BL_K NOISE – LA, January 25th, 2013


The 6th annual convention inspired event brings together forward thinking production groups Droid Behavior, Capsule Labs, Trash Audio and Friendly Integration to present a night of analog and digital hardware performances. Expect a variety of modular synthesizers, drum machines, control voltage and random noise generation. These activities will take place at Capsule Labs pressing plant. Vinyl production demos will be held throughout the night as well a direct to lacquer disc recording of select performances. BL__K NOISE is for industry by industry. Outside guests and appreciators of the art are welcome.

Vatican Shadow (Live PA)
Alessandro Cortini (Live PA)
Mark Verbos (Live PA)
Richard Devine (Live PA)
Drumcell (DJ Set)
Surachai (DJ Set)
Baseck (Live PA)
Derek Michael (Live PA)

Capsule Labs Pressing Plant
2415 Eads St. Los Angeles, CA 90031
9PM – 4AM | $20 | 21+
Early Arrival Suggested

* Tickets are limited to around 200 and are going very fast!
Presale Tickets:
Facebook Event Page

SoundWorks Collection – Zero Dark Thirty

Interesting reasons to use mono, avoid ADR, capture region specific environments, and enhancing reality.

In this exclusive SoundWorks Collection profile we talk with Oscar winning Sound Re-recording Mixer and Supervising Sound Editor Paul Ottosson about his work on Director Kathryn Bigelow’s film, Zero Dark Thirty.

SoundWorks Collection

Form Thirty-One

Richard Devine & Surachai. Quick patch recorded in mono.
Filmed in Richard’s new studio in Atlanta, Georgia.

Valhalla Vintage Verb

For $50, you get all this!

8 true stereo reverb algorithms
Concert Hall. Based on the hall algorithms of the late 1970s and early 1980s. Huge spatial image, echo density that can be adjusted from very sparse to very dense, and lush chorusing modulation.
Bright Hall. Similar to the Concert Hall algorithm, but with a brighter initial sound, and deeper and lusher modulation.
Plate. Inspired by early 1980s plate algorithms. Highly diffuse, bright initial sound, high echo density, lush chorused modulation.
Room. Emulates the sound of early 1980s room algorithms. Medium diffusion/early echo density, somewhat darker sound, chorused modulation.
Chamber. A transparent and dense algorithm. Highly diffuse, high echo density, less coloration than Plate/Room algorithms, chorused modulation.
Random Space. This generates DEEP and WIDE reverbs, with a slow attack, and more diffusion than the late 1980s algorithms that inspired it. The modulation uses internal delay randomization, to reduce metallic artifacts without the pitch change that can occur in the algorithms with chorused modulation.
Chorus Space. Same as Random Space, but with the delay randomization replaced with lush chorused modulation.
Ambience. Combines time varying randomized early reflections with a full-featured reverb tail, with the balance between early and late reverb controlled by the Attack knob. Useful for adding “air” to drums, vocals, and any place where a reverb should be felt but not heard.

3 color modes for dialing in the tone color and sonic artifacts of a specific reverb era:
1970s. Replicates the reduced bandwidth of the earliest digital reverberators (10 kHz maximum output frequency). Downsampled internally, to reproduce the artifacts of running at a lower sampling rate. The modulation is dark and noisy, and can produce strange and random sidebands with sustained notes. This is intentional.
1980s. Full bandwidth / sampling rate, for a brighter sound than the 1970s. The modulation is still dark and noisy, but will produce different artifacts than the 1970s mode as it is running at the full sampling rate.
NOW. Full bandwidth / sampling rate. The modulation is clean and colorless, versus the funky artifacts of the 1970s/1980s modes.

And this is why I love ValhallaDSP: The copy protection is based on a simple keyfile, and the plugin can be installed and used on multiple computers. No dongle required, no challenge/response.

Valhalla Vintage Verb

Harvestman – Remodeled


Scott Jaeger of Harvestman uploaded this picture. Prepare yourselves.

NoiseTheorem – Dust

NT-DustNoiseTheorem – Dust
07 December 2012
All songs written, performed and recorded by Tony Scharf, AKA NoiseTheorem

With special guests:
Janet Paliatka (Vox on ‘Dead Hands’)
Nikki M. Pill(Vox on ‘Emergent Forces’)

NoiseTheorem would like to thank:
Angela, Trent, Jason Weaver(Invasive Species Radio), Don Hill (Millipede), Kassi Kork (mend), Scott Jaeger (The Harvestman), Suit & Tie Guy, Rod Mitchell (Atomic Shadow), Niall Munnelly, Muffwiggler forum, Justin McGrath
NoiseTheorem Facebook
NoiseTheorem Twitter

Halfanese – Michelle

Michelle from Francis Kmiecik on Vimeo.

Model: Michelle
Video: Halfanese
Audio: Surachai

Glitchmachines – Spore

SPORE is a FREE download of 50 royalty free sound effects by sound designer Ivo Ivanov.

This Nanopack features an exclusive collection of hyper-stylized sub bass impacts, massive cinematic drones, and eerie mutated atmospheres suitable for game, multimedia, or music projects in need of fresh audio assets with a modern, high tech aesthetic.


Approximately 500 MB of 24/96 .wav audio files
All audio files are embedded with Soundminer metadata

Glitchmachines Spore

Richard Devine – RISP Digitally Available

Richard Devine’s RISP is now available digitally on iTunes & Amazon
RISP on iTunes
RISP on Amazon
RISP Vinyl/CDs at Detroit Underground

Tip Top Audio – Z4000 Envelope Generator

“In this example the Z4000 controls the frequency modulation of both Z2040s in the patch, one Z2040 is set to self oscillate while the other Z2040 pass sounds coming from the hats909. The light on the Z4000 swings from yellow to red as the envelope moves between the two polarities. Z8000 modulate the attack and sustain. Bass drum is coming from the …yes the upcoming BD909. And a tad of delay by the Z-DSP.”

“This patch is an example of how two Z4000 cross modulating each other, the out from the right Z4000 controls the frequency of the Z2040 but also triggers the left Z4000 which control the decay of the right Z4000 and on and on and on… Z3000s mix of saws are the sound going into the filter.”