This one took me almost a year to experiment with and review. This is probably not the best thing to say if you want to attract manufacturers to invite you to review their, products, but I’ll say it nonetheless: this pedal almost broke me, but in a good way. Not only it sounds good, it is also fully featured, making this probably the best delay pedal in its price range (less than €100).
This little green stomp box offers 3 switchable types of delay line with adjustable modifiers, 11 delay modes, as well as the traditional REPEAT and TIME knobs for controlling the number of repeats and the time between them. The time can also be sync’ed to a TAP TEMPO, and 3 subdivisions are available by default. There is also the customary TAILS switch which allows the effect to keep going even if you choose to bypass the newer notes. The pedal works in stereo, with some modes adding an extra panning to enhance the effect. Continue reading “Behringer Echo Machine EM600”
It is frustrating that we have to program the JV1080 from a small dot-matrix display. The synthesis engine on this one is so great, it is easy to get lost while programming in it, but I guess that the JV1080 is a synth of its time, and at the time presets and preset-packs were all the rage, so manufacturers wouldn’t bother with the sound editing capabilities. Fortunately those days are gone (are they?).
In this piece I use a custom patch on the JV-1018, loosely related to the Flying Waltz preset, but with an extensive use of the ring modulators. This pad sound serves as a base for the whole track, as it plays a descending chord sequence. The microbrute plays the sequencer and receives the same MIDI notes as the JV-1080. Thus, the sequence is transposed for the last incoming note at all time. My PSC500 controller is also sending MIDI clock to the Volca Beats, which plays a part latter on in the piece… in line with my previous experiment of incorporating percussion in Berlin School-inspired Music.
This track was recorded in one take, with the Volca and the MicroBrute being recorded onto two mono-tracks using the Focusrite 2i2 and the JV-1080 being recorded onto a stereo track using the Behringer UCA-202. Ardour was used for all the recording and mixing, which involved using the alsa_in program to incorporate the Behringer’s inputs into the list of available inputs… I tried to avoid using compressors in this track, and replaced most of them by saturators. This technique should keep the transients, despite introducing some distortion. As usual, Calf plugins were expensively used to mix and master this piece, and the final video was assembled in KdenLive, running on a linux box.
Up until now I’ve been using mostly minor scales on this series, but this is becoming boring, specially with all the nice, warmer summer time getting closer. So I decided to move on to the Major Scale. This was a four-track recording, two of them made with the Streichfett being controlled from the SQ-1. There was little intervention from my part (apart from programming the melodies in the SQ-1) so I didn’t record any video from those two sessions. The other two tracks (which were recorded to make the video part) were done using the MicroKorg.
A few things happened when making this track. For once, I decided to use the Solo section of the Streichfett, which I’ve been neglecting since ever. I also when forward to program something that reminds me of Tomita’s work (although I cannot point exactly when he used it): a noise-resonant filter patch for the microKorg. I also recorded all four track “dry”, so all the audio FX (delays, reverbs) were done in the DAW using Calf Plugins (EQ and vintage delay) and also the very interesting TAP Reverberator (also a free and open source plugin). I noticed the compressor at the end of the sound chain was destroying the attack transients of the Tomita patch, so I replaced it for the Calf Saturator. I think the end result is much more full-bodied than the Compressed version, but I’ll leave that to your better judgement.
Oh… I also changed my audio references for mixing and mastering… I hope the sound is now more balanced.
As usual, the audio for this video was recorded and mixed using Ardour, and the final video was assembled using KdenLive, on an Arch Linux machine.
Last month I did a lingering counterpoint piece in my Ambient Explorations 4 . Now, some of you may argue that counterpoint is nor really a technique for Ambient Music. I could counter-argue that a 500 year old framework is perhaps flexible and capable enough of adapting to novel aesthetics. Plus, I believe the rigidity used to discern between genres and (specially) sub-genre of electronic music serve more to the ego of some composers/producers, than to the greater aim of creating meaningful and/or enjoyable music.
But I digress, in this month’s Ambient explorations, I decided to combine the lingering counterpoint technique I used last April and the Eno-inspired minimalist pointillism I did at the beginning of this series. I only used my trusty Roland JV-1010 for both the piano (the Psicorhodes preset) and a custom pad I made using the JP8 Saws and the Ring Modulator. I only recorded two tracks for this piece (one for each sound), but when I was assembling the video I noticed I had a third video take (perhaps from a rehearsal). I used the three videos nevertheless to keep the rather pleasing aesthetics of multiple overlapping video takes.
As usual, this track was recorded using Ardour, mixed & mastered using Calf Plugins. The video was assembled using KdenLive running on an Arch Linux laptop.
This song started with me exploring the MicroKorg’s Arp in order to make some Bass & Strings sound for another project of mine. However, just playing some chords on this patch was inspiring enough to start planning another of mine Berlin School Experiments.
I have the Bass Arp and background strings on the Microkorg serving as a foundation on top of which an improvised melody is played live on the Volca Bass. The short film “Moral Decay” from the Internet archive (https://archive.org/details/MoralDecay) served as inspiration for the decaying melody in the key f G minor. It is also mangled and played over the footage of the live recording of this track. I wanted to give the impression of human anxiety in a world dominated by industrial machines, where the ever changing rhythm of the human heart tries to fit the rigid metronome of the machines (most likely inspired by my latest reading of Zamiatine’s “We”).
As always, I hope you enjoy this track as much as I did making it. :).
When I started this channel, I did a series of Ambient Music videos featuring Korg’s Kaossilator 2 as the main instrument (aided by its brother, the mini-KP2, for effects and recording in dome cases). But my use of the KO2 does not end in making endless looping music. For me the KO2 is a proper musical instrument: an uncluttered synth engine that focus on giving me good sounds instead to letting me spend time adjusting every possible parameter, and a user interface that sets the key, scale and tempo, but then allows me to roam freely on that scenery, instead of either passing from one key to the other, or restrain myself to already tested and tried melodic formulas that I know will work at any given key.
Of course, composing a complete track only with the KO2 requires something more other than the KO2 itself. And a DAW really comes in handy. As usual, my DAW is Ardour (http://ardour.org) running on my laptop (a 5 year old Toshiba running Arch Linux) and with six tracks (one of each is just a gate arpeggio on a Kick to be used as a side-chain when compressing the pads), I was able to come to this track in about 60 minutes. The video portraits the first 30 minutes of work (the actual composing and recording of the audio clips), speeded up to fit this 5-minute track. Sorry for the poor capturing of the screen, but I forgot to hit record on my video-capture.
I hope you enjoy it as much as i did making it.