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2 episodes with yamaha dx7
2 episodes with yamaha dx7
3 episodes with yamaha dx7
2 episodes with yamaha dx7
2 episodes with yamaha dx7
8 episodes with yamaha dx7
2 episodes with yamaha dx7
Diario en Movimiento nos dejamos llevar por los sonidos electrónicos de una época irrepetible. Una época en la que los sintetizadores pasaron de ser una rareza técnica a convertirse en el corazón de la música pop. En los años 70, los sintetizadores eran instrumentos costosos, experimentales y reservados a la música progresiva o de vanguardia. Pero con la llegada de modelos más asequibles como el Yamaha DX7 o el Roland Juno-60, los músicos encontraron nuevas formas de crear melodías, ritmos y atmósferas. Así nació el synthpop: una mezcla de pop tradicional con bases electrónicas, cajas de ritmo y texturas sintéticas
Seja talks to her guest Geoffrey O'Connor (Crayon Fields) about the writing and production of his new solo album ‘I Love What We Do, how the songs are sentimental and sad but also hopeful and the album's interesting instrumentation which includes a musical saw and harp. Seja and Geoff talk about their shared love of ELO, how they're not sure if they've ever been cool, getting bullied and learning Nirvana songs. Geoff tells Seja about his first musical loves, why he is into audio and visual production, working with Sarah Mary Chadwick and the importance of the Yamaha DX7. Geoff's story was illustrated by Greg John (@loydknowsbest). All illustrations can be seen on instagram @hearsejpodcast or on the HearSej Facebook page.
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In this episode of ALPS In Brief, our Risk Manager Mark Bassingthwaighte sits down with University of Montana Professor Jeff Brandt to talk about synthesizers, AI, and his class on the history of rock and roll. — Transcript: Mark Bassingthwaighte: Hello, I'm Mark Bassingthwaighte, the Risk Manager here at ALPS, and welcome to ALPS In Brief, the podcast that comes to you from the historic Florence building in beautiful Downtown Missoula, Montana. As many of you know, I have been in Florida now for a number of years, but I'm back at the home office here, and we have a special event every two years where we bring in a lot of our bar associates from various bar associations around the country. Then we have some special speakers that come in and talk about all kinds of things. I have just finished attending a presentation given by Jeff Brandt, who is a professor here at the university and does a course on the history of music. I got to say, in all honesty, folks, I wish you could all have been here. This was one of the most fun, creative presentations I've seen in a long, long time. Jeff, it's a pleasure to have you here. Before we get started, can I ask you to take just a little bit of time and tell us about who you are? Jeff Brandt: Okay, so I was born in Sitka, Alaska, which is a tiny, well, it's a big island actually, but a tiny town on a big island in Southeast Alaska. Average rainfall there is about 96 inches per year, so it's a Pacific Coast rainforest. Mark Bassingthwaighte: Right. Jeff Brandt: I went to college in Tacoma, Washington at Pacific Lutheran University. Taught private percussion lessons after that for about 20 years. Somewhere in the middle or somewhere in there, I got my graduate teaching degree. Then we ended up in Missoula, Montana as a result. Then by happenstance, the History of Rock & Roll as a course fell into my lap. Mark Bassingthwaighte: That was an established course before you got here? Jeff Brandt: It was. Mark Bassingthwaighte: Okay. Jeff Brandt: Yeah. There were a lot of people that have taught it prior to me, but when I was given the opportunity to run with it, it was one of the first online courses developed at the University of Montana, and that's really when I dug in because I knew that teaching it in an online setting, I was going to have to be more aware of the points I was trying to get across and how they were delivered. I dug deeper and deeper into the historical aspect of the course, and then I just started creating these different slide programs. Now I'm on my third set of slides and I think it's my final because they're so good now I don't want to mess with them, but that's my brief history. Mark Bassingthwaighte: I didn't realize this is online. Could anybody get online and just take this course? Jeff Brandt: Anybody can take it online. I'll give my spiel about online education, to be honest here, is I think online education is good if you have time to do it. I think in-person education, generally speaking, is better. Mark Bassingthwaighte: I would agree with you. Jeff Brandt: There are so many different resources now for people to learn. Just with YouTube alone, you can go down an endless pit of stuff on one member of one obscure band, it seems. Mark Bassingthwaighte: Yeah. Jeff Brandt: Yeah. Mine is one of the many resources out there. Mark Bassingthwaighte: You're welcome to