mercredi 29 juin 2022

Playlist Electraumatisme du 29/06/2022 - Mind in France

L'édition "spéciale production française" de cette semaine a été l'occasion pour Electraumatisme de déterrer quelques titres et projets découverts au détour de l'historique site d'AxcessCode entre 2 prises de tête sur le non moins légendaire forum Mindphaser.
D'ailleurs, si quelqu'un sait ce qu'est devenu T.O.W. notre sainteté Rougne XVIII çà m'intéresse beaucoup.


Ritualz - Disintegration
First Aid 4 Souls - Your Symbols Will Fail
Entrzelle - TaxOnModernLife
Horskh - Trajectory
Club Amour - Pain And Pleasure
Void Kampf - Steel/Stahl (Tanzfloor Mix)
Millimetric - Porno Anguish
TOW feat. Gaïus Helen - Love Me
Nuwerk - My Mind is ready
Punish Yourself - Keep an open Mind
Psychosomatik - Ego
In Memoria - The eyes of time
Dolls of Pain - Misery


Releases of the week:


 












 











 

mercredi 22 juin 2022

Electraumatisme du 22/06/2022

Courte édition régulière d'Electraumatisme cette semaine mais qui part un peu dans tous les sens. La preuve, il y a même des bouts de punk'n roll et de chiptune dedans. Z'avez qu'à voir. Z'avez qu'à écouter.

Silver Walks - In consequence
Elm - Sex Junkie
MRDTC - Guns2Hearts (Bullet)
Dead Rats - Sylvia is here
SKREN - Chaos
Digital Factor - Illogical Way
Criminal Technø - Two armed love
Sølve - Lampblack
KnK - Bleak Sunset
Noisy Deafness - Comfort
DMX Krew - Space Pirate!
Informatik - At Your Command
Genocide - Genocide

Release of the week:

 
 

dimanche 19 juin 2022

Kitchen Notes : Black Agent on Industrial Ruination






Industrial Ruination a été l'album surprise des fans d'Electro-industriel à l'ancienne. Pit, Larry et Neil de Black Agent ont bien voulu répondre aux questionnaire des Kitchen Notes pour un article exceptionnel foisonnant de détails et d'anecdotes qui ne donne qu'une envie : voir le groupe sur scène un jour. Bonne lecture.

Industrial Nation has been the big surprise release for any fan of good old Electro-Industrial. Pit, Larry and Neil from Black Agent have been kind enough to answer in detail to Kitchen Notes questionnaire for an outstanding article, overflowing with details and stories leading to only one desire : see the band on stage one day. Have a nice reading.
 

Gears and software

What gears/software did you use for Industial Ruination ?

Pit: For a DAW we use Ableton Live suite 10. Larry and Neil have PCs, I use a Mac.  Our plugin list is pretty vast, but highlights include Arturia Pigments and most of the Cherry Audio synths.  But, we’re pretty old school and we tend to rely a lot on hardware.  Neil’s studio Space Kitty, is analog synth heaven, it would take pages to list all his gear, but the key synth we use is the Ensoniq ESQ-1, all three of us have our own ESQ-1, Larry has 2 :) We also use the Roland Junos (and the Cherry Audio version), as well as Larry’s modular.  Neil’s guitar/amp collection is also pretty vast but for live use he just uses a Zoom 505 and an expression pedal.
 
Pit: Synthesizer-wise, I’d have to say my Oberheim OB-8, although it only got used on maybe one or two tracks on Industrial Ruination.  I’m also deeply in love with my Roland VP-03 vocoder and the Behringer Model D.  For plugins, the Cherry Audio DCO-106 is getting used on almost every new song I work on these days. Vocally, I use a Shure 565SD mic (thanks to a tip from Neil) and do the Al Jorgenson studio trick of cascading it through two compressors to get that distorted tone.  Larry has a massive collection of rack delays that he’ll run my vocals and samples through.  You should also ask Larry about his love of 1980’s samplers :)
 
Larry: As stated, Ableton Live 10, lots of Arturia plug ins, Pigments makes an appearance quite a bit on this album, as does their SQ80v synth.  Both Waves and Arturia for processing/Mastering as well.  Hardware wise, the Ensoniq ESQ-1 and E-MU EMAX II sampler are used in abundance on this album.  Yamaha DX7/TX802 FM synths, Behringer Pro-1, Waldorf Microwave II, Eurorack Modular system, I believe a Moog Grandmother was used at one point.  I think I used a Yamaha MODX6 as well.  A bunch of other stuff I can't quite remember =o]  Live, I use the ESQ-1, EMAX for playing, and an Akai MPC Live for the backing tracks, and my modular for intros/outros and filling in the spaces inbetween songs.

