mercredi 28 juin 2023

Playlist Electraumatisme du 28/06/2022 - TBM (Très Bien Monté ?)

Désolé les garçons et les filles mais cette semaine, en fait on va traiter de Techno Body Music dans cette édition d'Electraumatisme, donc on peut ranger les bananes.

Prochain podcast le 12 juillet.

BlindTEST - Untethered
Fractal - Awakening
Inner Conflict - Where do we go (Remix by Chris Campos Synth)
Noronsoff Intestate - TESTOSTERONE
Terminal Danger - Fallout
DSX - Burn Your Radio
Square7 - Audigast
Gatto Nero - A Drum
Kontravoid - Hold Nothing (Schwefelgelb Remix)
Fractions - I.B.M.
Konkurs - Face the Target
Ascii Disko – Voices (Edit)
The Horrorist – Now Destructor
Konkurs - Compound
I Hate Models - Shiny Razor Blades

Releases of the week:


 







Fractal - Antidote


 







Download : http://electraumatisme.info/broadcast/20230628.mp3

 

 

vendredi 23 juin 2023

Kitchen Notes : A Covenant of Thorns on Ashes

Electraumatisme a découvert A Covenant of Thorns au tout début des années 2000 et nous n'avons jamais cessé de suivre les progrès faits par Scott-David Allen à chacune de ses sorties. Aujourd'hui avec son dernier album Ashes qui recèle à nouveau quelques perles darwave accrocheuses pleines d'amertume et de désillusion, il se prête au jeu de la Kitchen Notes, ses méthodes de production privilégiant l'efficacité du résultat.

Electraumatisme discovered A Covenant of Thorns on the very early 2000th and we never stopped following progresses done by Scott-David Allen thru each of his releases. Nowadays, with his last album Ashes containing again catchy darkwave gems full of bitterness and delusion, he plays the Kitchen Notes game, his production methods favoring result effictiveness.


  

 

Gears and software

What gears/softwares did you use for Ashes ?

For “Ashes”, I used a combination of virtual and hardware synths, as well as different guitars.  I use Ableton Live for all recording and mixing.

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

I think this changes from album to album. I am always designing new sounds so I am always on the lookout for something new and different.


Sound Design

Do you use/tweak presets  ?

I do. I’ve heard a lot of debate about using presets as either the end sound or a starting point.  I don’t have an issue with this.  I’ve heard it done many times.  For me, the most important thing is the end result.  If a painter finds a shade of blue paint that is perfect, I doubt they will avoid it and mix their own.  Having said that, if there isn’t a shade available, they will certainly mix their own perfect shade.  This is the same for me.  I find that, more than not, I will end up with something all my own but, if I find something that exists that is perfect, I am not going to avoid it.

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

Very often I do, yes.  Any synth or plugin can provide something interesting.  I think U-He has some really great synths as well as many of the analog boards that have been coming out lately.  I really like to turn knobs and move faders but, I don’t mind doing it virtually either.


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 think my writing style has changed over the years.  One thing that hasn’t changed is it always starts with sound design.  I generally sit down and start creating sounds. At some point I will find something that catches my ear and run with that. I have several drum loops already created that I use as a starting point (they rarely end up in the final version). From there I start recording parts and build from there.  Many years ago, I would write lyrics first and add them to a piece of music. Now, I usually write the music and then write lyrics to the music.

Producing/mixing method

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

I do everything in the box as far as mixing. I find that everything I need is there. As far as mastering, I send that off to my friend Gordon Young who uses a combination of internal and external gear to master the album.


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

I really enjoy all of it. The part that is least enjoyable for me is once everything is done and I need to switch to promoting. I find it really difficult to talk about myself or my music and that is really a requirement for promotion so that is definitely a challenge.


