Two Metasonix TM-3 Dual Oscillator pedals, a TM-6 Multimode Filter and the TM-7 Scrotum Smasher patched into a matrix mixer and then output to an audio mixer (using the built-in reverb EFX) and me twiddling all sorts of knobs to change the settings and inject signals into rude places -- that's all!

07 - 06 - 2020 Metasonix Pedals 2

My first time doing an outdoor show on the streets of Brooklyn, courtesy of my friend Tony Saunders who set this up at the FiveMyles Art Gallery.

This is an edited down version of the 90 minute show that Tony and I played together simultaneously.  Unfortunately, due to a technical glitch, I only have my half of the performance recorded (sadly), although edited down it plays as it's own ambient kinda' thing in a way.  Not sure how happy I am with it yet on its own, but I'll give it a few listens and then figure out what to do with it.

It's a quiet listen overall; just timbres floating around and interacting, as it was meant to underscore what Tony was doing.  But if you play it and just forget about it and do other things, it makes for some good background noise (more or less).

Thanks for listening and I hope you enjoy it.

FiveMyles Live Performance, July 24th 2021

A live performance recording of a patch that musician friend Christopher Jon set-up the last time he came over last week for a synthesizer meet-up at my place (thanks for the patch, Chris!).

Modcan 58B VCDO is modulating a MOTM format Zeroscillator (when it's not modulating itself -- sometimes I switch back-and-forth), which is then fed into a Modern 39B Frequency Shifter.  Both outputs of the Shifter (Sum and Difference) are fed into two separate Modcan 30B Super Delays (which are analog delay modules) and then output directly into the Allen & Heath mixing board and the built-in reverb EFX it has.  There's a Modcan 61B Quad LFO that's tickling the CV inputs of the Shifter and one of the Analog Delays, but I'm also flicking switches and turning knobs pretty continuously throughout the recording session, so there's a lot of subtle changes and movement throughout the running time.

Thanks for listening and I hope you enjoy the result of some recent audio therapy!

September 3rd, 2022 Modcan 1

This is the third of three pieces I recorded during my first session with the SOMA Cosmos Drifting Memory Station on October 1st, 2022.  I hooked it up to my Modcan modular system; the 62B Dual VDO as the sound source, triggered by the 54B VC Sequencer.  Ran the oscillator through 68B Matrix Filter, the output of which went into the 41B Fixed Filter Bank -- which has two outputs that divide the odd and even bands, so each one was separately fed into the stereo inputs of the Cosmos.  I'm pretty sure I used the four line delay setting of the Cosmos, playing with the blur and drift by ear and messing with the mix knob along the way.  I probably kicked it into reverse at some point as well.  It's a pretty neat little fun box!

It starts off a bit aggressive, but settles down and then eventually smooshes out at the end.  This is the unedited LIVE recording.  Thanks for listening if you choose to do so!

Chaos Amid the Cosmos

This track is from 2011, but I've never posted it here before.  I used the Modcan 57B VC Recorder (voltage control recorder) as an audio recorder and grabbed a bunch of sounds "live" from a shortwave radio and looped them.  Once I created and layered the loops, I recorded them and mixed them with some Moog synthesizer recordings in Logic.  I'm pretty sure the Moog Old School Voyager was going through a Electro-Harmonix POG pedal to create 'chords' and then various delay and reverb efx.

Sounds lush and haunting to my ears, so it seemed like something nice to post for Halloween this season.  Enjoy and thanks for listening if you choose to do so!

Modcan VC Recorder Ambient

This track was an experiment involving the Modcan 57B VC Recorder module.  I loaded samples into three of the four available channels -- two of them involved string samples and the third was a Waterphone.  They were approximately 12 seconds each sample.  I then fed the three channels of audio into the Modcan 69B Scanner, which scanned between them at various speeds (according to my manual adjustments).  That signal got fed into the 39B Frequency Shifter and shunted to the 73B Dual Delay (only one of the two channels).  From there, it was fed into the audio mixer and was given some built-in reverb from there.

