#Sonic Explorers Pedals

[guitarbomb]

Spurr Audio Sonic Explorers Pedals: A Journey into Space-Age Sound

Spurr Audio has recently launched an exciting line of pedals, the F-201 FET Preamp and Orbit-2 Fuzz, both inspired by the thrilling era of space exploration. These innovative devices promise to take musicians on an unprecedented sonic adventure. F-201 FET Preamp: Warmth Meets Space-Age Design The F-201 FET Preamp is a unique blend of the warm, rich sounds typically associated with tube technology…

[dustedmagazine]

Liam Grant — Prodigal Son (VHF Records)

How does one go about making music not usually understood as “punk” sound like punk? How best to apply the DIY ethos, the construction by destruction, of punk art to other genres? How can the guide-fires that have been lit by past iconoclasts of the underground illuminate explorations in different styles? Maine-based fingerstyle guitarist Liam Grant provides his answers to these questions in the form of his sophomore LP, Prodigal Son (out 2/21/2025 on VHF Records), a collection of anti-tradition-traditional-style music — American Primitive with a capital A and P through a dirtied lens — kindly and perhaps counter-intuitively dedicated to his parents.

The opening track, “Palmyra,” starts with a gong-like bang on the open strings of a Weissenborn lap dobro prior to dipping into a sunny, up-tempo Fahey-style postmodern country blues jam. A typical start for a post-Jack-Rose guitar soli record, except that it sounds like it was run through the same amp and pedals Doyle Wolfgang Von Frankenstein used while recording “Where Eagles Dare”, with the gain on the tape machine dimed à la Bowie recording Raw Power. The disconnect between the refinement of the playing and the fidelity of the recording is striking. It isn’t circumstantially lo-fi, nor is it an attempt to sound vintage like a dusty 78 rpm disc, going back to the source — it’s an intentional push into distortion, taking something pretty and covering it in mud.

This distressed audio technique works well with the blues style music, you can situate the gritty sound of the slide in some kind of smoky Roadhouse scenario — trade out the casual violence for folks talking over each other about obscure records from Western Massachusetts while the guitar wails. It takes on another dimension of abstraction when Grant switches out the slide for the twelve-string and gets in raga mode. The lightning-like knots of fingerpicking on the moody, roughly thirteen-minute eastern-infected journey “Salmon Tails Up The River” dissolve into flattened fields of blown-out tape fuzz, blending with the textured booms of the low end strings to create a speaker-straining mass of sound. Another lengthy twelve-string piece, “Insult to Injury,” opens the B-side with a meditative counterpoint to the sturm und drang of “Salmon Tails”,twinkling riffs cutting through the sonic haze like a gentle ship passing through ocean fog.

The last two songs on Prodigal Son show different ways of approaching folk, in a broad sense, in a punk way, first by paying tribute to an originator, second by an invocation of the DIY lifestyle. “A Moment at the Door” is a take on a composition by a master of boundary-clearing, broke-down blues guitar playing, Loren Mazzacane Connors. The overdriven recording here finds a comfortable middle ground where Grant ably recreates Connor’s minimalist electric guitar style on his six-string acoustic, magnetic hiss filling the stretches between notes. The album closer “Old Country Rock” is a loose and joyous live cut from the Grant/McGuire/Flaherty old-time trio. This is where the DIY lifestyle aspect of Grant’s project comes in. Last year this trio embarked on an extensive Southeastern US tour, booking it and conducting business in a way that would’ve been familiar to Black Flag in 1981, if you substituted phone calls for Instagram DMs. Twenty years ago, the original incarnation of Old Crow Medicine Show were constantly touring road-dogs bringing Beale Street jug band songs from the twenties and thirties to places no one had ever played them before. The *music* wasn’t punk, but they were – not because of how they sounded but because of how they did things. Patti Smith, asked likely for the millionth time what punk was, said “To me, punk rock is the freedom to create, freedom to be successful, freedom to not be successful, freedom to be who you are.” Punk has never been an aesthetic genre. It’s a way of being, and Liam Grant literally slides into it on the first track of Prodigal Son.

Joshua Moss

[sonuscorewoodsofthewild]

Native Instruments – Una Corda Download

Native Instruments – Una Corda: A Distinctive Piano Experience

Product Details: A DISTINCTIVE, PURE PIANO

Explore the evocative tones of Native Instruments – Una Corda, a handcrafted upright piano that redefines the possibilities of musical expression. With a full range of sound characters – from soft and resonant to percussive and textural – this instrument offers unparalleled creativity and realism. Meticulously sampled, Una Corda delivers everything from intimate realism to lush, resonant overtones, making it an essential addition to your sound library.

Introducing UNA CORDA

Delicate and Different

Una Corda faithfully captures the signature sound of a unique, custom-made piano designed by David Klavins in collaboration with composer Nils Frahm. Unlike traditional pianos, Una Corda features one string per key, resulting in an exquisite tone that’s ideal for film scoring, electronic music, pop, or jazz. Whether you’re crafting serene melodies or creating experimental textures, Una Corda’s distinctive sound will captivate your audience.

Three Sources of Creativity

Una Corda offers three distinct sound banks, each designed to inspire:

Pure: Captures the resonant sound of a single string struck by the hammer, offering clarity and richness.

Felt: Introduces felt material between hammers and strings, reducing attack noise and delivering a gentle, smooth sound reminiscent of an unplugged vintage electric piano.

