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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.

First patch with the Mutable Instruments Frames,Tides and Peaks modules (BoC Inspired)

First patch with the Mutable Instruments Frames,Tides and Peaks modules (BoC Inspired) from Richard Devine on Vimeo.

First patch with the Mutable Instruments Frames,Tides and Peaks modules. This patch was inspired from the track “Sunshine Recorder” by Boards of Canada. Lead drifting melody using the “Tides” as an oscillator source, which is then being ran through the Tiptop Z-DSP processing with the “Halls of Vahalla” card. Peaks running in drum mode, top output is the kick and the bottom output is the snare processed slightly with the Makenoise Phonogene, then ran through a Synthrotek “EKO” set with a very short delay time. Braids running the 16th note high hats in “CLKN” mode using the “PIK” envelope setting. Sequence is driven by the 4ms QCD clocked from the “Grids” sequencer which is also clocking the “Peaks” kick and snare sequence. The other Braids oscillator running in “Comb Filtered Sawtooth” mode as the dotted synth lines, triggered by the intellijel uscale. Low tone baseline created with the “Edges” module, then being filtered by the “Ripples” filter. Sequencing from the intellijel Metropolis. The output is then being sent to the MakeNoise echophon for a light delayed effect. This output is then split to the Qu-Bit Nebulæ running the “Polyphonic Oscillator” mode which is creating the Pad harmony seventh chords to the root note. This output is then being sent through the Eventide Space. “Frames” is being used as a quad CV source routed to first a intellijel Shapeshifter doing slow modulation changes to the “A” shape input. Second CV source from Frames sent to the “Sync” function to control the step to next wavetable. CV output three sent to the “Shift” input on the the ADM04 Frequency Shifter from Audio Damage. The 4th CV output sent to a intelljel HexVCA, opening and closing the release time from the Blue Lantern Mr. Blue Noise (white Noise) washes.

Surachai – Ritual

cover

Ritual was composed entirely on the Cwejman S1 MKII.
Digital release date: May 12th, 2014. Vinyl ships June 1st, 2014.

Surachai Bandcamp

Pre-Production
After several years of creating complex arrangements and aurally dense albums, I decided to simplify the tools and work with its impact on composition and sound. One of my favorite synthesizers is the semi-modular Cwejman S1 MKII and knew that it was complex enough to shape all the sounds I needed for an album. The Cwejman’s architecture is familiar to existing 3 oscillator systems but its semi-modular nature, filters, envelopes, and even distortion are completely unique. Although using only one sound source simplified the sound I believe Ritual is, frequency wise, the heaviest album I have made.

Recording
The signal chain was short. Cwejman S1 MKII output > Eventide Space > RME Fireface UC. The Cwejman was sequenced by the Make Noise RENE. The Dynaverb algorithm in the Eventide Space was the only reverb model used, except 20 (00) where a Tip Top Audio Z5000 delay preset was utilized. The album was tracked into Logic X and like my previous albums, everything was recorded into one large session but this time only 4 tracks were used.

Sync & Editing
Sync was placed by hand – not quantized on a grid or snapped to a BPM. A drifting master clock might be considered “charming” or give the album “personality” but it presented an unnecessary task of syncing audio files that would eventually sound like a train wreck if not reorganized. Although the drifting was unintended, by the end, I grew fond of this quirk, at points, and let some parts go their own way.

The editing, like the clock source, is pretty rough and raw. You can hear cables being pulled out, patched in, crackling knobs, and ground hum – all things I decided to leave in. There are a couple tracks where the computer was not able to handle the buffer size while recording and it resulted in audio files corrupted with a dynamic static effect. While these static infested files were immediately re-recorded cleanly, I ended up using the static files as it added an accidental texture. The most obvious example of this static is all over 03 (06).

Mixing & Mastering
Unlike past albums, I didn’t dwell on the mix for very long – hell, I didn’t even EQ anything! Because of the unique and versatile filters in the Cwejman S1 MKII, I was able to carve out unwanted frequencies during the recording process and simply had to automate volume changes in post. The bass in the Cwejman is very intense, and even with proper monitoring, I didn’t understand its depth until I went to Richard Devine’s studio that has subs. His system revealed frequencies I didn’t know existed in the recordings until monitoring on his system. I decided to leave all this extra information for Shawn Hatfield to play with.

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Mastering
The mastering duties were conducted by Shawn Hatfield of Audible Oddities. My biggest concern was keeping the Cwejman envelope aggression as well as the intense bass frequencies. The references I sent Shawn was Raime’s Quarter Turns Over a Living Line and Grischa Lichtenberger’s And IV (Inertia). As always, he glued it all together, didn’t compromise the mix and extended its volume slightly.

