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Workspace and Environment: Jack Dangers / Meat Beat Manifesto via Dwell Magazine

Sometimes two (or in this case, three) of my interests intersect nicely…

Jack Dangers and Ellen Corrigan had one cat, a load of oversize vintage synthesizers, and a music library of more than 10,000 records to consider when they decided to build a new home in Mill Valley, California. It was a long haul, but not a long distance, to the finished result: a two-story structure with a standing-seam metal roof, nestled along a cascading hillside where their previous house once stood, with views of Mount Tamalpais to the northwest.

Rebuilding on a challenging site in Mill Valley

Alessandro on RA Exchange

Apparently Alessandro is a “legend in the making”. LOL.

Alessandro Cortini’s first instrument was guitar. But when he moved from Italy to Los Angeles to study it, he fell headlong into synthesizers, and he now says it’s been ages since he’s picked up his old axe. Cortini is most widely known as a member of Nine Inch Nails, a band he’s played in and toured with on and off since the early 2000s. It was on a video shoot with the group that he came face to face with a Buchla synthesizer, and the near-mythic modular systems soon became an obsession. Over the course of the 2010s, Cortini has used his Buchla and innumerable other synths—his collection must be seen to be believed—to craft a discography ranging from thoroughly experimental ambient sounds to tracks verging on techno. Since 2013 alone, he’s released five albums under his own name: a trio of records called Forse and a pair of releases for Hospital Productions, most recently Risveglio. Jordan Rothlein caught him at the tail end of this year’s Berlin Atonal festival, where he was part of three separate performances, to hear his story.

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

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.


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?”

“‘[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

TapeOp Interviews – Tony Rolando & Kelly Kelbel

Some great insight of the beginnings of Make Noise and Make Noise Records. Make Noise Records is currently experiencing delays with the pressing plant for the MNR005/Surachai release. No release date yet.

What prompted you to assemble The Shared System and develop a Music series?

Tony: I was thinking about advertising and thought for $2,000 why not put out a record? So we contacted artists that work with and support us. They do cool videos, talk to people about the modules and our company, so we decided on something that would be good for everyone. We’d give five artists the same collection of modules, called The Shared System. With all things equal, the variable wouldn’t be the studio, the recording process or instrument, it would be the artist. We’d see how their personalities would shine through. I feel like reverb is such an important part of electronic music, so we let them use their own reverb, but everything else was the same. Hopefully, the records would get people talking about the Make Noise Shared System, but also what someone like Richard Devine did with it. I met with Surachai, in New York City, at the Control Voltage Fair. He loved the idea and wanted to curate it. I didn’t want to have five artists make five records that all sounded the same, and felt confident he would pick artists who were diverse enough to show all the directions you could go with a modular, but were also well-versed with our system, so they could get started fast. Like you noticed when you borrowed ours, even for someone who knows how to use modulars, there’s always a massive learning curve. So much of music technology today is designed to do some specific task. You can get an app to make hip-hop beats or a compressor to give you the vocal sound of The Beatles’ records or whatever. What’s gorgeous about the modular synthesizer is that it’s the exact opposite of that. Often, at trade shows, people will ask me, “What problem is your product solving?” Typically I say that it’s creating them. This product does not solve a single problem, unless you say it solves the problem of inspiration. It provides a great deal of that.

Kelly: The Shared System series shows people that there are many different ways to make music with it. Richard Devine did the first record, the second one’s by Alessandro Cortini, then Robert A. A. Lowe. Surachai makes a sort of synth-inspired black metal, so we have no idea what his will be like. It’s all to showcase that people are making music that spans a lot of different genres. Five in the series, 500 copies, pressed to vinyl. Trash Audio is selling most of them, but if you order a Shared System, we include whatever record is currently in production. Our dealers that sell the modules can also order them. We’re talking about building another system and doing an Acid series.

TapeOp Full Interview

late for meeting – Sound Design

You’ve probably seen the video in the past few weeks or its predecessor, going to the store, in the past couple years. An old friend of TRASH_AUDIO, Jamie Vance, performed the sound design duties for late for meeting and is giving T_A an inside look into scoring and sound designing a viral video. The following sound design version of the video was expected to be premiered on Wired and their article for late for meeting, but they don’t give a shit about sound and we’ll gladly take sloppy seconds. Jamie sat down with Brent Rogers from REX Production & Post in Portland, Oregon and talked about the processes that went into making a video that had over 10 million hits within weeks.

late for meeting Sound Design Cut

Brent: What exactly was your role in ‘late for meeting’, like, what audio did you provide?

Jamie: Well when it was shot, it was shot on a Canon 5D with – for lack of a better term – hacked firmware that allowed David Lewandowski more control over various parameters in the camera. This helped the footage look stunning, but a caveat is that the altered firmware doesn’t allow audio recording. Thus there was literally no acoustic sound or audio of any kind originally, aside from Jean-Jacques Perry’s song, of course.

So I designed all the sounds in the piece, and composed a funny little muzak piece that you can hear playing overhead in the grocery store early on in the short.

