Podcast appearances and mentions of roland tr

Episode 137 Merry Moog 2024 Electronic Music for the Holidays Performed on the Moog and other Synthesizers   Playlist Time Track Time Start Introduction –Thom Holmes 04:34 00:00 1.     Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54 02:54 04:32 2.     Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33 01:33 07:24 3.     Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14 02:14 08:56 4.     Emerson, Lake & Palmer, “Nutrocker” from Nutrocker / The Great Gates Of Kiev (1972 Cotillion). Arranged by, Emerson, Lake & Palmer. Written by Kim Fowley. 03:48 11:08 5.     Sounds Of Broadcasting 2, “Night Of The Kings” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. 01:01 14:56 6.     Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. 01:44 15:56 7.     Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. 01:52 17:40 8.     Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer. 04:46 19:30 9.     Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). USA. ARP 2600 Synthesizer with an Oberheim Expander Module. 01:34 24:16 10.   Armen Ra, “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). USA. Moog Etherwave Pro Theremin. 04:43 25:50 11.   Beck, “The Little Drum Machine Boy” from Just Say Noël (1996 Geffen). USA. Roland TR-808 Rhythm Composer. 07:02 30:32 12.   Alan Horsey, “We Wish You a Merry Christmas” from Switched-On Christmas (1985 Snowflake Records). Italian album with electric organ by Alan Horsey. This is reminiscent of Hooked on Classics as the entire album seems to be woven together by a drum machine beat. This is played on organ. Seems a little late for disco. 03:10 37:30 13.   Denny Hinman, “Christmas in July” from Plays The Yamaha Electone E-70 (1980 Yamaha). Denny Hinman plays the Yamaha Electone E-70. A release by Yamaha. 01:45 40:36 14.   Miharu Koshi, “Belle Tristesse” (妙なる悲しみ)from We Wish You A Merry Christmas (1984 Yen). Japan. A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Written by, synth-pop with vocals by Miharu Koshi. Miharu Koshi is a keyboardist and singer with a long-standing collaborative association with YMO-founder Haruomi Hosono. 03:43 42:20 15.   Taeko Onuki, Inori (Prayer) from We Wish You A Merry Christmas (1984 Yen). Japan. A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Japanese synth-pop with vocals by Onuki. Maybe Ryuichi Sakamoto on keyboards. 03:44 46:02 16.   Frank Collett, “Jesu Joy of Man's Desiring (1970 Privately Made Release). USA. This is a special addition to the Merry Moog podcast. I found what is likely a one-of-a-disc private pressing by Frank Collett using the Moog Modular Synthesizer. This 45 RPM disc was recorded at Finetone Recording Studio in New York City and is inscribed with the hand-written message, “To John & Loretta: Merry XMAS. Composed and arranged by Frank Collett” This appears to be disc made of metal with a vinyl coating. One side includes his rendition of Bach's “Jesu Joy of Man's Desiring” plus a short tune called “Little Joey” (see below). The flip side contains the same recording of “Little Joey.” Dated December 22, 1970. Clearly made using a Moog Modular Synthesizer. Collett (1941-2016) was a noted session pianist and sometimes led and recorded with his own trio. He was raised in New York. In 1968 he was accompanist to Sarah Vaughan. The following year he moved to Las Vegas, Nevada.  He became the house pianist, with the orchestra in the main showroom of the International Hotel (which became the Las Vegas Hilton).  It was during this period that he made this recording in NY.  01:57 49:44 17.   Frank Collett, “Little Joey” (1970 Privately Made Release). Frank Collett using the Moog Modular Synthesizer. From a 45 RPM disc recorded at Finetone Recording Studio in New York City (see above). Dated December 22, 1970. Clearly made using a Moog Modular Synthesizer. Collett (1941-2016) was a noted session pianist and sometimes led and recorded with his own trio. Moog Modular Synthesiser, Frank Collett. Whose Moog Synthesizer did he use to make this recording? I can only speculate and guess that he made the recording at the studio of Gerson Kingsley in New York. 01:56 51:40 18.   Romantic Synthesizer, “Oh Tannenbaum” from Christmas Memories (1983 Dureco Benelux). French-Dutch album. Arranged, produced, synthesizers by Gerto Heupink, Robert Pot. 02:53 53:34 19.   Keiko Ohta (Ota), “Here Comes Santa Claus” from Electone X'Mas Present (1975 Canyon). Yamaha Electone GX-707 (GX-1), arranged by Keiko Ohta. Ohta was a female Electone star from Japan. The GX-1 was an early polyphonic synthesizer and a new branch of the Yamaha Electone family tree. 02:43 56:24 20.   Keiko Ohta (Ota), “Blue Christmas” from Electone X'Mas Present (1975 Canyon). Yamaha Electone GX-707 (GX-1), arranged by Keiko Ohta. Japan. Yes, the song originally made famous by Elvis Presley. Ohta was a female Electone star from Japan. The GX-1 was an early polyphonic synthesizer and a new branch of the Yamaha Electone family tree. 04:11 59:06 21.   Paul Haig, “Scottish Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. Scottish songwriter, musician and singer. 02:46 01:03:16 22.   Les Cousins Dangereux, “What Child Is This” from Gotta Groove Records 2012 (2012 Gotta Groove Records). Holiday album with various artists. Les Cousins Dangereux is Mr. Tim Thornton. 01:59 01:06:00 23.   Joy Electric, “Angels We Have Heard on High” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Among his many releases is this crafty Christmas album. 01:48 01:07:58 24.   Koichi Oki, “Jingle Bells” from The Man From Yukiguni (1975 TIM/RS). Japan. Koichi Oki's Christmas album performed solely by his Yamaha Electone E-3. “Yukiguni” means snowland. Oki was a hugely popular Electone artist in Japan. 01:50 01:09:46 25.   Koichi Oki, “Winter Wonderland” from The Man From Yukiguni (1975 TIM/RS). Japan. Koichi Oki's Christmas album performed solely by his Yamaha Electone E-3. “Yukiguni” means snowland. Oki was a hugely popular Electone artist in Japan. 02:18 01:11:34 26.   Edhels, “Oriental Christmas” from Oriental Christmas (1985 Cabana Music). Recorded in France. Drums, Percussion, Keyboards, Jacky Rosati; Guitar, Jean Louis Suzzoni; Guitar, Bass, Keyboards, Composed by, Marc Ceccotti; Keyboards, Noël Damon. I was sent this as a promotional album back in 1985 with a kind little note from the artists. Sorry it took me so long to put the Christmas-related track in my podcast. This is great example of synth-pop from France in the 1980s. 04:22 01:13:52 27.   Bob Wehrman, John Bezjian and Dusty Wakeman, “Joy to the World” from Christmas Becomes Electric (1984 Tropical Records). Produced in L.A., a collection of pre-fab synthesizer classics. Not the same record of the same title as Douglas Leedy. 02:40 01:18:12 28.   Bob Wehrman, John Bezjian and Dusty Wakeman, “Ring Christmas Bells” from Christmas Becomes Electric (1984 Tropical Records). Produced in L.A., a collection of pre-fab synthesizer classics. Not the same record of the same title as Douglas Leedy. 01:46 01:20:50 29.   Romantic Synthesizer, “So This is Christmas” from Christmas Memories (1983 Dureco Benelux). French-Dutch album. Arranged, produced, synthesizers by Gerto Heupink, Robert Pot. We don't often hear an instrumental rendition of this Lennon and Ono X-mas tune. 03:22 01:22:34 30.   Swinging Buildings, “Praying For A Cheaper Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. This group was once rumored to be New Order in disguise. But no, they were in fact The Bowling Balls in disguise. 03:07 01:25:54 31.   Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37 05:37 01:28:58 32.   The Original Cast: R2-D2, Anthony Daniels As C-3PO, “R2D2 We Wish You A Merry Christmas” from Christmas In The Stars: Star Wars Christmas Album (1980 RSO). Vocals, Arthur Boller, Donald Oriolo, Jr., Dori Greenberg, Ivy Alexenburg, Jake Yeston, Jessica Taylor, Marney Alexenburg, Ricky Haayen, Roddy McBrien, Russell Poses, Scot Randell, Stacy Greenberg; Keyboards, Derek Smith, Harold Wheeler, Pat Rebillot; Sound Effects (R2D2), Ben Burtt. The whole Star Wars crew seems to have a part in this holiday album. I wanted to highlight a track featuring the melodious electronic beeping of R2D2. 03:33 01:34:34 Opening background music: Sounds Of Broadcasting 1, “Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Notice how the melody imitates a familiar tune without ever hitting the same notes. A copyright thing. Another name of this track might as well be, “It's Beginning to Sound A Lot Like Christmas.” Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). USA. Produced at the Electrosonic Studio of the University of Wisconsin-Extension.   Opening and closing sequences voiced by Anne Benkovitz. Visual design by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

Welcome back to another episode of The Design Vault with your hosts Albert Shum and Thamer Abanami. Today we explore an absolute game changer in the world of music technology—the Roland TR-808 drum machine. Despite its initial commercial failure, the TR-808 revolutionized music production and left an indelible mark on various genres—from early hip hop and Detroit techno to pop music and beyond. We'll take you through the fascinating origins of drum machines, the unexpected cultural phenomenon of the TR-808, and its lasting influence on the music industry.   TAKEAWAYS How did the Roland TR 808 transition from a commercial failure to a cultural icon in music? Introduction of programmable drum machines in the late 70s and early 80s Initial adopters and experimental musicians like Yellow Magic Orchestra, Kraftwerk, and pioneers in hip hop and electronic music The iconic "boom" of the kick drum Reflections on unintended consequences of product design Join us as we shape the future of design by learning from the past and present    FOLLOW US Linkedin Albert Linkedin Thamer Instagram Hosts: Albert Shum and Thamer Abanami Production and Post-production: Romina Hakim, Toño Tellez and Poonam Patel Music: Red Lips Media LLC Brand Design: Rafael Poloni  

08-08-24 Recording of The Summer Sessions on 88.3 WXOU FM, in Auburn Hills, MI. In honor of 808 day, I spin some of my recent favorites in tribute to the Roland TR-808. After that we get into a in-depth conversation with Detroit-based DJ and artist, known as DJ Psycho aka Piggy McTiggers.   Set List: Tenderlonious - Prometheus   Mick Jeets - 808 Summer Jessy Lanza - Anyone Around Adria Duch - Risky Life   Interview Part 1   Brian Kage -  808 in the Great Lakes State   Ending: Jay Sound - Highway Crusin'   For more on DJ Psycho visit: https://www.instagram.com/piggymctiggers   For more on the program visit: www.thesummersessions.net

Episode 130 Recent Finds for the Electronic Music Archives Playlist   Time Track Time Start Introduction –Thom Holmes 04:18 00:00 Esplendor Geometrico, “Estación Katowice” and “Signos De Energía” from Kosmos Kino (1987 Discos Esplendor Geometrico). Percussion, Drum Machine, Vocals, Gabriel Riaza; Synthesizer, Drum Machine, Vocals, Noises, Arturo Lanz. Industrial music from Spain. 10:08 04:42 KG, “My Magic Guitar,””Harry Escaped!,” “Die Sauberen Flöten,” “À L'enterrement De Kraftwerk,” “Fish And Chips Sugar Free,” “The Shotgun Gallery Drum School,” “The End Of The World” from Baraka (1997 Antimatière). French industrial band. Limited to 300 copies. Comes in a plain white cardboard cover with die-cut hole on center front. Back cover has two stamps: "ANTIMATIERE" and "MARRAKECH WVIII". 11:55 14:46 Mystic Moods Orchestra, “The Look of Love” from The Mystic Moods Of Love (1968 Philips). Lushly weird arrangements with a silky vocal chorus and environmental sounds recorded by Brad Miller. This record came before the Mystic Moods Orchestra used a Moog synthesizer. Originally included a fragrance card affixed to the cover with the writing "A Romantic Fragrance has been added to this album to enhance your Mystic Moods of Love" (actual capitalization). 03:30 26:37 Chris and Cosey, “Re-education Thru Labour” from Trance (1982 Rough Trade). Composed and Acoustic And Electronic Instrumentation by Chris Carter and Cosey Fanni Tutti. 07:07 30:06 Chris and Cosey, “Put Yourself In Los Angeles” from Heartbeat (1981 Rough Trade). Produced, composed and Acoustic And Electronic Instrumentation by Chris Carter and Cosey Fanni Tutti. Synth, Cornet, Casio MT30, Tapes, Vocals, Cosey F. Tutti; Synth, Electronic Drums, Guitar, Casio MT30, Taped Voices, Vocals, Chris Carter. 03:37 37:09 Skyliner Flight 35, side A, from Skyliner Flight 35 (Authentic Plane Sounds) (1952 Columbia). Directed by Hecky Krasno, Text by Leo Paris. 78 RPM. "Ride with the pilot as he flies a 4-engine Constellation from New York to California." Part of a series of children's records from Columbia. 03:25 40:56 Reynold Weidenaar, side A, tracks 1-5, “Neptune Two-Step #1,” “Neptune Two-Step #2,” “Neptune Two-Step #3,” “Computer Clip-Clop,” “Cosmic Capers” from Electronic Effects (1968 A Sam Fox Production). Composed by Reynold Weidenaar. Historically significant recording of the early Moog Modular Synthesizer by this collaborator of Moog, student Reynold Weidenaar. Around this time (1967-68), Weidenaar edited the journal that originated with Bob Moog, the short-lived Electronic Music Review. This recording was made in the electronic music studio of R.A. Moog Co. studio in Trumansburg, New York. Not many recordings were made there. It was distributed by a company specializing in broadcast library music, Sam Fox Productions. You can hear the raw power and versatility of the Moog Modular components in these short compositions. 03:19 44:22 Reynold Weidenaar, side B, tracks 1-5, “Milky Wail #5,” “Milky Wail #6,” “Milky Wail #7,” “Venus Exposed,” “Cosmic Crackle #1” from Electronic Effects (1968 A Sam Fox Production). Composed by Reynold Weidenaar. 04:13 47:40 Ralph Lundsten, The Paradise of Heroes” from Paradissymfonin (1980 Harvest). Produced, composed, Synthesizer, Keyboards, Arranged By, Voice, Effects, Ralph Lundsten; Choir, Annelie Sköld, Annica Risberg, Kai Kjäll-Andersson, Kerstin Bagge, Liza Öhman-Kling; Conductor, Lars Bagge; Drums, Peter Sundell; Electric Guitar, Electric Bass, Georg Wadenius; Flute, Keyboards, Björn J:Son Lindh; Harp, Gloria Lundell, Marie Eriksson; Keyboards, Wlodek Gulgowski; Pipe Organ, Birgit Lindkvist; Percussion, Björn Liljequist, Pétur Östlund; Percussion, Arranged By, Gunnar Lundqvist. Mr. Lundsten was a little like the Rick Wakeman of Sweden. He worked in his private studio and produced many thematic compostions and over 40 albums in his long career in music. 05:46 51:52 Hiroshi Yoshimura, “Time Forest” from Soundscape 1: Surround (1986 Misawa Home). Composed, arranged, and performed by, Hiroshi Yoshimura. Hiroshi Yoshimura was a Japanese musician and composer, a pioneer of Japanese ongaku or environnemental music. Interestingly, this music was originally commissioned by a home builder to provide music to complement their newly built homes. Yoshimura described his music as being transparent, adding “Not all interiors are visual by nature; music as interior is none other than the interior of the heart.” 10:38 57:36 Mamman Sani, “Dangay Kotyo” from Taaritt (2022 Sahel Sounds). Recorded 1985 to 1988 at Studio Samira in Niamey, Niger and Studio Kham Mai in Paris, France. This wonderful music was not released until recently. Composed, recorded by, Crumar Bit 99 v, Yamaha RX5 synthesizer, Roland TR-505 Drum Machine, Mammane Sani Abdoulaye. Sani is an early pioneer of synth music in Niger. Sani found unlikely fame in Denmark, regularly appearing in the playlist of Copenhagen bars. "In Niger we have sweet melodies. When the music is good, it's a positive vibration. When someone can cry because of a melody, there is something humane in them. If you are stressed, you can take this music like a tablet. It's music to cool down. It's not music for dancing, but maybe it can make you dream." 04:11 01:08:11   Opening background music: Unknown Artist, side A, Ambient Battle Samples: Phase One: Enter The Stargate Manifold...(2003    The Crypticon Media Cartel). Produced, Controlled & Bankrolled by AL9000 Motherbrain (Alexandre Delmaere). From A side label : "These sounds are of intergalactic sonic property and available for any manipulations and outputs you so desire. Welcome to the Crypticon Media Cartel 2003. Original transmissions from sector 9.41 of Sirius-V during the last sonic cruise of the outer rings." Essentially, this is a list of electronic sound effects to be sampled and played by DJs. (15:05) Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

