Doppelknoten Lorre-Mill Synthesizer-Sequencer-Kombination zum patchen für Experimente

Lorre-Mill Double KnotLorre-Mill Double Knot

Ein bisschen wie ein Experimentierkasten der gehobenen Klasse sieht er aus – Der Double Knot von Lorre-Mill. Er ist eine Mischung aus Sequencer und Synthesizer für generative Sequenzen. Das meiste wird per Bananenkabel gepatcht.

Vier Taster und ein Schalter kann man sehen, der Rest sind die 11 Potis und die Patch-Punkte, welche auf einer Art von Block-Schaltbild in Kombination mit einer Rechteck-Symbolik gesteckt werden. Steckt man im unteren Bereich mit Rechteck-Anmutung die sechste Buchse, bekommt man eine 6-Noten-Sequenz. Das Gerät ist also kein Zufallsgenerator oder eine der Random Quietschkisten sondern eigentlich „zwei“ Synthesizer und ein Sequencer.

Clever gemacht

Die roten Taster sind Trigger zum probieren. Es gibt eine Decay-Hüllkurve und eine Schaltung, die diese „übergeht“ und erzeugt Attack-Formen, jedoch anders als durch Inversion. Es gibt einen Dreiecks-Oszillator mit FM Option. Dadurch kann man vielfältige Sounds erzeugen, obwohl nicht so viele Elemente vorhanden sind. Es gibt mehrere clevere Ideen wie etwa, dass die FM ab der 12-Uhr Stellung zu Rechteck wird durch Clipping und vieles mehr. Damit ist der Synthesizer zwar nicht „komplex“ aber sehr sehr gut überlegt und zudem nicht nur ein Synthesizer sondern auch ein Sequencer. Das ist ein sehr ungewöhnlicher und sehr effektiver Ansatz, wenn man sich anschaut, welche Baugruppen verbaut sind und wie.

Audio hören?

Diese sind sehr gut erklärt im Video und es gibt am Ende auch eine reine „Anhör“-Abteiung ab 17:06. Das meiste an Bewegung wird durch „Feedback“ oder Interaktion der Baugruppen erzeugt und das macht sowohl die Schaltung als auch den Sequencer extrem interessant.


Der Name kommt natürlich von der „doppelten“ Natur der zwei Synthesizer-Einheiten und der Kombination aus Sequencer und Synthesizer, der auch schneller oder langsamer laufen kann durch patchen. Der Sequencer lässt sich auch synchronisieren, was im zweiten Video mittels einer TR606 gezeigt wird.

Weitere Information

Neben der grundlegenden und durchaus aussagekräftigen Information auf der Website gibt es auch eine Anleitung zum herunterladen. Die Site sagt „manche Dinge sind vielleicht für Geld zu haben“.


Bastl’s Dark Matter module unleashes the joys of feedback

What would a module behave like if it were built entirely around feedback – say, like one of those “zero-input” all-feedback mixer performances? Bastl Instruments teams up again with Peter Edwards to answer that question. The result: Dark Matter.

Dark Matter lets you add feedback to any signal, whether you want to use that as a bit of color, create rhythmic effects, or go completely wild. And since it is designed with the inspiration of zero-input mixer technique in mind, you can also use it as a signal source – a kind of feedback oscillator. Feedback by definition is about signal routing; Dark Matter runs with that idea and create an instrument around patching and shaping feedback in a modular environment.

It’s a new collaboration between Bastl and Peter Edwards, following their softPop instrument (and Peter’s own long-running Casper Electronics).

There are different kinds of overdrive. You can add sub-octave tones and other colors. There’s a built-in 2-band EQ (so highs and lows get separate control) – and that has overdrive, too.

On the rhythmic side, there’s a built-in envelope follower for ducking and gating and the like.

And there’s tons and tons of I/O and CV control, so this really was designed with a modular environment in mind. (That’s important – there are a number of Eurorack modules that seem like desktop tools that sort of got plunked into a modular case without much forethought; this isn’t that.)

But before we talk specs, creator Peter Edwards – himself an experimental musician as well as inventor – has some philosophical and spiritual things to say about feedback. Those are in the manual too, but let me highlight this passage. We’re “going deeper and deeper into the void” – gotta love those Czech winters, right? (Now turn in your hymnals now to “We Sing Praises of the Dark Shadows of Feedback.”)