B: That is excellently cheesy sounding.

J: I know, man. I made a downloadable ring-tone version of it and put it up on SoundCloud. It’s gotten thousands of plays, tons of downloads and hilarious comments – I was really amazed by the response. Usually online if something requires more than a single click of the mouse, you know, you don’t expect anyone to even check it out, or to go that extra mile. Considering this was kind of hidden in the YouTube info pane, I have been so happy about how many people liked it.

B: You can hear quiet sound effects beneath the score sometimes, does your sound design exist throughout the entire piece?

J: Yeah, I basically covered it from start to finish. Once I mixed the version for the public, I pulled the sound effects way back during the score-heavy sections, of course. We did also render a sound design only version which is entertaining in a different way, and, considerably more terrifying. [laughs]

B: How did you manage the sound design portion of the work?

J: The usual situation, pulling from sound effects libraries, my own recorded library, and recording foley (physical movement noises) manually to cover all my bases. I would go record foley in one of the big spaces at REX Studios, otherwise just working at home. Of course, anything from a sound effects library I heavily edit or mix with my own recordings in some way – I’m to that point as a sound designer where I am kind of cursed, I can hear every stock tire-screech or Gate Opening_001.wav in stuff, and it just makes me cringe. So I really work hard to make everything sound as if it was captured uniquely in the moment, even if it very much so was not.


B: Any unique challenges?

J: It’s funny, you know, finding the right sound in your library is mostly about knowing the right search-term to use – kind of like knowing the best words to search with on Google. But, when you pull up even the most decked out, comprehensive sound effects library and query the term “nude man violent flailing” you pretty much get like zero results, one hundred percent of the time. [laughs] So, yeah, making creative, funny, realistic foley for the “rubber man” required some risky techniques. He’s close to my heart, though, so it was worth it.

B: What do you mean, risky? Sound design and post work isn’t usually considered dangerous.

J: [laughs] Well, after crafting his footstep sounds to my liking, his physics-and-physiology-breaking movement still needed a better aural representation, to me. Such a hilarious and terrifying movement wasn’t done justice with just barefoot footstep sounds. Here again, libraries came up short, because 99.9% of all movement foley is based around cloth, leather, some kind of material the person is wearing. I wanted to hear his skin actually rubbing against itself, you know, so there was no choice but to record myself doing this.

This resulted in a late night guerilla recording session at REX where I had my partner stand in as engineer. It was pretty ridiculous – her, a little bewildered running ProTools over a gigantic mixing board, watching as I scraped my forearms together and tried to imitate the creature’s movement. Eventually I needed more “real estate” shall we say, so I had to take my shirt off. I was so afraid that you or the studio owner would just happen to stop by that night, peer into the little window on the sound-lock door and see me shirtless beneath a single over-head light, frantically rubbing my arms together like something from Jacob’s Ladder.


B: That does sound pretty hard to explain.

J: Yeah, I was just imagining the next morning the studio staff would’ve all received an email to the effect of, “Jamie has suffered a mental break – please sever contact and keep your distance.” The risk of being associated with the dangerously insane was worth it, though.

B: Then you must want to keep working on projects like this, right? What’s next?

J: That’s what ‘late for meeting’ has shown me, more than anything. I didn’t know what I was in for before it began, but it turned out to be one of the most satisfying projects of my career. Working on something creative, for no one else other than you and your team, for no purpose other than to laugh and express, with basically no guarantee, or expectation even, of “success” or remuneration – I don’t know, there’s nothing quite like it. The fact that over 10 million people watched it in a couple of weeks only serves as encouragement to do it more. It makes me super proud, of course.

I can’t say what’s next precisely, but we’ve got some work planned overseas next year. More than anything, though, I just know this is the kind of material and work I’m going to stay focused on right now. It just feels right.

late for meeting Original

Jamie Vance

Future Music Magazine Interviews Richard Devine


Richard Devine recently hung out with Future Music where they conducted an interview, took pictures of his studio, and talked about modular synthesis at length. Make Noise Records, approaches to film/music, influences, and much more are covered. Read the full interview through the link below!

Future Music Magazine

Make Noise Records Presents: Shared System Series

Make Noise Records is proud to announce the Shared System Series! It is available for purchase and TRASH_AUDIO is the only place you can purchase it from online for the time being. Please visit the Make Noise Records webpage for more information and artist statements.

The Shared System Series compiles the separate recordings of several artists utilizing the same electronic musical instrument, the Shared System. At times it feels as though electronic music has become an overly automated form driven by simplified genre specific apps and software. What happens when the signal path is not pre-defined or optimized for a popular result? The Shared System is a modular synthesizer developed by Make Noise. It has no pre-determined signal path, and is not designed for any particular musical destination. In limiting the artists to this one instrument, we hope the Shared System Series of records will purely illustrate the intentions of the artists.

Mastered for vinyl by Audible Oddities, etched into high quality master lacquers made by SAE Mastering, and shipped to URP for pressing. The result is a high fidelity 7″ record. Like the Shared System instrument, the sleeves for these records are a combination of digital and analog technology. They are designed using computer software and printed using a hand-cranked letterpress called the Vandercook 4.

