NAMM 2016: Live updates from the show via Instagram!

A quick note…please follow @trash_audio on Instagram for some live updates from NAMM2016, the BL__K NOISE show (which is now sold out) and any other random stuff we get up to!

Richard Devine – Make Noise Tempi – Samurai Math Beats

MakeNoise Tempi-Samurai Math Beats from Richard Devine on Vimeo.

Sneak peak first patch with the TEMPI module by MakeNoise. TEMPI is a 6 channel, polyphonic, time-shifting module. It provides an intuitive method for the creation and recalling of complex clocking arrangements within a modular synthesizer system.
The primary user interface and programming elements for the module are six large, illuminated buttons:
BUTTON-1 through BUTTON-6, and two smaller illuminated buttons:PGM_A and PGM_B. The module is able to store up to sixty-four clock/timing scenarios called “STATES”, arranged in four BANKS of sixteen. An LED is used to indicate the current BANK by and changes in STATE indicated by . There are INputs for External TEMPO, a Gate INput for MOD, and STATE Selection via a CV INput (with Combo pot for attenuation) and / or GATE INput.
The primary goal of this module is to have the maximum amount of artist-controlled musical variation with a minimum amount of data inputs.
Specific notes about the patch:
All the beats are being sequenced by the Tempi module. There are several stackable cables going out to two Addac Wave players, each playing 72 samples each, and the main drums are coming from the Nord Drum 2, which is then split into two signals one being processed by a Mungo g0 dual delay/storage strip clocking through different delay feedback presets. Then the outputs from one of my ADDAC 101 waveplayer’s was then being processed by a Qu-Bit RT-60, and another RT-60 was processing the output of the other ADDAC 101 waveplayer. Running both at the same time and then using one of the Gate outputs 5, and 6 from Tempi to switch through different effects on the RT-60’s and at the same time triggering different samples. This is what was creating the different effects processing happening at specific time intervals. Snare noise sound coming from the Hex Inverter new Snare module. Other modulation coming from the OmniMod module from Macro Machines, going out to the Folktek Matter module adding in some of the extra tiny glitches and textures. The drone chords come from the ALM’s ALM011 / Akemie’s Castle running into the TipTop Z-DSP halls of Valhalla card using program 8. The bassline is from a Modcan FMVDO running into a MakeNoise Optomix. The high harmonic notes played via a Mutable Instruments Ring Module, sending out a clock from channel two from Tempi into X clock input on Rene. Everything was recorded in one take.

BL_K NOISE – January 22. Complex, LA.

blknoise-nomod

The 8th annual convention inspired event brings together forward thinking production groups Droid Behavior, Trash_Audio, and Celebrate Everything to present a night of analog and digital hardware performances. Expect a variety of modular synthesizers, drum machines, and video projection. Everyone is welcome!

DJM/REX [Douglas McCarthy and Cyrusrex]
Richard Devine [Modular Set]
Mark Verbos [Hardware Set]
Hypoxia [Modular Set]
Surachai [Hardware / Visual Set]
Polyfuse [Hardware Set]
Baseck [Hardware Set]
Oliver Dodd [Hardware Set]
+ Special Guest – Venetian Snares’ Drum Machine

Complex
806 E Colorado St
Glendale, California 91205
9pm – 2am
$10 Presale / $15 Door

Presale Tickets
Facebook Event Page

Richard Devine – Strum

Strum from Richard Devine on Vimeo.

This was a patch experiment using the new Mutable Instruments Rings and Clouds Modules, and trying to create organic guitar like sounds. The inspiration came from playing around with the Clouds Parasites 1.3 alternate firmware running in the Resonator Mode highlighting the “scatter” (or strum) function. The master clock was the Tiptop Circadian Rhythms module, taking the first 4 outputs into my Nord Drum 2 for the Kick, snare, closed and open hi-hats. From there the clock output from the CR was multiplied and then sent to the Modcan Touch Sequencer. First row output from the TS was sent to the intellijel Shapeshifter creating a two note baseline sequence that comes in at 1:58. The second sequence Row2 output from the TS was sent to the “ALM Akemie’s Castle” module OSC A output using the chord function, that comes in at 25 seconds. The gates from the modcan where set to a 16th’s pulse sequence. Modulation from the synthesis technology E102 Quad Temporal Shifter output 1 modulating the Multiplier input on Operator 1. The 2, 3 and 4 outputs from the E102 where also modulating the Operator 2, 3, and 4 inputs on the Akemie’s Castle. This was creating the harmonic timbre changing as the sequence was playing.
The slowly evolving sweeping noise textures that come in at 1:09 is from the Music Thing Radio Music module. The sample was white noise sampled then the output was sent to the intellijel HexVCA with the amplitude CV control via a Intellijel Dixie modulating from slow to high rates (free running). The Make Noise Rene was being externally clocked from the Circadian Rhythm, and was sending out a quantized output to the Mutable Instruments Clouds pitch input creating the chord guitar sequence. The strum sounds on Clouds was played by the 4ms QCD running in 32th division output into the Trigger input. The freeze input was also triggered by a Ladik R-110 Random clock module. The combination of the two created the trill chord like strums.
The bass guitar tone sounds that come in at 1:24 are from the MakeNoise Mysteron, that are sequenced by the Modcan Touch Sequencer, Row Output 3 was programmed in the same key but a lower octave. The “Rings” module was creating slow attack soft high pitched chords in reverb that come around 2:50. There was additional processing of the Clouds output that was sent into the Tiptop ZDSP module running the “Halls of Vahalla” card program 8 “Ginnungagap” creating the high pitch octave deep reverb shimmer effects. The harmonic slow swells that come in at 3:30 where created using another intellijel Dixie oscillator sine output running into an Strymon “Big Sky” pedal being harmonically controlled by an intellijel µScale V1. The output was being played slowly then processed using the “Choral” mode, creating the slow shimmer swells. The entire mix was sent into the Eventide Space pedal using the “Corridors” patch.
Download the free track
Mutable Instruments Rings
Clouds Parasites Firmware

