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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

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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

Constellation Matrix

One of my favorites from Joseph so far…

Constellation Matrix from Joseph Fraioli on Vimeo.

A patch utilizing the WMD Sequential Switch Matrix as a routing switch for incoming gates. Gate sources are four channels of the 4ms SCM which are routed to the Cylonix Shapeshifter, TipTop BD808, Mutable Instruments Braids and Harvestman Hertz Donut MKII. Another output of the 4ms SCM is sequencing through the matrixes via the SSM step/gate input which results in complex and evolving percussion patterns.
Ambient melody is an original piano recording played back via the Qu-bit Electronix Nebulae in loop mode with various time and pitch manipulation, This is then fed through the Serge Resonant Equalizer and Modcan Dual Delay for further modulation.
Additional accent melody coming from the Synthesis Technology E350 though the Flame FX6 reverb and Modcan Phaser with an envelope being triggered by another channel of the 4ms SCM.
Reverb is from the Eventide H8000FW.

Patch with MakeNoise Mysteron and Erbe-Verb (Audio Demo) Composition Study

Patch with MakeNoise Mysteron and Erbe-Verb (Audio Demo) Composition Study from Richard Devine on Vimeo.

Audio recording of my first patch with the new MakeNoise “Mysteron” Voltage Controlled Digital Waveguide and Erbe-Verb Voltage Controlled DSP Reverb. For this video I wanted to do something slightly different to present what could be done using just these two modules as the only sound sources. The focus was to use only a few modules as control sources. Starting with the MakeNoise Wogglebug stepped CV out into the Size input on the Erb-Verb. Another stackable cable from the Wogglebug stepped output running into the 1V/oct input on the Mysteron. 4 Clock signals running into one sync input on one intellijel Dixie, another to the strike input on the Mysteron, third output into the Optomix. The Mysteron “Mix” control via the MathsV2 – Channel 4 output running a very slow rise modulating pulse. Output 1 / channel 1 from the Maths running into the speed input control on Erb-Verb. Positive output from the MakeNoise function running into the “Pre” input control on Erb-Verb. Negative output from the Function module running into the “Depth” control on the Erb-Verb. ZigZag output from the intellijel Dixie going into the “Tilt” and “Decay” control inputs on Erbe-Veb, modulating at very slow rates. “EOC” output from Function running into the “Absorb” input on the Erbe-Verb. Top strike input control to the Mysteron from the random clock burst out on the WoggleBug. Depth control on Mysteron via a yellow stackable cable (sine) output from the intellijel Dixie, and to the “Generation” input on Mysteron. Lots of real-time tweaking and finally recorded Allen & Heath mixer.

Dark Corridors

Dark Corridors – Modular Patch from Richard Devine on Vimeo.

This patch was built entirely around the Delptronics Trigger Man which is a unique trigger/gate sequencer module with a 8HP format. The idea was to take 8 different patterns consisting of 8 steps for each of the 8 outputs. Then run the trigger man in pattern play mode using the VC input to determine the currently playing pattern. The 8 patterns where programmed to flow into each other in sort of a quasi random string. Output one was sent to the Tiptop BD-808 kick drum. Channel 2 was sent to the Snazzy FX Ardcore triggering one custom snare sound created with a NordLead 2X, these sounds where imported into the “fac drums” Arduino sketch. This output was then ran into the Synthrotex Eko to provide flowing delay slap back effect to the snare sound. Channel three output was sent to the first channel of the 4ms QCD, running at the 6th knob position in divide mode, then sent to the trigger input on the Mutable Instruments Braids VCO running in “CLKN” mode using the “PIK” envelope setting to create a very short synthetic hi-hat sound. Channel 4 was sent to the external clock input on the MakeNoise WoggleBug which then triggered out the stepped random sequence into the 1volt into the intellijel shapeshifter, and also splitting the signal using stackable cable to the Macro Machines “Storage Strip” module that was controlling the program step modes to the Mungo d0 delay module. Input to the Mungo d0 was from the “DAC” output 2 from the Ardcore. Channel 5 was ran into the “Sync” input on channel one of the Modcan Dual delay. Another stackable cable going from channel 5 went into the 4ms SCM clock input. The drones are created using two sine outputs from the MakeNoise DPO. Sine output one is running into one MakeNoise Optomix with a slow rate LFO (intellijel Dixie) controlling the damping/contrl settings. This output is then sent into the Tiptop Z-DSP running the new Halls of Valhalla cartridge. The Reverb algorithm used in this patch is “Ginnungagap” for the atmospheric drones of the modulated FM sine waves. The second output from DPO is running into another Optomix with the another intellijel Dixie controlling the damping and CV-control settings, but with slower rate times. The output from this was then sent to the Strymon “Big Sky” reverb pedal running in “Chorale” mode for the vocal like resonant drones. Other sound sources used are the Intellijel Shapeshiter for the high end DSP-FM scatters, which is being triggered by the inverse out on the 4ms QCD expander. Next is the Modcan CV-Recorder playing back recorded noisy computer glitches being controlled by the Modcan Quad LFO which is being clocked by the channel one output on Trigger Man. The murky watery sounds came from the second Mutable instruments Braids oscillator running in “Cloud” mode into the channel input 1 of the Modcan Dual delay with lightly filtered position. The last sound source is the Qu-Bit Electronix Nebulae playing back a single shot 40 second sample in loop mode of sounds I created in a Reaktor patch. All signals routed into the Intellijel Mutamix and Steady State Fate- Mixmode. With 4 additional output being mixed into an Allen & Heath mixer. :-)

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