logistics of that are problematic, all the sand, water, and bums don’t make for safe computer use. Though we did have an amazing DMT drum circle. I think I would ideally love to have a studio in Tokyo, in a crazy downtown area, or the total opposite, like a minimal contemporary style building in a forest… maybe a futuristic solar powered tree-house?

Extra Curriculars
I did some stuff for a japanese game earlier this year. I can’t speak japanese that well so I don’t even know what its called. I do sound for TV commercials right now, all pre-production stuff though, My day job is making animatics for the worlds largest ad agencies. I did music for one feature length indy film, and one animated short film named “Tristella’s Tears” back when I was in college, I ended up winning best original score in the chicago film fest for “The Passage”

First Piece of Gear
My violin, as a little kid. as far as electronic gear… I got a jp8000 in highschool. I love the feedback oscillator on those.

Buchla 200e, Just a minimal setup, 2 oscs, filter, phasor, and their midi translator would be plenty, then I could control with my sensors and max/msp sequencer. Kyma, Nord modular g2. UE10 in ear monitors. A Synthi aks.. I also wouldn’t mind getting an SH-101 or a real Korg MS20.. something full discrete analogue. And a reel-to-reel for warming my masters.

Mobile and Live Setup
MacBook Pro and Novation remote sl 37, mbox, a few nice mics

Where were you born and how did you end up in the location you currently reside?
Saginaw>Lake Orion>Royal Oak>Bloomfield/Detroit>Miami
When I was born, my dad was working at GM, he worked his way up at the company, and then we moved to a bit bigger place in Lake Orion. He started his own company doing robotics training manuals, and made a load of money on it, so we moved to a really awesome house in Bloomfield, where I spent my formative years. I went to school at CCS in detroit for animation, and played tons of raves out there, and after I graduated from college I decided to move someplace that isn’t depressing and cold. I rented a Uhaul and drove down to Miami, it just so happened that during the middle of my trip hurricane wilma hit and I had to stay with Richie for a few days, we went on this really strange mini-tour around Georgia, Tennessee, and North Carolina. We stayed with these really cool cats who had hens for pets, and played at this biker bar that was straight out of a David Lynch movie. It ended up that my mom that I hadn’t seen in a year or so lived half an hour away, and she drove out to see me play, we all sang her happy birthday… strange adventure. I finished my trip to miami through the post havoc of the hurricane. What a twisted introduction to miami. I couldn’t even get gas because all the stations were out of power, I made it to my new condo with the red light of the gas tank blinking. I may end up moving to California soon. There’s tons of motion-graphics and sound work out there.

Studio Evolution
The basement in Michigan that previously housed my studio is now under a foot of water, the guy who bought our house didn’t pay the mortgage and went into foreclosure. I went back there during my close friends wedding, it was a foggy night, right out of twilight zone, we found a way in and walked through the house, there was still pumpkin pie and gallon of milk still on the table from 2005 when I moved out. I tried to go to my old studio in the baseme
nt, and it was in a foot and a half of nasty sewer water. My gorgeous mural that adorned the vast walls, created over many years by my close friends and I was trapped, it was rather strange feeling. You really can never go home again.

OOO (axiom crux) can be found on Planet Mu, Sublight, Detroit Underground, Melted Mailbox, Rolax, Circuitree, and a bunch of other compilation appearances. Videos and music can be found at his website:

Impulse Response Tutorial

Impulse responses allow you to ‘sample’ your room and use it as a reverb in whichever program supports it. I personally love impulse responses for their ‘set’ characteristics, though they’re not as versatile as some reverb plug-ins I find these limitations inspiring. Let’s assume you are not stupid, you have Leopard and Logic 8. I am going to explain how to do this as quickly as possible using only a macbook with its built in microphone and horrid speakers. Of course you can substitute the hardware with something proper or you can even substitute this tutorial with a proper one from a ‘professional’ website, you know, a website that doesn’t use the word ‘pood’ when describing low quality audio files. Anyways, I’m getting started:
You can find the program here: /Applications/Utilities/Impulse Response This is the general space of the program. If your screen does not look like this, you have opened Guitar Hero.

1. After choosing to work in Mono, I only have to press ‘R’ and the ‘S’ will automatically light up. ‘R’ puts the program in record mode and makes the ‘Sweep’ option available.

2. Before I press ‘Sweep’, I make sure my ‘Monitor Mute’ box is checked. I usually enjoy feedback but not through the already piercing ‘speakers’ on the macbook. I’ll be sure to experiment and pull this off with the feedback on one day. So I Sweeped it!

After I have sweeped the frequencies my recorded waveform looked like this. Basically horrible low and high frequency responses because my microphone and speakers eat it.

3. At the bottom left, I will want to press ‘Deconvolve’ then ‘Create Space Designer Setting…’, I name my file accordingly and jump into Logic 8. I could ‘audition’ my reverb but I rather skip this entirely and go straight to logic because I get confused and discouraged at what I am hearing.

4. In Logic 8, I open space designer and see my impulse response staring right at me in its own little custom section. My impulse response looks like this. The volume is not decaying rather it is gating and sounds like pood.

This is easily customizable by grabbing the points and adjusting it to your liking. I prefer my turd room to trail like this.

You can hear quick examples of the IR’s I created. Apparently my room has walls made of metal.
My loop dry
My loop wet
One shot dry
One shot wet

Or using the preset in Ultrabeat. Listen to the accentuation of the hi-hats.
Ultrabeat sample dry
Ultrabeat sample wet

To recap.
1: Press ‘R’.
2. Press ‘Sweep’
3. Press ‘Deconvolve’ and ‘Create Space Designer Setting’ (not sure why this is one step)
4. Get in Logic and fix your jacked volume settings in space designer
Now go get your platinum record. You know, the one you are reminded to achieve every time you open logic 8……

Workspace and Environment: Richard Lainhart

Update – 1.4.12
This is the worst update we have to make this post, one that puts finality to Richard’s life but also purpose and meaning. Richard passed away December 30th, 2011. Read about his life on Wikipedia & Matrixsynth.

Justin and I are off to NAMM next week and hopefully we squeeze in a few more articles between now and then. We will have word on some gigs we are performing at next week and I will be asking for help for an upcoming European tour. Until then, I present the prolific Richard Lainhart!

I started playing electric bass when I was 15, so in a few weeks it will have been 40 years. I was born in Vestal, NY, outside Binghamton (the Forbidden City), and ended up where I am by first going to school in Albany, moving to New York City to find work, and moving to Rockland County to escape the noise and density of NYC.

Favorite Hardware
Right now, it’s the Buchla 200e, although I’d really have to include the Haken Continuum as a part of the whole system. The 200e is an extraordinary instrument in its own right, but I think it’s the addition of the Continuum that really takes it to an entirely new level of expression and control. So I’d have to say both are my current favorites, in equal parts.

I started my life as composer by recording and manipulating sound on tape, and soon afterwards, in college, was able to work in a series of well-equipped Moog synthesizer studios. My first real compositions were created with modular synths and multitracking, and I got quite adept, if I may say so, at modular synthesizer programming. In the MIDI era, though, I completely gave that up and devoted myself to computers. What you could do with MIDI and computers, especially in live performance, went so far beyond what was possible with modulars that there seemed to be no reason to ever go back.

However, when I started working with Jordan Rudess on our live improvised electronic music project, he on MiniMoogs and I on laptops and softsynths, I really came to miss the immediacy and direct expression that he enjoyed working with true analog hardware. In our project, Jordan typically plays his MiniMoogs with one hand on the keyboard and the other on the knobs, and continually generates new sounds as he’s playing – he doesn’t work with presets, but just starts in an open state and goes where the knobs take him. With a softsynth, you have to start from a preset, and have to control the parameters with a multitude of pre-programmed MIDI controllers if you want to approach the same flexibility and ease of expression. And still, there are layers of interface between you and the sound.

At the same time, though, I love harmony and polyphony, so a monosynth isn’t for me. And the fixed signal path of something like the MiniMoog does, I feel, limit full expression when compared to a completely patchable system. On the other hand, a standard patchable system isn’t very practical for live performance if you want to work with many different sounds. The 200e is, as far as I know, the only currently produced analog modular synth that allows for polyphony and patch memory, so you can start with a basic patch in performance, and through presets, create many different basic variations on the basic configuration. From there, you can work with higher-level functions like controlling several voices and parameters at once with the multi-dimensional expression of the Continuum, but also lower-level functions like twisting knobs and throwing patchcords around. It’s nearly the ideal system for me, and I’ve come to love it.

Favorite Software
Adobe After Effects, actually. I work with a lot of music software, including some wonderfully creative apps like Max and Kyma X, but my favorite program is AE. I’ve used it since it first came out, and all my visual work starts and ends there or at least goes through it at some point. It’s the most flexible and creative motion graphics app I know.