“The thing I loved most about mastering this record was all the rich warm sounds that are unmistakably analog and the seemingly wild nature that comes with modular systems. In mastering these songs for vinyl, it was important to try and convey that as naturally as possible, but with modular systems, things can get unruly pretty fast, and vinyl can complain when it’s unhappy. I found FabFilter’s ProMB a very useful tool for this particular project as I was able to control just the specific aspects that needed control, without getting in the way of the rest of the spectrum. This helped me tame the beasts within, giving them a more balanced end result while maintaining as much of their natural character as possible. Because they had a nice organic feel from the start, I didn’t feel the need to blanket them with additional colors. I went in with clinical tools designed for transparent surgery, and made sure things like excessive treble were in check and low-frequency phase information was centered. But more importantly, we opted for a lower overall level, allowing for clear punchy transients that help the music be felt, not just heard.” – Shawn Hatfield of Audible Oddities Mastering

Artwork
For my previous albums I’ve worked with some of my favorite artists that I’m fortunate enough to call friends and Ritual was no different. I’ve followed Emilie Elizabeth’s photography for years and have always admired her style, sets, and aesthetic. John Crawford was involved throughout the process and provided his post production expertise that helped the images reach another level of unsettling. John also created the Waveform Gate which is an altered Necronomicon Gate Key with the 7 waveforms of the Cwejman S1 – one of many subtle and original touches this team obsessed over. They made me a bit uncomfortable by asking for my input so often. This is an abbreviated version of Emilie’s responses, the full length article can be found: Surachai.org.

“John and I are typically hired to do more commercial work, despite the fact our personal taste is not very commercial. Projects like this allow me to combine the last 10 years of experience as professional photographer with some of the experimentation that I’ve greatly missed.

At some point in our image research, we began to focus on still life paintings from the “Vanitas” style of the 16 and 17th centuries. John’s been really into H.P. Lovecraft lately, so that was a major influence. We were also leaning towards the idea of incorporating alchemy somehow, especially considering the name of the project.

We’re both really, really happy with the way the shots turned out. We were both challenged in ways we didn’t expect to be, which I believe is the best way to evolve as an artist. However, I’m a little surprised at our inability to work a few cats into the photos. Next time… and probably several times after that.” – Emilie Elizabeth

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Vinyl
The Shawn Hatfield mastered files were sent to Roger Seibel of SAE Mastering to create lacquers. The lacquers were then sent to Mastercraft to be metal plated. The metal plates were then sent to GottaGroove who are currently pressing vinyl and printing the jackets. The vinyl release of Ritual is the intended way to experience the album for several reasons but here are the obvious three.

1) Sound. The vinyl mastered files were mastered at 24bit, 48kHz and at a volume that keeps the dynamic range of the Cwejman true. You won’t be able to hear this range with the digital downloads as we opted to make this version louder rather than dynamic. They both sound great and will push any sound system to its limits, but my preference is the vinyl edition that showcases the Cwejman’s aggression.

2) Artwork. The artwork, and I believe most artwork, is meant to be experienced on a large scale and physically if possible. So much attention to detail went into the artwork that when you see it up close, you’ll pick up on a few things…

3) Tip-On Style Gatefold Jacket. The moment this record is in your hands, you’ll notice the difference. The jackets are heavy, sturdy, and tough as shit.

“Tip-On jackets were the standard format of record jacket printing up until the late 1970’s / early 1980’s. Today, they are typically considered a deluxe form of packaging for records. However, ironically, I have been told by folks involved in manufacturing records in the 1980’s that tip-ons were actually considered the low-class option back then; and that direct-to-board was the form of print bands strived for on their releases. 
 
In modern vinyl pressing, the tip-ons are definitely a step up over the tip-ons of the 1970’s. For ours, we use a very thick 30pt stock core. I find that the extreme stiffness of the board provides an aesthetically pleasing “feel” when handling the package and a lot more protection for the records when mailing them. 
 
I know that tip-ons are unlikely to ever become the standard again for most record packages, but I do hope that as more people become aware of their availability, we will see more of them in the marketplace. Being a record consumer myself, I always find more enjoyment when buying a record when it is clear that there was a lot of extra steps taken in the manufacturing and the packaging.”
– Matt Earley from GottaGroove Records

Label
BLK_NOISE was created by Moe Espinosa (Drumcell) and I to release music on multimedia formats including obsolete technology. This is the first release for BLK_NOISE and our plans include media projects not specifically limited to music.

- Surachai Bandcamp
- Audible Oddities
- Emilie Elizabeth
- John Crawford
- Gotta Groove Records
- BL_K NOISE

Tip-on Gatefold OUTSIDE - left pocket glued shut

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