I’m currently working on our main video and these modular demonstrations are a bit too long to be included so I’ve separated the equipment demonstration/interviews and will present them as fast as I can upload them.
Here is Anthony Rolando of Make Noise showing off two controllers: Pressure Points and René.
Last night in LA, Richard did this and it blew my mind. I think twice:
Tonight Trash_Audio is hosting around fifty complete weirdos for a BBQ, I’ll post some random realtime photos via twitter.
And finally, Thursday in Chicago my friend Jason (DJ Tacopunch) and I are going to start a monthly night that we’re pretty excited about, I’ll post more about this when I am back in town:
First topic, is anyone going to the NAMM show this year? We’ll be there but there’s also a cool event happening this Friday evening with a nice lineup of performers, including: John Tejada, Richard Devine, Deru, Laura Escude, Scott Pagano, CPU, DJ Kero, Acid Circus, Derek Michael, Baseck, Eezir, Trifonic, DJ G Ov, Moldover, Henry Strange, Peter Kirn and very likely more that are not mentioned. You can find Workspace and Environment interviews/photos with three of the artists mentioned by checking out the sidebar on the right. This way —>
Besides that, I just found this awesome interview with Chromeo where they are talking a bit about gear:
- Do you ever buy a keyboard or a synthesizer just because you know it was used by someone you look up to?
- Chromeo: Oh yeah. Like I know, pretty much, you can give me any song and I’ll tell you what keyboard was used.
- [Hall and Oates’ 1981 hit single] “Private Eyes”?
- Chromeo: Private Eyes!? That’s a CR78 drum machine, a CT70 Piano. I actually, when I bought by CT70, I recreated [that] song. Cause I had all those machines. [Laughs]. And most of Hall and Oates is CR78, LM1 drum machine, or CT70 piano. And I also know that ‘cause we’ve done shit with them. [Laughs]
And finally, I just came across a video demonstrating the ‘Rock Band Network’ which will essentially let users upload their own music content but also embed the rock band performance data within, so a user can ‘sequence’ their own patterns to their own songs. I think this will become pretty insane when it launches:
Justin graciously let me borrow his Roland TR-808 and when trying to program some patterns I noticed a few problems. A) I’m clearly too stupid to work this machine – I eventually figured it out but off the bat, both the Pattern knob the Auto Fill In knob were double teaming my brain and left me staring at shifting patterns that mocked me with changing tempos. B) The sequencing buttons themselves have been accumulating grime over the years which makes it difficult to activate a note. I would gladly take this thing apart and clean it but it’s not mine. C) It’s outdated. While the interface is preferred for many people, I’d rather do this on a computer or something more flexible like a Machinedrum. Long story short, I decided to sample it and save people the hassle of finding/buying one. Oh yeah and it’s free.
All the audio came out of the Hi Level Master Output of the TR-808 into a Focusrite Platinum Voicemaster Preamp then hit a RME Fireface UC and was recorded at 24 bit 48 kHz in Logic and saved as AIFF files. I used AudioFinder to create fade in and outs manually on every sample, batch normalize and rename. I tried to keep the signal chain as short as possible as I’ve heard TR-808 sample banks that sound like processed garbage. I have two versions of this sample pack – the first one being a dynamic version that includes one shots of the samples as they hit my interface, with the different parameters on the Bass Drum, Snare Drum, Cymbals, etc. the volume changes dramatically. Additionally there is an alternate version where all the samples are normalized to 0 dB. I see reasons to have both as an option but if you’re in doubt, grab the normalized version. I made this for myself and was going to share it with a few close friends but figured the world might find some use for it.
Suggested $3 Donation.
[co]sen_tasi has been an ongoing collaborative effort between myself and JP Robles for the past few years. We tracked instruments and threw ideas around a few days in his old studio as far back as 2007 and have been sending each other stems back and forth over the years. We released our first EP, Clarity in Japanese, in 2007. Until we start caring about our music in that way, this release is free and hopefully you’ll find something to take away from it.
Shit! When you think someone’s figured it out someone else has another take on the same idea. The problem is: I’m not rich and it’s because of things like this that will keep me in this financial state! Take an idea like the matrix synthesizer and get two great minds to interpret it and manufacture how they see the ideal matrix synthesizer and you get two products thats are related but will get you entirely different results. At this point it’s whatever fits your needs and it’s whatever gets you to your goal easiest. I’m excited to see this thing in action next week at NAMM and with a faceplate so I can actually understand what’s happening
The new sequencer for modular synthesizers, designed by Make Noise and developed with yerpa58. A short bunch of clips I took one afternoon while beta testing. The patch is same for all clips. Doepfer A-110 controlled by RENÉ CV OUT, Square Wave applied to QMMG which is set to BOTH mode and controlled by RENÉ Gate-X and Gate-Y. The RENÉ sequencer is driven by 3 clocks. The master clock generated by the Wogglebug, and then divided by MATHS to create the second and third clocks. Come see the Make Noise RENÉ, MATHS, Wogglebug and QMMG at NAMM 2010, Analogue Haven Boothe.
Between Justin and I, we have seen some of the most horrific tutorials online – but surprisingly we always go back when we’re trying to figure out new software or learn some tricks not in manuals. I’ve watched the videos on Next Step Audio and it’s so well done that I feel accomplished just watching it.
A few months ago we mentioned we’d be launching a production blog where we talk about how we make our music, and I’m happy to say that it’s finally here: Next Step Audio
The idea behind Next Step Audio is to show you specifically how Trifonic works in the studio, and demonstrate some advanced techniques for producing electronic music. Over time we plan to offer various downloads and more in-depth tutorials for the folks that are interested.
We’ll be posting new videos every week, so please go check out the site and, if you like what you see, subscribe to the Next Step Audio RSS feed. Hope you find the production tutorials useful, and please let us know what you think!
And for those of you who would rather just have Trifonic make the music, we’re hard at work on the next release, which we hope to have ready in the first half of this year… we’ll certainly keep you posted.
LT and Brian
Decrepit is the second addition that follows the soundscape release, Form. It follows the cycles and stages of a plagued memory – that’s all the information you get about Decrepit not because I’m arcane or elusive with information, rather I find it incredibly difficult to try to explain this, along any of my other, releases beyond a few words but if you have specific questions, drop me a line. Enjoy!
- Surachai – Decrepit
Artwork by Bridget Driessen