Chris Randall: Musician, Writer, User Interface Designer, Inventor, Photographer, Complainer. Not necessarily in that order.
Tags: Where Is The Drop
December 27, 2016
by Chris Randall
During the course of testing products, I often end up with more-or-less full patches. It is important to test everything in context; you can't just listen to something by itself and expect to just know how it sits in a mix. This is especially important for effects, as they generally end up far too thick for normal production if you don't test them in a song while you're developing.
Our next product is a Eurorack hardware version of our Eos plugin, and during the course of development, I built up a patch with several different sound sources; this morning, I was like "oh, that's almost music right there" and popped out a quick video. This, like most of my modular improvs, doesn't have much of an arrangement, but I kind of liked the feel of it. These sorts of pieces of music are not created with the intent of having a finished song, but rather to test something, and thus they tend to not have much Song to them. But if you know that going in, I think they turn out okay.
As is usual for me, everything is sequenced from Sequencer 1 and White Whale. The bass is coming from the WMD/SSF voice; the melody line is Noise Engineering LI -> our own analog filter prototype. The drums are Boomtschak x 2 and Neuron x 2, and the effects are the usual gaggle. The chord drone and found-sound voice are coming off the 4-track cassette, like normal. In short, nothing in this video you haven't seen a dozen times already in my stuff, but I think it's probably a fun insight in to my workday.
October 26, 2016
by Chris Randall
As some of you may know, I dropped a new album on Detroit Underground™ two weeks ago. It is unusual for me not to self-release, as has been my habit for the last 15 years or so, but I really like what Detund is doing; they first popped on my radar when they put out Richard Devine's excellent RISP project, and their releases comprise a major percentage (maybe 80%?) of the music I've been listening to since then. Kero has an amazing visual sense, along with his great taste in IDM stylings, and I wanted to be part of that family.
The album consists of six tracks and four remixes (from Baseck, Proem, Qebo, and Corbin Davis.) The six tracks are, as is my way for the last couple years, all Euro and tape loops of found sounds. The Tech Time videos in my Analog Industries YouTube channel accurately describe my methodology for making these tracks, so in lieu of an extended process explanation, you can go watch those. The tracks all start with a stand-alone Euro patch and tape loops, and once I have something that I like, I part them out in to Live, and do the arrangement and post-production there. Once each track was done, I pre-mastered it to my Otari MTR-12 two-track deck, and then dumped it back in to the computer and sent it to Wade Alin at Standard Mastering for the final squish. (The remixes were mastered and level-matched by Detund. Not sure who they used.) These are mastered to what Wade calls "Old Guy Levels," which is to say that they retain most of their dynamics, and are not square waves at 0dBfs. The artwork was done by the amazing Layer-Based Human Activities™ from Athens, Greece.
If you guys have any technical questions or comments about the album, now is the time and this is the place!