Quite a bit of his stuff uses drum machines. In The Air Tonight features the Roland CR78 pretty prominently.
Nothing wrong with a bit of Phil Collins. Great drummer.
You are not logged in. Please login or register.
Bedrock Messageboard → Posts by loopdokter
Quite a bit of his stuff uses drum machines. In The Air Tonight features the Roland CR78 pretty prominently.
Nothing wrong with a bit of Phil Collins. Great drummer.
Wasn't there a night where Diggers was supposed to play, but Sven just kept on banging it out?
Sven got a little bossy and told Diggers that he was going to keep playing. Caused a bit of a ruckus if I recall correctly.
Sven is a legend. The only time I saw him was in front of about 60 people on a Sunday night. He banged it out for 6 hours regardless, having an absolute amazing time. After the gig, he necked a bunch of pills and came to our after party. And people say Germans aren't fun.
1. Detroit to Missoula, Montana via Minneapolis-St. Paul for a gig I had in the late 1990s. Arrived in Detroit to be told I wasn't allowed on the flight and would have to fly standby, despite having a reserved ticket. Finally boarded. Landed in Minn-St. Paul for what was supposed to be a brief hour and a half layover. Three hours later, no announcement had been made so I approached the gate and asked the airline person what gives. Her response: "OH! Your plane broke! We're bringing in another one from Spokane, Washington but I have no idea when it's coming." Northwest Airlines = NotTheBest Airlines. Five hours later, a DC-9 from a jet scrapyard arrived. I get on the plane and the first words uttered from the flight attendant to another are, "I fucking hate these things! They're death traps!" Great! I step inside and it's stuck in 1971... Wood panelling, disco ball and a recently closed smoking section. The entire plane appeared as though they put it together in the seven hours of my layover. The whole time during the flight, it went from bad to worse... There was constant creaking and groaning from the thing and then we hit the Black Hills over South Dakota and things went pear-shaped. MASSIVE turbulence. We lost about 1000 feet of altitude and got more of a ride than you would on the world's most exciting rollercoaster. At one point and the captain came on saying that it was the worst turbulence he'd ever experienced. People were crying, oxygen masks deployed, people puking. It was fun!
I finally landed. Little known fact... Montana at that time didn't have speed limits. Montana also had an open container law that allowed you to drink and drive but 'not' be drunk. So to my luck, the guy picking me up at the airport had to drive me two hours into the mountains, didn't have functioning brakes and had a lead foot - all whilst going through the better part of a 12 pack of beer driving through mountain passes. When I finally arrived, I was ghost white and proceeded to get more smashed than I've ever been in my entire life so as to relieve the stress of having seen my life flash before my eyes about twenty times.
2. Roatan, Honduras. Roatan has basically one ring road that dips and dives throughout the hills. It's pot-holed beyond belief and any sane person wouldn't drive beyond 60km/h. There's one straightaway where you're lucky if you can get up to 80. Blind corners abound. But that didn't matter to our publico minibus driver in a monsoon. Nope! We spent an hour drive hydroplaning sideways down this road from one end of the island to another in one of the worst storms they'd ever had - all whilst his speedometer showed around 100 km/h. Everyone in the bus had taken xanax because apparently this was a common thing. Thanks for sharing!
3. Driving to a rave in the late 1990s in Toronto in a rental car. Our driver was coming up and decided to make a rather rapid lane change after missing an exit just after a rather bad blizzard. I was in the rear passenger seat behind the driver. The driver hit a snow bank just before a concrete traffic divider, which in turn threw us into a sideways skid headed straight towards said concrete lane divider and me. We were doing about 120 km/h at the time. At the speed we were going, it would have hit me directly and severed me and the car in half, but somewhat miraculously he managed to right the car enough so that it only hit at a minor angle and we smashed into the barrier. I spent a week cleaning out my underwear.
4. I was driving to Toronto just after a snowstorm to show my Finnish friend the city. We had stopped for some food on the way and I was eating chips. I briefly looked down at a chip that fell onto the floor of my car, when my driver's side wheel caught a snowbank that hadn't quite been cleared off the roadway by a snowplow. This sent us into a tailspin at 120 km/h. This was on a two-lane interchange where we were in the process of merging into the main highway. After about 4 complete 360s at top speed, we came to a stop without having hit a single thing, staring at an overpass bridge as cars drove around us. Pekka and I to this day sill cannot believe we didn't hit anything. Lucky as shit on that one!
