One of the design challenges of electric cars is that they are relatively silent, compared to traditional cars – but there are safety and legal requirements for them to be audible. … Read More Richard Devine On Sound Design For The Jaguar I-Pace & His New Album, Sort\Lave
Music, film/TV, games… yes. But another frontier is opening for sound design you might not expect: cars. That has led automaker Jaguar to sound designer Richard Devine, and that in turn means when this Jag accelerates, it sounds like it’s headed into hyperdrive, bound for the outer rim.
Sounds will be another differentiation point of the auto brand experience, a way to set luxury vehicles apart, it’s true. But when it comes to engine noise, there is actually a safety issue. Fully electric cars don’t make the noise that internal combustion engines do, which means you can’t hear them coming – which makes them dangerous.
The cool thing is, manufacturers are finally beginning to consider aesthetics in sound design. And in a world that’s flooded with repetitions of the Windows startup sound, that Nokia theme tune (only mostly driven away by the iPhone), horrible sirens, beeps, and whatnot, this couldn’t come a moment too soon.
Richard Devine has been doing sound design across various industries, from sounds used in films to strange presets you find lurking in your plug-ins (as well as making some great music himself). Now at last he can share publicly that he did sound for the mighty Jaguar, and its all-electric I‑PACE car.
The design team at Jag get to crow about their work in a company blog post:
Here’s how the external sound system works:
The engine acceleration noise is cool, and with good reason – this car may be ecologically minded, but it also does 0 to 60 in 4.5 seconds. (I’m not advertising for Jaguar, though… uh, hey Jag, I accept money. And automobiles. Be in touch.)
Iain Suffield, Acoustics Technical Specialist at Jaguar:
“We have taken a completely blank canvas and worked with electronic musician and sound designer Richard Devine to interpret the design language of the vehicle, to create building blocks of sound we can craft into the I-PACE.”
And they’ve worked on every aspect of the sound: “The Stop/Start noise of the motors, the audible vehicle alert system, the dynamic driving sounds all have been designed completely from scratch.”
From the outside, the car hums. Inside the cabin, you get different sound sets to reward you as you engage “dynamic” mode, and there is manual customization. (Yes, your car has sound sets. I’m waiting until I can drive a car that looks like a LADA on the outside but sounds like the Enterprise-D on the inside. I’ll keep dreaming.)
You can expect major car companies to enlist these sorts of sound departments more frequently, along with other manufacturers of various products keen to engage customers. And since these teams are developing internally, as well as hiring outside creative talent as with Richard Devine, that means more opportunities for music producers and audio engineers.
So the next time you’re obsessing over getting a sound right and layering instead of just dialing in a preset the easy way, think of it as a career investment. It worked for Richard.
Previously on CDM, German maker Audi following a similar path:
Plus a homebrewed solution for bicycles:
The post The new Jaguar cars sound like spaceships, thanks to Richard Devine appeared first on CDM Create Digital Music.
In this video, sound designer & composer Richard Devine demonstrates how he’s using the Yamaha MODX6 as part of a Eurorack performance system. … Read More Yamaha MODX Sound Design & Performance With Richard Devine
Yamaha USA has announce that they will be holding a special live stream event on Friday, September 14th at 1PM/1300 Eastern Daylight Time (18:00 UK Time)… Read More Yamaha Special Event Coming Friday, Sept 14, 2018
UVI has announced the release of Devinity, a new Falcon expansion featuring 120 masterfully-designed presets from electronic musician and sound designer Richard Devine. One of the industry’s most recognizable figures, Richard has a profound love of sound and technology, writing and performing his own music and designing sound for many of the world’s most successful […]
Warlock of sonic invention Richard Devine is back with a new album, on Venetian Snares’ label. And from the first cut, you might be surprised.
Well, actually, that depends on your take on Richard. If his spastic leftfield space voyages past left your head spinning, if you couldn’t quite penetrate all those intentional forays into digital errors, you might be unprepared. But if you you were onboard for that complexity and chaos, if you heard the passion for what it is, then I think you’ll be all the more delighted by what’s coming next.
