“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“
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.
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
Now I understand why he waited over a year to release this video, new modular album! Expect more…
No external computers or hardware were used in this performance.
A patch built around the new “Grain de Folie” ZDSP card by TipTop Audio.
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
– Tip Top Audio
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)
Got some hands on time with the beta, can’t wait to mess with the final!
$385 – limited edition preorder ships early 2016
Macro Machines presents an incredibly versatile new addition in the world of eurorack modules. The Omnimod will make a powerful new ally in your adventures through the universe of sound. Omni means all, and mod stands for modulation of control voltage.
Create unique new combinations of envelopes, LFOs and step sequences quickly and easily with the simple and intuitive waveform design interface. Centered around a crisp, high contrast OLED screen, the Omnimod provides vivid visual feedback for precise editing, as well as a scope mode to aid in configuring the inputs. This allows for deep, yet intuitive control over complex modulation sequencing. Endless possibilities become child’s play.
Once you have sculpted the perfect waveforms, you can store them for later, and recall them at any time in the future. You can also use the Macro Machines Storage Strip to allow multiple modules on the same power bus line to store and recall their settings at the same time, creating something never before possible in eurorack, instantaneous system wide storage and recall of entirely different configurations.
The Omnimod features:
– 4 powerful channels of LFOs, Step Sequencing, Envelope Generation and Envelope Following, in limitless combinations.
– user friendly interface with intuitive visual feedback.
– an oscilloscope mode to visualize input signals: fine tune the extraction of triggers, select different modes, and smooth or scale envelope following.
– full storage and recall of all parameters automagically before power cycling,
– user definable waves for reusing complex individual channel settings.
– 64 storable, recallable, sequence-able, and randomize-able presets
– only 14HP wide, packs loads of useful possibilities in a small space.
Located atop the beautiful OLED screen, there are four (4) inputs and four (4) outputs using the highest quality 1/8th inch jacks and four (4) eye catching white LED buttons that continually fade to show the output of each of the 4 channels. Below the screen are two encoders, the left encoder is stepped for parameter and point selection and the right encoder allows smooth parameter editing. This simple and quick to grasp control scheme will have you mastering this module quickly, manipulating and sculpting your own unique waveforms.
Settings are automatically saved between power cycles to easily resume where you left off. If used on the same power bus board as a Macro Machines “Storage Strip” module, several banks of settings can be stored, recalled and sequenced to allow even more possibilities from studio to stage.
Macro Machines first product, the Storage Strip realizes an entirely new method for complete patch storage and recall using the standard eurorack power bus board. When used in tandem with their second product, the Dynamic Destiny dual 4 to 1 switch router, entirely different patch cable routings can be saved and sequenced. You can, for example, create one setting with a deep analogue sub oscillator routed through a lowpass filter, and instantly switch this to be a complex high pitch FM oscillator through a spring reverb. This gives owners a new possibility to refine and explore vastly different sounds and come back to them in an instant.
Adding the Macro Machines Omnimod to the Storage Strip and Dynamic Destiny, the user could design an entire group of different settings using any modules they currenty have, and come back to them, refine, record different takes, perform and jam with quickly accessible, reliable start points.
Patch experiment using the Noise Engineering Variatic Erumption x 2, and Minigorille CV graphic modules x 2. Clock output from the Tiptop Circadian Rhythms into the CV Graphic input 1, left side (purple). Then another output from the TipTop CR taken to the right side (siliver) CV Graphic module. Output 4 from the Tiptop CR sent to the left side Variatic Erumption (ext gate to the hit jack input) which would send very slow burst of random gates. The CV Graphic CV output (PONG sequencer mode 2) A and B would output bouncing ball like CV voltages to the Variatic Erumption CV Pattern, and Time/Division input. This created some very organic scattered sequencing taking one output that was triggering a Snazzy Fx Ardcore running custom frac drums patch.
The other output was running into a trigger input on the Mutable instruments clouds, which is causing the light granular scattering in between the beats. Another output from the V.E. running into the Noise Engineering Basimilus Iteritas, for the FM pluck like percussion sound. Next output from VE running into a 4ms RCD, random triggering spaced out burst to the clock input. From here, the output was taken (4)out to the MakeNoise Optomix set slightly open, which was running a ALM’s new “Akemie’s Castle” dual voltage controlled oscillator, running out the chord output (OSC A). From the Akemie’s Castle the output is going into a Tiptop Z-DSP processed with the The Halls of Valhalla card running program 7 (Asgard). Mult output also taken to the Strymon Big Sky pedal running in “Chorale” mode mix completely wet for delicate melodic swells. Making the rich choral timbres. Another gate output from the Noise Engineering V.E. running into the Mutable Instruments (mystery) module. Output from here sent to the Qu-Bit RT-60 effect module, which is also being triggered (for effects program change) via by the 5 division output from the 4ms Rotating Clock Divider.
Kick drum created using the MakeNoise telHarmonic module, running into a Optomix. Snare and hi-hat sounds courtesy of two Ladik D-333 Rom players. One running the Snares card, and another running hi-hats. Both outputs being summed into the Synthrotek DLY module. The delay input being modulated by a modcan QuadLFO output 1 slow S&H. First sequenced notes via the Mutable instruments Braids running the new “HARM” additive harmonics mode. The quantization was set to “Oinian”. Second Braids for other harmony running the “OPSK” smooth sine like melody, VCA mode set to on, with short decay for pluck like quality. Signal for both braids are being sent to another Qu-Bit RT-60 running program number 1-Reverb. Quantization set to “Oinian”. Bassline sound created with a Intellijel Shapeshifter output 1, then being run into intellijel uVCF filter in LPF input, then the signal goes out a Qu-Bit RT-60 in program 1 Reverb.