Cotton: Adds a noisier, percussive attack with more pronounced overtones, ideal for creating unique sonic textures.

Each sound bank provides a starting point for shaping your creative vision.

Enhanced Sound Design

Take your sound further with Una Corda’s advanced sound design capabilities. Add texture by incorporating:

Noise from fabric preparations

Mechanical sounds and pedal actions

Room ambiance

Enhance realism or venture into experimental territory by integrating vintage outboard gear effects like hiss, compression, and saturation. From dry, gritty tones to liquid pads and swirling soundscapes, Una Corda adapts to your creative needs.

Adjust Your Tone Easily

Una Corda’s intuitive interface puts full control of the instrument at your fingertips:

Sound Banks: Choose from Pure, Felt, or Cotton.

Workbench: Sculpt core characteristics, from dynamics to overtones.

Response Section: Adjust tonal dynamics and add resonant overtones.

Finish Section: Apply vintage effect chains, reverbs, and other tools to refine your sound.

Effortlessly transform a pure piano into a noisy, percussive instrument or an ambient soundscape with these powerful tools.

Made for KOMPLETE KONTROL

Designed for seamless integration, Una Corda is fully compatible with Native Instruments’ KOMPLETE KONTROL keyboards. Experience the ultimate performance with the KOMPLETE KONTROL S88, featuring fully weighted hammer-action keys for an authentic piano feel.

Uncover the Original Una Corda

Discover the story behind Una Corda’s creation. In collaboration with Nils Frahm, David Klavins crafted a contemporary upright piano that pushes the boundaries of traditional design. Watch the video “Creating Una Corda” to gain insights into this groundbreaking instrument’s origins and evolution.

Why Choose Una Corda?

Una Corda is more than just a piano. It’s a gateway to a world of delicate, distinctive, and dynamic sounds that inspire creativity. From its rich tonal palette to its intuitive design, Una Corda is perfect for composers, producers, and musicians seeking fresh, evocative sounds for their projects.

Explore Una Corda Today

Experience the unmatched sound of Native Instruments – Una Corda and elevate your music production to new heights. Find out more and listen to the audio demos on the product page.

[pedaloftheday]

We're taking a look at another new company today, and another powerful effects pedal. The HARM Distortion from Tavysh Effects provides a TON of knobs and switches, allowing you to explore more sonic mayhem than you thought possible...enjoy this one, cheers!!🤘🔥🎛

[caviarsonoro]

Samuel Reinhard - For Piano and Shō I (excerpt)

"For Piano and Shō" is a piece by Swiss composer Samuel Reinhard that explores the interaction between the piano and the shō, a traditional Japanese free reed instrument. The piece is inspired by John Cage's late works, particularly in his use of the shō to produce sustained tones and open structures.

The composition is divided into two parts:

"For Piano and Shō I": In this section, three recordings of each instrument are superimposed. Pianist Paul Jacob Fossum performs single notes using the sustain pedal, creating irregularly interwoven resonances. Simultaneously, Haruna Higashida plays the shō with extreme delicacy, adding subtle harmonies that complement the piano notes. This combination generates a sonic texture where each moment unfolds slowly, allowing every sound to fully manifest.

"For Piano and Shō II": In this part, the performance is reduced to a single performer per instrument. Fossum alternates between two chords: one arpeggiated and one sustained, while Higashida plays even softer single notes than in the first section, connecting the piano's elements. Both musicians enjoy freedom in tempo, allowing reflective silences to emerge and creating a sense of almost suspended time.

Reinhard has expressed that his intention is to invite the listener to remain still and simply listen, noticing the small details that emerge at the periphery of our attention when we reduce the density of stimuli and settle into slower temporalities.

The piece has been praised for its refinement and its ability to create a deeply contemplative atmosphere, where the interaction between piano and shō offers a unique auditory experience that transcends traditional musical conventions.

[kunstmull]

Ash-ra

So I've annoyed all of my friends by going on and on about this band to the point where no one is answering my emails any more. So I'm just going to be spamming this tag until all of Tumblr blocks me (no, really - if I irritate you, I'd much rather you just block me and go on with your online life!) Buckle up, I'm going in.

When I first found started exploring Buck-Tick, this was one of the first songs I clicked on, just based on the title alone. It's called Ash-ra*, off an album literally entitled COSMOS - do you think there's a chance there might be some Kosmische Krautrock going on here?

*I've since seen some blogs express confusion as to why the title uses this spelling, rather than the Japanese Asura or Ashura. ASH-RA TEMPEL. Lords of Berlin-School Kosmische (Kosmische - "Cosmic" - is what many of the actual German groups of the time called the music that we British jokingly called "Krautrock") led by chess-board pattern loving Meister of electronic guitar manipulation, Manuel Göttsching.

I hit play.

::drums start up::

YES OH GOD YES - Toll immediately goes in for the most Lange-Gerade MOTORIK. This isn't even Dinger-beat, this is the full Jaki Liebezeit, like Mother Sky on speed.

12 seconds in, and there's strange slithering static noises, like the glitchy tape experiments on the B-side of NEU! 2 - yes YES! The tiger is OUT!