Neil: for the guitars and bass sounds,I used a Rivera “super” amp with the Evil Twin mod. The pedals are vintage boss, midimods boss and keeley boss modded. For CS I played four guitars two in dropped D and two in standard e/g tunings. Our biggest problem was at the time a huge tube amp, right in our faces. Amazing for  tone but it was very loud. And we will use the amazing vintage amp collection again, but for live I had to tuck my cock and use a direct box. The zoom 505 was always my sound (thru tube amps) during the 1990’s and it is back and better than before for this project.


Any evolution in your setup ?

Larry: I’m always buying/trading synths and drum machines.  I’ve gotten quite a bit of stuff recently for use on the new album once we start writing new material.  But my main tools remain pretty much the same.  

Pit: I used to be all hardware and only used effects plugins in Ableton but I’ve really been using the Cherry Audio plugins a lot lately.  They are dirt cheap, sound amazing, and unlike a lot of my analog gear they remember their settings when you reload the project and start working on it again.  

Neil: Buying more synth hardware, like the Behringer clones has made a lot of sounds accessible to us. I’m constantly buying gear for the studio and also refining my live sound. Again going from loud vintage tube amps and analog synths to digital items for live performance. I am going wireless for the first time in 20 years! That is something.

 

Sound Design

Do you use/tweak presets  ? 

Larry: I tend to avoid presets, and will usually delete them, or write over them if i can.  I buy synthesizers to create new sounds, not use existing ones.  But sometimes, a preset will do exactly what is needed, and i’ve used them here and there, but try to avoid it whenever possible.  I want people to wonder how these sounds are made, rather than go “ah yea, that’s preset #53 on so and so synth”.  

Neil: Yes! A preset is a great way to start making music. No one should be defined by a sound. Just play and when you are ready make a new sound. I do start modding the “ stock “ sounds with filters and then slowly progress that patch into my own.

Pit: Absolutely.  Sound designers spend many hours crafting those preset sounds.  Why wouldn’t you take advantage of their amazing work?  I will often take a preset and mess with the filter or filter/amp envelopes to get something closer to what I want and run with it.

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

Larry: On all my hardware and software synths.  I’ve edited a few sounds on my ESQ-1 that I use pretty much all the time.  I’ll sit for hours and just noodle on software synths to make new sounds.  Sometimes the sounds are made while the song is written.  It varies.  

Pit: Sure.  I have a small eurorack modular rig for really out there sounds, but often I’ll patch things on the ESQ-1, JP-08, Pro-One, OB-8 or Model D.  The modular, Model-D, and Pro-One have no presets/storage, so, everything is a one off to be honest…I mean, you can take pictures of the front panel all you want but you aren’t going to recreate those sounds exactly.  Ever.  It’s unique but difficult at the same time.  Hence why I’ve been using plugins more lately. Often some of the weirdest sounds are just samples that I’ve tweaked beyond recognition inside Ableton

Neil: yes and no, unless it’s on a digital machine or one of the guys saved a VST preset. It’s the bloody wild west here at space kitty. Loss of power that unit off and it is gone forever. And with the age of the items here, it may never power on again! I have a lot of old stuff.
 
 

Personal synth story

Larry: I once sold one of my old Sequential Circuits Pro-Ones to Adam Miller of ADULT. They still have it =o] I have a huge love of 80s samplers, the EMAX being king in my book. Both myself and Karl from Angelspit are obsessed with them, at one point I owned three of them.  I also really love old 80s digital delays.  The Lexicon PCM 41 and Korg SDD-1000 being my faves.

Neil: For me it is a deep regret that I sold so many classic synths. None of us ever knew that 20+ years later a pawn shop/ thrift fine was the next investment. I miss those sounds and the dusty feel of that gear. I miss those analogs like the Opus 3, OBx. Mono/poly and the Trident.
My guitar sound is 1980’s /1990’s made in Japan Fender guitars with Duncan pickups and ione of my bases has a custom order Dimazio pickup. I have Five vintage fender amps and a vintage MusicMan amp. Five bass guitars and seven electric guitars. My amps are a Rivera era Super amp with blue back Jensens, Two matching 85W Bassman 10’s a 69.Super reverb and a 80’ Musicman 150HD combo. I also have a Blues Jr/ under my desk and a Randall Switchmaster I wish Pitt would take home.
 
Pit: Larry and I met in the mid 2000s on the x0xb0x (open source TB303 clone) forum, before he even moved to Seattle.  Both of us are obsessed with the 303 and acid.  I coded one of the early x0xb0x firmware patches to give it swing timing
 

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 ? ...

Larry: I normally start with a drum sequence, then go from there. Sometimes it’ll be a bass line, or a lead sequence, it all depends on what comes out really.  I rarely have a structure in mind since it usually changes by the time I get the project back for final adjustments.  I’m not classically trained musically, and know very little of music theory, so my stuff tends to be more rhythmic/noisey than anything else.  

Pit: Typically Larry will come up with a beat or bassline and then Neil and I will run with it.  Sometimes one of us will make something closer to a complete track and we’ll pass the Ableton bundles back and forth adding to it.  Once the bulk of the music is there, I’ll start writing lyrics and then the song will get pushed around further to fit the lyrical structure.  

