He’s also generously giving away 40 premium recordings made with the No-Input Mixer technique, for free! Here’s Stuart Keenan with more on all this:
The No-Input Mixer technique turns any regular mixer into an instrument which generates sound by connecting the output of a mixer into one of its inputs, resulting in a feedback loop which can be played and controlled using the mixer’s knobs, faders and routing options.
Most-famously used by pioneering Japanese noise musician Toshimaru Nakamura and aptly described by Canadian musician Christian Carrière as ‘the sound of the circuits inside the mixer singing’, the No-Input Mixer has a wealth of both beautiful and anarchic audio waiting to be uncovered and is a useful, versatile instrument to add to the sound designer’s arsenal of sound generating techniques.
By introducing the instrument to the creative process, the sound designer is opened up to a multitude of unique audio possibilities. Unsettling soundscapes suited to science fiction, dystopian and horror projects, impacts, interference, broken transmissions, drones, malfunctioning machinery, future technology sounds and glitch elements are just a few of the fruits of the No-Input Mixer.
A plethora of twisted tones await anyone willing to unearth the sonic treasures of the signal gone ‘wrong’
While a single output into an input brings instant results, it’s when multiple outputs and inputs are connected that the fun really begins. When coupled with guitar effects units or anything else which will affect the signal, a plethora of twisted tones await anyone willing to unearth the sonic treasures of the signal gone ‘wrong’.
An example of sounds created with the no-input mixer technique
Please note that caution should be applied when creating feedback loops as there is some potential to damage equipment. We are, after all, connecting things ‘incorrectly’. Also, things can get loud, very loud. Having said that, I haven’t managed to break anything just yet and have recorded numerous sessions using a No-input Mixer. It’s best to get used to using your master volume as a panic control if things get a little out of hand.
1: When starting out with the No-Input Mixer, it is perhaps best to not use headphones in case of any unpleasant surprises. With speakers, start off at a low volume until you are comfortable with how it all works. However, a limiter can always be used to reduce the risk of any unwanted audio nightmarescapes!
2: Keep things simple to begin with. A single channel feedback loop with no effects can produce plenty of great source material to work with and is the simplest way to get acquainted with the mixer being used as an instrument.
3: Use very short movements when tweaking your mixer controls, the smallest increment may produce a fantastic sound which could be missed if you are a little too quick on the knob or fader.
4: It is a good idea to have an EQ in the signal path as your mixer’s EQ controls will no longer be operating in their usual way due to the feedback loop. Tweaking the EQ as you go can help you sculpt a huge range of sounds from a raw feedback loop.
5: If you come across a sustaining sound that you like, let it run for a while without changing any of the mixer controls. The feedback will sometimes just stop by itself, but can often evolve into some really nice (or nasty) variations of the initial sound.
6: For a variety of drones, consider using an octaver, or simply pitch down an octave or two with software afterwards. Adding distortion will create harsher drones, which can easily be toned down and shaped with some filtering and EQ.
7: Science Fiction effects and atmospheres come easy with the No-Input Mixer, particularly, when delay units are included in the signal path. Try using a high feedback setting on the delay and experiment with the device’s settings, manually tweaking the delay time often brings a decent array of sounds, too. It’s also worth noting that when using a stereo delay, a feedback loop within a feedback loop can be created by connecting one of the delay’s outputs to its input.
8: When using battery powered guitar effects pedals, don’t worry if batteries are running low as this adds sonic artefacts which won’t be there when the power is at full, which is a nice little bonus!
9: Record everything! Many tones can be missed if record is not enabled while experimenting, so it’s best to get in the practise of capturing everything the instrument outputs from the very beginning, as it can be difficult to reproduce a sound exactly.
10: Finally, have fun, experiment, improvise and look at the No-Input Mixer as a unique sound generating tool you can delve into whenever you want a break from the more traditional sound design techniques. Also, playing with feedback and noise is just incredibly satisfying!
