[BRDG004] hazcauch × vokoi from BRDG.
soundtrack from hazcauch / scept “VEIN”
http://itunes.apple.com/jp/album/vein/id470442851
http://www.beatport.com/release/vein/817687
visual:
vokoi (ARch / 710.beppo / tripon)
[ http://www.arch-project.com/ ]
generated with Max/MSP/Jitter.
Produced by Bridge
http://bridge.tokyomax.jp/
http://www.facebook.com/brdg.jp
via surachai
Julian Treasure TED Talk: 5 Ways To Listen Better.
Also check out his previous TED Talk: 4 Ways Sound Affects Us.
Ilan Rubin is riding high.
Following successful tours behind the drums with Nine Inch Nails and Lostprophets, Rubin locked himself in the studio and re-emerged as The New Regime.
Now at age 22, Ilan Rubin has released his second solo album as The New Regime entitled Speak Through the White Noise.
Here Ilan Rubin offers insight into how he crafted the album.
CALIFAUDIO: Ilan, congrats on the release of Speak Through The White Noise. The album is really great. Which songs came most naturally?
ILAN RUBIN: Writing each of the songs was a natural process because I never force myself to write or complete anything. In fact if something isn't coming to me at the moment I'll leave it and get back to it later because I don't want to get used to a part that I know I'll just rewrite later.
CA: What's the most challenging aspect of being a one-man band?
IR: The most challenging thing about being a one-man band takes place in the live setting more than in does during the recording process. Sometimes it can be difficult finding people who handle their responsibilities properly as pieces of a unit. The recording process is always seamless and enjoyable.
CA: Where did you record Speak Through The White Noise?
IR: Speak Through The White Noise was recorded in quite a few locations. Tracks were recorded at Red Bull studios, Signature Sound in San Diego, my little home studio, and a song was completed by emailing files back and forth on tour.
Speak Through The White Noise by The New Regime
CA: I enjoyed reading the commentary you posted throughout the album on SoundCloud and wish more artists would share the details of their recording process this way.
Let's talk gear. What mics and preamps did you use?
IR: Thank you. Aside from what was done at Red Bull studios and at Signature Sound, we recorded with what was available at my house. I have a pair of Vintech x73 mic pres and two Distressors and those were used for everything. A Shure SM7b was used for vocals and depending on the guitar amps being used Royer 121's, Sennheiser 421's, Shure SM57's, and the SM7b were used.
CA: What was your drum kit of choice for the album?
IR: The drum sets I used for the album were mutt sets with the best sounding pieces of other sets. For example I used a 1968 Ludwig silver sparkle 16x16 floor tom, the 14x10 and 18x16 toms from the black OCDP NIN set, a black sparkle 26x16 OCDP bass drum, and a variety of snare drums ranging from black beauties to a 14x8 Tama wood snare drum.
CA: How about your favorite keyboards?
IR: The keyboard used most frequently was a Moog Voyager. I used a microkorg briefly before I upgraded to the Moog and ended redoing some parts but the microkorg is still a fun little instrument to play around with.
CA: The sequenced bass line in "Live In Fear" was created with a Doepfer MAQ 16/3 sequencer and a Doepfer A-111 VCO through a Harvestman Polivoks filter. How else did you use modular synths?
IR: Modular synths were used quite a bit on this album but they were entirely sequenced based for rhythmic purposes. I didn't control the modular with a keyboard and play it. I would control the pitch with the first row of the sequencer and use the other CV outs to manipulate other parameters. Also, I used a The Harvestman module a lot called the Stilton Adapter which allows you to insert up to 4 effects pedals at a time. So the bass in the chorus of Radiate The False for example is actually a modular synth sequence with an inserted Fender Blender fuzz to complete the sound. Other pulsing rhythms, drones, and the occasional noise were done with the modular as well.
CA: There's a ton of Roland Space Echo, both the old RE-201 tape echo and the new RE-20 pedal. What draws you to the sound of the Space Echo?
IR: I love the space (no pun intended) these echo units fill out. The reverb they produce is very dark and the sounds add an eeriness which I love. I thoroughly enjoy both the RE-201 and the RE-20 pedal although they do sound different. The feedback produced on the RE-201 is much more useable and the effect itself is a bit more tame while the pedal is more harsh and has a light rasp to it when its overdriven which is great.
CA: Is it true you've made your own guitar pedals?
IR: I went a little crazy for a few weeks and obsessed over building pedal kits. I assembled the PCBs, soldered everything, painted them, and tried out different mods occasionally. I plan on getting into designing some circuits when I can find the time.
CA: Any upcoming plans for The New Regime?
IR: All gears have been shifted to looking for the right tours. I'm very eager to get these songs out into a live atmosphere.
CA: Thanks for your time.
IR: My pleasure.
Surachai + Justin McGrath of Trash_Audio joined forces with Xart Studio in Chicago for Synth Meet 9 over the weekend.
Here are some live videos [captured by Dave Jones]:
Trash audio synth meet 9: Act 1 - Richard Devine from Attack Sustain.
Trash Audio synth meet 9: Act 2 - Alessandro Cortini from Attack Sustain.
Trash Audio synth meet 9: Act 3 - Alessandro Cortini & Richard Divine improv duet. from Attack Sustain.
Sampled Room from Mateusz Zdziebko on Vimeo.
Tools:STWN Recording Studio from Mateusz Zdziebko on Vimeo.
Clock Trippin, Poly Rhythm RENÉ from Richard Devine.
"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."
Great modular synth video by Richard Devine.
Chris Carter on Twitter:
"Our dearest beautiful Sleazy left this mortal coil as he slept in peacePeter Christopherson left us with so much fascinating music, visual art and thought through his diverse creative outlets... COIL, Throbbing Gristle, Soisong...
last night. Words cannot express our grief."
So Simple & Darkmatter Soundsystem present:
X and the Flowers of Evil Tour Los Angeles 2K10
(a party in honor of Mater’s birthday)
Featuring performances by…
BROKEN NOTE - www.myspace.com/brokennoteuk
(Ad Noiseam, Ruff, Damage, Prospect & Sustained) London, England
XANOPTICON - www.myspace.com/xanopticon
(Hymen, Peaceoff, Mutant Sniper, Zhark, Aim) Pittsburgh
STRANGELOOP - www.myspace.com/strangelooptv
(Brainfeeder) Los Angeles
APX1 - www.myspace.com/djapx1
(Ghetto Life, Tonz of Drumz) Los Angeles
MINION - www.myspace.com/minion
(Darkmatter Soundsystem) Los Angeles
WMX - www.myspace.com/wmx667
(So Simple Records) Los Angeles
ARS DADA - www.myspace.com/arsdada
(OBF Crew, Meganeural, Cock Rock Disco, Splatterkore) Oslo, Norway
HEARTWORM - www.myspace.com/heartworm23
(Slowleak Records) San Francisco
DJ SPLEEN
(Dead Culture) Santa Barbara / Oakland
DJ MEGA BITCH - www.myspace.com/djmegabitch
(Kitten Factory, Spaz) Oakland
VISUALS by V1de0 D1ab3t3s - www.naboamusic.com
(Naboa Music) Los Angeles
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Saturday, November 13th, 2010 - 8:30pm to 4:30am
$12 all night
$10 with email rsvp to: rsvpsosimple@gmail.com
DOWNTOWN LOS ANGELES
(specific address to be announced)
for more info check out sosimplerecords.com
event on facebook