It's a patch I've been wanting to try for some time, but hadn't gotten around to it until now.  I'm adjusting playback speed of the CV Recording, in addition to also sliding around the in points and the out points of the loop to change the length and sound of the samples.

This performance was all done live and unedited.  It's not perfect, but I thought it was interesting enough to exist on its own for now until I get around to possibly incorporating it into a larger composition.

Thanks as always for listening if you choose to do so!

November 14th, 2022 Modcan VC Recorder

The sound source for this recording are three short vocal samples that have been fed into the Modcan 57B CV Recorder as audio instead of control voltages -- so I'm basically using it like a tape recorder that I'm adjusting the speed of while also changing the in-point and the out-point of the sample itself.

The three audio sources are then being fed into the 69B Scanner, which is fading in-and-out between the three samples at various rates while the sample is being played forwards and backwards as the loop point and speed are varying.

The audio signal is then routed to the 41B Fixed Filter Bank, then into the 39B Frequency Shifter and finally into the 73B Dual Delay (although only one of the two delays is being used).  Finally, it all goes into the audio mixer and I'm using some onboard reverb and delay to make it all just a little bit more gooey.

The raw file was edited in Logic Pro, and in addition to cutting and adjusting some sections of the audio file, I also slowed down a few areas to achieve maximum spookiness in the vocal timbre.

Thanks for listening if you have chosen to do so!

Lost Voices Calling

Here's the final epic recording to celebrate the end of 2022!

The base undercurrent is the Modcan modular synthesizer being fed into the Soma Cosmos.  The sonic components of that are a pair of 22B Miniwave modules fed into the 68B Matrix Filter -- four outputs of which are going into the 69B Scanner before being fed into the Cosmos.  All sorts of wiggling and adjustments are being made to the signal path via the 61B Quad LFO and my own manual knob turning along the way during the recording process.

I then did four separate recordings with the Haken Continuum being fed into the Eventide SPACE pedal, choosing the best moments and editing them all together in Logic Pro and mixing it in with the Modcan Cosmos session.

Everything was recorded within a few days of each other, and the specific goal was to have something that would work well together in the final mix.

So that's it for 2022 recordings.  Looking forward to lots more in 2023 and will share whatever sounds worthy whenever I get the chance.  Thanks for listening if you have chosen to do so and happy new year!

December 2022 Final Recording

Dan Ouellette on guitar and me on Soma Lyra-8, playing together live over the course of a couple of recordings.  But here's the thing; this piece uses one of Dan's guitar tracks slowed down to nearly half-speed with an entirely different Lyra-8 track, so these two tracks have no relationship to each other during the 'live' recording sessions.  Which is fine, as I think they play quite nicely together.

Mixed and altered in Logic Pro, with various EFX and reverb added to expand their horizons.  It's short, sweet and not the usual thing I post here, but I think it's worth a listen.

Dan & Scooter October 2022

Woke up this morning and wanted to see how far I could stretch a one minute sample of me playing a single viola in EastWest PLAY in Logic Pro.  Apparently the answer is almost 8 minutes, although I guess I could have gone even longer if I wanted to (or mercifully shorter as well, perhaps).  Sampled voices also slowed down are mixed in, as well as some ambient guitars and orchestral chimes playing at normal speed but with some EFX added.  Overall, it feels like a composition of some sorts, so I'm sharing it here.  No modular synthesizer stuff at all in this piece, which makes it a rarity in these parts.

Ambient Guitar Swirl 1

Recorded this track live earlier today (May 29th, 2023) in order to test out a recently arrived Possum Trident oscillator and a Synth Tech Hyperion EFX module.  I was happy enough with the results to think it worth posting here.  Other modules were involved to tickle the oscillator, but it's the source sound and it's being pushed through the Hyperion and the a TipTop EFX unit Valhalla reverb before going directly into a portable Tascam audio recorder.  I had a lot of fun twiddling the knobs while recording.