Neil: I just shred on anything they throw at me, well seriously it is an amazing process and I am very happy to be part of it. Hopefully the next album I get a few in.
 

Producing/mixing method

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

Larry: Mixing and effects/processing are all in the box, i’d say it’s about 50/50 on synths and sampling.  But I think this next album will be more hardware than software as far as synths go.  

Neil: Not much is done in the box. I would go back to tape if I won the lottery.

Pit: Most of our synths/samplers/drum machines/guitars/vocals etc come from outside the box, but most of the effects are in the box.  The exception would be for the pile of rack delays Larry has and Neil’s guitar amps/rig and army of effects pedals. Most of the vocals are recorded straight into my Lexicon ionix FW810s interface. I actually have 3 of them. They’re fantastic and have built in digital mixing, dolby effects, etc.


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

Larry: I’d have to say that mixing is a bit of a pain at times. Getting everything to sit right in the mix can take a while sometimes.  I also don’t like naming songs, since I can never come up with anything clever =o]  And the title usually changes once Jason does the lyrics/vocals.  So my names are usually just temporary anyway.  Unless I have a clear idea on what I want a certain song to be about. The final arrangement is usually done by Jason since he needs to shuffle things to fit the vocals.  The most enjoyable time is when a song just flows out without much effort.  Ides come fast and it just all goes smooth.  

Pit: Most painful…Mastering…without a doubt.  The label asked a couple different people to master the album for us but we really weren’t happy with what they did so we ended up mastering it ourselves, which was extremely stressful.  The three of us love sound design, writing and producing.  Neil has us over to Space Kitty once a week, makes an incredible dinner for us, and we write, jam, or practice for a few hours.  

Neil: I am not gonna even touch this one :) 


Black Agent's tips

Larry: A good quality mixer and monitoring/headphones are important.  Learn your tools! Don’t let GAS take hold, buy what you can afford and use it beyond it’s full potential.  You don’t need a room full of expensive stuff to make a killer album.  A good idea and good song writing will do far more than the newest $2000 synthesizer will.  A lot of the stuff we use was once considered cheap and throw away.  My ESQ-1s both cost under $400 each, and my EMAX sampler cost me $500. It has a whopping 8mb of memory, as opposed to the GBs of memory things have now.  Those two are my main pieces both in the studio and live.  And don’t get caught up in the Analog/Digital debate.  Who cares, we use and love both. If it sounds good, use it.    Curating your own sample library is also a good thing to do.  Give your music your own personal touch with samples you make yourself.  I have a thing I do where I listen to movie audio and look for unique sounds to sample. Sample a radio.  Use small snippets, 1-2 seconds max. Layer those samples with your drum sounds, or use them as a rhythmic element.  Most of all, have fun.
 

Pit: Buy some decent studio monitors.  Investing in my Yamaha HS8s wasn’t sexy but was one of the best things I ever did.  Don’t be afraid of doing things wrong.  Sample a guitar or piano even if you can’t play.  Flip the sample backwards. Run it into a vocoder and mic a talk radio program. Embrace chaos and be creative with the tools available to you.  We have a ton of really expensive gear, but honestly creativity is the key, gear doesn’t matter.  I’m so jealous of kids starting out now.  I would have killed for the tools available now, even for free.  Don’t let some gorgeous coveted piece of gear get in your way.  Make an album with your phone.  Write songs about things that matter to you and that you’re passionate about. Then share it with the world.
 

Neil: never give in! I have been through a shit storm and I struggle to finish a song I started three years ago. Keep going, and keep your head up!

Contact info 

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

SpaceKitty Studio : https://spacekittystudio.com/

mercredi 15 juin 2022

Playlist Electraumatisme du 15/06/2022 - Mon WGT 2022 - Partie 2

Second morceau et de loin le plus costaud du compte-rendu des concerts vus au Wave Gotik Treffen 2022. De l'action, du suspens, des émotions fortes ! Oui, çà a valu le voyage.

 


KnK - In a dream
Mercury Machine - Second Life
Alien Skin - Put Your Lips On My Lips
Holocoder - Secrets Of The Sky
Welle:Erdball - Die Moorsoldaten
VNV Nation - Darkangel 1 (Gabriel)
Bedless Bones - Ashes indigo
Pseudokrupp Project - Folget mir!
Jihad - Retrospekt
Fïx8:Sëd8 - Baptism of fire
Collection d'Arnell Andrea - Drifting
Gary Numan - Pure
Potochkine - Possédée
S Y Z Y G Y X - Ultra Doll
Qual - Motherblood
Kite - Panic Music
Linea Aspera - Malarone


Release of the week:


 














vendredi 10 juin 2022

Kitchen Notes : mulpHia on 21 Days Later

 

Reprise des Kitchen Notes après une longue pause. Le prolifique Richard Viduna donne quelques informations sur ses outils de composition et production, ses méthodes particulières évoquant les années tracker à l'occasion de la sortie de son album 21 Days Later.

