Theme by nostrich.
(Controlled) chaos reigns supreme in this piece, which started life as a pattern in Stochastik Drum Machine (iOS). Moving to Ableton, further elements of randomness were added, with several chaotic patches from Reaktor as well as a “stable”, repeating figure courtesy of AAS’s Chromaphone. Processed rhythmic cameos from the Nord Drum and Ableton Live 8 serve as variations on the original drum pattern.
The result has a rhythmic, dubby, subterranean feel - enhanced (perhaps blatantly!) with judicious use of delay and reverberation.
What was it that the Joker said in “The Dark Knight” - Introduce a little anarchy… :-)
Source: SoundCloud / Daniel Ottini
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A great article on a standard all electronic musicians have benefited from - though there is a debate as to when we should serve the birthday cake…
For all the criticism, MIDI works without asking too much in the way of configuration (for basic functionality and compared to, say, USB) and is fairly robust (as long as you don’t chain too many devices and push through too much data). Sure it’s “Dumb” and “Slower” than new technology, but it works every time I switch on my hardware…can’t always say that about USB.
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It’s sad to read this story from Synthtopia about the passing of Peter Kuhlmann (AKA Pete Namlook); it made me realize the influence that FAX records has had on my work and that of many others. FAX releases were diverse while never straying far from electronic, ambient and experimental roots, and Peter’s collaborations with Ludwig Rehberg (E.M.S), Klaus Schulze, and Richie Hawtin were stand-outs for me (not to minimize excellent FAX releases by Atom Heart, Jonah Sharp, David Reeves and many other electronic musicians). These releases (in my opinion) were some of the best electronic works since the original “German Invasion” without showing much of any concern for image and “hipness” (something today’s scene could really learn much from). Many thanks Peter - your studio may have gone dark, but I’m certain your influence will light the way for years to come…
P.S. For those unfamiliar with FAX, this write-up serves as a better description then I could ever write:
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‘In Zen they say if something is boring after two minutes, try it for four. If still boring, try it for eight, sixteen, thirty two and so on. Eventually one discovers that it is not boring at all but very interesting.
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A Brute of a Different Sort…
While Hurricane Sandy lashed us (well, more like gently pushed…) I was dealing with another sort of brute, having picked up my “long-ago-ordered” Minibrute Synth.
First impressions: The build quality is much better than I had imagined or heard (maybe 2nd gen?), though the toggles do feel a little “plasticy”; keyboard is at least comparable to those synths of yesteryear (not a good thing for everyone); really requires you to step out of the (computer) box and think about the way the signal is routed; sound is nice…has its “own” signature sound - somewhere between a Moog and an ARP (a MARP), though that statement would be quite inflammatory to some…
Overall, I am happy with it so far…looking forward to working with it some more…
An Ambient track with found sounds from the infamous short wave “Numbers Stations” broadcasts as well as the Ontario Science Centre.
Source: SoundCloud / Daniel Ottini
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This post was created as a response to a tweet regarding some audio editing accomplished with Melodyne editor; I had removed a horn sound from a speech sample and was quite happy about it . I took to Twitter and expressed my astonishment with Melodyne’s capabilities and Celemony requested I share audio examples (not sure how they intercepted the tweet in the first place?). What follows are Audio “before and after”s as well as a narrative of what I was attempting to accomplish.
I really think that Melodyne gets stereotyped - I’m sure that it’s a fine tool for fixing out of tune guitars and pitch challenged vocalists, but as a predominately Electronic musician I don’t do much of that - I like Melodyne for what it does “unnaturally ” to Audio.
Case in point: while working on a recent track of mine I decided that what was needed were a few “found” speech samples. I have to admit I’m a sucker for oddball speech samples (I grew up listening to Skinny Puppy, OK!), but I seldom end up keeping them in the final product (I always find them too “gimmicky”). When I do keep them, I mix them down low - almost at a subliminal level - which is what I decided to do on this project.
First task was to locate suitable material; after trawling some public domain film archives for related subject matter, I located an “ephemeral” film and extracted some relevant samples from the audio track for the intro and outro. However, the intended sample for the fade out was marred by quite a loud horn honk in the midsection:
Since I wanted to mix this down low and apply quite a bit of delay/reverb to the sample, the horn was too jarring - either the horn sound had to be removed or the sample was unusable.
I first tried applying some noise reduction (SoundSoap Pro is my favoured tool currently - at least as long as the now defunct Bias will continue to support it), and though it did clean-up the background noise a bit, the horn was still quite noticeable.
Editing out the sound was considered, but produced too much of a gap in the speech sample.
What about Melodyne? The horn was a high frequency spike in an otherwise low - voiced narrative which, I thought, should separate very nicely with the pitch detection algorithm…and sure enough it did.
After deleting the horn sound, some further editing with the amplitude attack and timing note length tools on the surrounding speech netted the following end product:
By no means perfect, but not meant to be - the material itself is poorly recorded from an old, “scratchy” film but fits quite nicely into the texture and the “Vibe” of the new track.
Thanks again Celemony for a great product…even if I don’t use it for its “intended” purpose!
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Looking forward to it:
What’s not to like…(I’m sure everyone will find something!)
My Baloney Has a First Name…
My next Album, “Hinterland” will be forthcoming in April 2013…in the meanwhile you can hear tracks from the album (as I release them) here, on Soundcloud:
Or purchase the pre-release album here, on Bandcamp:
Thanks (as always) for listening!
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