New Metasonix/Modcan noise

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consumed
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Post by consumed » Mon Nov 12, 2007 4:10 pm

wow, that is whacked out. i really like square (10011). what modules are you using? some of these have a really compositional vibe and are very dynamic. are these recordings multitracked, or straight to 2 track?

thermionicjunky
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Post by thermionicjunky » Mon Nov 12, 2007 5:00 pm

Some are more structured than others. Sometimes I had an intro and then tacked on something totally unrelated. Most of it is being posted just to demonstrate the sounds, but the tracks with some kind of compositional integrity are obvious and are part of the development of the personal style that I've finally been able to start.

The Modules used on Square are the Metasonix S-1000 and the TM-1 and probably TM-6. There is the Synthesizers.com VCO and the Modcan CV Recorder, which I think does some audio sampling in this one.

These tracks are all multi-tracked , but some require very few tracks.

Modules: Metasonix S-1000, TM-1, TM-2, TM-3, TM-5, TM-6, TM-7

Modcan CV RECORDER x2, SWITCH x2, X/Y CONTROLLER, FLANGER, SUPER DELAY, DIGITAL DELAY, DUAL LFO, DUAL VCA, DUAL LAG

Synthesizers.com OSCILLATOR, OSCILLATOR AID, PAN/FADE, SIGNAL SELECTOR, ENVELOPE GENERATOR, SIGNAL PROCESSOR x2, 8-CHANNEL MIXER, MULTIPLES x2, AMPLIFIER, SWITCH

STG ATTENUATORS x2

zerosum
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Post by zerosum » Mon Nov 12, 2007 6:07 pm

Very nice stuff(as always)
I haven't listened to all of them yet, but I will when I get some more time later.
Square is great 8)
Keep em coming!

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Kwote
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Post by Kwote » Mon Nov 12, 2007 10:12 pm

it's like traveling the world without going anywhere. imaginative.
Self expression is as essential as breathing
kwotemusic.com
my other sites

sandyb

Post by sandyb » Tue Nov 13, 2007 1:36 pm

very cool stuff. i never really "got" metasonix before as i've heard very little made with their gear that imo was interesting. these tracks have changed my mind somewhat. i'd love to hear some more!

thermionicjunky
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Post by thermionicjunky » Tue Nov 13, 2007 7:00 pm

Thanks. There is much more coming. There should be fewer and fewer tracks that sound like experiments and more that sound like experimental composition. Some of the recent stuff I posted was just my way of keeping busy while I waited for my new modules to arrive.

Most Metasonix devices are capable of tremendous subtlety. I find that my method of working exposes a lot of interesting behavior that would not be so well exposed by a less elastic process. Very few people are making music like this, and far fewer are using Metasonix to do so. When I first got into it, I could hear in the sound samples for the TS series modules that these circuits were very powerful. It was exactly what I had been hoping to find. It's similar to my response to the Modcan CV Recorder. "Why hasn't anyone done this?" Very few people were buying back then, so marketing had to change. People responded to the high-gain perversity of the TX series and yellow boxes and the concept of audio destruction. I was just glad to see the company survive. Lower-gain, subtle sounds are available from Metasonix products, but require more general skill and knowledge of the particular unit.

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Kwote
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Post by Kwote » Tue Nov 13, 2007 7:16 pm

just make sure you put out an album someday. alls i'm sayin.
Self expression is as essential as breathing
kwotemusic.com
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sandyb

Post by sandyb » Thu Nov 15, 2007 5:06 pm

thermionicjunky wrote:Thanks. There is much more coming. There should be fewer and fewer tracks that sound like experiments and more that sound like experimental composition. Some of the recent stuff I posted was just my way of keeping busy while I waited for my new modules to arrive.

Most Metasonix devices are capable of tremendous subtlety. I find that my method of working exposes a lot of interesting behavior that would not be so well exposed by a less elastic process. Very few people are making music like this, and far fewer are using Metasonix to do so. When I first got into it, I could hear in the sound samples for the TS series modules that these circuits were very powerful. It was exactly what I had been hoping to find. It's similar to my response to the Modcan CV Recorder. "Why hasn't anyone done this?" Very few people were buying back then, so marketing had to change. People responded to the high-gain perversity of the TX series and yellow boxes and the concept of audio destruction. I was just glad to see the company survive. Lower-gain, subtle sounds are available from Metasonix products, but require more general skill and knowledge of the particular unit.
i think that's the reason i didn't get metasonix - all the things i'd heard people doing were high gain - "amp to 11" type stuff - which has its' place but isn't what really interests me. i'd like to hear more about your working methods if you've time - it's a subject i find very interesting, particularly with modular synthesis as things are so open.

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Post by thermionicjunky » Thu Nov 15, 2007 6:31 pm

Well, the soul of my system is the combination of the Modcan CV Recorder with the thyratron oscillators of the S-1000 and TM-3. I can't work with MIDI-CV conversion, not even with a V/octave VCO. If I need a voice that functions in a traditionally musical manner, I use a traditional instrument.

I am able to use the CV Recorder like a super 4-track variable speed tape recorder. All the fantastic tape techniques of the 50's and 60's that weren't happening with synthesizers are happening in my studio. My primary influences are Varese, Stockhausen and to a lesser extent, Subotnick. The module lends itself to various levels of serialism. Presently, I record events one step at a time using any available voltage source. Unlike a sequencer, I can store a gesture, an envelope, an oscillation ... not just a static voltage level. The biggest problem I have is recording precise durations of events. I have ways of timing things, but I need to be able to record strings of events as well as individual events. I need a keyboard-controlled voltage programmer for times when I don't need the functions of the CV Recorder, as well as providing control voltages for recording. It would also help me start with more fruitful voltage rows by allowing me to instantly hear the sequences of timbres and durations that I will be working with.

The best step sequencers like the Modcan 54B and the Milton would help. I am still waiting on the Doepfer touch-plate keyboard/sequencer to materialize. It is the perfect companion to the S-1000. It is going to use MIDI to control step selection and will cover the 2-octaves of each range of the S-1000. This would allow the most complex computer-generated sequences of MIDI notes or simple keyboard performances to be converted to manually tuned voltages for direct synthesis or CV Recording and subsequent manipulation. I have two CV Recorders now, which can be synchronized in parallel, or one can trigger the other or record the output of the other.

The range of stable and unstable behavior of Metasonix devices is my preferred compliment to the kind of free re-synthesis of strict serial structures that I accomplish with the CV Recorders. The oscillators track consistently (even if not an accurate Hz/V response) and the filters can be very clean and predictable if set properly. The waveshapers and sub-octave circuits are unpredictable. A certain type of behavior is predictable, but the specific behavior is unknown. At it's most tame, Metasonix achieves the raw "analog" balls sound that every modular manufacturer correctly or incorrectly boasts of. It starts there and can transition continuously to sonic torture. Integrating it into a modular system with very accurate solid state and digital circuits provides a tremendously vast range of timbres and behaviors.

sandyb

Post by sandyb » Fri Nov 16, 2007 2:05 pm

very interesting thermionicjunky - thanks for elaborating

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