Brand: Several different brands.
Model: Patch Bay
BLURB:
Boring, cheap but essential. These patch bays keep everything talking to each other and make it easy to route signals all over the place.
Tag Archives: analogue
MODULAR BLEEPS OF DOOOM!
INFO:
PRAISE RANDOM BLEEPS! Modular Chaos and w00t!
Random tempo from an LFO…so i have no idea what the tempo is…
pure analogue…maaaate!
Please use this creatively!
Please credit Angelspit, and PLEASE let us know when you upload your completed work – we’d love to link to it!
FORMAT : 24bit, 44kHz, 320 MP3, 11.2Mg
JUPITER8 DRONES OF DOOOOM!
INFO:
This is one of our Jupiter8’s being tortured.
Classic, beautiful and PHAT. I LOVE THIS MACHINE!
Please use this creatively!
Please credit Angelspit, and PLEASE let us know when you upload your completed work – we’d love to link to it!
FORMAT : 24bit, 44kHz, 320 MP3, 17.4Mg
This takes hours to make the vocals work.
We are one of the few bands who manually cut out and duck the sibilance in our vocals. We used to use auto -ducking software but it just didn’t cut it.
We painstakingly go through every vocal layer and clean them up. Here’s a few ideas for making a group sound tight:
If we have several people singing/yelling at the same time, we’ll remove the sibilance from all vocals except one….because you only need one person to produce the “ssss” in “Suck”.
We’ve been lucky enough to work with some AWESOME guitarists. George Bikos from East Coast USA band Embers of a Dying Flame and ex-Cruxshadows needs no introduction. His absolute punk attitude and drive screams through in his guitar takes. His surgical precision allows scathing guitars to sit seamlessly in a mix with complex synth lines.
We’re using three techniques to record the guitars:
Straight Re-Amping:
We’ll record the guitarist’s raw signal. Cut it up, then go into the studio and play the edited guitars though Graeme’s big guitar stack. This is recorded with two mics to give a stereo sound.
Pros : It’s accurate and it’s easier to fix up mistakes in a “raw” guitar take than a distorted guitar track
Cons: It can sound a little flat and might lack energy. When a guitarist is recording a track live (with massive guitar amp plugged in) they play with more attitude.
“Bent” Re-Amping:
Ditto as above, but after the raw signal is recorded, we patch it through the modular and screw with it as we would any other synth sound. We’ll add Amplitude or Filter modulation to give it extra bite. We then record it through the guitar amp with 2 mics.
Pros: It gives you a wild and chaotic guitar sound
Cons: Because of all the modulating, the tonal output is “unstable” – frequencies are going everywhere and it take a little extra work to keep the guitars sitting in the mix.
Rock Guitars 101:
Mix equal parts:
1 * rock pig guitarist
1 * massive amp
2 * mics
1 * backing track
Stir vigorously!
Pros: Sounds MASSIVE. High energy. It’s pure ROCK!
Cons: It can be a pain to clean up the guitars and edit stuff out….but that’s a minor gripe.
HINT:
Try and use all 3 (an more) on an album.
After you’ve recorded one track, re-position the mics to give a slightly different sound on the next track.
Try close mic’ing (putting the mic very close in the amp) and far mic’ing (putting the mic more than a metre away). This can give an awesome stereo result.
If possible, use different amp. Graeme uses a marshall stack, a Vox, plus a crappy Peavey Bandit practice amp…and the Peavey adds a fantastic top end definition to the guitars!
BOTTOM LINE:
It comes down to Punk Vs Perfection. How much raw punk energy are you willing to sacrifice in the quest for perfection?
Our new album is shaping up to be dark, raw and PUNK AS HELL. Guitars and synths battle it out whilst heavy metal drums, modular bleeps and industrial percussion go head to head in all-out WAR…it’s shaping up to be a killer!
A major feature in this album is the way BIG GUITARS and BIG SYNTHS co-exist…there’s only so much “sonic room” a sound can occupy, and when two massive “frequency hogging” sounds are playing the same riff, things can get complicated…
Brand: Sequential Circuits International
Model: Prophet 5
Link: http://www.vintagesynth.com/sci/p5.php
BLURB:
This synth is hailed as a classic. It is a stunning machine. It can make gentle pads, hollow whispering leads, thumping basses and screeching horrific noises. It’s sound is absolutely glorious! We have owned ours for about 8 years, in this time it’s dropped it’s memory several times, broken down, almost set itself on fire and breathed AWESOMENESS into every track it’s touched. The Prophet 5 is a very temperamental Diva, but when she works, Gods and Demons run for cover…!
Brand: Doepfer
Model: A-189-1
Link: http://www.doepfer.de/a1891.htm
It’s shiny! It’s new! It fucks up yer shit REAL good!
Doepfer finally make a bit-crusher and it’s AWESOME! it does a bunch of other stuff as well…no idea exactly WHAT it does, but it does them with that clinical precision we’ve come to expect from Doepfer.
You can control 2 functions via CV, and when it comes to BitCrushing…that equated to some lovely alien DOOOM!
When we first got this thing we put a random CV through it as you would a Sample’n’Hold to randomly open a Filter…but we were randomly controlling Bit Crushing – I’ve never heard anything like it – fantastic!
Doepfer A-129 : Vocoder’o’ROCK!
Brand: Doepfer
Model: A-129
Link: http://www.doepfer.de/a129e.htm
BLURB: Vocoder = Awesome blah blah Cylons, Earth Wind and Fire blah blah blah afro stevie wonder hot juicy sex with a Synthi blah blah blah…
F*ckin’ awesome. everyone needs 2! We also have a WARP FACTORY which is great, but the Doepfer is seriously AWESOME!! It paints your voice in a thick layer of luscious “vocoder honey”. We only have the very basic set up. We would buy the complete set up, but we keep spending all our money on huge elaborate photoshoots…and whores and drugs and fast cars…
…you need:
1 Demon Childe Guitarist
1 Demon Guitar, Pedal and Rig
Lashings of ROCK
Killer Riffs (to taste)
2 * condenser mics
2 * SM57s
Place guitar rig in the middle of the room. Position so the back of the amp is 3 feet from the back wall with the speakers facing the room.