Workspace and Environment
This studio is the first I’ve had where I’ve been able to set up all my mallet instruments, so just from that viewpoint it’s been a blessing. But it’s also inspiring on other levels, too. My property backs onto a land preserve, which in theory at least can never be developed, and I can’t see any of my few neighbors from the large window that faces the preserve – just trees and sky. I often spend long periods at my desk, just looking out the window and watching the clouds roll by, and I never tire of the beauty of it all. It’s quiet here too, and so I can live in my own sonic world without hindrance. The structures on which I base my music come from nature, and I happen to believe that the best music comes from a calm center, not a position of strife or chaos, so living here has, I feel, been only beneficial to my work.

Extra Curricular
My day job is Technical Director at Total Training Productions, which produces video-based training for Adobe, Microsoft, and Apple digital media software, among others. I used to write all the theme and interstitial music for those productions, and still do occasionally. Other than that, no. I’ve created music in the past for film, commercials, CD-ROM games and magazines, Web sites, and so on, but I’ve pretty much gotten away from that kind of work – I find it increasingly difficult to let others make the final decisions about how the music I create should sound.

First Piece of Equipment
A really terrible Hagstrom electric bass – the strings were almost an inch off the fretboard, although I didn’t know any better, so I thought it was pretty cool. Fortunately, soon after that I upgraded to a German-made Hofner Beatle bass, which was actually a very nice instrument. Around the same time, my father gave me his old Ampex semi-pro stereo reel-to-reel recorder, which had three heads. The three heads meant that I could do tape echo and sound-on-sound, and I soon started experimenting with running my bass through it and setting up screaming runaway echoes, along with some very primitive multi-tracking. The combination of the electric instrument and the tape deck was what really started me on the path to becoming a composer of electronic music.

Your Wishlist
Very little, really. I’d like a set of 4 matched powered speakers for performance, so I can play in quad (which is what the Buchla is really designed for), but so far, running in stereo and using house systems has worked out well. Beyond that, I have enough to work with for quite a while. A vanderPlas four-octave vibraphone or Marimba One five-octave marimba would be nice, though….

Mobile Setup
I do not have a formal one, but I’ve done some live recording of friends’ concerts with the MacBook Pro, the MOTU Traveler and the Shure KSMs, and that’s worked out well. The addition of an Evolution keyboard and headphones would give me a reasonably complete, compact system, I think. I have several different setups for live performances, depending on the situation. The most basic is a MacBook, MOTU Traveler, and an Evolution keyboard, controlling Moog Modular V. The next level up is the MacBook, the Kyma hardware, Line 6 Pod Pro, Traveler, and guitar or lap steel – I have
a number of pieces that use that configuration. Finally, there’s the full Buchla/Continuum/MacBook quad system, which includes a Mackie mixer, Niche fader controller, Lexicon MX-400, Roland RE-20, and MOTU 828 in the rack. You can see it in the “Studio Right” image. I’ve been performing a lot with it lately, but moving it around is a two-man job, unfortunately.

How Many Locations Have You Had Your Studio?
4 different locations. The first was in an apartment in Albany, NY, and consisted of a Korg DW-8000 and SDD digital delay. I used that for my first album, with a couple of pieces of borrowed gear. The next was in my house in Albany, and was much expanded with a Mac Plus (running Digidesign Sound Designer, Intelligent Music M, and Opcode Sequencer), 3 Emax samplers, Alesis digital reverbs, JBL speakers, and several delays and reverbs. That was my first performance system, and I used it for my second, unreleased, album. I sold most of it when I moved to New York City to upgrade to a Mac Quadra 900, SampleCell cards, a Yamaha DMP-7 digital mixer, and a Panasonic DAT deck, and used that system for most of the commercial work I did at the time. Then, when I left the city and moved north to Rockland County, I sold it all again to upgrade to a PowerMac and a largely software-based studio. So, basically, every time I moved, I upgraded.

Richard Lainhart’s personal website with old and new music can be found here:
Collaborations with Jordan Rudess are available here:

Richard is also on the XI Records and Ex Ovo labels.

audio_Output: Chris de Luca vs Phon.o DJ Mix

We just got word that the CLP crew just released two free DJ mixes in time for your new years party.
“First of all we wish you all a great new years eve party and all the best for 2008! To let you dance your ass off, we thought this would help you out.” – CLP
Also sure to catch their article with us about their workspace.

