The chalk is underwater, screaming like a chattering alien. Or that’s how it sounds through a hydrophone. Enter the weird world of some of Richard Devine’s field recordings – then grab the sounds for your own Creative Commons-licensed creations.
Roaches and mealworms and modular.
Sound source: Dubia roaches (that’s your mid-sized cockroach, which evidently you can buy as food for pets)
Microphone/capture: DPA 4060 CORE Normal-Sensitivity Omni Lavalier Microphone x 2
Sound Devices MixPre-10 II 24-bit/48kh
Sound source: Live mealworms (think beetles in their larval form)
Capture: same as the roaches
Sound source: Sidewalk chalk, underwater – with bits of oxygen slowly leaking (I think this whole series has been my favorite; heard a couple of these)
Capture: Ambient Recording Sound Fish ASF-1 MKII Hydrophone (uh, dear Santa?)
Sound source: Modular – details at bottom
Hey, had to be one normal one in here – so sure, I can dance to this one. (If you can’t, stick around, we’ll get you going!)
All the samples are licensed Creative Commons BY-NC-SA. (Hint, though, Richard, as long as Share Alike aka copyleft is on there, non-commercial is really overkill – and might stop people from even having ‘pay as you want’ or running the results on sites with ads.)
Downloads in the sounds. Hope to hear some remixes or new creations.
Full description of that last one:
The sequence starts with a cable connection to the clock output from the Steady State Fate Ultra Random module. This clock output was sent to an intellijel hub mult. From here the clock was sent to first to a 4ms RCD/QCD, Delptronics Trigger Man, and to the MakeNoise Rene. First output gates from 4ms RCD 4 divide output to the trigger input on the Braids module top row, running in “WLIN” mode. The second multi-output was sent to a 4ms QCD output green channel 4, set at a division trigger time of 16. This would trigger single notes on the “Elements” module, that begins at 1:42. The playback mode is running in “Secret Easter Egg Mode” 🙂 The selected note sequence from the QCV output from Rene. The final output from Elements was sent to the Eventide “Pitch” pedal using the “Crystalizer” algorithm.
Clouds – was processing recorded chunks from the drum percussion, kick used from the top row “Peaks” 808 kick drum synthesis model. Then a snare was created from the “grey” noise output from the SSF Quantum rainbow running through the right side of Streams to make a snare drum, which was running in envelope mode with shape position to the left, short decay. Then a third voice uses the blue noise output from the SSF quantum rainbow for hi-hats. Amplitude triggered/controlled by a HexVCA. The drum sequence was programmed from the Delptronics Triggerman, using all 8 patterns stringed together running in pattern play mode but being CV controlled by the S&H # 1 output from the SSF Ultra Random. Output for all voices was grouped and multiplied into two separate mixers. First three channels of the Intellijel Mutamix, which was then sent to output channel B. From there the summed mix was sent into the “left” side input of Clouds. Then triggered in time with the sequence by an 8th division trigger from the 4ms RCD. The freeze input in Clouds was triggered in time 7th divisions from the 4ms RCD, so that the chunks would process and record then playback in spurts of timed randomness. The mode was set in the pitch-shifter/time stretcher configuration, where the grains were spliced so that created interesting granular pitching repeats and percussive glitch effects, as the rhythmic beats played through. Focused ranges were selected for the “Density/Pitchshifter” and “Timestetcher/Texture” controls. These were being controlled by the S&H #2 output from the SSF Ultra Random. The 1/volt pitch input was controlled by the toggle A/B output from the SSF ultra random. The clean drum outputs were also sent to channels 5, 6, and 7 on the Blue Lantern “Mix ‘Em Up” module.
Streams left side processing from the MakeNoise Mysteron output, which was being triggered by the 5th division output, for the metallic ripple delay like sounds, with the mutation knob set to counter-clockwise, low bit mode.
The “Shelves” module was processing the acid-like filter parts that get un-muted at 12 seconds. The sound source running into “Shelves” was the “Braids” module bottom row, running in “CSAW” mode. CV controlled by the CV output from the MakeNoise Rene sent to another intellijel hub mult. From here each CV output was sent to the “Frequency” inputs pink, green, and white jacks on “Shelves”. The “Tides” high tide output modulation the CV controlling the top frequency input on “Shelves” Each filter knob was set so the incoming “CSAW” input was being processed like a formant filter effect.The sequence starts with a cable connection to the clock output from the Steady State Fate Ultra Random module. This clock output was sent to an intellijel hub mult. From here the clock was sent to first to a 4ms RCD/QCD, Delptronics Trigger Man, and to the MakeNoise Rene. First output gates from 4ms RCD 4 divide output to the trigger input on the Braids module top row, running in “WLIN” mode. The second multi-output was sent to a 4ms QCD output green channel 4, set at a division trigger time of 16. This would trigger single notes on the “Elements” module, that begins at 1:42. The playback mode is running in “Secret Easter Egg Mode” 🙂 The selected note sequence from the QCV output from Rene. The final output from Elements was sent to the Eventide “Pitch” pedal using the “Crystalizer” algorithm.
Clouds – was processing recorded chunks from the drum percussion, kick used from the top row “Peaks” 808 kick drum synthesis model. Then a snare was created from the “grey” noise output from the SSF Quantum rainbow running through the right side of Streams to make a snare drum, which was running in envelope mode with shape position to the left, short decay. Then a third voice uses the blue noise output from the SSF quantum rainbow for hi-hats. Amplitude triggered/controlled by a HexVCA. The drum sequence was programmed from the Delptronics Triggerman, using all 8 patterns stringed together running in pattern play mode but being CV controlled by the S&H # 1 output from the SSF Ultra Random. Output for all voices was grouped and multiplied into two separate mixers. First three channels of the Intellijel Mutamix, which was then sent to output channel B. From there the summed mix was sent into the “left” side input of Clouds. Then triggered in time with the sequence by an 8th division trigger from the 4ms RCD. The freeze input in Clouds was triggered in time 7th divisions from the 4ms RCD, so that the chunks would process and record then playback in spurts of timed randomness. The mode was set in the pitch-shifter/time stretcher configuration, where the grains were spliced so that created interesting granular pitching repeats and percussive glitch effects, as the rhythmic beats played through. Focused ranges were selected for the “Density/Pitchshifter” and “Timestetcher/Texture” controls. These were being controlled by the S&H #2 output from the SSF Ultra Random. The 1/volt pitch input was controlled by the toggle A/B output from the SSF ultra random. The clean drum outputs were also sent to channels 5, 6, and 7 on the Blue Lantern “Mix ‘Em Up” module.
Streams left side processing from the MakeNoise Mysteron output, which was being triggered by the 5th division output, for the metallic ripple delay like sounds, with the mutation knob set to counter-clockwise, low bit mode.
The “Shelves” module was processing the acid-like filter parts that get un-muted at 12 seconds. The sound source running into “Shelves” was the “Braids” module bottom row, running in “CSAW” mode. CV controlled by the CV output from the MakeNoise Rene sent to another intellijel hub mult. From here each CV output was sent to the “Frequency” inputs pink, green, and white jacks on “Shelves”. The “Tides” high tide output modulation the CV controlling the top frequency input on “Shelves” Each filter knob was set so the incoming “CSAW” input was being processed like a formant filter effect.