MNR_RichardDevine_Front_5x5_300Richard Devine: Creature I & II – $8
7″ Clear Vinyl, Limited to 500, Letterpress Cover.
Includes downloads to alternate takes & stickers.







MNR002Alessandro Cortini: ACMN1 & ACMN2 – $8
7″ Clear Vinyl, Limited to 500. Letterpress Cover.
Includes downloads to alternate takes & stickers.








Robert Aiki Aubrey Lowe: Heptagramic Approximation & Alpha Crucis – $8
7″ Clear Vinyl, Limited to 500. Letterpress Cover. Includes stickers. Shipping mid/late January 2015







MNR004_666Keith Fullerton Whitman: Vehement Denial & Platelets – $8
7″ Clear Vinyl, Limited to 500. Letterpress Cover. Includes stickers.







a3948736473_10Surachai – Aeon / Belial – $8.5
7″ Clear Vinyl, Limited to 500. Letterpress Cover. Includes stickers and downloads to additional tracks. Order through Bandcamp








Side A – Aeon
Dual Prismatic Oscillator
DPO Final -> Optomix
DPO OSC 2 Square -> Phonogene Shift
DPO OSC 2 Sine -> Echphon in
Optomix Channel 2 in -> Echophon out
Optomix sum output -> Echophon in
Optomix Sum output->Moddemix Aux In

Phonogene Audio Out -> Wogglebug Ringmod In
Phonogene Audio Out -> Moddemix channel 1 Carrier (left input)

Pressure Points
Pressure Points Channel 4 Gate -> MATHS Channel 1 Trigger
Pressure Points Channel 4 Gate -> Phonogene Record
Pressure Points Channel 4 Gate -> moddemix channel 1 modulator (right)
Pressure Points Sequencer 2 output -> DPO Channel 1 v/oct

Maths Channel 1 -> Phonogene Gene Size In
Maths Channel 4 Cycle Mode -> DPO Angle In

Wogglebug Ring Out -> Modemix Channel Two Modulator (right)
Wogglebug Stepped VC Out -> Phonogene Slide

Rene XCLK -> Wogglebug Clock out
RENE QCV -> DPO OSC 2 v/oct
RENE CV -> Maths Both Channel 4
RENE Gate X -> DPO Strike

Main Output -> Moddemix Sum output

Side B – Belial
Heart In -> Echophon Clock Out
Ringmod In -> Echophon Feedback Out
Stepped CV Out -> DPO Fold CV In
Stepped CV Out -> Echophon Echo CV In
Stepped CV Out -> ModDeMix Channel 2 Carrier (left input)
Stepped CV Out -> MATHS Channel 4 Fall CV In
Random Clock -> RENE XCLK In
Clock Out -> RENE YCLK In
Woggle CV Out -> MATHS Channel 1 Fall In
Woggle CV Out -> Phonogene Gene Shift In

X-CV In -> MATHS Channel 3 (Negative Voltage)
YMOD In -> MATHS Channel 1 Out
Y-CV -> DPO Channel 2 Sine Out
QCV Out -> Echophon Mix CV In
QCV Out -> MATHS Channel 2 input (Negative Voltage)
QCV Out -> DPO FM Bus CV In
CV Out -> DPO Angle CV In
CV Out -> DPO Channel 1 1V/oct In
G-X Out -> DPO Strike In
G-Y Out -> MATHS Channel 1 Trigger In

Pressure Points
Channel 1 Pressure Out -> DPO Channel 2 Expo CV In
Channel 2 Pressure Out -> DPO Channel 1 Expo CV In
Channel 3 Pressure Out -> Echophon Depth CV In
Channel 4 Pressure Out -> Echophon Freeze In
Channel 4 Gate Out -> Phonogene Rec In

Channel 1 Both CV In – > MATHS Channel 4 out
Channel 1 Out -> Phonogene Slide CV In
Channel 1 Out -> DPO Modbus Index CV In
Channel 2 Out -> Echophon Echo CV In
OR Out -> Echophon Feedback CV In
Channel 3 Out -> DPO Shape CV In
Channel 4 Out -> MATHS Channel 3 In (Negative Voltage)
Channel 4 Trigger In -> Echophon Clock Out

Dual Prismatic Oscillator
Channel 1 Triangle Out -> ModDeMix Channel 1 Modulator (right input)
Channel 1 Saw -> Phonogene Gene Size CV In
Final Output -> Optomix Channel 2 In
Final Output -> ModDeMix Channel 1 Carrier In (left input)
Channel 2 Expo In -> ModDeMix Out 2

Moddemix Channel 1 output -> Echophon Audio In
Moddemix Channel 1 output -> Optomix Channel 1 Audio In

Aux In -> Echophon Mix Out
Sum out -> Phonogene Audio In

Main Output -> Phonogene Out




Unfortunately for international buyers, shipping rates have nearly doubled. Sorry for the inconvenience.

Make Noise Records
Make Noise Shared System
Make Noise Records Facebook