jdn

… purveyor of funky beats and assorted electric treats …

Latest Release:

Night EP

Posted on | April 6, 2014 | No Comments

HD038-Layout_02

Out now on Beat­port via Har­mo­nious Dis­cord Record­ings, fea­tur­ing remixes by Evan Marc (aka Bluetech) and Patchen Pre­ston. Art­work by ellisett.

1) Aeo­lian Intro
2) C5
3) C5 (Patchen’s Yel­low Fever Mix)
4) Night Groove (Orig­i­nal Mix)
5) Night Groove (Bluetech Remix)
6) D13
7) Talk Is Cheap

jdn — Night EP (Har­mo­nious Dis­cord) by 8DPromo

http://www.beatport.com/release/night-ep/1241604


Recent Posts:

Ouroboros — Shared System Series

Posted on | November 17, 2014 | No Comments

I got a mod­u­lar piece accepted on the Make Noise Records “Shared Sys­tem Series” com­pi­la­tion today! The series is intended to show­case artists using the MakeNoise SharedSys­tem rig to make a live com­po­si­tion, with no over­dubs and no exter­nal effects (except an optional reverb).

Here’s my piece:

Here’s the patch:
http://www.modulargrid.net/e/patches/view/9225

And check out the whole playlist here:

Wogglebug + DPO as White Noise Source

Posted on | April 6, 2014 | No Comments

So I recently got a MakeNoise SharedSys­tem mod­u­lar rig, and one thing miss­ing from it was an appar­ent lack of the abil­ity to make… noise. White noise.

How­ever, by push­ing the Wog­gle­bug and the DPO’s inter­nal mod­u­la­tion rout­ing to the extreme, you can get some decent-sounding white noise. Basi­cally, you turn most of the knobs on both mod­ules all the way clock­wise and lis­ten to the DPO final output.

Click for full image

Click for full image

Here’s how it sounds, going through an MMG for fil­ter sweeps and the Echophon for some delay:

MakeNoise SharedSys­tem — White Noise patch by jdn

FX Halos in Ableton Live

Posted on | February 29, 2012 | No Comments

This is a very sim­ple trick to do, but not so obvi­ous to fig­ure out that it’s even pos­si­ble.  The idea is to sidechain com­press the pro­cess­ing on a Return bus by its own input sig­nal, in order to clear out some “empty” space around the dry sig­nal. It’s like mak­ing a “breath­ing fx bus”.

For exam­ple, if you have a stac­cato vocal sam­ple being sent into a reverb or a delay, using this trick the effect tails will “swell in” over time after the dry sig­nal stops.  It’s sim­i­lar to kick sidechaining.

Here’s an exam­ple with­out a halo:

fxNo­Halo

Now with:

fxHalo

That’s not the most inspir­ing demo, but this can sound very organic, and helps clear space in a full mix.  To set up in Live:

  • Send sound from an Audio track to a Return track.
  • On the Return track, add a plu­gin that cre­ates a tem­po­ral tail: ie reverb or delay.
  • Add a com­pres­sor after the fx.
  • Enable Sidechain, and set the Audio From drop­down to the same Return track you’re on.
  • Set the Audio From posi­tion to “Pre FX” in order to sidechain from the dry sig­nal.
  • Set up your thresh­old, release, ratio etc. to get your desired “halo” pump­ing sound around the input signal.

This can be a really nice way to get some breathy flut­ter­ing organic motion in a net­work of Return tracks that might even be cross-sending sig­nal to each other in a feed­back network…

Click for full-size

MiniCommand, Machinedrum, and OS X

Posted on | May 11, 2011 | No Comments

So I’ve had a Ruin & Wesen Mini­Com­mand for a lit­tle under a year, but haven’t been using it as much as I would like because it didn’t inte­grate well with my setup — until last night.

The stan­dard way to use the Mini­Com­mand is to con­nect it in a closed MIDI loop with the device in ques­tion — which makes it hard use in a computer-based MIDI setup with a sequencer. There are ways around this, eg. daisy-chaining the Mini­Com­mand between the computer’s MIDI inter­face and the device you want to con­trol, but I have found that this intro­duces some small tim­ing delays (enough to drive me crazy).

Read more

Alien Autopsy Via Sample-Rate Reduction

Posted on | January 6, 2011 | 3 Comments

Here’s a cool sound-design trick. If you want to get a vocal-sounding ‘for­mant fil­ter’ effect out of a synth that only has a nor­mal low­pass fil­ter, you can take advan­tage of a quirk of sample-rate reduc­tion effects to gen­er­ate mul­ti­ple “mir­rored” fil­ter sweeps through the won­der of aliasing.

Here’s a sound clip from my machine­drum with a sim­ple saw­tooth note and a res­o­nant low­pass fil­ter being mod­u­lated down over a quick sweep. It’s played four times, each with increas­ing amounts of sample-rate reduc­tion applied:

increas­ing srr

This sam­ple looks like this in a sono­gram (I used the Sono­gram View plu­gin that Apple includes with XCode). Hor­i­zon­tal axis is time, ver­ti­cal is frequency:

Notice that as the alias­ing (reflected fre­quen­cies) increase with the sample-rate reduc­tion effect, you begin to see mul­ti­ple copies of the fil­ter sweep. This cre­ates the lovely, com­pli­cated “alien voice” sound. Here’s a short Machine­Drum loop I was play­ing around with when I real­ized what was going on here:

alien-autopsy-192

And for the Elektron-heads read­ing this, here’s the MD sysex for that pattern+kit:
alien-autopsy-md.syx

PS: the wikipedia arti­cle on alias­ing has a good run­down on the details of this phenomenon.