So here’s what it all comes down to, the resonating soul of the amplifier and the recklessly over amplified external audio signal battling it out in the feedback thunderdome…

This is why I like to think of audio feedback as sort of the negative space around a sound, like a sonic shadow. A dark counterpart.

Feedback is wonderful. It’s the living, breathing, unpredictable, organic side of electrical sound. That’s not even just to say in the analog domain; as long as you steer clear of digital clipping, feedback has powerful potential in digital, too. It’s one of the reasons to use a modular environment in the first place, whether hardware or software. So I hope in addition to looking at Dark Matter, we dig into this topic generally. (I was just playing with feedback loops in VCV Rack, thanks to some tips from Kent Williams aka Chaircrusher.)

Embrace the darkness, and dive into the void of feedback.

Uh… oh yeah, tech specs.

-Input VCA with gain and soft clipping
-2 band equaliser with voltage controlled bass and treble boost/overdrive
-Voltage controlled feedback
-External feedback section for making and fine tuning loops through other modules
-Voltage controlled crossfade between input and feedback signals
-Input tracking envelope follower for adding ducking and gating effects
-10 I/O jacks for adding CV and making crazy loops

– 13 HP
– PTC fuse and diode protected 10-pin power connector
– 24 mm deep
– power consumption +12V: < 75mA; -12V: <75 mA

More details and online ordering available on Bastl’s Website:

265 EUR excl. TAX from Bastl’s own and select retailers, available now.

The post Bastl’s Dark Matter module unleashes the joys of feedback appeared first on CDM Create Digital Music.

Bastl’s wild Peter Edwards softPop synth now in preorders

Okay, so we know you can keep remaking classic instruments and give people a good time. But what if you want something new and crazy? Can you bottle sonic weirdness and make it work for other people?

The first time I saw Peter Edwards play live was at an event we hosted in New York. He had a small box with a large spherical light on the top – and then proceeded to deafen and blind the audience in a maelstrom of noise and colored flashes.

The impressive thing about the softPop when you first play it is that it takes all that madness and makes it portable and eminently playable. You can crank it and make powerful noise. You can dial it into a sweet spot and get some grooving club-friendly acid basslines. You can dial it somewhere else, and get delicate watery bloops or alien speak.

And, while I may offend people here, I love the fact that you don’t necessarily need to know which fader you’re moving or what does what. So, sure, newcomers will be able to fiddle with the six faders and discover new sounds intuitively. But – let’s get real – that’s just as fun for experts, to have that feeling of unexpected sonic magic, that extrasensory experience of playing the instrument. And in even a short session at SuperBooth, that was unquestionably the impression I had of this instrument.

softPop represents years of Peter’s labor, culminating in a collaboration with Bastl Instruments and even a move to the Czech Republic. And while it was already an impressive evolution in Berlin this spring, it seems these crazy kids have continued the hard work of refining the box.


What you get is a demonstration of how known ingredients can be combined in very new ways. It’s a bit like putting one really terrific analog patch in a lunchbox. So the two triangle-core oscillators are heavily feedbacked – the source of all the gorgeous sonic uncertainty – plus a filter and sample & hold. That’s already probably worth the price of admission, but there’s external signal processing, too, with envelope follower and sync. Plus you get a pattern generator so you can start crafting basslines and dances of noises right away, and a mini patch bay for semi-modular operation or patching to other gear.

And it’s eminently portable – batteries, built in speaker, and an optional wooden backplate that doubles as a carrying handle.

309 EUR (pre-tax). Preorder now to get the first back at end of August.

Oh yeah and — did we mention it’s also a light synth? There’s an RGB LED there for a miniature version of Peter’s light show. And don’t forget the “secret hack chamber.”