2. How can you fine tune atumation in outboard gear. I'm using logic x and have always used plus so this is straightforward. I've seen a tutorial on recording in midi but this was just sounds and Channels only. Can you automate say reverb or cutoff after and edit within the DAW?
Loopy maybe one for you too you big geek!
Geek would be appropriate. Been at this over 25 years now! Time flies!
That's sort of a tricky one. Almost any modern DAW at the very least receive what has become standard (MIDI Control Changes) messages. Basically when you're automating something in a DAW that's already inside the computer, that's the background standard that it's using.
That said, previous to that there were a few different standards. There was something called System Exclusive (SysEx) which was archaic and finicky, but it worked when you knew what you were doing and it to this day works well if you can err, get it working and have a penchant for math. SysEx become prevalent in the 1980s. Previous to that, there was Control Voltage/Gate (CV/Gate), which was very simplified sync and has seen a recent resurgence with the analogue revolution - especially in the modular and Eurorack world.
Generally speaking however, the less expensive the product, the less likely it is to have good MIDI CC/SysEx/CV-Gate implementation. When it really gets fun is when you're trying to make gear designed in the 1970s, 1980s, 2000s, etc. to jive and talk to each other. That's why you see a lot of modern gear with CV/Gate inputs on them. No one, and I absolutely mean NO ONE misses SysEx, so that's a dead technology that's only held afloat by developers trying to find easier ways to control old technology.
So what does this all mean?
It means it depends what you're trying to sync/automate and what the capabilities of the synth/gear you're using are. If it's a modern, store bought synth, more than likely it will have some form of MIDI CC on it. If you're even luckier, the manufacturer will have software that works as a plugin in your DAW to control things (a la Roland's System-100 synth). Things like the Arturia MiniBrute don't transmit much more than MIDI channels because analogue synths don't transmit MIDI CC easily without costing (usually) a small fortune - again price point comes into play, but it's got CV/Gate as well as transmitting MIDI for sync only.
Then there's SysEx, which in itself is a royal pain. If you grab a classic synth from the 1980s up to the early 2000s, chances are it has some form of SysEx as a way to back up and store patches, potentially automate things like cutoff filter changes, drive yourself completely mad figuring out how it actually works, etc. This actually sometimes requires extra software like Max For Live for Abelton's Live depending upon the DAW. In addition, you can use software like Sound Quest MIDI Quest Pro or various iPad/VST apps to control your SysEx synths.
Each DAW treats SysEx differently. Cubase for instance, uses something called 'Panels' to basically recreate the parameters of the synth, which in turn are GUI's for the SysEx code that's working in the background. From there you actually automate the 'ghost' synth panel on your screen which then triggers the parameters you're trying to automate. The problem with SysEx was that it was heavily implemented and poorly understood. So if you end up with a more rare SysEx synth, it's basically up to you to figure it out and how to get it working withing the context of your DAW's automation - which is not a chore I'd wish upon the most talented genius!
To even further complicate things, SysEx doesn't like multiple streams of data being pushed through at once. So unlike MIDI CC where you're able to record say, a filter sweep, LFO rate change, resonance sweep, etc. with five hands or as many knobs that you can turn at once, SysEx starts to clog up and 'crash' when you try to automate anything beyond one or two changes at once. This in turn, requires you to cycle back and draw in a new lane of automation and erase the previous other ones. Tedious - which is an understatement for SysEx!
CV/Gate just works because it's the most simple. You cannot automate it however. You can only sync it or use it as a way to drive or modulate another CV/Gate source. Oh, and Korg/Yamaha gear works at a different CV/Gate standard to the more common 4 volt/octave standard that the rest of the world adapted in the 1960s/1970s so you sometimes need converters. This is why a lot of people retrofit their CV/Gate synths to have MIDI when possible. MIDI as a standard works so much better in today's modern recording world because it's been adapted as THE standard, even though it's still really crap for other things, like staying in time.
So depending upon what you're trying to accomplish and the age of the kit you're using, you're going to end up using different methods. For instance, I own a Roland JX-8P that's a SysEx-based synth. It's a great sounding synth - like many SysEx-based synths of the 1980s. I have the PG-800 controller/programmer that came with it, so editing it on the fly is easy, but these knob turns don't transfer into my DAW as automation unless I use it through a Cubase Panel or a third party VST plugin. I have to draw that stuff all in via a JX-8P Cubase Panel that emulates the PG-800. Also you have to configure Cubase to read SysEx. I imagine Logic has something to this effect, but I've never recorded SysEx automation into Logic.
