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Thread: The Reason In Synths, Samplers, Studios, and Stompboxes

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    Default The Reason In Synths, Samplers, Studios, and Stompboxes

    Not just guitars, but the making of music in general is a business of reason.

    This thread is for those who compose, record, and generally fiddle with sound, and those who are interested in how it's done.

    To kick off: a free book on ambient music is available for download:
    Music Beyond Airports is a collection of essays, developed from papers given at the Ambient@40 International Conference held in February 2018 at the University of Huddersfield.
    The premise of the conference was not merely to celebrate Eno’s work and the landmark release of Music for Airports in 1978, but to consider the development of the genre, how it has permeated our wider musical culture, and what the role of such music is today.

    The book does not seek to provide an in-depth analysis or a comprehensive history of the last 40 years of ambient music. Rather it provides a series of ‘provocations, observations and reflections’.

    I look forward to discussing stuff here.

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    Default Re: The Reason In Synths, Samplers, Studios, and Stompboxes

    By coincidence, I encounter this thread as Global Communication's 76:14 emerges from my speakers, a standout work of ambient music. Surely Tom Middleton would have been inspired by Music for Airports like everyone else. Eno's knob-tweaking on his VCS-3 on the Virginia Plain video was an earlier expression of the reason in synthesisers, before he invented ambient. I also find The Pearl, one of his collaborations with Harold Budd to be an absolute masterpiece.

    I saw Kraftwerk at the Capitol Theatre Sydney in 1981, when I was 18. I bought my first synth soon after that, a Juno 6. It's still in the family, I visited it at my brother's place recently to record some sounds and video (see below). I can still feel the excitement of that first synth, coming to understand how its different controls work. The Man Machine made perfect sense. I think I can still recall the "Strings" setting which was illustrated in the manual, with pulse width modulation on one of the waveforms, chorus 2, and the filter wide open. I used a variant of it for this track, but with a faster attack and release, some modern reverb.

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    Default Re: The Reason In Synths, Samplers, Studios, and Stompboxes

    A lovely beastie, Stylo!

    I've got a couple of Juno-106 synths. I must see if they still work. (I've got the manuals and I have the factory memory banks, in WAV format, as was the custom in that day.)

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    Default Re: The Reason In Synths, Samplers, Studios, and Stompboxes

    I never did this, unfortunately. I intend to get into piano when we move.
    "A professorship in Theology should have no place in our institution."

    Thomas Jefferson when founding his University of Virginia (in A Universe From Nothing, Lawrence Krauss)

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    Default Re: The Reason In Synths, Samplers, Studios, and Stompboxes

    Listening to a new album right now, "Utility" by Barker. Very nice. Beatless techno is a thing. Lorenzo Senni is another example.

    And I'm feeling happy because I am making progress on Linux audio, plugging in a little Behringer USB interface I had in a drawer. VLC works, firefox doesn't, yet. My Focusrite 18i6 interface is not Linux friendly, but it's good when I'm in Windows using Reason 10.


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    Default Re: The Reason In Synths, Samplers, Studios, and Stompboxes

    The new album by Lindstrom is a love letter to early 70's kosmische electronic Tangerine Dream, Wendy Carlos type pioneering sounds. The video for it ended up being a short film about some curios of recent events in Norway.



    I've heard a few Lindstrom tracks and never been a huge fan, but now I revisit one of his earlier hits with a historical ear and I find it to be very good, a reworking of Giorgio Moroder/Space/Cerrone styles. The new album is like Kraftwerk and Telex and disco never happened, but this is like it's the only thing in the universe.


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    Default Re: The Reason In Synths, Samplers, Studios, and Stompboxes

    After a couple of years of acoustic tendencies, I'm feeling electronic again. I'm rebuilding my battlestation, with the aim of inventing psychedelic deep house:
    Streichfett: Swirly string sounds like those found on Oxygene and Equinoxe.
    Tetra: Four analog voices with Sequential Circuits heritage. A bastard to program, but the BCR-2000 box 'o' knobs helps, and its multi-timbrality makes it really powerful.
    TR-08: It's a perfect 808 to my ears, and in in some ways I appreciate its digital-ness.
    Moog Mother 32: It makes such huge and solid sounds, its physical properties are also marvelous. It's a joy to own a Moog. I prefer patch memory to a patch bay, but this is worth the fiddling and twiddling.
    Roland JX-03: I can't help wishing for the Juno equivalent, but I got this cheap and I'm hoping it will be a little bit weirder and more versatile due to 2 DCOs and Cross-modulation, and I already have a really good Juno VST plug-in anyway.
    Yamaha Reface CP: I can't fault its Rhodes and Wurly settings. Plus it's my master keyboard. It can play its own sounds, or be routed to any of the above via USB/MIDI.
    Reason 10: The only DAW I've ever been comfortable with.
    Not pictured: Bastl Microgranny, which might be a more interesting and grungy way of adding samples.
    Coming soon: A newfangled mixer with integrated multitrack USB interface. My previous audio interface had lots of inputs but no knobs and sliders. The physicality of one knob per function is really important to me.


    SAM_1040.jpg SAM_1041.jpg

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    Default Re: The Reason In Synths, Samplers, Studios, and Stompboxes

    How totally solipsistic.

    So you will be treating us to your psychedelic deep house art music, stylophone? I look forward to that.
    "A professorship in Theology should have no place in our institution."

    Thomas Jefferson when founding his University of Virginia (in A Universe From Nothing, Lawrence Krauss)

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    Default Re: The Reason In Synths, Samplers, Studios, and Stompboxes

    Quote Strato said View Post
    How totally solipsistic.

    So you will be treating us to your psychedelic deep house art music, stylophone? I look forward to that.
    This was an earlier attempt:

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    Default Re: The Reason In Synths, Samplers, Studios, and Stompboxes

    Nice.

    Who was the person being subjected to normalisation? That section is tense, sinister undertones. Then there's blissful escape again from human conditioning I guess.
    "A professorship in Theology should have no place in our institution."

    Thomas Jefferson when founding his University of Virginia (in A Universe From Nothing, Lawrence Krauss)

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