jeyemusik

With all the chat back and forth about Max/MSP and that lads' system I'm left wondering do we actually know what they're using just now? I don't know if I'm up-to-date on interviews but for all we know they could have entirely ditched Max/MSP and gone on to (or back to) something else. It's not like they don't have a rich history of constantly evolving..... Anyway, I bet you're wondering what the guy who only appears here once in a blue moon reckons of the new stuff. Well, let me tell you that I'm quite liking it overall and I'm excited for tomorrow. But there will be too much for me to properly consume in any time in the near future. My pattern for a release is about 6 months of pretty solid listening then I move onto other stuff and then I go back to it at the 18month mark and suddenly it's all making much more sense. So, 2020 is going to be great. In the meantime, I think some of the long tracks are ace and others whilst they've got good bits aren't worth the effort to take plough my way through them. I'll probably end up making some edits of a couple for my own listening.

Ok, now that I'm part of the gang and have the soundboards I've got a question which hopefully doesn't seem blasphemous. Which to listen to first? Reason being, I hate getting too much music by a single band at a time. No matter how much I love the band, I just don't like the overload so in a situation like this i ration the music. Probably give each set a month or so.... I'm still only about halfway through the AFX soundcloud dump for example. So, chronological is obvious but perhaps there is a better order. Any thoughts?

Most opinions have been expressed so far but to add mine to the fray, I think these sound pretty good but perhaps a little too expensive right now. Note, the price mentioned on the Sonicstate videos is £347 but the retailers are showing it as £289 for pre-order. So you can do the maths to figure out what that means in your country. I think I'll possibly be tempted by the DX if I see one for the £250 mark. With that specific version, I liked that it was mentiond in the Sonicstate video that there will be an editor made available for it. Despite it only being sine waves, every operator has feedback which can go +ve and -ve which is quite a unique thing for hardware FM. It is also well place for midi CC's. Imagine this WATMM friendly situation: Sequenced from the MnM, perhaps getting into some of those nifty arp tricks, then with CCs plocked and further tom-foolery with LFOs further controlling CCs. Then during playback using the little edit touchstrips to further tweak (perhaps changing the algorithim for extra double bonus) whilst recording the whole mess. Yeah, I'm interested.

Coincidentally, just reading this.... http://en.wikipedia.org/wiki/The_Third_Reich_%28novel%29 I also had Crossbows and Catapults as a wee guy. Thanks for surfacing those memories.

Agreed, any thoughts of making it available via BandCamp or similar?

I think it needs some Burnistoun just to balance out the Scotch humour....

I think I posted this tip recently in another thread but one thing I like doing is dedicating one of the tracks and one of the outputs of the MD to just playing a click and feeding that into the clock input of the Juno. Then the arpeggiator will only move on when it gets a click. So, latch an arpeggiated chord on the Juno and it'll only step forward when you send it the click so you can get more interesting rhythms for your arp. It gets more interesting when you have two tracks playing clicks of different patterns but to the same output going into the Juno. Then you can mute and unmute the tracks to get variations on the Juno. Great fun.

I was trying to do some "arty" photos for the individual tracks from my new album (check it out! it's in EKT New Releases!!!) and thought I should finally take the opportunity to do a couple of proper studio pics phots for this thread.

Obviously it's the same for all music, but people's expectations tend to be intertwined with how much they enjoy an album and surely a long wait like for this album just further exagerrates that. For me, I avoid listening to things in bits before release as I want to experience albums in one single chunk and that way hopefully I'll minimise those expectations and take it for what it is as much as I can. Then after a number of listens I'll start picking out favourites but I don't like that familiarity of having heard a song beforehand might skew that (albeit sub-consciously). So, I'm nearing the end of my 2nd listen with the first being the YouTube live transmission. I definitely do need to get more listens under the belt (and no matter how much I love a band or a release I hate listening more than once or twice a day) but I suspect I'll be in the underwhelmed camp for a while. Aye, it is nice and I am enjoying it but for the amount of time they've been away I can't shake the feeling that there might have been more of an evolution. It feels like there are too many BoCisms.... maybe if this album had come a couples of years after CFHP then it would probably have felt like a nice progression. But for 8.... so much for trying to come in with few expectations.

Fyfe Ewing from the early days of Therapy?.... maybe also Papa Joe Jones, it don't get much more IDM than this: There was another video on YouTube a few years back that is now blocked when he checked his watch mid weird ass crazy drum solo only to find out he had no watch on and busted a huge grin. genius... my description totally doesn't do it justice....

Thanks for the advice guys, as it was I took the plunge and bought at the same time as an MD UW Mk2 with + Drive both in mint condition and with me trading my old Wavestation SR it worked out a ridiculously good deal all round. Should be with me early next week.... I'm like a wee guy waiting for christmas now...

Folks, anyone got any experience of the Ruin & Wesen Minicommand? I'm intrigued by it and can think of a number of uses for it, but I'm unsure if I'll ultimately be put off by the programming element of getting it to do what I want. Cheers!

Yeah, that's the one. There is a similar thing on the track they did for the Daniel Hansson tribute. One of the lead sounds was like a cheesy slap bass from a rompler but pitched right up.

This is the kind of thing that bemuses me. That somehow a synth can be "surpassed by better technology". If someone was to come on here making this sort of claim about TAL's freeware emulation of an SH-101 in comparison with a real SH-101 then the collective WATMM would be weighing in to tell the poster to behave themselves. That's maybe an extreme example, but the idea that a computer based rompler creates the exact same sound as a hardware rompler is a bit daft too. The nature of the waveforms, the algorithims that underly the filter emulations, onboard effects, the DACs, what you record it back in via etc etc all add up to a sound that is different. Now, maybe that's not your cup of tea soundwise but that doesn't necessarily detract from it and it suddenly doesn't mean that the synth becomes pointless. And that's before you start talking about how the different interface changes how you interact with the machine and therefore affects the music. Again, I'm not saying that it's everyone's cuppa but it gives an alternative. I'd even argue that to take something like a JV-1080 and used it in the context of a track that is more contemporary and it can give the track something which will differentiate from other similar tracks. A great example of what I'm talking about is one of the tracks of EP7 by Autechre. Can't recall which one, but it has a bass that, taken out of context, sounds to me surprisingly like a double bass from a rompler. In context it sounds cracking... obviously, I've no way of proving that. But it wouldn't suprise me if that's the cheeky kind of extreme muso geek in-joke that they enjoy.

which has no impact on whether it is possible to write good music with one.