This simple layering of the Korg Volca Keys and Bass Station II through the Minifooger Delay came about during my preparations for the Echofluxx.org festival.
Category Archives: Sound Design
Bass Station II through the Minifooger Delay Part 2
Here’s another example of the Bass Station II running through the Moog Minifooger Delay. At the end you can hear the feedback alone with some time knob manipulation.
Bass Station II Through the Minifooger Delay
I finally got my hands on a Minifooger Delay by Moog. I wanted something battery operated and more portable than the Memory Man for my performance at Echofluxx.org on May 7th, 2014 and an upcoming recording project in Northern England. Lucky for me it showed up at Foxtone Music just days before my flight to Prague. Thanks, Eric!
Audiovisual Grain Machine Demo
Here’s a quick demo of the software I am designing to do audiovisual granular synthesis that I’ll be presenting at Moogfest and performing with at Echofluxx. It allows a performer to apply granular synthesis to sound and corresponding video using a touch interface such as MIRA (shown). The audio and video are synchronized in parallel. The software also has the capability to capture and repeat gestures so that the performer can accompany the projections with multiple layers and arrange compositions in a performance setting. This demo granulates the voice and image of Lister Rossel. In addition I use analogue synthesizers to contrast the digital manipulations.
This work alludes to the speech-to-song illusion discovered by Diana Deutsch. It also evokes an “event fusion” as vocalizations are repeated much faster than humanly possible until they enter the audio range. Adding the corresponding visuals makes it appear uncanny as video and sound are looped in millisecond intervals.
Wall of Synth Part 2: Tempest, BSII, Volca Keys, Juno-106, MKS-80, D-50
This is another example of using the Korg Volca Keys as a sequencer for the Juno-106. Also featured are the Roland Super Jupiter MKS-80, Roland D-50, Novation Bass Station II, and DSI Tempest. Again, I set limitations on my process. I composed the piece with no overdubbing. All tracks were recorded simultaneously. Post-production was limited to editing for length, fades, and one reverb send.