For anyone with the feeling the synth world has nothing new to offer – fear not, strange survives.

fully analog core and signal path 
6 faders for controlling two VCOs and VCF and their cross modulations 
two wide range triangle-core VCOs 0 & 1 
quantizer for VCO 0 (auto-tuner) 
VCO 1 has variable waveshape via the modulation setting 
∞ resonant state variable VCF (bandpass, lowpass, highpass) 
external input with gain and envelope follower for intuitive sync of VCO 1 
track & hold circuit for stepped modulations 
looping pattern generator with two patterns P1 and P2 
RGB led for psychedelic experience 
25-point patchbay  
secret hack chamber at the back for adventurers 
aluminum body enclosure 
built-in speaker 
wooden handle backplate as accessory (sold separately) 



We’re watching for the powerful THYME processor, too; Bastl’s release of this notes that production delays mean that’ll shift sales to September.

The post Bastl’s wild Peter Edwards softPop synth now in preorders appeared first on CDM Create Digital Music.

Lesley Flanigan’s ethereal music mixes singing and vibrations

There’s no oscillator quite like your voice. And sometimes the simplest techniques can yield elaborate textures. Lesley Flanigan has built a body of work out of an elemental approach to electronics, and her new release Hadera is to me the most beautiful yet, transporting us somewhere truly sublime. The source, in addition to singing, includes feedback, a broken cassette player – but evolves into mists of sound and space, shifting from the delicate to the raw.

The whole half hour is nice and worth exploring when released, but listen in particular to the stream now available from Bandcamp, “Can Barely Feel My Feet.” It’s the product of Lesley’s home-built wooden speaker system, which featured on her previous Glacier (2014) and Amplifications (2009). A one-take vocal recording was transformed via feedback manipulation into this:

I got to know Lesley some years ago in New York – she even came and once co-taught an electronics workshop on our event series, and played for us. And what always struck me about her practice was that it was improvisatory; whether it’s her voice or feedback or any other sonic material, it’s about focus on that element in the live context. That’s connected to me with the history of intra-disciplinary performance in New York’s so-called downtown scene, and the feeling of intimacy those performances could have.

Her work with Tristan Perich (also her husband) makes them a rare aesthetic as well as personal match; Tristan’s 1-bit creations and so on have a similar dedication to raw minimalism. They also each have ties to the art world, not only the music world. Lesley is trained as a sculptor, which is a nice job description for her music and sound.

You can watch the trailer for the album and witness that broken cassette player in action:

Lesley Flanigan: Hedera (Trailer) from Physical Editions on Vimeo.

I asked Lesley to tell us a bit about this work, and – apologies to her, I will include the whole stream-of-consciousness journal as it sums up her approach nicely. She writes us:

While I haven’t released many recordings, I actually record myself quite often in the studio as part of my rehearsal/practice/experimentation/composing process. About 2 years ago, I was messing around with tape loops and cassette recorders, and recorded the clicking sound of a broken player. I found myself playing around with that sample and completely obsessing over its driving repetition, and the depth of sound I could carve out of it by layering it and adjusting the eq in real time. Pretty standard stuff. Both Tristan and I got super excited listening to my experimentations in a car on a road trip once, the bass shaking the rear of the car and vibrating the windows. Hah. Anyways, so I was really intrigued with the mechanical beat, and eventually decided I just had to do more with it.

Jump ahead, I had my first child (#2 on the way!), and was in a unique space of not performing for several months in a row. This time lent itself to me going into “studio” mode (sitting with my computer, mixer, loop pedal, mic and headphones) and I decided to work on this beat, and really explore the possibilities of my vocal techniques against the sound of the beat. So I laid the beat out for 20min – set it up so I could perform the frequency and beat shifts live, recording several passes. After I decided on the basic beat structure, I spent weeks recording vocals, and shaping a composition of ballooning, dense clouds of layered voice around the steady beat. I did this all live in numerous takes, using the same looping pedal system I’ve used with my feedback instruments (no computer looping). It’s just that with this process, the improvisations were given time and focus to develop to the point of becoming a real composition, and as such, I perform the same pitches and timings each time. So this is a piece, unlike my work with feedback instruments, that is repeatable.

All that said, the process of creating the piece stems very much from my work with feedback. From building the textures of the beat (stemming from a mechanical analogue source) to using the same layering/building/sculpting approach with my voice interwoven within the raw sounds of beats.

Lesley Flanigan - Hedera - Crane Arts 01

And there’s one track that goes a different direction, as well:

The second, shorter track is with speaker feedback. I included it on this album because it’s a rare recording of mine where I slightly adjusted with the lower pitches in the editing process (in other words -it’s a live recording that I later went back and manipulated, so it’s not a “pure” feedback recording like my other work). It’s actually a few years old, but I love it, and given the different direction of this Hedera track, I thought it was a nice way to finally put it out there. Sort of bridging the two worlds of my sound practice.

Fittingly, the new record (out on Physical Editions) will premiere with a concert dedicated to placing the voice at the center of performance. On 1st April, Lesley is alongside C Spencer Yeh presenting his solo voice work, a song single based on Hildegard von Bingen (by composer Nick Hallett and vocalist Daisy Press), and avant-garde turntablist/sound artist and New York mainstay Maria Chavez (working with recorded voice).

This is, after all, New York – home to the likes of Meredith Monk and Laurie Anderson.

That concert is at National Sawdust in Williamsburg, before Lesley continues on to tour the USA (NY, RI, Baltimore, Chicago).

You can pre-order this record – or her other releases – on Bandcamp:

Bonus: Lesley at the Guggenheim.

Lesley Flanigan at the Guggenheim from Lesley Flanigan on Vimeo.

The post Lesley Flanigan’s ethereal music mixes singing and vibrations appeared first on cdm createdigitalmusic.

AudioThing Intros Frostbite Multi-Effects Plugin

AudioThing has released Frostbite – a multi-effect plugin, featuring Ring Modulator, Feedback and Freeze effects. The plugin, for Mac & Windows, is aimed at ambience and cinematic music, but can also be used for extreme sonic experiments. Features: The Signal Flow is … Continue reading

WretchUp is a Playable Delay Effect from Mouse on Mars, Available Now for iPhone

The original inspiration came from analog delay equipment. But guided by German duo Mouse on Mars, WretchUp transformed into something that fits in your hand on mobile, and gets played by an instrument, producing wild digital sounds.

The WretchUp app is at last available now on the iTunes App Store, working on iPhones and iPods touch (iPhone 4, iPod touch 5th-gen or better). Crowd-funding backers are already receiving their codes and invitations to test new builds, but the general public can try the app right away. I contributed to the development of the app (hence my cameo in the video), so it’s a pleasure to share it now.

It’s hard to describe WretchUp. It’s an effect, yes – but you “play” it like a musical instrument. And the best way to understand that is to watch the film with Mouse on Mars at top – if you watch it closely, we use these demos as a way of showing how the app works.

On the occasion of the 21st birthday of Mouse on Mars, the app embodies the duo’s anarchic approach to sound. With vocals or instruments, it can become its own timbre, an additional part as much as an effect. It can also transform – and wretch up – everything from spoken word to drums. The feedback network is intentionally unruly; switch the mic input to “locked” and you can make it scream with only mic feedback, or adjust feedback from subtle glitches to raucous digital textures.

It’s not that WretchUp makes you sound like Mouse on Mars – it’s that it’s an app that lets you play as freely as they do, however you like. And it’s the first of a series of apps the duo is involved in releasing.


There was some real exploration with the duo of how to make this instrument work live. The trick was to make the interface hold up with the likes of Jan and Andi hyperactively jamming live – controls had to work without the user delicately paying attention to their fingers. That ultimately involved some decisive reduction of interface elements. You “throw” the faders by scrolling them. (Jan and Andi consistently demanded that they could make the app “fast.”) In the default mode, you hold the mic input on by pressing your finger to any of the controls; you can, without looking, shout into the effect. Menu options are carefully hidden so you don’t accidentally trigger them. Nothing you use onstage is left small. And that involved a process of iteration with the duo onstage.

Now, whether or not this same approach appeals to others, we’ll have to see. For my part, I took the app back to the studio and in live improvisations and made sounds that felt like my own.


  • Pitch-shifted delay with feedback and filter
  • Unique controls, designed to be used in live performance and tested onstage
  • Play with gestures, even without looking closely at the screen
  • Record vocals or instruments from the built-in mic or another input
  • Sample loops and change their speed
  • Adjust the feedback loop, pitch, and filter for unique sounds
  • Make inputs by holding down your finger, or lock input for continuous sampling

In addition to Mouse on Mars’ deep discussion of each interface widget and sonic detail, the app is the result of Florian Grote’s original creation and Pd patch, Rupert Smyth’s unique visual designs. Oliver Greschke completed development I started. Watch for his own Elastic Drums soon, as it’s something I think a lot of us will be using intensively and goes an entirely different direction than this or other iOS drum machines I’ve used, so we’ll be talking about it on CDM.

