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chim

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/\/\ what do you mean? you can still buy it

 

Word on the KVR forums is that it's been abandoned. You can still pay, but you won't get anything.

 

oh damn, thats ugly. this soft is flippin awesome

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im only starting to get gear, and this list im afraid, is going to jack the prices up.

What gear do you have or plan to have?

luckily, just got a d50 a tx81s and an fb01. but there are some on the list that id like. I dont wamt to say yet.

 

and youre right about the modular i think ZB. but i got the d50 cause midi controller and Enya-stalgia. Theres no emulation for it, etc.

 

FM boxes, for study. Also after a dx7 just for fetishism i reckon.

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You think he actually has a GX1? The EX-42 seems very similar and is actually listed here.

 

This is supposed to be instruments used on the album, not every piece of gear that he has. It's quite possible that his GX1 remains, as each transfer of those seems to be reported about by some friend of some really rich musician. Then again, he might has sold off some gear for the case of streamlining, or perhaps the aphex juniors' college fund.

 

 

his gx-1 was listed on vemia years ago. then withdrawn. I think this was the auction

 

http://www.spheremusic.com/Bargaindtl.asp?Item=5580

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dx100 modded:

 

probably a data bend mod

 

Dataline cutting is a fairly common mod that can also be installed on many of the smaller Yamaha toy keyboards from the 80's and early 90's, as long as they use some form of FM synthesis.

 

The basic FM circuitry setup consists of a CPU, some kind of RAM/ROM chip, and an FM synthesis chip. On a toy keyboard with 100 preset sounds, when you select a preset the CPU will tell the ROM to pull up the parameters for that sound and send them via 8 data lines to the FM synthesis chip. The synth chip then recreates the stored sound from that data so you can play it.

 

On a toy keyboard with preset sounds this mod is achieved by disconnecting datalines with the switches, and then selecting a new preset sound. The sound produced will be related to the preset sound you selected, but the missing parts of the setup data tend to result in something totally alien. You can repeat this process as many times as you like for sounds that get more and more bizarre.

 

This mod seems to work differently on the DX100. The DX100 is programmable and responds to midi sysex messages to alter most of its parameters. As a result the CPU seems to be continually updating the FM chip with sound setup data. This means that the effect of disconnecting datalines is usually heard immediately in some form or other, rather than having to wait for a new stored sound to be selected.

 

The really weird bit is that each voice of the DX100's eight note polyphony is usually affected by the missing parameter data in a slightly different way. This means that once the datalines are disconnected, each successive note you play will use a different sound to the previous note, but repeating in an eight note cycle. Basically if you played 8 notes one after the other then each individual note would be played using a different sound, but note 9 would use the same sound as note 1, note 10 would use the same sound as note 2 etc etc. Obviously you don't actually have to play the same notes repeatedly.

Its difficult to explain, but essentially it allows you to programme very strange eight note sequences with a different, but related sound produced on every note. Have a listen to the demos at the bottom of the page to get an idea of the kind of evolving alien sequences this can generate.

http://www.circuitbenders.co.uk/newsarchive/DX100.html

 

cant wait to hear what he does with something like this....

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yeh, might work... what model is it? if you check that link, they have a forum where you'll probably find someone asking about or showing off some crazy mods for just about anything... ;~)

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Most if not all old Casio/yamaha keyboards can be bent to a degree. Some more than others. I use quite a few keyboards to get odd sequences and hits from and sample into other stuff. It's a never ending source of unique samples and glitches.

Open her up, find the sound chip and get a wire, bare at both ends and touch both ends to different legs of the chip and see what happens.

make sure you're battery operated and stay away from the areas around the power supply until you know what you're doing.

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I was really wondering what his recording techniques are and he kind of partly answered it. Re-amping is great to give hardware a life of their own. You gotta get those recorded sounds out of your DAW so they have more personality.

 

"You can do that with samples, too. They call it re-amping, where you take sounds, stick them out through a speaker or guitar cabinet, and record it again. Then it's been in the real world and put back into the computer. It's a nice thing to do."

 

Source: http://pitchfork.com/features/cover-story/reader/aphex-twin/#the-next-level

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I was really wondering what his recording techniques are and he kind of partly answered it. Re-amping is great to give hardware a life of their own. You gotta get those recorded sounds out of your DAW so they have more personality.

 

"You can do that with samples, too. They call it re-amping, where you take sounds, stick them out through a speaker or guitar cabinet, and record it again. Then it's been in the real world and put back into the computer. It's a nice thing to do."

 

Source: http://pitchfork.com/features/cover-story/reader/aphex-twin/#the-next-level

i don't hear much of that on this album. It's audible in some parts of Rushup Edge though, especially Death Fuck.

