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cyrusrex + Baseck – #DBC611G-1D

cyrusrex + Baseck – #DBC611G-1D from Muff Wiggler on Vimeo.

Cyrusrex + Baseck – Modular Synth, DSI Tempest, DevilFish TB303, Strymon BigSky, casio #DBC611G-1D

Surachai – Form Thirty-Five

This summer has been busy but managed to find a some moments to piece together this patch. Overall the patch is 6 channels with some sub mixing.

Channels 1 & 2 – Harvestman Piston Honda MKII > Tip Top Audio ZDSP running Valhalla Shimmer DSP chip.
Channel 3 – Tip Top Audio BD808 + RS808 + HATS808
Channel 4 – Cwejman VM-1 + Synth Tech E350 + > Make Noise Optomixes
Channel 5 – Mutable Instruments Braids + WMD Gamma Wave + Tip Top Audio Z3000 > Make Noise QMMG
Channel 6 – Blue Lantern Asteroid BD

Sequencing was performed on Mutable Instruments’ Grids, Tip Top Audio Z8000, Harvestman Stillson Hammer, 4ms RCD/SCM, Doepfer A155/154.

Closing track from my modular set at the Tokyo Modular Festival 2014, visuals by BR-laser

Closing track from my modular set at the Tokyo Modular Festival 2014, visuals by BR-laser from Richard Devine on Vimeo.

Last track of my live modular set at Tokyo Modular Festival 2014. Mesmerizing laser visuals by BR-Laser. The module used is a creation from BR laser, and makes a laser projector work in the fashion of an analog oscilloscope in X/Y mode. The signal flow from the interface module to the laser is fully analogue, because of this the visuals are extremely responsive, and the module can connect to RGB laser projectors.

- br-laser.com
- BR-Laser Facebook

Twisted Tools – Darkmorph

Twisted Tools and Soundmorph again make a no brainer sample pack at a great price.

DARKMORPH delivers drums, impacts, bass morphs, passbys, ambience, user interface and robotic sounds, derived from both field recordings and designed sounds. The package is made up of over 2.9GB of 24bit/96kHz metadata enriched WAV files, along with the MP16e sampler for Reaktor and presets kits for MASCHINE, ABLETON, EXS24, BATTERY, KONTAKT and REAKTOR.

DARKMORPH was hand-crafted for Twisted Tools by Jason Cushing and Yan David of SoundMorph and is available exclusively at the Twisted Tools shop for just $69.

Main Features:
• Over 2.9 Gigabytes of sound effects and designed sounds
• 24bit/96khz wavs
• Soundminer enriched metadata
• Files can be used with almost any media software application or DAW
• Maschine ready metadata
• Sampler instrument presets for Maschine, Ableton Live 9, Battery, EXS24, Kontakt, Maschine and Reaktor
• A brand new version of Twisted Tools’ MP16 sampler, called the MP16e

Sound Categories:
Ambience
Bass
Cinematic Matter
Drums
Glitched
Metal
Pass By
Robotical
Scanned
Special
User Interface

- Twisted Tools Darkmorph

Grayscale Algorhythm and Binary – Random Logic Acid

Grayscale Algorhythm and Binary – Random Logic Acid from Joseph Fraioli on Vimeo.

A patch built around the new Grayscale Algorhythm and Binary modules.
Main clock source for this patch is the Livewire Chaos Computer. The gate out is feeding the left most Algorhythm module, which is in random mode. The top row of outs is going into the left Binary module in OR mode. The output of the Binary is then triggering the Tip Top BD808 kick drum that is then fed into the Modcan Dual Delay.
The same Chaos Computer clock source is multed to the right Algorhythm with the same process applied to the Binary. The Binary output here is triggering the Mutable Instruments Braids in Meta mode. The output of Braids is multed into a mixer as well as a VCA. By manually triggering the a pressure points pressure output, the signal is sent to the Qu-Bit Electronix RT60 for reverb throws.
The main clock source is then multed into the 4ms shuffling clock multiplier and outputted to the Cylonix Shapeshifter via the x 2 output though a channel of the Make Noise Maths v2. A synced LFO from the Modcan Quad LFO is triggering the cycle input as well as another sine LFO is modulating the fall time.
The center Algorhythm is in seq mode and clocked by a divided by 8 of the original clock source via the 4ms Rotating Clock Divider. The eight outputs are triggering eight tuned vocal samples on the Qu-Bit Electronix Nebulae in one-shot mode. The Nebulae output is then run through the Serge Resonant EQ and the Tiptop Audio Z-DSP with the Halls Of Valhalla reverb card.
The Make Noise Wogglebug, DPO, Maths and MMG provide acidy baseline.
The outputs of the Shapeshifter and DPO are put through the WMD Sequential Switch Matrix to use as a simple mute system for performance.
At around 3:17 I got a call from my cat food delivery guy.
No computers or editing were used in the making of this performance.

