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Surachai – Form Thirty-Three

• Tip Top Audio BD808, BD909, SD808, HATS808, HATS909 > Tip Top Audio MIXZ
• Tip Top Audio MIXZ Mixer B Output > Flight of Harmony Plague Bearer > Doefer A137-1 > Make Noise QMMG Channel 4
• Tip Top Audio MIXZ Mixer B Output > WMD Geiger Counter > Make Noise QMMG Channel 1
• Tip Top Audio Z3000 > Make Noise Optomix Channel 1
• Harvestman Piston Honda V1 > Make Noise Optomix Channel 2
• Optomix Sum Output > Make Noise QMMG Channel 2
• Make Noise QMMG Channel 2 > Make Noise QMMG Channel 3
• Make Noise QMMG Final Output

Sequencers: Doepfer A155/154 & 4ms Rotating Clock Divider

Madrona Labs – Kaivo Out Now!

Beta testing Kaivo has been a blast and if you’re familiar with Madrona Labs’ Aalto, you should be familiar with the architecture of Kaivo, however the sounds are nothing alike. Physical modeling and granular made fun. Surachai presets are coming with the next update.

Kaivo, a new software synthesizer from Madrona Labs, is now available for Mac OS and Windows. Kaivo combines two powerful synthesis techniques, granular synthesis and physical modeling, with a patchable interface designed for ease of use.

Physical modeling is a way of making sounds using equations that model vibrating objects in real time. Like a picture is sometimes worth 1000 words, a physical model is worth 1000 samples. Every time a model is triggered, it makes a slightly different sound due to the initial conditions when the sound starts. This subtle variety can quickly give a very lifelike quality to sounds that would be tedious to recreate with sampling. Kaivo’s models include metal, nylon and gut strings, different sizes of chimes and springs, wooden instrument bodies, membranes and metal plates.

Kaivo brings some of the latest academic research in physical modeling to a patchable package for the first time. Mathematically speaking, its finite difference time domain (FDTD) models let the player reach inside the instrument and affect the internal vibrations at any point. This allows for a fine degree of realistic detail, like the bridge rattles on a “gut string” model, for example. And while Kaivo is capable of making very realistic sounds, it is also designed to apply this subtlety to abstract creations.

Expansive spatial sounds are possible in Kaivo, with independent panning available on grains, resonators, and body. Kaivo’s granulator feeds all of its models from a 2D map of sound with up to four channels. The body is a true 2D vibrating model of a physical object, with left and right pickups that create a spatialized mix of all the frequencies flowing through it.

Users of Madrona Labs’ Aalto synthesizer will find Kaivo’s design very familiar, with its fully resizable, vector-based user interface. Every control is on a single page. The patcher in the middle makes it possible to create complex patches quickly and easily, with connections that can never obscure other controls.

“Kaivo” is Finnish for “well,” as in, a deep well of sounds. Kaivo combines the natural qualities of vibrating objects with a huge potential for experimentation.

Kaivo is available in AU and VST formats for Mac OS and in VST format for Windows. Both Mac and Windows versions are fully 32- and 64-bit compatible. System requirements: Mac versions require OS 10.6.8 or higher. Windows versions require Windows 7 or 8. All versions require a 1.6GHz Intel Core Duo processor or higher.

Kaivo is available to purchase at the Madrona Labs website for $129. Free demo versions are available for download. For more information about Madrona Labs and to purchase software, visit the website at

Madrona Labs

Irregular Machine

Irregular Machine from joseph fraioli on Vimeo.

A patch exploring the shifting of trigger start points to create complex evolving patterns with preset sequencing of mutable instruments braids and the cyclonix shapeshifter .
Trigger sources used:
4ms Rotating Clock Divider/Rotating Clock Divider Break Out
4ms Shuffling Clock Multiplier/Shuffling Clock Multiplier Break Out
ALM Busy Circuits Pamela’s Workout
(main clock source: Intellijel Dixie)
Sound sources used:
Kick: TipTop Audio BD808
Sub kick: Qu-Nit Nebulae (One Shot mode – kick sample made in WaveWarper)
Perc 1: Braids Meta Mode > TipTop Audio ZDSP Dragonfly Delay
Perc 2: Intellijel/Cyclonix Shapeshifter > Modcan Dual Frequency Shifter
Ratchety Hi Hat: Synthesis Technology E350
Pads: The Harvestman Piston Honda MKII > Serge resonant EQ > Make Noise Echophon > Flame FX6
End Karplus Plucked: Cyclonix Cyclebox > Make Noise Optomix > Mungo d0 > Mungo g0> Cwejman MMF-1
Reverb: Eventide H8000FW

4ms Quad Clocking Harmonies (Modular Lullaby)

4ms Quad Clocking Harmonies (Modular Lullaby) from Richard Devine on Vimeo.

This patch focused on using the 4ms Quad clocking distributor (QCD) module as the main brain to trigger the drums and musical sequences. The source clocking generator was the delptronics triggerman running in pattern mode. I set up 8 stored sequences that had slightly different shifted gate positions, and then outputted these assignments to the 4 channels on the 4ms OCD, and then took those outputs into separate gate triggers for the drum/snare/high-hats. The Modcan QLFO was also being clocked from the delptronics trigger man. Running from LFO output 1 in random stepped mode causing ever changing CV changes to the CV Clock Divider/Multiplier inputs, which gave the sequencing this interesting pace. I kept the sound sources very simple and limited. Using just 3 different intellijel dixies as the main sound sources (sine waves and one square). All three being triggered and then CV controlled in slow stepped mode from the Modcan Quad LFO, then into the µScale intelligent quantizer and interval generator for the melodies. The output was running through a Strymon BigSky reverb pedal using the “Chorale” algorithm for the slow like choir pads swelling delicately from the summed VCO’s. One intellijel running in low octave pitch down for added baseline effect. Drums courtesy of the Mutable Instruments Braids for the snare drum running in CLK mode, with the envelope set to “ping” short attack. The kick drum was from the JoMox Membrane II, and hi-hats from the 4-hp whitenoise output from the BlueLantern running into a intellijel HexVCA. Another direct whitenoise out from the HexVCA running into a cwejman MMF-1 filter for the slow delicate automating filter sweeps, being modulated by cwejman D-LFO. This output was then taken into the Strymon Timeline for added depth and space. This patch was specifically created as a lullaby to play at bedtime for my baby Eila. Enjoy :-)

Nebulæ – Joseph Fraioli

Nebulæ from joseph fraioli on Vimeo.

a patch utilizing the qu-bit electronix nebulæ to create evolving tonal drones which form a basis for patterns and gestural events.
sound source basics:
tonal drone: qu-bit electronix nebulæ > synthesis technology e580 – tape delay mode (original piano recording as sample)
kick: tip top audio BD808 > make noise echophon
tonal wood hit: hertz donut MKII > make noise optomix
hi hat: Synth tech 3350 > make noise math v2
intermittent gestural fx: intellijel/cyclonix shapeshifter > tiptop ZDSP
reverb: eventide H8000fw

Introducing the MakeNoise Teleplexer Module (First Look)

Introducing the MakeNoise Teleplexer Module (First Look) from Richard Devine on Vimeo.

The Make Noise TELEPLEXER is a telegraph style multiplexer. It is used for manual distribution, adding and subtracting of signals. The user interface is inspired by telegraphy as the user taps the tips of patch cables (patched at one end to a source) to the conductive plates to determine where and how the source signal is distributed.

The Teleplexer is a telegraph style multiplexer (signal router) that applies the fast, physically immediate techniques of telegraphy to playing the modular synthesizer. The user patches any number of control sources leaving the destination end of patch cables un-connected. Destinations are patched to the outputs of the Teleplexer. Touching the tip of any patch cable carrying a source signal to the surface of the Teleplexer creates a momentary connection. The user determines the destination(s) and polarity of signal by touching the patch cable to any one of the 14 metal plates.

As the building blocks of synthesis are a by-product of communications technologies, why not look to telegraphy for inspiration? The speed and agility telegraph operators displayed relaying life-altering messages across the world was staggering toward some form of future musical genius.

– use as many sources as desired
– possible sources include LFO, Envelope, Sequence, Clock, Gate, Audio Signals and more
– add & subtract voltages by using several sources at multiple plates
– Auxiliary inputs allow for continuous signal source to be added to destination
– up to 3 independent destination outputs
– output signal channel, level and polarity indicated by LEDs
– outputs capable of driving multiple destinations without loading effects (no buffered mult needed)

Make Noise Music

Modular Science

Patch science for the show on Friday (LA)!

Tickets & Information

5hifting Shap3s

Our buddy Joseph Fraioli ripping it.

5hifting Shap3s from joseph fraioli on Vimeo.

patch designed to utilize preset sequencing as a percussion element with the intellijel/cyclonix shapeshitfer in percussive mode. the shapeshifters presets envelopes were further controlled by use of an additional envelope and VCA. this way the percussion can be tight and small as well as opened to reveal accents that are generated naturally in sequence mode if the preset is not perc enabled. manual modulation of the envelopes decay creates changes of tight and more open percussive accents…
clock source and main modulation source is coming form the livewire chaos computer. clock sources are multiplied, divided, and additionally modulated by the 4ms RCD and SCM, make noise wogglebug, pressure points, brains, tiptop z8000, SSF propagate and pamelas workout.
other sound sources:
kick – bd808 >µfold
drone – hertz donut MKII
metallic oil drum like hits – cyclebox > echophon > MMG
FM drum percussion – braids
vocal like accents – gamma wave source > optomix > e580 > piston honda EXT in > grendel formant filter > mungo d0
reverb – eventide H8000fw.

QuBit Electronix Nebulae – Percussion Smearing

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

ShapeShifter Trinity Patch

ShapeShifter Trinity Patch from Richard Devine on Vimeo.

Patch experiment using 3 intellijel Shapeshifters in more of a musical patch. I first went into all three modules and saved 12 custom patches for each shapeshifter. The first shapeshifter (far left) was programmed using more lower bass modulated sounds and I set the multi scan function to 8 for both VCO’s. This created the odd off time dub step wobble and vocal like effects. The step sequence was set to random. I also saved slightly different echo amounts, and set different decay times for the various patches. The next Shapeshifter (middle position), was used primarily as a lead line source. I saved here 12 different melodic timbres that would slowly change in half time increments. The effects are subtle but would act as a double lead line harmony. This is being sequenced by the Metropolis sequencer above in my Goike case. The third shapeshifter (far right), was doing more low LFO pulsing wobbles and digital noise like effects. I saved the first odd numbered programs to be low bass like wobbles in the same key as the first shapeshifter using the muti setting of 8 and 4. The even numbered programs had low bit colored noise presets to off set the spacing and imply more random like textures into the sequence. This was controled via the Modcan Quad LFO running in sample n hold output, running at a slow rate. The rhythmic clocking source is the “Trigger Man” sequencer by Delptronics. All three shapeshifter inputs are synced from the TriggerMan clocked outputs, but at different rates that created the syncopated splashes of texture around the main beat. Kick drum is courtesy of the Blue Lantern “Asteroid BD” V4 module. The snare drum was created by the Mutable Instruments Braid oscillator, running in “CLKN” mode with the envelope setting to “pong”. Hi-Hats from the red noise output on the Blue Lantern “Mr Blue” being triggered by the TriggerMan 16th pattern output to cv controlled via the intellijel hex VCA. Small glassy percussion tom via the JoMox Membrane 11 module. The middle shapeshifter output running through the Eventide Space, and “mix A” output running into Strymon blue sky pedal with only 20 percent wet mix in norm/plate setting. All recorded live in one take :-)

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