 

If he really is using an analog console to mix all of this, it's something that 99.9% of electronic musicians never bother to do. Merely mixing it and running his gear through good analog preamps gives it a particular character too.

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I was really wondering what his recording techniques are and he kind of partly answered it. Re-amping is great to give hardware a life of their own. You gotta get those recorded sounds out of your DAW so they have more personality.

 

"You can do that with samples, too. They call it re-amping, where you take sounds, stick them out through a speaker or guitar cabinet, and record it again. Then it's been in the real world and put back into the computer. It's a nice thing to do."

 

Source: http://pitchfork.com/features/cover-story/reader/aphex-twin/#the-next-level

Interesting.. Re-amping and running sounds through external processing is something I've been experimenting with quite a lot recently. I acquired an old dictaphone last week and used it to make this (with additional post-processing):

https://soundcloud.com/pselodux/sound-design-experiment-1

I'm really getting into the idea of using physical modelling synthesis and running it through the dictaphone or a guitar amp or doing something bizarre like playing something loud out of a speaker with an electric guitar in front of it so the strings resonate, and just recording the output from the guitar pickup..

Most if not all old Casio/yamaha keyboards can be bent to a degree. Some more than others. I use quite a few keyboards to get odd sequences and hits from and sample into other stuff. It's a never ending source of unique samples and glitches.

Open her up, find the sound chip and get a wire, bare at both ends and touch both ends to different legs of the chip and see what happens.

make sure you're battery operated and stay away from the areas around the power supply until you know what you're doing.

Yeah I might give that a try! At the moment it's nice for cute melodies but that's about it. I'd love to even try to drop it an octave or two if possible, make it into some kind of bass monster.

 

Also, I wonder if I could somehow control the printer.. it'd be awesome if I could get it to play rhythms!

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I was really wondering what his recording techniques are and he kind of partly answered it. Re-amping is great to give hardware a life of their own. You gotta get those recorded sounds out of your DAW so they have more personality.

 

"You can do that with samples, too. They call it re-amping, where you take sounds, stick them out through a speaker or guitar cabinet, and record it again. Then it's been in the real world and put back into the computer. It's a nice thing to do."

 

Source: http://pitchfork.com/features/cover-story/reader/aphex-twin/#the-next-level

Interesting.. Re-amping and running sounds through external processing is something I've been experimenting with quite a lot recently. I acquired an old dictaphone last week and used it to make this (with additional post-processing):

https://soundcloud.com/pselodux/sound-design-experiment-1

I'm really getting into the idea of using physical modelling synthesis and running it through the dictaphone or a guitar amp or doing something bizarre like playing something loud out of a speaker with an electric guitar in front of it so the strings resonate, and just recording the output from the guitar pickup..

Most if not all old Casio/yamaha keyboards can be bent to a degree. Some more than others. I use quite a few keyboards to get odd sequences and hits from and sample into other stuff. It's a never ending source of unique samples and glitches.

Open her up, find the sound chip and get a wire, bare at both ends and touch both ends to different legs of the chip and see what happens.

make sure you're battery operated and stay away from the areas around the power supply until you know what you're doing.

Yeah I might give that a try! At the moment it's nice for cute melodies but that's about it. I'd love to even try to drop it an octave or two if possible, make it into some kind of bass monster.

 

Also, I wonder if I could somehow control the printer.. it'd be awesome if I could get it to play rhythms!

 

like the sound design examples, you should check out Sote's new album. It sounds like really good natural sort of room reverb on really chunky/beefy large sounding physical modeling/fm synth beats and melodies. It's very abstract

 

http://www.rushhour.nl/store_detailed.php?item=78662

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Can someone much smarter than I in his gear list say you can actually sequence an album like this with hardware. Some of these more technically impressive songs towards the end sound like they need a computer.

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Can someone much smarter than I in his gear list say you can actually sequence an album like this with hardware. Some of these more technically impressive songs towards the end sound like they need a computer.

 

This has been sequenced/arranged on a computer.. of course there are various hardware sequencers involved but they're obviously for limited parts/sections

 

with the exception of PAPAT which might have been fully sequenced on an atari 1040, which is still a computer, albeit an old one associated with detroit techno.

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Can someone much smarter than I in his gear list say you can actually sequence an album like this with hardware. Some of these more technically impressive songs towards the end sound like they need a computer.

Come on.. Of course!

 

RDJ can list 1000 hardware ultra extremly rare 10000£ synths but in the end it's all about the DAWs (inside the computer). No computer for RDJ=No Syro.

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