Finally found time to write some new music. For inspiration, I turned to the Isolation Loop packs kindly donated by Hainbach and Jamie Lidell and it’s been a really fun way to spend an evening.
I started by creating a sampler patch, based around one of Hainbach’s atmospheric piano tape loops and stumbled across a lovely chord sequence which sounded both melancholic and uplifting at the same time. Whilst I could easily have employed time-stretching to make the timing more uniform, much of the wonky charm came from the samples being sped up and down so I left it as it was.
Turning to Jamie Lidell’s pack, he provided some lovely vocal Ahh’s, which I manipulated to create a gentle lead sound which provides the melody line. It’s doubled up with a glassy, FM synth patch as well which just helps it cut through a little better.
I deliberately avoided using a metronome or any quantizing, just to see where it took me, and the result was a Lo-Fi, electronic waltz. (Or at least, my interpretation of one).
The drums are a combination of noises from the Hainbach Test Equipment loops, hi-hats extracted from one of Jamie’s drum loops, some electronic drum sounds courtesy of Daniel Miller’s ARP2600 and a few sounds created on my own Eurorack system.
The buzzy bass note is also from one of the Hainbach Test Equipment loops.
The last layer was a sustained violin chord from Spitfire Audio’s Albion Tundra, just to boost the higher frequency content. This was a trick that the Art of Noise always used to employ, layering clean, crisp synth parts on top of their crunchy, low-bit Fairlight samples.
Once I had the basic parts down, I did a quick ‘live’ launchpad arrangement in Ableton, before adding a bit of Valhalla’s Shimmer Reverb on the FX send to glue the parts together. And there you have it!
In these strange and somewhat scary times, it’s great to see Artists so generously sharing raw material like this.
I’ve long heard about the virtues of using reference tracks to compare your mixes against, but never actually got around to trying it myself. That might all be about to change though.
One of the creators I subscribe to on Patreon is Reverbmachine. If you haven’t heard of Dan aka Reverbmachine before, he’s definitely worth checking out as he does some excellent tutorials on how to recreate the synth sounds from a variety of songs, including 80’s classic such as Shout by Tears for Fears. Patreon subscribers also get to download his remakes as Ableton Live sets too, which are definitely worth the small monthly fee.
In his latest Patreon post he goes into detail of how he gets so close to the original sounds and yes, you’ve guessed it, reference tracks are a large part of it. He goes on to describe the Ableton Live template he uses, based on the instructions in this article.
I’ve just followed them myself and now have a shiny new template to use and abuse. Of course, the real trick will be in finding the right reference tracks to compare against, and to that end, iZotope have some suggestions that are worth considering. Certainly agree with their first choice of Peter Gabriel’s ‘In Your Eyes’ as it’s such a rich, well mixed track with lots of space for the different parts.
Not sure what the plural of Mantis is, but I now have three of the Tip Top Audio cases of the same name, laid out end-to-end on my desk like a mini mission control.
Analog Synth Mantis
To the left is the Analog Synth Mantis which is probably the more ‘vanilla’ of the three cases. Built around three different oscillators (OSC303, Tip Top Z3000 and the Doepfer A-110), each with a separate, dedicated filter (VCF303, Intellijel uVCF and Doepfer A-105 respectively), as well as the usual array of VCA’s, ADSR’s and LFO’s (Mainly Doepfer or Erica synths modules).
Dinsync’s excellent Modseq module allows me to do some repeatable Sample and Hold style manipulation of the filter cut-offs, or paired with the Ladik Easy Quantizer module, makes a mean bassline sequencer for the OSC303.
Other modules of note include the FoH Choices joystick, which is paired with the clever little Ladik Joystick Math module which makes it a lot more flexible, and a small selection of Make Noise modules including the Moddemix and LXD which are both great for teasing out plucky, percussive sounds.
Digital & Sequencing Mantis
The middle, Digital & Sequencing Mantis has something of a split personality. The top row provides the master clock for the whole system, which I have distributed between the three cases using a combination of different powered multiples to create a semi-permanent clock backbone.