Scott-David's Tips

Having a default set in Ableton Live that has everything I use already in it is a huge timesaver.  You can create a set that has everything you need and save it as the default set. I can then come into a new set and have all my tracks set up with all the gear I use as a starting point. This is especially useful for vocals if you have a set of gear you use. Then it’s just a matter of dialing things in for compressors, etc.  The other thing I do that saves a bunch of time is to create instrument racks that have all the gear grouped together that I can grab easily.

Contact info

http://acot.bandcamp.com
https://www.facebook.com/ACovenantOfThorns/
https://www.instagram.com/acovenantofthorns/

samedi 17 juin 2023

2̵n̵d̵ ̵f̷a̶c̴e̷ on utOpium

utOpium, le nouvel album de 2̵n̵d̵ ̵f̷a̶c̴e̷  témoigne d'une nette évolution dans la recherche de structures toujours plus complexes, fouillées servies par une production largement affinée par rapport au premier album. Les méthodes utilisées et décrites par Vincent Uhlig indiquent que tout peut encore se jouer une fois les parties enregistrées, c'est à dire au montage.
Il est aussi bien équipé avec quelques pièces analogiques de légende, d'ailleurs, le synthi AKS disposant d'une réverb à ressort, je me demande si elle résonne dans ce nouvel album.

utOpium, the new 2̵n̵d̵ ̵f̷a̶c̴e̷  album shows a clear evolution in more complex and meticulous structures research, served by a largely refined production in regards to the previous attempt. The methods described below by Vincent Uhlig reveals that all can still be done once each part has been recorded, namely at audio edition stage.
He's also well equiped with some legedary analog pieces and by the way, the Synthi AKS having a spring reverb, I wonder if it rings in this new album.

 

 


Gears and software

What gears/softwares did you use for utOpium ?

In terms of DAW, I’m using Logic for rough arrangements, then I export the audio files into Pro Tools for further production and mixing processes.
My hardware consists of an EMS Synthi AKS, a PPG 300 modular system and a MOOG Grandmother, all of which were heavily used on ‘utOpium’.
I also use several hardware processors for mixing- and mastering applications, including Maselec’s MEA-2 equalizer, SPL’s PassEQ, and API’s 2500 & 5000.

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

My favorite is the EMS Synthi AKS (built in 1969), without a doubt. This synth was given to me by my father, who was a Krautrock musician back in the ‘70s. It follows a unique patching concept, which theoretically allows for the simultaneous connection of all parameters. This provides workflow possibilities that separate the EMS from every other synth. It also has a joystick! When I first started it up and turned a few knobs, I couldn’t believe my ears. The wildly ravenous and brutal soundscapes pouring out of this thing laid the foundation for 2nd face.
I also love the Maselec MEA-2 (I haven’t heard any other EQ with this level of clean transparency) and the API 2500 (absolutely amazing bus comp!).


Sound Design

Do you use/tweak presets  ?

I see presets as a nice source of inspiration. It depends on what I want to do, sometimes it’s great to fool around with a preset, mangle it beyond recognition and create an audio file for further processing.

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

My main sound design synth is the EMS Synthi AKS. It’s not exactly a musical instrument, you can’t really go “now I’ll create a specific lead sound”. I would rather describe it as an experimentation tool with a mind of its own. I usually sit down and record 2 hours of mayhem to later dissect and sample the recorded material. 


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 usually start with the rhythm section and then take it from there. Sometimes I have a specific melodic structure in mind, in which case I arrange the rhythmic components around that.

Producing/mixing method

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

While I use the outboard gear that I mentioned, everything still comes together in the box (Logic/Pro Tools).


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

I actually love every part of it, but I have the most fun during the production & mixing process, when all elements of the track are laid out as audio files and I get creative with them. I usually duplicate a given track and try things that don’t necessarily seem rational at the moment, like chopping it up and moving parts of it for i.e. 1/16th note, or reversing, or pitch shifting, distorting, etc. Most of the time, the results are a great source of inspiration and sometimes, when the new elements integrate themselves perfectly into the track, well… magic happens!