Kitchen Notes are back after a long break. Prolific Richard Viduna provides some informations on his production and arrangement tools, his peculiar methods mentioning the good old tracker years on the occasion of his 21 Days Later release.

Gears and software

What gears/software did you use for 21 Days Later ?

DAW is FL studio 11 for some reason rendering in 20 .. mastering in Reaper


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

Hardware .. Korg and Waldorf .. 

Software .. Fasttracker forever

 

Any evolution in your setup ?

from 386 to reality.. ity.. ty..ty..y....

 

Sound Design

Do you use/tweak presets  ? 

Yes

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

MS2000, Blofeld and microQ (because have a HW) and some VSTis (for my own).

Personal synth story

8-bit Atari XE (CMC - Chaos music composer) .. and .. Fasttracker .. and ..almost everything

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 ? ...

:) who knows ..

wine .. sweet white wine .. touching black and white, listening old Gods .. F242, SP etc. Improvise, jam session.

 

Producing/mixing method

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

Ears .. render clear in FL .. mastering chain in Reaper
In the box .. sometimes external DT Vocal300 for vocals .. mostly inside

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

write lyrics .. vocals :)
mastering ..


Richard's tips

DONT DO hip hop/ trance music :)

buy or die .. place for .. (Revelad

Contact info 

Bandcamp : http://mulphia.bandcamp.com

mercredi 8 juin 2022

Playlist Electraumatisme du 08/06/2022 - Mon WGT 2022 - Partie 1

Première partie du compte rendu des concerts vus au WGT cette année. Un démarrage en douceur mais la semaine prochaine, on attaquera les gros bouts.


PolyEvolver & OB6 intro
Sølve - Nothing pure
Lights AM - Run Away
Transhuman Rebirth - Alpha Male Violence
Konstantin Unwohl - Experimente mit Auftrieb
Sturm Cafe - Der Löwe Ist Zurück
Cirque d'Ess - Lydia For Frankie
Shad Shadows - Never Deep
NNHMN - Robot Woman
Ultra Sunn - Silver Smile
Full Contact 69 - Out of Control
Aeronautica - Das Ende der Zeit
Rotersand - First time (club rework)
Rabia Sorda - Radio Paranoia

 

Release of the week:

 

 







Download : http://electraumatisme.info/broadcast/20220608.mp3


mardi 31 mai 2022

Electraumatisme du 31/05/2022

Kraftwerk / Covenant / Boy Harsher, 3 générations de musique électronique sur scène évoquées dans cette édition classique d'Electraumatisme. et autant de "qui nous aurait dit qu'un jour...."

Depeche Mode - Never let me down again (aggro mix)
SKREN - Substanz
Digital Factor - Information Society
Ritualz - Static noise (bloody knives Remix)
Statiqbloom - Shifting Field
Synthetik Form - We are the Future (ft. New Neon)
Criminal Technø - Let your body work
Panzerveps - Happygowar
Kangarot - Blood in the Oil
Polygon – Bin
Bahntier - Final Wall
Spoiled Drama - Why you ?
Page 12 - Misanthrope

Releases of the week

 

 








Digital Factor - On demand


 







Download : http://electraumatisme.info/broadcast/20220531.mp3


mardi 24 mai 2022

Playlist Electraumatisme du 24/05/2022 - Vangelis

L'édition d'Electraumatisme que j'ai longtemp redouté à avoir à faire, et bien nous y voilà. Quelle idée aussi d'ajouter du sucre dans les sessions de mixage avec Demis (voir le petit sachet sur la console dans la photo).
Alors pour cette semaine, on rempile les cyborgs dans leurs containers, on va coucher les vampires dans leur cercueil. Juste des morceaux de Vangelis entrecoupés d'extrait d'une interview donnée dans Clavier Magazine de février 1990. En espérant pour un jour sortir les milliers d'heures d'enregistrement qui doivent forcément être stockées quelque-part.
Quoi qu'il en soit, la musique vient de perdre l'un de ses plus respectueux et fidèle messager.

Blade Runner - Prologue and main titles
El Greco Movement V
A Song
Deliverance
Atom Blaster
Irlande
Mask Movement 2
Multi-Track Suggestion
To the Unknown man
Chung Kuo
The Motion of Stars
La mort du Loup
Ignacio - Entends tu les chiens aboyer ?
Ask the Mountain
Heaven and hell - Part II (extract)
Blush Response
L'Ours musicien
Albedo 0.39

Download : http://electraumatisme.info/broadcast/20220524.mp3

mercredi 11 mai 2022

Electraumatisme du 11/05/2022

En attendant la salve de concerts qui se présente à nous pour les prochaines semaines, un coup d'oreille sur les excellentes sorties présentées dans les éditions précédentes d'Electraumatisme.


