mercredi 28 juillet 2021

Electraumatisme du 28/07/2021

Cette édition classique d'Electraumatisme marque le retour de l'agenda en début de podcast. Profitez de ces soirées si possible avant le prochain confinement sélectif.


Carbon 14 - Brain Dead
5ilent 5olution - Neurologic Dreams
Calvin & König - Ich will das nicht
Full Contact69 - Face to face (single cut)
Maximum Trauma - Cost Me A Kidney
Odonis Odonis - Trust
Orange Sector feat. Armageddon Dildos - Alles Ist Grau
Syncore - Nobody Lies
Outpost 11 - Ostanovis
Insect Plasma - Morphing Fields
Nova State Machine - Document 03
Missratener Sohn - Kein Leben
Our Echoes Scream - Last tape
Fuze Box Machine - Hypnotic (Nightmare Mix)
Cyan - Die Vogel
Kalte Farben - Gotcha (New Mind yAge Mix)
Simulacron - Geschwindigkeit
Cellar Graves - Witching Hour

 Release of the week


 











mercredi 21 juillet 2021

Playlist Electraumatisme du 21/07/2021 - Suéde

Electraumatisme remonte doucement sur le vélo avec cette courte édition d'une heure démarrant par des choses ambiant/noise avant de faire un tour de Suède dans sa seconde partie.


Nova State Machine - Document 7
The Plant x Izumisan Ensemble - Ibiza Meltdown
Covenant - Ritual Noise (Edit)
Therion - Cults Of The Shadows
Dupont - Unknown Airspace (départ de Johan Damm, album intermezzo 2004)
S.P.O.C.K - Where Rockets Fly (Electromix)
Fatal Casualties - Skrik tyst
Finkseye - Hellwalker
Guilt Trip - Tail of a Whail
Dark Side Cowboys – Autumn Song
Autodafeh - Sex On The Dancefloor
CAP - Stahlherz (Non-Ferro Edit)


Release of the week


 








Download : http://electraumatisme.info/broadcast/20210721.mp3


dimanche 18 juillet 2021

Kitchen Notes : Eclipsed on Holyiens






Je suis très excité aujourd'hui de poster ces Kitchen Notes particulières car elles viennent d'Eclipsed, projet dont le dernier album Holyiens m'a retourné le cerveau et qui ne quitte toujours pas mon player.
Aussi je remercie chaleureusement Keyhead, également derrière KIFOTH pour avoir pris le temps de répondre aux habituelles questions, et compiler les informations auprès des autres membres du groupe. Au final, on se retrouve avec un festin d'informations qui lèvent un peu le voile sur la façon dont la magie a pu opérer.

Today, I'm very excited to publish these special Kitchen Notes because they come from Eclipsed, project from which the last album Holyiens twisted by brain and is still spinning in my player.
Also I'd like to warmly thank Keyhead, also behind KIFOTH, for the time he took to answer the usual questions and compile additional information from his other bandmates.
At they end, here is a feast of informations that lift the veil on how the magic happened.

 

How did you manage to get such a precise and clean mix despite the huge amount of different sounds playing at the same time ?

Bob : We always tend to push a lot of sounds into each song.
Many musicians think that if something is wrong with the overall sound, it needs to be added something to the mix – like boost more eq or any fx`s plugin. But this is a big mistake.
It needs to be remove all unnecessary things. Today's technology allows a lot, but there is still a limit to which we must fit - a headroom.Therefore, it is better to remove and remove mainly frequencies that are not heard or fill the space unnecessarily.So I perceive this as the basis and assumption of a good mix. Then it's just a game with dynamics and space, but it's just a final tweak.
Another important point is to maintain gain staging throughout the mix and signal chain.
Anyway the important thing is that the song sounds as good as possible when composing and then arranging. I mean that each sound / preset should be maximally tuned / produced, correctly set ADRS and filters already from the source and also well recorded to the DAW. 

About the mastering, it sounds to me that it sometimes hits hard in the limiter but at the same time you managed to keep a very good overall and various dynamic all other the album...this is still a mystery to me. Any trick on that ?

Bob : Mastering was done to us externally and I don't know that guy. For me, it's average quality mastering, I wasn't very happy because he tend to add too much bass. But I think the trick is in what material is ready for mastering - final mix. What is very important is what I described in the first half of the first question. Maintain a maximum -6dB headroom. But that doesn't just mean a 6 dB reduction on the master fader. This means that the master fader is at 0 dB but the signal from the mix has a maximum value of -6 dB in the peaks. Then the work on mastering is comfortable and the mastering engineer has more space for dynamics and today so popular loudness wars 

 

Gears and software

What gears/software did you use for this album ?

