Calling the Intellijel Rainmaker a delay module is kind of like calling a lion a cat, or a cruise ship a boat. The Rainmaker is an unprecedented stereo delay module capable of a diverse range of tones and textures with a huge degree of control. The unit is divided into a delay section and a comb filtering section each with their own separate parameters and CV inputs. The vast functionality of the unit is realized with a menu system for navigating and assigning the various parameters.
I’ll admit that while I was excited to try out the Rainmaker, I was also a little intimidated. I feel like I could have easily spent months learning the unit. My first approach was to go through the various presets to get a sense of how it sounds and its capabilities. Richard Divine designed the presets numbered from 82 to 128 and provided special instructions on how to best take advantage of his creations. It was easy to get lost scrolling through the options; some patches provided more conventional rhythmic delays, some provided lush expansive reverbs, many were much more wild and unexpected. The pitch shifting capabilities are easily able to make any material dissonant and mysterious, or beautiful, floating, and ethereal.
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The Spectral Multiband Resonator from 4MS provides an innovative new spin on the filter bank concept with features like rotation, scale quantizing and a host of other attributes. For someone like me, who enjoys making music using field recordings, this module offers a perfect means to convert noisy material into something musical in an enjoyable and intuitive way.
Filter banks have been around for decades, utilizing the basic concept of reducing, boosting, or completely isolating specific ranges of the frequency spectrum. Dividing audio into separate bands allows for flexible processing possibilities, on both the practical and experimental ends of the spectrum. I really enjoy using Vierring in Native Instrument’s Reaktor, which can step sequence four sweepable frequency bands with controls for attack, decay, resonance, and delay. Could the Spectral Multiband Resonator open the floodgates to Vierring style processing in my modular rack?
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In the summer of 2016, I started writing reviews and tutorials of Eurorack Synthesizer Modules for Ask.Audio. If you’re interested in learning more about the arcane art and science of modular synthesizers, you can check out all of my articles here.
December saw me swing away from music and back into audio post production for film in a big way. I took on Sound Design for a feature length drama called Candiland with a deadline in mid January. The film is a dark drama based on an Elizabeth Engstrom novel and features powerful performances from Gary Busey, James Clayton, and Chelah Horsdal. It was a long term passion project for the director Rusty Nixon, so it was really exciting to be involved with something where everyone was so enthusiastic and supportive. The release date has not been announced yet, but if you get a chance I’d really recommend checking it out. Continue reading “Pulled back to Post”
I was asked to play the Vancouver Mini Maker Faire again this year and I felt like playing something new. The last two years in a row I had played Sonidos de Cuba, although each performance was quite different as one used Ableton and the other used the Octatrack. Since returning from Belize I had started using those fresh recordings to create new music and I was excited to play it out and get some feedback. Continue reading “Belizean Heat Live at the Maker Faire (and Octatrack Nerdery)”