The Singing Robot's Sore Throat

This is from the same recording session as The Singing Robot's Sore Throat (May 29th, 2023) and utilizes the same set-up, except I believe I added the Grendel Formant Filter and also played more with the tunings of the resonator channels in the Hyperion.  I find it kind of hypnotic and lovely.  Also, it takes a longer time to develop, which is good as it starts off sounding like an angry orchestra tuning up for a performance.

Fade Away and Resonate

Recorded July 18th, 2014.  This is from the first collaborative session I did with the phenomenal John Blonde (of the band House of Blondes).  We met through a mutual friend, spoke for about 10 minutes and then started playing with equipment and recording.

The drone is me playing a Moog SubPhatty while the more musical stuff is John playing a Persephone Ribbon Controller that is connected to a good sized Modcan modular synthesizer system.  Everything is being processed through an Eventide SPACE pedal.

This piece is the unedited raw audio file we recorded together that evening (it was the final of four set-ups we did together to see how we played off each other, and I think it came out remarkably well).  Apologies for a brief moment of overmodulation, but I kinda like how it sounds so I've left it in for now.  Looking forward to future collaborations soon.

Thanks for listening and enjoy,

Scooter McCrae

BEYOND THE INFINITE Take 4

This is the Metasonix KV-100 Assblaster interacting with the Moog MF-107 FreqBox while the Modcan modular system observes and gasps in horror.

It's set-up something like this: the Modcan 01B Oscillator is going into the MF-107.This combination is output to the Assblaster.The Modcan 32B X/Y Controller is simultaneously controlling the frequency of the MF-107 and the filter frequency of the Assblaster (ie: the X-axis controls one parameter, the Y-axis the other).The gate output of the 32B is triggering a Modcan 04B VC DADSR Envelope Generator, which is controlling the Modcan 13B Dual VCA.And finally, this signal is sent into the Modcan 59B Digital Delay, and the stereo output makes its way into the Zoom H4N Digital Audio Recorder (44kHz at 24 Bit -- which sounds pretty amazing!).  Note that the MF-107 Oscillator is modulating the Assblaster, but the sound you're hearing is only from the Assblaster's output.

So I'm playing this combination via the X/Y Controller while also manually twiddling some knobs on the Assblaster.Much dark noise ensues.

This piece is actually an edit combining two different recording passes of this set-up -- one of which is the drone and the other a slowly shuffling semi-rhythmic bass sound.No reverb or any other kind of filtering was applied while editing in Logic Pro.

Thanks for listening!

P.S.There's a "pop" in the recording here on soundcloud at 2 minutes and 25 seconds that isn't in the original recording.Sorry about that.Blame soundcloud.


Metasonix Gritty Ambient

Simple but fun Eurorack recording involving a bunch of modules and an Eventide SPACE pedal.

The sound source is the Synthtech e340 Cloud Generator, going first into the Grendel Formant Filter and then into the Livewire Frequensteiner Filter (in Bandpass mode).  Both filters are being tickled by the Vulcan and Dalek Modulators while the e340 is getting some wiggling via two Livewire AFG's that are messing with each other a little bit.  Basically, everything is kind of modulating each other in a synthesis circle jerk at a slow but consistent pace.

And, of course, the final output is the wonderful Eventide SPACE pedal, utilizing one of the Shimmer algorithms that glues all this sonic madness together.

On top of that, I'm obviously making random adjustments to the oscillator, the modulators, the filters, etc., just trying to keep things animated and interesting.  The Grendel filter is an especially rewarding source of audio joy.

Nothing earth-shattering here -- just some sonic playtime with a couple of cool modules, and an especially welcome audio therapy session after a very tough week.

Thanks as always for listening should you care to indulge.  This one will NOT blow out your speakers....!