Keyhead : See our studio setup below. We are producing and recording in 3 different studios. The gears marked with asterisk were used for Holyiens album.


Your favorite gear(s)/software(s) ?

Keyhead : Favorite is always the latest toy we got, but many of gears we have on stock has their own style and uniqueness . Once you producing a track and you have some image in mind how should sounds, that you may be sure that you get from our stock that piece of gear what sound you expect.
I’m personally not looking for exact instrument, but thinking more about character of sound. Than when I look for bass it’s Moog or DSI, once I look for string it’s Roland and Yamaha. Korg and Waldorf are textures for me. All crazy punchy staff and glitches are modulars and Electrons. Nord lead and Access virus are very universal and great for layering of real analogues.
For VST the Heavyocity staffs are my favorite for beats and noises.

 

Any evolution in your setup ?

Difficult to say from point of gears. Let’s say more fundamentally as way of working.
As Eclipsed project is quite new, but we are doing lot of other projects.
Bop,Solo,Blazena has projects Samhain, Last influence of brain as main projects.
My basic is Kifoth, and we are cooperate on Mindscape, Eclipsed and then supporting others for example last album of Vanessa.
As way of working we started on Commodore Amiga NoiseTrackker and later go through Octamed on Amiga , and move to Fast-tracker and again Octamed on PC.
With Octamed we used hardware of course starting.
Later on we move to Reason where we made first Eclipsed release and last 2 albums we made in Cubase with lot of hardware staff and heap of VSTs.

 

Sound Design

Do you use/tweak presets  ? 

Keyhead: I never doing sound design from scratch for instruments as bass , arps& pads . All the time tweaking presets. This mean that I like the synths with lot of knobs as Waldorf Q or Sub37.  I hate diving in digital menu and trying this and that. Many times I tweaking real randomly, turn this, turn that without any workflow and logic just hear what happen.

Do you design you own sound  ? On which synth/plugin in particular ?

In real analogues instruments no choice just start from scratch of course. That is majority of glitches, blips and effects you hear on Eclipsed sound.
I personally like a turning knobs on MS20.

 

Writing/composing method

What would be your main writing/composing method ? Do you start classical rythm/bassline then arrange around it ? Do you already have structure in mind ? Do you improvise, record sessions then select ?

Keyhead: Workflow of Eclipsed project is very specific on this. We are inspired by sound mainly. Solo turns and records lot of interesting modular sounds/noises and makes some basic rhythm lines and glitches, then pass them to me. I try to make some basic melodies and complex drum loops, plus some arps from my kitchen and speech samples. Than pass to Bob who is adding lot of structures and effects. He’s making production and mix for Eclipsed, so I like his tension in graduation of tracks. Bops adding lot drum fills and breaks. Make lot of layering to create dynamics. But in the basic everybody make improvisation on track/project he received.

 

Producing/mixing method

Do you produce/mix in the box or do you use mainly external gears (effect/comp/eq...) ?

Bop uses both. External effects and gearsand VST as well.

What is your most painful / enjoyable step in track production ? Sound design, arrangement, mixing, mastering ?

Most painful is mastering, no doubt .Not as a job ,but to create sound character which fit and like all people in our group 😊

 

Eclipsed's tips

To create interesting tune you should try everything with everything. Apply effects on single melody. Turn the knobs all the time during and recording. You can cut the recorded sequence to short samples and arrange new sequence from that particles. If is not good enough, then layer with other sounds.
 

