sábado, 4 de octubre de 2014
Video for the third song of "Walking on a Straying Stone". The title pays homage to famous writer Isaac Asimov and the images used are from Space Telescope Hubble.
To download the whole album for free, follow the link:
Video del tercer tema de "Walking on a Straying Stone". El título rinde homenaje al famoso escritor Isaac Asimov y las imágenes utilizadas fueron tomadas por el telescopio espacial Hubble.
Para descargar el álbum al completo, de forma grautita, seguir el link:
miércoles, 27 de agosto de 2014
While we wait for the third theme, let´s go to the fifth. As the name suggests it is a lydian mode experience. Accompanied by an image that I made by databending. As always to download the whole album for free just follow the link:
Mientras esperamos por el tercer tema, vamos con el quinto. Como el nombre lo sugiere, es una experiencia en el modo lidio.En este caso, acompañado de una imagen que hice por medio de databending. Como siempre, para descargar el album al completo de forma gratuita, simplemente seguir el link:
Play Music - Listen Audio - The Lydian Affaire
lunes, 25 de agosto de 2014
We skip for a while the third track and go directly to track number four.
To download the whole album for free follow the link:
Salteamos breemente el tema tres y vamos directamente al cuarto track de "Walking...".
Para descargar el disco completo de forma gratuita, sigan el link:
Embed Music Files - Free Audio - Cosmic Organism
sábado, 23 de agosto de 2014
Second theme from "Walking on a Straying Stone". The title obviously pays tribute to the classic "A Saucerful of Secrets" by Pink Floyd. The reason for the title is that I used several presets from different VSTis to work on this track.
In this case I worked on the Dorian mode.
To download the whole album for free:
Segundo tema de "Walking on a Straying Stone". El título obviamente está inspirado en el clásico de Pink Floyd, "A Saucerful of Secrets" y su elección se debe a que en la realización del tema utilicé diversos presets de diferentes VSTis.
En este caso trabajé sobre el modo dórico.
Para descargar el disco completo, de forma gratuita:
Upload Music - Audio File Hosting - A Saucerful of Presets
viernes, 22 de agosto de 2014
A couple of images from the Psycle file of Solar Wind, showing the module structure and some of the VSTs I used.
Un par de imágenes del archivo de Psycle de Solar Wind, mostrando la estructura modular y algunos VST que utilicé.
Un par de imágenes del archivo de Psycle de Solar Wind, mostrando la estructura modular y algunos VST que utilicé.
jueves, 21 de agosto de 2014
First song from "Walking on A straying Stone", Solar Wind. Made it in Psycle, under a very minimal conept. Originally I had the idea of adding a more prominent melody or maybe an acoustic instrument soloing, but I liked the minimal mood in the way it is, so I decided to keep it that way. To download the whole album for free, just follow the link:
Primer tema de "Walking on a Straying Stone!, Solar Wind. Hecha en Psycle, bajo un concepto bastante minimalista. Originalmente tenía la idea de agregar una melodía más prominente o algún instrumento acústico soleando, pero el sonido despojado de la canción tal cual está me convenció para dejarla así.
Para bajar el disco entero de forma gratuita basta con seguir el link:
Embed Music Files - Listen Audio Files - Solar Wind by Carlos Devizia
martes, 19 de agosto de 2014
"Walking on a Straying Stone", comencemos por el nombre y la gráfica.
El nombre del álbum alude a nuestro mundo, el planeta Tierra, como una roca a la deriva en el océano infinito del espacio. La idea no es nueva, Jimi Hendrix en Are you experienced? Tituló a uno de sus temas "Third Stone from the Sun" (Tercera Piedra desde el Sol) y previamente, el maestro Isaac Asimov había escrito un libro titulado "Pebble in the Sky" (Un Guijarro en el Cielo), que era el modo en que la cultura humana esparcida por el espacio veía a nuestro planeta, una roca olvidada en medio del cosmos.
Cómo en otros trabajos anteriores, hay varias referencias en los títulos de los temas y en el sonido de los mismos a temas que se relacionan con el universo y también con la ciencia ficción, género que me ha acompañado a lo largo de varios años de lectura. Por ejemplo, uno de los temas "Riding the Currents of Space" está inspirado en un libro del mencionado Asimov.
