System80: 880 and 810

Published on Jun 19, 2018 biologik

“Here’s a sneak peek of two forthcoming System80 modules: 880 and 810. Drums are the 880, lead is the 810 (with reverb), bass is the Intellijel Atlantis, and it’s all sequenced by the Harvestman Stillson Hammer.”

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Published on Jun 9, 2018 Dimitrios Sismanis

http://www.industrialmusicelectronics.com

“Quick patch focusing mainly around the Harvestman/IME system. Main voices are the two oscillators from the Piston Honda mk III through Korgasmatron mk II, Dubmix and then Strymon Magneto. Kick and “snare” from Rossum Assimil8or (a little phase mode from Shapeshifter on kick, sample rate reduction and

Piston Honda MKIII – Tips _ Entertainnoying Tutorial

Published on May 17, 2018 Robotopsy Robotopsy

“Piston Honda MKIII with all new annoying voice all package into one free youtube video.”

Speaking in signal, across the divide between video and sound: SIGINT

Performing voltages. The notion is now familiar in synthesis – improvising with signals – but what about the dance between noise and image? Artist Oliver Dodd has been exploring the audiovisual modular.

Integrated sound-image systems have been a fascination of the avant-garde through the history of electronic art. But if there’s a return to the raw signal, maybe that’s born of a desire to regain a sense of fusion of media that can be lost in overcomplicated newer work.

Underground label Detroit Underground has had one foot in technology, one in audiovisual output. DU have their own line of Eurorack modules and a deep interest in electronics and invention, matching a line of audiovisual works. And the label is even putting out AV releases on VHS tape. (Well, visuals need some answer to the vinyl phonograph. You were expecting maybe laserdiscs?)

And SIGINT, Oliver Dodd’s project, is one of the more compelling releases in that series. It debuted over the winter, but now feels a perfect time to delve into what it’s about – and some of Oliver’s other, evocative work.

First, the full description, which draws on images of scanning transmissions from space, but takes place in a very localized, Earthbound rig:

The concept of SIGINT is based on the idea of scanning, searching, and recording satellite transmissions in the pursuit of capturing what appear to be anomalies as intelligent signals hidden within the transmission spectrum.

SIGINT represents these raw recordings, captured in their live, original form. These audio-video recordings were performed and rendered to VHS in real-time in an attempt to experience, explore, decipher, study, and decode this deeply evocative, secret, and embedded form of communication whose origins appear both alien and unknown, like paranormal imprints or reflections of inter-dimensional beings reflected within the transmission stream.

The amazing thing about this project are the synchronicities formed between the audio and the video in real time. By connecting with the aural and the visual in this way, one generates and discovers strange, new, and interesting communications and compositions between these two spaces. The Modular Audio/Video system allows a direct connection between the video and the audio, and vice versa. A single patch cable can span between the two worlds and create new possibilities for each. The modular system used for SIGINT was one 6U case of only Industrial Music Electronics (Harvestman) modules for audio and one 3U case of LZX Industries modules for video.

Videos:

Album:

CDM: I’m going through all these lovely experiments on your YouTube channel. How do these experiments come about?

Oliver: My Instagram and YouTube content is mostly just a snapshot of a larger picture of what I am currently working on, either that day, or of a larger project or work generally, which could be either a live performance, for example, or a release, or a video project.

That’s one hell of an AV modular system. Can you walk us through the modules in there? What’s your workflow like working in an audiovisual system like this, as opposed to systems (software or hardware) that tend to focus on one medium or another?

It’s a two-part system. There is one part that is audio (Industrial Music Electronics, or “Harvestman”), and there is one part that is video (LZX Industries). They communicate with each other via control voltages and audio rate signals, and they can independently influence each other in both ways or directions. For example, the audio can control the video, and the control voltages generated in the video system can also control sources in the audio system.

Many of the triggers and control voltages are shared between the two systems, which creates a cohesive audio/video experience. However, not every audio signal that sounds good — or produces a nice sound — looks good visually, and therefore, further tweaking and conditioning of the voltages are required to develop a more cohesive and harmonious relationship between them.

