Giant Cooter
This is a distortion pedal I bought on Ebay. The bloke who made it claimed it was based a Big Muff. It's got a huge, bass-y tone.
Here's what the bloke wrote on Ebay:
If you cant figure out what pedal inspired this build...its a Big Muff circuit which i have built on vero/stripboard.
its not a straight up clone of any particular era Muff but i spent a good while experimenting with different component/value changes to get to what i thought was my ideal muff.
uses 4x 2N5089 transistors and a few modifications which include:
tone: more woolly/muffy/wall of sound... whilst still retaining have clarity and on the other end of the spectrum, more crisp/tight but without the huge mid scoop on the pedals tone/eq knob (labelled "texture")
Sustain/Gain : more of...
Pedal is housed in an aluminium enclosure (BBE pedal size for reference) and uses Switchcraft input jacks with a Clear/Purple 5mm Indicator LED/Berzel.
It is wired for True Bypass and has a battery snap and Power supply jack (2.1mm centre neg. standard boss style power supply) - NOT INCLUDED
there is additional power supply filtering on the jack (for those with dodgy cheapo power supplies)
NOTE: the power supply jack depicted in the attached Photo has been replaced with one that sits more "flush" with the enclosure, so it now doesnt stick out as much)
The enclosure is enamel auto paint with water laser printed waterslide decals with a layer of micro-sol (for the painted on affect) and then further clear coated.
Back after the edit
In 1 by bassling
This track is a remix I did in 2007 for the ninja.trax series.
The original track was a performance-piece also recorded for ninja.trax. Below is a video I made of one of my rehearsals.
This track is a remix I did in 2007 for the ninja.trax series.
The original track was a performance-piece also recorded for ninja.trax. Below is a video I made of one of my rehearsals.
vibrating
VIBRATING by bassling
Here's part of the three-hour ambient drone soundscape I've edited together for the 2010 RPM Challenge.
You can hear a variety of birdsong along with 'the wires' -- a large-scale aeolian harp built by Alan Lamb and Scott Baker for the Unsound Festival. See http://hghlght.blogspot.com/2009/06/wired-for-sound.html for more on this amazing instrument.
A recording from late 2007 can be heard or downloaded below.
041207PM by bassling
Here's part of the three-hour ambient drone soundscape I've edited together for the 2010 RPM Challenge.
You can hear a variety of birdsong along with 'the wires' -- a large-scale aeolian harp built by Alan Lamb and Scott Baker for the Unsound Festival. See http://hghlght.blogspot.com/2009/06/wired-for-sound.html for more on this amazing instrument.
A recording from late 2007 can be heard or downloaded below.
041207PM by bassling
IK Multimedia still suck
Amplitube continues to pox my Cubase. Thankfully it'll boot up though, my RPM Challenge project is coming along. Looks like I'll have a three-hour ambient opus by the end of the month.
Of all my VSTs only one is crashing Cubase
And, fuck it, Cubase is what I'm using for my RPM project.
IK Multimedia, get your act together.
RPM Challenge
Just signed up for the RPM Challenge. I'm hoping it will motivate me to finish an album of ambient field recordings.
Funny thing is that when I signed up for the Challenge in 2008, it was to clear my head of some tunes I was playing on the guitar so I could proceed with this project. I was also procrastinating on the Boxgum EP, which has since been released commercially.
Below is a video I made at the end of February in 2008:
Funny thing is that when I signed up for the Challenge in 2008, it was to clear my head of some tunes I was playing on the guitar so I could proceed with this project. I was also procrastinating on the Boxgum EP, which has since been released commercially.
Below is a video I made at the end of February in 2008:
Golden age for music fans
There are a few music commentators discussing the future of music and linking it with video games. The argument that it's more fun to play games than to watch them is a compelling one.
