Detritus 374

▶ the future in augmented reality vehicle sound design?


▶ Tony Conrad – in pursuit of the long string drone


▶ 20 Years of Collaborating with Tarantino with Zero ADR – love this: “There’s no hierarchy in that conversation, that’s just partnering creatively. It’s sort of like storyboarding for sound” – seriously, if you work in film read & reread that interview – so much great philosophy!!


▶ STAR WARS: A Bad Lip Reading


▶ love this (& ordered one!) – a radioactive random/noise source eurorack module!



▶ Interview with Ryuichi Sakamoto about his work on the score for The Revenant by Alejandro Iñárritu


▶ Bjork on Song Exploder (love hearing the reverb choices when they solo tracks of her voice)


Barbiephonic? – a strange project


▶ love these manipulated city portaits


▶ what of the short lived fame for some viral sensations?


▶ playing a frozen lake!


▶ interview with re-recording mixers Chris Burdon and Gilbert Lake about mixing Ron Howards new film


▶ wait for it….


▶ ‘apparently’ (aka ‘could be totally fake’) Netflix has created ‘smart’ socks that sense when you fall asleep and pause the show you’re watching which begs the question, who wears socks in bed!?! Netflix tech dept apparently


▶ this is a case of classic internet research distractions: I’ve started researching microtonal music for an element of a film score I’m writing next year and while wandering around wikipedia saw a link to this article/interview with Aphex Twin, from his Syro release and this part caught my attention:

“there’s some tasty reverb’s listed, what’s your favourite all time reverb box & what got you into reverb as an effect?

rich: i veer more towards the electro mechanical types, so plates, springs, pipes, spaces and gold foil etc.
They are so easy to make yourself as well, with just thin sheet metal, piezo pickups etc and can use as microphones, will sound more interesting than any mic you can buy imo.
contact mic on thin sheet metal, job done, more interesting than expensive mice, although they have their place.
My wife and me made an amazing slinky spring reverb last year, I think it was about 20 slinky springs joined together, suspended around the house, sending sounds down that….

…I replaced the garden hoses inside a urei time cube with different copper tubes, its soo good, I think the original designer stipulated that but urei used garden hose to save money.

Saying that though, got some long lengths flexi plastic tubing +hoover tubes, few months back, old headphone speaker in one end, mic at the other, awesome, sounded especially good feeding back on itself.

With the digital ones, I didnt get a lexicon 480L til a few years ago, mainly coz of price and everyone in old studios has one but they are f’kin amazing in the right hands..,& the original Quantec qrs and of course the Eventide H3000 d/se are absolutely mental lush devices, those ones in particular really envelop the sound rather than tack it on, special blessed bits of equipment.

Of course special mentions have to go to akg 68k [so lushly grainy and some nice granular features], quadraverb, quadraverb is dark and muddy and has nice arrangement of subtle pitch shifting, delays into reverbs etc, can be setup very nicely if you spend the time with it, used on all tracks on SAW1. but can be recreated with other units quite easily but theyre cheap as , so.. ”


what the hell is a Urei Time Cube? UA have an article about it here & while they pursued a virtual implementation, someone has been pursuing a DIY approach – love this comment: “P.s for those looking to build these you should know that Urei based the length of the tubing on 1ft= .884 ms of delay. Therefore to get the two 14ms and 16ms delay lines you will need 4.815M & 5.486M of tubing”

Best use of a garden hose, ever? Maybe… Nothing to do with microtonal music but….
And interesting idea using sheet metal as a microphone – my biggest gong is currently sitting beside my drum kit & if I play loud & stop I hear it resonating… and have often thought I must put my contact mics on it and have a listen – would be an interesting transition, to mix from full rez mics to ‘gong mics’


▶ also Analog Obsession: UREI ObscUREIties


▶ Also from that Aphex interview, love what he says about the Cirklon:

“talking of circlon which I’m pretty much always up for doing these days,
some of my mates were freaked out I made jungle tracks on the circlon inc. trk11 on syro, I just got so deep into circlon, when i first got it, i didn’t know how far i could go with it but I’m like a shorthand typist on that thing now, timing is beautiful, its really re-trained my brain, seriously, now i can hear even more accurately like within 1ms i reckon. its so funny controlling lappy from the circlon which it can do without blinking, love it, can control the computer better than the computer can control itself!
it is the best sequencer ever made til now, in terms of analogue i/o, timing man that box…”


▶ re microtonal music – there is a list of plugs that support microtuning here


▶ more aphex: “Im good mates with the DMG audio boys, who make dope plugins, super top dudes, I got them to add keyboard control to their parametric plugin so you can setup resonant chords with multiple eq bands then shift the chords around with a keyboard input 🙂 , noyce.”


▶ the full interview is a great read – via the wayback machine: part 1 and part 2


▶ thanks Tom!


▶ mmmm DIY Plate reverb


One thought on “Detritus 374

  1. Jon Clark

    The Golf II is excellent.

    As a long time game sound designer and editor I can relate (and not in a good way) to the Barbiephonic piece. I lasted about 15 seconds because I started having flashbacks to cutting football and baseball commentary.

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