share. Folks, I'm telling you, if you have any interest at all in the history of rock and roll and want to have some awesome fun, this is a course I would encourage you to take and see. I didn't realize. How might folks find this? Jeff Brandt: Well, you go to the University of Montana. I believe you have to register as a student. Mark Bassingthwaighte: Okay. Jeff Brandt: You think that I would know all the hoops you have you have to jump through. Mark Bassingthwaighte: No, that's fine. Jeff Brandt: You have to jump through several hoops and then you can take online classes. I do encourage people who are not working 40 hours a week and who are interested in really digging in, to take it in-person because there's so much more interaction with the way the clips are played and the way the slides are presented. Get on the University of Montana website and search it, and you can join the online course or the face-to-face. Mark Bassingthwaighte: You clearly have a passion. It just seems like listening to you, you're having just a ton of fun too, and I love that. Folks, I can also share this course is I think the number one or the number two top. Jeff Brandt: It's one or two or three. It depends on the year. Mark Bassingthwaighte: Yeah. Why do you do this? Jeff Brandt: Well, honestly, the first time it fell in my lap. I was just kind of given the opportunity to sub for somebody and subbing for somebody in a college course is, it's a lot to take on because you jump into it usually with all of their materials because that's usually the unwritten rule is, "I'll let you use my stuff." I mean, back then, I mean, it makes me sound like a dinosaur, but the person that gave me the stuff had overheads, and so I was using overhead. Mark Bassingthwaighte: Wow. Yeah. Jeff Brandt: Maybe it was a year later that I was using slides, but they gave me their overheads. I jump in, I'm starting to do this, and honestly, I was scared because I guess when you're, I can speak as a male when you're 23, 24, 25, you think you know a lot of stuff. I just cracked open the first of two textbooks that this prof was using, and I was like, "Oh, boy, do I know nothing and I'm teaching it in three weeks." Then fast-forward, I end up digging in reading resources, listening to a lot of albums. I'll be honest with you, I hadn't really dug into the Beatles that much prior because there were so many other acts that I was interested in. Then I started listening to their catalog and the Rolling Stones, and again, that's a tiny scratch on the surface that doesn't include the other British bands like The Animals and The Who and Led Zeppelin and then John Mayall and the Bluesbreakers and all these other in-depth things you can go in. That's just the British blues scene. Mark Bassingthwaighte: Right. Jeff Brandt: What I realized was in order to make this work and why I continued to want to do it, is what I would need to do is have what I would call kind of a surfacey understanding of about 300 to 400 acts in the entertainment business. Gradually bit by bit, the department would buy my recordings. I would go and dig in and listen to everything from Blind Lemon Jefferson to the Spice Girls. I would just year-by-year chip away. When you get into a subject like counted cross-stitch or skiing or building doors, you get better at it and you realize ways to enjoy it more. I got to a point where I created my final, what I call my final set of slides, and I really, really carefully planned out the layout of the slides, how the format of the class was going to move and how I was going to justify only featuring certain artists as opposed to leaving out bands, like the one I always pick on is AC/DC because they're not really a part of the course. That's why I do it and why I like to do it, because it's like anything else where you get into it, then you kind of become addicted once you have a little taste. Mark Bassingthwaighte: Yeah, yeah, I get that. Year after year, how do I want to say this? Let me do it this way. What do you hope students get out of your class? Jeff Brandt: Well, there are these objectives that we write in the syllabus that you're supposed to abide by, et cetera, et cetera, and I do, but what I really want people to get out of the course is I want them to understand a general approach, or I guess have a general understanding of the social history that rock and roll highlights in America. That's one thing. Mark Bassingthwaighte: Okay. Jeff Brandt: I want them to understand that rock and roll is not white, it's not Elvis Presley, it's not AC/DC, it's not, even though I love them, it's not Metallica. It is something that came about quite by accident and through a lot of pain. That part is kind of an inconvenient truth that some students don't like. I have to warn people in the beginning, "I'm not going to sugar coat this, I'm going to bring it directly to you. Some of the things are inconvenient truths that you may not have faced prior. Depending on how invested you are in learning as a