Ritualz - Static noise
CUBIC - Impact 2023
Statiqbloom - The Unwinding
Svaj - Still Standing
All systems out - Deadbringer
Brandy Kills - No Evil
Skinny Puppy - Chainsaw
My Love Kills - On The Path Of Lost Shadows
Jake Mandell - Untitled 57
Synthetik Form - Inside (ft. Jacky Meurisse - SA42)
Colosseo - Insanity
T.D.D. - The dark zone
Black Agent - Money
In Trance 95 - Exoplanet
No Sleep By The Machine - Euchred

Release of the week


 











 

mercredi 4 mai 2022

Playlist Electraumatisme du 04/05/2022 - Darkwave

Le nez dans la discographie de Clan of Xymox depuis quelque temps, je me suis dit "darkwave !". Mais c'est large la darkwave. Je me demande d'ailleurs si c'est toujours employé à bon escient, même dans cette sélection d'Electraumatisme d'ailleurs.


My Love Kills - Dehumanization
ASSASSUN - The art of ignorance
Bödlarna - Längs vägen
EM1V - Temple of Sin
The Eternal Afflict - Suicide Kingdom
Final Selection - Tears still weapin mix
The Frozen Autumn - I'm coming from nowhere
Dance Or Die - Aliens Electric
Diary Of Dreams – Wild
The Frozen Autumn - There's no time to recall
In Strict Confidence - Kiss your shadow
Absurd Minds - Hurt
In Strict Confidence - Seven Lives (Extended Version)
Dein Schatten – Woanders Sein (Interbreeding IV Remix 2004 by Timo Donati)

Release of the week


 











mercredi 27 avril 2022

Electraumatisme du 27/04/2022

Sa musique ayant accompagné les trajets nocturnes de la popmobile sur des milliers de kilomètres de ruban, il était logique que cette édition régulière d'Electraumatisme commence par un hommage à Klaus Schulze qui vient de débrancher les synthés pour toujours mais laisse derrière lui beaucoup de musique à écouter.

Klaus Schulze - Death of an analog
Brandy Kills - Funeral
Kim Lunner - The Scar Is Gone
Samhain - The Hole (Stanford Experiment)
Alvar - Walk Among Friends
Black Agent - Murdering Truth
Colony Collapse Disorder - Watson and Crick
Funker Vogt - Seelenwanderung
Skinny Puppy - One time one place
Parasite - Agony
Ringtailed Snorter - Until Now!
SpineFolder - Smeared (2500 Mix)
KIL67 - La Futura

Release of the week


 







Download : http://electraumatisme.info/broadcast/20220427.mp3


mercredi 20 avril 2022

Playlist Electraumatisme du 20/04/2022 - Viva España !

En préparant cette édition d'Electraumatisme, je me suis rendu compte qu'il n'y avait pas de photo de Fred Sébastien sur le page Discogs de K-Bereit (alors qu'il y en a de Peter Criss sur celle de Kiss, là je ne comprends pas).
Bon c'est pas grave, il serait réducteur de cantonner son apport à nos vies bioniquées juste à cela et je suis sûr que les habitué(e)s du podcast garderont toujours en mémoire pleins de magnifiques et riantes images de ce bonhomme à la gentillesse légendaire. On passe donc un peu de temps à se rappeler de celui qui est parti hier pour commencer.

La seconde section est consacrée à un petit panorama rétrospectif de la production espagnole. D'ailleurs si vous avez des pistes ibériques du même tonneau que Pail ou Allied Vision, qu'on a vraiment perdu d'ouïe, çà m'intéresse.


K-Bereit - Start Running
Black Agent - Strange Like Me
Colony Collapse Disorder - Robot Attack
Aesthetische - Blind Oracle Redux
Am Tierpark - Sacrifice Your Purity
Narsilion – Enmig Del Silenci
Culture Kultur - Wonder
Devout - All empires fall
Dioxyde - Muerto Todos (Suicide Commando mix)
Pail - Que Hable El Silencio
Known Rebel - Euridyce
Gradual Hate - Gradual Hate
Iberian Spleen - Dracula Vampire Hunters V2.0
Gradual Hate - Evil Paradise
Allied Vision – Coaxial Hardware (Rebandwidth Remix)

Releases of the week


 












 











 

samedi 9 avril 2022

Kitchen Notes : Matt Hart on Below the Terra Pt. 1

Matt Hart a livré 9 titres Electro-Indus saupoudrés de riff sde guitares pour la première partie de sa saga musicale d'anticipation Below the Terra. Des compositions efficaces visant principalement les clubs et des méthodes de production nomades toutes aussi directes qu'il nous décrit ici.

Matt Hart has delivered 9 Electro-Indus tracks sprinkled with guitar riffs for the first part of his musical science fiction serie Below the Terra. Efficient arrangements mainly targeting club scenes with nomad straightforward production methods he describes us here.


