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kausto

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About kausto

  • Birthday 12/16/1981

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  1. kinda looks like buchla700 reincarnation
  2. i got it from protman https://github.com/prot-audio/renoise-themes
  3. only if pattern editor -> block operations you could check also esa ruoho's paketti tool pack maybe he have another routine here https://forum.renoise.com/t/new-tool-3-1-pakettir3/
  4. you wanted to change octave for keyjazzing do you? not to change octave for notes already in pattern as far as i have numpad on my keayboard i can change octave with / and * you should bind em here: global -> octave -> increase/decrease
  5. loving it cause of that original beat pattern being recreated with current ae rig
  6. What made Dougans's appearance even more surprising was that the BBC had all but banned any records that referenced acid house. The embargo had been brought in following the 20 October 1988 show opened by Caron Keating and a smiley face T-shirted Steve Wright when they introduced the video for D Mob's We Call It Acieed in a manner that was deemed out of step with the tabloid outrage over 'evil acid house baron' and the threat to the nation's youth. However, Dougans was allowed to perform. What's more, he appeared "live" in the studio. "It was a bit of a crazy day out," he remembers, not least because the programme was completely unprepared for an acid house artist. According to Dougans, the producers insisted that if there were any vocals on a track, somebody had to sing them. "I was like, 'It's a fucking computer, man'," says Dougans, referring to Humanoid's signature refrain sampled from the arcade game Berzerk. "But somebody had to be singing the words, hence why I had a little microphone. If you actually look closely, you see me mouthing the words. They made me do it. The bastards!"
  7. kausto

    Rare pics of Ae

    Sean's sweater looks familiar
  8. That you’ve had over 100 near-death experiences: “Another exaggeration. I have had loads of mental car crashes when I was younger, because everyone drives like a lunatic in the country. I had, like seven really bad ones. Some including me driving, others my friends. And I also nearly drowned once, that was mental. Same beach as that ‘Surfing On Sine Waves’ album cover. There’s a current in the evening that you’re not supposed to swim in and I swam out to have a shit and got dragged out. That was a close shave.” Were you aware that you were about to die? “Fucking mad, actually. I thought, ‘This is it, I’ve totally had my chips. I’m getting really tired.’ All my mates just pissed off, they didn’t even notice, apart from one who just ignored me waving at him. I was going under all the waves and every time I went under I was being sucked out further. It was sucking me round the corner of the headland. I knew the only way I was going to survive was to surf back on a wave. I tried it twice and I just thought I had one more chance or that was it. But that last wave was massive and just swept me up on the beach. Lucky bastard, eh?” https://lannerchronicle.wordpress.com/2020/09/07/aphex-twin-chris-cunningham-its-all-gone-pair-shaped-nme-20th-march-1999/
  9. regarding dx11/tx81z Mark Fell: For example, I had a Yamaha TX81Z, which uses four-operator FM synthesis and had a few quirks to it. There was this mode, which rather than being multitimbral was like a multitimbral setup, but every time you press the note to progress to the next sound in the series of sounds that you specify. So every time you played a note it could produce not just a series of notes but a series of sound changes as well. So I just did loads of work with that, setting up simple sequences of sound changes and note changes that would go in and out of phase and things. That became one of the kinds of techniques that I still use today. EDIT: ah shit i repeat myself
  10. Boomkat Product Review: Flaty serves a gyring, vaporiszed antithesis to the brittle boned flex of his ace ‘Railz’ album All bulbous subs, radioactive plongs and industrial air vent gasps, ‘Raltd’ takes on a very different shape to its jittery predecessor. The club is in the rearview and we’re placed in the middle of a Russian after-party sound, possibly in the boiler room of a vast former Soviet housing block, pipes clanking and surrounded by stern gurners on their haunches in oversized sportswear necking litres of voddy and cooking ket on an oil drum stove. Generalisations aside, the proceedings really do evoke a cold and warped sense of space and place due to Flaty’s finely chiselled and physical brand of synthesis, which is variously bent and bifurcating with a sozzled sense of psychedelia between the cavernous dimension of ‘burnt chamber’, the roiling subs and hiccuping vox of ‘including (alt mix)’ and the shearing dissonance of ‘train stop feed’, before it all gets more metallic and fractured between the likes of ‘recap’, the scything flex of ’TIZO’ and the arrival of Matrix swarmbots in ‘falling p.2.’ https://boomkat.com/products/raltd
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