person, it may buck your understanding of how this thing has worked." Mark Bassingthwaighte: Yeah. Jeff Brandt: Just for example, the inconvenient truth, like I was mentioning today that Elvis Presley is a cover artist. Bill Haley is a cover artist. Mark Bassingthwaighte: Mm-hmm. Jeff Brandt: They're not original rock and roll artists. Mark Bassingthwaighte: Right. Jeff Brandt: The original rock and roll artists are people like Chuck Berry and Little Richard and Bo Diddley and all of the artists on Chess Records. Those are the original rock and roll artists, but because of the unfortunate existence of so much racism in our country, a lot of those people were shoved aside because it was easier to market people with light skin. Mark Bassingthwaighte: So interesting. Jeff Brandt: That's another thing I wanted to go with and maybe if I'm going to highlight a third thing I want them to go away with, is an understanding that you can listen to more than one subgenre within rock and roll. You get people that are "metalheads" and people that are into techno pop or house or people that seventies rock, or here's another category I have, people that love the sixties. They have blinders on. If it's between '64 and '69, it's in, and if it's '70 and on, it's out. The understanding that if you listen to pick your artist, like name a person, let's just pick like Katy Perry. If you listen to Katy Perry and you put hours into it, you will grow to like that artist. If you listen to Destiny's Child, you will grow, if you listen to Frank Zappa, you will grow to like it. I want express in that third point that it takes time to do that, and it's an investment and it's a willing investment. Mark Bassingthwaighte: It's very interesting. I appreciate what you're sharing, and again, after hearing what you had to say here just a few moments ago, it has changed how I look at certain things. What I liked about it, it helps understand the culture, understand music in general, where it comes from. I mean, I have a greater sensitivity. Yeah, I just thought it was very good. Jeff Brandt: Well, it's almost like one thing along those lines, it's almost like with Louis Armstrong. Mark Bassingthwaighte: Yeah. Jeff Brandt: Louis Armstrong was this one of several trumpet or cornet players as they were originally, in the early jazz era that was a soloist and gained a following from the general public, the general population in the United States. Now, Louis was seen as a performer on stage, but at the same time, he couldn't stay in the same hotels, he couldn't eat in the same restaurants. Mark Bassingthwaighte: Right. Jeff Brandt: He could walk on stage in a club, but not eat at the restaurant in the club. Mark Bassingthwaighte: Yeah. Yeah. Jeff Brandt: He would've to be fed backstage and those kind of inconvenient truths to uncover that for people in a day when I think it's easy to brush that aside and highlight that he was an ambassador to the world in the 1970s. Yeah, in the seventies he was, but for the majority of his time as a performer, he was only respected as a performer, not as a human being. Mark Bassingthwaighte: Wow. I agree with you, that is a great message I think. God bless. These are important things. Jeff Brandt: I mean, I think that, and another thing that's along those lines too, it's a little bit of a stretch as a parallel, but it is a parallel, is that performers in rock and roll, many times are actors. Mark Bassingthwaighte: Okay. Jeff Brandt: If you're in a heavy metal band and you're acting all angry on stage and chugging it away on your guitar up there and singing these lyrics that are full of vitriol, that doesn't necessarily define who you were at breakfast at 10 o'clock that morning or who you are when you're off tour with your wife and kids or with your partner at the winery or whatever. That's a different thing. There are a lot of people that can't get past that. They see name your hard rock artist, "That's an evil person." That person puts on sweatpants, watches reruns of shows that we all like on Netflix, enjoys a donut every now and again, and takes a walk with dog. Mark Bassingthwaighte: They're just real people, right? Jeff Brandt: They're real people. That part is also misunderstood about rock and roll in the same way that people can't or don't want to unveil the truth about black artists. Mark Bassingthwaighte: Right. Right. One of the things, we talked a little bit last night, and again, you were sharing this in your presentation, one of the things that really sort of struck me was your comments about synthesizers. I'm a guy that likes that sound, but I didn't fully appreciate its impact and the evolution and how that impacted the artists of the day. I guess I'd have to honestly say I'm still not sure where you come out on synthesizing. Is that a good thing? Is it a bad thing? I'd be curious, what's your thought about? Jeff Brandt: Okay. Well, I mean, I own a synthesizer. Every band I've played in has used a synthesizer. Mark Bassingthwaighte: Okay. Jeff Brandt: I'm not against synthesizers. I also don't dislike house music. I don't dislike techno pop. I don't dislike the synth revolution that happened in the late, let's call it the late seventies to the early eighties where it exploded, where everybody had to have a Yamaha DX7. I don't dislike that. What I think is problematic, is the idea that this machine is everything. Mark Bassingthwaighte: Right. Jeff Brandt: I think the other part that's problematic is that, and this is going to make me sound like I'm super old because my instrument, my main instrument is drum set. People will ask me, "Well, why haven't you dug into this or this or this about the history of rock and roll?" I say, "Well, I also practice instruments and I have a passion for playing them." To me, it's not just about reading and regurgitating facts, it's about keeping up my musical skills. What happens when you get into the world of synth is to some degree, you lose the world of any sort of musical technique because the machine can do so much of it for you. Mark Bassingthwaighte: Okay. Right. Jeff Brandt: I think that the bad side of synth is highlighted like groups like Human League, because if you look at a group like Human League and they're early stuff, it sounds like, da-da-da-da-da-da-da-da-da, it's very robotic and synthesized, as we should say, in the sense that everything is exactly placed on the exact moment of the exact quarter of the beat. That there is no doubt in your mind exactly where the center of the beat is. You can press a button and the synthesizer can do that. Whereas on piano, you have to go to make the same da-da-da-da-da-da, you have to go like fingers, 4, 3, 2, 1, da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da over and over again to make that same key do that. To some degree, whenever electronics jump to the next level, we lose a tiny bit of our ability to perform on those instruments. Mark Bassingthwaighte: Okay. Yeah. Jeff Brandt: Like with synth, you lose a little bit of ability to perform on a general keyboard. With electric guitar, you lose a little bit of ability to perform on an acoustic guitar. With electric drums, you lose a little bit of ability to play an acoustic drum set. I mean, imagine if there was an electric French horn, for example. French horn is one of the most difficult instruments to play, right? Mark Bassingthwaighte: Right, of course. Jeff Brandt: Period. I mean, it's like a French horn. Missing notes on a French horn is a Monday, that's normal. You can't avoid it. Imagine if there were a way to synthesize so that it would know that your note was going to be missed by your embouchure, and it would bring the correct note out. We would lose some of the, maybe the desire to practice and get it to where we are. That's where I feel it's the bad side of synth. But in general, I'm with you. I like the sound of the synthesizer. I like the ideas you can get from the synthesizer. I even like the drum ideas that you get from a synthesizer. I think that we were talking about last night, it's like you can go too far with something, where you need to think about reining it back in. It's like alcohol. It's like collecting cars. Mark Bassingthwaighte: Yeah. Yeah. Jeff Brandt: It's like colors of carpet in your home. At what point in time do you say enough is enough. Mark Bassingthwaighte: Yeah. Yeah. Well, my interest in this, it's my understanding again, that when this technology, as it sort of evolved and really became mainstream, there were a lot of responses. One of which was this is going to put people out of work because it was the Moody Blues, you could go and see the orchestra. Jeff Brandt: Didn't need the spring place. Mark Bassingthwaighte: It changes. I hear you can lose some skill sets because the machine is doing it for you, but it also brings about, I think, some creativity. It seems to me once the revolution happened, the music industry didn't go away, but how it works changed. Jeff Brandt: Yes. Mark Bassingthwaighte: We're at a point where I think, and even involved where, we're having all kinds of discussions and reactions with the evolution of generative AI. Jeff Brandt: Mm-hmm. Mark Bassingthwaighte: There are people saying, "This is going to take jobs away from all kinds of people," not just musicians with the synth, but I also can see that this could bring about some incredible creativity opportunities, allowing just the exploration of music to go far further in directions we've made never even think of right now. Jeff Brandt: Right. Right. Mark Bassingthwaighte: Could you do all sorts of things with tones, vocal tones, and I don't know. Jeff Brandt: Yes. Mark Bassingthwaighte: What is your thought? Do you see this as a game changer? Is this much ado about nothing? Jeff Brandt: Well, first of all, I think that it's inevitable. Mark Bassingthwaighte: Okay. Jeff Brandt: You could use the Pandora's box example. Once Pandora's box is open, then it's open and you can't shut it again. Well, the