The drum machine has progressed massively since the days of the home organ player. Here Oli Freke takes us through a brief history with lots of audio examples, highlighting the most iconic models to have been released during the last 40 years and the part that they have played in shaping musical trends.Chapters00:00 - Introduction00:51 - Early Rhythm Machines02:57 - The First Korg Rhythm Machine04:03 - The Invention Of The Transistor08:02 - Solid State Rhythm Machines13:48 - Using Drum Machines In Mainstream Hits17:05 - The First Programmable Drum Machines21:59 - The Introduction Of Drum Pads And Brains25:27 - The Arrival Of Digital Samples And The Linn Drum 30:59 - The Era Of Sampling Drum Machines 37:11 - The Impact Of The Roland TR-808 and TR-90942:54 - Other Notable 80s Drum Machines44:41 - The Introduction of MIDI46:51 - Standardised Layouts And Spec50:12 - Analogue Circuit Modelling And Software53:45 - Back To Hardware With Eurorack Modular54:52 - Drum Pattern Generation With AIOli Freke BiogOli Freke is a London based musician, artist and author who has had a life-long passion for electronic instruments, synthesizers and electronic music. Currently working for the BBC, he has previously enjoyed success with electro band Cassette Electrik supporting the Human League on tour, written music for television and produced dance music since the 1990s.His Synth Evolution range of posters, celebrating the synthesizer and electronic music culture, launched in 2017 and led to the definitive, hand-illustrated book, ‘Synth Evolution: From Analogue to Digital (and Back)', featuring every commercial synth of the 20th century.www.synthevolution.netwww.linktr.ee/olifrekeCREDITS1. Chamberlin Rhythmate - audio.com (@Drum Machine)2. Wurlitzer Sideman - Internet Archive (archive.com)3. Korg Doncamatic - Korg (Germany)4. Korg Minipops 3 - Corsynth Modular (Corsynth.com)5. Ace Tone F-1 - @YouAreTheRobots6. Roland TR-77 - @vintageaudioinstitute7. Mattel Bee Gees Rhythm Machine - Thomas P. Heckmann (https://www.youtube.com/watch?v=Jn8mxHfY4vM&t=4s)8. Maestro MRK-2 - @organ61 9. Korg KR-55 - Steve Porter (synthmagic.co.uk)10. Roland CR-78 - AnalogAudio (https://www.youtube.com/watch?v=r0CHoU24Dis&t=129s)11. Eko CompuRhythm - Hainbach (https://www.youtube.com/@Hainbach)12. Paia Programmable Drumset - Thomas P. Heckmann (https://www.youtube.com/watch?v=T2afPnOpv4U)13. Boss DR-55 - Leonard de Leonard (https://www.sound-provider.eu/)14. Movement Computer System - @Theccrstudio15. Pollard Syndrum - recording: Joe Bataan, ‘Rap-O, Clap-O'16. Simmons SDS-V - Alain Levesque17. Linn LM-1 - John Diligio (@javd007)18. LinnDrum - @zibbybone19. Sequential Circuits DrumTraks - AnalogAudio (https://www.youtube.com/watch?v=OxhRyEEZCYA)20. E-Mu Drumulator - @synthmania21. E-MU SP-12 - AnalogAudio (https://www.youtube.com/watch?v=rDpvKBoJjug&t=287s)22. Oberheim DMX - @synthmania23. Roland TR-909 - @DoctorMix24. Roland 707 - AnalogAudio (https://www.youtube.com/watch?v=0eRhSRHFkMA)25. Yamaha RX-11, Casio RZ-1 - @synthmania

Niklas har snöat in på gamla elektromekaniska fjongande rumsklangsburkar och pratar lite om hur de funkar i dagens specialavsnitt, och Jouni har köpt sig en ny synth! Eller har han?Länklista:1.) Roland TR-8 - https://www.roland.com/global/products/TR-8/2.) Arturia 636 - https://www.arturia.com/products/software-effects/rev-spring636/overview3.) Knas Ekadahl Moisturizer - http://www.knasmusic.com/products/moisturizer/moisturizer.php4.) VCS3 Mistlur - https://www.vintagesynth.com/electronic-music-studios-ems/vcs35.) Jocke Boberg - https://jockeboberg.bandcamp.com/album/m-sterverk-1999-20136.) Soundtoys Superplate - https://www.soundtoys.com/product/superplate/7.) Soundtoys Littleplats - https://www.soundtoys.com/product/little-plate/8.) Arturia Rev PLATE 140 - https://www.arturia.com/products/software-effects/rev-plate140/overview9.) Leo Makes IKEA DIY plåtreverb - https://www.youtube.com/watch?v=CZWAntOnrx410.) Hansa Meistersaal - https://www.audioease.com/IR/VenuePages/hansa.html Hosted on Acast. See acast.com/privacy for more information.

Тайм-коды: 00:00 — Всем привет 01:59 — Вводная часть 05:58 — Тема выпуска: сэмплирование 08:52 — Что такое сэмплирование? 22:43 — I. Чтобы звучало как в жизни: возникновение техники сэмплирования57:16 — II. Создание вспомогательных музыкальных инструментов, способных имитировать ритм, которые впоследствии превратились в драм-машины и сэмплеры01:26:10 — III. Ямайский след: влияние даба и тоастинга на формирование хип-хоп культуры, а в частности на технику сэмплирования01:36:55 — IV. Развитие техники сэмплирования внутри хип-хоп культуры; битмейкинг как современный вид хип-хоп искусства 01:38:18 — Хип-хоп культура — результат техники сэмплирования в глобальном смысле 01:41:42 — 8 периодов развития битмейкерского ремесла 01:44:58 — 1. Барабанные брейки (1973-1978) 01:50:10 — 2. Сессионные музыканты и студийная работа (1979-1982) 02:03:01 — 3. Электронные драм-машины (1983-1987) 02:13:47 — 4. сэмплеры и расцвет битмейкинга (1988-1994) 02:17:45 — 15 хип-хоп альбомов, являющихся олицетворением техники сэмплирования 02:43:16 — 5. Криминализация и отказ от сэмплов (1995-2000) 02:49:51 — 6. Экспансия южного хип-хопа (2001-2004) 02:56:28 — 7. Ностальгия и возвращение сэмплов (2005-2009) 03:00:38 — 8. Трэп-музыка и живые выступления битмейкеров (2009-2015) 03:07:32 — Итоги 8 периодов развития битмейкерского ремесла 03:13:31 — Что происходило после 2015 года 03:25:18 — Заключение Дополнительные материалы к выпуску: • Материальная поддержка (https://t.me/hippiehippiehop/63) подкаста; • Фрагмент (https://t.me/hhhmedia/549) про конкретную музыку из фильма «Новые звуки музыки»; • Демонстрация возможностей (https://t.me/hhhmedia/550) Chamberlin M-1R; • Устройство (https://t.me/hhhmedia/551) Mellotron M400; • Гарри Мендел и его изобретение (https://t.me/hhhmedia/552) — устройство Melodian; • Фрагмент (https://t.me/hhhmedia/553) из шоу «Косби», где Стиви Уандер показывает, что такое сэмплирование; • ADSR-огибающая (https://t.me/hhhmedia/554): визуализация; • Ролик (https://t.me/hhhmedia/555) с австралийского телевидения, где Питер Фогель и Ким Райри демонстрируют возможности CMI; • Фильм (https://t.me/hhhmedia/556) «История драм-машин» от студии Reverb 2018 года; • Ролик (https://t.me/hhhmedia/557) про драм-машину EKO ComputeRhythm; • Фильм (https://t.me/hhhmedia/558) про драм-машину Roland TR-808; • Демонстрация (https://t.me/hhhmedia/559) возможностей Linn 9000; • Рэковый сэмплер AKAI S612 (https://t.me/hhhmedia/560); • История сэмплеров (https://t.me/hhhmedia/561) линейки MPC от Akai Professional; • Ролик (https://t.me/hhhmedia/562) про феномен передвижных саунд-систем на Ямайке; • Небольшое видео (https://t.me/hhhmedia/563) про историю даба; • 8 периодов (https://t.me/hhhmedia/564) развития битмейкерского ремесла в хип-хопе по версии Амира Сэда; • Сингл "The Adventures Of Grandmaster Flash On The Wheels Of Steel (https://t.me/hhhmedia/565)" за авторством Grandmaster Flash; • Фрагмент (https://t.me/hhhmedia/566) из сериала «Эволюция хип-хопа», посвящённый отелю "The Roosevelt", где проходили съезды продавцов виниловых пластинок; • Фрагмент (https://t.me/hhhmedia/567) из сериала "Wu-Tang: An American Saga", где RZA работает с сэмплами; • Ролик (https://t.me/hhhmedia/568) про J Dilla и его битмейкерский почерк; • Выступление (https://t.me/hhhmedia/569) AraabMuzic с двумя Akai MPC в амстердамском клубе; • Tracklib Sampling Awards (https://t.me/hhhmedia/570): итоги года в мире сэмплов.

Episode 112 Merry Moog 2023 Holiday Music Performed on the Moog and other Synthesizers Playlist   Sounds Of Broadcasting 1, “Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54 Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33 Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14 Emerson, Lake & Palmer, “Nutrocker” from Nutrocker / The Great Gates Of Kiev (1972 Cotillion). Arranged by, Emerson, Lake & Palmer. Written by Kim Fowley. Emerson, Lake & Palmer, “Troika” from I Believe In Father Christmas (1995 Rhino Records). Arranged by, Emerson, Lake & Palmer. Moog and effects by Keith Emerson. Sounds Of Broadcasting 2, “Night Of The Kings” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer. Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). USA. ARP 2600 Synthesizer with an Oberheim Expander Module. Armen Ra, “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). USA. Moog Etherwave Pro Theremin. Sounds Of Broadcasting 3, “Electronic Tinsel” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Beck, “The Little Drum Machine Boy” from Just Say Noël (1996 Geffen). USA. Roland TR-808 Rhythm Composer. Taeko Onuki, Inori (Prayer) from We Wish You A Merry Christmas (1984 Yen). A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Japanese synth-pop with vocals by Onuki. Maybe Ryuichi Sakamoto on keyboards. Unknown artist, “God Rest Ye Merry Gentlemen” from Electronic Computer Christmas Music (1990 Silver Bells Music). As the name suggests, this was a label dedication mostly to producing broadcast music for the holidays. They also release several albums of nature sounds. The studio musicians go unnamed. John Baker, “Christmas Commercial” from BBC Radiophonic Music (1968 BBC Radio Enterprises). A short piece used for broadcasting that was created by tape manipulation of the sounds of a mechanical cash register. It was part of collection of short works by BBC Radiophonic composers. “This record has been produced with the intention of entertaining rather than informing: the items chosen do not necessarily represent a survey of the music created at the BBC Radiophonic Workshop. The Workshop at the BBC Music Studios in Maida Vale, London, is equipped with tape recording machines and other electronic equipment for generating and manipulating sound. The composition and realization of this music and sound is done by a small number of specialized creative staff.” Christmas Baubles, “Orch” from Christmas Baubles And Their Strange Sounds (2002 Lo Recordings). Christmas Baubles was a Russian trio comprised of Alexander Zaitsev, Gennady Pleshkov, and Ilya Baramiya, who produced and performed this track. Sounds Of Broadcasting 4, “Cutesy Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Michael Nyman, “Cream or Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. From Nyman's minimalist era before he became famous for soundtracks. Cabaret Voltaire, “Invocation” from Eight Crepuscule Tracks (1987 Interior Music). This track was originally included on the holiday album Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule), which suggested to me that it should be in this holiday podcast. Any excuse for a CV track. Paul Haig, “Scottish Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. Scottish songwriter, musician and singer. Les Cousins Dangereux, “What Child Is This” from Gotta Groove Records 2012 (2012 Gotta Groove Records). Holiday album with various artists. Les Cousins Dangereux is Mr. Tim Thornton. Joy Electric, “Angels We Have Heard on High” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Among his many releases is this crafty Christmas album. Sounds Of Broadcasting 5, “Christmas Moog Choir” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Edhels, “Oriental Christmas” from Oriental Christmas (1985 Cabana Music). Recorded in France. Drums, Percussion, Keyboards, Jacky Rosati; Guitar, Jean Louis Suzzoni; Guitar, Bass, Keyboards, Composed by, Marc Ceccotti; Keyboards, Noël Damon. I was sent this as a promotional album back in 1985 with a kind little note from the artists. Sorry it took me so long to put the Christmas-related track in my podcast. This is great example of synth-pop from France in the 1980s. Pac-Man, “Snowflakes And Frozen Lakes” from Pac-Man Christmas Album (1982 Kid Stuff Records). Produced, Written by, Dana Walden, Patrick McBride. “A collection of Pac-Man's favorite Christmas songs.” Need I say more? Swinging Buildings, “Praying For A Cheaper Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. This group was once rumored to be New Order in disguise. But no, they were in fact The Bowling Balls in disguise. Old Man Gloom, “Valhalla and Christmas Eve Parts I and II from Christmas (2004 Tortuga Recordings). Ambient/Noise band formed in New Mexico by guitarist/vocalist Aaron Turner and drummer Santos Montano. Guitar, Drum Programming, Drums, captured and organized sound, Kurt Ballou; Performed by Aaron Turner, Caleb Scofield, Luke Scarola, Nate Newton, Santos Montano. Sounds Of Broadcasting 6, “The Joyous Moment” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37 John & Yoko and The Plastic Ono Band With The Harlem Community Choir (remixed by Thom Holmes in 2001), “Happy Christmas (War is Over)” (1971 Apple Records). I had a CD player that was in disrepair and decided to “perform” this remix using it. I ended up calling this the Lennon and Ono Sliding Moment remix. Opening background music: Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). USA. Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Joy Electric, “Let it Snow” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Christmas Baubles, “Noisy Organ” from Christmas Baubles And Their Strange Sounds (2002 Lo Recordings). Christmas Baubles was a Russian trio comprised of Alexander Zaitsev, Gennady Pleshkov, and Ilya Baramiya, who produced and performed this track.     Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

