This is what happens when you sneak into a synthesizer store at night. soundcloud.com/portraitsounds Direction / Production / Editing / Music: http://P.ortra.it Director of Photography: http://Malcolm-Elijah.com Location / Gear: http://SwitchedOnAustin.com Audio Mastering: http://darkartmastering.com Special thanks to Sarah, Chad, Eric, Michael, Eli and the whole Switched On Crew. All sounds were recorded live at Switched On in Austin, Texas using new & vintage hardware synths & effects. The name "Nerd's Ascent" comes from the title of a patch on the amazing Eventide Space Reverb. Cast of characters: YAMAHA CS-40m, Moog Minimoog Voyager XL, YAMAHA YC-20 Combo Organ, Roland RE-501 Chorus Echo, Korg King Korg, Moog Sub Phatty, ARP Solus, Eventide Space Reverb, Sequential Circuits Drumtraks, Hohner Clavinet D6, Electro-Harmonix Q-TRON Envelope Filter, Moog MF-103 12-Stage Phaser, Moog Opus 3, Korg PME 40x Pedals, Moog Thermine Etherwave Plus, Cynthia Four Transients, Make Noise Rene, Make Noise Echophon, Bubblesound CVWS, Bubblesound VCOb, 4MS Quad Pingable LFO, 4MS Pingable Envelope Generator, 4MS VCA Matrix, Make Noise Function, Grendel Formant Filter, Livewire Dual Bissell Generator, Apple Macbook Pro, RME Fireface UC, Ableton Live 9. All inquiries: email@example.com+ More details
Analogue percussion performance patch experimenting with tripping the clock input to get different polyrhythms on the MakeNoise René. The MakeNoise Brains, K4815 Pattern Generator, Z8000, 4ms RCD, SCM and Pressure points are also being clocked with René from a single LFO. Note: This patch was created entirely on the modular (No drum machines or computers used here). Sound sources for the drums. One noise source from the Cwejman S1 mkII to make the long clap percussion sounds. Kickdrum made on the Cwejman BLD, and snare drum made from the Synthesis Technology E350. High hats courtesy of the Malekko NoiseRing. http://www.makenoisemusic.com/RENE.html motion-graphics by: http://axiom-crux.net/+ More details
Modular track I recorded late last night. Everything clocked from one intellijel Dixie to a Doepfer A-160,161, MakeNoise Brains, Pressure Points X 2. Clock division gates sent out from the 4ms SCM, and RCD. Beats courtesy of the CycleBox II and TipTop BD808 kick. Make noise phonogene processing the cwejman S1 analogue percussion zaps. String layer and and lead created with a Cwejman VM-1 and VCO2RM with the help of a intellijel uScale quantizer/MMF-1/ washed through a bit of reverb from the Eventide Space, and Tiptop Z-DSP, Z-5000. finally the Op-1doing light sine tone sprinkles... Get the full download of the track on the digi-release of RiSP Note: No drum machines or computers used in this video.+ More details
Patch experiment trying to use just a few LFO's synced together at very slow rates to generate a loose arrangement of triggered square wave pulses. These pulses where sent out to a few voices on the delptronics ldb-1e and the DrumDokta & "Clap" Breakout running through a MakeNoise Phonogene/Echophon delay. FM swells courtesy of the MakeNoise DPO and Intellijel Rubicon, ran through a Strymon TimeLine delay pedal. Haunting drones coming from the Cyclebox II and WMD Gamma Wave Source VCO. Note: Headphones recommended. :)+ More details
This patch was built entirely around the Delptronics Trigger Man which is a unique trigger/gate sequencer module with a 8HP format. The idea was to take 8 different patterns consisting of 8 steps for each of the 8 outputs. Then run the trigger man in pattern play mode using the VC input to determine the currently playing pattern. The 8 patterns where programmed to flow into each other in sort of a quasi random string. Output one was sent to the Tiptop BD-808 kick drum. Channel 2 was sent to the Snazzy FX Ardcore triggering one custom snare sound created with a NordLead 2X, these sounds where imported into the "fac drums" Arduino sketch. This output was then ran into the Synthrotex Eko to provide flowing delay slap back effect to the snare sound. Channel three output was sent to the first channel of the 4ms QCD, running at the 6th knob position in divide mode, then sent to the trigger input on the Mutable Instruments Braids VCO running in "CLKN" mode using the "PIK" envelope setting to create a very short synthetic hi-hat sound. Channel 4 was sent to the external clock input on the MakeNoise WoggleBug which then triggered out the stepped random sequence into the 1volt into the intellijel shapeshifter, and also splitting the signal using stackable cable to the Macro Machines "Storage Strip" module that was controlling the program step modes to the Mungo d0 delay module. Input to the Mungo d0 was from the "DAC" output 2 from the Ardcore. Channel 5 was ran into the "Sync" input on channel one of the Modcan Dual delay. Another stackable cable going from channel 5 went into the 4ms SCM clock input. The drones are created using two sine outputs from the MakeNoise DPO. Sine output one is running into one MakeNoise Optomix with a slow rate LFO (intellijel Dixie) controlling the damping/contrl settings. This output is then sent into the Tiptop Z-DSP running the new Halls of Valhalla cartridge. The Reverb algorithm used in this patch is "Ginnungagap" for the atmospheric drones of the modulated FM sine waves. The second output from DPO is running into another Optomix with the another intellijel Dixie controlling the damping and CV-control settings, but with slower rate times. The output from this was then sent to the Strymon "Big Sky" reverb pedal running in "Chorale" mode for the vocal like