synthesizer was going to be developed, I'll tell you why, is because it comes from the pipe organ. Mark Bassingthwaighte: Oh, really? Jeff Brandt: The pipe organ is the first synthesizer. The pipe organ has stops that create different sounds. If you study the pipe organ going way back, you look at real pipe organs, they have sounds on them where you pull stops out and make it sound like a flute and make it sound like a trumpet. Mark Bassingthwaighte: I never thought about it that way, but you're right. Yeah. Jeff Brandt: It has a pedal system because pipe organ players have to read three staves. They read treble, they read bass, and then they read sub bass, as I'll call it. I honestly don't know the exact term, but another bass clef for their feet. They're basically playing, no pun intended, a synthesizer with their feet, while they're playing two synths with their hands. That's the original synth. People that think that this came about in like '64, it's been around since Bach, and guess what? It's not going away. I think the part about the synthesizer and change, is that it is inevitable that AI along with that new technologies will enter where new possibilities will come up. I think that the good side, is some things are a little bit easier for us to do. For example, Pro Tools is a program where you can click into the program and cut right in, and it both takes the ambient sounds from before and the ambient sounds after and blends it together so you can't tell the person was clicked in at that moment. That's amazing. That makes it simpler. Mark Bassingthwaighte: Right. Jeff Brandt: It saves money for people that own Pro, it saves time, and humans are generally speaking all about that. I mean, if there's a cherry tree here and there's a bigger cherry tree across the river and you're like, "I'm going to stay with this cherry tree right here because I don't want to cross the river." That's what we would literally call the lowest hanging fruit. Mark Bassingthwaighte: Right. Jeff Brandt: With a synthesizer, if there is an option to make something a little bit simpler, people are going to use it. Again, there's the when is when part, when is enough enough? When is too much, too much, is what I mean. I think with AI, it's going to inevitably bring up other options that we haven't thought of, and it's inevitably going to bring about sounds or feelings or grooves or patterns that will catch people's ears that you cannot create with guitar rhythm guitar standard acoustic bass, or electric acoustic bass and drums, and we like that change. Mark Bassingthwaighte: Speaking personally, is your, I guess, conclusion or do you see the rise of AI, generative AI then, as a positive development? Are you optimistic looking forward to see what the music industry does with this? Or is it cautious optimism? Jeff Brandt: I'd say it's cautious optimism because it is true, for example, let's just go with trucks, there are trucks now that can be self-driven. Mark Bassingthwaighte: Right. Jeff Brandt: I don't necessarily think that's a good thing. First of all, I think that we can put things on trains, and I know I sound like a total socialist here, but you can put things on trains and all of those cars are "self-driven" by the one engineer up there, and it's very efficient. Trucks that are self-driven will become a problem at some point because you can hack into that. Mark Bassingthwaighte: Yes. Jeff Brandt: You can't hack into a human's mind nearly as easy, so there's that. Mark Bassingthwaighte: Yeah. Jeff Brandt: I think that it's good to have the humans operating things. Mark Bassingthwaighte: Yeah. Jeff Brandt: At the same time with the music business and recording, if you go back to the sixties and then the seventies, you had tons of studios that were busy hour by hour, day by day, week by week. You'd have to book into that studio six months in advance to get a four-hour space. Mark Bassingthwaighte: Right. Jeff Brandt: Now, there are studios that are completely abandoned because they've moved into people's homes because of the laptop, because of microphones like the one we're using right here, and because of the synthesizer. Is it good or is it worse? It's change. Mark Bassingthwaighte: Yeah. Jeff Brandt: That's what it is. Mark Bassingthwaighte: Yeah. Jeff Brandt: Is it going to affect having lots and lots of people play a string track versus using a synthesizer to simply overdub things? Yes, it's going to affect that. Is it going to affect it to the point where somebody goes to a symphony orchestra or a jazz concert and they see 18 mannequins on stage holding up instruments, and all of it comes from a synthesizer? I doubt it because we like to watch artists perform. Mark Bassingthwaighte: Yeah. Jeff Brandt: Like with hip-hop, almost all of the time in the hip-hop genre or any sub-genre or sub-sub-genre of hip-hop, you have people that are using synthesizers to create the entire track other than the vocals. They're even manipulating the vocals using the synth. When