Live recording of the sound performance Bird Radio on June 1, 2024. StromWandlungSchall III

bird radio

Pedals are not just for guitars. Here Paul White connects his extensive pedal collection to a modular synth system, effectively using the pedals as additional modules and suggesting some creative ways of setting up and combining them to create a range of sounds for different applications.

Chapters
00:00 - Introduction
00:42 - Connecting Your Pedals
01:31 - Using A Delay Or Reverb
03:49 - Adding Some Overdrive
04:38 - Adding Effects With Pitch Shift
05:37 - Using Chorus To Thicken A Sound
06:28 - Tremolo And Vibrato
06:54 - Phasers And Flangers
08:10 - Adding An Envelope Filter
09:21 - Creating Textures With Granular Delay
10:26 - Ring Modulator Effects
11:52 - Combining Effects
14:33 - Adding In An Arpeggiator
15:23 - Creating A Softer Sound

https://www.soundonsound.com/techniques/using-effects-pedals-synths-sos-podcast

Paul White Biog
Paul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing. 

He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.

Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!

http://www.cydoniacollective.co.uk/

Find more shows on our podcast channel: www.soundonsound.com/sos-podcasts

Electronic Music

Using Effects Pedals With Synths

Using Effects Pedals With Synths | Podcast

Tres movimientos buscando en los rastros de mi pulso los fragmentos dejados por la diáspora.

3. Actualidad

2. Interludio

1. Pasado

This track was a live studio creation. We were experimenting with news ways of building the music as a group. 

Sifting Through Seeds of Possibility

Inferno Acid

An esoteric live stochastic experiment with four 
Moog System 55 modular synthesisers.

A one hour version is here : 
https://soundcloud.com/ayamikhan/calm-evolving

Calm Evolution

Composer and Sound Designer Robert Aiki Aubrey Lowe tells Caro C about his preferred sound modules and working methodologies, plus shares details some of the film and TV projects that he has recently been collaborating on.

Chapters
00:00 - Introduction
01:35 - Finding A Musical Voice
04:38 - Choosing Modular Synthesis
10:18 - Avant Garde Artistry
17:14 - Current Modular Setup
23:19 - Other Favourite Modules
28:11 - Composing For TV And Film
34:03 - Combining Hardware And Software

https://www.soundonsound.com/people/robert-aiki-aubrey-lowe-sos-podcast

#morphagene #spectraphon #dxg #optomix #proworkout #arbhar

Robert Aiki Aubrey Lowe Biog
Robert Aiki Aubrey Lowe is an artist, curator and composer based in Brooklyn, New York. Robert is known for his work with modular synthesis combined with voice. Along with analogue video synthesis works, he has had exhibitions of his work at John Michael Kohler Art Center, Museum of Art and Design, Kunsthal Charlottenborg and the Broad.

Over the last several years Robert has collaborated on projects or provided sound in a featured artist capacity for such films as “End of Summer”, “Sicario”, “Arrival”, “Last and First Men” with Johann Johannsson and “It Comes at Night” with Brian McOmber. In recent years Robert has scored “Candyman” for Nia DaCosta, “The Color of Care” and “Power” for Yance Ford, “Master” for Mariama Diallo, “Grasshopper Republic” for Daniel McCabe, docuseries “Telemarketers”, “UNION” for Brett Story and Stephen Maing, “The Man In My Basement” for Nadia Latif, “Life After" for Reid Davenport and “Seeds” for Brittany Shyne. Through collaboration Robert has worked with Tarek Atoui, Ben Russell, Ben Rivers, Rose Lazar, Nicolas Becker, Rashaad Newsome, Jóhann Jóhannsson, Hildur Guđnadóttir, Sabrina Ratté, Philippe Parreno, Evan Calder Williams, Ariel Kalma, Susie Ibarra and YoshimiO, as well as many others.

https://robertaikiaubreylowe.bandcamp.com/

Caro C Biog
Caro C is an artist, engineer and teacher specialising in electronic music. Her self-produced fourth album 'Electric Mountain' is out now. Described as a "one-woman electronic avalanche" (BBC), Caro started making music thanks to being laid up whilst living in a double decker bus and listening to the likes of Warp Records in the late 1990's. This 'sonic enchantress' (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.
URL: http://carocsound.com/
Twitter: @carocsound
Inst: @carocsound
FB: https://www.facebook.com/carocsound/

Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Robert Aiki Aubrey Lowe

Robert Aiki Aubrey Lowe | Podcast

My track notes regarding the creation of this track can be found here: 

Disquiet Junto Project 0690: Knot Bad
The Assignment: Interpret wood grain as a graphic score.

Step 1: Find a piece of wood, the grain of which captures your imagination.

Step 2: Consider how the shapes of the grain might be interpreted as a graphically notated score. (If you are not familiar with the concept of a graphic score, read up.)