Obviamente la gráfica debía acompañar el tono del álbum, para lo que decidí utilizar una fotografía de la NASA, que mostrara, desde el espacio nuestra "roca a la deriva".
Finalmente, y no menos importante, es la tipografía utilizada en el título del disco, esta tipografía se usó durante mucho tiempo para denotar "futuro", "ciencia ficción" y temas relacionados, siendo su referencia obligada el film de Norman Jewison, "Rollerball", protagonizado por James Caan. Hoy en día podemos considerar a esta tipografía como algo retro. Y a menudo pasa así, lo que en un tiempo denota un futurismo extremo termina transformándose, en el transcurso de no mucho tiempo, en algo vintage. También desde ese punto de vista, la elección de la fuente es adecuada, ya que si bien el disco evoca el espacio y el futuro, lo hace desde una perspectiva, a veces melancólica.
Pronto iré escribiendo sobre cada uno de los temas y compartiendo diversos aspectos del disco, mientras tanto pueden descargarlo de forma gratuita desde el siguiente link:
miércoles, 13 de agosto de 2014
My fifth album. It was made using Psycle tracker. It was not planned like that originally, but the album evolved in that way, and at a certain point I wanted to know if I was capable of doing all the mixing process in a tracker, without using a DAW. I only used a DAW at the mastering stage.
The album has elements of minimal wave, ambient, synth pop, etc, but it is none of these, but a personal approach to electronic music. All songs written by me, except "Sad Peach" by Franco Devizia and me. Franco plays guitar in that "Sad Peach". In the album there are synths and rhythm machines, greek modes and a small xenharmonic experiment, among other things.
The album is freely downloadable at:
Mi quinto album. Fue hecho usando el tracker Psycle. No fue planeado originalmente así, pero se fue dando y en un punto quería ver si podía grabar un album utilizando sólamente un tracker, y no un DAW, en el proceso mezcla. Incluso las partes en las que hay instrumentos reales (guitarras, tin whistle) fueron mezcladas en el tracker. Para el mastering si pasé a un DAW.
El disco tiene elementos de minimal wave, synth pop, ambient, etc. Aunque no es ninguno de ellos sino mi visión personal de la música electrónica. Todas las cancioens fueros escritas por mí, excepto "Sad Peach", escrita junto a Franco Devizia. En ella Franco toca, además la guitarra. En el album encontrarán sintetizadores, cajas de ritmos, modos griegos y un pequeño experimento microtonal, entre otras cosas.
El album está disponible para descarga gratuita en:
lunes, 21 de julio de 2014
En el micro, hace unos días yendo a tocar a Ituzaingo con "los Bambis".
In the bus, somedays ago, while going to play with "Los Bambis" in Ituzaingo.
In the bus, somedays ago, while going to play with "Los Bambis" in Ituzaingo.
martes, 8 de julio de 2014
A version in nylon guitar of the classic standard by Erroll Garner, Misty. (guitar arrangment: Armando De la Vega)
Una versión en guitarra de Misty, el clásico de Erroll Garner (arreglo para guitarra: Armando De la Vega).
miércoles, 11 de junio de 2014
Hello, I am Carlos Devizia from Argentina and our today´s topic is "Envelopes".
As we know, in a synthesizer, sound is generated by the oscillator, then it goes to the filter section and then to the amplifier. This amplifier is designed to change over time and it is modulated by the "envelope", which is basically a path that runs every time a key is pressed. (envelopes can modulate other things on synths, but today we will focus on the envelope as modifier of the amplifier).
The envelope controls how the volume of the amplifier reacts over time.
It has four parameters that are:
A Atack time
D decay time
S Sustain level
R release time
Attack time: every time you hit a key the envelope will run from zero to full value. The more the attack time is increased, the slower it will ramp up. Let's hear what happens with sound if we change the attack. I will play a sound with no attack and then I will gradually increase the attack. (notice that in the case of synthesis, "attack" has a meaning that could be considered opposite to the "attack" meaning if we talk about performing an instrument).