Gears and software

What gears/software did you use for Below the Terra Pt.1 ?

I use a MacBook Pro with Logic Pro for recording and hosting software synths and plugins. For recording I use a Native instruments Audio 6, Sennheiser SXW microphone for vocals and my trusty Jackson Christian Olde Wolbers Signature 7 string for all guitars.


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

I’m currently loving Xfer Serum for synth duties but I dabble around with a whole bunch of software synths dependant on the kind of sounds I'm looking for.

 

Any evolution in your setup ?

The evolution has come from the level of understanding I’ve gained from the mixing process to make sounds better and better fit together.

 

Sound Design

Do you use/tweak presets  ? 

Absolutely. They are a basis for what sounds I use however they are generally very highly modified and mixing often makes them sound very different from the ’out of the box’ sound.

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

I have built my own sounds in Serum and Massive but I’ve found that I get so lost in the design that nothing gets written so I often lean on presets for quick production then mix and tweak from there.

Personal synth story

I once had a whole collection of Korg Volca synths but I sold them all as they were holding me back from the creative process and I travel a lot with work so more often than not I write on the road therefore they just weren’t worth keeping.
 

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 don’t really have any set method!
I often open up a new project and see what inspires me first. Sometime that will be a guitar riff I’m working on, sometimes a drum pattern and sometimes just, noise.
 

Producing/mixing method

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

All my production comes from under the hood of my MacBook, no hardware at all! I have however employed a very good friend of mine to do the final mixing process for me. It allows me to be the creative, while leaving the highly skilled step of mixing to someone else.


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

I love writing. I’m a creative, I know what I want things to sound like and how things should be arranged but making things ‘sound good’ is now in someone else’s hands - from mixing to mastering as well.


Matt Hart's tips

Don’t be afraid to use presets to get things going. Don’t spend hours on sound design and then never write a track. Flesh a track out early on and tweak sounds and arrangements afterwards.

Contact info 

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

Bandcamp : https://matthart.bandcamp.com


mercredi 6 avril 2022

Electraumatisme du 06/04/2022

Edition régulière mais courte et covidée d'Electraumatisme cette semaine.
C'est pas grave y'a en encore plein de musique à écouter chez les copains. Prochain podcast le 20 Avril.

Samhain - Laboratorium 1
Seadrake - The Fever (Single Version)
Loom 11 - Exclusive Offering
LT-No - Error 009
Alvar - If This Is You
Bizarre Alliance - Mind the Gap
iczx - Down Lace And Lime-hitv
Aircrash Bureau - Trapped
Left Shift Operator - Fenster Putzen
Halo Svevo - Interlude 1 (Eidechsen)
Spark! & Poupee Fabrikk - Unforgiving
PP? - I'm the Devil

Release of the week


 











Download : http://electraumatisme.info/broadcast/20220406.mp3

mercredi 30 mars 2022

Playlist Electraumatisme du 30/03/2022 - Suicide Commando! ...enfin presque

Cette semaine dans Electraumatisme, on s'interresse à l'impact qu'à eu le succès des 2 albums du début des années 2000 de Suicide Commando sur la production Dark-Electro et l'arrivée de nombreux clones qui s'en inspirèrent largement à l'époque. Pour le pire et pour le pire.

Dread Risks - Trace Amounts
Fractal - Molecules
Nature of wires - Borealis (ft. Madil Hardis)
Blind Passenger - Hello Destiny (feat.Solitary Experiments)
Black Agent - Acid 2 Body
Acylum - Dead Culture
Agonoize - To Paradise (rmx by Stefan Neubauer)
Amduscia - Corpse Symphony
8kHz Mono – Weep4me (Aslan Faction Cover)
Hocico - Spit As An Offense (Suicide Commando Remix)
ESC - Proprioception
Freaky Mind - Cyber Girl
Grendel - Rotting garden
Infact - Slave to Evil
Kubikzahl – Mutate (Alpha Mutation Mix)

Releases of the week


 








Fractal - Hologram


 








Download : http://electraumatisme.info/broadcast/20220330.mp3


mercredi 23 mars 2022

Electraumatisme du 23/03/2022

Une courte édition régulière d'Electraumatisme cette semaine avec peu de nouveautés et un faux trou de mémoire.
Par contre, si vous connaissez la source du sample vocal "All obsessed with the taste of flesh", çà m'intéresse beaucoup.

Oxyd - Alter Ego
White Birches - Lethes Bramble
TV - Better than you
Rapoon - Shakkirah
Prayer Tower - Sugar The Pill
Loom 11 - Artifacts
Intelligent Death - The truth of art
Emu Bomb - Wiretap
Himmelsfahrt - Abwege Einer Seele
Limbo - Red Latex Jesus
Data Kino - Start
Calva Y Nada - Paradise

Release of the week


 








Download : http://electraumatisme.info/broadcast/20220323.mp3


dimanche 20 mars 2022

Kitchen Notes : Beta Virus on Like That, But Not That

 





Skot Shea nous livre dans le détail les secrets de composition et les moyens mis en oeuvre pour concocter son album Like that, but not That sous son projet Beta Virus. De l'Electro-Indus fait maison comme on l'aime. L'occasion de découvrir des logiciels encore différents des canons habituels, des méthodes de composition et de sound-design stimulantes.
 