I thought this quote paints an interesting future:
I thought this quote paints an interesting future:
We’re entering a fourth stage in popular music, from (1) pre-rock pop’s distinction between songwriter and performer (think Elvis, the Brill Building system), to (2) rock’s emphasis on musicians writing their own material, to (3) hip-hop’s re-use of existing sonic material, to (4) the current age of audio-games, in which users experience sound by manipulating it — not just with the iPod, but also with games like Rock Band, DJ Hero, and Guitar Hero, and with the audio tools built into the Nintendo DSi, just to name a few examples. (There are similar factors at work in underground and academic music and art cultures, but the focus for me here is on mobile music-making apps, which are significant because of their popularity, because they have made populist numerous activities and approaches to creativity that were previously considered specialized, abstract, experimental, even avant-garde.)
Absynth 5's Alan Lamb preset
Just noticed this Alan Lamb preset in Absynth 5. To my ear it doesn't sound like his work with 'the wires' but it's got a bit of the rattle that he adds on his aeolian harp recordings.
The drone ranger
NGC1313 Spiral Galaxy in Reticulum – Abre Ojos @ Electundra from abre ojos on Vimeo.
Above is a video from Scott Baker, who built an aeolian harp with Alan Lamb outside Wagga Wagga that - like Scott - has been an inspiration to me.
Below is video of my drums vibrating 'the wires' that Scott built with Alan Lamb.
Drum compression
A while ago I found this outline for compressor settings at www.orange-fields.com/widepages/drumscomp
It was useful to me so I thought I'd share. If they're your settings, let me know and I can attribute them to you or remove them if you wish but thanks for the help.
DRUMS - COMPRESSION
(A variety of different settings !)
KICK -
1) To "flatten" = 8:1 or more, short attack 2ms or less.
2) For more "attack" = slow the attack time to let the initial "poke" through.
3) 6:1, Threshold = -3 to -5dB.
4) Between 4:1 & 8:1, attack about 10ms, rel. about 200ms.
5) 10dB gain reduction (maximum !)
SNARE -
1) 3:1, Threshold = -10dB to add "crack".
2) Between 4:1 & 6:1, attack = 5 to 10ms, rel. about 150ms.
3) 10dB gain reduction (maximum !)
OVERHEADS -
1) 2:1 to lengthen signal decays.
TOMS -
1) Between 4:1 & 6:1, attack = 5 to 10ms, rel. about 150ms.
ANY DRUM -
1) 4:1, 5dB gain red. as starting point. Use AUTO (or attack 40 to 50ms, rel. 300 to 500ms.)
It was useful to me so I thought I'd share. If they're your settings, let me know and I can attribute them to you or remove them if you wish but thanks for the help.
DRUMS - COMPRESSION
(A variety of different settings !)
KICK -
1) To "flatten" = 8:1 or more, short attack 2ms or less.
2) For more "attack" = slow the attack time to let the initial "poke" through.
3) 6:1, Threshold = -3 to -5dB.
4) Between 4:1 & 8:1, attack about 10ms, rel. about 200ms.
5) 10dB gain reduction (maximum !)
SNARE -
1) 3:1, Threshold = -10dB to add "crack".
2) Between 4:1 & 6:1, attack = 5 to 10ms, rel. about 150ms.
3) 10dB gain reduction (maximum !)
OVERHEADS -
1) 2:1 to lengthen signal decays.
TOMS -
1) Between 4:1 & 6:1, attack = 5 to 10ms, rel. about 150ms.
ANY DRUM -
1) 4:1, 5dB gain red. as starting point. Use AUTO (or attack 40 to 50ms, rel. 300 to 500ms.)
Living
Tom Cosm - Moving from the studio to live performance using Ableton Live from Delicious on Vimeo.
This is good, I should try and see more stuff like this. Any recommendations?
Going the extra mile
Thanks to Abre Ojos for passing on this blog post:
Going the extra mile for unique timbres
It's a good read and the other topics covered look promising too :)
Going the extra mile for unique timbres
It's a good read and the other topics covered look promising too :)
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