composed for the british short film of the same name

the shadow

fernlea [reprise]

from 'Forking Paths' by Geamala | 2009

Produced by Red Black and Geamala
Engineered, programmed and mixed by Red Black

Kensho by Geamala [geamala.bandcamp.com]

from 'Reflux' by A State of Flux | 2010

Produced by Red Black
Engineered, programmed and mixed by Red Black

Burn [Red Black Remix] by A State of Flux [astateofflux.net]

Came across a ROUGH DEMO of a song from a couple of years ago. Mistakes inatact, not a mix, bla bla.

Sharing for a limited time.

Superstar (Rough Demo)

Bat field recordings from a recent trip to the North GA mountains. This sound clip was captured using the Anabat SD2 - Bat Detector - high microphone. This device allows you to monitor the ultrasonic echolocation calls of bats for species identification and activity measurement. The particular species of bat in this recording are the Indiana Bat. The typical hearing range of this bat is between 20hz - 150Khz. They locate their prey by means of echolocation. They will produce a very, loud short sound and assess the echo when it bounces back. The type of insect and how big it is can be determined by the quality of the echo and time it takes for the echo to rebound. They also use two frequency types; constant frequency (CF) and frequency modulated (FM) calls that descend in pitch. Each type reveals different information for the bat. The CF is used to detect an object, and the FM is used to provide information regarding the nature of the object and its distance. The pulses of sound produced by the bat last only a few thousandths of a second with silences between the calls that give time to listen for the information coming back in the form of a echo. I was amazed at how complex some of these  echolocation patterns looked on a sonogram and was even more blown away by how they sounded. This file was outputted from the Anabat software application which takes the bat calls and converts them to wave files. The Anabat software application also converted the calls to a audible human hearing range (20hz-20khz) as most of the bats calls went up into the 150khz range. 

http://www.titley-scientific.com/us/index.php/sd2-bat-detector

Link to the Sonogram here: http://www.facebook.com/photo.php?fbid=10151218179915358&set=a.132078960357.137137.708680357&type=1&theater

Bat Recordings - with the Anabat SD2 - Ultrasonic Echolocation Detector

Me mucking about with the Axe Fx 2 and and my Maton Acoustic EM425C 12 string trying out some parallel Acoustic Distortion tones that I am quite happy with. Also sounds good at performance levels. Surprisingly I seem to be having no trouble with feedback.

Acoustic Distortion

Just testing out some new sounds/techniques. Worked on this for a couple of hours . . good fun! My first time remixing any NIN or HDA . .

opened up [how to destroy angels remix]

Remix of "In Motion" by Trent Reznor and Atticus Ross for "The Social Network" soundtrack . .

kinetic [reznor/ross remix]

Composed for I.A.C.C. [Sampleset #1]

http://soundcloud.com/groups/i-a-c-c

idiophone [Sampleset #1]

EMAIL: red@redblackproduction.com

Red Black is a freelance music producer working from Melbourne, Australia. Over the years he has worked with a number of original artists in a variety of genres, providing production, engineering, programming, composition and mix balance engineering services. He has also scored and produced several soundtracks for films both in Australia and abroad.

Red Black has recently worked with up-and-coming Australian artists such as "Sleep Parade", "Geamala", "A State of Flux", "Art of Wor" and "Varliiba", and on the British short film "Invisible Strings".

Red is obsessed with sine waves, guitars, found percussion, delay, computers, industrial drums and modulation. He enjoys working with artists pushing the boundaries of their particular style of music, especially in the experimental and electronic rock genres.

Burn [Red Black Remix] by A State of Flux [astateofflux.net]

Red Black [Production]

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