Gear List

  • Access Virus B *
  • Access Virus TI *
  • Access Virus TI snow
  • Alesis SR-16
  • Arturia DrumBrute
  • ASM Hydrasynth *
  • Behringer Deepmind 12 *
  • Berhinger Neutron
  • Behringer TB-3 *
  • DSI Evolver *
  • DSI P12 *
  • DSI Prophet Rev2 *
  • DSI Prophet 600
  • DSI Tempest
  • DSI Tetra *
  • DSI Mopho
  • DSI Toraiz
  • Doepfer Dark energy
  • EMU Audity 2000
  • EMU ESI 4000
  • EMU Proteus 2000
  • Ensoniq SQR
  • EleKtron Digitone
  • Elektron analog four MKII *
  • Elektron analog rytm MKII
  • Elektron Machine drum UW *
  • Elektron model cycles *
  • GEM S2 Turbo
  • Jomox XBASE 999
  • Kawai K4
  • Korg ArpOdyssey
  • Korg Electribe ESX-1
  • Korg MS20 mini *
  • Korg MS2000BR
  • Korg Prophecy
  • Korg Radias  
  • Korg Wavestation EX *
  • Korg Z1
  • Moog Little Patthy
  • Moog Sub37 *
  • Moog Voyager RME *
  • Moog Moogerfooger CP-251 control processor
  • Moog VX-351
  • Moog VX-352
  • Moog Mother 32 *
  • Moog DFAM *
  • Modular rack 3 case *
  • Micromonsta 2
  • Nord Drum
  • Nord Lead 2R
  • Nord Micromodular
  • Nord Modular 2
  • Nord Lead 4R *
  • Nord Drum 3P *
  • Novation Mininova *
  • Pittsburgh Modular Lifeforms SV-1 *
  • Quasimidi Sirius
  • Quasimidi Technox
  • Roland FA08 *
  • Roland JP08
  • Roland JP8000 *
  • Roland JV1010
  • Roland JX305
  • Roland MC303
  • Roland MC307
  • Roland R5
  • Roland SE02 *
  • Roland U-220
  • Roland V-synth *
  • Studio Electronics SE-1 *
  • Teenage Engineering OP-1 *
  • Various modular synths *
  • Waldorf Blofeld
  • Waldorf Q
  • Waldorf rocket
  • Waldorf 2 pole
  • Yamaha A3000
  • Yamaha CS10
  • Yamaha CS1X
  • Yamaha CS6X (PLG-AN,PLG-DX)
  • Yamaha RM1X
  • Yamaha RS7000
  • Yamaha SY22
  • Yamaha SY77
  • Yamaha TX81Z
  • Xenophone Hypersinth *

STUDIO:

  • RME Fireface UCX (2 pcs audio AD/DA) *
  • Allen & Heath GS 3000 (24 channel mix desk) *
  • TC Electronic Fireworks (fx processor) *
  • TC Electronic M-ONE XL
  • Sherman Filterbank *
  • Eventide 4000 Ultra Harmonizer *
  • Yamaha FX900

 

Contact info

Bandcamp: https://electrofrequent.bandcamp.com/album/holyiens

Facebook : https://www.facebook.com/solobobblazenakhead

 

#klingondisco

mardi 13 juillet 2021

Kitchen Notes : Rob Robinson / Order of the Static Temple on Rise In Fire

 



Rob Robinson, fondateur d'Order of the Static Temple mais aussi membre d'autres belles bandes comme celles de Hate Dept. et d'Oghr a eu la gentillesse de nous lister les outils et méthodes qui ont permis la réalisation du dernier album de son principal projet : Rise in Fire, bien dans la veine d'une certaine Electro-Indus US.
Un bon mélange de soft et de matériel saupoudré de conseils de production.
L'histoire ne nous dit pas s'il a pu maîtriser le Lyra-8 que l'on voit sur la photo :)

Rob Robinson, leader of Order of the Static Temple but also member of other cult bands such as Hate Dept. and Oghr kindly took the time to share the list of the tools and methods used to produce the latest release on his main project : Rise in Fire, right in the vein of a pure US electro-Indus flavor.
A good mixture of software and hardware sprinkled with production advices.
The story doesn't tell us if he managed to masterise the Lyra-8 we see in the picture :)

Gears and software

What gears/software did you use for this album ?

DAW - ProTools with lots of plugins and soft synths lol. Rise In Fire used plugins from Arturia (CMI, DX7, Spark, Solina, CZ-1 to name a few), Roland SH-101 / JX-3P / Jupiter 8, Soundtoys, Sugar Bytes, Beatskillz, Eventide, UAD, iZotope.

For hardware we used 101music Blackbox, Oto Biscuit, Retro Mechanical Labs EFC Studio, Behringer MS-1 / VC-340, Lexicon PCM 41, Akai MPC Live.

Your favorite gear(s)/software(s) ?

I really enjoyed using Beatskillz DropX for drums on this one. Very sharp and aggressive, it made most of the tracks.

The Oto Biscuit is a wonderful bit crushing effect unit with an analog filter, also great for drum processing.

The Lexicon PCM 41 was a joy to use for vocal weirdness and almost stutter like effects.

 

Any evolution in your setup ?