resonant drones. Other sound sources used are the Intellijel Shapeshiter for the high end DSP-FM scatters, which is being triggered by the inverse out on the 4ms QCD expander. Next is the Modcan CV-Recorder playing back recorded noisy computer glitches being controlled by the Modcan Quad LFO which is being clocked by the channel one output on Trigger Man. The murky watery sounds came from the second Mutable instruments Braids oscillator running in "Cloud" mode into the channel input 1 of the Modcan Dual delay with lightly filtered position. The last sound source is the Qu-Bit Electronix Nebulae playing back a single shot 40 second sample in loop mode of sounds I created in a Reaktor patch. All signals routed into the Intellijel Mutamix and Steady State Fate- Mixmode. With 4 additional output being mixed into an Allen & Heath mixer. :-)+ More details
Grayscale Algorhythm/Binary - Reticulating Rhythms Patch This patch was derived from the "Endless Random patch" from the "Algorhythm" manual. The main clock source was the Delptronics "Trigger" man, taking output 1 and sending into the clock input on the first Algorhythm (left side). I then set the mode for each of the "Algorhythm" modules to "RAND", patching out from the clock output then into the next Algorhythm's clock input so that all three where synced to the same master clock. The idea was to take the 8 pulse outputs and send them to other sequencers and dividers/multipliers to create morphing ever changing rhythms. The "TriggerMan" sequencer has 8 different stored kick drum/gate patterns that would set the pulse times for all three Algorhythm modules. I wanted the clock time to always shift around, so I set one output from the Modcan Quad LFO in random stepped output into the CV control input on Trigger man (LFO 3). The Output 1 from Trigger man was split and sent to the 4ms Quad Clock Distributor input "CLK IN" set as the master for all 4 other outputs. Second output was sent to the trigger input on Braids running in "CLKN" mode for the synthetic hi-hats. CV output LFO 4 from the Modcan Quad LFO sent to the Division/Multi CV input on the QCD. The third output from the 4ms QCD was sent to the first LFO gate input and I then set the Quad LFO into "Phase lock" mode which synchronizes the phase of all 4 LFOs waveforms but allows the frequency to be a division of the master LFO 1. LFO output 1 was sent to the Intellijel Shapeshifter pitch input. Output 2 was sent to the 1/volt input on the Qu-Bit Nebulæ. Output 4 was sent to the MakeNoise ErbVerb Decay control input. Output 3 stackable cable sent to the addac systems 101 .wave play into the CV loop size control input. Output 1 from the first Algorhythm sent to the clock input on the Macro Machines storage strip, which is changing the preset snapshots of the Mungo d0 dual delay module. The 7th switch output Algorhythm number two (center) is pulsing the trigger input on the Snazzy Effects Ardcore, running custom "Frac Drums" sketch. Dac output is being processed by the Mungo d0. The 7th switch output from Algorhythm number 1, (left side) clock input into the MakeNoise WoggleBug. Second output was sent to the trigger input on Braids running in "CLKN" mode for the synthetic hi-hats. Kick drum was triggered by the second output on Trigger man to the Tiptop BD 808. Second switched output from Algorhythm number 2 (middle position), sent to the strike input on the MakeNoise Mysteron, creating the sporadic metallic delay percussion sounds. Output switch 3 from the first Algorhythm sent to the "Next" sample file on the Qu-Bit Nebulæ. Switching through 8 different sample loops of processed fragments of sounds created in Reaktor. The switch output 2 from the third Algorhythm sent to the strike input on the MakeNoise Optomix, signal fed in from the output of the Shapeshifter then sent to the Audio Damage Freq Shifter, slow slight modulation from one Intellijel Dixie into the Shift input. Then finally sent to input 4 on the Submix7 mixer. Stepped output into right side "exp" input on the MakeNoise DPO then sent to bottom input on the Optomix from the final output, being striked by the random clock burst out. This output is then being sent through the MakeNoise Phonogene, where the "Rec" input is being triggered by output 4 from the QCD, and the Gene Size input control modulated by the stepped output from the WoggleBug. The main sound source for broken drums coming from the addac systems 101.wave player. For this I saved 10 versions of the same loop, and did slightly different processing to each loop. I then went into each loop and inserted silence in different sections to create more broken patterns and playback. Drum loops 3, 6, and 8 had heavy delay feedback processing to breakup the repetitions with bursts of delay feedback effects throughout the rhythmic sequences. The output was split into two sources. One output was sent to a Intellijel HexVCA being erratically controlled by the envelope follower output on the .wav player. The VCA on the ADDAC player was also being controlled by the stepped random out on the Wogglebug. The output was then sent into the Eventide Space reverb pedal for the random throws into reverb. The other output was sent into the second input on the SubMix7 mixer as the clean unprocessed channel. The white noise coming from the SSF Quantum Rainbow running into channel number 2 on the Intellijel HexVCA then being modulated by a intellijel Dixie, ZigZag output, running at slow rates, and then re-synced by the 8th switched output on the Algorhythm. The left side Binary module was clocked by the output one stackable cable from the 4ms QCD. Logic output was then sent to the Chaos input on the Wogglebug interjecting random in time clusters of pulses. http://grayscale.info/modules/+ More details