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The industrial rock band Nine Inch Nails is the creation of singer-songwriter and multi-instrumentalist Trent Reznor.  While living in Cleveland in 1987, Reznor worked as an assistant engineer and janitor at Right Track Studios.  He had free access to the studio between bookings, and took inspiration from Prince to play all instruments himself to produce his material.  The name Nine Inch Nails comes from a quote by Al Jourgensen, lead singer of the metal band Ministry - "Listening to Ministry is like having a nine inch nail hammered into your head like a hole."  The debut studio album entitled Pretty Hate Machine was released by TVT Records in October 1989.  It has an industrial synth feel, with dark lyrics driven by angst, despair, and betrayal.  Unlike much of the industrial rock of the time, songs on Pretty Hate Machine feature catchy riffs and hooks, and the song structure employs a traditional verse and chorus approach rather than continually repeating electronics.  The result would prove to be both a commercial and critical success, reaching number 75 on the US album charts.Although Reznor produced and performed all the instrumentation on the album, he soon found himself in need of a touring band, particularly when he was brought in to open for Guns N' Roses on their European Tour.  Many musicians have been brought into the Nine Inch Nails over the years, but Reznor remained the only permanent member until his frequent collaborator, Atticus Ross, was brought in as a member in 2016.Lynch brings us this pioneering industrial rock album for this week's podcast. Head Like a HoleThe opening track to the album was the second and most commercially successful single, reaching number 28 on the US Alternative Airplay charts.   It also took inspiration from the quote from Al Jourgensen of Ministry.  The song is about the control that money has over people and the pain and suffering associated with it.  Terrible LieThis song reflects the anger and despair of a person going through a bad time in their life and blaming it on God.  "(Hey god) why are you doing this to me?  Am I not living up to what I'm supposed to be?  Why am I seething with this animosity?  (Hey god) I think you owe me a great big apology."SinWhen we give in to our darker impulses, perhaps driven by desire or betrayal, we can find ourselves in a spiral of self-destruction and sabotage.  The song is about the pain and destructiveness that can lurk below the surface.Down In ItThis is the debut single from the album.  During the making of the video, a camera attached to a weather balloon became detached and flew 200 miles away.  When found in a farmer's field the FBI was called in to investigate what appeared to be a gang or cult slaying of Reznor. ENTERTAINMENT TRACK:Main theme from the motion picture "Christmas Vacation 3" The success of "Christmas Vacation" inspired a number of sequels. STAFF PICKS:Higher Ground by the Red Hot Chili PeppersRob's staff pick is  a cover of a song Stevie Wonder originally released in 1973.  While the original went to number 4 on the Billboard Hot 100, the energetic remake by the Red Hot Chili Peppers also achieved commercial success, reaching number 26 on the US Mainstream Rock chart.  It was the first RHCP song to chart.Bad Love by Eric ClaptonBruce brings us the second single from Clapton's eleventh solo studio album.  This is a comeback album, as Clapton had recently become sober after dealing with alcoholism.  It hit number 16 on the Billboard 200 albums chart.  This song features Phil Collins on percussion and backing vocals.  and would be awarded the Grammy for Best male Rock Vocal Performance in 1990. Good Work by the BoDeansWayne features a rockabilly party song from a Wisconsin group.  The BoDeans have been called roots rock, heartland rock, and alternative, but their retro 50's sound and driving live performance makes them a great band to see.  They performed extensively with U2 on The Joshua Tree tour, and remain popular in the US Midwest.The Last Worthless Evening by Don HenleyLynch closes out the staff picks with a hit from Henley's album "The End of the Innocence" that went to number 21 on the Billboard Hot 100 chart.  The lyrics are a plea from an ex to just move on.   INSTRUMENTAL TRACK:Pacific 202 by 808 StateThis Manchester electronic music group takes its name from the Roland TR 808 drum machine.

Салют! Добро пожаловать на KALEIDOSCOPE! Сегодня у нас особенный выпуск, ведь он записан с очаровательной Аней, которая ведет не менее очаровательный канал "меньше единицы"В этой теплой и уютной беседе мы поговорим о инструментах, которые сильно нашумели в свое время (а некоторые настолько сильно, что создали новые жанры) и продолжают шуметь до сих пор, но теперь – в твоих наушникахMoog Bass, Roland TR-808, Fender Rhodes, Roland TB-303, Reese Bass – если эти странные слова для тебя ничего не значат (как и для ведущих подкаста в начале беседы), этот выпуск точно будет полезен. После него ты начнешь различать эти инструменты даже в своих любимых треках (как и ведущие подкаста после беседы). За это огромная благодарность Ане!О роли простых инженеров в развитии музыки – в 9 эпизоде KALEIDOSCOPEНаш телеграмм-канал: https://t.me/kaleidoscope_musicв выпуске может упоминаться Instagram компании Meta Platforms Inc.****деятельность компании запрещена на территории РФ в части реализации данных социальных сетей на основании осуществления ею экстремистской деятельности.Theme music: "On My Way" by Ghostrifter Official | https://soundcloud.com/ghostrifter-officialMusic promoted by https://www.free-stock-music.comCreative Commons / Attribution-ShareAlike 3.0 Unported (CC BY-SA 3.0)https://creativecommons.org/licenses/by-sa/3.0/deed.en_USJingle: remix of "The Great Break-off" by The Insider. Available for use under the CC BY-SA 3.0 license (https://creativecommons.org/licenses/by-sa/3.0/), at [Free Music Archive]

Live from the XOX Project's 909 event, Readipop presents the afternoons conversation and live demonstration from Saytek Live!Harrison and Saytek discuss the Roland TR-909's legacy, before Saytek shows how he builds a beat on the machine.*This is a live recording, so inconsistent noise throughout*

This week on Deeplife Presents... Tim delivers some sweet chunes and we get deep on the guest mix with DeEp DeMEnTUrE, all the way from the UK, as he juices up the Roland TR-8s, and the Akai APC40 and live jam some new tracks ideas. Hosted by Tim Heil (of Transform) from the Deeplife Records Studio - Deeplife Presents airs the first Wednesday of each month on Digitally Imported DJ MIXES Channel (di.fm/djmixes) at 12P (MDT) / 2P (EST) / 7P (UK) - TRACK LISTING - Kareem Martin - Talking Drums (Extended Mix) Eddie Amador & Coco Street - Just Keep On Dancin (Eddie's Nusoulic Remix) - NEW MUSIC SPOTLIGHT - AJ Mora - Ear Candy (Extended Mix) https://www.beatport.com/release/ear-candy/4191958 Sebb Junior - What We Bring (Extended Mix) Val Verra - House Music Is A Spiritual Thing (Robbie Rivera Remix) Donald Tapia - Saved By His Grace_(Original_Mix) - FROM THE VAULT - DJ Mes & Demarkus Lewis - Let Love Enter (A Tribute To Stacy Kidd) - GUEST MIX: DeEp DeMEnTUrE DeEp DeMEnTUrE - Vinyl Accapella Mash Up DeEp DeMEnTUrE - Feel Alright (Live Remix) DeEp DeMEnTUrE - Moonlighting (Deeps Deeper Live Remix) DeEp DeMEnTUrE - Vinyl Accapella Mash Up DeEp DeMEnTUrE - Nightingale (Live Remix) DeEp DeMEnTUrE - Who Put That Their! (Live Remix) DeEp DeMEnTUrE - Where Did You Go? (Live Remix) DeEp DeMEnTUrE - Lie To Me (Chillout Live Remix)

Welcome to Music Around The World. Each week we showcases a collection of artists and their music from different parts of the world. In this episode, we present to you an impressive lineup of artists including Temudo, Don Diablo, Robby East, Estiva, Vinyl's From The Past and Music News. https://75dc83.p3cdn1.secureserver.net/wp-content/uploads/2023/06/MFAW-EP-94.mp3 Music From Around The World Episode 94: Transcript Intro: 00:00 to 0:14This is Music From Around The World Episode 94. I'm your host Mason Vera Paine and in today's episode we will be featuring music from Temudo, Don Diablo, Robby East, Estiva, Vinyl's From The Past and Music News. Temudo: Start – 0:14   and  End – 6:56Our first artist, Joao Rodrigues; also known as Temudo, is a Portuguese DJ and Producer who has been making music since 2014. His passion for audio began with his background in Jazz and only grew from there when he obtained a Degree in Sound and Master Degree in Music and Technology. A few of his notable releases include “Tough to Say”, “The Beholder”, and “I will Guide Thy Hand”. Take a listen to his latest track “Scars”. “Scars” is out now via Klockworks and it's available on all streaming platforms. Visit facebook.com/temudomusic for the latest on Temudo projects. That's Facebook.com/T-E-M-U-D-O-M-U-S-I-C. Don Diablo: Start – 6:57   and    End – 13:17Netherland's own Don Diablo has been a staple in the EDM scene since 1995. He started out as a producer and from there he gravitated to DJ-ing.   His signature sound often incorporates catchy melodies, uplifting beats, and a combination of electronic and pop influences. Take a listen to his latest track “Golden”. “Golden” is out now via Hexagon records and it's available on all streaming platforms. Hexagon records is actually Don Diablo's own imprint, which supports up and coming artists in the electronic dance music genre, and features their works on Don's weekly radio show and podcast; “Hexagon Radio”. For the latest on Don Diablo's latest projects visit: DonDiablo.com; that's D-O-N-D-I-A-B-L-O DOT COM Vinyl's From The Past: 13:19 to 20:33Let's take a brief break for Vinyl's From The Past. In this limited run series, I will be exploring the pioneers that have shaped and influenced the EDM we have today. In this episode I will be featuring “808 State”. In 1987 Graham Massey, Martin Price and A Guy Called Gerald formed the group “808 State”. This Manchester, England based trio were influential in the acid house, techno scene in the 80's and early 90's.  Their breakthrough single was released in 1989 called “Pacific State”. Take a listen to it  here.   “Pacific State” remains one of the most influential songs for “808 State” because it showcased their fusion abilities of house, techno, acid and ambient music. They were also known for their use of the Roland TR-808 drum machine which became a staple for EDM use today. That's it for Vinyl's From The Past, now let's get back to more music. Robby East: Start -  20:34    and    End – 25:19Robby East is a DJ and Producer out of Amsterdam that specializes in melodic house. He started producing music at the age of 12 creating various types of dance tracks. Robby has long established himself in the EDM scene within the deep, chill, progressive genres and received support from artists like: Lane 8, Tritonial & Pretty in Pink. Take a listen to his latest track  “ Center of Gravity”. “Center of Gravity” is out now via "This Never Happened” and it's available on all streaming platforms.  For the latest on Robby's latest projects visit: Instagram.com/RobbyEast; that's Instagram.com/R-O-B-B-Y-E-A-S-T. News Break: 25:20 to 25:59We are going to take a brief break for some music news. Lifesaving Radio; this is a project to provide surgeons music on the job; this radio station is being powered by Spotify's A.I, DJ.  Studies have shown that music enhances surgeons' performances,

顔のシミが気になる話 / TASCAMのレコーダー DR-07Xをポチった話 / TR-808がかっこいいので比較的手頃なドラムマシンTR-08、T-8とかの欲しいなーって話 【今日のキーワード】 Roland / TR-808 / TR-08 / T-8 / MPC / Logic Pro / iPad Pro M1 YouTube : https://www.youtube.com/@katsuOfficial instagram: https://www.instagram.com/kermit71/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/katsushi-machida/message

2 Weeks ago I played a 3 Hour Set (3-6am) at Void, the North Philly after hours recently featured on RA's Sacred Spaces & lemme tell you... The energy in the room is the kind I dream about. For this set I brought my Roland TR-909 & Mackie Mixer so I could improvise through out my set. It really felt so good, manually mixing in a drum machine is something that I've practiced over the years and I feel like I'm on an upswing with my hybrid sets. With a mix between Hard House, Techno, a few originals and some 909 improvisations this is one I'm very proud of. Hope you love it too. www.clubbyboy.com

Après 5 albums et une carrière parfaitement maîtrisée, Janet Jackson est une méga star en 1997. Elle vient de signer avec Virgin le plus gros contrat discographique de l'Histoire quand débute la production de The Velvet Rope.   The Velvet Rope fait partie de ces rares blockbusters de l'ère MTV à être à la fois vraiment réussi et vraiment audacieux. Janet bouscule les codes du RnB et s'essaie à tous les styles… Il contient notamment les singles démentiels “Go Deep”, “Got 'Til It's Gone”, “I Get Lonely”, et bien sûr “Together Again” ! L'impact de cet album est énorme. Il est considéré comme un classique du RnB, mais aussi de la pop en général. 25 ans plus tard, il continue d'inspirer des artistes comme Beyoncé, Janelle Monáe, Alicia Keys ou Christine and the Queens, qui le citent comme influence.  Dans cet épisode Olivia vous raconte la story de Janet Damita Jo Jackson ; Greg Cook nous emmène en studio à Minneapolis, et Fanny revient sur le merveilleux clip de “Got 'Til It's Gone”.   Crédits : Générique : Dr Alban "Sing Hallelujah" Titres écoutés dans l'émission : “Velvet Rope”, “You”, “Got 'Til It's Gone”, “Interlude - Speaker Phone”, “My Need”, “Go Deep”, “Free Xone”, “Together Again”, “Empty”, “What About”, “Every Time”, “Tonight's The Night”, “I Get Lonely”, “Rope Burn”, “Anything”, Nasty”, “Rythm Nation”, “Whoops Now!”, “Say you do”. Michael Jackson “Scream (feat. Janet Jackson)”, Mike Oldfield “Tubular Bells”, Joni Mitchell “Big Yellow Taxi”.  Extraits : “The Jacksons Variety Show, EP1”, “Janet Jackson - Rhythm Nation (TOTP UK)”, “Janet Jackson Super Bowl Inciden” (Youtube)”, “Ten classic Roland TR-808 patterns” (Youtube)   Chaque mois dans Radio K7 on rembobine nos cassettes et vous raconte l'histoire d'un album qui a marqué les années 90s. Une émission animée par Emmanuel Minelle, Fanny Giniès, Olivia Godat et Gregoire Sauvage. Enregistrée chez Greg Cook. Générique réalisé par Greg Cook. Identité graphique signée Floating Studio.   LAISSEZ UN MESSAGE APRÈS LE BIP ! Vous pouvez nous appeler au 01 89 16 75 31, pour suggérer un album, donner votre avis ou chanter en karaoké avec nous ! Promis, on diffusera les messages au prochain épisode ! Sinon, retrouvez-nous sur les internets — Twitter : @RadioK7Podcast — Instagram : @radio_k7 — Facebook : @Radiok7podcast

Welcome to a Special Edition - Crossing Platforms & Podcast Shows! Episode taken from my cousin's Movie Rewind Podcast show feat. Dj Spel & World Famous DJ Hazze! Covering his DJ career, Producer & as a performer along with his crew The Movement with credits like "Jump" & B.I.N.G.O from back in the early 90's as well as covering the Roland TR-808 Drum Machine Documentary! So join me to another cool and exciting Episode! --- Send in a voice message: https://podcasters.spotify.com/pod/show/victor-ochoa89/message

FEW TANG!!! We need your input on this one. Drop things that have changed Hip Hop forever in the comments. We left out BIG and Pac/East Coast/West Coast beef because it's low hanging fruit. Everything else is on the table though. Make room for the tag #ConversateForAFew Things That Changed Hip Hop Forever 00:00 - Intro 1:13 - 2 Live Crew vs The US Government; Explicit Lyrics/Parental Advisory Sticker 4:00 - Nas Drops Illmatic 12:05 - RUNDMC releases "Walk This Way" with Aerosmith 13:59 - Advertising/Marketing Agencies found value in Hip Hop 15:38 - The Roland TR-808 Drum Machine; Roger Linn, SP1200, Akai MPC etc... 19:00 - The Introduction on Million Dollar Record Deals 21:57 - Lil Wayne becomes the prototype image of a rapper 22:43 - The broad acceptance of Autotune 26:06 - Introduction of the Battle; Sound Clash, Park Jam 29:06 - The "Streets" or Street Money infiltrated and took over Hip Hop 31:08 - Hip Hop finally hits radio airwaves consistently 35:14 - The emergence of Ruthless Record; N.W.A., Eazy-E, Dr. Dre, Ice Cube etc... 37:07 - Drake opening US borders to International Hip Hop 44:59 - Rhyming in Triplets; Jaz-O, Bone-Thugs-N-Harmony, Migos 47:26 - Streaming; Spotify, Apple Music, Tidal etc... 51:57 - Social Media; analytics over talent 56:56 - What do YOU think we missed? What do YOU think changed Hip Hop forever? Subscribe to the Conversate For A Few YouTube and hit the notification bell! Apple Podcast: https://bit.ly/ConversateForAFewApple...   Spotify: https://bit.ly/ConversateForAFewSpotifyGoogle Podcast: https://bit.ly/ConversateForAFewGoogl... Follow and join the conversation on Instagram and Facebook!http://bit.ly/ConversateFacebookGrouphttps://bit.ly/ConversateInstagram