The upside to MIDI CC however, is that in theory you're able to turn a knob (provided it transmits MIDI CC as per the manual in the MIDI implementation chart - if it has one), hit record in your DAW provided it accepts MIDI CC, which Logic definitely does, and in turn you should immediately see those changes reflected in an automation lane on your DAW in real time-ish. MIDI after all, is notorious for being a bit late to the party.
Most times I just record my synth automation by 'hand' and then dump it into the DAW and go from there. It starts getting a bit trickier when I want to sweep the LFO rate, the cutoff, resonance and the ADSR all at once and record it with only two hands. Even with automating SysEx it's unlikely you'll be able to automate so many parameters at once. However, once it's in audio as a recording you're basically able to manipulate it however you wish. Sometimes I have to re-record things to get it sounding the way I want, but this method definitely works and has long been the method from which most people originally made electronic music. I almost always record my signal dry into my DAW and effect it using internal FX. The benefit of multi-track recording is you can keep recording until you nail what it is you're trying to accomplish.
That said, I have a few external FX units and use them on occasion because they just sound better than stuff inside the box. This is one thing I think you'll find owning external hardware. It sounds better - sort of like vinyl over the cold reality of digital files.
1. make a melody while jamming:
Admit it Zack. You've never knocked out a melody in your life. That would destroy any form of your dissonant, punk-attitude, banging pots techno purism.
Thus, I imagine working in any form of a key is beyond useless, but also stands against everything you do. Haha.
I have most of their releases. I was surprised that I like a lot of it, seeing as it's not my usual fare, but there's something about their quirky A&R that I appreciate.
Always took you for a moon boots sort of lad, Comer.
i don't think much of the korg volca series, so my 2 scents is stay away from those.
Couldn't disagree with this more. Out of the three I have, the Keys gets the most use and to me is the most versatile. The Beats is cool, but it's a bit of a one trick pony. I'm not a huge fan of the Volca Bass' filter, but the rest is good - just don't expect it to churn out TB-303 like sequences when it's a totally different beast.
I'd love to try the Kick, FM and Sample as well. I got in early with the above three and the Bass and Beats I could easily do without. They'll likely get sold on at some point, so if anyone is interested... Shipping is cheap and I have the boxes, manuals and additional Korg power adapter (sold separately).
There's quite a bit you can grab for 1-1.5 UKP if I'm honest. European brands are luckily a tad cheaper in the UK than over hear, so it's worth looking into some of the more boutique manufacturers like Modal (which are based in Bristol).
Pretty sure He was pushed out ofUnderworld. There isn't much love between them.
It wouldn't surprise me, but they do seem to credit him quite a bit for making them relevant again. He's basically the reason they discovered the dance music scene in the UK.
i'm now the proud owner of the analog four. i love the sound that's coming out of it, but the workflow is going to be a steep learning curve.
anyone familiar with the elektron stuff? i thought it was going to be as simple as coming up with a pattern, copying it in a chain, alter it, repeat. either i can't figure it out or it doesn't work that way.
Add up Ceynk on Facebook (he's in my friends). He's the guy who demos their stuff and will get back to you personally.
Joey, take a look at the Behringer Deepmind-12. Great synth!
My sister's husband is an Oscar nominated/Emmy award winning graphic designer/animator. I can put you in touch if you wish, but he'll cost you accordingly. Over the years he's done some artwork for me that's been pretty fantastic. He knows the music as well.
He was behind the animation for this (which was up for best animated short at the Oscars a few years ago):
His most recent project was working on the art installations for the Canadian government for our 150th Anniversary <-- I still can't post without working in Canada as an angle somehow.
Winx - Higher State Of Consciousness.
There. I said it. It had it's brief time in my record box and did the business as one would expect, but then every Tom, Dick and Harry DJ were playing the fucking thing and ruined a decent record that was only meant to have a brief period of dancefloor action instead of 2 million remixes and re-releases. Judge Jules remixed it. That says it all.
After hearing it for the 3 millionth time the year it came out, I divested myself of anything to do with it. Shocking over-programmed tripe for the masses and this is coming from a guy who couldn't get enough of Josh Wink productions. I'm embarrassed to say I actually once played this record.
