synthesis – Page 2

2 November 2021

Chung Kuo (ish)

I had a song stuck in my head – “Chung Kuo” by Vangelis, from his “China” album – well, more correctly the bass line (a 4 note arpeggio that is really catchy), and I set about trying to convert it into notes

I discovered D-2 A-3 A-2 C-2 more or less duplicates it, and set about practising tightly squeezed off notes using the “All Your Bass” preset, tuned to Ionian scale, in the key of C (I like this scale for some reason). It took AGES to get reliable notes that were clipped uniformly. I then used these as a loop, running roughly 30 seconds.

I made 5 copies of this loop and copied it across to separate loop folders on my Ditto+ Looper pedal, it then changed the name to BT.WAV (Backing Track) and generated a LOOP.WAV in each folder that matched the length of the bass loop – something I did not know it was going to do.

Connecting my Ditto+ back to the Theremini, I could play the Backing Track and practise over it, then when I stomped on record, I assumed it would lay down a composite LOOP.WAV that contained both the backing track and the new layer containing my noodling – alas, LOOP.WAV only contained the overlay, so I had to merge them using Audacity in post production. I also stuck together 5 versions (or movements), and did a little fade-in and fade-out to finsh.

I like that I did not need to do any actual sound altering – what you hear is what I generated live. I have a growing collection of favourite Theremini presets – downloaded and original that do lovely things with both antennae – I particularly like those that let you use the volume antennae to shape the envelope of the note as well as it’s timbre and volume.

I like this collection of stuff a lot, and will return to the project of re-creating the rest of Vangelis’ original song, which was my original intent – more work to there, but a really enjoyable recording session.

30 August 2021

LV-426 Autumn

The Theremin is different to conventional instruments in that making precise musical notes is one of many challenges you face when playing it. I am a reluctant practiser – I would much rather skip the whole skills acquisition phase and jump straight to the part where I am awesome at it… but that is not how life works sadly.

I have been reluctant to post recordings of my playing because I do not feel I am good enough at pitch control yet, but I decided to commit some time to ‘composing’ and recording an ambient spacescape that showcases the varied synthesiser voices that are available on the Theremini.

For the uninitiated, a Theremini differs from a classic Theremin in that it is a DIGITAL re-work of the original interface – the whole antennae thing on the original is ANALOG – the resulting analog distance from the antenna creates a smooth glissando, and generally only plays one type of noise (or voice), with variations in tone and waveform. A Theremini on the other hand is a full synthesiser (you can create totally new sounds) but uses the antennae to control pitch and volume/effect in a similar way to it’s analog ancestor. The distance from the antennae is sampled digitally, so the glissando can be much more granular.

For this piece, I wanted to get better at using my Ditto+ looping pedal – a foot-driven mono guitar pedal that lets me record and overdub over recordings live. I have been working my way through the Alien movies, and the ambient soundscape interests me greatly – it is a mood setter, so I decided to have a go at making one.

I selected the “lost in fog” preset on my Theremini, and dialed the preset effect back to about 1/4 strength (it is a stereo drift effect, lost on mono capture anyways) and tuned it to Phrygian mode (a “dark” scale). I played with the almost sub-sonic sound until I got a progression I liked and then recorded using it for about a minute, fading volume in, up and down then out at the end.

Next I chose the “Futurewarz” voice (think opening credits to the original Bladerunner movie), also tuned to Phrygian mode, and bumped the effect (a spatial delay) up to about half. This voice is really loud and harsh, so precise volume and pitch control was the aim – a restrained and minimal solo track was laid over the bass hum after much experimentation and pitch-control practise. I did NO post-processing or mixing here. The sound you hear is how it was made on the Theremin.

The result is about a minute of the sort of sound that (to me) resembles Bladerunner on LV-426 (the planet we originally met the Xenomorph in the first and best Alien movie).

Enjoy, tolerate, ignore – your choice:

19 June 2021

Gear

So I have begun to think about the actual playing of this instrument.

Sitting at a table, with it on that table places the antennae too high, making the angles for attenuation uncomfortable and inaccurate, so I decided to buy a microphone stand to support it. On the underneath of the chassis there is a 3/8″ mike stand screw socket (female) designed just for this purpose.

I returned to Manny’s and purchased a Konig-Meyer heavy round-based black stand – the manufacturers website said it had the correct thread size head, but the ones in-store had 5/8″ screw head. I had to buy a converter (even after being assured by the salesman that it was 3/8″, until he actually looked – a bit annoying given the multiple contacts to determine this).