And then the guitar starts

Effortless, weightless, just hanging above the driving rhythm section like a seagull riding a glider. This is pure Michael Rother, that endless tone that seems to stretch off into the horizon, a descending scale that dissipates into feathery clouds of... feedback? tremolo arm abuse? theremin? processed guitar? (In the live video, it looks like some kind of harmonics-modulation pedal)

Words cannot even express how much I love the way Imai Hisashi abuses his guitar. This man is a sound pervert - I've since read translated interviews where he expresses contempt that a guitarist should act like a guitar-player - he treats the instrument purely as a tone-generator for him to transform with electronic treatments and manipulations (my favourite musicians have always treated their instruments this way - from what Florian Schneider of Kraftwerk did with his flute, to what drone-rockers like Sonic Boom of Spacemen 3 and Kevin Shields of MBV did with guitars). But the cosmic space-noises here are so otherworldly I genuinely cannot tell where guitar feedback ends and theremin begins, it's a haze of swooping electronic bliss.

Vocals - to be really true to the Kosmische form, Imai should have had the courage to just spout surreal English-Japanese-German word salad a la Damo Suzuki, but yes, there are lyrics, I'm sure someone else has written about them. But in my fan-fiction headcanon version of events, Imai just scribbled "Ash-ra" on the demo tape to indicate this was his Krautrock song, and Atsushi, not knowing the first thing about Krautrock, took this as an instruction to write a song about the actual Japanese Demons.

1:50 minutes in. BASS SOLO. At some point, I'm going to write another essay about how Yutaka is the most underrated musician of this band. He's the one who holds together the floating psychedelic guitar haze and the speed-punk drums, and yet somehow makes it all insanely danceable. He absolutely nails the sinewy funk of Holger Czukay, both melodic and booty-shaking.

And then at 2:04 the BEST BIT of the WHOLE SONG

PNEUMATIC DRILL SOLO!!!

Unfortunately, it seems they don't do this bit live. COWARDS!

REAL German Experimental bands play their drills live!

But it's the attention to detail that makes this band so intoxicating to listen to - layers and layers of sonic references layered on top of one another, the pneumatic drill, the squiggles of electronic sound, and then at the end, the coda...

A short drifting suite of classical piano, because it's the moments of peace that make the psychedelic noise-storms so intense, and vice-versa.

[sludgedyke]

oh I'm so back into shoegazing again I feel great!!! I've been making some extremely fun times on my pedalboard, my jazzmasters tuned to play schizophrenia by sonic youth and I'm just having fun exploring the tuning :3 finding out which shapes to make for a fun sound, stacking my drive pedals with low gain to get an extra textured transparent fuzz that lets the jangle come through :3

[skaruresonic]

Since you're the best SA2 fan, what's your favourite level music for each character? :>

SA2 has such unique track names for its OST <3 Sonic - Other than "Escape From the City," which is ofc a classic, Sonic's level themes don't strike me as particularly strong compared to the others. If I had to choose, I'd probably pick Pyramid Cave's "Keys the Ruin":

Certain songs in the SA2 OST have a very Bond-film groove to them, particularly in stages where you have to infiltrate a highly-fortified base (Iron Gate; Pyramid Cave; Security Hall) so naturally I gravitate towards them. :P

Tails - Prison Lane's "This Way Out." The drummer went so hard on that one xP

Eggman - It's difficult to choose just one, though for the opposite reason it's difficult to choose a single Sonic level theme. His level themes are decent at worst. Iron Gate's "Remember Me? M.F.M." has a certain Bond-movie swag, perfect for setting the mood to breach a maximum-security military facility. It also cleverly employs a wah-wah pedal to make the electric guitar sound like it's literally saying Eggman's name - how cool is that?

Sand Ocean's "Way to the Base" is decent and conveys the stage's overall mood well enough, but I honestly don't have a whole lot to say about it. Ditto for Weapons Bed's "Crush 'Em All" and Cosmic Wall's "Soarin' Over the Space."

Lost Colony's "Trespasser" perfectly sets the mood for exploring the ARK's dark, abandoned underbelly. I love how quietly the song begins, with a plethora of beeps and electronic chirps, as if to suggest the colony's general systems are still alive, if dormant.

An excellent remix:

Rouge - Security Hall's "I'm a Spy," baby! B)

Shadow - White Jungle's "Rhythm and Balance" is unique for a number of reasons.

It can't be forgotten that White Jungle marks the first time Shadow has explored the natural world on Earth: much of his surroundings are foreign to him. One of his idle animation quotes suggests that this unfamiliar location unsettles him ("Fog... doesn't bother me"). If it truly didn't bother him, he wouldn't have felt the need to point it out. The noticeable pause between "fog" and "doesn't" would imply the same. This sense of disorientation is reflected in the song's dreamlike quality. The lyrics are muffled, as though heard from underwater, or perhaps blunted by the roar of the nearby waterfall, contrasted by harsh record scratch and the barking of an unknown animal off in the distance. Cryptic lyrics like "Hurry through the unexplored land, not scared at all, are you scared of something?" reinforce Shadow's possible fear of the unknown, in tandem with his will to eliminate any obstacle in his path. What also makes this track very interesting imo is the fact that it is the only vocal track in which Shadow is directly addressed by another voice. Typically, his vocal themes are sung from his POV, but the sudden intrusion of another voice telling him "Shadow, don't make me upset" and "you are hiding something" introduces an additional layer of fridge horror. Who is becoming upset? Eggman? Shadow? Is this Gerald's reprogramming at work? "Rhythm and Balance" suggests Shadow is experiencing cognitive dissonance. It complements the previous cutscene in which he decides to save Rouge despite her being a "troublemaker," as well as introduces Shadow's internal conflict in an incredibly subtle manner: "I don't wanna hear you."

Knuckles - Aquatic Mine's "Dive into the Mellow" is a genuinely relaxing tune that I've often fallen asleep to. To quote a YouTube commenter, it sounds like something you'd hear on Adult Swim at 3 in the morning xP

Fun fact: it's also one of a handful of tracks on the DC disc that you had to download off the internet, as it wasn't natively included in the extras music menu. If you want to listen to it in the DC version, you have to actually play the stage. Death Chamber's "Deeper" deserves an honorable mention, too, for the interesting imaginary conversation in the chorus between Knuckles and Sonic:

Idk, I find it a little sad that Knuckles had to imagine Sonic, like... basically treating him with a little more decency? While there's always the possibility Knuckles is daydreaming because he's irritated that Sonic saddled him with this dangerous task without asking for his input, something tells me there's more to it than that. The overall vibe I get is that Knuckles wants Sonic's help and for Sonic to be a little more sensitive to his struggles, but he's too proud - or "stubborn," as the song puts it - to admit it. I find it interesting how the song almost implies Knuckles wishes Sonic were maybe a little more emotionally mature? Because Daydream!Sonic offers to help Knuckles recover the ME because he knows how much "it means to [Knuckles]" and to find the base keys together, despite their differences: "I don't think [our beef] is the point right now, Knuckles." In reality, however, Sonic buttered him up to go hunt for the keys because his lazy ass couldn't be bothered Knuckles is the "world's greatest treasure hunter" >.> Look, SA2!Sonic is a decent portrayal, but also, like. He could have stood to be a little nicer to Knuckles at certain points, imo

[sinceileftyoublog]

mui zyu Interview: Embracing the Chaos

mui zyu

JORDAN MAINZER

Pop experimenter mui zyu--the stage name for London-based artist Eva Liu--combines explorations of her heritage with wide-eyed, open-hearted dives into the modern world. Born in Northern Ireland to parents who were Hong Kong immigrants, Liu grew up studying more classical art before choosing to pursue film studies at university. Her first foray into recording music was as lead vocalist of alt rock trio Dama Scout; she released her debut EP as mui zyu in 2021. mui zyu's debut album, Rotten Bun for an Eggless Century reckoned with ideas of identity and lineage but also memory and perception, Liu continuing her tradition of using field and voice recordings from her family. But it was a mere year later where Liu took the biggest artistic leap.

On miu zyu's second album nothing or something to die for (Father/Daughter), Liu's themes and soundscapes expanded beyond bedroom pop, beyond her head. Fittingly, it was her first time not recording at home. With a grant from the PRS Foundation, Liu and her longtime collaborator Luciano Rossi were able to set up at Middle Farm Studios in Devon, sessions that challenged Liu to take her sound to the next level, increasing her use of vocal manipulation and pedal wizardry. Its genre aesthetics are wonderfully all over the place. Scraped, raw acoustic guitar-led love song "everything to die for" is sandwiched between whirring synth-and-drum machine jam "the mould" and the melancholic, Postal Service-esque "donna like parasites". "speak up sponge", meanwhile, is a string-laden, comparative dirge. Album closer “扮豬食老虎”, with piano, sampled vocals from Liu's family, echoing field recordings, and decaying synths, exists somewhere between Rotten Bun and William Basinski's The Disintegration Loops.

What's also special about nothing or something to die for is that Liu was able to work with like-minded artists. Miss Grit, whose work also uses fantastical, sci-fi themes to investigate identity, lends her vocals to "please be ok", a song about not being honest with yourself about your feelings in the presence of others. She and Liu harmonize, eventually over a drum machine beat, only to be subsumed by faster tempos and distortion, as if to remind themselves it's important to let it all out in the beginning, else you're drowned out. Father/Daughter labelmate Pickle Darling features on "in the dot", providing strikingly atonal vocals to go along side warbling synths on a song that reminds us that momentary happiness is preferable to the destructive pursuit of perfection. Perhaps most meaningful to Liu, though, was getting to work with lei, e, aka Emma Lee Moss (fka Emmy the Great). Liu looked up to Moss, another Hong Kong British artist in the indie music scene, for years before getting to work with her, eventually opening for her and singing Cantonese covers with her at the Hackney Chinese Community Centre in London. For their first proper original song collaboration, mui zyu and lei, e take us on a sonic odyssey, adding to the album's canvas of synths, drum machines, and guitar distortion with off-kilter piano, noise, and then a quiet hum.

In September, mui zyu released nothing or something to die for (Cantonese tasting menu), 5 songs from the album translated into Cantonese. It was an opportunity for Liu to work with not only Moss but her father, for hours over the phone, on translating the lyrics. The specific songs picked are a perfect encapsulation of mui zyu's current diverse sensibilities; if you wanted to get a sense for who she is as an artist, ironically, I'd tell you to start there. Most exciting is that mui zyu remains unpredictable, the type of artist who could go in one of many different directions and will probably pick the least expected route.

Last year, I spoke with Liu over Zoom about her songwriting process and picking collaborators on nothing or something to die for, as well as how film inspires her music. Read our conversation below, edited for length and clarity.

nothing or something to die for cover art

Since I Left You: Now that nothing or something to die for has been out for a while, has your relationship with the music changed because you've gotten outside reception?

Eva Liu: I don't think it's changed. I finished the album [in October 2023]. We got it to a place where I was really happy with it. I haven't said goodbye to it, [but] once it's out of your control, you let it do its thing.

SILY: With the addition of videos, the album has a whole visual identity. It almost seems like nothing or something to die for is more than an album, like a conceptual world.

EL: Because [my] first [record] had a concept that arrived naturally, I didn't want this album to has as much of a concept. But it has definitely formed its own little world naturally. In a way, it's looking outwards as opposed to inwards like the first album. There wasn't a narrative I was building--the songs just go well together. Putting it together was kind of chaotic, and the album is about embracing chaos, so it seems like that was meandering throughout it.

SILY: Did you study film?

EL: I studied Film Studies at university. It wasn't practical or about making a film, but it was about film theory, kind of like [what Art History is to art.] I actually didn't want to go to uni, but I didn't know what to do. I love film, so that's why I chose [to study Film Studies.]

SILY: You've certainly mentioned a lot of direct filmic inspirations on some of these songs. How do you connect the film world to the music world? How do those inspirations, like 2001: A Space Odyssey on "satan marriage" or Blue Velvet on "sparky", come about?

EL: I don't really write with film in mind. I do have a sort of vision with the songs, and having been so influenced by film in the past, I am inspired a lot by images and art and how [movies are made.] Sometimes, if I want to capture a certain feeling in a song or video, I'll reference certain pieces of work that I love. But I'm not wanting to write about film, if that makes sense. It's just something that helps me creatively.

SILY: The folks you collaborated with on this record are everyone from those you looked up to in the past to your peers and a Father/Daughter labelmate. How did you choose your list of collaborators, and what does it mean to you to have this group in particular on the record?

EL: lei, e was someone I looked up to in my journey with music and identified with, having not seen many artists who are from Hong Kong or Hong Kong British, especially in the indie scene. I loved her music, and she was definitely a role model for me. I had reached out [three] years ago on the off chance she wanted to collaborate, and we've done a few things together since. [pauses] Oh, that's funny, she just texted me. [laughs] We ended up doing shows together and events at the Hackney Chinese Community Centre here in London, on Cantonese translations for songs, and a whole bunch of other stuff. She's become a very dear friend of mine. I really wanted to work with her on [an original] song, which is why she was one of the people I wanted on this album. She's got such a nice voice as well.

Miss Grit is someone I met [two years ago.] I loved their guitar playing. We just got chatting, and it was great to collaborate. These artists, I didn't directly pursue them to work with, but when I was writing this album, there would be some songs I had in mind for collaboration, and certain artists made sense for what I felt the song needed. Pickle Darling, we're on the same label, and I love their whole sound and delivery.

SILY: Did the lyrics or the concepts come before the instrumentation?

EL: Usually, in my music, the instrumentation comes first and lyrics after. I sort of tend to write based on a feeling and how that feels on an instrument. I'm actually not very good with words in general. I find it easier to translate what I'm trying to create with music as opposed to words.

SILY: Throughout the record, there's such an interplay between what you're saying and what the song's about, and the way the songs are constructed. You play a lot with tempo, and I feel like it's somewhere between thrilling and disorienting. It's a very effective contrast to the songs. Was that intentional?

EL: There's definitely a relationship. The music is based on a certain feeling or message I'm trying to portray, and the words come together and arrive gradually. Sometimes, they come to me much quicker than others. It takes a bit more time with lyrics [for me.]

SILY: Is the title "telephone congee" named after the term that suggests it should take the length of a phone call to cook congee?

EL: It's actually to do with the length of time you're on the phone, if you're talking too long, you're boiling congee. My mom and aunt would be on the phone for ages, and my dad would be like, "You're talking so much, it's like telephone congee." It's quite colloquial, but it means you're on the phone too much.

SILY: Are the two "telephone congee" interludes plus the final track, "扮豬食老虎", all sampled vocals from your family?

EL: That's my mom speaking Cantonese. She was also on the first album as well. I need to stop getting my family to do stuff. [laughs]

SILY: They've been on everything, right?

EL: Yeah. Even the first EP. My niece and nephew were on [a record], and my dad was on the first record. It's been a nice way for me to do something with them. They're quite far away. My parents are in Hong Kong, and my sister and brother are spread out. Growing up, music wasn't that encouraged. [My parents] encouraged piano lessons and to learn classical music, but not as a career. They must have gotten around to the idea that music is more than a hobby. It's kind of like letting them in to my world, having them send me voice notes or sing on stuff.

SILY: Do they know the voice notes they send are going to be used on your music?

EL: They do, but sometimes, my mom will send me a voice note, and I'll ask, "Can I put this on a song?" and she won't really know what it's for.

SILY: Can you tell me about the album art?

EL: The album art was done by a friend who calls herself Waffle Burger. She's a great artist, a painter. She does these incredible apocalyptic paintings that have this kind of eerie but cute element to them. I felt like that's how my music feels like at times. I like things that are juxtaposing. I actually bought one of her small paintings. We were chatting more when we were working on this album, and I thought of her to do it, and she was receptive. We discussed what sort of vibe it would be, and I picked out things I liked in her work. Her understanding on the album was translated into this strange cave with these creatures. I didn't ask her to, but my cat's in it, in the little picture frame.

SILY: Are you the type of artist always writing songs, or do you have to set aside time to do it?

EL: I wish I could be someone who's just constantly creating, but I'm someone who has to set aside time to focus on it. I noodle on guitar quite a bit, but when it comes to writing, I have to set aside time.

SILY: Is there anything you've been listening to, watching, or reading lately that's caught your attention?

EL: Recently, I've been listening to a lot of Sun Ra and Xiu Xiu. I went to see MaXXXine at the cinema. I enjoyed that; that was fun. Me and my friends have been watching a lot of horror movies. I watched Scanners and loved it and re-watched The Wicker Man, one of my favorite films--the 1973 version, not the Nicolas Cage one. I watched some interesting horror films my friend was keen on seeing, like Paranormal Activity 2--my friends were having a [marathon], and I joined for the 2nd. It's not something I normally watch. I think they watched all 7? I didn't even know there were 7 Paranormal Activity [films.] I've been listening to The Blindboy Podcast.

Tour dates

2/24: El Cid, Los Angeles, CA

2/27: Public Records, Brooklyn, NY

3/1: Wavelength Winter Festival, Toronto, Canada

3/29, Far East Film Festival. Udine, Italy

[extraplugins02]

Download e-instruments – Grand Y

Are you searching for a premium virtual piano instrument that delivers unmatched authenticity and expressiveness? Look no further than e-instruments – Grand Y. This meticulously crafted software instrument brings the elegance and power of the iconic Yamaha C7 Grand Piano to your studio, delivering the nuanced and dynamic tones you need for professional music production.

Why Choose e-instruments – Grand Y?

The Grand Y is not just another virtual piano; it’s a masterpiece. Built on cutting-edge sampling techniques, it ensures that every note resonates with the richness and depth you expect from a world-class concert piano. Whether you’re composing classical pieces, scoring films, or producing modern tracks, the Grand Y adapts seamlessly to your creative needs.

Here’s why this virtual instrument stands out:

1. Impeccable Sampling Technology

The Grand Y uses multi-layered sampling to capture the finest nuances of the Yamaha C7. With precise velocity layers, sustain pedal resonance, and subtle overtones, every keystroke feels as though you’re sitting at the piano bench of a grand concert hall.

2. Versatile Sound Customization

Tailor the piano’s tone to fit any genre or mood. From warm, intimate tones for ballads to bright, punchy sounds for upbeat tracks, the Grand Y provides intuitive controls to shape your sound effortlessly.

3. Seamless Integration

The Grand Y is compatible with major DAWs, ensuring a smooth workflow. Its lightweight design and optimized performance mean you can enjoy ultra-low latency without compromising sound quality.

4. Realistic Pedal and Key Noises

For the ultimate realism, the Grand Y includes advanced pedal noise emulation and authentic key release sounds. These details create an immersive playing experience, making your compositions sound truly lifelike.

Applications of e-instruments – Grand Y

This versatile instrument can elevate any musical genre, including:

Classical Music: Achieve the pristine tones needed for timeless compositions.

Jazz: Add character and warmth to your improvised solos and chord progressions.

Pop and EDM: Layer stunning piano textures to complement electronic beats.

Film Scoring: Create emotive soundscapes that resonate with your audience.

Unleash Creativity with e-instruments – Grand Y

Whether you’re an experienced pianist or a music producer experimenting with virtual instruments, the Grand Y caters to every skill level. Its intuitive interface ensures that even beginners can achieve professional-quality results. With its realistic dynamics and responsive playability, your creativity will know no bounds.

Why Invest in e-instruments – Grand Y?

Unparalleled Realism: Enjoy the rich tones of the Yamaha C7 Grand Piano.

Studio-Grade Sound Quality: Achieve professional mixes with minimal effort.

Incredible Value: Access a high-end piano experience without breaking the bank.

This product is a must-have for composers, sound designers, and producers who demand only the best.

Technical Specifications

File Size: Compact yet powerful.

Compatibility: Works seamlessly with both Windows and Mac systems.

Plug-in Formats: VST, AU, and AAX supported.

Where to Buy?

The e-instruments – Grand Y is available now at ExtraPlugins.com. Purchase today and unlock a world of sonic possibilities for your projects.

Get Started Today

Elevate your music with the unmatched sound of the e-instruments – Grand Y. Whether in the studio or on stage, this virtual instrument delivers the performance and quality you deserve.

Explore the incredible potential of e-instruments – Grand Y and bring your musical visions to life. Click here to learn more and start creating today!

[guitarbomb]

Dive deep into ethereal soundscapes with the Walrus Audio Qi Etherealizer. This stereo multi-effects pedal combines Chorus, Delay, Granular effects, and Reverb for limitless sonic exploration.

[dustedmagazine]

Waxahatchee — Tigers Blood (Anti)

In the press interviews leading up to the release of Tiger’s Blood, Katie Crutchfield’s latest for Anti under the artist name Waxahatchee, the artist made it clear that she wanted to step away from the tortured artist model of creation and reception. The songs and themes explored move further away from the edginess of Out in the Storm, a cathartic but harrowing effort from 2017. In this sense, it follows the thread of her 2020 recording Saint Cloud. As on that album, Brad Cook produces, at Sonic Ranch Studios in Texas. The sound blooms; Tiger’s Blood is the most polished of Crutchfield’s albums to date.

An excellent group of supporting musicians are on hand. The guitarist MJ Lenderman navigates the delicate balance of acoustic and electric instruments with a clean electric sound, and economic, skilful solos. The songs are further fleshed out by banjoist Phil Cook, Brad’s brother, and drummer Spencer Tweedy.

Crutchfield has a glorious voice that has only improved with experience. When I reviewed Plains, her duo project with Jess Williamson, for Dusted, I remarked that, “Crutchfield and Williamson singing together create magic.” Magic is created by voices here too. There are few songs where the lead vocal isn’t accompanied by backing vocals: overdubs of Crutchfield and help from her collaborators. A song like “Evil Spawn” has an excellent hook, but the incorporation of multiple background singers really makes its arrangement attractive. “3 Sisters,” appropriately, over the course of the song builds to 3-part harmony. The title track and album closer gets help from a chorus of enthusiastic voices.

Songs like “Ice Cold” and “Bored” bring the music closer to the rock end of the country music spectrum, a popular place currently to reside. Crutchfield’s attachment to roots music is also on display, with “Right Back at It” spotlighting Phil Cook and pedal steel adorning “Crimes of the Heart.”

True to Crutchfield’s word, Tiger’s Blood is an album that avoids bathos. That doesn’t mean that strong emotions are absent. In “Burns Out at Midnight,” she confronts angry impulses. “365,” one of the album’s singles,  is about a toxic relationship. She sings,”I catch your poison arrow, I catch your same disease, Bowing like a weeping willow, Buckling at the knees, Begging you please.” “Crime of the Heart,” about another devolving relationship, rhymes the title with,”you’ll rip yourself apart.” The music denies any sense of wallowing, even sounds upbeat, suggesting that this relationship may be in the rearview mirror soon enough.

Tiger’s Blood doesn’t have a weak cut on it. One imagines it will be in heavy rotation for many long after its release.

Christian Carey

[pedaloftheday]

We're back after a rough week following Hurricane Helene, but are excited to finally bring you an amazing collaboration between Chase Bliss and Billy Strings, reviving a beloved pedal with some new upgrades and sonic oddities that you're sure to love. Come along as we explore the Billy Strings Wombtone Analog EnveloPhaser, you're really gonna dig this one…

If you have the means, please consider donating, volunteering or helping folks who have lost their homes, businesses and more in this devastating hurricane - every little bit counts! ❤️

[newmusicradionetwork]

Cary duo, The One Eighties, return with their first song since releasing their debut album Minefields in 2023. “Backseat Devil” will be out January 17, 2025 (Pre-save HERE). The duo labored for two years over Minefields in a feat they call “tamed extravagance,” melding unlikely combinations of acoustic guitars with ‘80s synths, orchestral strings, and space-country tones, but with their forthcoming single “Backseat Devil,” it sees them doubling back toward the naked simplicity of their Americana roots.  Exploring themes of alienation, regret, and personal growth, this song can be described as hopeful melancholia inspired by old-time “highway” country, roots rock, and the echoes of Appalachia. Conceptually, the song is about trying to leave something behind, but not being able to fully let go. “Maybe there is a nagging guilt about how you left it,” says Cook. “But whatever it is, it’s there in the backseat haunting you no matter how much you try to outrun it.” For “Backseat Devil” they enlisted the help of well-known session players including award-winning drummer Fred Eltringham (Sheryl Crow, Kacey Musgraves, Carrie Underwood), pedal steel player Whit Wright (American Aquarium, Thomas Rhett Akins), bassists Bill Corbin (American Aquarium) and Casey Toll, Charles Cleaver on organ and accordion, and Maigan Kennedy on soprano harmonies and cello.  Most of the tracking and mixing was done at the duo’s home studio in Cary, NC with final mastering done by Steve Fallone of Sterling Sound (Taylor Swift, War on Drugs, Nora Jones). Cook and Brand garnered high praise with their former band New Reveille from The New York Times, Rolling Stone, Billboard, and CMT, when they were just starting to make waves. But like many a common tale, their record label closed down, the pandemic hit, and the band went their separate ways. The chronically indecisive pair then pulled a “one-eighty” and changed course, driven by the challenge of setting out on their own.  Even though the duo had to start over, with Minefields, they’ve reemerged with exceptional reviews.  Americana UK said the album “…features gorgeous, sweeping sonic layers over powerful, hypnotic percussion; The haunting melody of Brand’s vocal floats perfectly with Allyn Love’s swooning pedal steel guitar and keys from Charles Cleaver, which both add to the dreamy atmosphere.”  B-Sides & Badlands said, “When listening to The One Eighties’ debut album, it’s hard not to imagine it orbiting the very same sun as Kacey Musgraves’ transcendent Golden Hour…Like Musgraves, The One Eighties stretch the limits of their craft, bending styles like light through a prism…Each musical swerve is like a rubber band snapping. And you get the sense that the creative pair are blooming right before your ears. It might be their debut outing, but there’s a masterclass of musicianship on display many new artists rarely achieve. It’s magnificent to behold.”  Hollywood Digest said “…one of the most complete and exciting releases of 2023 among the alternative country and indie pop/rock undergrounds. Bursting at the seams with originality but connected to an iconic blend of influences that seems to impart something wholly unique around every turn, The One Eighties’ Minefields is a must-listen.”  Melody Maker said, “Surprisingly engaging and consistently more complex and involved than anything else I’ve heard under the alternative country scene as of late, The One Eighties’ Minefields is a masterpiece in every department.” Outside of their main musical pursuits, Cook and Brand recently launched Foxriot, an award-winning film and video scoring company with successful projects under their belts for IBM, UNC, Duke University, Carolina Performing Arts, and more.  Part of the goal for Foxriot was to help provide more of a financial foundation for The One Eighties to be able to get out into the world. Look for The One Eighties to tour and release new music throughout 2025. THE ONE EIGHTIES Website | Instagram | Facebook | X | Spotify | YouTube | Threads | TikTok Read the full article

[pratimadheer]

Customizing Your Vox Amp: Mods and Accessories to Enhance Your Sound

Vox amps have a legendary reputation for delivering rich, dynamic tones that have defined genres and inspired countless musicians. While they sound incredible right out of the box, there’s always room for customization to make your Vox amp truly your own. From subtle tone adjustments to full-on modifications, customizing your amp can unlock new sonic possibilities and ensure your sound stands out. In this article, we’ll explore various mods and accessories to enhance the performance, versatility, and character of your Vox amp.