03 - 04 - 2015 Euro & SPACE 1

This is a live perfomance, no edits, of me controlling the Metasonix Wretch Machine (which is a tube-based synthesizer) with my Persephone Ribbon Controller.  The audio is being processed by the Modcan Digital Delay and the Eventide SPACE reverb pedal.

The Persephone is monophonic, so any overlap in notes that you hear is due to the delay and reverb.  Also, I did not employ a quantizer (which will be obvious, I think).  No other oscillators or filters were used besides the ones built into the Wretch Machine.

Sounds like one of Ligeti's choral pieces that was used in 2001; A SPACE ODYSSEY (ie: Atmospheres), which is what intrigued me to record this improvisation.  Once I heard the voice-like overtones being generated from of the speakers, I ran and grabbed my Zoom H4N and started recording.  Ignore the notes and enjoy the tones.

Thanks as always for listening!

Tubular Choral Soundscape (with apologies to Ligeti)

Just playing with the Doepfer Dark Time Sequencer while it controls the portable Eurorack Synthesis set-up seen in the photo.  Simple sequence put through its paces for a couple of minutes while twiddling knobs and messing with the POG Pedal.  Thought it came out nice enough to share, so thanks for listening if you choose to do so.

07 - 09 - 2017 Beach House 1

Recorded LIVE at the Church Co-op in Brooklyn, New York, on November 24th, 2018.  A slightly shorter than average exploration for me, but the brief running time helps frame the chaos nicely.

For the drone and more dramatic sonic eruptions, a Eurorack system using a single Livewire AFG, two Polyvoks oscillators, a Synthtech 340 Cloud Generator and 350 Morphing Terrarium as the main sound sources, everything is being fed into various filters -- a Livewire Frequensteiner, Polyvoks filter and a Rossum Evolution.  There's a Metasonix Scrotum Smasher in the Polyvoks signal path as well, and a Moog MURF pedal screwing everything up in the end.

The struck/plucked sounds originate from a TipTop Z-DSP with the Spring Waves card getting pinged by control voltages from a Livewire Dual Cyclotron and some other CV sources being mixed together.

There's a Micro Mellotron going into a Moog Phaser pedal and then into the Grendel Forman Filter for some oddball choir and cello processing that makes a brief (but noticeable) appearance as well.

Lots of fun making all this ungodly noise in a church.  I'm pleased to say that I was not struck down mid-performance by a bolt of lightning.  Enjoy!

Chaos and Tranquility LIVE

SOMA Lyra 8 output directly fed into an Allen & Heath mixer using the built-in reverb of the mixer.  There's a lot of sounds coming from the Mod Delay section, where the FB knob is almost completely up to full and the Time 1 and Time 2 knobs are twiddled in the barely open positions.  Drive is almost full as well, but the Mix knob is pretty low.  Hold and Pitch knobs get a lot of play, but the touch sensors are barely used until near the end of the piece.  Starts low but gets pretty loud, so please adjust volume accordingly if you choose to listen (and THANKS if you do so!).

Midnight SOMA Therapy (Recorded 12/15/2018)

Basically a whole bunch of different oscillators being mixed together and eventually directed into the Grendel Formant Filter before getting the Halls of Valhalla Reverb treatment (not visible in accompanying photo).  Both Polyvoks Oscillators, the E350 Morphing Terrarium, E340 Cloud Generator and a Livewire AFG (not in photo) are providing the raw sounds.  The Livewire FrequenSteiner and Rossum Evolution filter are in the signal path before hitting the Grendel.  I'm controlling the Oscillator frequencies with a joystick (not in photo) going into the TipTop Quantier and bringing signals in and out of the mix with a simple mixer module.  Pretty simple stuff, but I like the sounds and it was a relaxing thing to record before going to bed last night.

Turn up the volume as it's a pretty quiet piece.  Thanks for listening if you have chosen to do so!

Last Night's Mood Before Bedtime

This track is just plain nasty and sounds like a broken orchestra being whipped into some kind of terrible frenzy.  I have no idea what kind of mood I was in when this all came together last night, but I guess I was channeling something awful I wasn't aware of.

