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ZoeB

Knob Twiddlers
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Everything posted by ZoeB

  1. ZoeB

    Transgender

    Chim, did you just reply to something I wrote five years ago, then delete that reply? Regarding whether gender dysphoria is recognised by the medical community, yes, it is. Keep up with the literature. Talk to a specialist. It's as uncontroversial amongst doctors and scientists as is the existence of global warming, or the benefits of vaccinations. It's only laypeople who are still in denial. Regarding dysmorphia, that's a surprisingly common argument from reactionaries considering that dysmorphia and dysphoria are completely different conditions and entirely unrelated to each othe
  2. As for the Mega Drive, it's got one PCM channel and five FM channels, all monophonic. That's it. All digital, and no subtractive synthesis. The Streets of Rage series' emulation of house music is very impressive.
  3. I'm pretty sure The Prodigy's demotape was made purely on a Roland W-30 sampling workstation, so like a tracker only without the interface, with a handy built-in keyboard, and not completely quantised. Then for the first few albums, Liam Howlett got a bunch of synths and sound modules (Jupiter 8, Alpha Juno as heard on that famous Charly remix, U-220 for strings and piano, etc), but still sequenced them all on a W-30. So similar to tracking, but less quantised, and eventually controlling other instruments over MIDI. (On a side note, Impulse Tracker can do this too, as well as work with a co
  4. With remixes by Terminal Sound System and Yair Etziony. https://zoeblade.bandcamp.com/album/slipmat-slipstream
  5. Good stuff, whoever it is.
  6. I like this! Is it time to start another "If you like Aphex Twin, you may also like..." thread? I'm still digging Neutron 9000's The Green House Effect from the last one...
  7. Top constructive criticism, cheers! I've finally got around to updating this one, with another custom patch on the modular replacing Ableton Live's orchestral string samples. Is this better? It's certainly more consistent. (I also replaced the spring reverb with a digital reverb, which is probably more sensible for the main mix, as a much-used send.)
  8. More info: https://daily.bandcamp.com/2018/04/12/mike-paradinas-u-ziq-challenge-me-foolish-interview/
  9. You can grab the whole thing from MixCloud, I believe. (I can't remember where I got it from, but this has the same intro that I cropped out.) It was only when I cropped it that I realised they kinda abruptly switched to something else what sounds like halfway through the interview, so I have no idea what happened there. It also sounds like James says that the anecdote isn't the origin of his alias, but she doesn't notice him say that bit... This is how rumours get started about such things.
  10. Here's a SoundCloud link for the new version, for anyone who finds that easier to play:
  11. This was an absolutely fantastic piece of advice, thank you so much! I ended up totally reworking the second half of the track so it's true to the rhythm that's already established at the start. And while I was changing things, I added accents to everything so it's actually got a bare minimum dynamic range of expression for every part now (which meant re-patching and re-recording absolutely everything), added more chords for the second part... And added a vocal, and a bunch of other stuff... It's a song now. I'm not sure if any of you would approve of it anymore, it's kind of simultane
  12. I'm not sure if this was mentioned here before or not, but here's an old Aphex Twin radio interview.
  13. Thanks for the recommendation! I used to have a few of the Analogue Solutions 808 clone modules, then sold them off and got Tiptop ones instead... (Less versatile, but smaller and neater, and they accept 5 V triggers.) Trying to get those right has been kind of humorously difficult for me, when you consider that I hardly ever use them anyway, because making my own drum sounds from scratch is almost always more rewarding...
  14. Thanks! I had it lying around in Reason as a half-finished idea since last year, and last month I decided to dust it off, finish it, and record it. So compositionally it spans a while (and is arguably a bit of a cop out, not having different sections that are distinct enough that you wouldn't want to hear them simultaneously), but the patching's all new, as is the mixing. I love resonant snares! Yeah, I need to work on my snare patching. They're amongst the hardest parts to get right for me. I've only just started to get the hang of making cymbals using ring mod. I'm still just combi
  15. Thanks! Maybe you heard the hiss subconsciously until then, and it’s what reminded you of the aerosol sample in the We Have Arrived mixes? (It’s also in At the Heart of It All, but that track’s slowed down so it’s harder to spot despite its prominence.) Yeah, the house beat was just something I reached for quickly while finishing the track... it’s probably a bit of a cop out... Though the remix I’m working on is now turning into more of a pop song, now I’ve added more chords... This is getting kinda messy, ha! Thanks, I’ll make more effort in future to work out what fits the track bes
  16. Ha, I like the optimistic assumption that I have local friends. :) I don't want to rope my partner into doing too much for me, she does a lot already, when she should focus more on her own projects! I totally intend to do more rhythmic editing though, yes! I was going to do that here, but then realised how long it would take to edit, and got a bit lazy... So you just get the achtung noise shots. I'm very tempted to get a fish-eye camera and mount it on the wall, so I can just leave it running and forget about it, yeah... but then, on the other hand, I experimented with fun close-ups here
  17. Ha, I was re-reading an old thread the other day, and this reminds me of that Aphex Twin interview: Thank you all for the kind words! It's curious everyone seems to think it's so polished. I got distracted while patching and performing it, what with being sandwiched between various tripods (two for lights, one for the camera), trying to not block the camera's view of what I was doing, etc... then I mixed the track and edited the video in one pretty productive morning. It was a really quick process. (This was a week after a live gig, days before a synth meetup, meeting a deadline,
  18. This sounds very nice, and professional. But due to the style, I kept expecting a full blown vocal to kick in, rather than the single line that electronic dance music gets away with. It sounds like the instrumental mix of a good song. So, write a lead melody, and a lyric, and sing the vocal with confidence and style. (If you're still too self-conscious, you can always hire a session singer.) Then it'll be a great song, rather than a great backing track with potential.
  19. I like the happy, carefree, Ceephax style vibe here! I think the 707 sounds a bit cheap these days, but that's just personal preference... All the parts work well together, the slidy high-up portamento adds interest, and the whole piece sounds fun. Just when it might otherwise get too repetitive, the claps come back to add interest on the next iteration. It's well composed and arranged. Aside from the choice of drum sounds, I really like this track just as it is. Do you ever compose tracks with different sections, so they alternate between an A and B section? Combining that with the
  20. Heh, I like your backing much more than the original rap. I'm not sure if that's a sign they don't gel that well together or are inappropriate for each other, or if it's just a sign your music's much better sounding. I like how it builds up too, it starts off well enough as a dub track, so I wasn't expecting you to then take it up a level (at 2:17). It made me turn my headphones up, always a good sign! It wouldn't be out of place on, say, Rhythm and Stealth. I could picture a more upfront rap taking centre stage and completing it, but I'm guessing the original didn't have that? Either
  21. Dance of the Knights. :)
  22. So, LLone Dance: I like this! I'd reign in the drums a tiny bit, such as that break at 0:27, so it's more obvious it's doing a sort of triplet thing for a bit and not just being random... But then, you'd have to be careful not to reign it in too much, as the variation and syncopation give it a lot of its character in the first place. That might well just be personal preference though, on the whole repetition vs. random spectrum. I like all the diversions, I'd just make it a little clearer where the listener's footing should be so they don't freefall, if that makes sense. Drums aside, it
  23. Thanks! This is just a little making-of video, really. The track itself isn't really as interesting. That's spot on about it all being sequenced from a DAW on a computer just to the right, patching and recording one part at a time.
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