synth pedal

7

[FOR SALE] Experimental Exposed 1972 Spring Reverb Analog Effects Unit

Available to purchase on etsy here

View demo video on youtube here

The perfect box for generating dark, LoFi, earthy tones. It can make a volca bass scream like an overdriven 303, It can make any modern synth sound like it is strait out of the 60s, It can make a bass guitar produce spacey low frequency earthquakes. This box can also produce a wide variety of sound effects, even with no input signal . Since the reverb spring is completely exposed so you can play this like some weird and wonderful instrument and the built in piezo allows a whole new level of creative experimentation. 

anonymous asked:

Have you thought about geting more analog equipment or do you just jam with that digital stuff

i have a little synth and some effect pedals and things but i just don’t use them for recording 

i spent maybe 5 or 6 years absolutely obsessed with they might be giants, collecting all kinds of physical media i already had digital copies of, and then as soon as that ended i started getting really into analog synthesizers and started collecting synths and now guitar pedals, and it never occurred to me that maybe these things could *possibly* be special interests and that i might be on the spectrum lol

Interview - Keyboards, March 2001 - Translated

This interview is a bit odd for the time-period because they only bring up the robots once and then it is quickly sidestepped. There’s a lot of talk about their tastes in music, their ideas for Discovery, and what equipment they use/like, for those who are interested in that. (Scan by ifcwdjd; you can find the original French interview in her bulk article downloads.)

(Please note I do not speak French, so this was done entirely with Google Translate, a few other translators, and some French grammar websites. I tried to turn it into actual, human English as much as possible. My translation is probably not 100% accurate and should be taken with a grain of salt. My notes are in italics.)

Keep reading

6

Electric Feel: From the Studio to the Stage with DJ and Producer Kid Koala

To see more of Eric’s studio and stage work, check out @realkidkoala on Instagram. For more music stories, head to Instagram @music.

Is your recently purchased Roland Jupiter-8 synthesizer in need of love? Then perhaps you should give DJ, producer and electronic matchmaker Eric San, aka Kid Koala (@realkidkoala), a ring at his studio in Montreal.

“It’s like I have a dating service,” says Eric, about all of the randomly paired musical equipment he keeps in stock. “It’s like, this pedal sucks on just about everything except this OMNI port. It’s almost to the point where, OK, these two things are married, let’s just duct tape them together because there’s no way I want to hear those apart.”

Eric is always digging for new gear — amps, guitars, synths, pedals – mixing and matching new and old gadgets, trying to figure out which ones mesh with each other. He admits his current set up could never function as a professional studio — though it’s hard to believe him considering all of the projects he’s had a hand in.

Eric has been performing live for more than two decades. Best known for his turntable and production work with Gorillaz and Deltron 3030, he’s also written a graphic novel, designed album covers, released solo material, composed short films and created his own experimental and immersive audio projects. Mostly, he’s big on taking a standard format and flipping it on its head. That’s why he started DJ’ing in the first place — it’s an art form where you’re allowed to sample, scratch, mix and create sounds off of an already existing work.

“I was drawn to the turntable when I was 12,” he says. “It seemed to have such a wide range. That’s what was exciting to me: actually, yeah we can use it as a rhythmic adrenaline-inducing thing; we can cut funky.”

For his latest trick, Eric has embarked on an expansive stage production based in Nufonia Must Fall, a graphic novel he released back in 2003 about a robot that’s trying to write love songs but can’t sing. The project is ambitious to say the least: a reproduction performed live with puppets, filmed, then projected onto a movie screen. There are 12 people on stage throughout the performance, including a string quartet, a team of puppeteers, a camera operator, a video engineer, a sound engineer and Eric himself, who plays “a plethora of weird gizmos.”

“I have been doing gigs for 20 years now and this by far is the most dangerous show for me because so many things can go wrong; there are so many moving parts to it,” says Eric. Still, he considers the risk exhilarating: “It’s the most high-tech / low-tech show you’ve ever seen.”