Skot Shea gives us his very detailed composition secrets and the resources he used to concoct his album Like that, but not that under his Beta Virus project. Homemade Electro-Indus as we like it. The opportunity for us to discover software solutions still different from the usual canonical ones, inspiring composition and sound-design methods.

Gears and software

What gears/software did you use for Like That, But Not That ?

Firstly, thank you for taking the time to reach out, I love talking shop!

For 'Like That But Not That', I used Reaper as my DAW. I love the flexibility in it. I have tried most of the major DAWs over the years and Reaper fits with my workflow the best. Specifically within Reaper, I use ReaSamplOmatic5000 extensively, primarily for drums and guitar samples. LTBNT is largely based around EMU sp12 drum samples. Vital, Surge and sometimes Massive for the main synths.


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

By far right now, Vital is my favorite soft synth. It is fantastic for everything from drones, to basslines, to super saws, to strings and pads, to kick drums.

 

Any evolution in your setup ?

Always. I'm starting to bring in more and more hardware. I just started dipping my toes into Eurorack and that has me very excited. I also have a Behringer Neutron, which is wonderfully buzzy and analog; and I just picked up a Td-3 which is always fun because acid. I'm planning on bringing in a nice sampler to get away from the computer a bit. Maybe a 1010 Blackbox or a Digitakt.

 

Sound Design

Do you use/tweak presets  ? 

These days, almost never. I find it much faster and more rewarding to just learn a synth and then program what I need from init. For some more Rompler-like synths: Korg Wavestation or M1 for example, I feel like the appeal is in the presets so for things like that yes, I will pull up "8' piano" or something, but otherwise, it's almost all from scratch. (and of course I have nothing against those that do use them, it's just not for me.)

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

Almost all of them, Vital is my go-to, Surge after that. The routing options make them pretty hard to beat. I love making drones with Vital. The Perlian random is great for slightly detuning over time, as well as bringing in varying amounts of distortion or FM or whatever else. I also do a lot of DIY sampling. For example, the metal percussion on Run The Kill is just a bunch of screws and nails and stuff in an aluminum paint tray that I hit with a drumstick. I am working on a track now where I sampled myself throwing Allen wrench-keys across the room. Another track, that didn't make it to the album, featured an insulated metal cup filled with varying amounts of water and whenever I would tap the cup it would make this really cool metallic "woo-woo-woong" sound as the water settled.

Personal synth story

My first synth was a novation supernova 2r, and it was 100% completely wasted on me. As were the next half dozen or so synths that I bought and sold without a shred of an idea of how they should be used. These days my hardware collection is far less extensive but also far more intentional, and it actually gets used.
 

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 typically start with drums, getting them to sit together just right. Working out a basic but interesting rhythm.
Then I move on to the bass, which is the most important step for me. I want my basses to be rhythmic, and punchy, so I spend a lot of time on them. The bass has to dance around the drums, but also drive the song.
Getting the sound design, as well as rhythm just right is very important.
With those done, I move on to trying to craft a chord progression. This may come in the form of strings or might just be a temporary synth that I tweak the bass to follow and then delete.
At this point, most of the compositional work is done and I go about spicing up the rhythm section with samples, maybe some guitar, or repeating synths. I will then go in and design a crash cymbal-like sound, some transitions, stingers or whatever else the track might need.
Then I move on to designing the melody, which will usually come pretty quickly at that point, followed by a counter melody just for some more depth at the end of the track.
From there I start arranging, but I usually stick to basic pop structures, *intro verse chorus verse chorus bridge chorus outro* kind of thing.
Lastly I will go in and try to write lyrics to whatever I have. Lyrics have always been tricky for me, but I am getting the hang of it. My process is typically just to write literally whatever comes to mind for about 5 minutes, then start pulling the best ideas out of whatever I wrote, developing them and then writing and rewriting, auditioning and rewriting, until it is acceptable to me.
A lot of people start with the chorus, but for me the verses are more time consuming, so I start there.
 

Producing/mixing method

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

I mix in the box. I use a lot of parallel processing, busses, aux sends, EQing, Saturation and limiting. Nothing too special there. Mostly just freeware, or stock plugins. I master for myself too, also in the box.


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

Most enjoyable is sound design. Most painful would be lyric writing. It is where the whole production grinds to a halt if I am not careful.


Skot's tips

For sound design in general, I would say you have to know when to stop screwing with a sound. Do what you set out to do and call it done. I always used to fall into the trap of "maybe just one more LFO" and it totally rips the life out of a sound.