‘Sort\Lave’ comes to the Venetian Snares-driven sublabel of Planet Mu, Timesig.
That sounds like just, you know, oldschool IDM. But Richard teases us with something that takes that sonic edge and gives it mature forms, warm mixes, greater precision.
He’s gone from those first orbital missions to building a space station, in other words. (Space station indeed – the press materials are quick to point out the custom Eurorack system and two Nord G2 modulars. So yeah, now we get to hear the magnum opus from that system we’ve seen all over social media.)
The album itself is 2016-2017, which means I’m still eager to hear what live sets Richard has next. But this sounds already like a culmination of years of refined technique.
Here’s the text with his comments:
Sort\Lave features 12 tracks of intricate electronica that ranges from abrasive percussive experiments such as ‘Revsic‘ to ‘Astra’s dazzling juxtaposition of sounds and onto the radiant ambience of the album’s closer ‘Takara‘.
Talking about the album’s genesis Devine explains “I’ve been using modular synthesizers since I was 17, but have never written complete tracks using these newer systems. This was my first experiment to see if it would be possible and I probably spent about 5 years building up the systems that I used on this album.”
“I wanted the record to sound very different to my previous works which had been more cold, digital, clinical even, and had all been made using computers. The aim here was the complete opposite, to create something that felt very organic, detailed, spacious, big and warm and just as importantly, a record that you could put on and play all the way through that flowed in a seamless way.”
This new approach was to prove fruitful and enabled Devine to create music in an entirely new way. “I really wanted to break free from timeline-based music creation and do things with my hands on the fly,” he explains. “So the tracks are more like captured snapshot performances where I could experiment and play around with the idea of probability-based sequencing for every patch, string multiple sequencers together that would feed other sequencers to come up with interesting rhythms and melodies. It was really fun coming up with new sounds this way too, I felt like I created several I haven’t heard before with this album. Some of the tracks on the album were complete accidents and evolved from something that happened spontaneously. In the end I feel this is one of the best records I have released to date, so I’m very excited to share it with the world.”
Vinyl, digital. Preorders now:
More to come.
Release date: November 2, 2018
The post Richard Devine spent years building up this new LP appeared first on CDM Create Digital Music.
You may have heard Richard Devine’s work on his much-beloved album releases (the newest of which is slated to be released in November), but you’ve almost certainly heard some of his other works without realizing it when you use your personal electronics every day. Devine creates sound assets for companies such as Apple, Microsoft, Google […]
Ableton has confirmed more artists and events for the Ableton Loop music-maker summit, set for Nov 9-11, 2018 in Los Angeles.… Read More Ableton Adds Artists To Loop LA Lineup
The open hardware Braids macro oscillator gets an alternative firmware that brings new features – including a speech engine known from the Commodore 64 days. Speech synth means modular synthesis:
Mutable Instruments’ open, digital modules have been one of the best things about the modern modular revolution. And this alternative firmware is a great example of that. Without removing any of the existing Braids 1.9 features, you get new oscillator powers.
The banner feature here is the robotic text-to-speech engine SAM (Software Automated Mouth), known from the Commodore 64. Here’s that engine in action – glitchy and distinctive:
Naturally, that opens up some wild possibilities once you patch into it in a modular environment. Listen to this firmware demo for an idea:
It’s also very fun how this works:
There are three SAM entries in the oscillator model list, named SAM1 to SAM3. Each of these SAM models contain 16 different words.
SAM is configured to work similarly to a granular sampler. By changing Timbre, you “scrub” through the word selected by Color. With Timbre at 0 position, SAM is playing the first grain of the current word. With Timbre fully clockwise, SAM is playing the last grain of the current word. The speed of an envelope can control how fast SAM says the word, independent of the pitch.
If you send SAM a trigger it will automatically play the word, starting from the current grain, at the “natural” speed of the word. In this situation, the pitch input controls both the speed and pitch of the output.