Decay Time: after it reaches full value, the envelope will decay to reach a sustain level. Let´s hear some variations in decay, once again increasing it gradually, I will let the sustain level not too high to make the effect of decay more obvious).
Sustain Level: (notice that this parameter is not related to "time" as the other ones, but is related to "level") It represents the steady state where the note stays while it is being held. Once again, let´s hear an example.
Release time: is the time that the sound needs to reach zero, after the key is released. Let´s hear the effect of "release" in a sound. I will hit a key and release it quickly several times, gradually increasing the release value. The longer this value, the longer it will take to the sound to fade out.
Let´s look at some common envelope shapes and after that, an example of them in a musical context. For this task I will use the excellent freeware synth TAL - Elektro II. I will focus only on the envelope section as this is the focus of this writing, and won´t speak about the other sections of the synth or the parameters involved in the creation of these sounds.
I will speak a little about the characteristics of each type of envelope , and after that I will post an audible example of them.
Switch envelope: It has a fast attack and a fast release, in this case decay does not matter so we´ll put it all the way down and sustain will be at full level. This kind of envelope is great to create sounds that resemble organs, for example. (please, notice that in some synths, an extremely fast attack and release will produce an audible click, this can be solved by increasing a little bit their values).
Sustaining: in this case, the note is sustained and receives energy while the key is pressed. Think about a bowed or a blown instrument, as long as the player moves the arc or blows in the instrument, the instrument will sound. It has a strong attack, decay and release and the sustain level will be somewhere in the middle. Reducing the decay time will produce a sound with more punch.
Damped Percussive: this case is the opposite to the sustaining envelope. Think of pressing a piano key, for example, the sound does not sustains and falls to zero, as no energy is added to it. If I release the key while the sound can still be heard, it will be cut abruptly. On the contrary, if I maintain the key pressed the sound will reach zero gradually. In this kind of envelope the sustain goes all the way down, and the duration of the sound is managed by the decay time.
For the following example, I created the sound by pressing the key and releasing it quickly and then pressing the key again and not releasing it letting the sound fall. Please, notice the audible difference.
Percussive: it is similar to the previous one, but in this case the amount of decay is similar to the amount of release. In this way, it won´t matter if I release the key or I don´t, the sound will gradually reach zero (it may change a little bit, but it will be essentially the same).
Quirk: this last type of envelope is unusual. We must have no attack time. We must get the sustain level all the way down, reduce a little the decay time and increase drastically the release time. By doing this, if we play a short note we will obtain a long sound, and if we keep the key pressed we will obtain a short sound, which seems contradictory, but the explanation is that the release time begins right in the moment you release the key.
This last type of envelope, does not have a common use in musical production, but here I made a little phrase using it. When the sound is longer I pressed and released the key quickly, when the sound is short, I pressed the key and stayed there. In my opinion, this type of envelope, could be useful for some random results or experimental performances.
Now, let´s listen to the previous examples in a musical context. This is a rough sketch of a theme I will work on. I added a couple of effects and pan to the sample to make it more musical, but apart from that, all the sounds are from TAL - Elektro II using the envelopes we talked about.
Knowing envelopes will help you create the exact sounds you have in mind. If you want to create an organish sound you´ll probably will use a switch envelope; for a bowed string instrument like a violin or a blown instrument like a saxophone, you´ll use a sustaining envelope; for a piano, a plucked string or a percussion instrument sound you´ll use a percussive or damped percussive envelope. But most important, you´ll be able to create unique sounds that are in your mind. How about a martian cello? or the roar of a space monster? or the chant of a mermaid? If you have it in your mind, knowledge of envelopes will give you the opportunity of doing exactly what you want while creating a sound, not depending on luck but depending on your criteria to do it.
miércoles, 4 de junio de 2014
Hello, I am Carlos Devizia from Argentina, and today I will write about reverb.
Reverb is a very useful effect, which belongs to the category of "Delay Effects". We can use it to re-create a real space or to create an exotic sonic environment, not necessary inspired in the real world.
Usually, when we record an instrument, we tend to isolate it, to remove reflections in the room and remove as much noise as possible. Though, this is useful at that stage, to record the best signal possible; in the final mix, this kind of sound results unnatural. So, we can use reverb to create the correct space for our production. As we said earlier, we have different approaches to it. We can re-create a natural space, a completely fantastic atmosphere, we can use reverb to separate the instruments in different stages, like if some of them were closer than others, we can define a common space for all the instruments as if they were recorded in the same room and at the same time, etc. We can be completely creative here.
As all the effects in this category, reverb has some basic parameters to care about. The delay time is the amount of time from the input to the output of the signal, the dry/wet control balances the delayed and undelayed signal and feedback determines how much the wet signal is routed back to itself.
Reverb units are divided in two categories: algorithmic reverbs and convolution reverbs. The first one uses a kind of formula to create the effect. An algorithm is a step by step procedure, a series of rules defined to produce a certain activity to achieve a concrete result. This is the way this kind of reverb works. On the contrary, convolution reverb works based on a recording of a real space that you apply to your sound file.
Both types have their strong and weak points. Convolution reverb is great to re-create real spaces, because you are applying to your sound a record of a reverb made in the real world, however it is limited in the way you can manipulate this. Algorithmic reverb, on the contrary, offers an incredible amount of manipulation possibilities but is does not sound as realistic as convolution reverb.
We´ll take a look at both, we use a couple of plug-ins for our examples, and it is important to say, that though from plug-in to plug-in the names and locations of the controls may vary, the concepts are essentially the same. You may find that some plug-ins have more controls than others, but the main features remain the same. So, no matter with VST you´ll be using, if you understand the main concepts you´ll be able to work with your favourite reverb VST.
They are usually divided in two separate components: the early reflections which are a series of short delays and the difuse reverb.
In the early reflections section you´ll find a pre-delay control, which works on the beginning on the entire reverb delaying it a little bit. We also can manipulate the space with a control named room space, room shape or a similar name according to your particular plug-in, and that will help us changing the location of the early reflections.
In the difuse reverb section you will control mainly the time parameter. This will affect the size of the room your sound is in. The high end (also high cut, damp, etc.) parameter controls the materials of the room (Some materials reflect the sound better than others, and some are softer than others and this affects the way the sound propagates).
According to the different plug-ins, you may encounter different options and possibilities, like pan controls to panoramize the reflections to the right or to the left, a freezing control to avoid the decay of the reflections, some EQ filters associated to the reverb, to enhance certain reflections on certain frequencies and attenuate some others, etc.
Let´s hear a couple of examples of algorithmic reverb applied to a short fragment of music, in this case played with an alto sax. The first sound shows the dry sound and then the sound processed with different reverb settings. All the examples in this writing do not intend to be musical, they aim to show differents effects achieved by the use of reverb.
Here are some very good freeware reverbs:
In this type of reverb we choose an impulse response, which is a file containing a record of a real reverb that we will apply to our sound. Usually convolution plug-ins have several files associated to them and there are also sets of files on the web downloadable to use with convolution VSTs. The interesting thing about this is that you have an incredible amount of impulse responses available for your use, from very realistic ones to totally strange things. The trick here is to imagine in which space you would like to hear your music and based on that selecting your impulse file. Thus, your music can sound as if it were played in a small room, in a concert hall, in a big cavern, etc. In a convolution plug -in you´ll also find some controls to manipulate the reverb.
Let´s hear a couple of examples of the sound presented earlier in this tutorial with different convolution reverbs applied to it. Let´s listen to the same sound with a couple of convolution reverb applied to it.
In both algorithmic and convolution reverb you´ll also have the dry/wet control to mix the signal without reverb and the processed signal. The dryer the sound it will sound closer to the listener and the wetter , it will sound far away from the listener.
Reverb is in nearly every element of modern music production, so it has a dramatic impact on the final results we will achieve. Changing the way we apply reverb will change our final sound, so, the more we know reverb and the way it works the more our music will be sounding in the way we want. A good starting point for using reverb is being subtle, unless we are doing something crazy on purpose, subtle adjustments provide great results.