An MOTM-300 Oscillator and an MOTM format Woggle Bug are both beating the crap out of an MOTM format Zeroscillator that's being fed into an MOTM format Dual WASP Filter -- the CV inputs of everything are getting fed something from a Modcan 61B Quad LFO and I'm making minute adjustments to anything that's not nailed down the whole time.  The output of that nastiness is injected into a Modcan 39B Frequency Shifter and each one of the two outputs of that module (the Sum and Difference) are being fed into separate Modcan 35B Reverbs and then out into an Allen & Heath audio mixer (getting further shimmering wash from some built-in digital reverb).

I was surprised at how organically chaotic the sounds were -- jumping between an angry clarinet chuffing away and feverish strings getting chewed up and spit out.  Sounds like something from a particularly nasty horror movie, so not the usual kind of thing I post here.

This file is an edit of three different takes of the same patch that I think highlights the best of the sounds I was able to generate.

Please enjoy if you take the journey, and be forewarned this is definitely not ambient listening...!

The Horror -- The Horror!  (March 17th, 2019)

Recorded live in a single take on March 27th, 2019.

Feeding the Metasonix Wretch Machine oscillators into various filters and effects in the Modcan system to achieve an angry, breathing and monstrous soundscape that builds to a nice climax.

This is loud and it's not pretty, but thanks for giving it a listen if you choose to do so.

Sulphuric Windstorm at Dusk

Recorded live, June 7th, 2019 (in a single take).

One of the Modcan 58B VCDO oscillators is being fed into a 06B Phase Shifter / Timbre Modifier before hitting a 41B Fixed Filter Bank -- after which it all gets dumped into a Gamechanger Audio Plasma Pedal before getting washed down in a little bit of reverb.

Basically, I tried to push as much nastiness into the pedal as I could before trying to get it sounding even nastier.  Pretty much constantly twiddling knobs on everything to make it all sound alive and ornery.

Not sure if this is a composition or a test, but I liked it enough to share it nonetheless.  Thanks for listening!

Screaming Plasma in Fog

Recording live in a single take on the evening of August 27th, 2019.

The photo gives a good idea of the patch, but overall two Polyvoks Oscillators are tickling each other and then being fed into a TipTop ZDSP EFX unit utilizing the Bit-Rot card.  Batumi Quad LFO gets fed into the Doepfer Matrix Mixer, routed into the Rossum Evolution Filter and finally into the Rossum Panharmonium.  A few other modules are involved in various minor capacities and then everything ends up in an Allen & Heath audio mixer that pushes everything into an Eventide SPACE pedal for maximum gooey reverb goodness.

I am twiddling knobs almost nonstop during the recording process, so there's lots of fun and interesting modulations, timbre changes and evolving textures throughout.  As ambient pieces go, this one keeps on moving.

Thanks for listening!

Shivering Timbres on a Dark Night

Recording live in a single take on the evening of August 27th, 2019.

This is one of two recordings I did with the same basic set-up.  Unlike the other piece, this one has been edited slightly to shorten it from a more unwieldy length.

The photo gives a good idea of the patch, but overall two Polyvoks Oscillators are tickling each other and then being fed into a TipTop ZDSP EFX unit utilizing the Spring Waves card. Batumi Quad LFO gets fed into the Doepfer Matrix Mixer, routed into the Rossum Evolution Filter and finally into the Rossum Panharmonium. A few other modules are involved in various minor capacities and then everything ends up in an Allen & Heath audio mixer that pushes everything into an Eventide SPACE pedal for maximum gooey reverb goodness.

I am twiddling knobs almost nonstop during the recording process, so there's lots of fun and interesting modulations, timbre changes and evolving textures throughout. As ambient pieces go, this one keeps on moving.

Thanks for listening!

Ethereal Cinder Block Ballet

Recorded Live in a single take on September 10th, 2019.

Normally I have a list of the modules used to create a piece, but this time I have nothing.  I was feeling sick and a bit delirious when I sat down in front of the Eurorack modular to record this session as I was drugged up while recovering from a minor eye infection.

In the midst of this mental blur, I set up a patch and just started recording and twiddling knobs for nearly a half-hour.  Listening to the results a few days later, I liked it enough to post it here without any edits.  Your mileage may vary, but I like the way it moves along and develops as it goes.  It feels like a complete composition unto itself.

It's a bit quiet, so please feel free to boost the volume as it does not get ridiculously loud suddenly.  I hope you find it as relaxing as I did, if you choose to listen (and thank you if you do so!).

Ambient Waves of Grain

Recorded LIVE in a single take, January 12th, 2020.

Every New Year's Eve, I take the time to wire-up an end-of-the-year ambient patch on the modular system that I have playing in the background to take me through the end of one year and through midnight into the next one.  Been doing so the last three years and counting.

This year I combined the Modcan system with a theremin so I could play along a little bit when I wasn't busy doing the usual knob twiddling and joystick moving on the modular.  My playing is thankfully minimal and buried in the live mix, thank goodness, but it's there to provide some tonal variety.

I'll update this with a photo and a better description of the patch at a later date.  For now, please enjoy and thanks for listening!

2020 Entered The Room Quietly

Recorded LIVE in a single take, January 12th, 2020.

Every New Year's Eve, I take the time to wire-up an end-of-the-year ambient patch on the modular system that I have playing in the background to take me through the end of one year and through midnight into the next one. Been doing so the last three years and counting.

Although this year I combined the Modcan system with a theremin so I could play along, this recording done during the same session does not include any theremin and is just the Modcan modular being manipulated by hand as it chugs along -- so it's even more relaxing!

Thanks for listening!

2020 is 20/20

Recorded live in a single take on February 22nd, 2019.

Good lord -- what the hell was going on in my mind when I recorded this magnificent piece of nastiness?  It's certainly not ambient and it's also a relatively short recording for me, but I do love the way it fills the room when it blasts out of the speakers.  Beware: this one is a bit loud!

The Metasonix Assblaster is being fed into the Eurorack modular set-up and being processed through the TipTop Z-DSP effects module using the Bit Rot card.  These two play well together if you're looking for the sound of the universe being ripped to shreds being fed into some reverb.

Sorry I don't have any more notes on this composition, but I'm pretty sure it was a simple set-up and I'm doing the usual knob twiddling at top speed to keep things sounding 'alive'.

Thanks for listening and watch out for your hearing!

Shredded Universe Screaming in the Key of A Minor

Live recording (no overdubs or edits) from June 23rd, 2020.

Sound sources for this are the Synthtech E350 Morphing Terrarium and E340 Cloud Generator, a Harvestman Polyvoks oscillator and the Waldorf nw1 Wavetable Module, all being fed into a Doepfer A-138m 4x4 Matrix Mixer and unleashed onto the rest of the Eurorack system from there.

Rossum Evolution filter?  Yep.  Grendel Formant Filter?  Oh yeah, that too.  And then all of that is fed into a Moogerfooger MIDI MuRF, and then into an Eventide PitchFactor, and then finally into a TipTop Z-DSP EFX module running the Chamber reverb of the Halls of Valhalla card.  I'm busy wiggling knobs throughout most of the entire 20 minute length of this piece.

I found the process of recording this relatively relaxing and enjoyed listening to the playback, finding it meditative without getting TOO new age spacey (although it is certainly new age spacey!).  Thought it was worth sharing, so thanks for listening if you choose to do so.

Floating Into The Sun

Where to begin?  Back in the mid 1980's I was part of a performance group that created 'audio events' with musical instruments and found objects in six hour intervals over the course of three years while I was in college.  There were five of us altogether for the most part (with a few deviations along the way) as the core of the ensemble, and these performances were as much of an endurance test for us the players as for the rotating audiences who would pass through the open space over the course of those frenzied hours.