Vincent Uhlig's Tips

I would encourage everyone to go out of your comfort zone and just try things, be creative. It definitely can’t hurt!

Contact info

https://www.facebook.com/iindface

https://2ndface.bandcamp.com

mercredi 14 juin 2023

Electraumatisme du 14/06/2022

Retour des éditions régulières d'Electraumatisme cette semaine avec une seconde partie assez ardue, alors préparez vos casques de spéléo.

Prochain podcast le 28 juin.


 Sturm Café - Staatsapparat
Noronsoff Intestate - Killdozing
Droid Sector Decay - Flesh Treatment
Hardpot - Känslolösheten
Odonis Odonis - Beast ( ft Tobacco )
Harry - Silent Telephone
A Covenant of Thorns - Lights
Sleepless In Pyongyang - Kronos
Quantom 1 + 3 - A priori
Stiff Valentine - The number 23
Rage Vanguard - Abyss
Interlace - Master (single edit)
X10 - 25 Millions D'Annees
Metamatik - Satisfaction Guaranteed
Frames A Second - Specified information

Release of the week:

mercredi 7 juin 2023

Playlist Electraumatisme du 07/06/2022 - Mon WGT 2023 - Partie 2

Dans cette seconde partie des concerts vus à cette édition 2023 du Wave-Gotik Treffen, quelques erreurs de choix, d'heureuses premières fois (Kreign, Rein, Traitrs, ..., des classiques (242, Die Selektion, Test Dept) et enfin Deine Lakaien en chair et en cheveux.

A Covenant of Thorns - Grace (Like The Back of a Fist)
Noronsoff Intestate - Ritaline
Super Dragon Punch!! - Split (ESA Remix)
Velax - No More Conclusion (Terrible Time Mix)
All Systems Out - Electrified
Grausame Töchter - Wodka Polka
Front 242 - Headhunter V3.0
Cold Cave - Psalm 23
Traitrs - Magdalene
Poison point - Resigned Commander
Rein - Off the Grid
Die Selektion - Unter die Haut
Deine Lakaien - Ulysses
CattaC - Just One More Day
Kreign - Shit Storm
Untoten - Shelter from Death
Test Dept - Landlord

Release of the week:


 








Download : http://electraumatisme.info/broadcast/20230607.mp3

dimanche 4 juin 2023

Kitchen Notes : CSIBD on Infected EP

Récemment signé chez Aliens Production, CSIDB est le project de NickZoll, chercheur de sons qui détient le super-pouvoir de maîtriser le système de séquenceur des machines Elektron, cela explique probablement la finesse de ses compositions et la complexité des parties ryhtmiques de son dernier EP Infected. Il revient sur les outils utilisés dans le cadre de sa dernière production.

Recently signed on Aliens Production, CSIBD is Nickoll's project, a sound researcher who acquired the superpower of mastering Elektron sequencer system, and that probably explains the subtlety of his arrnagements and the complexity of the ryhtm parts on this last EP Infected. He comes back on the tools he used for this last production.

 






 

 

Gears and software

What gears/softwares did you use for Infected EP ?

Generally speaking, I am a big fan of hardware, so all sound design and composing is done out of “the box”. I use a PC mostly for mixing and mastering.
Talking about hardware, in the current release I used several units of my favorite Swedish brand Elektron,  namely Analog 4, Analog Rytm, Octatrack, Digitone and Analog Drive. Besides that, I rely heavily on my old buddy Moog Sub37, the track Marginal is mostly done on this synth, even percussions, I made them on Sub37 and sampled it to Octatrack for sequencing. As the main polysynth I use the Korg Prologue 16 voices version. Dave Smith Mopho keyboard version boosted with Tetra pops up here and there, Mopho is my oldest synth. I also used a couple of boxes from Sound Objects. Modulation effects are usually the ones that come with the synths, they are particularly good in Elektron devices, I also use a couple of fx racks, TC m-one xl is worth mentioning, I love this box for huge dirty reverbs.
In terms of software, I can’t say much here since I use it just a tiny bit. I am a long term Ableton Live user. I love sound toys plugins, especially radiator and decapitator when I need to saturate something. For mixing and mastering I heavily rely on izotope nectar and ozone. Besides that, I use reverbs from Eventide and Valhalla, and some built-in Ableton utility plugins.

