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


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.


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


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.”

• 1.6 GB of 24/96 .wav audio files
• Sampler Kits for NI Kontakt
• Approximately 1.6 GB of free hard drive space
• Native Instruments Kontakt 5 for Kontakt content

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.

Alessandro Instagram

Critters, synths, Nails.

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My corner (and @treznor ‘s piano) from the Troubadour show. #nin2013 #prophet12 #tascam #nagra #elektron #soundplane #op1

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Art Direction : @rob_sheridan

Alessandro’s Instagram

Version Industries Blog: surachai_090313

Caspar of Version Industries wrote up on the process of creating the artwork to Embraced. He’s created some of my favorite artwork for Big Black Delta, Sonoio, and the recent Activator. His clients include Louis C.K., Daft Punk, and of course, Jennifer Lopez. I’ve always loved his artwork, as if you could touch them, or already have had a physical encounter with them before – instant nostalgia. I was curious what he’d do when given the direction of “extreme” and fuck me was I blown away.

“i met surachai sutthisasanakul through alessandro cortini. alessandro would always be laughing about something surachai sent him via email or ichat – usually something grotesque pulled from the murkier depths of the internet. sharing a penchant for the disgusting to the point of having a secret online forum where my friends and i post the most vile things we can find, i knew one day i had to meet this surachai.

the first thing that struck me about surachai’s music was that it didn’t immediately fall into any categorization other than the one he chose to put it in himself. it was spawned from black metal for sure, but really it was a melange of things both experimental and cinematic. moreover it marked a departure from the slightly ridiculous “second wave” of black metal that i’d read about in the pages of UK rock rag kerrang! during my teenage years.

surachai put out two LPs before he and i had a chance to work together. both of these releases in terms of their accompanying artwork revealed once more a taste for a more refined, original and considered presentation than you’d expect from the genre. surachai himself even quipped that his sound was more ‘plagued’ metal than ‘black’. either way all my friends were impressed with the sounds he was making and whilst it still wasn’t entirely my scene, he had me convinced it was worth some serious attention.

it must have been late last year that surachai told me he wanted me to work on the artwork for his next record. given he’d already employed the likes of bridget driessen and sarah sitkin to handle such duties on his last two records, it came as a great compliment. he said the record wasn’t anywhere near done yet, and in typical fashion i told him i’m not really much use until i hear something closer to the final music. it’s always the sense that something’s close to done that allows me the chance to fully immerse myself and see what images come.

finally in march of this year i holed myself up in my studio for the weekend, put the record on loop for the umpteenth time and let loose. i remember clearly that i’d wanted to create something close to how it felt to read the end of DM thomas’s novel the white hotel. this was a book i’d recently finished that had an ending so fiercely out of left-field that i’d found myself in tears on the train i was riding at the time. the feeling of despair i’d been left with was quite unmanageable and combined with a photograph surachai had shown me a few weeks before of fingernail scratch marks on the wall of a concentration camp gas chamber, i felt compelled to make him something that would tear the world down. something that at the very least was as harrowing and sad.

however, as i’ve learnt over the years if you go into these things trying to force a thing like that or even start with a visual idea so incongruent from what you were actually hearing in the music and lyrics of the songs, it’s not going to work. i hold the belief that the artwork for a record must in some prevalent capacity be a visual response to the sound. it can speak to outside influences without question – doubtless you and the band will have discussed the many ideas that went into making the songs – but hopefully you’ve not been hired to simply imitate another artist or illustrate someone else’s description. hopefully your job here is to interpret what you hear visually, and in so doing create something that gives people a unique and unconscious taste of what they’re about to hear.

the lyrics to embraced of course painted a dark, bleak and hopeless image, but one of a resoundingly science-fiction nature. in fact once i started to really listen to them in the context of the music, all the imagery and ideas i’d had up tp that point about how the record should look and feel just fell away. i was all of a sudden very clear on what i wanted to make and soon i was looking at a dark field of stars with some kind of nightmare seeping slowly and bloodily out of its shadows, ruptured amniotic sacs and all.

