Workspace and Environment: Grischa Lichtenberger

Grischa took it upon himself to interpret the Workspace and Environment series and approach it in his own way. I encourage this type of behavior.

Grischa1

I would have to tell you, who else? (In english?/ Auf englisch, dieser vermittelnden sprache, wo sich die woerter zu einander verhalten, wie idiosynchratische uebersetzungen von gegenstaenden) Portray gravitational lines, draw (in reverse) the traction of things here: emigrated, emmisive, haunting – where your traces (in me) earthed the appearance of a machine. a strategy, a fetish – tied together by a history of words I raised my habits in. A family, not a pattern.

Grischa2

You would never ask for the determination, as I would never question your strength. You’ve been there, always before me, constantly, prevenient, anterior. I’m building pairs of three, a bundle of scattered references. The deranged double. Irritated look-alikes. ‘you’, you split apart – there is this text and there are the words we have drowned. I have to tell you, tell, recount, report. Is there a single instrument I could use to sing to, still?

You know the pine trees, the lime and all the other plants, where I was hiding away from no matter what. La demeure/demeurer lettre morte – il y a pÈril en la demeure. How could I possibly tell someone else, not you? Just talk sense into the demolished glazed tiles of the corridor and the rudiments we saw of the timbered toilet haven where he was unraveling mysteries we didn’t/don’t know about?

 

They asked me (I don’t really know why) to tell them about the AK141 philips (tuned bassport) speakers, about the Spirit Folio mixing desk, about Sony’s Sonic Soundforge and all the other things I got used to. Tell them how I would have screamed Soundgarden lyrics towards the speaker’s membrane? Do you remember that they had been on the top of the shelf and I needed to climb up there, standing on a board case, clutch something to not fall off? The tinned voices – a face I stared at, always through the black hole sun of the conical diaphragm. How could I describe it to them?

Grischa4

The potentiometer’s crackled accusation – regardless I am still sitting there in your old studio-den, where you trusted me to live-mix your new impro-band. I messed up every tape. All these things weigh heavier every day, the dust constantly accumulating the lapses, re-recorded sough in signal paths. No, I won’t encourage anyone to prance such disposition, I promise. But I have to tell you.

You taught me to slide the caret over the Soundwave in Soundforge (4.5), you trusted a compression beyond +16db in Sony Acid, you cared about the lines and verses, believed in the absorptional potential of e-minor on a children’s guitar, sprayed blue with stolen can’s. I will have to apologize to print, to show, to tell.

What contamination spread from this unnamed demarcation of subtracting him from this planet? Could you trust these words (oder jene) any longer? No, I have to say, even if it is so unbearable pretentious elaborating this few signs in this foreign language to release them into an inappropriate, indecent, but open space of many eyes, I have to tell you…

Photos by Sarah Ambrosi

Grischa Lichtenberger

“Vactrol Drift” patch – SSF -Positronic Transient Gate /Propagate

“Vactrol Drift” patch – SSF -Positronic Transient Gate /Propagate from Richard Devine on Vimeo.

First recorded patch using the new setup, and first patch experiment using the SSF Steady State Propagate and Positronic Transient Gate modules. The patch also includes some modules from my Enclave 12U case which is sitting on the floor as my camera lens isn’t wide enough to capture everything. Everything clocked from one MakeNoise Wogglebug using the clocked/chaotic burst outputs. Tempo set very low for mid tempo pace of the rhythms. The clocked out is running into the seed input via the Animatter Brain seed, running trigger out to the Mungo g0 Depth Modulation input. The width and frequency modulation inputs controlled by the stepped output on the Wogglebug. Reset input on the g0 is being set by the Wogglebug clocked output. The waveform sequence is some percussion samples created on the Nord G2 modular synthesizer. Mult gate out to one Makenoise optomix, white noise hi-hats from the blue lantern noise generator “whitenoise” output. Kick drum trigger from the Cwejman BLD multi connection point via the Makenoise Brains clock master from the Wogglebug. Additional clock sent to the TipTop trigger riot. Then programming one channel output with high random probability to one input on the Propagate. Second input down from a mult connection point via the MakeNoise Wogglebug gate out. Creating counter back and forth pulses to Tiptop Z8000 sequencer. Summed output taken from the Propagate running into the PTG in low pass gate percussive setting. PTG running plucking one self resonating pitch of the Intellijel Korgasmatron (sine drop sfx). Wavetable morphing via the Synthesis Technology morphing terrarium, running into the Harvestman Double Andore, triggered by the gate burst input from the Woggle bug. Random white noises scatters courtesy of the Modcan CV recorder. CV controlled by the stepped and Smooth CV output on the Wogglebug. Output taken through the MakeNoise Phonogene for added glitches to signal. The mixed sum of all voices into a intellijel mutagen mixer. Outputs A going through Eventide Space, on patch setting 22 “Corridors”. Output section C running into the Red Panda Particle Pedal, adding in more granular glitches and processing done by hand in real-time. Going into pure Red Panda granular processing at the end.