For the production, he’s teamed with designer K.K. Barrett, best known for his work in films such as Her, Lost in Translation and Being John Malkovich. Eric admits his career has been full of pinch-me moments, but getting to work with K.K. ranks toward the top.

“He came to my show in Los Angeles and I met him after the gig,” he says. “A mutual friend said, ‘You two should work on a project together.’ I was like, Oh wow, what could that be?”

Eric eventually sent K.K. a copy of Nufonia. He always considered the book to be a screenplay to a silent movie. K.K. liked what he read, so the two began brainstorming ideas for a full stage show. Now they’re in the process of touring across the world. (The premiere, in Australia earlier this year, opened to favorable reviews.)

If one massive audio project weren’t enough, Eric is also workshopping something called “Satellite,” a concert series where everyone in the audience is seated at their own turntable, where they play records that have their own custom sounds and inflections.

Just like Nufonia, Satellite is about taking something already established and flipping it on its head. Because what fun is there in showing an audience something they’ve seen a million times in the past?

“In my mind, I haven’t strayed from that core motivation,” says Eric. “When I started scratching, if I were to go to a battle, whatever you do on those turntables that night, it would have had to been something that you hadn’t heard … If you gave me an hour to play records I probably wouldn’t just play one tempo the whole time. I am not that kind of DJ. I like the storytelling aspect of it and see if we can go on a little bit of an audio adventure.”

– Instagram @music

worst releases of 2015:

  1. Firewalker
  2. Gag
  3. whatever bands from DC with all the same members
  4. all those shitty midwest/texas bands trying too hard to sound like kbd/weird/obscure 70s punk
  5. pretty much literally every demo I saw people on here reblogging
  6. all that toxic state shit 
  7. I’m sure somewhere somebody released some kinsellacore
  8. and probably folk punk too
  9. that band ICE who sound like Municipal Waste but worse
  10. Ceremony trying too hard to sound like Joy Division which is only really their latest attempt in a long string of attempts since they started to carbon copy an old band and make the big bucks
  11. whatever deathwish inc put out this year was probably bad
  12. this is hardcore fest
  13. literally every band from boston except Sadist
  14. bands with joke names that suck
  15. bandcamp.com
  16. the hard times dot net 
  17. my existence 
  18. Sheer Mag I don’t even care if they released anything or not this year 
  19. that band Falter who sound like Nails but shittier (wow right?) and the singer bought all these expensive synths and pedals for noise but doesn’t know how to use them so it was just like static and I laughed at them holy shit they’re so bad also there’s so many bands like them and they all suck
  20. going to see Big Zit and seeing this shitty band who think they’re mid-80s Replacements only somehow worse why are they allowed to play punk shows someone tell me
  21. chain wave and/or glove punk
  22. “stompy” 
  23. people trying to copy matt bellosi
  24. also like most of matt bellosi’s stuff
  25. Alexander Heir 
  26. bands whose artwork is just shitty goofy doodles 
  27. oi revival (why??????)
  28. punks inexplicably liking thin lizzy out of nowhere 
  29. those shoe string headbands or whatever 
  30. will be updated when I think of more things that suck
2

Here is the video of Dan of theGigRig explaining Ed’s new board, then discussing it with Ed himself. The following is a thorough rundown of the setup.

Pedalboard

  • Pedaltrain Grande

Signal Path

Signal order:

(Note that due to him using a switching unit, the actual position of the pedal’s on Ed’s board does not correspond to their position in his signal chain. They are arranged in the way that they are solely in order to fit them all onto the board.)