they go on tour, now, increasingly there are people that are using instrumentalists on tour because it's more interesting to look at. Mark Bassingthwaighte: That makes sense, yeah. Jeff Brandt: You don't want just two turntables and a microphone back there because that's all it is. Mark Bassingthwaighte: Yeah. Yeah. Why pay all the money to go? Jeff Brandt: When you go on tour, it's convenient for artists like Mariah Carey to just take the synths and go out there, but she knows that when she can afford to hire the string players, it looks cool. Mark Bassingthwaighte: Yeah. Yeah. Jeff Brandt: I think it's a case of are you going to see the glass as half full or half empty? It's here. It's been here since the pipe organ. It's going to stay. It's a question of when do you say enough is enough, and how do you look at it from your perspective as a musician? I guess I'd add one more thing. If you're afraid of the synthesizer, learn to use one. Right there. Mark Bassingthwaighte: Yeah, absolutely. Yeah. I really, really appreciate and love everything that you've shared. Folks, one of the reasons I wanted to do this, as you well are aware, our profession is struggling. There's a lot of people that are very much embracing the AI evolution and a lot of others very, very concerned about will they have a job. A lot of legal staff are concerned, "Will I have a job in a couple more years?" I'm using AI myself to do a lot of writing, and it's saving me tons of time, and it elevates my game. It really does. I still am the one that policy, it's an idea generator for me. Getting back to this, I'm hoping that it is helpful to you who are listening, as we think about the challenges, the concerns, work through this, it's easier to hear and get some thoughts about how we should be responding or what do we do with all this, when we talk about it in the context of something else. Discussing this as it relates to music, I think is very eye-opening. I love the comment, you are absolutely right this synthesizer. Jeff Brandt: It's hard to say. Mark Bassingthwaighte: I always get tongue-twisted. Jeff Brandt: It's really tough to say. Mark Bassingthwaighte: It's been around since Bach. Jeff Brandt: It's been around since the organ. Mark Bassingthwaighte: I never really understood that. I think some similar things can be said about AI. It's been here a lot longer than we realize. Not in the same way, generative AI is certainly very, very new. I am cautiously optimistic about it. I would encourage you folks to just take a realistic look, take some opportunities, if you're threatened by it, pick up the instrument and learn it, and it can help your practice. I just think it's a positive thing overall. We got to be careful going too far. I can keep rambling on about this stuff for a long time. I have so many planes in my head up right now. Jeff Brandt: Well, there's one more thing that's worth adding. Mark Bassingthwaighte: Please, please. Jeff Brandt: There's a drummer in LA named Greg Bissonette. Mark Bassingthwaighte: Yes. Jeff Brandt: He's a studio drummer. He went to University of North Texas. He's played with lots of different artists. Greg Bissonette has always made his living playing drums. Mark Bassingthwaighte: Okay. Jeff Brandt: Now, when he first entered the studio scene in Los Angeles, as far as I know, he was going to studios and recording. You'd get your drums carted over to the studio by a carting service. You'd show up, you'd play the gig, which was a recording gig, and then you would pack your stuff up or the carting service would pack your stuff up. You'd go home and you'd be waiting for your next booked gig. Now, Greg has a microphone set up in his home. People send him a file. He listens to the file. There's maybe a click track on it, or maybe not, maybe he has to create his note. I mean, I don't know him personally, but if you need a reference for Greg Bissonette, he played all of the in-between clips on the Friends show. Mark Bassingthwaighte: Oh, seriously? Jeff Brandt: He's that guy and he's done a lot more than that. Understand that the convenience of somebody emailing you a file or dropping a file in a box and you download this file and then go ahead and say, "Okay, I'm going to add drums to this track," and you do it from your home studio. There are some good things about this. Number one, he's not driving a car in LA traffic to a studio, which means he gets to spend more time at home and more time with his family. That's better for the environment. Electric car or not, it's better. Mark Bassingthwaighte: Agreed. Jeff Brandt: Okay. It doesn't have the same in-person work environment that you had say in the sixties when the Fab Four or the Rolling Stones are right there together, hashing it out like, "What does this mean?" That's different. The truth of the matter is, I don't think anybody who's listening to something Greg Bissonette has recorded probably would go, "Oh, well, this obviously is something this guy did at his home studio with the