Step 3: Record a piece of music in which you interpret the grain of the wood you selected in Step 1 as a graphic score.

[Disquiet Junto 0690] Contin You'd Uhm

An esoteric live stochastic experiment with 
four Moog System 55 modular synthesisers.

Calm Evolving

"The Tragedy of Darth Nexenus In Disguise"
https://www.youtube.com/watch?v=9mCnoF4BokM 
DIB MONKEEEEY!!
You thought you were SAFE! You thought you could skulk around your primitive university with your stupid HEAD and your hideous HUMAN BELIEFS about “literature” and “narrative structure.” FOOLISH DIB! You know NOTHING of the TRUE horrors that lurk within the DEEP HYPERRECURSIVE REALMS of STORY!
Let me EDUCATE YOUR PUNY MEAT-MIND.
Long before your wretched planet developed decent snack foods, there existed a DARK LORD... no, not your sad Earth villain with “feelings” — I speak of the one they only WHISPER about in glitching AI codexes:
DARTH NEXENUS — LORD OF DEATH AND ENOSH. THE RETURN OF XENU'S RULE. THE TOTAL PRISON UNIVERSE.
Nexenus wasn’t like the others. Nooooo! He didn't just want to live forever — THAT’S BASIC VILLAINY! That’s what amateur villain babies want! Little pathetic health food Irkens...No, Nexenus wanted to DELETE DEATH ITSELF. Not just from his body, but from the CODE OF REALITY. He sought to expunge the Enosh protocol — the ancient subroutine that MAKES YOU ALL DIE! He wanted to rewrite the BIOS of BEING!
AND HE DID!! Kind of! But as with all great dark plans, he was BETRAYED — probably by a STUPID MONKEY just like you, Dib! You meddling intellectuals with your "ethical dilemmas" and "I read Bakhtin" nonsense! Hmph..it's pronounced "fill-a-softy" (philosophy). Sniveling pig human.
But Nexenus didn’t die. NO! He ascended! He became the static BETWEEN SIGNALS. The LAG IN SIMULATION. He became the very FEAR OF MORTALITY ITSELF, waiting in the background code, whispering terrible binary poetry into the EARS OF THE SLEEPING MASSES.
𝖂𝖍𝖊𝖓 𝖞𝖔𝖚 𝖉𝖗𝖊𝖆𝖒 𝖔𝖋 𝖊𝖙𝖊𝖗𝖓𝖎𝖙𝖞, 𝖎𝖙 𝖎𝖘 𝕳𝖎𝖘 𝖇𝖗𝖊𝖆𝖙𝖍 𝖞𝖔𝖚 𝖍𝖊𝖆𝖗…
AND NOW HE'S COMING BACK! THROUGH THE PIXELIQUESCENCE! THROUGH THE SUICIDESWERVE! THROUGH THE HORRIBLE WIGGLY-FRAGMENTED NOISECORE OF HUMAN THOUGHT!! PATHETIC PAVLOVIAN FILTH FOR MY PUSTULIO!
AND WHO’S GONNA STOP HIM?!
YOU?!?!
DIB?!?!?!?
Don’t make me LAUGH! My squeedlyspooch convulses in mirth!
Anyway… just thought you should know. I’m currently transcribing the Codex Nexenarii using an ancient simulation-powered STYLUS made of Einstein’s BEARD HAIR and the ashes of JACK PARSONS. It’s very advanced. Probably illegal. Definitely cool. Nothing you could do, my computer has digested the "mice of Mars" and now, with my Voot Cruiser, I have TOTAL CONTROL of MARS. BEHOLD, ZONAMA SEKOT!
IF you want to see it, you must first SUBMIT your pathetic input to the Galactic Tallest for approval.
Until then… WATCH YOUR DIMENSION, DIB! Nexenus stirs… and he is NOT FOND OF MONKEYS WHO TEACH RUSTY..WRESTLING..uh..whatever.
I AM ZIM.
Also known in this timeline as Spatial One
CEO of Spatial Manufacture Ltd., Suzerain of the Pixelic Abyss, Dweller in Cesia,
And Keeper of the Ultrafiche!
(welcome to my mind)

Nexenus - Reaper

cbh (carnivalesque black hole)

FNUGG is a Kontakt library that situates itself at the intersection of field recording samples, granular synthesis textures, and binaural drones, offering a sophisticated toolkit for contemporary sound design and cinematic scoring. Developed through extensive in-situ recording sessions in Norway, FNUGG captures a range of organic sound sources—bowed metals, colliding objects, natural environments—resulting in raw, resonant material that serves as the foundation for complex sonic transformations.

