kausto

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SERWED III Sampler

With the new SERWED III on Flaty's promising ANWO RECORDS, Flaty and OL set out to explore and celebrate the altered visions of today's mundane futurism with a kind of keen aesthetic intuition that could only be enabled by the vast volume of their listening, production, and teaching experience. Following the first two SERWED albums on Asyncro and West Mineral Ltd., the current fruits of the flourishing long-time collaboration between OL and Flaty comprise an oddly coherent kaleidoscopic set of free-wheeling journeys across varied pseudo-desolate soundscapes full of anomalies and sometimes thrills. Beyond the now seamless blending of the artists' individual styles, a whole bunch of other boundaries get blurred on the record, whether it be between the human and computer data processing algorithms, originality and referentiality, anxiety and euphoria, signal and noise. SERWED III postmodern world is the one where the orbital space is just another littered parking lot, neural networks are appreciated mostly as a source of absurd imagery, and delivery drones are used as designer drug mules. The sonic collection is fittingly complemented by the visuals based on Regula Bochsler's The Rendering Eye, an art project capturing the “erroneous” yet “picturesque” renderings found in the 3D world of Apple Maps.

Another one divorce? ?

there is also virsyn cube, not only razor. and if with razor you'll get that mark fell and gabor lazar vibes, with cube you'll get draft 7.30 / ISS:SA vibes (with kyma you'll get ep7 vibes ? )

would be cool to hear something weird and abstract like that XHK - XH HX youtube dump

https://lannerchronicle.wordpress.com/2021/08/29/chaos-control-issue-5-january-1994/

Sorang, the debut album of Yalta native Wulffius, represents his work over the last eight years. The playful creature on the cover, Stone Eater, is based on childhood sketches of the producer's father. The album's name alludes to the first collection of his father's poems, which took its name from a short story by Konstantin Paustovsky, a master of nature writing in Russian prose. Sorang is the name of the south wind that "blows once in centuries," and you can hear its unique warmth in these tracks. There is a sense of wholeness here, a palpable style and atmosphere that permeates the individual pieces. Wulffius creates what he refers to as "B-sides": something too strange to be danceable, with "complex ease" and rhythmical variety. The music has a charming serenity and beauty thanks to Wulffius' intuitive approach, which is childlike and whimsical in the best possible sense. By the way, Paustovsky wrote Sorang in an hour and a half at a speed writing competition. You can hear a similar spontaneity here, but make no mistake, this is the work of a master that has been crafted over a period of years. It all comes from experience. Side 1 A1: Monotone in G minor A2: My Cosmic Synthesizer A3: Frequency Piano Jam A4: See That. Are That Side 2 B1: Heels At The Pebble Beach B2: Typ Sounds Deep B3: Grape Bounce B4: I Am Weird music – Dmytrij Wulffius mastering – Simon Davey design – Dmytrij Wulffius compilation – Flaty & Ildar Zaynetdinov executive producer – Ildar Zaynetdinov 12" LP full-color sleeve. November 19, 2021, Moscow, Russian Federation. © «ГОСТ ЗВУК»

https://www.juno.co.uk/junodaily/2021/11/12/the-best-new-albums-this-week-34/

imagine gantz graf unplugged performed live

kinda looks like buchla700 reincarnation

i got it from protman https://github.com/prot-audio/renoise-themes

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/

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

loving it cause of that original beat pattern being recreated with current ae rig

ae's clip now skips for me

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!"

Sean's sweater looks familiar

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http://myslb.com/

myslb.. seems legit

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/

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