It also provides additional sequencing and quantizing capabilities, courtesy of a Turing Machine with the Pulses and Voltages expanders and the GMSN Pure Sequencer, both paired with Doepfer A156 Dual Quantizer. These are great when I want something a little more unpredictable than the ES-40 / Ableton Live combination or my Beatstep Pro. Alternatively, the sequencers work great as modulation sources for my percussion modules.
The lower row houses my ‘Digital’ modules, including the obligatory Mutable Instruments trilogy of Braids, Rings and Clouds, as well as Erica synths Black Hole DSP which has some lovely Shimmer effects. A Mutable Music Things ‘Ears’ module rounds things off, used primarily to trigger the strum input of Rings.
Gates & Percussion Mantis
Moving to the right we have the Gates & Percussion Mantis which has a wide variety of drum and percussion modules as well as gate triggers, clock dividers and logic modules which are great for coming up with abstract drum patterns.
The sound sources themselves include the ALM Taiko modules (Still on the lookout for the limited Haswell’s Taiko if one ever comes up on eBay or Muffwiggler), multiple kick drum synths (With the Hexinverter Mutant Bassdrum being a current favourite) and a selection of Tip Top Audio 808 modules.
It’s worth remembering that percussion modules don’t have to be limited to providing drum sounds though, as many have pitch CV inputs which allow you to use them for basslines and tuned percussion alike. They also often have built in VCA’s and envelopes, further increasing their effectiveness for a relatively low cost.
Also in this case are some additional effects courtesy of the Sara VCF filter from DinSync, ALM’s EQ and Music Thing’s Spring reverb module. There’s also a passive ring modulator I made with some germanium diodes which is pretty unique sounding.
And last but not least, we have the Audiodamage ADM09 USB audio interface which is normally linked to an iPad 3 running the stunning Borderlands 2, granular synthesis app. You can coax some amazing sounds out of Borderlands, particularly when feeding it a diet of modular synth noises from the ADM09.
One day, I might even learn what it all does 🙂 Seriously though, I’ve just signed up to the Learning Modular Patreon page which gives regular hints and tips on how to get the most out of your modular synth, as well as free access to a course of your choice on the main Learning Modular site. Can’t be bad!
I’d hope I’m comfortable with the basics, so went with the ‘Level 2 Eurorack expansion’ which is very comprehensive and appears to be regularly updated to keep it current. Chris Meyer who created and presents the course has a great knack of making complex concepts sound easy and I’m learning so much already. Here’s an excerpt from the course…
The only danger is that I’m now lusting after a Mordax Data module, having seen Chris demonstrate his one. I’m sure I can make it fit somewhere 🙂
Well, this house building business takes a lot more time than I had expected, and whilst I’v become something of a dab hand at building airing cupboards and fitting out utility rooms, I’m finally coming out of the other side and getting a bit of time to work on my music.
I’ve recently taken delivery of a third Mantis case (someone should have told me this Eurorack hobby would turn into an obsession!) and am working out what modules to put into the gaps.
As you can never have enough filters, I decided to go DIY and search for something interesting for the last 8HP of the ‘Analogue Synth’ Mantis case.
This led me to a PCB and Panel kit by Guru Gara Synth, based around the 4-pole 24dB CEM 3320 filter. The filter was used in lots of classic 80’s music technology including most notably the Prophet 5 synth (Rev. 3), the Fairlight II, PPG Wave 2 and the Oberheim OB-SX – none of which I would ever expect to be able to own! (Unless Behringer feels like cloning them of course).
The kit doesn’t come with any build instructions, but the PCB is very clearly laid out, so that’s no biggie. As the CEM3320 has been out of production for some time now, I went for the AS3320 from soundtronics.co.uk which is a modern equivalent and very reasonably priced. From the YouTube videos, it does sound rather nice!
More info on the 3 Mantis cases themselves and how I’ve configured them in a future post.
Dubscapes was a collaboration with Cosmo Valseca of Clear Air Turbulence and features a video from PixelPusher.