Wake Up Tech EP

Posted on | September 12, 2010 | No Comments


Out now on Beat­port,  Wake Up Tech fea­tures three orig­i­nal tracks and two dancefloor-friendly remixes by Point­ben­der (Sean Ander­son) and Gift Cul­ture (Michael Hale). This EP was released under my tech-house alias ‘Chakaharta’.

  1. Alembé
  2. Super­bro­ken
  3. Super­bro­ken (Pointbender’s Super­ben­der Mix)
  4. Super­bro­ken (Gift Culture’s Psytech Mix)
  5. Jaz­zstab

Album art­work by Jamie Cameron Northrup.

Avail­able for Down­load on Beat­port.  Please pass the word if you like it, and thanks for your support!

Har­mo­nious Dis­cord 022 — Chaka­harta — Wake Up Tech Ep by Har­mo­nious Discord

Early Reviews:

Nick War­ren - “Excel­lent” [Hope Record­ings)
Noah Pred
– “thanks for send­ing!  point­ben­der mix works best for me but the gift cul­ture mix has a nice groove too” [Thought­less Music]
Josh Collins
– “really like those tracks, nice work!” [Human Life/NRK]
Shur-i-kan
— “Very chunky!” [Freerange / NRK / Slip & Slide]
Soul Minor­ity
– “Alembe is Superb !! Will sup­port Other tracks are a bit too techy for me, but Alembe in 10/10 !!! Thanks !” [Kolour / Pack Up And Dance / Stratospherik]

Read more

Ableton Live, The Machinedrum and The Monomachine (Part 2): Minimizing Latency

Posted on | June 6, 2010 | 4 Comments

In Part one of this series, I posted tips for get­ting the Mono­ma­chine and Machine­drum synced and record­ing prop­erly with your Live ses­sions. The other half of the equa­tion is which oper­a­tions to avoid that might intro­duce latency and tim­ing errors dur­ing your sessions.

Able­ton Prints Record­ings Where It Thinks You Heard Them

I guess this design must be intu­itive for many users, but it con­fused me for a while.  If you have a setup with any­thing but a minis­cule audio buffer, mon­i­tor­ing through a vir­tual instru­ment witha few latency-inducing plu­g­ins in the mon­i­tor­ing chain, you will hear a fair amount of mon­i­tor­ing latency when you play a note.  The same goes for record­ing audio.

When record­ing a MIDI clip, I expected that Live puts the actual MIDI events when I played them — which it doesn’t.  It shifts the MIDI notes later in time to match when you actu­ally heard the out­put sound — try­ing to account for your audio buffer delay, the latency of your vir­tual instru­ment, and any audio pro­cess­ing delay from plu­g­ins in the down­stream sig­nal path.  There’s one excep­tion to this — it doesn’t worry about delays you might hear due to any “Sends” your track is using.

So your MIDI notes (and CC’s) are recorded with “baked-in” delays the size of your mon­i­tor­ing chain latency. I’m going to call this baked latency.

Read more

Ableton Live, The Machinedrum and The Monomachine: Midi Sync Notes

Posted on | June 6, 2010 | 8 Comments

Recently I’ve been (going crazy) get­ting the tim­ing tight between Able­ton and two out­board sequencers — the Elek­tron Mono­ma­chine and Machine­drum.  On their own, these sil­ver boxes have amaz­ingly tight tim­ing. They can sync to each other to cre­ate a great live setup.

Add a com­puter DAW into the loop, and you intro­duce jit­ter, latency, and gen­eral zani­ness to the equa­tion.  And it’s not triv­ial — this is obviously-missing-the-downbeat, shoes-in-a-dryer kind of bad.  I tested the jit­ter / latency by ear, as well as by record­ing audio clips and mea­sur­ing the mil­lisec­ond off­sets from the expected hit times.

I don’t think this is fun­da­men­tally a slow com­puter / poor setup issue either — I’m run­ning a good inter­face, using a tiny 32 sam­ple audio buffer. The rest of the setup is an i7 Intel Mac run­ning OS X 10.6.3, Able­ton Live 8.1.3, Emagic Uni­tor 8 midi inter­face and an Elek­tron TM-1 Tur­bo­Midi inter­face for the Machinedrum.

Below is a jour­nal of what’s work­ing, what isn’t, and my the­o­ries on why… Read more

How To: Algorithmic Music with Ruby, Reaktor, and OSC

Posted on | November 20, 2009 | 2 Comments

The basic idea is to use a sim­ple OSC library avail­able for Ruby to code inter­est­ing music, and have Native Instru­ments’ Reak­tor serve as the sound engine. Tadayoshi Fun­aba has an excel­lent site includ­ing all sorts of inter­est­ing Ruby mod­ules.  I grabbed the osc.rb mod­ule and had fun with it.

I’m giv­ing a brief pre­sen­ta­tion at the Bay Area Com­puter Music Tech­nol­ogy Group (BAr­C­MuT) meet-up tomor­row, un-officially as part of Ruby­Conf 2009 here in San Francisco.

Here’s a link with down­loads and code from my talk.  It should be all you need to get started, if you have a sys­tem capa­ble of run­ning Ruby, and a copy of Reak­tor 5+ (this should work with the demo ver­sion too).

Ruby mono sequence example:

reaktorOscMonoSequences-192 MP3

Ruby poly­phonic drums example:

reaktorOscPolyphonicDrums-192 MP3

Leave a com­ment below if you have any ques­tions, or cool discoveries!

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