“Don Von Taylor’s powerful 1992 documentary Dream Deceivers: The Story Behind James Vance vs. Judas Priest explores the infamous case of two teenage heavy metal fans who were allegedly driven to commit suicide by subliminal messages embedded in the songs of Judas Priest. One kid succeeded in blowing himself away with a shotgun, the other, Vance, did not. He managed only to horribly disfigure himself when the shotgun slipped from his grip as he pulled the trigger. ”
Veteran Canadian producer and hardware lover, Solvent, gave StudioFeed an inside look at his Bloor-West home studio set-up, as well as discussed everything from why he makes music to the story behind his recent RDJ-CS5 EP. Jason touched on many topics involving music in this lengthy interview, including what it’s like to have a fifteen-year career and to still be considered a “relatively obscure” musician. In addition to making music, Solvent is also involved in a documentary on modular synthesizers called “I Dream of Wires” that is expected to be released later in 2012.
Dowload StudioFeed’s whole interview with Jason from our Soundcloud player (35 mins):
soundcloud.com/studiofeed/studiofeed-interview-solvent
Formally known as Modular – The Documentary, I Dream of Wires has been updating its “artists and participants” section on Facebook with its recent interviews. Jason Amm, AKA Solvent, really has a talent for finding “special” pictures of us.
Schematic / Warp Records recording artist and sound designer, Richard Devine.
Surachai – modular-based black metal artist, and Trash Audio member.
Alessandro Cortini – producer (Ladytron), recording artist (SONOIO, Blindoldfreak, Modwheelmood), and master of the Buchla.
Local farmer Megan Paska has witnessed beekeeping as it morphed from an illegal (and possibly crazy) habit to a sustainable, community-supported skill. Mirroring beekeeping’s own ascendance, she found more than just a living: “This is the first time in my life when I’ve just felt absolutely on the right path.”
This video is relatively short as the modules are simple and in this case simplicity is beautiful. The beauty of the modules is that you can independently accent the modules rather than an entire step of the sequence where all instruments would be accented on the TR-808. There are some subtle additions to the modules that don’t compromise the original circuit such as a higher gain stage that creates harmonics not found in the original design. I recommend checking out the manuals are they are an interesting quick read to the functions and history.
SD808
Complete recreation of the TR-808 snare channel with Level, Tone, Snappy and Accent. “The noise source generator in the original TR-808 machines were revised in later production batches, resulting in variation in sound across the production run. The SD808 uses this later, revised ciriuit to create a snare drum hit that is slightly darker, has more body, and is more realistic”
HATS808
A module that expands on the original design. The HATS808 modules has everything from the original – level and decay but there is a very special addition: the Filter Q section. The Filter Q section has a bandpass out and a CV Q input so you can modulate the sound of the module.
“The original ‘choke’ circuitry that makes it sound so dynamic and tight is fully implemented, just like the original, but can also be disabled if needed by disconnecting the internal connection between the two hats”.
This is the companion video to Working With Hardware part three. In addition to a tutorial on how to build your own Max applications that use the Live Code, four free applications are included. These applications are demoed in this video.
Drone Designer hosts audio effects plug ins, the sends of which are controlled from the Code. An Audio Damage Eos reverb was used on both the Drone Designer and wavestep examples. A tempo synced delay is included in wavestep.
Patch using two 4ms Pingable Envelope Generators. This was an experiment to see what rhythmic possibilities are possible using only two PEGs synced to the same LFO clock. This same clock also was controlling one MakeNoise Brains, and two pressure points. The output of the Pressures Points was CV controlling the PEG’s divided time divisions making some cool repeating glitchy effects.