Were back with Dem Vinyl Boyz this week and were diving into the debut album of Atlanta's most iconic rap group, OutKast. Their debut album "Southernplayalisticadillacmizik" released April 26, 1994, was largely influential in the Atlanta rap scene and helped distinguish Southern hip hop as a credible hip hop scene during East Coast and West Coast hip hop's market dominance at the time. "Southernplayalisticadillacmuzik" incorporates analog elements such as Southern-styled guitar licks, languid soul melodies, mellow 1970s funk grooves, digital hip hop production elements such as programmed snare beats, booty bass elements, including Roland TR-808 clave rhythms, and old school hip hop elements, including E-mu SP-1200-styled drums and turntable scratches. Wanting to make a statement about urban life as an African American in South Atlanta, OutKast wrote and recorded the album as teenagers and addressed coming of age themes with the album's songs.  "Southernplayalisticadillacmuzik" charted at number 20 on the Billboard 200 and was eventually certified Platinum in the United States, denoting one million copies sold. After the album was certified platinum, LaFace Records gave Outkast more creative control and advanced money for their 1996 follow-up album ATLiens, which some consider to be an all time classic. Vibe Magazine included the album on a 2004 list of "51 Essential Albums "that represent" a generation, a sound, and in many cases, a movement", writing that OutKast, determined the South had something to say, and after emerging from the Dungeon production lab, they said it all, sometimes sang it all—pointedly, funkdafied, and putting on absolutely no East Coast pretense. Classic." Thanks for tuning in to Dem Vinyl Boyz, like and subscribe!! Learn more about your ad choices. Visit megaphone.fm/adchoices

Bishop Tha DJ and Son Brave take listeners on a trip through memory lane to discuss Hip Hop production techniques and their evolution. From two turntables and vinyl records, the Roland TR-808, Akai MPC series, SP-1200 to FL Studio and more. Featuring the best mixes and blends by Bishop of music from Boot Camp Clik, Mobb Deep, Styles P, Conway The Machine, Roc Marciano, Big L and more. February 3rd, 2023. Art by Bishop Tha DJ. VISIT https://linktr.ee/trueOGseries TO STREAM THE FULL PODCAST OR FOR MORE INFO

Amb aquest aparell amb nom de robot de "Star wars", aparegut als anys 80, qualsevol aspirant a compositor podia programar les bases r

Episode 38 of the SysEx Dumpster podcast. This episode was recorded in September 2022. Hands on with the Chase Bliss Generation Loss MKII, Nick cuddles the cutie Roland TR-6s, Dave sets sail for the Qu-Bit Nautilus, Greg jumps on the Modbap Trinity hype train, Synthstrom Deluge OLED upgrade, Squarp Hapax arrives, Patreon supporter Q+A.

Der heutige 9. September ist der inoffizielle Feiertag der Roland TR 909. Der legendäre Drumcomputer hat die elektronische Musik geprägt hat wie fast kein zweiter. Seine Beats sind Grundlage für Tausende Hits, darunter Songs von Björk, Madonna, Daft Punk oder Orbital. Sein Sound beeinflusste bis weit über die Grenzen der elektronischen Musik hinaus, wie auch ... >

Simon Neale shot to fame with his original alias Dave Spoon, racking up club hits and chart crossovers with his Electro-House sound. Then he hit the reset button, returned to his underground roots, and rebranded as Shadow Child. But as a consummate gear nut, he might have some problems slimming down his rig for the Forever Studio.In this episode, learn how he treats his 909s to make them sound production-ready, which modern polysynth he adores, and why there's only one plug-in that he can't live without. Season 4 is sponsored by EVO by Audient: https://evo.audio/STUFF WE TALK ABOUT (SPOILERS!)https://www.discogs.com/artist/270057-Dave-Spoonhttps://www.instagram.com/spoonagram/?hl=enhttps://www.youtube.com/watch?v=ekFjtCVgygk&ab_channel=SpyroTekhttps://en.wikipedia.org/wiki/Swedish_House_Mafiahttps://www.bbc.co.uk/programmes/b00gknrxhttps://www.ableton.com/en/live/https://www.muskokalakes.ca/en/index.aspxhttps://en.wikipedia.org/wiki/Muskoka_Lakeshttps://greatsynthesizers.com/testberichte/mfb-dominion-1-ein-analoger-synth-deluxe/https://twitter.com/chapman_tim1https://www.vintagesynth.com/roland/jup6.phphttps://www.youtube.com/watch?v=XsF_sfbS5tc&ab_channel=AlexBall (Alex Ball YouTube Jupiter-8 Video)https://www.instagram.com/customsynth/?hl=enhttps://en.wikipedia.org/wiki/Roland_TR-909https://www.vintagesynth.com/emu/orbit.phphttp://www.synthark.org/Kawai/K1r.htmlhttp://www.synthark.org/Yamaha/TG55.htmlhttp://www.synthark.org/Yamaha/TG500.htmlhttps://www.polynominal.com/roland-u220/https://squest.com/https://www.vintagesynth.com/roland/sys100m.phphttp://www.kiiaudio.com/https://www.focal.com/en/pro-audio/monitoring-speakers/sm6/monitoring-speakers/twin6-behttps://en.wikipedia.org/wiki/Oberheim_Xpanderhttps://black-corporation.com/product/deckards-dream-mk2/http://spektroaudio.com/deckards-dream-editorhttps://ra.co/dj/polymod

Talking Synths is a bi-weekly podcast where Syntaur's crew chats about all manner of synthology. In this episode of Talking Synths, Sam and Lucas bring out the Roland TR-808 to celebrate 808 day. Did we mention you can play on one in our Texas showroom? Grab all your synthesizer parts - new and vintage - at Syntaur.com!

Wir sprechen schon am Anfang darüber: DJ Delfonic ist ein Wunschgast fast von Anfang an und wir haben nunmehr fünf Staffeln gebraucht, um ihn endlich da zu haben. Und es war auch völlig richtig, denn er erzählt witzige Stories und - auch das erwähnt er früh - er gbt sich Mühe, die Stories "geil" zu erzählen. Markus fing mit dem Auflegen in einer traditionsreichen, katholischen Jungsschule an und hat bis heute nicht damit aufhören können. Wie wir dieser Bogen geht, seht Ihr (abschließend), wenn diese Folge zuende geht. :-) Gute Unterhaltung! *** Facebook:https://www.facebook.com/andendecks/ Instagram:https://www.instagram.com/andendecks/ Werdet Patreon: https://www.patreon.com/andendecks Andere Unterstützerbeiträge: https://www.paypal.com/paypalme/DJThomasHaak *** Social Media: Facebook: https://www.facebook.com/delfonic Instagram: https://www.instagram.com/delfonic SoundCloud: https://soundcloud.com/delfonic Toy Tonics: https://www.toytonics.de/releases/ Delfonics 5 Platten für die Insel: Nina Simone "The Montreux Years" (2021, BMG) Max Graef "Rivers Of The Red Planet" (2014, Tartelet Records) Stevie Wonder "Innervisions" (1973, Tamla/Motown) Various Artists "Hustle! Reggae Disco" (2002, Soul Jazz Records) Larry Levan "Live At The Paradise Garage" (2000, West End Records) Delfonics peinlichste Platte: Links: Max Graef: https://maxgraef.bandcamp.com Phonon Kopfhörer: https://ie.phononstore.com Four Tet: https://www.fourtet.net 808: https://de.wikipedia.org/wiki/Roland_TR-808 DJ Kool feat. Biz Markie "Let Me Clear My Throat": https://www.youtube.com/watch?v=qG9ZWUitFik Gerhard Polt: https://de.wikipedia.org/wiki/Gerhard_Polt Prora: https://de.wikipedia.org/wiki/Prora Wandel durch Annäherung: https://de.wikipedia.org/wiki/WandeldurchAnnäherung Oye Records: https://oye-records.com Icon, Berlin: https://www.tagesspiegel.de/berlin/stadtleben/clubsterben-im-prenzlauer-berg-auch-im-icon-gehen-die-lichter-aus/5910766.html Rodney Hunter: https://de.wikipedia.org/wiki/Rodney_Hunter Ninja Tune: https://ninjatune.net/home Box Aus Holz, Label: https://www.discogs.com/de/label/381614-Box-Aus-Holz The Delfonics "Ready Or Not": https://www.youtube.com/watch?v=hE4bIrQP8-8 DJ Jauche @ An den Decks: https://andendecks.de/staffel-01/s01-1-10/s01e07-dj-jauche/ The Dirkness @ An den Decks: https://www.youtube.com/watch?v=tj2sTVElA4E #dj #podcast #djpodcast #andendecks #DELFONIC #djthomashaak #thedirkness #djlife #stopwars

A preview of R for Data Science (2nd edition) with missing data, creating topography maps, and (yes) playing the drums directly in R. Episode Links This week's curator: Kelly Bodwin (@KellyBodwin (https://twitter.com/KellyBodwin)) New r4ds chapter: missing values (https://r4ds.hadley.nz/missing-values.html) Making a crisp topography map with R (https://milospopovic.net/crisp-topography-map-with-r/) {tr808r} (https://github.com/coolbutuseless/tr808r): Play the drums with an R package Entire issue available at rweekly.org/2022-W20 (https://rweekly.org/2022-W20.html) Supplement Resources https://en.wikipedia.org/wiki/Roland_TR-808

It doesn't matter what genre of beats you make, the 808 is one of the most powerful instruments as a beatmaker. Now, the 808 sound is a VERY SPECIAL instrument because it's like a hybrid between an kick drum and a bassline. To become a GOOD producer, you NEED to learn how to use an 808, and a bit of its history. Each genre uses the 808 a bit different, but it's a key element for fullness in your beats. (The 808 kick drum originally comes from a Roland-TR 808 Drum Machine. There's also many other common sounds we hear in popular songs all the time from this drum machine, but the 808 is known for its initial hit [similar to a short-tailed drum], then it's long tail which rattles the subwoofer [like a bassline]). =========================== GET THIS EPISODE'S RESOURCES: https://itsGratuiTous.com/podcast/s2e22-the-secrets-of-808s-as-a-beatmaker/ ===========================

Episode 69 More Symphonic Music with Synthesizers   Playlist Tomita, “Gardens In The Rain (Estampes, 3)” from Snowflakes Are Dancing (1974 RCA Red Seal). "Electronic performances of Debussy's tone paintings." Performed, arranged, and electronically created by Isao Tomita, composed by Claude Debussy. Modular Moog synthesizer by Isao Tomita, with equipment listed as: Moog synthesizer; One 914 extended range fixed filter bank; Two 904-A voltage-controlled low-pass filters;  One 904-B voltage-controlled high-pass filter;  One 904-C filter coupler;  One 901 Voltage-controlled oscillator;  Three 901-A oscillator controllers;  Nine 901-B oscillators;  Four 911 envelope generators;  One 911-A dual-trigger delay;  Five 902 voltage-controlled amplifiers;  One 912 envelope follower;  One 984 four-channel mixer;  One 960 sequential controller;  Two 961 interfaces;  One 962 sequential switch;  Two 950 keyboard controllers;  One 6401 Bode ring modulator;  Tape recorders,  One Ampex MM-1100 16-track,  One Ampex AG-440 4-track, One Sony TC-9040 4-track,  One Teac A-3340S 4-track,  One Teac 7030GSL 2-track;  Mixers,  Two Sony MX-16 8-channel mixers,  Two Sony MX-12 6-channel mixers;  Accessories,  One AKG BX20E Echo unit;  One Eventide Clockworks "Instant Phaser";  Two Binson Echorec "2" units ; One Fender "Dimension IV;"  One Mellotron.    3:41 Tomita, “The Old Castle” from Pictures At An Exhibition (1975 RCA Red Seal). “Electronic interpretations of works by classical composer Modest Mussorgsky.” Performed, arranged, and electronically created by Isao Tomita, composed by Modest Mussorgsky. Modular Moog synthesizer by Isao Tomita. Assume same instrumentation as above. 5:16 Pulsar, “Strands of the Future” from Strands of the Future (1976 Kingdom Records). Recorded in Switzerland, released in France. Drums, Percussion, Victor Bosch; Electric Guitar, Acoustic Guitar, Vocals, Gilbert Gandil; Flute, Solina Synthesizer, Roland Richard; Lyrics By François Artaud; Organ, Moog Synthesizer, Mellotron, Bass Guitar, Jacques Roman. 22:13 Vangelis Papathanassiou, “Flamants Roses” from Opéra Sauvage (1979 Polydor). "Original Music For Frédéric Rossif's Television Series.” Recorded in London, 1979. Composed, Arranged, Produced, synthesizers, piano, Fender Rhodes electric piano, drums, percussion, xylophone, Vangelis Papathanassiou; harp, Jon Anderson. 11:48 Rick Wakeman, “Overtures, Part 1 and 2” from 1984 (1981 Charisma). Part 1: Piano, Prophet Synthesizer, Rick Wakeman. Part 2: Organ, Piano, Prophet Synthesizer, RMI Synthesizer, Rick Wakeman. Bass, Runswick D., McGee R.; Bassoon, Sheen G., Hammond H. Cello, Truman B., Robinson M., Willison P.; Cello [Lead], Daziel A.; Clarinet, Weinberg T., Puddy K.; Drums, Tony Fernandez;  Drums, Frank Ricotti;  Fender Bass, Boghead, Steve Barnacle; Flute, Sandeman D., Gregory J.; Guitar, Beaky, Tim Stone; Horn, Thomson M., Easthope P.; Keyboards, Dave Crombie; Oboe, Theodore D., Whiting J.; Producer, Rick Wakeman Saxophone [Selmer] Gary Barnacle; Trombone, Hardie, Wilson; Trumpet, Miller J., Wallis J.; Tuba, Jenkins J. Viola, Newlands D., Robertson G., Andrade L.; Viola [Lead], Cookson M.; Violin, McGee A., Dukov B., Katz D., Bradles D., Clay L., Good T.; Violin, Leader, Rothstein J.. 5:12 Keith Emerson, “Tramway” from Nighthawks (Original Soundtrack) (1981 Backstreet Records). Keith played a Fairlight CMI on this track. The Fairlight was programmed by Kevin Crossley. Keyboards, Performed, Produced, Composed by Keith Emerson; Drums, Neil Symonette; Percussion, Frank Scully; Orchestral Percussion, Tristen Fry; Saxophone, Jerome Richardson; Trumpet [Lead], Greg Bowen. 3:25 Jean Michel Jarre, “Fourth Rendez-Vous” from Rendez-Vous (1986 Polydor). ARP 2600 synthesizer, Eminent organ, Matrisequencer, Roland TR 808 drum machine, Michel Geiss; Elka Synthex, EMS Synthi AKS, Oberheim OBX, Yamaha DX100 synthesizers, Matrisequencer, Roland TR 808 drum machine, Linn 9000 Electronic Drums, Jean-Michel Jarre. 3:59 Jean Michel Jarre, “Fifth Rendez-Vous” from Rendez-Vous (1986 Polydor). “Baby Korg” synthesizer, David Jarre; ARP 2600 synthesizer, Matrisequencer, Michel Geiss; Emulator II sampler/synthesizer, Dave Smith Prophet-5 synthesizer, Casio CZ 5000, ARP 2600, Fairlight CMI, Roland JX 8P, synthesizers, Matrisequencer, Jean-Michel Jarre. 7:56 Jean Michel Jarre, “Last Rendez-Vous: "Ron's Piece" from Rendez-Vous (1986 Polydor). Saxophone, Pierre Gossez; Elka Synthex, Seiko DS 250, Fairlight CMI synthesizers, Matrisequencer, Eminent organ, Jean-Michel Jarre. 5:45 William Ørbit, “Ogive Number 1” from Pieces In A Modern Style (2000 WEA Records). Recorded in England. Written by Erik Satie. Arranged, Programmed, Produced, Performed by William Ørbit. I think this piece is more likely Orbit's arrangement of "Ogive Number 2", not Number 1. But who cares? It's lovely to hear the French musician electrified like this. 6:45 Steve Jansen, Richard Barbieri, Nobukazu Takemura, “Empty Orchestra” from Changing Hands (1997 Medium Productions Limited). UK album of downtempo electronic music with a classical flavor. Recorded in Kyoto and London. Composed, Performed, Produced by Nobukazu Takemura, Richard Barbieri, Steve Jansen. 14:11 Sarah Davachi, “Magdalena” from Antiphonals (2021 Late Music). Canadian electro-acoustical composer and musician who blends classical instruments with electronics. Mellotron (English Horn, Bass Flute, Clarinet, Recorder, Oboe, French Horn, Chamber Organ, Nylon String Guitar), Tape Echo, Korg CX-3 Electric Organ, Pipe Organ, Harpsichord, Piano, ARP Odyssey Synthesizer, Acoustic Guitar, Violin, Voice, Sarah Davachi. 10:12   Background music: James Newton Howard, “Margaret I'm Home” from ‎James Newton Howard (1974 Kama Sutra). Performed, Composed, Arranged by, James Newton Howard.   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

This on in part is inspired by the The Roland TR-808 Rhythm Composer, commonly known as the 808 ! Its that the cowbell, with supporting drumbeat and meserising synths ....These are oldskool covers with a nuskool feel , yup a double kick i call it- Hear one song but remixes actually have you listening to two '!!!!

