“We met Espinosa last fall when we were in town filming Real Scenes: Los Angeles, and he was cutting Hypoxia dubplates for a New Year’s set at Berghain’s rarely-opened Elektroakustischer Salon. He later stopped by RA’s LA offices at NeueHouse to deliver a live improvisation called “Vacant Echo.””
Hello! Here is a live recording of Can't Vote For Yourself! This is the version that's on the bonus album which may still be obtained for the next 2 days by pre ordering either the vinyl or the CD of Traditional Synthesizer Music from https://venetiansnares.bandcamp.com/album/traditional-synthesizer-musicorhttp://www.planet.mu/discography/TIMESIG005
Posted by venetian snares on Tuesday, February 16, 2016
“Hello! Here is a live recording of Can’t Vote For Yourself! This is the version that’s on the bonus album which may still be obtained for the next 2 days by pre ordering either the vinyl or the CD of Traditional Synthesizer Music from https://venetiansnares.bandcamp.com/album/traditional-synthesizer-music“
Recorded May 28th 2015. Modular live performance at Mutek.
RICHARD DEVINE presents DISTURBANCES (US)
NOCTURNE 2 :: GLEAMINGS AND BEAMINGS
Thursday, May 28 – Musée d’art contemporain de Montréal
Modular synth master Richard Devine’s music moves like a slightly unhinged force, in rapid clicks and metallic thrums or funk addled scattering beats. An Atlanta-based producer with full length releases on Warp, Schematic, Sublight and Detroit Underground in the past 15 years, as well as an accomplished sound designer and maker of synthesizer kits (among soundtracks and samples, he’s built an expansion pack for Moog Music’s Animoog app), Devine made huge professional inroads in the digital realm, yet recently felt called to the modular and analog in his own music. Constantly reconfiguring his own hardware systems, Devine creates music by processing layer after layer of sounds derived from hip hop, pop, field recordings and electronic tracks; and in 2013 released his own official sample library, The Electronic Music Manuscript, through Sony Creative Software. Performing live, he’s equipped with an enviable arsenal of sounds and the ability to manipulate them to his experimental liking, constructing a sonic experience that’s never the same twice. MUTEK 2015 marked Devine’s first live modular set in Canada and the premiere of his “Disturbances” live patch, custom built for organic on-the-fly songwriting, from abstract ambient compositions to rhythmic bombardments.
Presented by Moog Audio – www.moogaudio.com
A new member for the new year: welcome Moe to our crew. Moe has been involved with the TRASH_AUDIO collective, in many various forms, since very early on. He’s been like family to us and its only natural, and long overdue, that we let him carry the burden of being part of TRASH_AUDIO.
Best known as Drumcell, Moe Espinosa is based out of Los Angeles and is a key player in the LA’s electronic music scene by co-founding Droid Behavior, a record label and event organizer. Moe is an accomplished producer having remixed Puscifer, Alessandro Cortini, Richard Devine, Gary Numan, Motor, Chris Liebing, Jessy Somfay, and many more. Moe is on constantly on the road DJing, up to 8 months out of the year. Moe co-founded BL_K Noise with Surachai and releases under the alias Hypoxia, an outlet for melodic synth material.
We’re excited to have him part of the TRASH_AUDIO team and have him spam you with his facebook events.
Finally released, Fever Daydream by The Black Queen…
“What’s most impressive about Fever Daydream is how wonderfully the whole album plays out. Unlike even some top-tier electronic music, this isn’t just a collection of like-minded songs; The Black Queen clearly wanted to craft an album, and that shows masterfully throughout. Fever Daydream is an incredibly diverse listen, where melodies and moods may carry over throughout the album, but each song is its own distinct animal.” – New Noise Magazine
Sneak peak first patch with the TEMPI module by MakeNoise. TEMPI is a 6 channel, polyphonic, time-shifting module. It provides an intuitive method for the creation and recalling of complex clocking arrangements within a modular synthesizer system.
The primary user interface and programming elements for the module are six large, illuminated buttons:
BUTTON-1 through BUTTON-6, and two smaller illuminated buttons:PGM_A and PGM_B. The module is able to store up to sixty-four clock/timing scenarios called “STATES”, arranged in four BANKS of sixteen. An LED is used to indicate the current BANK by
The primary goal of this module is to have the maximum amount of artist-controlled musical variation with a minimum amount of data inputs.
