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CR Hex Mutant Patch

CR Mutant Patch from Richard Devine on Vimeo.

Patch experiment using the Tiptop Circadian Rhythm in group looping mode. I first went in and programed 8 different patterns for each of the 8 groups. Each one was setup at 4 x 16 sequence. So for this patch I had 64 patterns playing top to bottom. I improvised different mutes on the fly, and used the fill function on various channels to repeat pulses/gates at different times. The master tempo was set to 154 then dropped and shifted down to 120 towards the end of the video.
First output from CR channel one was the kick drum from the Hex Inverter Mutant Drum. With CV controls to the “Decay, and Pitch” control via the Modcan Quad LFO running in slow stepped random output with the master setting in “Red” Quad. This caused the slight opening in the kick drum decay.
Second output from the CR sent to a intellijel hub multiplier. From there it was sent to the Hex Inverter Mutant Clap. The second LFO from the Modcan Quad LFO controlled the “REV EC CV” input and the “Pitch CV” control was altered by the LFO-3 output from the Modcan. I also mixed in some external noise from the SSF Quantum Rainbow “Blue” output and mixed in to give more hiss/like texture.
Third output from the CR was running into the Hex Inverter Mutant Hi-hats, Open side. The first LFO output from the Modcan Quad LFO controlling the “Decay CV” control. This output was then taken through a E580 Resampling Mini Delay for tight Karplus delay feedback effect. The 4 output from CR was sent to the trigger input on a Noise Engineering “Basimilus Iteritas” module. The “Pitch” and “Harm CV” controls slightly altered by the zigzag and triangle outputs from a slow rate Dixie in LFO mode. The fifth output from the CR was sent to the “Trig” input on the Hex Inverter Mutant HiHats “Clsd” side. The Filter switch was set to on, and the Fade switch set down. Output 6 from CR was sent to the Tiptop RS808 module. The output was then sent to a Audio Damage “ADM05″ Aeverb module. With the decay control by another Intellijel Dixie running in LFO mode (Sine output). Channel 7 from CR was sent to an intellijel Muti. This clock was sent to three different places. First multi output to the bottom “excite” input on the MakeNoise Mysteron. Second Multi output was sent to the Synthesis Technology E102 Quad Temporal Shifter “Clock” input. The 3rd Mult output was sent to a 4ms RCD. Output 8 was sent to a Mutable Instruments “Braids” running in “META” mode, triggered input with envelope setting set to “PIK”. From the 4ms RCD I took the divide by 1 output and sent it to the 4ms Quad Clock Distributor. From here the 4 QCD outputs went to other modules. First output was sent to the CV control 3 of the intellijel HexVCA. There was a Modcan FMVDO oscillator running out the 90 degree output. CV control over random pitch from the channel 1 output from the E102 non quantize SH mode. The Ratio and Wave CV controls being controlled by a third intellijel Dixie in slow LFO mode (sine output). The output was then taken to the left side Mutable Instruments Clouds Module (Green) Freeze LED. Running custom firmware, in granular cut mode. From the 7th division output was the Intellijel Shapeshifter doing random spurts of static noise, with custom preset. The output from here was sent to the right side Mutable Instruments Clouds Module (RED) Freeze LED. Running custom “Trash Bitz” firmware never released. Processing extreme granular pitch delay sounds from the Shapeshifter. The second output from the 4ms QCD sent to the 2nd Braids oscillator running in “META” mode but limited FM range to cymbal percussion sounds. This output was sent to the QuBit RT-60 which was being effect changed by 3rd output from the 4ms QCD. Changing the effect every 4 counts for randomized reverb throws and delays. 4th output from the QCD sent to the Mungo p0 percussion module, running with a macro machines storage strip being gate triggered by 5th divided out from the 4ms RCD.
Bassline created using a MakeNoise Brains and Pressure Points. 3 notes selected and clocked at 8 division output from the 4ms RCD. MakeNoise STO oscillator Sub out into Mutable Ripples filter 4-pole.
The drones and pads came from the QuBit Nebulae running 4 minute modular recorded drone piece created with two Modcan FMVDO’s running through the Tiptop Z-DSP Halls of Valhalla card, then imported back for slow rate play back. For the half time slow down that starts at 2:26 I took all the percussion sound inputs from the intellijel Mutagen mixer and ran them into a Eventide Pitch Pedal, which was running the H910/H949 program, which added the weird slushy delay effect at this part. I set the mix at zero no effect at first then slowly with my left hand (not in camera view because the pedal was underneath my camera tripod) mixed in the effect from 2:30 on to the end where the BPM slows to 120.
Tiptop Audio: tiptopaudio.com/cr.php
Hex Inverter Mutant Drums: shop.hexinverter.net/category.php?id_category=20

Circadian Rhythms By Joseph Fraioli

Circadian Rhythms from Joseph Fraioli on Vimeo.

