Final tracks are off to mastering 😲 I can now reveal the front cover art for my forthcoming 2×12″ LP on Dead Bison – a new sister label of Hypercolour/ Glass Table focusing on soundtracks & synth music. Can’t wait to share some audio.. sooooon x
Glitch plugins. To be honest, I cant stand them and I’ve used most of them over the years. From SupaTrigga and Buffer Override, to dBlue Glitch and Reaktor patches like ‘The Finger’ etc. They all provided instant “wow” sounding FX, however they are so obvious, it’s like putting a time-stamp on your track saying “this was made in 20xx”. I kind of cringe whenever I hear them on a record (especially my own releases) as it just screams lazy producer to me. Anyway, flash forward to 2017 and Unfiltered Audio SpecOps brand new audio manipulation effect drops in my mailbox and it’s super quick to get up and running using the slick Plugin Alliance online registration. Continue reading “Spectral Soundscapes, with SpecOps”
If you are in the business of producing audio, in the majority of cases this will be consumed online in some form or another. Even vinyl or cassette only releases will most likely have an online streaming preview uploaded somewhere. The trouble with streaming music online, is there is a myriad of services, many of which use different compression codecs (mp3, AAC etc) and more recently, incorporate loudness normalisation. This means your ultra-compressed loud dance track may get attenuated by the playback service (iTunes Radio or Spotify for example), so making your tracks ‘louder’ does not necessarily work to your benefit in these contexts.
The RZ062, as you may or may not be aware, were originally designed in 1960s Germany and were installed in mixing consoles to produce particular tonal colouring and a certain acoustic impression. Unlike today’s modern EQ’s, the RZ062 were designed with fixed bandwidths that simultaneously boost and cut on the selected bandwidth, something that I have not personally come across before and had me somewhat intrigued from the start. Brief history lesson over.
Partials vol.1 compilation is out today on Frequency Domain.
A lot of my current output, both for upcoming releases and for tv/media, have been composed ‘live’ on my modular synth. I tend to record a few takes in one shot, until I get something that I’m happy with as a complete piece. Once I have a stereo file I am content with, I will apply various mastering processes in the box to get the audio sounding balanced and enhanced as appropriate.
CV through Disting running quantiser algorythm and into DPO OSC 1.
René QCV out to DPO OSC 2.
OSC 1 Sine into Optomix, OSC 1 Tri into Moddemix.
OSC 2 Final intoOptomix. Final wave shape and angle paramenters are modulated by Wogglebug to give movement.
Provides clock divisions to Maths, Wogglebug and Echophon.
Sends envelopes to Moddemix and Optomix.
The mixed audio runs through Echophon on a fast delay speed, then Erbe-Verb and finally Morphagene (although not utilised in this piece).
Eventide should need no introduction, their digital reverbs are known as some of the best in the business. The SP2016 rack in the early 80’s, provided many of those super-clean shimmering time-based FX, synonymous with that era of audio production.
Until recently, if you wanted to obtain one of their effect algorithms to use on a track, such as the legendary BLACKHOLE preset, you would have to purchase one of their hardware boxes, like the Space pedal for example. That’s all changed now and Eventide have started releasing select effects from their range as plug ins, hurray!