Guitar -> theGigRig Cinco Cinco Patchbay -> Fulltone Clyde Wah -> theGigRig G2* -> outputs ½/3
1. (Earth) -> Cinco Cinco Out1 -> Amp 1
2. (Iso) -> Cinco Cinco Out2 -> Amp 2
3. (Dry) -> theGigRig Hum Dinger - Cinco Cinco Out3 -> Amp 3

*theGigRig G2

  • TC Electronic Polytune 2 (tuner out - note the lack of any cables connected to the output)
  1. Dinosaural Opticompressor
  2. Klon Centaur
  3. CSL Super Fuzz
  4. Wampler Euphoria
    (Changed from the Crowther Hotcake after the board was “finished.”)
  5. Digitech Whammy V
  6. Diamond Tremolo (in a custom color)
  7. MXR Flanger + Remote Loopy 2
    (Ed turns off the Flanger to use the other effects, or can use both.)
  • (Volume Insert) Send -> Boss FV500 -> theGigRig Hum Dinger -> Vol Insert Return + Cinco Cinco Output 3

      8. Eventide H9 (likely used mainly as a reverb)
      9. Strymon Timeline (used as a looper and delay)
      10. EHX Deluxe Memory Man
    G2 Output 1 (Mono) -> Cinco Cinco Output 1
    G2 Output 2 -> Cinco Cinco Output 2

The Remote Loopy two is meant to allow Ed to play with new effects without having to pull the board apart. However, the main effects which will likely be used in the loops are the following:

  • Fulltone Tube Tape Echo
  • Korg A2(?)


Switching and Control Units, etc

  • Molten Voltage OZ (controls Strymon Timeline)
  • Molten Voltage Molten MIDI 5 (controls Digitech Whammy WH5)

  • theGigRig G2
  • G2 Bank Up Switch
  • theGigRig Remote Loopy 2

  • theGigRig Cinco Cinco Patchbay


Power Supply

  • theGigRig Modular Power Supply

    -Generator (supplies the power)

    -Distributor (sends power to the two isolators and the other adapters (such as Time Lord))

    -Distributor

    -Isolator (powers most of the pedals)
    
-Isolator
    -9V Virtual Battery (for CSL Super Fuzz)
    -Doubler (for MXR Flanger)
    
-Time Lord (for Strymon Timeline)

    -Time Lord (for Digitech Whammy)

    -ElectroMan (for EHX Deluxe Memory Man)

    -Evenflo (for Eventide H9)

Cables

  • Evidence Audio SIS Solderless Cables (Cut by Dan of theGigRig to custom lengths.)

Pedal Settings
Marked as o'clock times. For example, a setting of 12 would be right in the center (pointing up) of the knob’s sweep, just as the hour hand would be at noon on a clock.

Dinosaural Opticompressor
Gain - 10:30
Presence - 12:30
Input Switch - 0db

Klon Centaur
Gain - 9 OR 1
Treble - 12
Output - 9:30

Crowther Hotcake
Level 1
Presence 1
Drive 1

Wampler Euphoria
Tone - 11
Bass - 8
Volume - 11:30
Gain - 11:45
Voicing - Open

Diamond Tremolo
Speed - 2:45
Depth - 3:15
Vol - 2
Mode - Eighth Note
Waveform - Chop



MXR Flanger
Manual 1
Width 11
Speed 12:30
Regen 5

EHX Deluxe Memory Man
(These are relative to how the knobs work, rather than how they look from the front of the pedal.)
Level 11
Blend 2
Feedback 3
Delay 1:30
Chorus/Vibrato 8:30



The Strymon Timeline and Eventide H9 store settings in banks of presets. As such, the front of the Timeline can not be trusted to show its actual settings.

Other Pedals
Many other effects are visible around the room. Most might have been tested by Ed, but considering the nature of theGigRig that generally cannot be assumed. However, at one point there are a couple of pedals on a box right next to Ed which he likely brought along. Those were a Spaceman Effects WOW Signal and a Spaceman Effects Gemini III. Other effects visible, but which may be owned by Dan or others (they’re on the shelf), include a Boss SD1, an Eventide unit, a Boss Tremolo Pan(?), and a Fulltone Fulldrive 2.

Another board is also visible at one point. It looks to have been the board which originally featured the Whammy V, making This board features Boss TR2, Digitech Synth Wah, an unknown pedal, and two Remote Loopy 2’s.