Braids WTx4 By Peter Speer

Braids WTx4 from Peter Speer on Vimeo.

The “WTx4” mode on Braids is four wavetable voices, with control over wavetable position and note spacing.
Braids –> MMG –> Echophon
Z-DSP (Stereo Resonator program) in the Echophon’s feedback loop
Pressure Points is controlling MMG and feedback index VCA
Wogglebug is controlling Braids
Maths is controlling the output VCA

Diode-Ring

Psycho-Electro Nyquist Interference Synthesis

Glitchmachines – Proximity

square-PROXIMITY

PROXIMITY is a FREE download of 150 SFX by sound designer Ivo Ivanov.
Proximity is the third installment in our FREE Nanopack series. The goal with this series of sample packs is to bring you exclusive, high quality sound effects with the same uncompromising production values as our paid products.
Proximity features a collection of modular synthesizer sound effects featuring modules from Make Noise, Malekko and The Harvestman. You will find gritty one-shot modulations, electronic blips, bass stabs and glitches.

Glitchmachines Proximity

Indecent Machines Sample Pack

The Coil have released Indecent Machines, their first sample pack featuring 1.73 GB of 24-bit/96kHz .wav audio files and Kontakt kits intended for music producers and sound designers requiring complex textured sci-fi sounds and unique rhythmic artifacts.
“Indecent Machines is an industrial sci-fi sample collection of cybernetic machines created by producer/sound designer Chad Glenn. Inspired by a concept of mechanical disrepair and emergent AI consciousness, these sounds originated from field and studio recordings of various machines which were then processed through custom DSP algorithms using Kyma and other sound design tools. The result is a unique set of mutant robotics, mechanical snippets, evolving textures, rhythmic artifacts and menacing atmospheres appropriate for music and sound design projects of all kinds.”

The Coil

SSF Propagate Micro Beats by Joseph Fraioli

SSF Propagate Micro Beats from joseph fraioli on Vimeo.

micro beats – achieved by running four separate clock signals into the SSF propagate (chaos computer binary outs x2 clocked by the 4MS SCM and 2 channels of the 4MS PEG clocked by the SCM and divided) . Propagate delay and space times were adjusted then the SUM output fed into a vca. one sound source (cyclebox) was used for all of the micro percussion. the vca out then went into the tiptop z-dsp with dragonfly delay card. the program changes are happening by way of wogglebug stepped output to the program change in on the z-dsp. additional modulation of the parameters of the z-dsp are coming from the synth tech e355.
kick drum – hertz donut mark 2 through the make noise optomix with a bit of an openess on the control att to create the sustained drone.
hi hat like thing – SSF quantum rainbow purple noise out into the SSF PTG with additional level adjustment by the SSF ground control. this is then fed into the grendel formant filter then the mungo d0 for timbre variance. clock source for this is the pamelas workout into the PTG which is being clocked by the 4MS SCM.
reversed maths bouncing ball – one channel of maths being clocked again by the 4ms SCM with the fall time modulated by the synth tech e355. sound source here is braids being FMed by a dixie.
main clock source for the patch was an intellijel dixie.
verb from the h8000fw :)

Audio Damage – GrainShift/Errorbox/DubJr – Patch1

Audio Damage – GrainShift/Errorbox/DubJr – Patch1 from Richard Devine on Vimeo.

First late night jam with the new Audio Damage effects for Eurorack. Everything is being triggered/clocked via the Tiptop TriggerRiot. Kick drum source is the Cwejman BLD running into the “ADM02” Grainshift, turning the kick drum into granulated mush. Next source is the Z output from the Synthesis Technology E350 running into one MakeNoise – modDemix then sent to a TipTop Z5000, for intermittent CV control verb. The analog hand-clap from the Din Sync DrumDokta DRM-110 running into the “ADM01” DubJr Delay. Which is being strangled and mangled by one stepped output from the MakeNoise Wogglebug, which is also being clocked from the Trigger Riot. One sine output from the DPO running into another Optomix, triggered by channel A from Trigger Riot for synthetic double style FM high-hats, which is running into the Errorbox being slightly degraded and crushed. CV inputs Pitch and Chaos on the Grainshift controlled by erratic CV plot movements from the Rene sequencer (also clocked from the Trigger Riot). Bouncing ball effect from the MakeNoise Maths V2 channel output one, from FM Intellijel Rubicon, then sent to intellijel Planar for panning zigzag movements also being controlled by Maths V2, channel output 4. Drones running from the Mutable Instruments Braids into the Eventide Space reverb pedal fully wet mix.