a patch focused around the tiptop audio circadian rhythms (CR) as the heart of the system that provides the main clock source and triggers for events.
the programming was done on all 8 channels of the CR in 2×32 mode. fills are set to 16th note. mutes, fills and additional programming are performed on the fly.
patch basics:
CR ch 1: main kick
sound source is the blue lantern BDv4 going through the modcan frequency shifter.
CR ch 2: snare
sound source is the make noise mysteryon who’s pitch is being modulated by the mod can quad lfo who’s synced to the CR main clock output. the output was split into a separate VCA who’s being opened by the sound machines light plane and sent to the mungo d0 with macro machines storage strip. the storage strip is being sequenced by the CR main clock output.
CR ch 3: closed hat
sound source here is the SSF quantum rainbow blue noise.
CR ch 4: open hat
sound source is the SSF quantum rainbow white noise though the intellijel µfold and then a bit of delay from the synth tech e580.
CR ch 5: glass percussion as well as delayed bass and end melodic thing
glass percussion sound source is the noise engineering BI. pitch modulation from the tiptop z8000. delayed bass is an intellijel dixie square run through the cwejman res-4 and.end melodic thing is the harvestman piston honda MKII.
CR ch 6: chord bursts
this is the intellijel/cylonix shapeshifter in sequence mode then run thorough the qu-bit electronic RT60 reverb.
CR ch 7: tonal accents
sound source is braids in meta mode. also being sequenced by the CR and pith modulated by the tiptop z8000.
CR ch 8: sub kick
sound source is the tiptop audio BD808.
acidy bass: trigger source for the acidy bass is the intellijel metropolis that is synced to the CR via the clock output. sound source is the intellijel rubicon thats being FMed by a DIXIE sine, then put through the cwejman MMF1 in low pass.
tonal drones: trigger source here is the divided output of the intellijel metropolis into two make noise pressure points that have been micro tonally tuned. the sound sources here are synth tech e350 and make noise DPO that share a common mutable instruments peaks ADSR. the sounds are then processed through the serge resonant equalizer and tiptop audio zdsp with halls of valhalla reverb card.
hi plucked melody in mid section: this is the qu bit nebulae playing back a sample of mutable instruments braids in PLUK mode playing a melody sequenced on metropolis then fed to the mungo d0. the nebulae is then processed through flame FX6 reverb.
no computers or external hardware were used in this performance :)

Synth Meet. March 1st. Hideout in Chicago.

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March 1st, 2015
12-4PM.
The Hideout.
1354 West Wabansia
Chicago, IL

FREE. Shake off the frost and bring your systems.

Facebook Event Page

Dr. Snares Introduces HexInverter’s Mutant Machine

The new Mystery Mutant Drum unveiled!

Our pal Dr. Snarold showed us around his lab while he played around with his new Mutant Machine, so we caught it on video.

The Mutant Machine is a pure analog percussion synthesis module coming at winter NAMM, 2015 from hexinverter.net

It will be a eurorack format synthesizer module and DIY project.

Richard Devine & Surachai Improv Set At NAMM

MNAMM

Richard Devine and Surachai will be doing a special live improv set together at the Make Noise booth Saturday, January 24th 4:45PM, Hall E Booth 1471 at NAMM. Come get wrecked and say hello.

Mutable Instruments – Clouds & Elements Overview

Know what you’re lusting over. Excellent videos by DivKidMusic

DivKidMusic

BL_K NOISE. Complex, LA. Jan 23, 2015.

Most of the T_A crew will be playing out, come hang out.

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Featuring a night of hardware / Modular / Drum machine performances from artists.

Mark Verbos (Drop Bass Network / Verbos Electronic Synths)
Oliver Dodd (Enclave / Konstruct Records)
Richard Devine ( Schematic / Warp Records)
POLYFUSE (Trash Audio)
Surachai (Trash Audio / BL_K NOISE)
Annie Hall (Blank Code / Detund)
κεΓο Δϕ (Detroit Underground / Pole Group)

$10.00 admission
Suggesting Early arrival

Funktion One Sound
21+

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Ticket Sales

Goike Case #2

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Every promise I’ve made to myself, in regards to the modular, has been broken. Here is yet another notch in my belt of lies.

This is the second case Goike has constructed for me. The first case had specific instructions – make it as dark as possible + Tip Top Audio power. This second time however, I wanted Goike to indulge himself and make a case that he’d be personally proud of and, of course, Tip Top Audio power.

Aside from the obvious beautiful aesthetic, one of the first things I noticed when unpacking it was its scent. The smell of a wood shop now comes from my studio. It’s nice to finally have most of my modules accessible all at once, lets see if it changes the sounds that come out of the studio. I’m sure the pain he felt seeing this leave his workshop is equal to the excitement I had when receiving, sucks for him..

Goike

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First patch with the Mutable Instruments, Clouds, Elements, Streams and Shelves modules

First patch with the Mutable Instruments, Clouds, Elements, Streams and Shelves modules from Richard Devine on Vimeo.

Sequence starts with a cable connection to the clock output from the Steady State Fate Ultra Random module. This clock output was sent to a intellijel hub mult. From here the clock was sent to first to a 4ms RCD/QCD, Delptronics Trigger Man, and to the MakeNoise Rene. First output gates from 4ms RCD 4 divide output to the trigger input on the Braids module top row, running in “WLM” mode. Second multi output was sent to a 4ms QCD output green channel 4, set at division trigger time of 16. This would trigger single notes on the “Elements” module, that begin at 1:42. The playback mode is running in “Secret Easter Egg Mode” :-) The selected note sequence from the QCV output from Rene. Final output from Elements was sent to the Eventide “Pitch” pedal using the “Crystalizer” algorithm.

