Supercollider Meets Guitar Effects Boxes, Part 2.  I decided to try a little experiment.  As many already know, Supercollider is a very powerful audio language.  I am not a programmer so I tend to seek out ready to run software as opposed to downloading the builds and making it custom to my needs.  I found this great little, ready to run, Supercollider application called Laconicism.  I ran the audio output from Laconicism through a Digitech GSP 1101 distortion unit and a Digitech TimeBender Delay.  I recorded the distorted and delayed output into Live, made a MP3 and posted it here.  It’s really a little long but shows what can be done with only two guitar effects boxes.

Supercollider Meets Guitar Effects Boxes Part 2

The eschaton is nigh. Have you the right pants? Matching Catastrophe Cravat?

Composed and performed by Admiral Krank. Drums by Mo Sheen. 

https://www.youtube.com/watch?v=ItD3g9UOGK8&ab_channel=AdmiralKrankandHisMightyBandofSpacemen

The General Cyborg File

Snazzy Armageddon Pants

Midwinter (TACET:Lyrics And Singing - Musical Arrangement: Alain GUERIN) -Californie -

Move On

https://www.youtube.com/channel/UCybIXGbu4MFQksYh1rQXAfg?view_as=subscriber

Dance with the rain

All Instruments By Martin Reed.
Produced By Martin Reed.

Whispers In The Wind

All guitars (Fender Strat & Epiphone ES 339)by Martin Jansen: https://soundcloud.com/m_ja // Tenor sax & Akai EWI by joerxworx // Keyboards, vocoder, vocals, beat programming, mix & mastering & sound design by Morten Jeamland https://soundcloud.com/orteneamland
Words & Music by Jeamland

Upside Down // Morten Jeamland featuring Martin Jansen & joerxworx

Joking Around A Beats

As I already have done so previously, during this jam session I again experimented with a vast amount of different samples and employed a technique which I like to call "time-synchronized sampling of percussive sounds". I played back a drum and percussion sample at 100 BPM through my humble Eurorack which was also set to 100 BPM. The next step was feeding the sample through the Make Noise LxD module (which is a dual low pass gate that can function as a filter, and also be pinged to produce percussive sounds) and modulating it by a collection of different Eurorack modules. Due to the imperfections in the synchronising, the already percussive sound was "forced" into a slightly skewed percussive structure which results in these intricate glitchy raw rhythms. Additionally, an LFO at audio rates in conjunction with the LxD were used to create auxiliary drum and percussive sounds.

As so often the case, this jam session took a couple of hours, and I experimented with a vast amount of sounds, settings and samples. Unfortunately, I didn't make a note what samples exactly I was using here. The only thing I clearly can remember is that I took one of the rather rare interviews by Aphex Twin and played it back in order for his narration to fit the rhythm of my jam session, which is heard in the second half of the track. Also, at the beginning, samples from the 2007 documentary "What The Future Sounded Like" can be heard.

Again, I recorded the result of this jam session in Audacity, which I used in post-production to extract the best parts from that jam session in order to create this track. As always, I only used basic audio editing techniques like simple crossfades. Only a touch of soft limiting and a high pass filter at 30 Hz was applied, no elaborate approaches like mastering were used whatsoever. Thus, the result is raw and highly dynamic in nature, so put on your favourite headphones and turn up that volume knob, because the Loudness War is for losers!

Supercollider Meets Guitar Effects Boxes Part 2

reaktorplayer

Related tracks