Specific notes about the patch:
All the beats are being sequenced by the Tempi module. There are several stackable cables going out to two Addac Wave players, each playing 72 samples each, and the main drums are coming from the Nord Drum 2, which is then split into two signals one being processed by a Mungo g0 dual delay/storage strip clocking through different delay feedback presets. Then the outputs from one of my ADDAC 101 waveplayer’s was then being processed by a Qu-Bit RT-60, and another RT-60 was processing the output of the other ADDAC 101 waveplayer. Running both at the same time and then using one of the Gate outputs 5, and 6 from Tempi to switch through different effects on the RT-60’s and at the same time triggering different samples. This is what was creating the different effects processing happening at specific time intervals. Snare noise sound coming from the Hex Inverter new Snare module. Other modulation coming from the OmniMod module from Macro Machines, going out to the Folktek Matter module adding in some of the extra tiny glitches and textures. The drone chords come from the ALM’s ALM011 / Akemie’s Castle running into the TipTop Z-DSP halls of Valhalla card using program 8. The bassline is from a Modcan FMVDO running into a MakeNoise Optomix. The high harmonic notes played via a Mutable Instruments Ring Module, sending out a clock from channel two from Tempi into X clock input on Rene. Everything was recorded in one take.
The 8th 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, and video projection. Everyone is welcome!
DJM/REX [Douglas McCarthy and Cyrusrex]
Richard Devine [Modular Set]
Mark Verbos [Hardware Set]
Hypoxia [Modular Set]
Surachai [Hardware / Visual Set]
Polyfuse [Hardware Set]
Baseck [Hardware Set]
Oliver Dodd [Hardware Set]
+ Special Guest – Venetian Snares’ Drum Machine
806 E Colorado St
Glendale, California 91205
9pm – 2am
$10 Presale / $15 Door
This was a patch experiment using the new Mutable Instruments Rings and Clouds Modules, and trying to create organic guitar like sounds. The inspiration came from playing around with the Clouds Parasites 1.3 alternate firmware running in the Resonator Mode highlighting the “scatter” (or strum) function. The master clock was the Tiptop Circadian Rhythms module, taking the first 4 outputs into my Nord Drum 2 for the Kick, snare, closed and open hi-hats. From there the clock output from the CR was multiplied and then sent to the Modcan Touch Sequencer. First row output from the TS was sent to the intellijel Shapeshifter creating a two note baseline sequence that comes in at 1:58. The second sequence Row2 output from the TS was sent to the “ALM Akemie’s Castle” module OSC A output using the chord function, that comes in at 25 seconds. The gates from the modcan where set to a 16th’s pulse sequence. Modulation from the synthesis technology E102 Quad Temporal Shifter output 1 modulating the Multiplier input on Operator 1. The 2, 3 and 4 outputs from the E102 where also modulating the Operator 2, 3, and 4 inputs on the Akemie’s Castle. This was creating the harmonic timbre changing as the sequence was playing.
The slowly evolving sweeping noise textures that come in at 1:09 is from the Music Thing Radio Music module. The sample was white noise sampled then the output was sent to the intellijel HexVCA with the amplitude CV control via a Intellijel Dixie modulating from slow to high rates (free running). The Make Noise Rene was being externally clocked from the Circadian Rhythm, and was sending out a quantized output to the Mutable Instruments Clouds pitch input creating the chord guitar sequence. The strum sounds on Clouds was played by the 4ms QCD running in 32th division output into the Trigger input. The freeze input was also triggered by a Ladik R-110 Random clock module. The combination of the two created the trill chord like strums.
The bass guitar tone sounds that come in at 1:24 are from the MakeNoise Mysteron, that are sequenced by the Modcan Touch Sequencer, Row Output 3 was programmed in the same key but a lower octave. The “Rings” module was creating slow attack soft high pitched chords in reverb that come around 2:50. There was additional processing of the Clouds output that was sent into the Tiptop ZDSP module running the “Halls of Vahalla” card program 8 “Ginnungagap” creating the high pitch octave deep reverb shimmer effects. The harmonic slow swells that come in at 3:30 where created using another intellijel Dixie oscillator sine output running into an Strymon “Big Sky” pedal being harmonically controlled by an intellijel µScale V1. The output was being played slowly then processed using the “Choral” mode, creating the slow shimmer swells. The entire mix was sent into the Eventide Space pedal using the “Corridors” patch.
– Download the free track
– Mutable Instruments Rings
– Clouds Parasites Firmware