SteadyStateFate.com

Modular Grid Introduces True Grid

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This is incredible!

ModularGrid is a community driven database for modular synthesizers with an intuitive drag and drop rack planner. The database supports all common modular formats like Eurorack, Buchla, Dotcom, 5U, Frac and Serge.

To celebrate the first anniversary of modulargrid.net I introduce the beta of TrueGrid. TrueGrid is a fully functional true modular web synthesizer which let’s you create, listen and share modular synth patches.

True Grid
Modular Grid

Random: Alessandro Instagram

Justin “Don’t touch my fucking apple juice” McGrath. Don’t you fucking touch it.

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“Justin McGrath, who keeps my rig going thanks to infinite supply of apple juice. #nin2013”

Alessandro’s Instagram

Sonicstate: Day in the Life of Richard Devine

Follow the updates on the link below…

Richard Devine is one of the sound design superstars of the current age. His experimental music uses the both the cutting edge of modular technology (Intelijel, MakeNoise, AudioDamage,TipTop Audio, 4ms and others) as well as a vast array of plug-ins and software instruments. Indeed, he is an official Native Instruments artist with a penchant for Reaktor and Absynth.
He records and releases for Miami based Schematic Records with many of his recent works exploring algorithmic and modular generative music. In addition his sounds can be found in many current instruments, both hardware and software.
Recently he has released sound packs for AAS Chromaphone and the just released Ultra Analogue, presets for Eventide’s Black Hole spatial processor, AirMusicTech’s additive synth Loom and many others.
Some would consider his the dream job. He has kindly agreed to blog for us during a typical day in the studio – enjoy…

Sonicstate: Day in the Life of Richard Devine

Twisted Tools – METAMORPH

METAMORPH – Electroacoustic and designed sound effects library

METAMORPH is a vast collection of electroacoustic and designed sounds, developed by Italian sound artists BJM Mario Bajardi and Komplex (Iter-Research). METAMORPH takes heavily processed violins, pianos and acoustic instruments and morphs them into impacts, sci-fi atmospheres, user interface elements and beyond.

METAMORPH features over 2.1 gigabytes of 24bit/96khz audio, embedded with Soundminer ready metadata to easily facilitate the discovery of new sounds for your next music or game production. Also included in the package are sampler presets for most major formats. Native Instruments Reaktor owners may take advantage of the included MP16d sampler, which comes equipped with a custom Lemur Template by Antonio Blanca.

Whether you’re a sound designer looking for alien textures or an electronic musician seeking out unusual timbres, METAMORPH features something for you.
METAMORPH is available at the Twisted Tools shop for just $69.

Main Features:
Over 2.1 Gigabytes of sound effects and designed sounds
24bit/96khz wavs
Soundminer enriched metadata
Maschine ready metadata
Sampler instrument presets for Maschine, Ableton Live 9, Battery, EXS24, Kontakt, Maschine and Reaktor
A brand new version of Twisted Tools’ MP16 sampler, called the MP16d

Twisted Tools Metamorph

AAS – Ultra Analog VA-2

In a world filled with reproductions and ever increasing complexity, Ultra Analog imposes itself as a unique and powerful synth that is fast, easy, and remarkably versatile. Richard Devine signature sounds: Renown sound designer Richard Devine delved into the new Ultra Analog VA-2 to forge a state-of-the-art collection of 110 presets that are simply essential.

AAS – Ultra Analog VA-2

2CAudio Interviews Richard Devine

Any other particular technologies or techniques, esoteric or otherwise, that you are really excited about these days?

I have been composing on the Eurorack modular quite a bit lately. So a lot of my recent productions have been built around the idea of creating patches and building a song out of a patch from the modular system. I have recorded almost 93 new tracks this past year. I have been really inspired by this new way of working. There isn’t any computer or other hardware involved in the process. It’s just building a patch from the ground up, and seeing what happens. It’s a very organic way of working with sound and music. I was an early adopter of analog synthesizers back when I first started making music. I originally learned about how to shape sound on a Arp-2600 synthesizer which is a semi -modular format system with 66 patch points. That synth taught me a lot about how to modulate, envelope, color, and filter sounds. I have been doing a lot of beta testing and helping with design concepts for many different euro companies. It’s been a lot of fun. I have been spending the last 6 years building up my system. My latest release on MakeNoise records called “Creature’ was just released a few months ago.