Nachdem ich mich in der vorigen Episode mit Klangerzeugung und Keyboards beschäftigt habe, beleuchte ich anhand der Roland TR-08 und MC-707 die Funktionsweise von Drumcomputern und Grooveboxen.

On this episode: TQ4 returns to jam w Man using his TQ404 synthesizer w influences from : Oberheim OB-Xa · 9. Roland JD-800 · 8. Yamaha CS-80 · 7. Korg Wavestation · 6. Yamaha DX7 · 5. ARP 2600 · 4. PPG Wave 2.2/3 · 3. Mini Moog · ARP 2600 · Korg MS-20 · Sequential Circuits Prophet 5 · Oberheim OB-Xa · Roland Jupiter 8 Roland TB-303 (1982) ; 5 & 6. Roland TR-808 TX81Z Garritan (Every ARIA based products) Makemusic (Finale 2009-v27) AVID Technologies (Sibelius 5-2021.12) Microsoft (Songsmith) SONY Creative Software (Acid Pro 7) AKAI (EWI-USB) Geniesoft (Overture 4.0) A Designs Reddi Moog Minimoog ARP Odyssey Farfisa Rhythm Unit 10 & Vox Percussion King (customised) Farfisa Professional Piano Schulte Compact Phasing A Mutron Biphase A Designs Pacifica ADT Toolkit x4 Akai S950HXC AKG Contact Mics Alice Mixer Allen Heath Mix Wizard Allen Organ Spring Reverb AMS RM16 API 3124+ API 550A API 550A orig API 550B API 560 API 8200A ARP 2500 Atari 1040 + Midi Expansions + HXC Avedis E27 Bode Vocoder Boss BX16 Boss BX8 Boss GE7 Buzz Audio Arc1.1 Calrec Minimixer Calrec RQP3200 Casio FZ10 + FZ20M + NXC Chandler Delay Black Chandler Delay Cream Chandler Zoner Limiter Cirklon Sequencer Court Acoustics Graphic Crumar Bit01 White Cwejman RES4 x3 Cwejman VC06 Disklavier MKIV Pro Custom DPA 4052 Drawner Stereo Gate Dytronics FS1 Elysia Mpressor EML 101. modded EMS 2000 Vocoder EMT 140 Plate/Stereo/Tube EMT 240 Gold Foil EMT 252 FX EMT 258 x4 Filters Ensoniq ASR10 Eventide DSP4000 Eventide H3000 DSE Eventide H949 x4 Focusrite ISA110 Orig x8 Focusrite ISA430 Fulltone Tape Echo Harrison 32EQ GR500 HAT Mechanical Drums Helios x2 Intellijel Rubicon JH ARP Quadra Phaser JH Storm Tide FLanger x2 JH Tau Phaser Jomox Sunsyn V1 x2 Kawai K5000R Klark Teknik DN780 Korg DS8 Korg Minipops7 Midi. sepouts Korg PS3200 Korg PS3300 x3 Lexicon 480L Lexicon PCM70 LPG Lynx Aurora 16 Make Noise DPO Marion PROSynth x2 Meinl Water UDU Micmix Dynaflanger Micmix Masteroom 2 Midas Venice Desk Midimoogs x2 Modular Systems/Eurorack Moog Memory Lintronics MIT Ensemble Mum & Dad Vocals Musicmaid Claptrap x4 Nagra IV-S Neotek Elite 64 Channel Custom Neumann V473 x2 Oberheim OBX, racked Oberheim Modular SEMs, racked Orla DSE24 Pearl SC40 Pearl Syncussion, racked/midi/mod x4 Plugins, various Pultec EQP-1A3 Quad Eight 248 x2 Quantec Room Simulator Retro Instruments Powerstrip Rhodes Chroma RME Fireface800 RMI Harmonic Synth Roland 101s, modded Roland CE1 Roland D550 Roland MK550 Roland MK570 Roland R8/ROM(?) Roland TR606 / 666?, modded Roland TR808 Sci Prophet VS Sci Prophet5, racked/keyboard Sennheiser VSM201 Serge Modular 9-panel Shure Auxpander Siemens V78 x2 Simmons SD53(??) SM Pro PEQ505 Songbird Tri Chorus x2 Sound Devices 772 Soundcraft Ghost Soundworkshop 262 SPL TD4 SSL 4000 Channel Strips x5 SSL X desk Studio Electronics Code8 Full Synthoma Elkorus Synton Syntovox 221 x2 Tantek Flanger/Delay TC1210 Tongue Drums TR727 TR9090 Valley People Gain Brains Valley People Kepex x10 Wildlife Yamaha CS80 Yamaha D5000 Yamaha DX100, modded Yamaha DX11 Yamaha EX42 Yamaha FS1R Yamaha RX11 Yamaha TX16W x2 Zither AFX-scale Nord Lead 2 synthesiser - Studio Electronics SE1 - optical drives - four Kawai K-5000 synthesisers - Quasimidi QM-309 Rave-o-lution synthesiser - Tascam DA-88 8-track digital audio recorder - 4 Roland mixers - Doepfer Regelwerk MIDI Fader Box / Sequencer - 2 Doepfer MAQ 16/3 sequencers - Doepfer Schaltwerk sequencer - Doepfer A-100 modular synthesiser - Doepfer MMR4/4 - miniature MIDI keyboard custom-made by Doepfer - Doepfer LMK2 master keyboard (customised) - Waldorf Microwave - Boss SE50 effects processor (at least 4 of these) - 4 Akai samplers - Robovox (see 1990 entry below) - laptop computer - Eventide effects processor - Sony disk drive

Los tiempos que corren, la necesidad de pensarnos en torno a la realidad sónica de estos días, el adolescente que ya no soy, internet, los treinta años, las discografías que solía escuchar, la devoción que experimentaba por las grandes estampitas del universo del rock, las playlist que habitan mi celular, las guitarras que ya no se tocan, los plugins, la Roland TR-808, las canciones de siete minutos, las canciones que ya no soporto y que escrolea mi ansiedad aleatoria, los jóvenes, los grandes, lo urbano, lo digital, el mundo. En fin, el cambio de paradigma al que asistimos. Musicoterapia es en primera instancia un intento por entender los tiempos que corren, una reflexión sobre el universo sónico de nuestros días (claramente desde la perspectiva treintañera de quien lo lleva adelante). Sean todos bienvenidos a Musicoterapia, un podcast de autor.

Los tiempos que corren, la necesidad de pensarnos en torno a la realidad sónica de estos días, el adolescente que ya no soy, internet, los treinta años, las discografías que solía escuchar, la devoción que experimentaba por las grandes estampitas del universo del rock, las playlist que habitan mi celular, las guitarras que ya no se tocan, los plugins, la Roland TR-808, las canciones de siete minutos, las canciones que ya no soporto y que escrolea mi ansiedad aleatoria, los jóvenes, los grandes, lo urbano, lo digital, el mundo; en fin, el cambio de paradigma al que asistimos.  Musicoterapia es en primera instancia un intento por entender los tiempos que corren, es una reflexión sobre el universo sónico de nuestros días (claramente desde la perspectiva treintañera de quien lo lleva adelante). Sean todos bienvenidos a Musicoterapia, un podcast de autor.

Los tiempos que corren, la necesidad de pensarnos en torno a la realidad sónica de estos días, el adolescente que ya no soy, internet, los treinta años, las discografías que solía escuchar, la devoción que experimentaba por las grandes estampitas del universo del rock, las playlist que habitan mi celular, las guitarras que ya no se tocan, los plugins, la Roland TR-808, las canciones de siete minutos, las canciones que ya no soporto y que escrolea mi ansiedad aleatoria, los jóvenes, los grandes, lo urbano, lo digital, él mundo, en fin; el cambio de paradigma al que asistimos.  Musicoterapia es en primera instancia un intento por entender los tiempos que corren, es una reflexión sobre el universo sónico de nuestros días (claramente desde la perspectiva treintañera de quien lo lleva adelante). Sean todos bienvenidos a Musicoterapia, un podcast de autor.

Los tiempos que corren, la necesidad de pensarnos en torno a la realidad sónica de estos días, el adolescente que ya no soy, internet, los treinta años, las discografías que solía escuchar, la devoción que experimentaba por las grandes estampitas del universo del rock, las playlist que habitan mi celular, las guitarras que ya no se tocan, los plugins, la Roland TR-808, las canciones de siete minutos, las canciones que ya no soporto y que escrolea mi ansiedad aleatoria, los jóvenes, los grandes, lo urbano, lo digital, él mundo, en fin; el cambio de paradigma al que asistimos.  Musicoterapia es en primera instancia un intento por entender los tiempos que corren, es una reflexión sobre el universo sónico de nuestros días (claramente desde la perspectiva treintañera de quien lo lleva adelante). Sean todos bienvenidos a Musicoterapia, un podcast de autor.

La maquinas de baterias más famosa del mundo...la más consentida... Toda la historia de la Roland TR 808

This episode covers hip-hop, to the end of the timeline, the evolution of the DJ & Emcee, the Roland TR-808, and Beat Street. Artists covered: The Funky 4+1, Grandmaster Flash & The Furious Five, James Brown and Afrika Bambaataa Find out more about the timeline at https://www.bluelineage.com

Episode 62 An Eggnogstic Synthesized Holiday Special   Playlist Here is an approximate order for the tracks, which are sometimes mixed with other sounds or played at the same time. Joseph Byrd, “Carol of the Bells” from A Christmas Yet to Come (1975 Takoma). USA. ARP 2600 Synthesizer with an Oberheim Expander Module. Bells only. Bob Wehrman, John Bezjian and Dusty Wakeman, “Ring Christmas Bells” from Christmas Becomes Electric (1984 Tropical Records). Not be confused with an album by the same name by The Moog Machine in 1969. Unnamed synthesizer programmed and performed by Bob Wehrman and John Bezjian. From Marina Del Rey in California. Bells only. Joseph Byrd, “Carillon” from A Christmas Yet to Come (1975 Takoma). USA. ARP 2600 Synthesizer with an Oberheim Expander Module. Bells only. Tod Dockstader, “Holiday Meltdown” from Recorded Music For Film, Radio & Television: Electronic Vol.1 (1979 Boosey & Hawkes). Yes! A manic collage of electronic sounds from New Yorker Dockstader who did this album of broadcast library music for a UK firm. Rudolf Escher, “The Long Christmas Dinner”(1960) from Anthology Of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer's Voice). Netherlands. Electronic tape composition. Douglas Leedy, “In Dulci Jubilo” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer. Beck, “The Little Drum Machine Boy” from Just Say Noël (1996 Geffen). USA. Roland TR-808 Rhythm Composer. The Royal Philharmonic Orchestra, Paul Freeman, and The Chicago Synthesizer-Rhythm Ensemble, John Tatgenhorst, “The Little Drummer Boy” from Turned On Christmas (1985 Columbia). Just a little of this mixed-in with Beck. Philippe Renaux, “Noël Blanc” (“White Christmas”) from We Wish You A Cosmic Christmas (1977 Sinus). Belgium. Minimoog, Arp Axe, Arp Soloist, EMS Synthesizer, Stringman Crumar, Fender Rhodes, Electronic Drums. Paul Tanner, “Holiday on Saturn” from Music for Heavenly Bodies (1958 Omega). USA. Electro-theremin. Taeko Onuki, Inori (Prayer) from We Wish You A Merry Christmas (1984 Yen). A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Japanese synth-pop with vocals by Onuki. Maybe Ryuichi Sakamoto on keyboards. Mitch Miller & the Gang, “Give Peace a Chance—Thom's Festive Remix” from Peace Sing-Along (1970 Atlantic). USA. This is a tune that I remixed with other recordings. Don Voegeli, “Jingle Bells” long, short, and tag from Holiday & Seasonal Music (1977 EMI). USA. Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Joseph Byrd, “Jingle Bells” from A Christmas Yet to Come (1975 Takoma). USA. ARP 2600 Synthesizer with an Oberheim Expander Module. Jimmy Smith, “The Christmas Song” from Christmas Cookin' (1964 Verve). USA. Hammond organ. Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Thom Holmes, Happy Christmas (War is Over) Lennon and Ono Sliding Moment remix (2001). Richie Havens, “End of the Season” from Alarm Clock (1970 Stormy Forest). A melancholic reflection on life from Mr. Havens, totally synthesized on the Moog Modular by Bob Margoleff. Jon Hassell, “Clairvoyance” from Last Night The Moon Came Dropping Its Clothes In The Street (Pentimento Volume One) (2009 ECM). Composer, keyboards, Jon Hassell; producer, bass, Peter Freeman; Live Sampling, Jan Bang; Violin, Kheir-Eddine M'Kachiche. Live recordings from Courtrais, Belgium, and London. Jon Hassell, “Courtrais” from Last Night The Moon Came Dropping Its Clothes In The Street (Pentimento Volume One) (2009 ECM). Composer, trumpet, keyboards, Jon Hassell; producer, bass, Peter Freeman; sampler, Dino J.A. Deane, Jan Bang; percussion, Steve Shehan; Live recordings from Courtrais, Belgium, and London. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

