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ZoeB

Knob Twiddlers
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Everything posted by ZoeB

  1. The vocoder? Hard to say so far, I've only had it a week and don't have a preamp yet, so I've only got a few squeaks and squawks out of it. I haven't even installed most of it (slewing, voiced/unvoiced detector) in the rack yet. :/ This sounds good though. :)
  2. ZoeB

    APHEX TWIN - SYRO

    Hmm... "Digitisation from tape archive copy of The Making of Windowlicker"... Edit: nevermind, someone mentioned this 51 pages ago...
  3. ZoeB

    APHEX TWIN - SYRO

    http://syro2eznzea2xbpi.com
  4. Have you got his remix of Soft Ballet's Sand Lowe? It's well worth a second hand import in my opinion. It's that era when he was starting to get ethereal, but was still clangy, like on At the Heart of It All. It's those white noise hi-hats in Redruth School I couldn't get enough of maybe a year ago. I made a bunch of tracks trying to get more of that tasty sound.
  5. You know, you can make a rudimentary CCTV camera out of a Raspberry Pi...
  6. About electronic music? I'd recommend starting with, say, I Dream of Wires.
  7. Aww, thanks! ^.^ I'm pretty sure that breakbeat's from the Planet of the Breaks series. Zero-G made a ReFill of all four sample CDs which is fantastic value, so I got that and use it all over the place. Whenever you hear a breakbeat in one of my tracks (mostly in the 8-Bit Generation soundtrack and the unreleased Above the Clouds, if memory serves), it's more than likely from that. But finding a breakbeat's the easy part. The tricky part (aside from having the good fortune to be lovers with someone who knows how to design and build hardware) was writing the firmware together to that step sequencer. The "ECL" on the display is the External CLock input, meaning the DAW's sending the clock to the MCV-24, which in turn is sending it to the Stepper Acid prototype, so the acidline is in perfect sync with the breakbeat. It was really neat to hear it in a real use type situation, working flawlessly!
  8. Once this kickstarter project is successful in about, ooh, an hour, does anyone care to ask Grant & Rich how much it would cost to make a limited fan release of those two releases? I'd love to have them legally.
  9. It was only to pay rent! I regretted selling the SH-101. The Doepfer A-100 is the only thing I've had that surpassed it. Old: New: This is my half of the studio. (The Concussor modules are still missing as I need to remind myself which way to plug them in first so I don't blow them up!) To the left is Nina's workbench, where she's working on Stepper Acid, but she won't let me show you that for some reason, even though I think the latest prototype looks really cool, held up by its own wires. So here's a video we made of it a short while ago instead. We've only improved it a little bit since then. Hey, you quote Leonardo da Vinci in your .sig! Have you seen The Life of Leonardo da Vinci? It's a great documentary series, I think.
  10. CD quality is ideal IMO, with anything better being unnecessary, but I'm sure many other people will disagree with me...
  11. Yes, FLAC, wave or AIFF would be ideal. Then everyone can transcode those into whatever they'd personally prefer.
  12. Maybe tonight, when the latest G6 case and modules have arrived...
  13. Ah, but that requires effort on their part - this is easier for them, and more fun for us! Isn't the whole point of a record label to release records? Are they really that lazy? Anyway, this is great news and I'm happy to buy a copy of this album of course, but it seems odd they only want to release it by proxy. At this rate, they should just give you all their masters and let you set up a shop for them... :) Which is odd, as that's exactly what Bandcamp's for, and I've never heard of any musician being too lazy to set up an account there, let alone a label...
  14. Incidentally, Kickstarter lets you set different rewards for different levels of pledges, so for instance you could say that the first 600 people to donate at least £10 will get a digital download of the album and the single person (if any) to donate, say, £1000 will get the original record. That way you simplify who gets it and you're more likely to hit that target even if you don't get a whole 600 people contributing. Then again, I somehow doubt you'll have trouble finding 600 hardcore fans...
  15. Fantastic! So as this has James's blessing and all, I have to ask... assuming he has the original DATs still, could we have done this at any time?
  16. Heh, thanks! I think I wrote it back when I was 20, if my filesystem's to be believed. I was kinda naïve and full of energy back then! :D It ended up on a compilation, which was nice. I wrote strange stuff back then, anyway. Oh, yeah, studio pictures... I've got some more modules coming today, if anyone's interested in that sort of thing... Including a Wasp style filter, yum. :) But I really need to spend less time taking pictures of that synth and more time actually using it!
  17. LimpyLoo! :D Much like missingsense, the DR-202 was the first semi-professional music making hardware I got. It was kinda fun to sample it into Impulse Tracker. I made a song a looong time ago called IF YOU PEEK ME, I'LL POKE YOU, which used the DR-202 for the sine wave sub-bass and breakbeat (sampled as single hits), plus an Amiga for the vocals. It was also quite fun noodling around with a rhythm on the DR-202 through a guitar pedal, recording a few minutes' worth of that to MiniDisc (no lossless DAT for me!), then feeding that into Cool Edit '95, making a few loops, and building tracks around them in Impulse Tracker. I made a track called Increase the Cutoff that way which I was quite proud of at the time. Then I somehow managed to get an SH-101 second hand from the same shop, dirt cheap, which was much better for sampling single notes into Impulse Tracker. :D That was a great way to make music, right there. I mean, if your main tool is a sampler and sequencer all in one, sampling romplers is a bit pointless compared to sampling a monosynth and household objects. I'm not really sure what I was thinking with the DR-202, considering my setup.
  18. It's been a looong time, but I vaguely remember the DR-202's filter had that quantised digital stepping type sound when you noodled with the cutoff point, which actually sounded pretty cool when you crank up the resonance and shove it through a distortion guitar pedal.
  19. Yes and close respectively. :) What's really shameful is that I got the FA-101 instead of the FA-66 partly so that I wouldn't run out of inputs, and then only ever use one of them. I think I only really work out the use for things after I get them. My synth is either a pitiful polysynth, or a glorious monosynth, so it makes sense to use it as the latter. Then again, I might get a few more bits and bobs yet... :)
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