Why Customize Your Vox Amp?

Customizing your Vox amp allows you to:

Tailor the Tone: Dial in specific sounds suited to your playing style and genre.

Expand Versatility: Add features or effects to adapt to different musical situations.

Improve Performance: Upgrade components for better reliability and durability.

Personalize Aesthetics: Give your amp a unique look that reflects your personality.

Whether you’re looking to tweak subtle nuances or overhaul the amp’s capabilities, customization is an exciting journey of experimentation.

Popular Mods for Vox Amps

1. Tube Upgrades

One of the most common modifications for Vox amps is upgrading the tubes. The choice of tubes significantly impacts the amp's tone and responsiveness.

Preamp Tubes: Swapping out the stock preamp tubes can alter the amp’s gain structure and harmonic content. For example, 12AX7 tubes provide high gain, while 12AT7 or 12AU7 tubes offer smoother, lower-gain options.

Power Tubes: Vox amps, especially the iconic AC series, often use EL84 tubes. Upgrading to premium EL84 tubes can enhance clarity, warmth, and headroom.

2. Speaker Swaps

Changing the speaker in your Vox amp is another impactful modification. Different speakers emphasize various tonal frequencies and dynamic responses.

Celestion Alnico Blue: A popular choice for Vox amps, it delivers the classic chime and warmth associated with British tones.

Greenback Speakers: Ideal for those seeking a more mid-focused sound with a creamy breakup.

3. Bright Cap Mod

Vox amps are known for their sparkling high end, but this can sometimes feel too sharp, especially at lower volumes. A bright cap mod involves removing or adjusting the capacitor that emphasizes treble frequencies, resulting in a smoother, more balanced tone.

4. Master Volume Mod

Adding a master volume control is a game-changer for players who want cranked-up tube tones at lower volumes. This mod allows you to drive the preamp tubes into distortion without blasting the power section, making it ideal for home or studio use.

5. Effects Loop Installation

If your Vox amp doesn’t already have an effects loop, adding one can dramatically improve how time-based effects like delay and reverb interact with your signal. Placing these effects after the preamp stage retains their clarity, especially when using amp-driven overdrive.

Accessories to Enhance Your Vox Amp

1. Pedals for Added Versatility

Vox amps pair beautifully with pedals, and the right ones can dramatically expand your tonal palette:

Overdrive and Boost Pedals: Add grit or push your amp into higher gain territories while retaining its natural character.

Reverb and Delay Pedals: Complement Vox’s clean tones by adding depth and atmosphere.

EQ Pedals: Fine-tune your frequencies for specific genres or situations.

2. Attenuators

An attenuator connects between the amp and the speaker, allowing you to achieve tube saturation at lower volumes. This is particularly useful for taming the volume of high-powered Vox models during practice or small gigs.

3. External Cabinets

For players seeking more projection or a fuller sound, connecting your Vox amp to an external speaker cabinet can be transformative. Larger cabinets or those with multiple speakers can enhance bass response and overall volume.

4. Protective Covers and Cases

Investing in high-quality covers or road cases ensures your amp stays protected during transport and storage. This is essential for preserving its performance and appearance over time.

5. Custom Aesthetics

Personalize your amp with custom grille cloths, tolex, or knobs. These changes won’t affect the sound but can make your Vox amp visually distinctive and uniquely yours.

Tips for Safe Modifications

While customizing your Vox amp is exciting, it’s important to proceed carefully:

Understand Your Amp: Study the schematic and learn about the components before making changes.

Consult Professionals: For complex mods like adding an effects loop or master volume control, seek help from a qualified amp technician.

Use Quality Components: Cheap parts can compromise performance and reliability.

Test Incrementally: Make one modification at a time to understand its impact on your tone.

Conclusion

Customizing your Vox amps is an excellent way to enhance its tone, versatility, and aesthetic appeal. Whether you’re upgrading tubes, swapping speakers, or adding pedals, each modification brings you closer to your ideal sound. By carefully selecting mods and accessories, you can unlock the full potential of your Vox amp and create a setup that’s truly tailored to your musical journey.

So, grab your tools (or call a pro), and start transforming your Vox amp into a one-of-a-kind tone machine!

[bamsmuzic]

█▓▒▒𝐅𝐫𝐞𝐞 𝐕𝐒𝐓 & 𝐀𝐩𝐩│𝐎𝐜𝐭𝟐5-𝟐𝟎𝟐𝟒 "Live"░░░▒▒▓█

– – – SATURATION & CREATIVE EFFECTS – – – Fuzz Plus 3 Dev: AudioDamage ▼Download▼ FuzzPlus3 is based on a vintage fuzz pedal model. Accurate digital model of a vintage distortion pedal’s circuitry. Resonant low-pass filter modeled on the MS20 analog synthesizer. Self-feedback control for exploring new sonic territory. (In less pretentious language: feeds the output back to the input,…