Archive - News RSS Feed

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.

10914765_597630683671990_1589816768823470923_o

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+

Facebook Event
Ticket Sales

Goike Case #2

Screen Shot 2015-01-02 at 6.15.49 PM

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

IMG_8830WEB

IMG_8828WEB

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.

SoundWorks Collection: Godzilla

Probably the best SoundWorks Collection episode yet. Very thorough, insightful and beautiful look at the sound design of Godzilla.

In this exclusive SoundWorks Collection sound profile Michael Coleman talks with Supervising Sound Editor and Sound Designer Erik Aadahl and Supervising Sound Editor Ethan Van der Ryn about the sound of Director Gareth Edwards Godzilla.

This 45-minute conversation covers the creative and technical process that the sound team of E2 pursued to create the dark and powerful sound of the king of all monsters, Godzilla.

Braids v1.6 Illlustrated

Gorgeous visual overview of the newly updated Mutable Instruments’ Braids. Full PDF below.

BraidsModel

BraidsPercussive

Braids percussive models from mutable instruments on Vimeo.

http://www.vo1t.com/Euro/BraidsIllustrated.pdf
Braids Upgrade Procedure
Braids 1.7 Firmware Upgrade

Surachai – Form Volume II

a0283658358_10

Form Volume II consists of four archived performances and four new recordings. Form Volume II can be found on Bandcamp. The vinyl is shipping out around December 16th, 2014. Since most time, effort, and money went into the physical product – I’ll start there and work backwards.

Vinyl
As a response to the deluxe presentation of Ritual and because Form Volume II wasn’t supposed to exist, I decided to keep the theme of non-existence with the vinyl and artwork by calling it the Void Presentation. Firstly: there is no artwork. The vinyl is clear and with no center sticker making it an entirely transparent vinyl record. Again, the record is pressed at GottaGroov Records. The transparent information card was manufactured by Offbeat Press and the reference I gave them was the winning ticket to Fhloston Paradise from The Fifth Element. The clear jacket is also clear and originally intended for picture discs. If you’re not looking for this album, you’re not going to find it – basically its a marketing nightmare.

Pre-Master & Mastering
Because all tracks were recorded in single takes to stereo or mono tracks and mixing was performed on the fly, the results were raw, hugely dynamic, and sometimes lackluster. All tracks were mixed afterwords and pre-mastered with the Thermionic Culture Vulture Super 15 with a couple dynamic processing UAD plug-ins. I turned these pre-master versions into Shawn Hatfield of Audible Oddities to officially master the album and tame the inconsistencies between the tracks while preserving the dynamics.

“In general, I used all the different input/output transformer stages on my gear, driven just enough to saturate a little. Dave Hill Titans were used to add weight and body, Knif Vari-Mu II mid/side compression to glue things together and further enhance the stereo information followed by a BAX EQ to help open things up a little more where needed. And I also ran them through some custom op amps built around a 1970’s design that impart a smooth character.” – Shawn Hatfield of Audible Oddities.

Recording
Despite the length of time between recordings, the recording sessions were almost identical to each other: construct a patch, tweak the patch anywhere from 5 minutes to 2 weeks, record the patch, keep the 1st or 23rd take. There were no limitations of modules used and as you can tell in the videos, there were plenty – although the last track is using only one module.

Background
Form Volume II is not supposed to exist. The album started with Aaron Funk requesting source audio files from a few Form session videos. That was an easy ask: track down the sessions folders, zip up a few bounced files, and send them over Dropbox – that should have been the end of the transaction. But this small request spiraled into obsession to the point where I found myself finishing an album I hadn’t known I was working on for more than two years – in the mountains of Tennessee. The first four tracks were previously recorded from June, 2012 to August, 2014 in Chicago and the last four tracks were recorded in a weekend with Richard Devine and his live system in Tellico Plains, Tennessee in August, 2014.

Release
I’m writing this a day before the official release and am confused after looking at Bandcamp’s best seller’s column for electronic vinyl. Currently, Make Noise Records: Shared System Series – Surachai 7” is number 1 and Form Volume II is in third place. What does this mean? For Make Noise Records, its makes a bit of sense – We’ve released some of the top names in experimental music on our short 5 record, 2 year stint and mine being the last, the momentum is expected. As for Form Volume II being a top seller, initially I’m skeptical. I haven’t utilized active PR for the past 3 vinyl releases and am constantly hopping labels and switching musical styles. The only thing I can think of is that I know who you all are. I order, assemble, pack and ship the vinyl to you and that must mean something. Whatever is driving the sales, thank you for the support over the years.

Form Thirty Recorded in Chicago, IL. June 9 2012
Form Thirty-Two Recorded in Chicago, IL. November 12, 2013
Form Thirty-Four Recorded in Chicago, IL. May 3, 2014
Form Thirty-Five Recorded in Chicago, IL. August 12, 2014
Form Thirty-Six Recorded with Richard Devine in Tellico Plains, TN. August 31, 2014
Form Thirty-Seven Recorded with Richard Devine in Tellico Plains, TN. August 31, 2014
Form Thirty-Eight Recorded with Richard Devine in Tellico Plains, TN. August 31, 2014
Form Thirty-Nine Recorded in Tellico Plains, TN. August 31, 2014

Limited to 250 copies of vinyl
Mastered by Shawn Hatfield of Audible Oddities
Released by BL_K NOISE

Surachai – Form Volume II

Page 1 of 6712345»102030...Last »