It’s not all that’s on offer, though. You also get six oscillators, evenly spaced:
6xsaw, 6xsquare, 6xtriangle, 6xsine. 6 oscillators starting at the 1v/oct input, spaced evenly across the currently selected quantize scale. Color controls the number of scale steps between oscillators, and Timbre scans through various amplitude settings for the 6 oscillators. When the Braids quantizer is turned off, the oscillators are evenly spaced by semitones (controlled by Color)
There’s already a model of this on VCV Rack, so even if you don’t have the discontinued Braids hardware, it should be possible to use in software. I’ll see about forking it and report back. The Macro Oscillator under Audible Instruments would be the obvious starting place. (Any other Braids fans, other stuff you’d want to see in an ideal fork of the module? Maybe we can make a wishlist. Macro Macro?)
Via Richard Devine.
Here’s the firmware:
The post Cram Commodore 64 speech synthesis into your rack with this firmware appeared first on CDM Create Digital Music.
Miami-born Uchi is a fresh face as LA collective BL_K NOISE meet up with Berlin’s Raster – and that’s a perfect time to catch up with her and reflect.
Dive in, commit. It’s that moment when the mixer fader is up and you start your live set, the let’s-screw-up-our-lives risk-taking bigger moments we make sometimes for musical passion. It’s the willingness to screw up live and screw up life, maybe.
That sums up why a lot of us are here as well as anything. And so that makes Uchi’s approach refreshing. Just as your email promo inbox is full of drab, sound-alike techno and washes of disinterested distorted ambience, Uchi kind of doesn’t follow any rules. Her DJ sets are diverse and daring, her live sets going deep and abstract and back again. And she talks to us a bit here about that abandon.
It’s also paying off. Uchi has gone from being known in Miami to becoming a regular at Berlin’s most sought-after slots – including Berghain’s upstairs Panorama Bar and its darker, weirder new ground floor Säule. But the best part is, I think we don’t know quite what she’ll do next. There’s a couple of EPs, a full-length album, and various podcasts coming and … well, the hell with predictability. The artists you want to watch are the ones that will surprise you.
January is definitely when we celebrate new music gear, thanks to Anaheim, California’s massive NAMM convention show. But then why not celebrate new noises, too? BLK_NOISE has assembled for Saturday a party made up of artists willing to push their electronic instruments until they hurt. From team USA, you’ve got Richard Devine, Surachai. From Germany, label Raster – the imprint formerly known as Raster Noton – Grischa Lichtenberger, and label co-founder Byetone. (Carsten Nicolai aka Raster Noton is going solo again, reverting his label to Noton.) And then there’s secretive BLK_NOISE anchor Belief Defect, who have feet in both Berlin and LA.
And then there’s Uchi. Let’s get a soundtrack: here’s a CDM exclusive debut, off her upcoming EP. Ingredients: KORG ElecTribe ER-1 [synth], Moog Minifooger [MF] Delay, Eventide Space reverb and “rat distortion.” (I think she means Pro Co RAT, but — this is New York, so…. it could have been, like, an actual rat.)
PK: What’s the set you’re preparing for LA? I loved this noise set that just streamed from Halcyon [in New York].
Uchi: I don’t know what happened there! It’s so weird! I have the recording of it myself; I gotta hear it and see!
I think for this show I’m going to use somewhat similar setup I’ve been using for most noise shows these days, a narrow selection of stuff, and complete improvisation — or zero preliminary sequencing. It’s the first time I’ll try an AV setup, which is exciting!
It seems like you’ve had some pretty significant shifts in your life, your musical direction … especially as some of the folks who will be hearing you in LA as well as our readers may not know you yet, what’s the trajectory been from Miami to Berlin? How did you get where you are currently?
Yeah, I guess there’s been a lot of changes the last couple of years. I lived in Miami since age 10, up until college. After I finished a degree in Computer Science, I took DJing (obtained from radio hosting at University) more seriously, as well as actually working on something I used to do for fun — (Ableton fiddling) making music.