Click the kicks for the downloads

Chris de Luca’s Sensational Mix

Phon.o’s Back2Bounce Mix

Workspace and Environment: ddmf

The term ‘artist’ to me (I can’t speak for Justin) is simply a creator. Whether this creation be audio, visual, mental or physical, it could leave the interpretation that everyone is an artist. While I believe that everyone has the inherent capacity to be an artist, this blog limits itself to those involved directly in the audio field. I’m saying this because we have and will feature instrument makers like Folktek and The Harvestman, programmers and anything we find inspirational (NOT Wii controlled anything). I present the programmer behind ddmf plug-ins, which has follows the ‘any price you like’ trend recently picked up by musicians such as the artist we previously featured, The Depreciation Guild. So, blah blah, (but blah blah). BLaH. Here we go..

Christian of ddmf Plug-ins

It started probably about 28 years ago when learning how to play the wooden flute :-) then came the clarinet, both taught by “real” teachers with emphasis on classical music. At about 13 I started to learn guitar, which soon became my “main” instrument. I played in various enthusiastic but unsuccessful bands (haven’t we all…), the last one being a rock’n roll cover band named “Rex Dildo and the Ladyshavers”. Go figure… the 10th anniversary of the last concert of this wonderful formation has just passed. I’ve only picked up doing music electronically about 4 years ago, and since then I’m trying to combine the electric guitar with electronic sounds. And, probably the reason why I write here, I’ve started to develop my own audio effect plugins. It’s a one man show going under the name of ddmf.

His Software
It all started with the LP10. I have a background (see PhD) in theoretical physics, so as a musician the question of signal processing naturally sparked my interest. I had used Fourier analysis quite extensively in the description of physical processes, and I wanted to see whether I could achieve something that would be of similar quality as existing EQs. I was quite pleased with the result and decided to try and sell the plugin. During the process of designing the LP10, I also got interested in Infinite Impulse techniques and consequently developed the IIEQ short afterwards. Now obviously I can’t tell what other developers are doing different since I haven’t seen their code, but I guess my experience in programming scientific applications has really helped to produce highly optimized plugins with a very clean signal treatment. And from the feedback of the users, this is also what the EQs are usually recognized for…
Apart from my own stuff… uhe’s Zebra is quite amazing, at least I use it a lot. It sounds very good, still it doesn’t take away all the sound space so you still can group other instruments around it without things getting too muddy.

Workspace and Environment
It’s simply a room in my apartment and this appartment has very thin walls. So I’m somewhat constrained concerning the loudness levels. It also has a resonance at G… but apart from that, I feel really comfortable with it. I think that’s the main thing: I can sit there for hours without getting tired, having back pain etc… the light is good, and the chair as well :-) Small but important things!

I started selling the LP10 and the IIEQPro (an improved version of the IIEQ) for 40, later 50 Euros. Already from the very beginning I thought that such a static pricing scheme for a product that you sell worldwide over the internet is maybe not the best solution; after all, prices for cars etc. vary a lot between different countries. Also I had to deal with piracy problems like everybody else, but didn’t want to waste half of my time just to win another day or so before the EQs appear on emule anyway. So when Radiohead published their CD for “any price you like”, I thought, alright, in principle this is exactly what I want. It doesn’t make sense to pirate my products, and if somebody is really broke/from a really poor country he can still give me a dollar or so, which is still better than nothing. On the other hand, I counted on the fairness of more senior people who, as I expected, would acknowledge the quality of my plugs and therefore give a little more. And so far, I haven’t been disappointed…

Favorite Hardware
Since I’m still mainly a guitar player, my favourite piece of hardware is the Line6 PodXT. It’s still not the real thing, but it’s damn close…

Extra Curricular
I’ve started to collaborate with GLGP (, which is a small company currently very active in the Amsterdam sound/vision scene. I’ve produced a few small things for them and there’s definitely more on the agenda for 2008!

Find the plug-ins here:

Youtube User

You can find my youtube profile here. I can’t promise a reliable schedule of updates. For instance I uploaded 4 videos a few days ago and before that, there was no activity for 2 months. But I can say that the NAMM videos we will be there. You can find a few shorts I made here. Most of them are timelapse pieces, like this one from work in the summer with music by radicalfashion who will be featured really soon on our blog:

Here is a ‘normal’ one from today. Bridget gives Justin an oceanharp. It’s killer!!

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