The studio is constantly evolving. Much time was spent researching and demo-ing new tools, which is a large part of the fun! It’s possible newer material will use completely different pieces of gear.

 

Sound Design

Do you use/tweak presets  ? 

Very much so… presets are great to start with, then mangle from there.

Do you design you own sound  ? On which synth/plugin in particular ?

Not from scratch… I’m jealous of people who can do that. Towards the end we were under a tight deadline so really didn’t have the luxury of building anything from the ground up.

 

Any personal synth story ?

I’ve always wanted to own a Roland VP-330, it’s one of the best sounding vocoders to my ears. They’re pretty out of reach these days, rare and expensive. When Behringer came out with the VC-340 it was a dream… very rich and inspiring analog strings, we used it on the dark string part in ‘Mangled Ethos’. And yes we also use the official Roland Boutique version!

 

 

Writing/composing method

What would be your main writing/composing method ? Do you start classical rythm/bassline then arrange around it ? Do you already have structure in mind ? Do you improvise, record sessions then select ?

Great question! Usually songs start by creating the drums, and then maybe a simple bass line. The arrangement happens totally on the fly while experimenting with different sounds. ‘Ridin’ In Sin’ has more of a traditional song structure, so does ‘This Is Not The End’, but that happened as the songs evolved. And then lastly come the lyrics / vocals, which always happen last lol.

 

Producing/mixing method

Do you produce/mix in the box or do you use mainly external gears (effect/comp/eq...) ?

Most of the mixing and production happens in the box, and then gets routed through hardware when mastering, to help add warmth and punch.

What is your most painful / enjoyable step in track production ? Sound design, arrangement, mixing, mastering ?

One of the most enjoyable things to me is the final mastering stage, when everything finally comes together and sounds cohesive. It’s exciting to push the track to it’s final level of oomph.

Most painful is probably vocal editing, which if your voice isn’t pitch perfect like mine, can get pretty tedious.

 

Rob's tips

Careful to use compression sparingly when in the box. If everything is compressed you’ll be fighting to regain dynamics later. And try to reserve your favorite plugins with color - EQ, compression, etc., for a smaller handful of instrument tracks.
The API 560 EQ for example is great for punchy mid range, but if used on everything it loses it’s magic. Use something with less color for repeated EQ tasks.

 

Contact info

Bandcamp: ngpofficial.bandcamp.com

Facebook: facebook.com/orderofthestatictemple 

Label: www.negativegain.com 

Rob Robinson Email: rwbrobinson@gmail.com

dimanche 11 juillet 2021

Kitchen Notes : Fractal on Human Error

Tomasz Lukowicz qui a signé un album d'Indus Ambiant touchant ces derniers jours chez Aliens Production avec son projet Fractal a bien voulu prendre le temps de répondre à quelques questions autour de notre principe des kitchen notes.
Il me tarde d'entendre le prochain album.

Tomasz Lukowicz who signed a touching Indus Ambiant release on Aliens Production these last days with his Fractal project took the time to answer a few questions around our Kitchen Notes principles.
Can't wait to ear next work from him.

Gears and software

What gears/software did you use for this album ?

I'm  working on Ableton Live and I'm happy, I think it's the best for ambient music.
I also use various plugins such as kontakt, alchemy, battery, dune 3, and extra ableton package3.
I use a lot of effects, delay, reverb, and a lot of glitch efx. the end result is important to me, I just have to be happy.

 

Writing/composing method

What would be your main writing/composing method ? Do you start classical rythm/bassline then arrange around it ? Do you already have structure in mind ? Do you improvise, record sessions then select ?

I always start with the drums, then the pads, and the rest, most often it takes me time to choose the drums.
 

Producing/mixing method


What is your most painful / enjoyable step in track production ? Sound design, arrangement, mixing, mastering ?

Definitely the best moment is the arrangement of the songs, sometimes it takes a short time and sometimes it takes a few days for one track. One sound can inspire me to make a new song. the best time to make music is autumn and winter.

Worst moment is mixing because every song has a lot of dirty and high frequencies so it takes time to achieve. I wish someone would do it for me, but it's not that simple.

 

Final Word

Believe me, my music is typically software, I just can't afford synths or mixing consoles, but that's not a complaint. I've been doing music for a long time, and  now I joined alien production. Maybe it's my five minutes, who knows. of course I  know this music is not very popular, but it gives me a lot of joy.
 

Contact info

fractal.com@op.pl