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Showing posts sorted by date for query The Passenger matrixsynth. Sort by relevance Show all posts

Thursday, February 25, 2016

The Passenger - Daydream Orange - RF036


Published on Feb 25, 2016 Rennie Foster

Some synth spotting with The Passenger aka Jesse Creed who has been known to sport some MATRIXSYNTH swag over the years.

"Vancouver based artist, The Passenger, joins the RF label. This DIY vid peeks into his studio hide-out full of vintage gear, from every era, many pieces restored on site.

Sunrise Requiem EP coming April 14th, 2016.

Stream on SoundCloud : https://goo.gl/FK08OB

Artwork by Pax North.

www.the-passenger.bandcamp.com
www.renniefoster.com"

Friday, January 29, 2016

Cool Hat


Jesse Creed/The Passenger and the first and only MATRIXSYNTH trucker hat in existence. Jesse had been asking me to make one for some time now, so I did, and it is now his.

He's been known to sport MATRIXSYNTH gear in the past.

Thank you Jesse!

Monday, November 02, 2015

MATRIXSYNTH T Sighting - The Passenger at the Commodore in Vancouver


Jesse Creed aka The Passenger

"Sportin the matrixsynth tee at the Commodore in Vancouver"

Saturday, November 08, 2014

The Passenger with MATRIXSYNTH T

via exclaim.ca

"Run by CiTR host Gareth Moses, More Than Human is one of Vancouver's most interesting labels. The fledgling outfit already boasts diverse experimental EPs from the likes of German electronic music legend Dieter Moebius, Planet Mu associate Ekoplekz, and London A/V artist Time Attendant. This pagan inspired 'Winter Ritual' gave fans a glimpse at its past, present and future.

Kicking off the evening was frequent Longwalkshortdock and cEvin Key collaborator Phil Western. Sitting in the back corner of the stage, partially obscured by several folding tables covered in electronic paraphernalia, he started with an ambient soundscape that recalled Boards of Canada, building to deeper droning IDM by the end. It had a vibrant metropolitan kosmische sound, with his pulsing bass guitar swimming amidst the layers.

From there, Western assumed the role of sound guy to mix Sinoia Caves and the Passenger. Jesse Creed (aka the Passenger) is a longtime member of the MTH family, having been the name on their very first release, (Negative Object, from 2013, but both Creed and Jeremy Schmidt (aka Sinoia Caves) should be a big part of its future, with the artists slated to release the first two full-lengths on the label in the next year or so..."
Full article here.

http://soundcloud.com/the-passenger
https://www.facebook.com/jesse.creed

Tuesday, December 24, 2013

Solstice! & Merry Matrixmass!


Another one via Jesse Creed on The MATRIXSYNTH Lounge.  A follow-up to this pic.

Jesse Creed aka The Passenger & Gareth Moses of More Than Human Records.

Saturday, December 21, 2013

Happy Solstice via More Than Human



via Jesse Creed on The MATRIXSYNTH Lounge

aka The Passenger

Update: that's Gareth Moses, founder of More Than Human Records.

Wednesday, September 11, 2013

MATRIXSYNTH T Spotted in the Georgia Straight with The Passenger


Check out the article on the Georgia Straight here.

“The machines I choose kind of define what I’m going to make with them, almost,” says Creed, on the line from his CanMARC studio. They don’t really dictate where to go with the music, but they definitely encourage the kind of music I make—or colour it, anyway.”


via Jesse Creed aka The Passenger: More Than Human Records | Soundcloud | Bandcamp | CanMARC
on The MATRIXSYNTH Lounge

The Passenger has also been featured here on MATRIXSYNTH many times. Thank you Jesse!!!

Saturday, February 16, 2013

MATRIXSYNTH T Spotting with The Passenger



via Tristane on Facebook

Jesse Creed aka The Passenger

Friday, November 23, 2012

Self Destruction - DJ Lace vs RC Dahle & The Passenger



via Lace Dj on The MATRIXSYNTH Lounge. More pics here.