Guitars, synthesizer and sampler, microphones, found objects and anything that wasn't nailed down could become a percussion instrument during a performance.  Performers would rotate between instruments or taking turns telling stories.  Nobody involved had any official music studies or training; for the most part, non-musicians using instruments as tools to create sonic environments and oddball audio situations in opposition to one another.

Thanks to a nearby Nagra tape machine, we recorded everything during this period and now -- some 35 years later -- I have been revisiting these archived materials and have begun editing them down for the sake of creating a slightly more coherent listening experience.  The first of these shows, The Skinless Man, is thus represented here in a 3 hour and 45 minute cutdown that captures the raw energy and excitement of the performance while losing some of the excesses that arise from mind numbing exhaustion, questionable experimentation and repetition that can occur over the course of so many non-stop hours of playing.

This is obviously not for all ears and temperaments, but if you choose to give it a listen, please approach it with an open mind -- and watch out for your ears as it can sometimes get pretty loud and unruly!

Geek Messiah SKINLESS MAN Complete Performance Edit

Where to begin? Back in the mid 1980's I was part of a performance group that created 'audio events' with musical instruments and found objects in six hour intervals over the course of three years while I was in college. There were five of us altogether for the most part (with a few deviations along the way) as the core of the ensemble, and these performances were as much of an endurance test for us the players as for the rotating audiences who would pass through the open space we were performing in over the course of those frenzied hours.

Guitars, synthesizer and sampler, microphones, found objects, toys, guitar effects pedals and anything that wasn't nailed down could become a percussion instrument during a performance. Performers would rotate between instruments or taking turns telling stories at the electronically processed microphone. Nobody involved had any official music studies or training; for the most part, non-musicians using instruments as tools to create sonic environments and oddball audio situations in opposition to one another.

Thanks to a nearby Nagra tape machine and a single microphone, we recorded everything during this period and now -- some 35 years later -- I have been revisiting these archived materials and have begun editing them down for the sake of creating a slightly more coherent listening experience. Puppy Dog is thus represented here in a 5 hour and 10 minute cutdown that captures almost all of the raw energy, excitement and eventual cathartic exhaustion  of the performance while losing very little of the running time as everyone was firing on all cylinders for most of the punishing running time (I only snipped out a half-hour overall).

This is obviously not for all ears and temperaments, but if you choose to give it a listen, please approach it with an open mind -- and watch out for your ears as it can sometimes get pretty loud and unruly (with some ghostly ambience in abundance as well)!

Geek Messiah PUPPY DOG Remix Complete

Afternoon improvisation on the Euro modular system that yielded some interesting results.  The low-end drone is the MOTM Morphing Terrarium going through the Livewire FrequenSteiner filter -- and the Terrarium is getting some VC parameters "pinged" by one of the Livewire Dalek Modulators.  

In addition to this, there's a semi-vocal sound warbling in-and-out via a Livewire AFG Oscillator going into a Grendel Formant Filter that's having its Articulator X and Articulator Y CV inputs "tickled" by the Livewire Dual Cyclotron while I'm busy using the FOH Choices joystick to control the frequency of the oscillator.  There's some other stuff going on as well in terms of modulation, etc., but not a whole lot more.  There is no common clock keeping things running in sync, so it's all a bit loosey-goosey (which I like in this case).

It's all being output via the Circuit Abbey Unify mixer into an Eventide SPACE reverb unit and recorded LIVE into a Zoom H4N audio recorder.  This was the first of two takes.  They were both interesting performances, but I prefer this one a bit more.

Thanks for taking the time to listen!  I think there's some cool sounds happening here and I like the interaction between the two disparate audio elements.

06-08-2013 Euro Madness 1

Eccentrically Electronic Modular Madness filtered through 30 years of intense listening and 20 years of trying to figure out what plugs into what without blowing up or setting things on fire.

scootermccrae

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