Taupe Beats
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Content Count
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Joined
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That switch is noisy as hell and it's a double-problem because you need to run it through some kind of drive circuit or a preamp to make it loud enough, which then makes the kill clicks REALLY loud. However, that's why their "Swarm" knob is there, it's a very subtle LPF with basically no resonance and when it's at about 7'o'clock position or so, that does really dampen the noise from the kill button (however it also dampens the higher frequencies of the springs).
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I was talking about the Blackfly regarding the clickless kill button. If the Freeze did the same, I have no clue (but that would be awesome)!
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edit: misread the previous post and thought it was talking about the Blackfly.
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That looks awesome, I need to try this myself soon.
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As an aside with The Irishman, something I'm curious about from a psychological perspective: How did DeNiro take to the CGI de-aging idea? He had to do something relatively similar for Raging Bull but it required a pretty extraordinary effort from DeNiro to pull it off. I would think it's likely a point of pride to him. I wonder how he felt being asked for his character to go through something similar, but without his personal intervention to make it happen. I'll reserve most of my other thoughts on the film. I did find the Paquin character (and her younger counterpart) to be massively underutilized (and for me, the most interesting aspect of the film is the dynamic between her and DeNiro). And strangely, there were certain elements of exposition (mainly around Pesci) that I felt were not fleshed out, and missing detail is usually not a weakness for Scorsese.
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Most touring producers don't come near the south unless you count Miami. A lot of producers say they're "touring" the U.S. when they just play the coasts and reiterate the philosophy of "flyover" states. Makes me appreciate Malcolm McLaren's stunt when the Sex Pistols toured the U.S. all that much more.
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Even though he was in Tarkovsky's greatest films, this film may have Anatoliy Solonitsyn's best performance. Edit: And Shepitko died during production of this film and Klimov had to finish the film on her behalf.
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I have Numark TTX's and a Native Instruments Z2 (have owned an Ecler and then other cheap mixers in the past). I mainly use a Denon controller these days out of space/access to a larger musical library. Learned initially on vinyl, quickly switched to cd's for track accessibility (this is pre-Traktor). Went back to vinyl after a while because of the feel. Traktor shows up and I wind up getting that and loved it (still do). As far as music to play: not to be an ass but it depends on mood and/or setting. I try to avoid playing the same things too much in mixes but often fail. Will have my personal favorites of the moment that inevitably wind up in the mix. Typically try to keep an eye out for new stuff coming out because it's nice to have fresher material involved.
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I'd say find a 2nd hand mixer on Craigslist or something and try to find something with D-Sub ports for individual outs. Or win the lottery and get a Toft.
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I know the exact moment you're referring to. Yep, I would have been bent for life if exposed to that at age 10. Any opinions on Gillo Pontecorvo's "Kapo"? As well, I highly recommend Sergei Loznitsa's "In the Fog". Guessing you'd appreciate it.
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@Nebraska You saw Come and See at age 10? Very curious about background to that. My dad recommended A Clockwork Orange to me at age 11 and I remember thinking that was a bold recommendation after seeing it. Come and See at age 10 would have traumatized me for life! So much fascinating backstory to that film. For instance: As well, between this film and Throbbing Gristle, I've always found the sound of a phaser inherently macabre.
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Anything by Peter Watkins is worth a watch. His Edvard Munch biopic is one of the all-time greats. His documentary "The War Game" is the first time the BBC ever funded something and then refused to release it due to their fear it would cause a panic (this doc won several awards). And then there's "Culloden"...which a certain xenophobic nationalist shithead on this very board tried to take my head off for commenting on once. Culloden is great, that shithead is not.
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Fair enough. I always chafe at hyperbolic dismissals like that as they are non-starters that can kill a perfectly good dialogue. Appreciate your clarification.
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Your initial post comes off like a tossed off dismissal of a decade's worth of work. A) That goes way past Syro, and b) He's explored several difference "sonic palettes" on Syro and since. I stand by my initial statement, that post was fucking stupid. Had you worded it more subjectively or with a bit more detail, my response wouldn't have been warranted. As the way it was phrased as a wholesale objective dismissal...nope ain't goin'.
