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RYOICHI KUROKAWA – unfold

unfold from RYOICHI KUROKAWA on Vimeo.

Surachai – Instinct and Memory Teaser / BL_K Noise

You’ll hear and see a lot of things in the press. Believe what you want, but you know the source. Proper Instinct and Memory process article that includes information about recording, mixing, mastering, and artwork creation will be posted soon. Keep your eyes peeled at Bl_K Noise


Video: Simona Noreik: https://www.instagram.com/sio_heartless/


Filmed by: Francisco García Nava, Raul Pena, BL_K Noise.

Surachai-Instinct-and-Memory

RA Sessions: Drumcell / Hypoxia – Vacant Echo | Resident Advisor

“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.””

Resident Advisor

Venetian Snares – Can’t Vote For Yourself

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

From Aaron/Snaresman
“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

Kyteman – Root Canal Therapy

Kyteman – Root Canal Therapy from Kytopia on Vimeo.

This video is a one-take performance, music is performed live without edits or external sequencers other than what’s in the rack.

Richard Devine – Make Noise Tempi – Samurai Math Beats

MakeNoise Tempi-Samurai Math Beats from Richard Devine on Vimeo.

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 and changes in STATE indicated by . There are INputs for External TEMPO, a Gate INput for MOD, and STATE Selection via a CV INput (with Combo pot for attenuation) and / or GATE INput.
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.

Richard Devine – Strum

Strum from Richard Devine on Vimeo.

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

Venetian Snares – Magnificent Stumble V2

Now I understand why he waited over a year to release this video, new modular album! Expect more…

Venetian Snares Bandcamp

Datach’i – Grain de Folie

Datach'i – Grain de Folie from Joseph Fraioli on Vimeo.

No external computers or hardware were used in this performance.
A patch built around the new “Grain de Folie” ZDSP card by TipTop Audio.
tiptopaudio.com/zdspcart.php?cart=gdf
The melody starting at :40 seconds is the TipTop Audio ZDSP running the “Grain de Folie” card which is processing Mutable Instruments Elements thats being sequenced by the Circadian Rhythms and z8000 with voltage quantization by the Intellijel µscale. The program used is #6 “Six Grains Stereo”. Modulation to grain sizes 1 and 2 coming from the Modcan Quad LFO.
///// from the manual /////
Granular Synthesis uses small slices of sounds (‘grains’) to compose new sounds from existing material. By combining multiple grains of differing lengths, amplitude, pitch and speed creates very characteristic sounds of modern music.
Xenakis claims to have invented the technique and indeed his ‘Analogique A-B’, composed of tiny tape splices of pure tones, is credited as the first piece of granular music in 1959. Tape editing proved extremely time consuming, but by the 1970s digital processing could take the place of tape splicing. Curtis Roads dove into the early computer based granular synthesis and made some of the classic techniques known through his recordings, teaching and texts like ‘Microsound’. Today, most computer audio programs have some sort of granular synthesis engine or plugin. Dr. Richard Boulanger has used granular synthesis in CSound to great effect and he is also a beta tester for this card.
The French phrase for the cartridge is “Grain de Folie” which could be translated as “seeds of madness”, but in French “grain” also translates to “grain”, and “madness” evokes the strange disassembling/reassembling granular process. Also, “avoir un grain de folie” is a typically French expression to describe people behaving in a non conventional way, thus a fitting play on words.
How it works:
Granular processing requires a block of memory to hold digital samples for playback, and the Z-DSP has one second of memory for the audio used in processing. From this audio buffer the grains will sample smaller sections for playback.
The number of grains in the process determine how dense the overall output sounds. These programs have 3, 4 or 6 grains for playback. Each grain plays from a random point in the audio buffer and have an independent envelope controlling their duration. The envelope time is the ‘grain size’ parameter in many of the programs.
In the context of the Z-DSP, the FV1 (the DSP brain) is really not designed for grain synthesis (due to technical choices like a “circulating” delay memory, and the lack of indirect memory access), but the chip also has other design niceties that help overcome its limitations…
This cartridge implements a simple and customised granular synthesis with a limited number of grains, and parameters that mainly control the size of grains and their positions in the sample. One nice aspect of the Z-DSP is that it uses live inputs (granular synthesis is usually based on a pre-recorded sample), so it can disassemble live input and reassemble it in real-time into a different order resulting in a (usually !) nice sonic transformation of both texture and the rhythm.

Six Grains Stereo
Six independent grains have a random playback position with control over the size of each grain. The two size controls each set the size for half the grains so two different textures or rhythms can happen at the same time. Three grains are sent to Left output and the other three to the Right creating a spatial spread.
VC-DSP1 – Live / Freeze / Feedback. See the Control section above
VC-DSP2 – Grain size 1. Sets the maximum size of half the grains
VC-DSP3- Grain size 2. Sets the maximum size of half the grains
Datach’i Facebook
Datachi.com
Tip Top Audio

The Black Queen – Maybe We Should

Fever Daydream out on January 29th

A longtime secret that is slowly seeping out. The Black Queen is: Steven Alexander, Joshua Eustis (Telefon Tel Aviv, NIN), Greg Puciato (The Dillinger Escape Plan)

The Black Queen

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