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QuBit Electronix Nebulae – Percussion Smearing

Smearing some perccusion loops with the QuBit Electronix Nebulae eurorack module.

I Heart Synths Interviews Richard Devine

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Excerpt from the interview. Full interview link can be read here.

I♥SYNTHS: Do you have a vintage synth you’re still searching for?

Richard Devine: I am still on a hunt to get back the EMS Synthi. It’s another one of my favorites from back in the day. I used the Synth AKS on the first three records I did. I miss that thing, I sold it to buy the Kyma system. The Kyma is great but its no Synthi.

Annnnnnd just to rub it into Richard’s face, here’s a picture of Alessandro with a Synthi

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iheartsynths Facebook

Bl_K NOISE: Droid Behavior + TRASH_AUDIO + Celebrate Everything

Friday January 24th 2013
BL__K NOISE [7th Annual Convention Inspired Event]

The 7th annual convention inspired event brings together forward thinking production groups Droid Behavior, Trash Audio, and Celebrate Everything to present a night of analog and digital hardware performances. Expect a variety of modular synthesizers, drum machines, control voltage and random noise generation. These activities will take place at Complex. BL__K NOISE is for industry by industry. Outside guests and appreciators of the art are welcome.

Music By:
_Mark Verbos
_Richard Devine
_Oliver Dodd / Carl Oliver
_Twin Braids [Baseck & Joy Through Noise]

Set Times:
Drumcell – 9:00 -9:25
Surachai 9:30 – 10:00
Twin Braids 10:05 – 10:35
Oliver Dodd 10:40- 11:10
Deru 11:15- 11:50
richard devine 11:55 – 12:25
Mark Verbos 12:30 – 1:10
Villain- 1:15 -2:00

_atmosphere by Droid + guests


Tickets & Information
Facebook Event Page

Harvestman – Voltage Apparitions

Harvestman – Voltage Apparitions from Richard Devine on Vimeo.

I recently borrowed Scott Jaeger’s 6U harvestman case after our last trash audio synth meet. This patch is an experiment using some of his latest modules, Tyme Safari mark II, Zorlon Cannon Mark II, Hertz Donut Mark II, Piston Honda Mark II, Stillson Hammer, Bionic Lester, Double Andore and Polivoks VCF. The only other modules used where the MakeNoise Pressure Points, stg soundlabs .mix and Synthwerks FSR-4 Quad force sensing resistor module. The idea was to try and create a patch that utilized all of the modules in one performance. No sequencing of any kind just a play on textures and timbres using my hands. The only external effects used in this patch where the Eventide space and Strymon blue sky pedal. The Zorlon Cannon provided fluttering gates into the Double Andore trigger inputs. Top mix output on the Zorlon Cannon ran into the “B” input on the Bionic lester. For the low to high low bit bursts of noise filtered in band pass mode, with moderate gain input setting. Multiple sputtering gate outputs from the “A” outs section running into the “A Sound of Thunder” input sections triggering on and off the bend and format effects at different intervals to create complex digital clustering. Then taking the output of the “Tyme Sefari mark II” into the “A” input on the Bionic lester, creating the repeating glitching stutters scattered through out the performance. The Hertz Donut output is running into left side on the Double Andore, then CV controlled by the left side envelope output. Right side output from Double Andore going into the Piston Honda CV input then running both signals out the summed output. Combination CV outputs going into the Double Andore from the synthwerks top outputs. Drone pitches created via the pressure points tuned voyaged output top row yellow cable. There is also some gate and pressure outputs running into piston honda and time safari CV input. Double Andore right side output into the the Polivoks filter, filtering the wavemorphing of the Piston Honda. All inputs running into an STG soundlbabs .mix. Entire mix running through a Eventide space “custom preset”. Hertz Donut output running into the Strymon “bluesky” reverb pedal in shimmer mode then back into channel 1 on the sty sound labs .mix.


Ken Macbeth – Filters Walkthrough

Love this video of Ken Macbeth going through a couple filters he built.

“I’ve been experimenting with Diode Ladder Filters…….I’ve attempted to design something that is not harsh or RaWkus when it hits a resonant peak! I made one awful one, but learnt from it- here are two- one based on the English Magazine from the seventies- the Minisonic Diode Ladder, and secondly, loosely based around the rather fantastic Roland System 100 Diode Ladder filter!…… the end of a long few days- I present!……….apologies for the low volume audio here…….but you’ll get the idea, none the less!”

Richard Devine Remix Annie Hall – Bandit2893

Remix for Annie Hall’s “Bandit2893” track from the Random Paraphilia EP on Detroit Underground Records: DETUND 21

Detroit Underground Information
Listen / Buy

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Richard Devine – Nord Lead 4 Bank

Richard Devine is an artist and sound designer based in Atlanta GA. He’s a man of many skills and his portfolio includes releasing music on the cult label WARP, remixing Ryuichi Sakamoto, sound design for Microsoft Windows 7 and doing sound libraries for many innovative companies like Ableton, Native Instruments, Propellerheads, Izotope and many more! Richard also did some brilliant patches the Nord Modular G2 back in the day, so he can proudly call himself real Clavian!

Richard Devine’s Nord Lead 4 Banks
Nord Lead 4

Nine Inch Nails 2013, Pt. 2 (VEVO Tour Exposed)

Great synopsis of the production side of NIN. You never know if things will work out until they do. Lots of Alessandro and Justin cameos.

“Free 14-song Nine Inch Nails show filmed in LA last month, streaming in HD. I’m excited that we were able to get this show documented and that we can put it out for everyone to see. It puts a great bookend on an amazing tour. I’m more excited for the Blu-ray release next year though – I spent last week sitting with the editor of this Vevo cut, finessing it and making tweaks and doing color corrections, and there’s a lot of detail that gets lost here but will really shine on Blu-ray. Plus there are some great production moments from the show which aren’t in this cut, but will be on the final release. We’ll have details and pre-orders on all that stuff soon, we’re still getting the specifics worked out. For now, set this to full screen 1080p with the sound cranked, and enjoy.” – Rob Sheridan

Intellijel – Metropolis Shapeshifter Wavetable FreeJazz-Patch

Intellijel-Metropolis Shapeshifter Wavetable FreeJazz-Patch from Richard Devine on Vimeo.

First little jam using the Intellijel Metropolis sequencer into the Shapeshifter. Everything is clocked from the Metropolis “CLK”output. Pitch multiple outputs into the pitch input 1 on Shapeshifter. The gate outputs running into a clock input and chaos input on the MakeNoise Wogglebug. The random burst gate output is then taken out into the sync input on the Shapeshifter, in conjunction with another gate output (stack able cable) from the Metropolis sequencer. I was trying an experiment to see how the Shapeshifter would work as a wavetable indexing oscillator. I choose wavetables 2 through 64 and selected random sequence mode. The combination of both clock signals created a shifty like sequencing arrangement. The cluster sine based shepard tones are courtesy of the synthesis technology/motm e340 cloud generator. Sparkle dotted notes from one output from the MakeNoise DPO running into a optomix, then into a dash of reverb from the Space pedal. The low note drones coming from the Braids Mutable instrument running freely in low modulation setting FM model mode. Kick drum is from the Tiptop BD-808 module. The snare was created using output 2 from Shapeshifter going into another optomix with a super close decay time. White noise hi-hats created with steady state fate quantum rainbow running into one optomix. Kick, snare and high-hat pattern triggered by one Mutable Instruments Grids module.

Cylonix Shapeshifter
Intellijel Metropolis

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

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