Theremini on Konig-Meyer stand, with DITTO+ Looper

The height is now comfortable – a side effect is that my pitch control is MUCH more controlled when standing, and when using a slightly split stance, the approach to both pitch and volume antennae work much better.

I began researching LOOPER pedals (like those guitarists use so they can self-accompany), decided on a DITTO+Looper, returned to Manny’s and purchased it, along with a compatible power supply (it seems guitar pedals do not routinely ship with them), and cable to connect it to the Theremini, and a converter to allow me to plug my headphones into the pedal OUT so I can hear the results.

In a brief hiatus from marking, I hooked it all up to test it out. The Pedal IN and therefore Theremini OUT needs to be MONO (interestingly, the Theremini has a stereo output – most of it’s presets are “spacial” sounding, but plugging the looper into either the L or R channel makes it output balanced MONO to the pedal. I did not realise guitars output MONO – you live and learn.

The pedal has nearly no controls – it’s simplicity is legendary. I managed to record a loop using one instrument, then overdub with another, then play live over the top of all this – this is HUGELY exciting, particularly when I get a chance to actually get musical. The looper uses solid-state storage also, so I will keep loops I like. Conventional pedals lose everything when powered down apparently, so this should be fun.

Lots to look forward to playing with.

16 May 2021

A Record

…so I have been curious as to how I can record my progress on the Theremini, as playing the thing is a 2-handed job and I do not have a video setup that records picture and high quality sound out … yet.

In the mid 90’s, before I had a smartphone, I went through a bunch of musical appliances that let me carry recorded music around with me – cassette-based walkman, MP3 player, CD-based diskman and finally a mini-disk player-recorder.

I actually used the minidisk to record all of the stuff in the UoD collaborative project, and when I graduated to a smartphone with sufficient storage capacity, the minidisk was dismantled and put carefully into storage (and obscurity at the back of one of the shelves in the stereo unit). I wonder what happened to the rechargeable battery?

Digging through my cables, I re-discovered my Sony stereo microphone and minidisk, along with a large collection of disks (many unused). I put a newish AA battery in and, to my absolute amazement, the device sprang to life. I plugged it in to the headphones socket of the Theremini, plugged my headphones into the lineout of the minidisk and pressed record – again to my delight it captured the sound beautifully. I forgot how much I loved that thing, for many reasons including the wonderful sound quality (full digital recording) and the ease of use.

One problem solved then, I can record the sound – must get a sound editor (I think I used Audacity back in the day, must see if there is anything better that is free).

Pitch control is variable – some days it is really good, others it is really not good, not sure why. I continue to plug away at it, although I am also branching out and trying some of the other presets – some fab on-board sounds and an editor to let me make my own – so much to play with.

25 April 2021

What’s the BUZZ?

Jeskola BUZZ, coded by Oskari Tammelin, is a modular software music studio, there is nothing like it in my experience, and it is free.

I recently found Buzz 1.2, with builds as recent as 2016 – I thought this was a lost project as I have been using a buggy unstable version since the mid 90’s when Oskari lost ALL his source code (in a file system catastrophe). The old version “sort of works” on windows 10, but is not stable, crashes a lot. I am delighted to say this new version seems slick and pretty stable, and most of the most aggravating GUI issues have been solved with style and class.

This tool is like no other – it starts with a bewildering and esoteric collection of MACHINES. Machines are either GENERATORS (they make noise through a variety of synthesis techniques, or play/manipulate samples, used as leaves to sound branches), EFFECTS (these change sounds and are used in-line, on the way to the master desk), or CONTROLLERS (these modify machines live):

BUZZ Machines — Buzz noise making apparatus assembled from MACHINES

Once you have assembled a noise making apparatus (ie. picked your machines and effects, and wired them together to end at the MASTER, you then need to define PATTERNS for your noisemakers:

Once you have defined patterns (either series of pitched notes, parameter lists and/or triggers), you plug these patterns into a sequencer to play them alongside other patterns:

This program allows me to make noise I find musical – as synthesisers go it seems pretty nerdy, I am hampered by the fact that I have little musical notation I understand (I cannot easily read sheet music), but have a fairly good ear for pitch and tone, can understad C5, D3 etc, and am not afraid of HEXADECIMAL which is used for level settings (00-FF), so have been winging it fairly successfully. There are LOTS of machines I can drive, even more I have no idea how to use, yet – what an adventure.

I look forward to combining this with noises from my Theremini – could be a hoopy mix, we shall see.