In this episode, John links up with Courtney Barnett and producer Stella Mozgawa to talk about how they wrote, recorded and produced Courtney's album ‘Things Take Time, Take Time'. Ready with the keys to Courtney's archive of sofa voice notes and Garageband demos, the pair talk us through the entire album process, from their most valuable moments within pre-production, to the hours in the studio where they had to check if they were losing their minds. Sharing the secrets of the sonics, we hear stories of creating cavernous brass sounds using only a guitar and making fake shakers out of drums, all of which are set alongside the eternal loops sourced from the depths of Stella's drum machine collection. Listen to find out how to trick yourself into doing the perfect vocal take, what the best state of mind is to help get ideas flowing, and why producing is far from being a dark art.   Tracks discussed:  Turning Green, Here's The Thing, Oh The Night Listen to ‘Things Take Time, Take Time' here. ‘Things Take Time, Take Time' - Marathon Artists   GEAR MENTIONS Roland TR-606 Roland TR-707 Elektron Analog Rhythm MXR Drum Computer Roland TR-8S Roland CR-8000 Ace Tone Drum Machine FunkBox Drum Machine MPC Sampler Eventide H3000 Eventide H910 Soundtoys Alter Boy Shure SM7B Shure SM57 Korg Minilogue Maton Acoustic Guitar Omnichord Nylon String Guitar (From Mannys Music) KRK Studio Monitors Leslie Speaker Studer 24-inch Tape Machine Garageband ProTools Ableton   SUBMIT A JINGLE For all of the details on sending in a jingle email jingles@tapenotes.co.uk   Submit your Tape Notes jingle and we'll play our favourites each week on the podcast. Jingles can be in any style, can feature the Tape Notes theme, lyrics, or none of those things - be as creative as you'd like (as long as they're between 5-15 seconds).   HELP SUPPORT THE SHOW If you'd like to help support the show you can donate as little or as much as you'd like here, (we really appreciate your contributions :)  Donate   KEEP UP TO DATE For behind the scenes photos and the latest updates, make sure to follow us on:  Instagram: @tapenotes  Twitter: @tapenotes  Facebook: @tapenotespodcast   To let us know the artists you'd like to hear, Tweet us, slide into our DMs, send us an email or even a letter. We'd love to hear!  Visit our website to join our mailing list: www.tapenotes.co.uk    TAPE NOTES TEAM Will Brown - Executive Producer, Engineer & Editor Tim Adam-Smith - Executive Producer Will Lyons - Editor Rebecca Ibbotson - Digital Marketing  Nathan Hetherington - PR

Episode 55 Drum Machines: A Recorded History, Part 2: Digital Drum Machines   Playlist Linn Drum Gary Numan, “My Brothers Time” from Dance (1981 Beggar's Banquet). Early use of the Linn LM-1 by John Webb on this track. Note the sound of the claves, played by Numan but not digital. Bass, Saxophone, Mick Karn; Linn LM-1 drum machine, John Webb; Piano, Claves, Gary Numan. 4:37 Rajie, “ストーミー・ナイト (Stormy Night)” from Acoustic Moon (Sony 1981). Early recognition in Japan of the original Linn LM-1 drum machine. Rajie, vocals; Guitar, Mikihiko Matsumiya; Bass, Tsugutoshi Goto ; Chorus,  Hiroshi Koide,  Raji ; Composed By,  Akira Inoue ; Drums,  Tatsuo Hayashi ; Electric Guitar-Tsuyoshi Kon; Flute,  Motoya Hamaguchi ; Lyrics By,  Etsuko Kisugi ; Percussion,  Motoya Hamaguchi ; Prophet-10, Linn LM-1, Electric Piano,  Akira Inoue. Early Linn Drum Computer. 5:08 Herbie Hancock, “The Twilight Clone” from Magic Windows (1981 Columbia). If you want to study the latest in emerging electronic music instruments, just listen to the many albums by Herbie Hancock throughout the 1970s and 1980s. He was an early adopter of the Linn LM-1, heard here and played by Hancock. Bass, Louis Johnson; Linn LM-1 Drum Machine, Herbie Hancock; Ghanian Drums, Moody Perry III; Ghanian Drums, Bells, Kwasi Dzidzornu, Kwawu Ladzekpo; Lead Guitar, Adrian Belew; Percussion, Paulinho Da Costa; Rhythm Guitar, George Johnson; Written by, A. Belew, H. Hancock. 8:16 Don Henley, “The Boys of Summer” Linn Drum demo version (excerpt) (1984 private). Guitar and Linndrum, Mike Campbell; Synthesizer, Steve Porcaro; Synthesizer, Guitar, Danny Kortchmar. Bass, Larry Klein; vocals, lyrics, Don Henley. The instrumental part of the song came first and was put together by Tom Petty bandmate Mike Campbell who had just purchased a LinnDrum machine which was a more affordable model than the original LM-1 released in 1980. Campbell put together a rhythm track and played some guitar. Tom Petty wasn't interested in the song at that time, so it went to Henley, who wrote the lyrics. This demo was close to the final version. The final mix of the song also included some human drumming, as did live performances where a human drummer tried to replicate the sound of the original Linndrum. 0:42 Jean Michel Jarre, “Zoolookologie” from Zoolook (1984 Disques Dreyfus). A fascinating exploration of samples both of voice and drums. This is the later version of the Linn Linndrum machine, just before the introduction of the Linn 9000. There is pure joy in this track as Jarre uses the Linndrum to create many unexpected sounds and atypical rhythms. Bass, Marcus Miller; Composer, Producer, Ethnic Vocals Processing, Keyboards, Electronics, Jean-Michel Jarre; Drums, Yogi Horton; Daniel Lazerus; Guitar Ira Siegel; Guitar, Effects, Adrian Belew; Keyboards, Frederic Rousseau. 4:13 David Van Tieghem, “In-A-Gadda-Da-Vida” from In-A-Gadda-Da-Vida (1986 Wide Angle). Drummer and percussionist Van Tieghem created this version of the Iron Butterfly song using electronic drums (Octapads) and digital drums. Engineer, Programmed By Fairlight Programming Assistance, Eric Liljestrand; Guitar, Larry Saltzman; Vocals, Synthesizer Digital, Analog, Percussion Acoustic, Electronic, Mixed By, Producer, David Van Tieghem; Written-By, Doug Ingle. Basically a one-person performance aside from guitarist Saltzman. Van Tieghem was using both hand played electronic drums (the Octapads) plus some digital drum machines. 5:36 Suzanne Ciani, “Mosaic” from Neverland (1988 Private Music). Composed, Arranged, Performed, Produced by Suzanne Ciani. Among the many electronic instruments used by Ciani were keyboards made by Yamaha, Roland, and Bode (vocoder). For drum programming, she turned to the Linn 9000. This track has some decidedly simple, yet complex rhythms using the Linn 9000 that are truly nuanced and more jazz like. The care with which she programmed this track is in contrast to the typical drum machine beats you hear on records. Ciani also used a Roland TR-707 on this album, which you may also detect on this track. 4:37 Oberheim DMX Todd McKinney, “Kimberlite” from The Sound Of The System (1982 Oberheim). This 7-inch demo disc includes music created by Todd McKinney and Daniel Soger, two Oberheim employees. “Kimberlite” was composed and performed by McKinney using the DMX Programmable Digital Drum Machine, the DSX Digital Polyphonic Sequencer, and the OB-Xa Polyphonic Synthesizer. 2:28 Tangerine Dream, “Poland” from Poland (The Warsaw Concert) (1984 Jive Electro). You can hear the Bohn Digital Drums in the first half of the song and the Oberheim DMX in the second half. But that's a bit of a guess. Dr. Böhm DIGITAL DRUMS was a rhythm machine made in Germany from 1982-83, also known as ''the German Linndrum.'' Composed, performed, and produced by Tangerine Dream. Jupiter 8, PPG Wave 2.3 Waveterm, Minimoog, Korg Monopoly, Sequenced by EEH CM 4 Digital Sequencer, Bohm Digital Drums, Roland Tr 808 Drums, Roland SDE 3000 Delay, MXR 01 Digital Reverb, MXR Digital Delay, Johannes Schmoelling; Prophet 5, Prophet 600, Prophet 1, E-mu Custom Programmable Synth, Moog Custom Programmable Modular Synth, MTI Synergy, Sequenced by the PE Polyrhythmic Sequencer, Compulab Digital Sequencer, Syntec Custom Digital Drum Computer, Electronic Drums Simmons Drum Modules, Effects Quantec Room Simulator, Roland SDE 3000, Electronics Hill Multi-mixer, Chris Franke; Yamaha DX 7, Yamaha YP 30, Jupiter 8, Jupiter 6, Prophet 5, PPG Wave 2.2, Sequenced By Pe Polyrhythmic Sequencer, EEH Cm 4 Digital Sequencer, PE Custom Trigger Selector, DMX Oberheim Digital Drum machine, Edgar Froese. 8:43 Herbie Hancock, “Earth Beat” from Future Shock (1983 Columbia). In addition to the DMX, this track includes evidence that Garfield Electronics Dr. Click Rhythm Controller was a much-needed rhythm device for wrangling the otherwise incompatible signals prior to the introduction of MIDI a few years later. Craig Anderton wrote the following about Doctor Click in an article in Keyboard from 1983: "Doctor Click is not a keyboard instrument, not a drum machine, and not a signal processor: What it does is synchronize and interface these three families of devices together. Not only can it interface to existing sync tracks, it can build up click tracks from incomplete click tracks, and even create sync and/or click tracks which are referenced to a live musician." Hancock masters Dr. Click on this album. Fairlight CMI, Yamaha GS-1, Yamaha CE-20, Dr. Click Rhythm Controller, Herbie Hancock; DMX Drum Machine, Synare Electronic Drums, Memory Moog Programming, Michael Beinhorn; Bass, Bill Laswell; Bata, Daniel Ponce; Turntables – Grandmixer D. ST. 5:09 Herbie Hancock, “Hardrock” from Sound System (1984 Columbia). The sound of the Oberheim DMX digital drum machine as used by Herbie Hancock. This album was his follow-up to the album Future Shock on the DMX made a famous appearance in the song Rockit, which was unusually a top-selling hit for Hancock. The DMX is played here by non-other than Bill Laswell. Note that Simmons electronic drums are also being played on this track by Anton Fier, but I think you can tell the difference. Bass, Drum Machine DMX, Tape, Bill Laswell; Bata, Daniel Ponce; Simmons electronic drums, Sound Plates, Cuica, Anton Fier; Guitar, Henry Kaiser, Nicky Skopelitis; Fairlight CMI Programming, Will Alexander; Fairlight CMI, Rhodes Chroma, Apple IIe, Yamaha DX7, Emu 4060 Digital Keyboard, Herbie Hancock; Synthesizer (XMD), Rob Stevens; Turntables, D. St; Written-By, B. Laswell, D. Showard, Herbie Hancock. 6:10 Davy DMX, “Bonus Beats” from One For The Treble (Fresh) (1984 Tuff City). Davy DMX when he first met the Oberhheim DMX digital sampling drum machine. He is also known as David Franklin Reeves, Jr. Here is a bonus track of only drum machine and turntable. 1:47 Davy DMX, “One For The Treble (Fresh) (Instrumental)” from One For The Treble (Fresh) (1984 Tuff City). Davy DMX when he first met the Oberheim DMX digital sampling drum machine. Another track from that same 12-inch. 7:31 Movement MCS Drum Computer John Foxx, “Pater Noster” from The Garden (Virgin 1981). This album was produced after Foxx left Ultravox. It is another example of the MCS Drum Computer. This track only features Foxx on synthesizers, voice, drum programming, and a manually struck Tom Tom. 2:30 Roland El Escuadrón Del Ritmo, “Las Cucarachas” from Back Up: Mexican Tecno Pop 1980-1989 (2021 Dark Entries). I discovered this wonderful collection of Mexican synth-pop tracks, some never before heard, and immediately dug-out a track using a drum machine. This track is from 1982. In this case, the drum machine is the Roland Compu-Rhythm CR-78, which was a transitional analog device with analog drum sounds and digital control for programming patterns. 3:44 Nahtabisk, “La Dama De Probeta” from Back Up: Mexican Tecno Pop 1980-1989 (2021 Dark Entries). Another hidden gem from Mexico. This track is from 1984 and features the Roland drumTR-606 Drumatix. The TR-606 featured PCM-encoded sounds of real drums. This small device, that ran on batteries, helped define the sound of early techno. 3:20 E-mu Joe Mansfield, “Drumulator (Instrumental)” from Drumulator (2014 Get On Down). This is a track featuring the sounds of the E-mu Drumulator that was sold from 1983 to 1985. It had twelve, 8-bit sampled sounds of real drums and at about $1000 was more affordable that drum machines like the Linndrum and Oberheim DMX. It was created on the heels of the sample synthesizers they made under the Emulator name. It also had a relatively short life so few recordings from the time were made. This demo is an example of what could be done with the Drumulator and Herbie Hancock took a liking to it prior to switching to the Oberheim DMX. 2:02 Richard Souther, “Uncharted Waters” from Innermission (1986 Meadowlark Records). Music and realization by Richard Souther. Includes synthesizers from Roland, PPG, Sequential Circuits, and Casio. He also used both the Linn 9000 and E-mu SP-12 drum machines, which are both heard on this track. You can clearly hear the Linn 900 and its distinctive snare and bass sounds, while the E-mu, which was built around the circuits in the company's popular keyboard samplers, provided some of the more unusual, even exotic, percussion sounds. 3:23 Alesis Slant, “Sheep” and “Ducks” from Hive (1989 These Records). This amazing group, although short-lived, was a British experiment in rock with noise elements that included Cris Cheek, Philip Jeck, Sianed Jones, and Osian Tam. Cross used an Alesis HR-16, which is showcased in the second of two tracks, “Ducks.” I think that is probably the same drum machine in the first track, “Sheep” so I thought this represented some good contrast in the way that the sound could be treated. This had 49 digital samples of drums that could be programmed in real-time by playing the velocity sensitive drum buttons. Double Bass Julia Doyle; Guitar, Cabasa, Engineer, Co-producer Maciek Hrybowicz; Keyboards, Accordion, Synthesizer DX7; Piano, Clarinet, Voice, Marimba, Goblet Drum Darabouka, Tambourine, Bells Agogo Bells, Sampler Cassette Samples, Flute Souffara, Rattle Seed Pod Rattles, Performer Emax, Alesis HR-16, Breath Rhythms, Face Slap, Mixed By, Co-producer Cris Cheek; Turntables, Radio Philip Jeck; Violin, Piano, Vocals, Organ, Fife, Viol Viola Da Gamba, Harmonium, Claves, Performer Emax, Breath Rhythms, Mixed By, Co-producer Sianed Jones; Voice Osian Tam. 4:31 Closing, Linn LinnDrum Mikel Rouse, “Quorum part 2” from Quorum (1984 Club Soda Music). It was inevitable that a composer would create an extended piece of music using only the Linn Linndrum. Mikel Rouse was that person. Listen to the hypnotic patterns of this work. From the composer's notes: “Quorom is a piece for LinnDrum machine (or 18 percussion players) in 9 parts running approximately 1 hour and 45 minutes in length. Though the sequence of parts 1 through 9 must be maintained, the parts may be divided into sections, or run continuously. Themes are produced through the synchronization of the 3 generators, 3-5-8, and their complimentary factors yield counterthemes. Power series are then applied to produce harmonic contrasts from the original themes. Thematic material is developed through multiple variation techniques (circular permutations, accents through superimposition of an additional component, natural growth through the summation series). I decided to undertake the programming myself and, with the aid of Jim Bergman, successfully completed the programming in about 5 hours. I would like to stress that all programming was done through the step-by-step process provided in the operator's manual for construction “songs” from “patterns”. No special treatments or extensions (including cassette interfaces) were required.” Such was the versatility of the Linn Linndrum. 11:16   Background Sounds Volti, “Corazón” from Back Up: Mexican Tecno Pop 1980-1989 (2021 Dark Entries). Mexican electro-pop group. This track is from 1986 and features unknown drum programming. vocals, synthesizer, Lyndell Brookhouse; bass, synthesizers, drum programming percussion, Eddie Rubello; Backing Vocals, Katie Taylor; Congas, Edgar Herrera; Piano, Vincent Kenis; Timbales, Pedro Ortiz. 3:45. Adams and Fleisner, tracks “a1, a2, b1, b2, b3” from Modern Digital Recorded Drumcomputer Rhythm Tracks (1983 Break Records). I think this track of library digital drum samples from the Netherlands was made with the Drum Computer MCS II (or Percussion Computer) from Movement Computer Systems, a rare British made-drum machine circa 1983. It had an integrated CRT monitor and had an orange (or black) case. It used 8-bit samples of drums and featured 14 voices and programmable patterns. Opening: Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations. There are dozens of drum machines that dot the history of electronic music. For an encyclopedic list of almost every drum machines ever made, and there were dozens of variations and models up until around 1985, check-out the excellent books by Alex Graham, a UK-based drum machine collector and specialist.

Playlist Chamberlin Rhythmate Two Times The Trauma, “Freak Show” from I Fell In Love With An Ocean (2006 Starfly). There is an original Chamberlin Rhythmate at Roth Händle Studios in Stockholm, plus some other precious vintage equipment used in the making of the first album by Two Times The Trauma. Double Bass, Vocals, Magnus Eugensson; Drums, Percussion, Optigan, Mellotron, Tin Whistle, Turntables, Chamberlin Rhythmate, Mattias Olsson; Electric Guitar, Eric Fallope; Mellotron, Orchestron, Tobias Ljungkvist; Tuba, Fredrik Wennström; Vocals, Cecilia Åhlfeldt; Vocals, Acoustic Guitar, Mattias Eriksson; Xylophone, Daniel Kåse. Recorded at Roth Händle Studios 3 & 4, Stockholm. Mellotron bee tape set used with kind permission from Gaby Stenberg. Yamaha GX-1 used with kind permission from Benny Andersson. Orchestron French Horn disc on 'In Your Eyes' used thanks to Zac Rae. All Optigan, Mellotron and Chamberlin Rhythmate service and maintenance was performed way beyond the call of duty by Markus Resch. Wurlitizer Side Man and Swingin' Rhythm LCD Sound System, “Somebody's Calling Me” from This Is Happening (2010 Parlophone). Somebody's Calling Me; Finger Snaps Snaps, Matt Thornley; Finger Snaps Snaps, Synthesizer Casio MT-68, Wurlitzer Sideman, EMS VCS3 Putney, Korg Poly Ensemble, Bass, Piano Acoustic, Keyboards Roland System 100, Vocals, James Murphy; Mixed By, DS; Trombone, Jason Disu; Written-By, J. Murphy. Glenn Derringer, “The Girl From Ipanema” from Wurlitzer Swingin' Rhythm (1968 Wurlitzer). Glenn Derringer at the Wurlitzer electronic organ, demonstrating the Wurlitzer Electronic Swingin' Rhythm attachment with an unspecified Wurlitzer electronic organ. Each track on this demonstration disc explains the Swingin' Rhythm settings that were used. For “The Girl From Ipanema,” the settings were: “Moderate Bossa Nova. The Swingin' Rhythm was set at Latin, tempo control set to 1 o'clock.” What more can I say? Dick Hyman, “Strobo” from the single Strobo/Lay, Lady, Lay (1969 Command). Dick told me about this track, which was one of his Moog experiments that didn't make it onto his two albums around this time. Normally, he produced his Moog tracks with the help of synthesizer programmer Walter Sear. But in the case of this single, he did all the programming. For “Strobo,” he used a drum machine. It sounds like a Swingin' Rhythm. Jean-Pierre Sabar, “Fool on the Hill” from Super-Danse/Les Orgues Électroniques De Jean Pierre Sabar (1969 Sava). French LP of instrumental cover versions of popular music, all played on the Wurlitzer 4300 electronic organ with integrated Multi-Matic Percussion unit and Swingin' Rhythm, which was also sold as a standalone drum machine. In this case, I'm having a little trouble telling the difference between the drum machine and what sometimes sounds like a drum set with bass and toms. The settings on the organ indicate that the pedals can be used to play “drum” and “cymbal” sounds, and the Swingin' Rhythm unit had buttons for drum, brush, snare, block, and cymbal. Still, I can't account for the tambourine sound but so much of this rhythm section sounds like a drum machine repeating sounds robotically that I must assume that this is a combination of live drummer and drum machine. Jerry Styner And Larry Brown, “Dock of the Bay” from Orbit III (1971 Beverly Hills). Album produced to showcase the sounds of the Wurlitzer Orbit III organ, the “orbit” portion being a a third, two-octave keyboard that was a monophonic synthesizer. The instrument was equipped with the latest Wurlitzer rhythm machine built in. On this track, you not only hear sounds of a drum machine that sounds similar to the Wurlitzer Swingin' Rhythm machine introduced in 1969. Although the liner notes suggest that all of the sounds were created using the organ, there appears to be a regular human drummer playing along (probably percussionist and co-producer Larry Brown). I say this because there is a hit hat heard throughout and although Swingin' Rhythm had setting for a Snare, Brush and Cymbal sounds, as fills for the rhythm settings, they really did not reproduce the hit hat sound that is heard here. That and the miscellaneous drum fills added throughout sound more “played” than mechanized. Anyway, that's my take after examining this recording as compared to the actual sounds of the Swingin' Rhythm unit. Thomas Organ Byron Melcher, “Spanish Flea” from The Entertainers (1966 Thomas Organ Co.). Thomas Organ was one of the leading makers of electronic organs for the home. On this track, you can hear the Playmate rhythm component, a drum machine with 15 preset rhythms. The Thomas organ drum machine, circa mid-1960s. Thomas Organ was another maker of electronic organs for the home market. By 1966 they had created the Playmate rhythm component, a drum machine with 15 preset rhythms and a standalone device called the Band Box that had 10 preset rhythms. These were often sold as part of their Color-Glo line of transistorized organs. Color-Glo helped amateur musicians by lighting up the keys for preprogrammed melodies and chords to guide them along. Lowrey Organ Johnny Kemm “Taboo” from Latin Days (1970 Concert Recording). This album was created using the Lowrey Theater Console Deluxe organ model H25R-2 equipped with the built-in Automatic Rhythm drum machine feature. Not Sure Which Drum Machine Robin Gibb, “Mother and Jack” from the single Saved by the Bell/Mother and Jack (1969 Polydor). There was brief period in 1969 when the Brothers Gibb, otherwise known as the Bee Gees, had a sibling riff and Robin went off on his own to record some solo projects while Barry and Maurice completed a two-man Bee Gee album called Cucumber Castle. Perhaps because he was working along, Robin used a drum machine to mark time while recording various tracks and in the case of a few songs, he kept the mechanical rhythm as part of the finished recording. This might be the earliest purposeful use of a drum machine on a pop hit. I include it hear because it is probably a Swingin' Rhythm, although it might also be a Seeburg Select-A-Rhythm, also available at the time. Bruce Haack “Saint Basil” from The Electronic Record For Children (1969 Dimension 5). Tape composition, drum machine, and synthesis by Bruce Haack; Directed by P. Pandel; Performer, The Children Of Holy Trinity Cathedral School. Bruce used an unidentified drum machine on this album of children's music. Roland (Various) Michael Iceberg, “Mexican Hat Dance” from Does It Live: 100th Week At Walt Disney World (1977 Hihomusic). This album was only sold to tourists as a souvenir at Walt Disney World during the Michael Iceberg residency as a performer at Tomorrowland Terrace during the late 70's through the late 80's. Unknown drum machine, but likely a Roland Rhythm TR-55. Miha Kralj, “Apokalipsa” from Andromeda (1980 PGP). Yugoslavian record from synthesist Miha Kralj features a Roland CompuRhythm CR-78. Composer, producer, Synthesizer, Vocoder, Sequencer, Drum Machine, Effects, Miha Kralj. Gary Numan, “Slowcar To China” from Dance (1981 Atco). Bass , Mick Karn; Percussion, Gary Numan, Tim Steggles; Polymoog, Prophet 5, Roland JP 4, CP30, Claptrap, Electronic Drums Roland CR78, Gary Numan; Viola, Chris Payne. The Noyes Brothers, “Byte to Beat” from Sheep From Goats (1980 Object Music). Synthesizer and electronic drums, Solamar. The Noyes Brothers had two members, Steve Miro and Steve Solamar. They were from the UK and Solamar seems to be the only artist on this track and uses an non-specific Roland drum machine. This track is taken from a double LP, the only record I know of for the Noyes Brothers. Comateens, “Ghosts” from Comateens (1981 Cachalot Records). Here is a group who's unofficial fourth member was a Roland Compu-Rhythm CR-78. The inner notes for the album featured profiles of all of the artists, including Lyn Byrd on synthesizers and vocals, Oliver North on guitar and vocals, Nic North on bass, and vocals and the Roland machine, which was described as having a square black head, no body, with red, blue, and yellow buttons. In addition, the notes state that the Roland drum machine was born in Japan and existed as 3,468 separate pieces before assembled and called upon to serve with the Comateens. Joël Fajerman, “Espace – Oiseaux” from Azimuts (1981 PSA). French record by Fajerman featuring a Roland TR 808 Rhythm composer, and instruments such as the Multimoog, Prophet 5, Korg polyphonic 3100, Clavinet D6, ARP sequencer, Oberheim module. SPK (System Planning Korporation), “Emanation Machine R. Gie 1916” from Information Overload Unit (1981 Side Effects). Australian industrial sounds released in the UK. Guitar, Bass, Tape, Vocals, Mike Wilkins; Synthesizer, Roland Drum Programming, Effects, Vocals, Graeme Revell; Synthesizer, Effects, Dominic Guerin. Rüdiger Lorenz, “Out of the Past” from Invisible Voices (1983 Syncord). This late pharmacist/synthesist from Germany played all the instruments on this album, including Korg Polysix, Formant Synthesizer, Roland Vocoder VC 10, Roland TR-808 Rhythm Composer, Moog Sample & Hold, MXR Stereo Chorus, Electro-Harmonix Flanger, PPG Sequencer, Elektor Ringmodulator, and Pearl Vorg Echo-Orbit. Other analog drum machines Bob Hacker, “Careless Hands” from One Man Opry: Bob Hacker Plays The Yamaha Electone D (1980 Yamaha). This album, produced by Yamaha, features some of the wacky analog synth effects it could produce as well as its built-in drum machine. This was a spinet style organ, a small upright keyboard with pedals for the home market. Arthur Brown and Kingdom Come, “Time Captives” from Journey (1973 Polydor). Brown used Bentley drum machine to provide drums on this track. The Bentley was actually a UK version of the Roland TR-77 which was the very first product Roland released under they own name. In the US this same unit was sold by Hammond as the Auto-Vari 64. The unit has 5 faders for Volume, Tempo, Cymbal/HH/Maracas, Guiro, Snare, Bass Drum. The TR-77 has 6 faders for Tempo, Fade Time, Volume, Bass D, Snare D, Guiro & Hi-Hat/Cymbal/Maracas. Bass, Percussion, Vocals, Phil Shutt; Bentley Rhythm Ace, Vocals, Arthur Brown; Electric Guitar, Vocals – Andy Dalby; Mellotron, Synthesizer [Arp 2600, Vcs3], Piano, Theremin, Percussion, Vocals, Victor Peraino. Kraftwerk, “Radioactivity” from Kraftwerk – Radio-Activity (1975 Capitol).Electronics, Florian Schneider, Ralf Hütter; Lyrics by Emil Schult, Florian Schneider, Ralf Hütter; music by Florian Schneider, Ralf Hütter; Electronic Percussion Karl Bartos, Wolfgang Flür; Vocals, Florian Schneider, Ralf Hütter. Schoolly D, “P.S.K.-What Does It Mean? (instrumental version)” from‎ P.S.K.-What Does It Mean? / Gucci Time (1986 Schooly D Records). A remix of this track that features only the drum sounds of the The Roland TR-909 Rhythm Composer. This drum machine was one of the first Roland instruments to be equipped with MIDI, and was the first analog/digital hybrid machine, combining analog circuits for its drums with digital samples for its cymbal and hi-hat sounds. You can hear how Schooly D isolated the cymbals and drums on this track. Pixie Ninja, “Leng Plateau” from Colours Out Of Space (2020 Apollon Records). Another recording using the Chamberlin Rhythmate in the Roth Händle Studio in Stockholm. Roth Händle studios is run by producer and musician Mattias Olsson who collects, restores, and offers vintage musical gear for use by visiting bands. There is so much to listen to here with Pixie Ninja's hard-driving and somewhat deranged mix of vintage, cranky electronic instruments and modern guitars and synthesizers. You can hear the Chamberlin Rhythmmate in this track, a Bandmaster Powerhouse Drum Machine (the one that used 8-track tapes), and an Electro-Harmonix DRM-16 Drum Machine. Godin Shifter 4 Bass, Korg Krome 61, Korg Volca Keys, Korg Monotribe, Nord Lead A1, Glockenspiel, Polar Circle Bells, Kalimba, Marius Leirånes; Drums, Percussion, Mother Modular System, Mellotron M400, Philicorda Organ, Chamberlin Rhythmate, Fender Rhodes, Hohner Clavinet, Blind Typemachine, EMS VCS3, Casio PT-88, Roland JV-8080, Roland SH-101, Electro-Harmonix DRM-16 Drum Machine, Moog Taurus, Korg MS-10, Optigan, Roland VP-330+, Bandmaster Powerhouse Drum Machine, E-Bow (Bass Gizmotron), Jenco Celeste, Grand Piano, Mattias Olsson; Fender Stratocaster, Gretsch G5320T, TC Electronic AEON Infinite Sustainer, Korg Krome 61, Korg microKORG, Nord Lead A1, Arturia Microbrute, Stylophone 350s, Glockenspiel, Jostein Haugen; Rickenbacker 12 String Electric Guitar, Fender Rhodes, Philicorda Organ, Mellotron M400, Hampus Nordgren-Hemlin. Background Sounds Opening: Negativland, “Side 1, Track 3” from Negativland (1980 Seeland). An unidentified drum box is heard throughout this track. It sounds a lot like the Wurlitzer Swingin' Rhythm. Recorded Dec. 1979-April 1980. This privately release album had a hand-made sleeve made of cut-and-paste artwork assembled with xerox, wallpaper, black construction paper, and magazine photos. Beneath these pasted portions, the cover itself is spray painted and stenciled with parts of the band name, as well as hand-numbered. Synthesizer, edited by, voice, tape, David Wills; Tape, Electronics, drum machine rhythms, Booper (an electronic oscillator), Clarinet, Organ, Viola, Loops, Guitar, Mark Hosler, Richard Lyons. Description of previous way of producing drum sounds: George Wright, “Happy Talk” from Goes South Pacific (1958 HiFi Records). George Wright on the Mighty Wurlitzer theater organ, an electronic organ popular in the 1950s. Introductory dialog: Johnny Kemm “I Say a Little Prayer” from Latin Days (1970 Concert Recording). This album was created using the Lowrey Theater Console Deluxe organ model H25R-2 equipped with the built-in Automatic Rhythm drum machine feature. Description of Chamberlin Rhythmate: Audio track demo of the  Chamberlin Rhythmate  from the YouTube video posted by instrument collector Dan Hicks (aka Peahix), a collector in California. Description of Wurlitzer Side Man: Audio track demo of the Wurlitzer Side Man from the YouTube video posted by instrument collector Dan Hicks (aka Peahix), a collector in California. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.  

On this week’s show Chris and Aaron talk about: the Roland TR-909 drum machine, Beavis and Butthead, Parks and Rec rewatch podcast, Shang-Chi And the Legend of Ten Rings, a study on heart health and cannabis, a drone drops dimebags in Israel. Please follow us on Twitter @TheWeedsmen420, Instagram @TheWeedsmenPotcast, and on Facebook at Facebook.com/TheWeedsmenPotcast/... The post Drone Drops Dimebags On Dimona first appeared on Christopher Media.