More is coming. An update is already in the pipeline for approval by Apple. An Android version has begun development. The Pd patch (via libpd) that generates the sound will be released in the next couple of weeks for use in your own creations. And we’re adding Audiobus support, opening up the use of WretchUp in workflows with other apps. Backers will get that Audiobus support first in testing before it goes out to the app store.

But whatever you do with the app or not, it was inspiring to talk to Jan in particular about this idea of bringing creative sound and anarchy to a world as a kind of freedom.

Find the app on the App Store:

WretchUp @ iTunes

And follow on Facebook for more news. (or stay tuned to CDM)

Meanwhile, more shortly on the 21 Again activities of the duo, but you can follow Mouse on Mars exploit via their Facebook page and website:

We will offer some ways to learn from the app for Pd and iOS developers, too, so stay tuned.

The post WretchUp is a Playable Delay Effect from Mouse on Mars, Available Now for iPhone appeared first on Create Digital Music.

20 Seconds to a Synth: Zero-Input Sounds from Cheap PC Speakers

Our digital world tends to accumulate layers of detritus, much of it banal remains – orphaned cords and power adapters. And then there are cheap computer speakers, which you might think have achieved some sort of means of asexual reproduction. They’re everywhere: on shelves, in closets, given away, left on the street.

It’s time to look at them another way. Grab that cord dangling from the back, and plug it into the front. Result: instant feedback loop, a zero-input sound system. Okay, yes, a simple idea – but that’s the beauty of sound, making noise with simple ideas.

Moscow-based Alexander Lakein sends us the quick video he made to inspire his studios. I love all the glitchy rhythms. Enough careful listening and twisting of that volume knob, and even this basic feedback can yield entire tracks.

Now, in the video, we wind up at a store buying a speaker, but see the opening sentence — this is a perfect chance to instead rescue some refuse.

And, of course, this idea can lead you to plenty of others. And to think, we keep spending all this money on computers… hmmm…

Ce n'est pas un haut-parleur. It's a synth. Photo (CC-BY-SA) LividFiction.

Ce n’est pas un haut-parleur. It’s a synth. Photo (CC-BY-SA) LividFiction.

The post 20 Seconds to a Synth: Zero-Input Sounds from Cheap PC Speakers appeared first on Create Digital Music.

Part Sculpture, Part Sound: New Work by Tristan Perich, Lesley Flanigan [Videos, Listening]



From top: Tristan Perich’s new piano with 1-bit masterpiece, Lesley Flanigan surrounded by her creations. All images courtesy the artists.

Sound may be invisible, setting the air around us aquiver with little visible evidence. But the objects that make sound are physical, and no electronic music is virtual. Composer/musician/sound artists Lesley Flanigan and Tristan Perich continue to explore that material substance of sound, calling attention to the stuff of the media in its purest form. Lesley’s work focuses on the basic technique of amplification; Tristan’s on digital electronics in their rawest sense, 1-bit songs of microcontrollers in chorus.

The two young artists are part of a generation of people who dig through the strata of acquired technology to find the most essential electronic process. And the fact that this is widespread says something about attitude: there’s a quest on for many artists to find that expressive heart of all this tech. But what sets Tristan and Lesley apart is their unique mastery of form. There isn’t a glitchy chirp, an amplified swell, without connection to compositional intent.

So let’s take a look and a listen and some of their latest works. The duo join Robert Henke at Berlin’s FEED tonight (now housed at KW) before returning for a tour of US gigs, so they may be coming to your neighborhood.

Lesley’s music is subtle, gentle waves of fuzz and feedback succumbing to the effortless poetry of her singing, an ethereal, otherworldly purity against rattles and hums. But while it’s lovely to listen to, you really have to see it, as well. The play of objects is part of the piece, their esoteric choreography an essential dialog with the sound. As in Tristan’s work, the speakers are part of the image of the piece, sometimes projected behind her as she hovers over them with a mic. They give spatial, material reality to the ephemeral noises.


