SHAVER OF DOOOOM!
INFO:
This is a recording of an electric razor being run over a salad bowl. It was recorded with RODE NT-1 mics. The sound was DEBAUCHED through our modular.
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, 3.6Mg
I’ll spend a day building and recording the bass tracks for each song ….although it takes months to actually write a bass that we’re happy with.
The bass for each song is usually made up of 2-6 tracks. They are:
Sub bass: This provides the sub thump. Usually this is the SH101 low and fat. Panned centre.
Main bass: This provides the definition. Usually a single oscillator (sometimes we use 2). Goes through Mooger Fooger, Obermoog Moog filter of EMS clone. Panned centre. Frequencies below 80Hz EQed out. Often have a small amount for FM on the filter.
Stereo Pair #1: These provide the grunt. These come in and out to add dynamics. 2 oscillators each. Through the Diode filters or the Wasp clones. Lots of FM on the filter and often distorted. Panned 60% Left and Right. Frequencies below 150Hz EQed out.
MORE MODULAR BLEEPS OF DOOOOM!
INFO:
MORE MODULAR INSANITY!!
THis is us STILL going stupid on the modular. These are driven by the Doepfer MAQ-16/3 Analogue Sequencer. The timing is adjusted real time…so I have no idea about the tempo….sorry!!
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, 3.5Mg
We’re working on a track that’s a little different. It’s built on a simple drum pattern with 2 bleepy synth sounds. The little bleeps are engineered to sound thin and crispy. The drums are pure analogue and FAT. We’ll be putting trash garage sounding punk guitars over them…we’re aiming for something sparse and rough.
There’s no “bass line”. The bass frequencies are taken up with an enormous analogue kick drum. We’re building the kick, snare, hats and other percussion using the modular.
An Envelope Generator is triggered by the GATE output from the MIDI->CV convertor. This Envelope shapes the oscillator. It’s a spike that falls to a low thud. Using either a Saw, Square or Sine radically alters the sound of the kick. Distort to taste….and we like it tasty!
We will triple stack the kick. We’ll use a distorted Sine wave kick panned centre. This will be fat and thumpy, run through a deadly Filter – most likely the Moog. Two other VCOs (with 120Hz EQed out) are panned hard Left and Right. These have a bit more tops.
ANGELSPIT’s gift to DIY Horror Flicks and Noise artists : Modular Bleeps #1
MODULAR BLEEPS OF DOOOOM!
INFO:
This is us going stupid on the modular. These are driven by the Doepfer MAQ-16/3 Analogue Sequencer. The timing is adjusted real time…so I have no idea about the tempo….sorry!!
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, 8.3Mg
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.
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?