mercredi 28 septembre 2022

Playlist Electraumatisme du 28/09/2022 - Speciale Metropolis

Avec pas mal de retard, Electraumatisme évoque cette semaine la disparition de Dave Heckman, fondateur du label/distributeur Metropolis, véritable pilier de la scène Electro-Indus dans sa grande diversité aux Etats-Unis depuis plus de 20 ans.

Gin Devo - Only for Moments
RAILWRX - Column
Black Agent - Parasite Receiver
Download - YONI
Battery Cage - Caged (Cyclone-B Remix)
Apoptygma Berzerk - Fade To Black
Fixmer & McCarthy - Splitter
Imperative Reaction - Compressed/Terror
Icon of Coil - Everything Is Real?
Imperative Reaction - Malady
Informatik - 96 degrees
In Strict Confidence - Babylon
Statiqbloom - Restless

Release of the week:


Download :

mardi 27 septembre 2022

Kitchen Notes : Nghtly on Il Venerdì Dell'Arte

Une rapide description des moyens et methods utilisés par Francesco Tella lors de la production de son dernier tir techno/EBM riche en textures Il Venerdì Dell'Arte dans le cadre de son projet Nghtly.

A quick description of the means and methods used by Francesco Tella to produce his last textural dense techno/EBM shot Il Venerdì Dell'Arte with his Nghtly project.

Gears and software

What gears/software did you use for Il Venerdì Dell'Arte ?

Your favorite gear(s)/software(s) and do you design you own sound  ? On which synth/plugin in particular ?

I have many personal preset created by me over the years and many of them have been used in this album.. like sylenth 1 / bazille u-he/ Serum / Massive/ Spire and more by Arturia like Jup 8.. there are all for synths..

For the drum i love 80's drums like Akai RX 10/ Roland 505 and much more...As synth i love the Roland sh101 and microkorg too.. the sounds are more intense and full-bodied. I love to use the ARP but most of the time i writer the notes manually because I feel the most personal work.


Writing/composing method &Production/mixing method

I usually start from the composing drum and then continue with synth (the drums give me synths inspiration) to create something harmonious and sensible.. i use my voice or even those taken from movies.. (60's movies). I use ambient samples by me and as effects like saturators and delay/reverbs likes the Valhalla.. I often apply them on my voice and on the ambients.. and pads.
All in my MIDI instruments like APC mini and keyboards.. about the mixes i use EQ/Compressor by the VST Waves.

Contact info 

mercredi 21 septembre 2022

Electraumatisme du 21/09/2022

Des ressorties et remastering en guise de sorties de la semaine, c'est aussi çà la récession, et cette édition régulière d'Electraumatisme en pâtit.

mulpHia - LD 50 (middle)
Portion Control - Meatbag
Monsieur Desastreux - no respect
Cagoule - Take A Rest In Hell
Hardpot - F​ö​rnimmelsen
AkMD - Mankind Slaughter
Nine Seconds - All Beauty Must Die
Nghtly - Crisi Di Identità
Eyephone – L5
Digital Poodle - Attempt (version two)
electron7 - Keep on smiling
Himmelsfahrt - Abwege Einer Seele
Cycloon - Megabite
Kali Jugend - New Body Beat
Typis Belgis - Aimless

Releases of the week:


Portion Control - Dissolve Plus


Download :

mercredi 14 septembre 2022

Playlist Electraumatisme du 14/09/2022 - Canada et FLA

Cette semaine on pose nos oreilles au Canada dans Electraumatisme en faisant une grosse pause à Vancouver autour de Front Line Assembly avant de survoler tout le reste du pays.

Nghtly - Venerdì D'Arte
Fractal - Contact
Fractal - Moon
Frontline Assembly - Mindphaser
Rhys Fulber - The Sick
Front Line Assembly - Evil Playground
Displacer - Down
Front Line Assembly - Obsession
Holon - Void Process
Infestation - Si tu n'existais pas
Holon - Slow Down And Breathe
Iszoloscope - In The Face Of Descent
iVardensphere - Devils


Releases of the week:

Nghtly - Il Venerdì Dell'Arte


Fractal - Last day on earth


Download :

mercredi 7 septembre 2022

Electraumatisme du 07/09/2022

Ha on fait moins les marioles maintenant qu'on a repris le boulot hein ? Allez une petite dose d'Electraumatisme pour faire passer çà en attendant le repos éternel. Je vous mets le générique.

AkMD - Techno shit
Modebionics - FOLD VICE (single edit)
Nuclear Sludge - Unhuman
RetCon - Xcommunication
M/A/T - Nueva Esperanza
Fuze Box Machine - S... Yes Or No ?!
The Seven Whores Of The Apocalypse - Grinding Walls
Xingu Hill - The Conquistador Closes His Eyes
Nine Seconds - Plastic fantastic
Electronic Dream Factory - Death
vProjekt - A kiss between the eyes
Alessandro Adriani - Ecstatic Feeling
Instans - Daily routine
Will - Epilogue

Release of the week:


Download :

lundi 5 septembre 2022

Kitchen Notes : Stahlschlag on A Zone of Silence



Pour la première fois dans les Kitchen Notes, on donne la parole à un projet qui verse plus dans la musique noise-industrielle que dans l'EBM ou la Dark Electro pure. Il faut dire que A Zone of Silence de Stahlschlag nous a bien accroché l'oreille ces dernières semaines et les explications données par Sebastian Sünkler concernant la production de sa musique recellent de sacrées surprises. Les nostalgiques des années tracker vont se régaler.