Casio MT-210 Walkthrough

This is all you need to know about the Casio MT-210.

Swarm

Swarm from Joseph Fraioli on Vimeo.

A simple patch using the Macro Machines Storage Strip along with the Mungo d0 to create a swarm of metallic micro percussion.
Sound Sources:
Micro Percussion – The Harvestman Piston Honda MKII > Mungo d0 with the Macro Machines Storage Strip. Storage Strip contains 16 delay presets which are stepped through via the SSF Ultra Random Analog random pulse output.
Kick – Tiptop audio BD 808 > Make Noise Echophon
Snare > Synthesis Technology E350 > Modcan Dual Delay
Additional Percussion > Cylonix Shapeshifter > TipTop ZDSP
Drone Melody > Qu-Bit Electronix Nebulæ > Qu-Bit Electronix RT60 (verb 2) source is an original piano recording. (loop mode)
Trigger Sources:
main clock source is the Livewire Chaos Computer. Micro percussion and additional Percussion are being triggered by a multiplication of the clock by way of the 4ms SCM with an attenuated CV on the rotate input of the breakout. kick is being triggered by the SSF URA which is random and unlocked. snare is triggered by the 4MS RCD.
The WMD Sequential Switch Matrix is being used as a simple mute system for manual control of bringing various sounds in and out of the performance.

Grayscale Algorhythm-Binary-Reticulating Rhythms Patch

Grayscale Algorhythm-Binary-Reticulating Rhythms Patch from Richard Devine on Vimeo.

This patch was derived from the “Endless Random patch” from the “Algorhythm” manual. The main clock source was the Delptronics “Trigger” man, taking output 1 and sending into the clock input on the first Algorhythm (left side). I then set the mode for each of the “Algorhythm” modules to “RAND”, patching out from the clock output then into the next “Algorhythm’s clock input so that all three where synced to the same master clock. The idea was to take the 8 pulse outputs and send them them to other sequencers and dividers/multipliers to create morphing ever changing rhythms. The “TriggerMan” sequencer has 8 different stored kick drum/gate patterns that would set the pulse times for all three Algorhythm modules. I wanted the clock time to always shift around, so I set one output from the Modcan Quad LFO in random stepped output into the CV control input on Trigger man (LFO 3). The Output 1 from Trigger man was split and sent to the 4ms Quad Clock Distributer input “CLK IN” set as the master for all 4 other outputs. Second output was sent to the trigger input on Braids running in “CLKN” mode for the synthetic hi-hats. CV output LFO 4 from the Modcan Quad LFO sent to the Division/Multi CV input on the QCD. The third output from the 4ms QCD was sent to the first LFO gate input and I then set the Quad LFO into Phase lock mode which synchronizes the phase of all 4 LFOs waveforms but allows the frequency to be a division of the master LFO 1. LFO output 1 was sent to the Intellijel Shapeshifter pitch input. Output 2 was sent to the 1/volt input on the Qu-Bit Nebulæ. Output 4 was sent to the MakeNoise ErbVerb Decay control input. Output 3 stackable cable sent to the addac systems 101 .wave play into the CV loop size control input. Output 1 from the first Algorhythm sent to the clock input on the Macro Machines storage strip, which is changing the preset snapshots of the Mungo d0 dual delay module. The 7th switch output Algorhythm number two (center) is pulsing the trigger input on the snazzy effects ardcore, running custom “Frac Drums” sketch. Output is being processed by the Mungo d0. The 7th switch output from Algorhythm number 1, (left side) clock input into the MakeNoise WoggleBug. Second output was sent to the trigger input on Braids running in “CLKN” mode for the synthetic hi-hats. Kick drum was triggered by the second output on Trigger man to the Tiptop BD 808. Second switched output from Algorhythm number 2 (middle position), sent to the strike input on the MakeNoise Mysteron, creating the sporadic metallic delay percussion sounds. Output switch 3 from the first Algorhythm sent to the “Next” sample file on the Qu-Bit Nebulæ. Switching through 8 different sample loops of processed fragments of sounds created in Reaktor. The switch output 2 from the third Algorhythm sent to the strike input on the MakeNoise Optomix, signal fed in from the output of the Shapeshifter then sent to the Audio Damage Freq Shifter, slow slight modulation from one Intellijel Dixie into the Shift input. Then sent to input 4 on the Submix7 mixer. Stepped output into right side “exp” input on the MakeNoise DPO then sent to bottom input on the Optomix from the final output, being strikes by the random clock burst out. This output is then being sent through the MakeNoise Phoneogene, where the “Rec” input is being triggered by output 4 from the QCD, and the Gene Size input control modulated by the stepped output from the WoggleBug. The main sound source for broken drums coming from the addac systems 101.wave player. For this I saved 10 versions of the same loop, and did slightly different processing to each loop. I then went into each loop and inserted silence in different sections to create more broken patterns and playback. Drum loops 3, 6, and 8 had heavy delay feedback processing to breakup the repetitions with bursts of delay feedback effects throughout the rthymic sequences. The output was split into two sources. One output was sent to a Intellijel HexVCA being erratically controlled by the envelope follower output on the .wav player. The VCA on the ADDAC player was also being controlled by the stepped random out on the Wogglebug. The output was then sent into the Eventide Space reverb pedal for the random throws into reverb. The other output was sent into the second input on the SubMix7 mixer as the clean unprocessed channel. The white noise coming from the SSF Quantum Rainbow running into channel number 2 on the Intellijel HexVCA then being modulated by a intellijel Dixie, ZigZag output, running at slow rates, and then re-synced by the 8th switched output on the Algorhythm. The left side Binary module was clocked by the output one stackable cable from the 4ms QCD. Logic output was then sent to the Chaos input on the Wogglebug interjecting random in time clusters of pulses.