It started life as some 8-bit arcade machine drum patterns I sound designed, which I left for Cos to play with after our writing weekend some 10 years ago. (My how time flies!) Cosmo expertly fused them with a electro dub track he was working on and the result is Dubscapes.
Anyway, based on the low number of YouTube views, I guess not many of you will have heard this so I thought I’d share.
So the good news is the Blue LCD I bought on ebay is fully compatible with the Korg DDD-1! The model I went with is the HD44780, although it has slightly different dimensions to the original, so I had to get a bit creative with attaching it to the case. I also had to extend some of the wires from the circuit board so they could reach the solder points.
Unfortunately, my excitement was short lived as I managed to kill the backlight within a few minutes as the voltage was probably too high.
So, after ordering another replacement (Yellow backlight this time), I decided to put an inline resistor on pin 15 to reduce the voltage. A quick google suggested something around 47 ohm should do the trick, but the smallest resistor I had to hand was 100 ohm.
I’m happy to report it all works fine though, and with no annoying whining sound!
I’ve also replaced the main navigation / cursor buttons which are a lot more responsive now. The back-up battery replacement was a bit fiddly, but I’ve done that too 🙂
Hello again, it’s been a while! The last 18 months have seen me buy a new house, move in, move out again, then pretty much rebuild it.
We are finally getting back to normality though, and I now have the luxury of a dedicated studio space in the house (no more shed at the end of the garden!).
Whilst unpacking my equipment, I decided it was time to give some TLC to some of my more aged items.
Korg DDD-1 Drum Machine
Korg launched the DDD-1 drum machine in 1986. Built like a tank, it’s sounds have arguably aged better than competitor drum machines of the day such as the Roland TR-505 and Yamaha RX series. You aren’t limited to the 18 onboard sounds either, as it has 4 rom card expansion slots and Korg released a large number of expansions which pop up from time to time on ebay.
It also has an optional sampling board but these are very difficult to find, not to mention cost prohibitive on those rare occasions when one comes up for sale. More usefully though, an enterprising individual has reverse-engineered the rom cards and built an adapter that lets you add your own sounds, stored on EPROM chips.
I have a couple of these adapters myself, and have started burning my own EPROM’s with sounds created on my modular system. Of course, as the DDD-1 is only 8-bit, the samples don’t sound exactly the same as the originals, but this only serves to make them more unique.
Time for surgery
I purchased my DDD-1 a couple of years ago, and it generally works fine, but does have a high-pitched whining noise which I suspect comes from the LCD backlight. This isn’t present on the audio outputs though so is something I’ve largely learned to live with.
More recently though, I’ve noticed that the selection slider is a bit temperamental and the plus and minus selection buttons need quite a hard push before they work, which makes it difficult to program. Being over 30 years old, there’s a high probability the back-up battery will soon fail too, so I’ve decided some surgery is in order.
The back-up battery is your usual CR2032 button affair, although in their wisdom, Korg elected to solder this on the board. So I’ll also be fitting a battery holder to make future maintenance easier.
Have posted a couple more older remixes to my Soundcloud page, both of which were originally for competitions on the Acidplanet website.
Bleed Electric – Birds as High as Planes (ScarKord Remix)
Starting with Bleed Electric’s Birds as High as Planes (ScarKord Remix), which is a pretty frenetic Drum and Bass version with some lovely bass sweeps and a crazy amount of edits on the vocals.
Lords of Acid – Drowning in Ecstasy (ScarKord Remix)
This is followed by a remix of Drowning in Ecstasy by Lords of Acid. My main recollection of this remix is that I really didn’t think much of the vocals, particularly in the verses, so I went full on Cylon with the help of a Vocoder to dirty them up and disguise the cheesy lyrics. Add some Aphex style percussion and an overdriven acid bassline and there you have it!
Just uploaded my Gabriel Rios remix to YouTube, synced to the original video. Did a little bit of a ‘Wizard of Oz’ edit to it as well with a black & white effect. The aspect ratio is slightly out though, but this was a problem with the source video so I decided to leave it as is.