Stuart Keenan has compiled a special selection of 40 sound effects (548 MB total!) from his ‘Feedback Loop FX & Atmospheres’ and ‘Signal Interference’ SFX libraries – and he’s giving those away for free, as a taste of what’s in the full libraries.
Just enter your name and email address below to get the download link + the much-loved A Sound Effect newsletter:
NB: If you don’t receive the email with the download link, please check your spam folder. Oh, and existing newsletter subscribers can of course get the sounds too.
Cable FX 09.wav
Cable FX 15.wav
Drone 03.wav
Drone 04.wav
Feedback FX 02.wav
Feedback FX 15.wav
Feedback FX 17.wav
Feedback FX 22.wav
Feedback FX 29.wav
Feedback FX 33.wav
Feedback FX 34.wav
Feedback FX 36.wav
Feedback FX 50.wav
Harsh Noisescape 06.wav
Harsh Noisescape 09.wav
High Frequency Feedback 05.wav
High Frequency Feedback 10.wav
Hum 04.wav
Interference 04.wav
Interference 05.wav
Interference 14.wav
Interference 18.wav
Interference 19.wav
Low Frequency Noise Atmosphere 02.wav
Machine Gone Wild 02.wav
Machine Gone Wild 10.wav
Machine Gone Wild 14.wav
Machine Gone Wild 18.wav
Signal Interference 08.wav
Signal Interference 09.wav
Signal Interference 11.wav
Signal Interference 13.wav
Signal Interference 17.wav
Signal Interference 29.wav
Signal Interference 30.wav
Signal Interference 34.wav
Signal Interference 38.wav
Signal Interference 40.wav
Wobble Drone 06.wav
Learn about the No-Mixer Input Sound Design method – and get 40 SFX for free! – here:
Two SFX libraries created with the no-input mixer technique:
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Human Vocalizations $25
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An eclectic collection from my extensive archive: Jumbo Jets, Military Fighters, War-birds, Helicopters and Bi-Planes. From an F-16 to a Tiger Moth – it’s all here.
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Medieval Battle contains a wide variety of sounds taken straight from the battlefield. Unleash the full force of your army with effects from a diverse range of medieval weaponry, crowds, horses and battle charges. There are also battle cries, screams and shouts to make the audience feel like they are right there on the frontlines. To bring you the most organic and natural battle sounds, we recorded actors performing in a quiet exterior location. All sounds were recorded in 24Bit 96kHz, allowing for further sonic manipulation.
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Here are the included folders:
Crowds: Crowd rushes and static battle cries in a natural exterior location make these effects perfect for building the bed of a huge Medieval warzone.
Female Voices: 4 individual female actors perform multiple vocalisations including screams, grunts and efforts.
Sword & Shield Hits: A variety of sword and shield hits performed by weapons and combat experts.
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Cars, trucks, motorcycles at different speeds on a rural road in the middle of nowhere during summer.
From left, from right, from both sides, single vehicle or several at the same time.Recorded simultaneously with an ORTF and a AB microphone stereo pairs.
Gear used:
Sound Devices 788T
MKH8020 stereo pair
MKH8040 stereo pair -
Crisp, clean, crunchy and closely mic’d impacts with various types of pebble and dust debris.
I recorded all these sounds with my brothers during a trip home to Ireland.
Close to our home (out in the middle of nowhere), there is a little quarry with a lot of sand, dust, stones, rocks and some grass. There was also a broken plough there that gave some nice stone on metal impact sounds.Equipment:
2 Line Audio OM1s
2 Line Audio CM3s
Røde NTG3
Tascam DR10025 %OFF -
Recording of a BSA M20 WW2 motorcycle with a 1 cylinder 500cm3 engine with 4 gears.
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Sci-fi Guns Sounds
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Tracklist PDFMore about the pack:
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[Format]
All files are in:WAV – Stereo 44.1 Khz, 16bit
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