Video and sounds:

Amplifications – Performance Clips from Lesley Flanigan on Vimeo.

And some truly beautiful clips are on her site, as wistful as the music from Tristan below is insistently-percussive. This is Amplifications, which Lesley will play tonight:

Here’s the one I can embed:


Tristan’s Surface Image is a stunning new work for solo piano and 40-channel 1-bit electronics. Commissioned by pianist Vicky Chow, it will get its premiere in Troy, New York (at EMPAC) in December. And here, the 1-bit speakers sound organic, as though they have reeds, joining in an electric, animated chorus of gorgeously-dazzling swirls of post-Reich-ian minimalism, flurries of piano notes swept up alongside. Listen:

Noise Patterns' array of minimal 1-bit electronics, the instrument that makes the sound.

Noise Patterns’ array of minimal 1-bit electronics, the instrument that makes the sound.

Tristan Perich, performing.

Tristan Perich, performing.

Tonight in Berlin, Tristan will share the European premiere of Noise Patterns, which debuted at New York’s The Kitchen earlier this year.

You can hear its aggressive dances of static on his site:
Tristan Perich > Noise Patterns

It isn’t just static in the timbral set: its rhythms grow from a kind of conducted randomness:

Noise Patterns is a composition for sequenced 1-bit patterns of white noise, programmed for and performed by microchip. Instead of synthesizing definite frequencies, the code in Noise Patterns outputs random sequences of 1s and 0s. The ‘notes’ of Perich’s ‘score’ are then varying probabilities of randomness—ranging from the sound of white noise to sporadic instantaneous pops—which he composes into rhythmic patterns. In a tidal wave of 1-bit noise, the music is an investigation into the foundational limits of computation, which surface in the seemingly simple world of randomness.

For a sense of where this came from, don’t miss Tristan’s epic, iconic 1-bit Symphony, mixing equal parts chip music (complete with the adventurous, optimistic spirit of early game composers) with neo-Baroque flourish.

And in the image most emblematic of his work’s commitment to sound as sculptural entity, see his 1500-speaker Microtonal Wall. This one has to be seen in person – which is why New York was again lucky, as the piece got a wide showing at the legendary Museum of Modern Art. (It’s about time sound got its due there.) Hot MOMA. Hurry, New Yorkers – Soundings, the exhibition, closes November 3.

The work has done a fair share of touring; the video captures it at Toronto’s InterAccess Gallery:

Tristan Perich – Microtonal Wall at Interaccess – Walkthrough from Tristan Perich on Vimeo.

And maybe see you tonight at FEED. Go on – wear a costume. (Bonus points for CDM nerd-ery in the theme.)

The post Part Sculpture, Part Sound: New Work by Tristan Perich, Lesley Flanigan [Videos, Listening] appeared first on Create Digital Music.

Feedback Organ

Here we have a hand built Feedback Organ which uses feedback to create it’s sound. I use uncontrolled feedback in many of my songs. Take one of these and a Metasonix S-1000 Wretch Machine vacuum and gas-filled tube synth and you have very different kinda of synth band sound.

“Introduction to an instrument called “The Feedback Organ.” Built by J. S. Sanford, the instrument can be heard on Neptune’s recent record, “msg rcvd,” available from the record label, Northern Spy.” – Neptune

For more info:

Push to Talk

Check out this hand made distortion feedback microphone with an arcade push to talk function. It’s called a Dr Moonstien. I can see this being used at many a live show around 3AM. It’s available on eBay (link).

“This is a hand built noise machine built by me. it is a push to talk mic with very cool arcade style big red button. you can mix your very overdrive mic preamp with 3 extremely nasty octave modulators. this is the ultimate noise crust mic kind of a death metal version of a vocoder can be used as a feedback machine. this is good noise machine for the person that is more into destructive tambor than clarity. great way to juice up those vocals or control feedback to do your evil bidding. runs on 9v battery has 1/4 inch audio out has regular volume knob and 3 volume knobs for the different octaves of crust. on off power toggle blue led.” – drmoonstien

For more info:

via Matrixsynth