I Dream of Wires: Hardcore Edition

“I Dream of Wires: Hardcore Edition” 2013 official trailer from I Dream Of Wires on Vimeo.

IDOW-HE is a strictly limited-edition item, available to order exclusively through idreamofwires.org from 2/11 – 5/31, 2013. It’s bound to sell out in pre-orders, so don’t sleep…
IDOW-HE BluRay / 2xDVD is available to pre-order now:

Hydrophones + Embers / Georgia


Stereo underwater recording of burning embers of wood using two Aquarian Audio H2a-XLR hydrophones. Recorded at Anglers Point Blairsville GA on Lake Nottely on New Years Eve with Surachai. Captured with the Sound Devices 744T at 192khz – 24bit. Download the 44.1khz-24bit version here. – Richard Devine


We didn’t go to NAMM this year but a bunch of other people did and this is what we’re excited about.

Quad Clock Distributor (QCD)
Quad Pingable LFO (QPLFO)
Shifting Inverting Signal Mingler (SISM)
Pingable Animation Generator (PAG)
PEG Parameters (PEGP)

Make Noise
“MMG filter based on the QMMG. Single channel. Vactrols based. Voltage controlled mode fades continuously from LP to HP. Has Strike and Accent inputs. Voltage Controlled Resonance with automatic gain compensation. Input has compress and clamp circuit for overload.”
Screen Shot 2013-01-29 at 11.22.48 AM

RXMX Routing Mixing Module



Synchrodyne Expander

Tip Top Audio
Trigger Riot – More Information

Buchla Easel


Korg MS-20 Mini

Dave Smith Instruments Prophet 12

Harvestman – English Tear / NAMM Notes


Many good things were displayed at NAMM. To me, one of the most important was the new Korg MS-20 Mini. I played with it for a long time and enjoyed it very much. It is very close to my full-size model. The MS-20 itself is an electronic instrument of extreme cultural importance, being the tool that motivated the development of several significant electronic music styles. This new version, available to all at a very low price, can only mean good things for the further development of these styles, and modular synthesis technique in general.

Because of this impending instrument release, I announce with great satisfaction ENGLISH TEAR, the first in a line of small utility modules. This module features the expected “voltage processor” attenuverter and big offset knobs, but also includes a full set of functions for interfacing to an MS-20. Easy conversion from exponential volt-per-octave to linear hertz-per-volt and back, as well as V-trigger to S-trigger conversion. Jack normalling fixes the voltage processors to these converter circuits, so you may scale the input voltages as desired. The log/expo converter ciruits also have many other uses in your modular system beyond the conversion of pitched voltages.

Price? Cheaper than anything else I’ve done. It will be released when the MS-20 comes out. I was thinking of dropping it into the Zorlon/Donut production run scheduled for April, but if the MS is somehow released before that I can expedite the build.

– Scott Jaeger of Harvestman

Los Angeles – January 2013

TRASH_AUDIO went to Los Angeles to aid DROID BEHAVIOR with throwing BL_K NOISE all the while avoiding NAMM. BL_K NOISE was incredibly well received, one of the best shows I’ve been to, and lucky to be involved with.

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: http://www.droidbehavior.eventbrite.com
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.