The two systems: a 3U (smaller) audio system on the left handles the Harvestman audio modules, and 6U (taller) on the right includes video processing modules from LZX Industries. Cases designed by Elite Modular.

I’m curious about your notion of finding patterns or paranormal in the content. Why is that significant to you? Carl Sagan gets at this idea of listening to noise in his original novel Contact (using the main character listening to a washing machine at one point, if I recall). What drew you to this sort of idea – and does it only say something about the listener, or the data, too?

Data transmission surrounds us at all times. There are always invisible frequencies that are outside our ability to perceive them, flowing through the air and which are as unobstructed as the air itself. We can only perceive a small fraction of these phenomena. There are limitations placed on our ability to perceive as humans, and there are more frequencies than we can experience. There are some frequencies we can experience, and there are some that we cannot. Perhaps the latter can move or pass throughout the range of perception, leaving a trail or trace or impressions on the frequencies that we can perceive as it passes through, and which we can then decode.

What about the fact that this is an audiovisual creation? What does it mean to fuse those media for a project?

The amazing thing about this project are the synchronicities formed between the audio and the video in real time. By connecting with the aural and the visual in this way, one generates and discovers strange, new, and interesting communications and compositions between these two spaces. The modular audio/video system allows direct connection between the video and the audio, and vice versa. A single patch cable can span between the two worlds and create new possibilities for each.

And now, some loops…

Oliver’s “experiments” series is transcendent and mesmerizing:

If this were a less cruel world, the YouTube algorithm would only feed you this. But in the meantime, you can subscribe to his channel. And ignore the view counts, actually. One person watching this one video is already sublime.

Plus, from Oliver’s gorgeous Instagram account, some ambient AV sketches to round things out.

More at: https://www.instagram.com/_oliverdodd/

https://detund.bandcamp.com/

https://detund.bandcamp.com/album/sigint

The post Speaking in signal, across the divide between video and sound: SIGINT appeared first on CDM Create Digital Music.

Piston Honda MKIII – Drone with Double Andore MKII & Tyme Sefari MKII

Published on May 3, 2018 Robotopsy Robotopsy

“Drone using only the Piston Honda MKII as sound source. modules used : Bionic Lester – Optomix – Tyme Sefari MKII – Double Andore v1 – Double Andore MKII – 4ms QCD – Stillson Hammer v1 – King Slender – Lider Suboctave – PLOG
Additionnal revers and filters in ABLETON LIVE”

Patch 8: Synaptic Paradox

Published on Apr 24, 2018 biologik

“It’s been a while since I’ve posted an all eurorack modular jam here (they’re mostly on my instagram!).

At the core of this patch, we have the Intellijel Shapeshifter and Atlantis being sequenced by the Harvestman Stillson Hammer MK II, all running through clouds (because, obviously). Tons of modulation from MI Tides, uO_C Quadature, MN Function, and

Signals 2018 – Patchwerks Seattle Synth Meet Pics by Larry Kleinke aka Computer Controlled

Great set of pics by Larry Kleinke aka Computer Controlled. Mouse over and use the forward and backward arrows to flip through.

See the Patchwerks label below for more.

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Published on Mar 25, 2018 Dimitrios Sismanis

“Further exploring the Harvestman system.”

Harvestman System Take 1

Published on Mar 2, 2018 Dimitrios Sismanis

“First patch with the new Harvestman system I’m putting together. I’m cheating a bit with Magneto, but that will be it’s resting place. Otherwise a couple additional modules to supplement for now until some of the newer IME modules are released. Piston Honda is the voice going into Algorithm and then Double Andore, which is cycling and generating the

3 Eurorack Filter Clones Compared

Published on Feb 18, 2018 poorness studios

“I have 3 Eurorack filters and they all happen to be clones of vintage synths. I did a side-by-side comparison of the Doepfer A-124 (EDP Wasp clone), STG Soundlabs Sea Devils (EMS Synthi clone), and Harvestman Polivoks VCF (Polivoks clone).

Check out this video for more details on the A-124 self-oscilaltion mod:”

DIY Project 11: Doepfer A-124 WASP