Clouds – was processing recorded chunks from the drum percussion, kick used from the top row “Peaks” 808 kick drum synthesis model. Then a snare created from the “grey” noise output from the SSF Quantum rainbow running through right side of Streams to make a snare drum, which was running in envelope mode with shape position to the left, short decay. Then a third voice using the blue noise output from the SSF quantum rainbow for hi-hats. Amplitude triggered/controlled by a HexVCA. The drum sequence was programmed from the Delptronics Triggerman, using all 8 patterns stringed together running in pattern play mode but being CV controlled by the S&H # 1 output from the SSF Ultra Random. Output for all voices was grouped and multiplied into two separate mixers. First three channels of the Intellijel Mutamix, which was then sent to output channel B. From there the summed mix was sent into the “left” side input of Clouds. Then triggered in time with the sequence by a 8th division trigger from the 4ms RCD. The freeze input in Clouds was triggered in time 7th divisions from the 4ms RCD, so that the chunks would process and record then play back in spurts of timed randomness. The mode was set in the pitchshifter/timestretcher configuration, where the grains where spliced so that created interesting granular pitching repeats and percussive glitch effects, as the rhythmic beats played through. Focused ranges where selected for the “Density/Pitchshifter” and “Timestetcher/Texture” controls. These where being controlled by the S&H #2 output from the SSF Ultra Random. The 1/volt pitch input was controlled by the toggle A/B output from the SSF ultra random. The clean drum outputs also sent to the channels 5, 6, and 7 on the Blue Lantern “Mix ‘Em Up” module.

Streams left side processing from the MakeNoise Mysteron output, which was being triggered by the 5th division output, for the metallic ripple delay like sounds, with the mutation knob set to counter clockwise, low bit mode.
The “Shelves” module was processing the acid like filter parts that get un-muted at 12 seconds. The sound source running into “Shelves” was the “Braids” module bottom row, running in “CSAW” mode. CV controlled by the CV output from the MakeNoise Rene sent to another intellijel hub mult. From here each CV output was sent to the “Frequency” inputs pink, green and white jacks on “Shelves”. The “Tides” high tide output modulation the CV controlling the top frequency input on “Shelves” Each filter knob was set so the incoming “CSAW” input was being processed like a formant filter effect.

Smooth Sub OSC bassline coming from the MakeNoise STO. This was being CV controlled by a intellijel µScale (B) output. Playing back 8 notes while being triggered from the 2nd division trigger on the 4ms RCD. Triangle wave output from a Intellijel Dixie (syncd) to the sequence controlling the input (1V/Oct). Second STO at 55 seconds, alternating high note triggers from the 1 channel output from the 4ms QCD 6th division output. The second STO output sent to a MakeNoise Optomix for short quick plucks.

The light reverb soft lead at 1:15 from sine wave output from another intellijel Dixie, being CV played from the 1V/Oct input from MakeNoise PressurePoints. The output was then ran into a Strymon “BigSky” pedal running the “nonLinear” reverb algorithm. The Chords coming in at 1:35 played by a Qu-Bit Nebulae module. The 4 chord sequence was hand played and recorded from a Roland Jupiter-6,. The sample was then cut into a 32 bar loop and then was restarted/played from a the 3rd output trigger on the 4ms QCD. This output was manually volume controlled by a Intellijel µAttQuad log/lin attenuator. Grids was being clocked from multi output from the SSF Ultra Random, from here the first output trigger channel was sent into a Addac 101 .WAV Player. Notes sequenced and recorded from the Mutable Instruments “Elements” Module. 4 notes in a specific order was played 4 times 32 bars/samples. This was triggered by the gate input triggered by the Gate Y output on Rene. Trill high notes from Microbe Modular Equation Composer running in Synth3Osc is a 3 osc synth mode.

http://mutable-instruments.net/modules/shelves/
http://mutable-instruments.net/modules/clouds/
http://mutable-instruments.net/modules/streams/
http://mutable-instruments.net/modules/elements/

Mutable Instruments Elements – Incidences/Resonances Patch

Mutable Instruments Elements – First Look – Incidences/Resonances Patch from Richard Devine on Vimeo.

First look at the Mutable Instruments “Elements” Modal Synthesis Oscillator. This patch was inspired by Bernard Parmegiani Incidences / Résonances piece on | De Natura Sonorum | INA-GRM | 1978.
To imitate nature and acoustic instruments, modal synthesis breaks down the creation of sounds into two steps:
1. Synthesizing a noisy and/or percussive excitation signal, which represents the raw energy transferred to the instrument by the musician when (s)he strikes, bows or blows it.
2. Processing this excitation by a resonator modeling the vibrating structure itself – be it a string, tube or plate. Properties such as its size, tuning, shape and material can be simulated by adjusting the parameters of the resonator.

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