Scorchio - The original in the B-side dub mix by Emerson suck balls. However, I love the Sander K RMX.
Never saw the fuss over this one myself. I think it's arguably one of Sasha's weakest tunes. I blame Emerson. He should have stayed in Underworld.
Brancaccio and aisher - a lovely day
People seemed to fucking love it at the time. I thought it was fucking gash.
It still is.
Wally, you'll need to find out who owns the publishing to the track and approach them. It's the publisher, not the artist or even the record label that owns the rights to the sample clearance. Sometimes, and I mean very rarely you can approach the artist and their management directly if they're sound (I had this very lucky instance with Banco de Gaia and 808 State) and you can sort it through them, but generally you're left dealing with an entity who owns the publishing rights. Most artists (sadly) don't own their publishing.
In order to find out who owns the publishing, dig out the original track and look at the credits. It will say 'published by ___'. I'd recommend getting an entertainment lawyer on your side, or at the very least someone who's very familiar with negotiating licensing deals. I can refer you to someone to speak with in the UK who'd be able to assist if you wish. Drop me a PM if that's the case.
If it's a major label like say, Universal, you're likely fucked. You won't likely get clearance and they probably won't return your inquiry.
..anyone on here have a Moog Sub Phatty?
Developing a serious lust for one.
Might I suggest if it's a Moog you're after, to hold off a bit more and grab the Moog Sub 37 instead? It's a tad more versatile.
well i think i've sold my two of my three 1200's. i'll never part with my records and i'm keeping one deck for listening/sampling, but i just don't see myself using them again. the good news is, i'll have $1200 for new gear.
so that leads me to this ... what to buy? i would ultimately like to get away from the laptop as much as i can for sound creation and jamming out ideas, using ableton for effects, cleaning up arrangements, mixing, mastering, etc. i have a tb-3, ms20 mini, and a couple of controllers (launchpad and faderfox).
i'm considering the tr-8, a push 1/2 depending on cost for used, a poly synth (korg minilogue?), the op-1 or elektron rytm (which will obviously stretch the budget).
any other suggestions or ideas?
Yes. Grab the Behringer Deep Mind 12.
An absolute monster of a synth:
Never thought i would buy any outboard get to be honest but now I don't think il open massive again!
Outboard gear generally sounds better than the software equivalent. I've noticed this since I started rebuilding my synth dungeon again. In the early 2000s I sold off a lot of gear I constantly regret selling - mint condition TB-303, blue SH-101 with the modulation grip, Alpha Juno-1, TR-707, etc. because computer based synths and plugins were supposed to be the next big thing... Except they weren't. While I accept that I've become a better producer over the years in terms of audio engineering, I hear a lot more depth and warmth in stuff that is coming from outside of the box. Granted, some of that is reflected in the choices I've made in terms of what gear I now have, but I will always contend that you are going to get a better sound out of an external piece of gear than something coming from within a computer.
The Repro is perhaps the only soft-synth that I've heard lately that sounds like it might not be a soft-synth. Perhaps one day computing and coding will find a way, but I still don't think we're there yet.
Haven't seen the film, but looks pretty good.
It's fantastic. Pretty true to the book - although the tapeworm bit is sort of neglected.
..there's plenty of good lineups and locations to see good DJs doing their thing. It's not an EDM festival.
Are you referring to Ultra or are you referring to Miami Music Week or whatever it's called now?
Whilst not one and exclusively the same, there is a certain demographic that are in heavy attendance during this time of the year there that isn't for me seeing as I'm a middle-aged cunt. A lot of US colleges have their spring breaks around that time and it's full of 'bro's' and frat/sorority types.
South Beach is pretty horrid of a place in my opinion too. It's very Barbie & Ken, plastic, very expensive and full of Yanks. There's better places in the world to check out week-long electronic music focused events. ADE, BPM, Croatia, etc. There are far better American cities too - New York for instance.
'The' party in Miami used to be the Sasha & Digweed boat cruise, but even that got very commercial.
There's very little that's endearing to me about that city. I can only imagine what it's like now around that time with EDM now being a thing.
Best site for purchasing music hands down. They're fair to the artists and basically allow artists to sell direct without middlemen.
I frequently buy stuff on there - often physical things like CDs and vinyl because it's the label or artist themselves selling it, not some third party.
I've also discovered many an artist on there as well.
Bedrock Messageboard → Posts by loopdokter