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

I believe industrial as a genre heavily relies on sampling, analog synths and old fashioned FM. I use Octatrack and Analog Rytm for sample manipulation, Analog 4, Moog Sub 37 and Korg Prologue for warm and overdriven analog tones, Digitone and Korg Prologue to create cold dystopian FM sounds.
I love Elektron devices for their fancy sequencers and inspiring workflow. Moog is my favorite synth for tweakability, awesome gain/saturation abilities, and its bass of course.
Besides that, Korg Prologue is a sound designer's dream synth.

Any evolution in your setup ?

Over the last 14 years I have used a lot of different gears, currently I am very happy with my setup. All sequencers are synchronized to Octatrack, just press play button and dive into inspiration. My composing process is completely dawless which is a lot of joy. Nowadays I heavily rely on Elektron’s sequencers with their famous p-lock, that’s a great way to achieve live, always changing and pretty experimental I would say production.

 

Sound Design

Do you use/tweak presets  ?

I don’t really use presets, I don’t even use the patches I have previously created myself. Every time I start a new track, I like to start from scratch and tweak each sound to match the others.
Besides that I do quite a bit of field recording, Zoom H6 is always with me, it provides a portion of the percussive madness that you may have noticed in my tracks.

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

I do design my own sounds. In fact I spend more time tweaking the knobs rather than composing and producing actual tracks. I pay a lot of attention to percussions, some of them are field recorded sounds that are mangled in Octatrack, the others are synthesized by one of the synths that I have.

Any personal synth story ?

Back in the day my first analog synth was DSI Mopho. When I heard it the very first time I was so impressed. After years of using digital synths and grooveboxes it was so different, so nostalgic. Through all these years Mopho has stayed with me. I love its silly yellow look, its imperfect sound, and its small form factor. Of course, I have much more advanced synths in terms of analog sound, but every time I feel sad, frustrated, I just go back to my old Mopho. I even bought Tetra to expand Mopho’s voices.
Besides that, I have a long history with Korgs. My first ever hardware synth was Korg Z1, later I used R3, Radias, Electribes EMX1 and E2, I even had a couple of Volcas. Korg’s Prologue is my current favorite analog poly. I think this synth is very underappreciated, it sounds great, has a bunch of nuances, but you have to learn how to use it properly, sweetspots are rather narrow.


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 ? ...

Whatever comes first, it may be some percussive pattern, or a bass groove, or anything else. I do not have a specific recipe. Sometimes I have a clear idea in my head, very often I don’t and I just interact with my hardware looking for inspiration. Isn’t it interesting? Composing as an act of merging between man and machine.

Producing/mixing method

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

I do mix and master in the box. I wish I could do it differently, but it would cost a fortune to get a proper analog console with all bells and whistles.  
To work with eq-ing and dynamics I rely on izotope, it is pretty good for the task. For fx it is both, mod effects are mostly hardware, saturation is hardware and software, final work with room is mostly software.


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

The answer is pretty straightforward. I love interacting with hardware, I hate sitting in front of the screen and clicking the mouse. I enjoy sound design and imposing steps, I enjoy much less mixing and mastering, but my general belief is nobody would do it better for me than myself.


NickZoll's Tips

Spend less time trying to replicate someone’s work, focus on finding your own sound and shape, we all will benefit from that. It is very depressing to hear the same presets and samples, the same forms and patterns copied and pasted over and over again straight from the 80s.

Contact info

https://aliensproduction.bandcamp.com/
https://www.facebook.com/profile.php?id=100063508629670
https://www.instagram.com/nick_zoll/
https://csibd.bandcamp.com/