Jump to content

ZoeB

Knob Twiddlers
  • Posts

    1,516
  • Joined

  • Last visited

Everything posted by ZoeB

  1. For anyone curious, here's a pair of articles from 1992 that interviews people like Ed Stratton (Man Machine; Zero-G) and Norman Cook (Fatboy Slim) about samples: Criminal Record part 1 Criminal Record part 2
  2. Also, right in front of him, there's a QuadraVerb and the homemade device shown in the Aphex Effect interview.
  3. Totally! Even my main setup has helps with this, using a separate computer to record on. If I get bored while recording a part, I don't check social media sites, I start messing with the oscillator's footing or the filter's cutoff point, adding little flourishes that make the track idiosyncratic and mine.
  4. I still haven't got around to properly trying out Renoise, in my mind trackers are sequencer+sampler combos... As for the Atari ST, I'd like to occasionally try composing without any modern DAWs as it seems like the change might be somewhat inspiring; I thought it'd be fun to try out the combination everyone was using back in the day (ST + S1000); I have this theory that the tech you use, especially the sequencer, affects the style of music you make, so I wanted to try out various now-free old MIDI sequencers (Tiger Cub, anyone?); and given that I often tend to make one or two sections and essentially mute/unmute their tracks in buildups to make whole pieces of music, I wanted to try out Creator, which seemed to be designed from that viewpoint. Creator in particular seems to bridge the ideas between MIDI sequencers (a single long list of MIDI events, grouped into tracks) and earlier digital sequencers (patterns chained together into songs), with muting being automatable. I mean, it was good enough for Fatboy Slim, the Future Sound of London, and Orbital... Curiously, my first track with Creator sounds (to my ears, at least) just like my teenage Impulse Tracker music, only now I'm adding delay and reverb in the mix. Which is nice.
  5. Getting there with Atari corner...
  6. Ack, only just noticed this reply, sorry! It's a Voltcraft ML-1 OR. My partner had some spare, and she was kind enough to screw one into the wall for me. I gather they're intended for electronics engineers to use, but they're just about a perfect fit for 3.5 mm cables too, although these braided ones are slightly pushing it. Anyway, yeah, I recommend them to Eurorack users.
  7. Yamaha HS5s. DrumStation, the yellow first revision kind.
  8. Thanks! I took this photo just after putting the studio back together, before using it again... I've got the two modulars patched up again now, so it's somewhat messy again, heh... Nah, they're Canford. Much nicer than the previous ones I had too.
  9. SH-101 many many years ago, to pay rent. I missed it until I got an A-100. Oddly, I never missed the TB-303... I'm on my third DrumStation, so I guess that's one that's borderline worth selling/keeping. Even for digital sounds, twiddling knobs beats browsing samples (at least for me), it's just I usually end up making my own patches on the modular instead. Not that you can really get rid of it, but I kinda miss the tracking days too... But I like my current setup too much to get back into it...
  10. Nearly there revamping the studio...
  11. That looks like a really interesting sequencer, cheers!
  12. Necromancing this thread because I always wondered whether he used Notator or Cubase, given those were the two main MIDI sequencers on the Atari ST in the early 90s... And it turned out (at least for Analogue Bubblebath 3 opener .215061) it was neither. There was a more obscure MIDI sequencer on the Atari ST called Dr. T's Tiger, and he used the cut down version of that, Tiger Cub. You joke, but I happened to use a toaster in my last track... Hell, I'm listening to .000890569 right now, and that starts off with a vacuum cleaner...
  13. Yeah, Nina doesn't do things by halves.
  14. Releasing things pseudonymously is a good way to try to gauge whether they're good, without getting false positives from people who already trust you. Although then you can get false negatives, what with there being so much new material from lesser known new artists. The Tuss was a pretty neat idea in that respect. I'm not sure how a "fake fake" double bluff would work though. Isn't that what the SoundCloud dump was in the first place, kind of?
  15. New bit of kit...
  16. I kinda like the fact that there's fake Aphex Twin tracks, it's like a fun little Turing test.
  17. Not that it matters, but what the hell... How about e.g. Boxing Day? The steep cutoff points at 15kHz, 16kHz, 17, 18, and 19 look very reminiscent of lossy encoding to me. While I've only looked at MP3 files as far as that's concerned -- I haven't had a MiniDisc recorder since iPods took off -- I'm guessing ATRAC might look like that too?
  18. He said this, quoted above: I might be misinterpreting it, maybe he played them and recorded the MIDI data of playing them, then when he was recording everything he was barely doing anything at all, just letting it play out... Although this was 20-30 years ago anyway...
  19. OK, my turn: anyone have the citation for any Analords being recorded to MiniDisc? I can find another WATMM thread on it, but again with no citation.
  20. Maybe you were being sarcastic but in the case that you weren't, RDJ has said that he doesn't multitrack when he records. He sequences everything and just hits record on whatever he's using, DAT/laptop/hard disk recorder/etc, then hits play on the sequencer. He records everything straight to a stereo two-track. Really? What's the source on that? It's always good to check, so: Over twenty years later: It all depends on the setup he's using at the time. There's no right or wrong answer. Most of his music, I believe, is heavily sequenced, with some live FM pad playing over the top, recorded live, albeit with multiple takes to get one that's spot on. He doesn't seem to multitrack record all that much, which seems bizarre to me, but there you go. Then for Drukqs (and I'm guessing the Richard D. James album), it's all samples of analogue gear that he then composes with after the sound design, as far as I can tell. Yay tracking! Takes me back... It seems odd to me that where most people would just record a part, then record the exact same part again to double it, he'll instead buy twice as many modules to do the same thing live: I'm not sure how he avoids the problem of running out of hands two twiddle knobs with... Presumably he uses a lot of automation!
  21. You should see the module she's currently making me... I realise it's absolutely the best "problem" to have when I'm trying to make music (or get day job work done), and she's at her desk next to mine, loudly making much better music, heh...
  22. ...Are you saying you'd rather use a REDD desk than a TG12345? I'd take a Neve, API or SSL over either any day,
  23. My sweet summer child, promise me you'll never try to work out which is the best version of The Beatles' albums. Records, 1988 remastered CDs, 2009 re-remastered CDs... stereo, mono... the 1983 black triangle Japanese Abbey Road CD based on the premaster that wasn't supposed to be released... All using different takes, no less... Meanwhile, the Twin's recording to cheap Compact Cassette tapes and format shifting to DAT longplay before giving it to someone to master... You might as well just ignore it all and enjoy the fine music.
×
×
  • Create New...

Important Information

We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue.