I looked back through some of my previous posts celebrating past birthdays and found something I wrote at year five...
Through Modulate This! I’ve been able to create and share ideas. Modulate This! has also let me meet and connect with other artists and those passionate about electronic music technology who I would have never met otherwise. And now my art is better for it and my life is richer.
This couldn't be more true today. So here is to another year of articles and meeting even more synth friends!
“Welcome to transfer station 11203. Your consciousness transfer is about to begin and soon you will enjoy immortality in your new custom body. The process is 100% foolproof thanks to your personal technician who will be actively monitoring the process for transcription errors. In the unlikely event of a transcription error, your technician will be manually executing corrective rewrites well before the 6 minute margin where these anomalies would become part of your permanent consciousness in the target vessel. This “human touch” is just another way Transfer-Con goes the extra mile for our clients...[more story background and notes on production using an Octatrack with field recordings]"
This is the soundtrack of an expedition to an ancient ice cave. As you descend deep into the cavern hear surreal sound of the wind blended with your own scanning equipment reverberating through massive cave system. At around the 7:00 minute mark, your systems start picking up some movement in the cave. You’ve got a bad fielding about this – so you initiate emergency ascent at 8:20.
My set will be mostly techno with some dark ambient.
This patch is a mishmash of FM synthesis. factilization. The fun part for me is using LFO2 to modulate the rotation of Bazille's morphing sequencer using Mod Wheel. Later in the video "shake" the spring reverb (and yes you can MIDI learn that slider).
I caught Duran Druan at Red Rocks on Sunday. It was an incredible night with perfect weather. The played to a packed house with an incredible audience vibe. It was one of the best Red Rocks concerts I've been to. The band was in top form and seemed sincerely in awe of playing such an amazing venue.
Just before we made our stage entrance, we learned that PAPER GODS entered the USA album chart at no.10. That, my friends, is the highest US chart position a DD album has achieved in 22 years. You can imagine the euphoria that we took onto the stage with us.
Nile Rogers was there (his band Chic was the warm up) and he sat in on two songs he co-wrote with Duran Duran "Notorious" and the new song "Power Off".
During one of the slower songs, the crowd used their phone flashlights in lieu of lighters which was quite surreal when you looked towards the back of the venue.
My explorations with the free trial of the Roland System-100 Plug-out continue. I made this evolving machine-like patch from scratch on the System-100 then routed it through Absynth FX using Aetherizer with params modulate by LFOs.
I started poking around on the Roland site and found there were free trials for all the Plug-outs and they now support VST 2 32-bit (in addition to 64-bit) so I could now give them a spin with Ableton Live.
Jacob had also posted a note on FB that the System-100 plugout had released - http://www.roland.com/products/system-100_plug-out/. I ran out and grabbed it and immediately started noodling with it. In this video, I'm experiment with "wrenching" it around using real-time automation and automation envelopes in Live. Love this thing - woot!
Channeling the EMS Synthi, the System-100 plug-out has a pin matrix which is 14x15. I REALLY love the implementation . It makes short work out of patching cables. You can still drag cables from socket to socket, but the matrix is super fast. You can see this around 1:40 in the video.
Just hover over the matrix, a set of white lines appearing showing you the routing. You can see red dots where other pins have been dropped. Click and the cables appear on the interface - bam. This is a very nice touch for my old eyes. Speaking of this, you can scale the interface up to 200%. The interface isn't higher resolution pixel-wise so it's a little blurry, but still a nice touch on a big monitor.
Another nice touch in the interface is the "Signal Flow" view which shows some of the under-the-hood default patching as well as highlight in's and out's of patch points which is super handy for understanding factory presets.
You can buy the System-100 as a stand-alone software plug-in. You get a discounted price if you have the hardware - and if you have the hardware you can dump the System-100 and it's patches as a plug-out into the hardware and play without a computer.
I don't own a System-1 (yet) but the System-100 plug-out may tip me over. To be able to work with this versatile and fun semi-modular in Live, then then dump patches and presets into the System-1 or System-1m and take it on the road (with expressive hardware to control) seems pretty great. Obviously if you have the hardware, you also have a dedicated controller for the plug-out with a 1-1- mapping of a majority of it's controls. This seems like a real time saver when working in your DAW as well.