The Boiler Room set came about from Juan Del Valle, now a friend. His influence was to convince me to make a live set. That being said, it was my first live set ever, and it was on Boiler Room – lol! BUT it was a great way to learn how to use hardware! Then Berlin came after the release on Plangent Records, which made the first gig in Panorama Bar happen. That made me decide not to get a flight home, basically.
The interesting thing is that just before I left Miami, everything had already started changing. I was pretty active in the noise scene, which was a whole different level of exploration in music, the exact opposite of composition and programming or what I used to make the Boiler Room set. Noise changed also the way I record, too. It seems I find single takes, and master out mixes more interesting than spending hours on a single detail or mixing down. I guess trying to finish ideas in one day if the case has a lot of details, otherwise just simple pressing record (mistakes included) and room recordings.
I made the album and the last couple EPs basically playing them. Since moving to Europe, which changed literally everything about what I knew, and also playing for promoters in different cities, I’ve had the chance to do something different. Nowadays, I’m combining all influences together — noise improvisation, changing patterns, speed, writing melodies or lack thereof, depending on so many different things. For instance where, when, and for whom each show is prepared for, relative to time, and where things are for me at the moment — it’s never the same. I’m still figuring it out, but if there is something to expect, it should be to expect something new.
These Saüle appearances have been great … in this age and (city!) people can cling to a somewhat narrow and clasutrophobic view of genre, so that’s a relief. Can you talk a little bit about you’ve been playing lately?
Well, I guess Säule was a bit of the turning point. It made me realize its not far-fetched to combine everything into one presentation. Funny you say claustrophobic view of genre! That puts it a bit better in perspective actually. I think the first time was probably one of the most liberating DJ sets of my life, the first time I felt like myself. The struggle of genre has been real for a really long time, but thanks to that lately, I reeeally don’t care for dance floor “rules” too much, and follow just, whatever feels right at the time. I’m curious to what you would describe those gigs as.
Mmm, eclectic? This is why I wouldn’t really call myself a music journalist, just a musician. So to that — what are you using to play for this live set? Not just to sort of get gear-focused, but instead — what does this mean as far as instrumentation, as composition?
For sure, it will be a Moog Mother [Mother-32 synthesizer] running, pitching it sporadically, plus vocal whale sounds … maybe some screaming. Also some Koma Elektronik noises generated from the Field Kit [“electro-acoustic workstation”] and BD101 [analog gate-delay pedal] as main effects, messing with any signal sent to the aux [input] of the Field Kit.
I guess as “composition,” I suppose breaking it down by frequency – the vocal stuff is a lot of mid-range melodic, of course, with a ton of reverb and delay, the Moog for low-end and the Koma stuff for texture, high-pitch screeching, and pulsating static. These have been my favorite pieces of gear to use for noise shows. I made the last album using the Moog heavily, so it’s kind of been my main instrument for almost two years, along with Koma stuff which is heaven for noise freaks — the Moog sounds on another level! And some classic reverb and distortion pedals, Boss DS-1 [distortion pedal, since 1978] and Eventide Space.
What do those instruments mean to you; how do they impact how you play spontaneously?
They are my children!!! I supposed their user interface totally affects how they are played. For example, the large knobs of the Mother and the semi-modular part for patching and combining it with it with the BD10 light sensor (which kind of acts like a theremin), and putting that in the Field Kit mixer, which has got a life of its own. The signals kind of bounce with each other. Feed-backing is waaay fun. Also, the continuity of LFO’s makes it easy to do multiple things at once. Whatever instruments I’m using at the moment play a really large role in every live set, if not the biggest role. I hope to be switching to full-on modular this year! Wish me luck.
If you’re in LA, check out the event! I wrote about Belief Defect’s live rig here and for Native Instruments; now it’s America’s turn to get that live. Co-hosted with Decibel Festival:
Photos courtesy the artist.
The post Noise generator: a chat with Uchi, as LA celebrates electronic sound appeared first on CDM Create Digital Music.