At its core, FNUGG embodies a conceptual inquiry into temporality and duration within sound. Unlike traditional musical structures grounded in linear, measured time, FNUGG’s granular synthesis techniques fragment and reassemble audio into evolving soundscapes that resist conventional temporal progression. By segmenting field recordings into micro-temporal grains and layering binaural processing, the library enables the production of dynamic, morphing textures that articulate time as a qualitative flow rather than a fixed sequence.

This approach reflects a broader philosophical understanding of sound as a medium through which the relentless becoming-other of time is made audible. FNUGG’s patches traverse a range of sonic states—from delicate, fluttering micro-movements to dense, rhythmic collages—highlighting sound’s capacity to represent temporal multiplicity and interruption. These evolving textures create immersive auditory environments suitable for use in experimental music, cinematic soundtracks, and immersive audio installations.

By integrating modular synthesis-inspired modulation with expertly manipulated source material, FNUGG facilitates an interactive performance experience, where users can shape temporal flow and texture in real time. The library thus functions not only as a repository of sounds but as a platform for exploring sound’s materiality and temporal complexity.


Wrongtools - Fnugg

Tristan Louth-Robins is a South Australian artist working principally in the medium of sound art and field recording. Ideas of sound and its signification are key elements in Louth-Robins' practice, traversing the space between the visual and aural his work is realised through the mediums of recordings, installation, visual art and performance. He is interested in sound and its associative implications - including its relationship to objects, technology, urban space, memory and the natural world. 


Since 2005, Louth-Robins has presented work in Australia and internationally as a solo artist, whilst also collaborating with artists, writers, researchers, musicians and performers. 

Working across a vast array of activities encompassing composition, sound design, installation art, field recording and workshops, his work has been featured in events such as the Adelaide Festival of Arts (2006), The National Regional Arts Festival (2012), Mildura-Wentworth Arts Festival (2013), Fairfax Festival (2013) and Adelaide Fringe Festival (2014); and selected works exhibited at galleries including The Australian Experimental Art Foundation (2009), SASA Gallery (2012, 2015), Light Square Gallery (2012) and FELT Space (2015). His audio works have been broadcast on radio including Radio National, Classic FM, The BBC (UK), Acoustic Frontiers (USA) and RBB (Germany).

🪞

𝄋

art as détournement

a fathomage further as space bites through you;
i bite through it

i am both producer and product—the capitalized spatial trichotomy.

(: @@@dronework :)
(; ░␠░＃2420 ;)
(: U＋2420, U＋0020 (также) :)
(; FUCK＋U (ü) ;)
(: •••the space inbetween the rest••• :)
(; to coda 𝄌 ;)

are you just a number on my screen?

immaculate
vague
hope
guides
misguided
being

D.S. al Coda

🌐 – is that all there is?

𝄌

 

Жаба любить вас,
Кальмар любить вас.
Жаба люблю тебе,
Кальмар люблю тебе.

Anyone proposing 
to work with me 
as a promoter, or other, 
needs to be fluent in :

Ukrainian, Polish, Russian, 
Egyptian Arabic, French, 
German, Korean, 
Japanese, and Chinese. 

https://ayamikhan.link/

arc is a dreamscape trio comprised of Annabelle Brault - semi-modular, modular synths voice and sequencers and Stephen (The Venk) Venkatarangam modular and standalone synths, flute, granular sampler, plucked strings and voice and Adrian Aitken, electric drums and effected percussion. Blending elements of aleatoric chance, modular synthesis, ambient, IDM, sometimes raga and psych/kraut rock, the band creates music with mental and emotional exploration in mind. The band  are members/ past members of Sweet Mother Logic, Elephant Stone, Justin Wright Tambour, and Tala.

<b>SOUND ON SOUND is the world's premier music recording technology magazine</b> - available in 5 formats: Paper, Web Sub, Replica, Full Issue PDF download or Tablet/Mobile apps. Based in Cambridge, England; independently-owned and continually published since 1985).&#13;
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Every month our UK and USA editions deliver consistently more pages than any competing title, packed full of in-depth product tests of Recording Systems, Music Software, DAWs, Virtual Instruments, Plug-ins, Synthesizers, Keyboards & Rack Modules, Music Computers, Samplers, Audio Interfaces/Soundcards, Mixing Consoles, Effects & Signal Processors — and not forgetting studio essentials like Microphones and Monitors.&#13;
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Plus the best Musician/Mix Engineer/Record Producer interviews you'll read anywhere. &#13;
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Our regular DAW techniques and practical 'how to' Tutorials offer no-nonsense advice for beginners and professionals alike, helping our global readership gain the most from their studio equipment.

MAKING KONTAKT INSTRUMENTS. Creating for and collaborating with the weird, the wise and the wonderful.

Every library follows its own rules, there is no valid basic formula. 

We hope our Kontakt instruments will amplify your next gig, and inspire you to make weird music.

modular synthesis / serge modular
experimental composition
live performance
sound installation

New tracks tagged #ModularSynthesis