Tip Top Audio Records – Various Artists 002

Another incredible release from TTA Rec!

The second issue of Tiptop Audio Records attests to the label’s attitude towards developing a nuanced sound set to become a standard for production.

The line-up for Tiptop Records includes MATT LANGE, ANGLE, JOAO CESER, MARKUS FIX, BLACK SHAPE, DRUMCELL & LUIS FLORES, HUBOT, FLORIAN MEINDL, JOHN TEJADA, SCANNER, M.O.T., RIEMANN; the names of a scene now described as ‘Modular Techno’, which consists of a fast growing group of artists interested in expanding their compositional techniques through modular synthesizer systems.
The vinyl format is a testimony to the label’s dedication to produce music in a physical form.
It is an invitation to a territory of oscillations, and a trip of 10 (+ 2 extra digital) tracks that reconsiders the concept of sound design applied to electronic club music.

Tiptop Audio Records – Various Artists 002 – Official Teaser from Tiptop Film on Vimeo.

Tip Top Audio Records

Venetian Snares – Magnificent Stumble V2

Now I understand why he waited over a year to release this video, new modular album! Expect more…

Venetian Snares Bandcamp

Datach’i – Grain de Folie

Datach'i – Grain de Folie from Joseph Fraioli on Vimeo.

No external computers or hardware were used in this performance.
A patch built around the new “Grain de Folie” ZDSP card by TipTop Audio.
tiptopaudio.com/zdspcart.php?cart=gdf
The melody starting at :40 seconds is the TipTop Audio ZDSP running the “Grain de Folie” card which is processing Mutable Instruments Elements thats being sequenced by the Circadian Rhythms and z8000 with voltage quantization by the Intellijel µscale. The program used is #6 “Six Grains Stereo”. Modulation to grain sizes 1 and 2 coming from the Modcan Quad LFO.
///// from the manual /////
Granular Synthesis uses small slices of sounds (‘grains’) to compose new sounds from existing material. By combining multiple grains of differing lengths, amplitude, pitch and speed creates very characteristic sounds of modern music.
Xenakis claims to have invented the technique and indeed his ‘Analogique A-B’, composed of tiny tape splices of pure tones, is credited as the first piece of granular music in 1959. Tape editing proved extremely time consuming, but by the 1970s digital processing could take the place of tape splicing. Curtis Roads dove into the early computer based granular synthesis and made some of the classic techniques known through his recordings, teaching and texts like ‘Microsound’. Today, most computer audio programs have some sort of granular synthesis engine or plugin. Dr. Richard Boulanger has used granular synthesis in CSound to great effect and he is also a beta tester for this card.
The French phrase for the cartridge is “Grain de Folie” which could be translated as “seeds of madness”, but in French “grain” also translates to “grain”, and “madness” evokes the strange disassembling/reassembling granular process. Also, “avoir un grain de folie” is a typically French expression to describe people behaving in a non conventional way, thus a fitting play on words.
How it works:
Granular processing requires a block of memory to hold digital samples for playback, and the Z-DSP has one second of memory for the audio used in processing. From this audio buffer the grains will sample smaller sections for playback.
The number of grains in the process determine how dense the overall output sounds. These programs have 3, 4 or 6 grains for playback. Each grain plays from a random point in the audio buffer and have an independent envelope controlling their duration. The envelope time is the ‘grain size’ parameter in many of the programs.
In the context of the Z-DSP, the FV1 (the DSP brain) is really not designed for grain synthesis (due to technical choices like a “circulating” delay memory, and the lack of indirect memory access), but the chip also has other design niceties that help overcome its limitations…
This cartridge implements a simple and customised granular synthesis with a limited number of grains, and parameters that mainly control the size of grains and their positions in the sample. One nice aspect of the Z-DSP is that it uses live inputs (granular synthesis is usually based on a pre-recorded sample), so it can disassemble live input and reassemble it in real-time into a different order resulting in a (usually !) nice sonic transformation of both texture and the rhythm.