For the first time in the Kitchen Notes, we give the floor to a project falling more into noise-industrial music than on pure EBM or Dark-electro. It must be said that Stahlschlag's A Zone of Silence had our ears quite hooked these last weeks and the explantions provided by Sebastian Sünkler on his music's production hold real surprises. Nostalgic of tracker years will be delighted.

Gears and software

What gears/software did you use for A Zone of Silence ?

I produce all my tracks in Renoise. It's a DAW that works in a tracker style and works differently than most major DAWs because you have to compose and produce from top to bottom rather than left to right. What I love about this production style is that I have control over every step I take for my music, as I enter the notes for each track into the grid. I just have to choose the BPM and timing I want to work with. In Renoise, you work in patterns that can be arranged in a pattern matrix. Another advantage for me is the great built-in sampler, since I work with samples and virtual instruments. I've been working with trackers for over 20 years, so I remain loyal to them and used them for my album as well.

About other software and equipment for the album. I used a long list of different plugins, virtual instruments and also samples to create my drums and sounds.

My main virtual instrument for the album was Melda MSoundfactory, as it has a lot of great sounding synthesizers and samplers. Almost all of my tribal sounds I made with MSoundFactory, but I also used Applied Acoustics Systems Chromaphone 3 a lot, as it offers a great physical modeling engine that allows you to create more realistic sounds in some ways. But I also used u-he Hive, Arturia Pigments and Sugar Bytes Aparillo.

For effects, I used all Tokyo Dawn EQs for EQ work and Newfangled Saturate for mixing purposes. I discovered for myself that I also need to focus more on the stereo image. That's how I discovered Raising Jake Studios' SideMinder 2, which helped a lot for keeping the stereo image in phase.

The equipment I use for the production process is my Yamaha AG06 audio interface, my Samson Rubicon R6a studio monitors and my Beyerdynamic DT 990 Pro headphones. I also use cheap speakers from Amazon to find very distracting frequencies. On a side note, I use an Akai MPD 24 and a Roland SP-555 for my live sets. The Roland SP-555 stores the loops of the tracks that I can trigger live during my performances. The Akai MPD 24 is used to play samples and as a midi controller to work with effects on the tracks.

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

My favorites are constantly changing as I discover new things with each music production. I thought it would come to an end, but no. There is always something new and exciting. For this album, my favorites were Melda MSoundfactory as an instrument and SideMinder 2 from Raising Jake Studios for mixing. Really great stuff. Melda MSoundfactory also has a smart random preset generator that helped inspire me.


Any evolution in your setup ?

My setup hasn't changed much, but I've been working with some different tools and instruments. I do that all the time because it inspires me. Maybe one development is that I had to work with tools to mix the vocals of the collaborations into the tracks. I've never had to do it that way before. I used iZotope Nectar to polish the vocals, and Wavesfactory Trackspacer helped a lot with the mixing. On some songs it was a challenge to mix the vocals and all the noise.


Sound Design

Do you use/tweak presets  ?

I always use presets as a starting point because I can get inspired so quickly, but I rarely use them without changes. I often don't change the synthesizers, but work with effects to make them sound different, e.g. distortion, reverb, delay, bitcrushing. I've also discovered synthesizers with smart randomizer functions that can be used to create unique, inspiring presets. My favorite in this regard is Melda MSoundfactory, but Tone 2 Warlock is also very good with its randomized presets. I can only recommend to give it a try.

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

My sound design mostly takes place outside of synthesizers. My favorite effects for that are the standard Renoise plugins like Distortion and LofiMat. Nothing really fancy, but they help me find my signature sound. It's also awesome to work with multi-FX plugins to create a unique sound design. Permut8 by Sonic Charge is my absolute favorite here. I use it a lot to spice up sounds and samples.

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 ? ...

My composition method differs from traditional methods in some ways. I often start with a rough idea of the sound of a track in Renoise and listen to presets and samples to find what I'm looking for, but I don't have a scheme. Sometimes I just get inspired by seeing or hearing something. I work differently when I produce my tracks or remix other artists. When I remix someone, I always start with the beat and the drums. It's easier because I usually get the melodies and structure from the artists. When I'm working on my tracks, it can be different. Sometimes I build the intro first and look for nice intro sounds like pads and drones. But sometimes I produce the drums first. Working in Renoise is different because I rarely record anything, but mostly program all the tracks and mix them together. I do it step by step, which gives me the opportunity to change every little thing in a song. I have to admit that I love having so much control over the whole process.

Producing/mixing method

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

I just work in the box because I've been doing it that way for so many years. I have a few favorite tools for the mixing process. One thing I've discovered for myself is using clipping instead of compressors. When tracking, I just use clippers to adjust dynamics, but I use a bus compressor and also a multiband compressor on the mix bus.

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

The most painful part is mixing, because it always takes much more time than any other process. I love to just go ahead and produce without mixing anything. That's how I always work. I produce a rough demo of a whole track before I touch any tool to mix it. For me, it's important that I don't interrupt the creative flow. I also thought about letting others mixing and mastering my music but since I just do it for passion, I prefer to do it all on my own.

Stahlschlag's tips

I guess what I want to share is that it's important not to get too critical and/or perfectionistic when producing music, it really kills creativity and often there comes a point where enough is enough. Often it sounds great just the way it is, and you shouldn't watch or read too many tutorials about producing and mixing. That can drive you crazy.

Another tip is to play with synthesizers that offer preset randomizers. That's really a lot of fun and can be very inspiring.

And my last piece of advice is to not take everything too seriously and stop comparing yourself too much to others. I know it's hard to be heard, and we all have different goals with our music. For me personally, it's about the passion, the fun, and also the great opportunity to connect with other people that you might never meet if you weren't producing music. That's the most exciting part for me.

Contact info