not wanting to make the visuals too alien and dissociative for people, the album’s inside spread was a way for me to humanize the overall story i was trying to tell. i wanted to show some kind of ‘down to earth’ response to the horrors out there in space – some kind of worship perhaps. it was then that i remembered i’d taken photographs of my friend lena marquise performing a macabre burlesque piece in the early hours of the morning at a club i used to work at. flipping through them again it wasn’t long before i was adapting them to this new world i’d created.

surachai didn’t hesitate for a moment when i sent him the final layouts. in fact i think it was just minutes after emailing him that i got a message from him on ichat saying, ‘i fucking LOVE you.’ still i can’t say i wasn’t terrified as to what he’d think. interpreting someone else’s music with a picture takes a lot of trust, and you just have to hope they really understand what they’re asking when they hire you for the job. in this case i think it’s fair to say we made a good match and i’m still incredibly honoured to this day to have been responsible for producing the artwork for such a fantastic record.”

Version Industries Surachai Blog
Surachai – Embraced

TRASH_AUDIO Synth Event 13. October 27th. Asheville, NC.


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Facebook event page started: HERE!!

Hey. This is next week.

Alessandro Cortini added to the live performance lineup and Justin Mcgrath will be teching for him – this means the entire TRASH_AUDIO crew will be in attendance! How To Destroy Angels canceled their show at Mountain Oasis Festival and is giving us their leftovers.

Official announcement on Mountain Oasis’ site

Mountain Oasis is proud to partner with TRASH_AUDIO to bring you Synth Event 13 Sunday, October 27 live at The Apothecary from 1:00-7:00PM. TRASH_AUDIO is an audio artist collective comprised of four accomplished musicians and highly regarded sound designers- Alessandro Cortini (Nine Inch Nails, How To Destroy Angels), Justin McGrath (Nine Inch Nails, former Senior Sound Designer for Motorola Mobility), Richard Devine (Recording Artist, Sound Designer), Surachai (Sound Designer, Location Sound Engineer, Recording Artist).

Synth Event 13 will feature manufacturer demonstrations and hands on opportunities to interact with the products and people responsible for making them a reality. These demonstrations will be followed immediately by live performances curated by Richard Devine to close the evening. Come by and experience these incredible creations live thanks to TRASH_AUDIO.

Full details on participating manufacturers and live performances can be found below. TRASH_AUDIO Synth Event 13 will be open to the public, including all Mountain Oasis pass and ticket holders, free of charge.

The Apothecary
39 S Market St #B
Asheville, NC 28801

TRASH_AUDIO is confirmed for the Apothecary in Asheville, NC for October 27th! We’re working with Mountain Oasis Festival to make sure we get publicity and an audience. We’re currently reserving spots for manufacturers so if your company has not been contacted and you are interested, please e-mail and we’ll work it out.

Following the template of the last few T_A events, Synth Even 13 will feature manufacturers for the first part of the day and performances curated by Richard Devine to close the evening.

Confirmed Manufacturers:
Abstract Data
Enclave Cases
Keith McMillen Instruments
Macro Machines
Make Noise
Malekko Heavy Industry Corporation
Steady State Fate
Snazzy FX
The Harvestman

Jason Butcher/Don Hassler
Carl Oliver
Richard Devine
Walker Farrell
Alessandro Cortini


Record Release Party For Make Noise Records 003. September 8, Brooklyn, NY.

Make Noise Flyer 2013-01-01

Demonstration / Question & Answer with Tony Rolando of Make Noise.
416 Lorimer St #1R
Brooklyn, NY

Record Release / Performances
Robert A.A. Lowe
On A Clear Day

9pm – 12am
The Silent Barn
Top Floor
586 Bushwick Ave
Brooklyn, NY