It was recorded entirely on the MakeNoise shared modular system. The concept was that each artist was sent the same system, and was only allowed to use this system to record their compositions which would be later released on to a 7” inch limited edition record with patch notes on how the piece was created. The music you hear on the records is a result of each artist’s approach using this fixed modular system. The main inspiration for my two piece was derived from the early works of Morton Subotnick. I can remember listening to Morton’s “Until Spring” and “Wild Bull” records thinking how amazing the timbres and gestures where. I loved the unusual places these pieces took me. I loved the way everything sounded so organic and rich but at the same time synthesized. I also loved how these works almost told a story in that it conjured up so many interesting spaces and images in my mind. The “Creature” series is in a way paying homage to those works. I recorded 26 different version of the Creature II track here before I got the right one.

Full Interview

Epoch Modular Benjolin Overview

The video above is a quick start guide & overview to one of the most complex and rewarding modules I’ve used. The Benjolin’s main feature is the Rungler, which, in short, is a random stepped voltage that is created by the two oscillators. Any questions you may have about the Benjolin will most likely be answered by James Cigler’s in-depth video below. Reverb was added with Tip Top Audio’s Z5000.

The following is a response I received from Sylvan when I asked specific questions as to how the Rungler and Loop functions worked.

“When the rungler is in loop mode this basically means that the content of the shift register, which consists of the data contents of these 8 stages, are being recirculated or in other words the rungler no longer accepts new data from Oscillator A. Thus, oscillator A will have no effect on the pattern (assuming bmod knob is all the way CCW, otherwise changes in the rate of OSC A will effect the loop speed indirectly). But as you will notice, you still have control over the speed of the rungler pattern through Oscillator B. In sum, the content of the loop is locked down but the speed at which the data stages recirculate is still manipulable.

If you hear a change in the sound of the filter outputs this is because the audio input of the filter comes both from the Rungler and the PWM wave which is derived from the two triangle waves. Thus when the rungler is looping, a change in the rate of oscillator A still affects the PWM’d pulse wave, but not the stepped output of the rungler. In other words, the comparator is only indirectly related to the rungler, the rungler cv affects the PWM output through manipulation of the rates of triangles A and B which comprise the inputs if the comparator and which puts out a pulse each time the voltage level of Triangle A rise and then falls below the level of B.

This is how the Rungler Loop function works: whenever a voltage rises above .7 volts (whether obtained by a CV or the use of the offset knob) the rungler locks into a looping pattern, and conversely when it drops below this threshold the pattern breaks. Thus, running a +cv into the rungler, with or without the offset creates loop-hold patterns. Likewise turning the offset knob clockwise until the the rungler begins looping and then using a negative cv creates loop-break patterns.

The offset can also be used to control when the loop is triggered. Say for example, you’re running triangle wave at 5 volts p/p, without the offset the loop is triggered at +.7 volts automatically, but by turning the offset knob CCW you can lower the cv input so the Rungler Loops at the peak of the wave which would otherwise be impossible.”

James Cigler thoroughly dissects the Benjolin

Madrona Labs – Kaivo Demo

“This year at Decibel Festival I’ll be teaming up with my friend James Patrick of Dubspot and Ableton to talk a little about modular synthesis software, and give a sneak preview of Kaivo, my new physical modeling synthesizer. I’ve been working on Kaivo for almost two years now. Kaivo brings Aalto’s ease of patching to a new set of modules based around physical modeling. I’m excited to show off its interface and a few of the new sonic possibilities it offers.
I’m also very excited to be part of a panel with other instrument makers from Monome and Livid Instruments. The panel is called “New Media Hardware Platforms and Communities.” We’ll discuss what the current landscape of hardware from independent makers looks like, what it’s like to be one of these independent makers, and what unique possibilities this activity of locally sourced, community-focused hardware design offers culturally and musically. And what lies ahead? Please come share your thoughts.
Brian and Kelli of Monome will also be on hand to reveal Aleph, the new music hardware that they have made in collaboration with Ezra Buchla. I know a lot of people are anticipating this one!
My session with James Patrick will be Friday at noon at Broadway Performance Hall. The Monome presentation and new hardware panel will be Thursday afternoon. Times of some of the conference programs are still shifting, so please check the Decibel Conference Program for more info and breaking news.” – Randy Jones

Madrona Labs