Six Grains Stereo
Six independent grains have a random playback position with control over the size of each grain. The two size controls each set the size for half the grains so two different textures or rhythms can happen at the same time. Three grains are sent to Left output and the other three to the Right creating a spatial spread.
VC-DSP1 – Live / Freeze / Feedback. See the Control section above
VC-DSP2 – Grain size 1. Sets the maximum size of half the grains
VC-DSP3- Grain size 2. Sets the maximum size of half the grains
Datach’i Facebook
Datachi.com
Tip Top Audio

The Black Queen – Maybe We Should

Fever Daydream out on January 29th

A longtime secret that is slowly seeping out. The Black Queen is: Steven Alexander, Joshua Eustis (Telefon Tel Aviv, NIN), Greg Puciato (The Dillinger Escape Plan)

The Black Queen

Alessandro on RA Exchange

Apparently Alessandro is a “legend in the making”. LOL.

Alessandro Cortini’s first instrument was guitar. But when he moved from Italy to Los Angeles to study it, he fell headlong into synthesizers, and he now says it’s been ages since he’s picked up his old axe. Cortini is most widely known as a member of Nine Inch Nails, a band he’s played in and toured with on and off since the early 2000s. It was on a video shoot with the group that he came face to face with a Buchla synthesizer, and the near-mythic modular systems soon became an obsession. Over the course of the 2010s, Cortini has used his Buchla and innumerable other synths—his collection must be seen to be believed—to craft a discography ranging from thoroughly experimental ambient sounds to tracks verging on techno. Since 2013 alone, he’s released five albums under his own name: a trio of records called Forse and a pair of releases for Hospital Productions, most recently Risveglio. Jordan Rothlein caught him at the tail end of this year’s Berlin Atonal festival, where he was part of three separate performances, to hear his story.

Malekko / Roland – SYSTEM-500

Screen Shot 2015-11-19 at 11.27.24 AM

SYSTEM-500

Based on the classic SYSTEM-100m modular synthesizer, the SYSTEM-500 is a fully analog recreation of one of the most revered electronic instruments of all time. Newly designed in Eurorack format, the SYSTEM-500 delivers the classic character and functionality of the original with the advantages of a modern instrument. Built in the USA and assembled in Japan, the SYSTEM-500 is made to exacting standards with top-quality components and solid controls. And it’s surprisingly affordable, turning the fantasy of finally owning this legendary instrument into reality.

Classic System. New Format.

The SYSTEM-500 consists of Eurorack format modules that you can mix and match in any combination to create the ultimate Roland modular synthesizer. Each module is completely analog and has been designed for maximum compatibility with the world of contemporary synthesizer and effects modules. The SYSTEM-500 is a compact, powerful system that opens up vast possibilities for sound design and musical exploration.

512 DUAL VCO
The 512 Dual VCO (voltage controlled oscillator) is a single module consisting of two voltage controlled oscillators. Each independent VCO produces frequencies across a wide range with 1V/octave tracking and dedicated pulse, triangle, and saw wave outputs. Variable pulse width is available via panel control or CV modulation. Each oscillator’s frequency can also be synchronized to the other in weak or strong modes to achieve a unique “sync” sound.

521 DUAL VCF
The 521 Dual VCF (voltage controlled filter) module features two separate low pass filters for modifying the timbre of audio sources. Each filter has its own dedicated controls for frequency cutoff, resonance, and a fixed high pass filter with two switchable cutoff points. Audio and CV input mixers on each channel allow the blending of multiple audio signals and modulation sources.

540 DUAL ENVELOPE GENERATOR + LFO
The 540 Dual Envelope Generator and LFO (low frequency oscillator) is a multi-purpose modulation source. This unit features two independent ADSR (attack, decay, sustain, release) envelope sections that produce variable voltages for controlling other Eurorack format synthesizer modules such as oscillators, filters, and VCAs. Each section can be triggered externally, internally, or manually with dedicated jacks for each envelope, as well as an inverted output.

530 DUAL VCA
The 530 Dual VCA (voltage controlled Amplifier) features two independent voltage controlled amplifiers for controlling the loudness of audio signals. Each VCA has three sliders for an audio input mixer, three sliders to mix CV inputs, and a selector switch for linear or exponential response modes.

572 PHASE SHIFTER + DELAY + LFO
The 572 Phase Shifter, Delay and LFO is a time-based, multi-effects module. The 572 includes a five-stage phase shifter, analog audio delay, a control voltage gate delay, and an LFO. The phase shifter has panel controls for shift frequency and resonance amount that can vary from subtle to a deep, lush analog effect. Similarly, the audio delay has independent knob control of delay time and resonance (or feedback) for short chorus-like modulation delays. Both the phase shifter and delay can be modulated by the 572’s internal LFO or external CV signals and feature wet/dry effects mix controllable via the front panel or with CV.

The LFO section has a knob for controlling frequency and features both normal and inverted output jacks. The gate delay has knobs to control threshold, delay time, and gate time for modifying incoming gate signals from other modules.

Malekko
Roland

Page 4 of 105« First...«23456»102030...Last »