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entropi's Achievements

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  1. PLUS, without a doubt - moar beets, longer explorative tracks, more weirdness! (I like some of the chordal exercises on SIGN too, but quickly cut half of the album from my playlist...)
  2. M4 Lema, F7, schmefd 2 & gr4 doesn't do anything for me, the rest I like a lot. Not shure if I like the shorter track-lengths, I like looong jammy tracks that stays around for a while. I'm curious about "the second album"... si00, esc desc & r cazt get played the most around here.
  3. unfocused and uninspiring track, I guess this is how it sounds when you are out of ideas... (thank god for ae!)
  4. ...and now, she has reviewed a new french synthesizer movie in the lastest edition of the Wire!
  5. I love this, it reminds me of some other Rotherham-based artist... :D
  6. This is actually one of my top favourite releases for 2018! So nice and just the right tones are played and it has a really great flow to it all. (I bought it at bandcamp, didn't know there was a video too) Well done!
  7. Well, it depends... (only vintage gives the true lo-fi grit, but you probably know that already) D-05 gives you a lot of presets (if you can stand them) and the size is unbeatable. The Roland Cloud D-50 vst also sound spot on - low bitdepth and all - but at the moment you have to agree on Rolands cloud business model and I don't. The D-50 (and D-05) has an earlier (1st gen), more convulted version of LA-synthesis. Sound parameters can be found all over the the place and it is "messy" but gives you the most of possibilities for transforming the sound, more LFO´s, EQ and FX. D-50 and D-05 are only monotimbral. (There was an expansionboard for D-50 that made it bitimbral I think, but it is rare) For the 2nd gen (D-110/20/10/5) Roland simplified and reduced the amount of parameters (the only LFO here is a joke and only affects pitch), they included more samples (TR-707-style drumsamples that can be edited!) and added some more "structures" (the basic set up between oscillators & ringmod). If you use a D-110/10/20/5 in multitimbral mode everything is much more collected and straightforward. IMHO it is a lot easier to navigate this architechure even though some parameters are "missing". It makes sense in a way because you are using more sounds for arranging a track anyway. (Some D-50 sounds are more like one track of its own, like the Wavestation presets... They can sound cool but are hardly useful and sounds very dated.) So, I would say... D-50/D-05 for the full "original" LA-synthesis and D-110/20/10/5 for digital Lo-Fi track experiments/compositions. If you just go "outside/beyond" some of the regular settings for the D-series synth parameters there is a lot of fun stuff you can come up with. The drumsamples in the 2nd gen are invaluable I think since they can be edited and combined beyond recognition. (the beats on autechre's "Djarum" sound totally like the stuff I used to do on the D-20. For a long time I only owned that synth and I know it inside out. Its unique quirks and oddities makes it still really useful and fun, especially if you like more experimental electronic music.)
  8. For the D-110, the PG-10 O R an iPad/computer for editing is essential. To only be able to "click" in values is really horrible, IMHO. I used to have a PG-10 to my D-20 but sold it because the D-20 (with it's value slider!!!) is really quick to edit once you learn the matrix layout of it's tone/timbre-settings. The PG-10 is made first of all for the D-10 and D-20. There is a fifth env parameter that the D-110 has but the D-10/20 lacks but it works anyway for D-110 as well. The display hasn't got any background light which is a MAJOR drawback, it really is missed when you are used to program in the green glow of the D-20 display... The biggest advantage of the D-110 is the outputs! I would have loved to have those on the D-20... (they came later, in the W-30).
  9. Nah, but it has a "Pulsewidth"-parameter that reacts to velocity.
  10. Well, too unfocused and irrelevant to buy anyway.
  11. I am with Handels and Obel on this. The sound design is topnotch, unfortunately you can't base an album on that alone. I like that there are different versions on the EP's compared to the album (and I bought them all, as DLs) and I LOVE the sleeve designs... but over all I still am missing something. In the end there is nothing that "sticks", for me.
  12. I know this is pure insta-ban , but I've done this forever with rdj's music. The tracks are always all over the place. Some tracks are beyond life in it's quality and others just plain boring or harsh. All the annoying spoken parts, crappy stuff before awesome stuff(like on ventolin/crowsmengegus) or crappy Eq:ing (like Girl/Boy snarerush mix - just all treble?!?). I know this warrants "B7" or whatever among the AFX worship but hey I like a perfectly curated collection of tracks that is just great. (I mostly listen to my own stuff usually, then I can adjust everything to my own liking)
  13. No such thing exists! (I guess you mean the 12" macbook?)
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