"An electronic rock track using a custom built electric cigar box bass guitar, a Sequential Circuits Pro 1, Roland TR-606, Korg MS-20, a custom eurorack modular synth & intersound spring reverb. Vocals were recorded using a 1995 groove tubes MD1 tube mic, into a focusrite ISA one preamp with digital out. Recorded into ableton live 8, mixed on a Tascam DM4800 with yamaha HS80 monitors.

The track started out as a quick jam to a 77 bpm beat using the box bass & the song developed from there.

The box bass has an oak neck and poplar box. It’s nailed together so it resonates, the string is a spare low string from L&M. The pickups are a pair of dimarzio Twang kings. Their are placed to the side of the string, facing each other and offset. The top pickup is on a hinge.

The bass was plugged into the Focusrite ISA one with the gain all the way up. The ISA can take a lot of drive and sounds great squared off.

Ryan Dahle played the bass string with power, forcing it to hit the non moving coil at times, to great effect. While playing he would also vary the distance of the second coil. During the breakdown he rubs and strikes the moving coil against the string and jumps back into the guitar riff by plucking normally and moving the coil back again.

At mix down the guitar is run through a tube screamer plugin and an ssl vst channel pulling back 350 and pushing 5k up. It is panned hard right and left dry. An effect send from the guitar channel feeds an intersound spring reverb with 1k pulled back about 6db. The dry guitar signal and reverb return are matched back to stereo in a late 60s fashion.

The mechanical noises in the background of the track were created as a modular sequence that had to be restarted until it started on a part of the pattern that sounded right.

For this sequence, The TR 606, MS 20 module, and Modular are all wired together as one system. The 606 receives dinsync from the DAW via a roland SBX10 sync box. From the 606 the high tom output triggers the clock input of the MFB trigger sequencer in the modular which is making a 32 step pattern triggering a clock divider that controls the envelopes used in the system. One of the clock divider trigger outs controls the a105 filter which filters the output of an A117 noise source. The resonance of the A105 is wide open and modulate by the animated pulse out of the Livewire AFG (VCO). The frequency of the AFG is itself modulated by one of the LFOs on the A143-3 (quad lfo).

This is what creates the low volume noise in the track treated to sound like sample distortion artifacts.
Another of the the clock divider outputs feeds the MS 20 trigger input. The pink noise generator on the MS 20 is patched back into it's own external input. This noise runs through the ms 20 filter sections under control by envelope generator 2, and the on board LFO.

This is what creates the tom like sounds and the helicopter warble synth noises when the song picks up at the end.

Yet another output of the clock divider feeds an A140 envelope generator which is triggering the spare VCA on the ms20. The white noise of ms 20 goes into the audio input of this VCA and into the analog input mod of the TR 606. Inside the 606, this rhythmic noise pattern is cross modulated by the high hat pattern and you can hear the result in the track. The swung out effect of the high hats is a direct result of this, as the 606 has no swing function.

The drums are distorted 909 samples, run as a stereo drum mix into a Duende SSL bus compressor. The background vocals are a 5 part harmony, sung in 6 duplicates each mixed down to mono comps, then spread out into a 70s rock opera stereo field. There is a 375ms ping pong delay on the two high vocals and a long reverb on the two low ones. The middle ones are dry. The chorus lead is sung twice and double tracked, shifted by hand in various parts of the song to pull the effect forward and backwards. The front verse and the chorus share the same tempo delay. The delay is slightly bit crushed.

In order to give the idea of the background vocals slowly destroyed under the pressure of the drums, they shift to vocoded versions of themselves losing a bit of pitch tracking in the process and get bit crushed into nothing by the time the last chorus ends. This is done with 5 individual vocoder plugins and 5 bit crushers and automated ramps.

The desperation vocal in the break down and rebuild is mostly dry albeit for a small amount of TC reverb that sits behind the whole mix. The vocal has one effect on it, a boss ds1 plugin with mild gain. An SSL channel is used to shelf the bottom out completely and bring the top end up a bit, giving the vocal a “small” feel.

The pro 1 brings a bit of bass to complement the guitar, but it’s mixed pretty low in the mix, leaving the kick drums to do more work and get to a hard-techno / hard-style sound. The sample at the end is from a loop of the second chorus that just sounded so cool I decided to tag it at the end of the track, taking yet into one more direction before an old school FM radio fade ending.

The track was mixed down on a Tascam DM4800, using the onboard TC reverb and and external intersound reverb unit. Enjoy"

Tuesday, July 10, 2012

The Passenger



via Mikëal Frazer on Facebook

"The Passenger show at Zoo Shop.... SO GOOD!"

On the gear: "Alesis MMT-8, FR Revolution, Ensoniq SD-1, Arp Solus, Korg ES-1, Roland CR8000, and a Boss re-20

Added to the MATRIXSYNTH T & Swag Hall of Fame.

Thursday, April 26, 2012

Village - Stranger Thoughts (the passenger's drift mix) & the Delta Labs DL-2



"sea sick head nod...look out and unfocus your eyes
villagevillage.bandcamp.com"

via Jesse Creed on The MATRIXSYNTH Lounge

"remixed with ableton and a tr808 through a delta labs acoustic computer"


via Lace Dj on The MATRIXSYNTH Lounge

"By request here is the rare deltalab dl-2 from the Canmarc collection. Jesse & I use it all the time. It's a dual digital delay line that can function in serial or parallel mode. It's unique in many ways, the most obvious being in the name. It's one of the few digital devcie that uses delta modulation instead of pcm to sample audio and it's part of the reason it has a unique sound. You can sample the input, hold and randomise the delay, then add eq + reverb and modulate the result with an LFO on delay time and reverb pitch. You can change image and phase on the fly, and it has voltage control inputs on the back for the VCO. Around it are a couple other of our vinatge units, above is another rare Deltalab, The dl-5 Harmonicomputer voltage controlled pitch shifter and below it is the Intersound R100 spring reverb."

Saturday, January 07, 2012

Bonz.ai 1.14 featuring THE PASSENGER


MATRIXSYNTH T sighting

via Bonz.ai's Photos on Facebook

"The Passenger workin' his synth magic. . .
— with Jesse Creed at LanaLou's."

Yamaha CS30

Link added to the MATRIXSYNTH Swag Hall of Fame

Saturday, November 05, 2011

Phuture's acid




http://m.matrixsynth.com/2011/11/november-acid-patter.html
TB303, TR909, TR808, Eurorack Modular, MS20, MXR Phase 90, Tascam DM4800"

Also see beth's night time acid by the passenger.


Wednesday, January 19, 2011

CanMARC Studio Synth Pics and a New Track From The Passenger


Uploaded on Jan 18, 2011 canmarcvancouver

"An ambient piece using a Roland JP-8080, Waldorf micro-q, Oberheim Matrix 6, Kawai sx210, Tr-606, Tr-808, systech flanger, Korg DVP-1 vocoder. The video was created in Vegas and synced to ableton."

Also on MATRIXSYNTH-C.


Friday, December 10, 2010

the passenger


Some synth pics via the passenger. SoundCloud below originally posted on MATRIXSYNTH-C.


Latest tracks by the passenger

Thursday, October 15, 2009

MATRIXSYNTH Swag & Hall of Fame!!!

MATRISYNTH Ts are $20 in the US and $25 outside the US. This includes the shipping cost, three MATRIXSYNTH cards and one magnet.  A set of three cards and one magnet, minus the T, is $5.

The T-Shirts are from Gorilla Screen Printing - highly recommended. If you get Ts done by them, let them know you found out about them here.

Paypal any amount to matrixsynth *at* gmail.com. Be sure to include the shipping address, size and whether you'd like long or short sleeves.

Below are some MATRIXSYNTH Ts and cards spotted in the wild. If you have them, send them in!

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