This patch focused on using the 4ms Quad clocking distributor (QCD) module as the main brain to trigger the drums and musical sequences. The source clocking generator was the delptronics triggerman running in pattern mode. I set up 8 stored sequences that had slightly different shifted gate positions, and then outputted these assignments to the 4 channels on the 4ms OCD, and then took those outputs into separate gate triggers for the drum/snare/high-hats. The Modcan QLFO was also being clocked from the delptronics trigger man. Running from LFO output 1 in random stepped mode causing ever changing CV changes to the CV Clock Divider/Multiplier inputs, which gave the sequencing this interesting pace. I kept the sound sources very simple and limited. Using just 3 different intellijel dixies as the main sound sources (sine waves and one square). All three being triggered and then CV controlled in slow stepped mode from the Modcan Quad LFO, then into the µScale intelligent quantizer and interval generator for the melodies. The output was running through a Strymon BigSky reverb pedal using the "Chorale" algorithm for the slow like choir pads swelling delicately from the summed VCO's. One intellijel running in low octave pitch down for added baseline effect. Drums courtesy of the Mutable Instruments Braids for the snare drum running in CLK mode, with the envelope set to "ping" short attack. The kick drum was from the JoMox Membrane II, and hi-hats from the 4-hp whitenoise output from the BlueLantern running into a intellijel HexVCA. Another direct whitenoise out from the HexVCA running into a cwejman MMF-1 filter for the slow delicate automating filter sweeps, being modulated by cwejman D-LFO. This output was then taken into the Strymon Timeline for added depth and space. This patch was specifically created as a lullaby to play at bedtime for my baby Eila. Enjoy :-) http://www.4mspedals.com/qcd.php+ More details
Patch using two 4ms Pingable Envelope Generators. This was an experiment to see what rhythmic possibilities are possible using only two PEGs synced to the same LFO clock. This same clock also was controlling one MakeNoise Brains, and two pressure points. The output of the Pressures Points was CV controlling the PEG's divided time divisions making some cool repeating glitchy effects. http://www.4mspedals.com/peg.php Note: no drum machines or computers used here :-)+ More details
... third attempt at documenting the 2012 "live performance" setup ; what you're seeing / hearing here is a monorocket mx-6 case (i.e. the lovingly-monikered "voight-kampff machine") chock full of digital & analogue eurorack synthesizer modules (360hp of designs by the harvestman, makenoise, intellijel, cwejman, synthesis technology, doepfer, tiptop, plan b, dave jones, 4ms, bubblesound, and division6) fed through a radial stereo direct inject box into a pair of old/busted event studio monitors (replicating the average club / gallery pa system, right on down to the "busted") ... ... a great deal of time was spent organizing the system into this current layout (weeks) which allows for endless reconfigurations of essentially 5 different "master" patches :: a feedback / self-influenced clock, a 50's-style ring-mod heavy "space station" with "tape" echo, a 60's / 70's buchla-inspired "bongo" machine, an early 80's low-bit digital wavetable section & digital shift register pitched-noise generator, and 80's / 90's 8/16-bit digital recording, playback, & manipulation station) ... the case currently weighs a ton (it's full) but it does fit beautifully in the overhead compartment of a mid-to-large sized airplane (although i did have to strap it in to an empty seat on a puddle jumper to memphis recently) ; this plus a bag of patch cables & sunscreen and i can entertain a crowd of festive beach-goers for hours ... add a 300-watt step-up convertor & it's ready for the european festival stage. there's even a video module in there that i usually set up in a huge feedback loop (720tvl analogue camera mounted on the synth-case gets fed into the module, module out into a projector, projector to screen, camera trained on-axis on screen ; see the st. louis "white flag projects" videos here on vimeo for evidence of that) that is also driven & controlled by the same clock/modifiers as the audio section ... before you ask ; yes, it does drones :: gorgeous, endlessly self-automating, ir-repeatable drones of no maximum strength ... i can also dial back the "human feel" of the clock to yield perfectly minimal thump for days (DAYS) ; it does all of that very well ... but generally speaking, these days i tend to choose to focus on a melding of ALL of these things over any given 20/30 minute period on any given night ... variety is the spice of life ; chaotic, light-speed self-automating electrical music systems are the scotch bonnet of mine right now ... this video was shot with a canon digital rebel t2i mounted about 9 feet off the ground on top of an "on-stage" microphone stand (put it on a raxxess "music stand" clipped to the boom - had to wedge a roll of chapstick under the lens to get the "lip" of the stand out of the frame) ; sound is mono, using the built-in mic from the camera (want it in stereo ? buy a record. or a cd. or a tape. or download something from the internet) ...+ More details
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