- Grayscale

Form Thirty-Four

Sound Sources: Harvestman Piston Honda MKII expanded with Brandon Smith roms. Harvestman Piston Honda MKI expanded with Brandon Smith roms. Intellijel Shapeshifter.

Time based effects: Tip Top Audio ZDSP with the Valhalla Halls chip, Tip Top Audio Z5000, and the Make Noise Erbe-Verb.

Have fun looking at my elbow.

Ultra Metric

Ultra Metrix from Joseph Fraioli on Vimeo.

A patch exploring three new modules, the SSF Ultra Analog Random, Qu-Bit Electronix RT-60 and Macro Machines Storage Strip.
SSF Ultra Analog Random (URA):
The URA is the main clock source by way of random pulse output. the pulse density is being modulated via the Synth Tech e350 in LFO mode for more sporadic gestures and events. additionally, the sound source for metallic hi hat thats comes in mid way are from the URA as well. this is achieved by running an osc into a sample input (in this case a Hertz Donut MKII into sample input b) and outputting via the toggle output. This feature is very useful for creating analog bit crushed timbres as well as FMed analog bit crushing type sounds when using both sample inputs. for further sculpting, a synced and attenuated LFO (Modern Quad LFO) is going into the clock cv input which creates a filter of sorts to the hi hat sound. this is then put through the Flame FX6 reverb.
Qu-Bit Electronix RT-60:
The RT-60 is the main reverb source you can hear on the DPO LPG plucks in the patch, additionally it is the source of the flanger, chorus, pitch delay and tremolo whose parroters are being modulated by the Synth Tech e355. the presets are being stepped through via the SSF URA, with the same trigger that is sequencing the DPO pitch. (due to mix channel limitations i am using the RT-60 in mono – it really shines fully when using stereo outs.)
Macro Machines Storage Strip:
Here i created 16 different presets for the Mungo d0 who’s delay times are somewhat in tune with the overall piece. the presets are sequenced in random mode via the SSF URA random pulse output. various slew settings on the d0 causes interesting artifacts between delay settings when being sequenced.
Performance notes:
To create the effects throws and gated effects gestures i set up an aux/send system that i can control in the performance via make noise pressure points outputs. going straight into a VCA with the effect on the audio input for gated effects as well as instances with an envelope for one shots with decay trails. pressure amount also determines how the effects are performed – swells, volume etc.
Pressure Points pressure out channel 1 – DPO/Optomix through Qu-Bit RT-60 as a gated effects send.
Pressure Points pressure out channel 2 – DPO/Optomix though the modern dual delay as an effects send for throws.
Pressure Points pressure out channel 3 – Cyclonix Shapeshifter though the Mungo d0 and storage strip set up as a gated effects send.
Pressure Points pressure out channel 4 – Cylonix Shapeshifter though the tiptop Zdsp set up as an effects send for throws.
Ambient melody is the Qu-Bit Electronix Nebulae playing an original piano recording in loop mode through the Make Noise Echophon and MMG.

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