Hello and welcome to Episode 71 of BUDDHA BEATS! I'm The Engineer, your DJ for the next 90min! It's Sept. 9th, but to those of us in the dance music scene call it 909 Day, in honor of the Roland TR-909 drum machine, and in this episode you're going to hear some classic 909 workouts, as well as the first single from ByrneFellman! Time to head to The Temple folks, let's get those sneakers on and LET'S GO!!!

This episode is dedicated to Coach Jimmy Collins, longtime Marvin Gaye fan and loving father of Bring Receipts co-host Brandi Collins-Dexter. Coach Collins passed away in December 2020. In this episode, Brandi argues that Marvin Gaye's rendition of the national anthem at the 1983 NBA All-Star Game is the only version America deserves. Steven, though a fan of this version, completely disagrees.Joining the podcast to decide who is right is Matt Howard, the current National Organizer for Communications at Right to the City Alliance and previously was the Co-Executive Director at About Face: Veterans Against the War. This episode covers Marvin Gaye's musical career, the history of the Star Spangled Banner (did you know it came from a drinking song?), and revolutionary drum machine the Roland TR-808, and major events from 1982. This episode features the song "The AnacreonticSong" as performed by the University of Michigan's American Music Institute. Let us know who you think won via Social Media:Twitter: @bring_receiptsInstagram: @bring_receiptsFollow BR Hosts on Twitter:Brandi Collins-Dexter (@BrandingBrandi)Steven Renderos (@stevenrenderos)Artwork & Logo by:Andrés Guzmán (IG: andresitoguzman)Beats by:DJ RenSupport the show (https://www.patreon.com/bringreceipts)

Episode 77: Announcement! (and some choice rants)Good morning! This is Play It Like It’s Music. I’m Trevor, thanks for listening.On Wednesday, March 3rd of 2021 music is not content, it’s connection.Saying hi to you from the interwebs in these uncertain times. I’m going to do something different for this episode. Check it out.[What follows is the full transcript of this week’s show. Feel free to press Play and read along if so inclined. I promise it’s more fun with audio, plus there’s some music on there!]Listen in your podcast app: Apple Podcasts - Spotify- Stitcher - TuneIn - Overcast - PocketcastI’ve had a number of shifts in my creative life over the last few years, things that knocked me on my ass, things that have made me think/question what this is all for but also which got me digging further into how it all happens, and finally some major openings that brought some beautiful new energy and momentum into my musical process.Some of these changes happened because of doing this podcast and others are separate. But if you listen to this show and you’re engaged with music in some way, one thing you probably know is that the ground is always shifting beneath us. We can’t always think on our feet, sometimes we have to think with our feet. More on that in a minute.Right now I have an announcement.And it has to do with the above. This show in its current form is going to go away for a while. I’ll do a few more episodes with a couple of great people, take it up to Episode 80 and then put it on hiatus.I’m incredibly happy for how it’s gone and this is not a decision I take lightly at all, since I know that many of you tune in each week for the fellowship we get here. It’s exactly the kind of community I feel I was made to serve, but it’s also catalyzed some really important shifts in my creative life which I have to honor.I’m going to lean into the music 100% for a while, which will include reclaiming the handful of hours I put into producing this show every week. The energy is simply too great right now, music is pouring out of me at a rate I can barely keep up with. I want to celebrate this and strike while the iron is hot.I’ll still be sending you emails and sometimes there’ll be sounds with them. But “Play It Like It’s Music” the show is entering a cocoon phase as it finds out what form it wants to take in the future. I’m so thankful that you are all here listening to this process as it unfolds and sharing your own experiences with me. I’m not going anywhere, this is just a metamorphosis.So during this episode today I’m going to go through some of the changes themselves, and what they might mean for some of us who’ve been chasing the muse our whole lives. I think you’ll get something out of it, so let’s dig in.I got my first drum machine in 1987. Yes, I’m that old. It was a Roland TR-505, it had some samples on pads and some basic sequencing on it but it wasn’t much to shake a stick at - or shake a room with.Now tell me if this is you: we put our fingers on an instrument, start getting some cool sounds and then start dreaming of putting a beat together with our sounds, maybe getting a band together and seeing if folks might want to go somewhere and dance to some of our stuff. That was me as a teenager in the 80’s, and it’s still me today.I went on to log a few hundred thousand miles on the road, playing in every kind of bar imaginable. I did a couple of local cover bands as well, but it’s all the same chase. AND! Before you do any bands or put on a show, you gotta have band practice. And because you might not have a drummer lined up right away, you try getting your hands on a drum machine and see if you can make something happen with that. Sound familiar?Honestly some people start there and go pretty far with it, becoming electronic artists, DJ’s and producers. But I’ve never been able to keep my fingers off a set of strings for very long. And it’s dicey, trying to wrangle a beat and play an instrument at the same time. Some folks do just fine with that but it’s a lot of balls to keep in the air.So for little old me the drum machine ends up taking the form of a glorified click track, which is fun for about 25 seconds before you start realizing that a beat isn’t just marking time as it marches by. It’s a living breathing thing, an animal which will take your music to unimagined heights if you treat it right, but will also rip your vibe to shreds if you ignore it or piss it off.So the journey is a long one, and for me it’s been episodic and contentious.I’ve never felt so musically lost than when I was trying to figure my groove out and couldn’t do it.It’s a weird feeling of impotence where your nose is pressed so hard against the glass and you have no idea how to get through. You know something beautiful is there, right on the other side, but you can’t quite get beyond a sketch and it’s getting hard to breathe.I’ve been around the block with it a bunch of times, and the cycle is pretty much the same: I find a line or a riff or a melody or some chords, then I set about looking for combinations with a rhythm or some lyrics. Or I might start with one of those by themselves and look from that angle. Sometimes it works out quickly, other times it leads into a maze. The maze sometimes leads somewhere cool (like my cello style, which I love) and other times it just leads further into the maze.I’ve had insane power struggles with some of the human drummers I’ve worked with, as well as some crazy dysfunctional codependency with most of the drum machines I’ve used and owned in the past. Then, if you get going with computers using something like Ableton Live the thing changes entirely. I like to say that Ableton Live is Excel for music. And I stand by that.And I’m a technically-inclined guy!So I’ve been able to get quite well-versed in the relationship between strings and drums, between live drums and electronic drums, synths and samples, software and hardware. I’ve owned quite a few pieces of gear over the years but I usually let them go because I can find their limitations pretty quickly. And they are quite limiting.Usually it comes down to a question of feel and tempo: if it’s a machine then I’m always craving more variation than the thing will provide inside of its feature set, and with a live drummer (and live musicians in general) there are questions of dynamics and personality that can shortchange the musical payoff if you’re not on the same page.Now a critical point in the process is when you let go of control, watching the elements combine into something greater than the individual parts or preferences. But oftentimes our ego (or egos) will keep us stuck and we don’t give ourselves that chance. Then you end up back at square one, which for me usually takes the form of sitting in a space by myself with a cello, tapping on the surface of it.As long as I don’t have any life complications getting in the way, that is.Music is a beautiful thing.It’s a great way to un-twist ourselves.But the twisting part can also bring you to your knees if you don’t keep your head up.My journey took me off the rails for a while. I burned bridges, lost homes, chased the muse into the weeds far more times than I can count.And I won’t lie: a lot of those trips can definitely make you sound better in the long run. Learning what a musical moment is really worth and connecting with a deep place, each time. But at some point you do have to take charge of your life. I had to stop throwing my well-being out the window and get down to the work at hand of making a true sound, one that would matter to people and bring them together. But I had no idea what that even meant anymore. Personally I had suffered too many losses along the way. I’d come off the road, stopped playing in bars to sell other people’s beer, my mental health was in shreds and I had no joy at the idea of going out to another gig, anywhere. With no idea of what any of it meant anymore, I started this show you’re hearing right now. I needed to talk to my fellow musicians about these questions: Why do we even do this? What separates the pros from the dilettantes and wannabes? What do we need to stay away from? I had no idea, but I knew I could ask my friends. So Play It Like It’s Music was born. I knew that it would lead me somewhere. Probably forward.So two things happened.First, on the day I launched the show the phone stared to ring with clients and I started booking work as a podcast producer. I made like 40 grand in 6 months, which was astonishing.The other thing that happened was I started making music again, and not like before. I was writing and producing too. With joy.There’s something about the very act of hitting Record which will scare a musician back into their shell. The creative process is often not fun, there’s a lot of dread and doubt which can paralyze you. But when it’s your job to produce media for other people - at a high volume with delivery deadlines and so forth - that same act becomes a mere reflex. Suddenly you’re just doing it. You’re thinking with your feet.So while I was making the first episodes of this show (for myself) and producing three other shows (for money), I suddenly found myself also writing songs again, composing instrumentals - and most importantly producing demos of said material at a higher rate and quality. Something was working where it hadn’t been for a long time, which brings me to the third act in this tale.At some point I stumbled upon the live-coding scene.It’s the collision of music and technology at the core level. People tapping directly into the sound and musicmaking capabilities of their computers, bypassing all that front-facing software - the digital audio workstations which are so expensive and mostly just imitate tape machines to begin with.Now there’s nothing wrong with tape machines, I love em. But computers are not tape machines and it’s no use pretending that they are. I mean, DAWs are great but they are not musical instruments! At some point people decided that DAWs and plugins were instruments in and of themselves, but they’re not. They’re just production and composition environments. Computers might be the most powerful musical instrument humankind has ever invented, but the DAW environment is like using 3% of your brain.Here’s a little side rant: Between the twin tectonic shifts of the streaming era and the digital production explosion, not enough attention gets paid to just how toxic the DAW timeline is to a musician's mind. Hear me out. A musical sound is a living organism. We interact with it when playing an instrument or writing a song. Composing on paper is writing notes to it while it lives in the ether - the sound itself manifests out of the process.But when sounds all start and end inside a timeline, it's like raising animals in a cage. Yes, they all move exactly when and where you push them, but freedom and surprise are removed entirely.I don't know about you, but freedom and surprise are exactly what I want MORE of in music, not less.The DAW timeline is an authoritarian environment where the M.O. is to assert total control over the sounds. Ableton Live is almost as thrilling to use as an excel spreadsheet.Now I’ll admit that there’s a part of me gets off on using DAW tools: it's the desperate, lonely part of me who craves certainty and safety. Who can't accept music as fundamentally chaotic and interact with it on those terms.Playing cello, by contrast, is like living with an ostrich. Awkwardness abounds, and surprise is never far away. Control is out of the question, and anyway who would want that? You can collect instruments like animals if you want to, but the real action is out in the wild. Now don't get me wrong: I use my DAW rig every day and love it for what it enables. But it's an adult activity: taking care of business and delivering the goods. The musical animal in me resents the constant funneling-into-certainty that the DAW timeline demands.What's weird though is that my musician self also loves the crap out of computers for the raw chaotic power of the sounds they can make. Because music is where spirit and science mingle. There's a whole scene of folks out there getting dirty with a computer like Jimi Hendrix or something. Check out @yaxu, @hellocatfood and @kindohm:We’re not all just out here making beer commercials. Anyway, back to what I was saying…In live coding, you’re actually playing the computer. You’re not stuck in a grid, mousing around with tempo envelopes or some corny “shuffle” knob. You’re in the machine itself, putting in formulas and rolling the dice on what it’s gonna spit out.Needless to say, the learning curve is intense. But since the same goes for playing the cello, I jumped in and got hooked. Pretty soon all the different parts of my musical mind started coming together and I felt that sonic sense of purpose again.Now I’m not a real computer programmer, so I mostly just tack things together and start playing along with it once my brain gives out and I can’t formulate any more. But that dance has started right here in my studio and it’s not showing any signs of slowing down.So I’ve made two new releases in the first two months of this year, and I’m already working on #3. And I’ve never felt better.So let’s hear some of it, shall we?TRIOS 02: post-cello generations is available.Here is installment #2 of the Trios series. We are getting into some lusher and more melodic territory now, since the cello sound took quite a beating the first time around. We're letting Grandpa breathe a bit here. February is a short month, hence a slightly shorter album. I hope you like these sounds, they are crafted with love and an adventurous spirit. TRIOS 03 will come out on 4/1.Click here to go to the album page.As before, the creative limitation "Trio" in this instance means that there are three live passes: once with the rhythm bits (done directly from the computer using a live coding program called TidalCycles), and then two instrument takes followed by minimal editing and a mix. I’m along for the ride with you.So that’s my story.I have so many people to thank for helping me to believe in this music and actually get the thing done.Many of you (in fact the entire Play It Like It’s Music community) are listed in the release notes. Thank you from the bottom of my heart for being here, and most of all for listening.OK that’s all for this announcement. Thank you so much for being here, please enjoy and share the album.Thanks so much for listening to Play It Like It’s Music, for spending some very generous time with me today. This is episode #77, I’ll be back next week with a new show but we’ll be winding this down after episode 80.Follow me on twitter @trevorexter and talk to me on there if you have thoughts.We're all contending with a mutating professional landscape, jacked revenue streams, a catastrophic global pandemic and plenty of other noise out here.But you gotta keep playing.We don't draw any lines here between scenes or styles.So as always, thank you for listening and remember to play it like its music.Music is a beautiful thing and it makes the world go round.Big Love to you and your big ears,Trevor(Did you press play yet?)...Do you like this stuff? Please help it grow by sharing it!DID YOU KNOW you can take lessons with me online!Hear all of our musical guests in rotation on “Playlist It Like It’s Music” (Apple/Spotify)Hear my songs: the “Trevor Exter Playlist” (Apple/Spotify)Vibe out, here are 200 songs I love: (updated regularly on Spotify)Sign the mailing list!Hire me to produce your podcast.Follow me on IG TW FBMore @trevorexter.compsst… sign up for emails: This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit playitlikeitsmusic.substack.com

In a lot of ways, technology helped many 80's pop stars explode. From the Gated Reverb drum sound, to the Yamaha DX7 keyboard synthesizer, to the Roland TR-808 drum machine - this new technology gave the 80's such a huge and identifiable sound. Coupled with the rise and popularity of music videos, these sounds became inescapable and it seemed that it was a requirement for any artist of the time to incorporate these sounds… sometimes for the worse. However, some artists of the era took these new tools and really did amazing things with them, creating memorable albums that are loved well beyond the 80's bubble where they became popular. These are the albums we'll discuss today, as we discuss our favorite 80's albums and why we love them. So, hangout with us for a bit and see if our list matches yours. Check out the accompanying Spotify playlist here - https://spoti.fi/3cQGsJz www.therightfiction.com

A journey into time and space with Melbourne based live duo @hybridmn. Interview: melbournedeepcast.net/portfolio/hybrid-man "This recording is taken from our live show in Sydney for Heavenly x Vivid. It was a real fun night with Ben Fester, Adi Toohey and Hugh B spinning records too. We used an MPC 1000, Electribe ES-1, Waldorf Blofeld, Roland TR-606, SH-101, TB-03 and D-05. Our live sets are influenced by a dub-style of mixing and arrangement so we use a bunch of aux sends on the mixer to send to external fx to create dynamics and spacey sounds in the composition." Lyrebird EP for @papercutslimited: https://soundcloud.com/papercutslimited/sets/hybrid-man-lyrebird-ep

HANK SHOCKLEE (BOMB SQUAD/PUBLIC ENEMY) interview/feature + new music from JLIN, JAMIE XX + ALTERED TAPES on this week's program. MR JOSHUA begins with music featuring the classic ROLAND TR-808 drum machine, which is the subject of a new documentary premiering at CIMMFEST. in town for a q&a session following the screening, legendary hip hop... The post hank shocklee – radio show [as0902] appeared first on abstract science >> future music chicago.