Category Archives: studio work

Holger Czukay

Holger card at time of a new release

one of Holger’s card. He used to always place one in the envelope when sending audio tracks back and forth while working on a project. Audio files were sent on data cds at that time.

It was 2000 or so when me and Holger Czukay began to collaborate together.
The first project we did together was an album titled Linear City but, beside some recordings we’ve shared since then ( see also 21st Century) , the spiritual presence of this man became constant in my life.
His joyful manners have always been gently expressed in his postcards, messages and conversations.
I still have some of the postcards he was putting in the packages we were exchanging at the time when it was not possible to share large audio files via the internet.
They were expressing taking fun seriously, and they always made me think about the intention and the attitude behind my music making.

He will always be a reference of how growing through music can make a human being bright of pure beauty.

 

Piero Chianura’s 10 Tumbleweeds album premiere in Milan

I’m very grateful of having been involved into this beautiful recording and I’m so happy it is finally going to see the light or, better said, reach the ear…

This is the invitation to reach the premiere, which will be held in a full sound-awareness situation thanks to Le Ragioni di Eustachio and the Genelec sponsorship.

This premiere will be part of the PACTA Salone 2017 – Arsenale dei Teatri in Milan.
An event dedicated to music composition in theater works.
Info: biglietteria@pacta.org | tel. 0236503740

Invito_13_03_17Tumble_13_03_17

Audio processing from hardware to software, the difficult evolution.

Since I began my musical journey I’ve always been fascinated by the depth of acoustics, sound processing and real time audio manipulation, so much that I feel like I am playing sounds much more than guitar.
I’ve been extensively using rack processors since the end of the eighties.
My setup grew to a point where I felt the need to start reducing it, this was its last “hardware-just” incarnation:

My latest hardware-just sound processing environment, circa 2004. From top Doepfer Fader control, 2 Oberheim Echoplex running in stereo/dual mono, Tc Electronics Fireworx, Eventide Orville, Sound Sculpture Switchblade GL. Not visible are the Mesa Boogie Studio preamp, foot controllers and volume pedal.

Around the end of 2005 I started to substitute looping processors ( two Echoplex Digital Pro from Oberheim) with a pc laptop loaded with Mobius, just a few months later I started investigating the potential of using an audio interface as signal router/splitter/mixer to dropĀ  another piece of hardware, the fantastic Sound Sculpture Switchblade.
This is where the real story began: I started to use a software application as the center of my audio enviromenment, a hybrid between hardware processors: an Eventide Orville ( later a H8000fw) a TC Electronic Fireworx and a Boss VF1, another great processor, often underestimated and plugins running in my laptop.

My hardware-software sound processing environment as it was in 2011. Pc laptop running Audiomulch and Mobius as audio looper, Eventide H8000 fw, Tc Electronics Fireworx, Boss Vf-1 and Rme audio card. On the floor the Gordius midi controller and various pedals. Not visible is the Mesa Boogie Studio preamp.

I installed and checked Bidule, Usine, Max-MSP, Live and Audiomulch.
Checking these amazing software meant to enter into their respective universes, meeting completely different approaches to audio routing, user interface, general settings concepts, languages and internal organization.
Being a non digital native with zero academic training in electronics and computer programming I’ve had the feeling of being exposed to a sort of philosophical challenge.

I checked these fascinating applications keeping my focus on audio routing flexibility, midi control, computing resources, system stability and ease of use.
With these aspects in mind I decided to go for Audiomulch which, since then, has been the environment in which I’ve developed my audio processing system and, basically, the core of my playing: my actual musical instrument.

Audiomulch was a fantastically thought application: essential and deep at the same time, clean and efficient, with a very smart way of connecting modules and plugins; it has been key to allow my approach to audio processing progress and grow up to where it is now.

During all this time I’ve met many idiosyncrasies, bugs and incomprehensible solutions that made me waste a big lot of time and challenged my patience.

In 2016, after more than 10 years of use of Audiomulch I feel that there’s no more reason to live within the restrictions of 32 bits and be limited by single core processing; I feel like I have to move to a more up to date application. This is sad as I would prefer so much to keep using Audiomulch, I still think its concept delivers the best mix between interface/routing/processing/midi mapping out there, at least for the way I use it.

Since March 2016 I’m testing software to find the new host to process my audio.
Max/MSP, Usine, Audiostrom Sound Professor, Plogue Bidule, Cantabile, Ableton Live, Bitwig, Gig Performer and some others I just can’t remember.
All this to find the application to replace Audiomulch.
It is complicate, there are so many weirdness out there, strange visions and sometimes incomprehensible solutions. On the other hand you can easily find many interesting ideas but, unfortunately, not all of them in the same package.
I honestly just hope Audiomulch will show a new breeze of life, just before I do the final move.
Please Ross, let the world enjoy Audiomulch at 64 bit and with multicore support!

Watching the captain mixing

Stefano Castagna @ Ritmo&Blu is finishing with me the mix of the tracks which potentially are going to be part of a new albumottotracce of Flos.

 

On the desk there is now the last candidate song: 4 stereo tracks able to bring into a different territory born from an improvisation set with the dear friend Markus Stockhausen.
Listening to his trumpet in the same music where I play always reminds me how unique is the feeling of playing together and, once again, what a lucky man and musician I am.

Watching Stefano mixing and managing his immense SSL board is like being sit on the prow of a fast sailing boat, with the ocean in front of you and a solid and serene captain at the helm.

Lucky man I am.