Livewire – Chaos Computer

1278957_4917337746347_1326137186_o

Mike Brown of Livewire Electronics was one of the first people I met in the modular community when I started some 8 years ago. The Chaos Computer was more of a myth than an actual module in the 5 or so years it took to develop. It would show up in various incarnations, growing in features and then disappear for years. Then Mike died.

When Steve Rightnour of Monorocket handed me the Chaos Computer this weekend, I was equal parts thrilled and saddened. Thrilled because of the obvious reasons of obtaining a module that you’ve heard, tested, and lusted after for several years but saddened because its another Livewire Electronics design that became realized, finalized and put into the “done” category in Mike’s legacy. This thing is in for a world of hurt, just as Mike would’ve wanted it to be.

Livewire
Monorocket

Modular Wild made a few videos showcasing the random voltages, and audio rate clocking features of the Chaos Computer.

Knobcon 2013 In A Minute

Went, conquered, had an amazing time! Quick gear porn video.

Pictures by Raul Pena

Glitchmachines – Vulcan

Vulcan-web1

Glitchmachines release VULCAN, the third installment in a new MACROPACK sample pack series.

“VULCAN is the third installment in our new MACROPACK series. Macropacks are affordable sample packs that feature high quality sound effects equally geared toward music production, multimedia and game audio projects. Vulcan features 300 sound effects by Ivo Ivanov, inspired by legends of hostile, uninhabitable worlds.
The epic spirit of this sample pack is suitable for projects in need of ominous, bold and aggressive material with a sinister technical twist. You will find earth shattering apocalyptic impacts, brutal metallic collisions, dissonant cataclysmic drones, colossal atmospheric contortions and foreboding complex composite effects.
Vulcan comes with 1.6 GB of audio content, which has been meticulously crafted to compliment modern productions in need of sophisticated, technical and forward- thinking sound effects. This Macropack includes Kontakt 5 kits for instant access & playability.
Whether you are an electronic musician working on your next big release, a sound designer working on a motion picture trailer or a game audio engineer developing assets for a blockbuster sci-fi game, Vulcan delivers uncompromising quality at the highest possible value.”

CONTENT & FORMATTING:
• 1.6 GB of 24/96 .wav audio files
• Sampler Kits for NI Kontakt
SYSTEM REQUIREMENTS:
• Approximately 1.6 GB of free hard drive space
• Native Instruments Kontakt 5 for Kontakt content
AVAILABLE NOW FOR ONLY $9

Glitchmachines Vulcan

Broken Delay – d0 CV Disturbances Patch

Broken Delay – d0 CV Disturbances Patch from Richard Devine on Vimeo.

Second patch using the karplus strong feedback setting with the Mungo d0 dual channel delay. This time taking both sine outputs and one from the final output from the MakeNoise DPO (only sound source). One sine was running into the d0 delay line A, and the other into B. The clocking source was the MakeNoise wogglebug, using clocked and gate bursts out to create random gestures and clusters. The wooglebug clock was then sent to a mult which was then clocked to the 4ms SCM input, shifted and rotated, to skew the timing even more for dotted tails and decays. Both sine outputs ran into the Optomix, strike input via the S5 output on the 4ms SCM. The changes in delay time A/B from the random stepped output from the wogglebug. This is the second experiment using the d0 as the main processing source, which can generate some very interesting broken glitchy iterations in the feedback path. The entire mix was ran into a Eventide space pedal for light reverb effect.