Contact info 

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

bandcamp page, where all of my music is available (for free) : https://betavirus.bandcamp.com/

Just a quick plug for the label, these folks are all amazing at what they do, and you should really check them out.
https://tigersquawkdigital.com/
https://tigersquawkrecords.bandcamp.com/ 

 

mercredi 16 mars 2022

Playlist Electraumatisme du 16/03/2022 - Total Rougna Pawoua Part. 44

Moitié techno-body, moitié pure EBM qui tache, la seconde partie de cette édition rougnesque d'Electraumatisme  devrait nous aider à muscler ces mous mollets et raffermir ces flasques fesses.

Matt Hart - We Survive
Human Vault - Your Hollow Eyes (Terminal State)
Irradiated with Sound - Flying Away
GULVØSS - Walking On Water - Rob Dust Remix
Leaether Strip - The Choke
Rhys Fulber - Central State Institute
Amorphous - I'm not real
Nasdrowie - Endless Fear
Kontravoid - Nitrous
SushiChimera - DimenSionBuilDer
Phobos Reactor - Superspreader
KALT - The anger device
Die Krupps - Wahre arbeit wahrer lohn (KMFDM remix)
Orange Sector - Gold

Release of the week


 








Download : http://electraumatisme.info/broadcast/20220316.mp3


mercredi 9 mars 2022

Electraumatisme du 09/03/2022

Une édition d'avant-garde pour Electraumatisme cette semaine puisque la première nouveauté présentée pourrait bien être la bande son des mois à venir pour tout le monde.
Et le site de Scentair records est bien évidemment fermé à présent. Quel discernement !


Atrium Carceri & Kammarheit - Subpulse
Stairway Maze - Access (For) Granted
At The Heart Of The World - Reflect-Reveal
Abortive Gasp - Chemical Senses
mulpHia - Uprise
Suicide Commando - Conspiracy with the Devil
TV - Skin Deep
Headscan - Orbit Shift (Pioneers)
Damaged Clock - Feel The Bass
The Klinik - Moving Hands
Mind Resuscitate - Overloaded
Nejet Nok - After Stars Fall


Releases of the week


 













 












 

dimanche 6 mars 2022

Kitchen Notes : M‡яc▲ll▲ on new condition


En attendant encore plus de musique de leur part à venir cette année, le projet M‡яc▲ll▲, spécialiste en fabrication d'ambiance de malaise post-wichouse nous expliquent ce qu'ils ont mis dans la marmite de leur dernière production New Condition.

Waiting for more music to come from them during this year, M‡яc▲ll▲ project, specialist in building very personal post-witchouse malaise mood since a while explain us what they put in the cauldron for their latest release New Condition.


Gears and software

What gears/software did you use for New Condition ?

Hardware : Neutron, Mopho, MS2K, ART fx & compressor, Mooer Red Truck fx.

Software : NI Battery 2, Reaktor,  Albino, impOscar, Arturia Minimoog. TAL fx, Valhalla fx. Cubase is our DAW.

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

We do not get hung up on favourites, we use whatever works. Analogue sounds best as analogue, digital as digital. The only two devices on every M‡яc▲ll▲ release are Battery 2 with custom drumsets loaded, and the Arturia Minimoog. Specifically in Battery we use samples of our own drum machines (Drum Brute, Volca Drum, as well as set built from a modular system, and a set built from sounds on a Roland Juno synth.

 

Any evolution in your setup ?

Not really, we have had the same gear since the beginning save for the Neutron and Drum Brute. These were not extreme additions though, more textural.

 

Sound Design

Do you use/tweak presets  ? 

We do both. Whatever works :) We tend to start with presets on the Albino (pads & soundscapes) and the Minimoog (arpeggios).

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

There are times where a custom patch is necessary. It's depends on the mood we are going for. In that case we just start with an initialized patch and build from there. Usually this is the case with the Mopho and NI Reaktor (Soundschool Analogue, Mono FM).

Personal synth story

Synths are tools, you just have to dig in to learn them. You do not need any special tools to make music. Just be creative. :)
 

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 ? ...

M‡яc▲ll▲ is all about creating a mood. Compare for example the scenes in a David Lynch film that are forboding or unsettling just by showing a mundane situation and applying the right sounds. We build a lot of our tracks around movie samples and environment samples (freesound.org) a lot like the artist Burial does. Then we put a song idea on top of it all. For other tracks we start with a drum & synth bass structure and then fill it out with sound. Overall, we do not start with a preconcieved idea of the destination. We just start the journey and see where it takes us.
 

Producing/mixing method

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

About 50/50. We record hardware though rack fx and then mix and master everything in Cubase with PSP plug ins.


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

We love every step of writing the tracks. Mixing can be a challenge because we try not to make everything sound too polished. We want to capture that raw audio feeling that we had when creating.


M‡яc▲ll▲'s tips

Just remember to be creative. Learn everything your gear can do.

Contact info

https://mcll.bandcamp.com/