downloaded file." In that way, it doesn't matter. Again, it's a choice of how do you want to do the track? Is it a jazz band? You probably need to come together and play. Is it a digital track and they want live drums on it? Mark Bassingthwaighte: Yeah. Jeff Brandt: Send it, who cares? Mark Bassingthwaighte: Right. Jeff Brandt: Again, this idea of change is the only constant. I mean, maybe I'll be eating my own words and I'll be replaced by a robot that has all of the personality of a human being and knows every single history of rock and roll fact. Sure. Maybe that'll happen. I doubt it. People like Greg Bissonette are still out there finding a creative way to make a living simply because they went, "Oh, now I need the studio at home. Oh, now I need this technology so that the files can be sent to me. I need my microphones, everything tuned up." Mark Bassingthwaighte: Yeah. Jeff Brandt: You still find a way to do it, and I think that we will. I've never bought that line about AI and knock on wood, that it's going to come together and destroy the human race. I think that's silly. Mark Bassingthwaighte: Yeah, I do too. Jeff Brandt: I think what it's going to do is it's going to be one of those things where we just have to be careful how we use it. Mark Bassingthwaighte: Mm-hmm. Yeah. Jeff Brandt: I think you could say we have to be careful. We have to be careful about how we drive Hummers. Mark Bassingthwaighte: Yeah. Jeff Brandt: We have to be careful about not making buildings too tall. Mark Bassingthwaighte: Right. Jeff Brandt: We have to be careful about not making wave machines so powerful that kids get knocked over when they're going to a wave machine at a water park to have fun. It's pretty simple stuff. Mark Bassingthwaighte: Yeah. I want to thank you for taking the time to sit down and talk. You have said so eloquently, things that I have trouble saying. I can't put it into words in the same way you do. All I can say is, folks, Jeff, the insights here, what I'm trying to get across, I hope it's self-evident now, you're summarizing all this just perfectly. That's it. I appreciate your coming. I'll let all of you get back to work. If you have any thoughts, questions, concerns on risk management, ethics, insurance, etc, remember, I'm not the Risk Manager of Alps, I'm hired by Alps to be your Risk Manager. Feel free to reach out anytime. It's MBass@Alpsinsurance.com. Good talking to you all. Take care. Bye-bye.
Getting gourmet, a preset on the Yamaha DX7, and obtaining rollercoaster engineering experience. Josh Menashe (Frankie & The Witch Fingers) Frankie and the Witch Fingers - Bonehead / i-Candy 7" (PRE-ORDER)- https://shop.greenwayrecords.com/collections/frontpage/products/frank "Over the past decade Frankie and the Witch Fingers have operated as an outright force of nature, offering up a revelatory form of psych-rock that hits on both a primal and ecstatically mind-bending level. In the making of their new album Data Doom, the Los Angeles-based four-piece forged a sublimely galvanizing sound informed by their love of Afrobeat and proto-punk—a potent vessel for their frenetic meditations on technological change run rampant, encroaching fascism, and corrosive systems of power. Animated by the explosive energy they've brought to the stage in sharing bills with such eclectic acts as Ty Segall and ZZ Top, the result is a major leap forward for one of the most adventurous and forward-thinking bands working today. Rooted in the cerebral yet viscerally commanding songwriting of co-founders Dylan Sizemore (vocals, guitar) and Josh Menashe (lead guitar, synth), Data Doom marks the first Frankie and the Witch Fingers album created with bassist Nikki “Pickle” Smith (formerly of Death Valley Girls) and drummer Nick Aguilar (previously a touring drummer for punk legend Mike Watt). In crafting their most rhythmically complex work to date, the band drew heavily from each new member's distinct sensibilities: Smith tapped into her extensive background in West African drumming (an art form she first discovered thanks to her music-instructor parents), while Aguilar leaned into formative influences like longtime Fela Kuti drummer Tony Allen. Self-produced by the DIY-minded band and recorded direct to tape by Menashe, Data Doom ultimately took shape through countless sessions in their Southeast L.A. rehearsal space, with Frankie and the Witch Fingers allowing themselves unlimited time to explore their most magnificently strange impulses." Excerpt from https://greenwayrecords.com/artist/frankie-and-the-witch-fingers/ Frankie & The Witch Fingers: Bandcamp: https://frankieandthewitchfingers.bandcamp.com Instagram: @frankieandthewitchfingers Website: https://www.frankieandthewitchfingers.com Records: https://shop.greenwayrecords.com/collections/lps/products Merch: https://churchofpickle.com/collections/frankie The Vineyard: Instagram: @thevineyardpodcast Website: https://www.thevineyardpodcast.com Youtube: https://www.youtube.com/channel/UCSn17dSz8kST_j_EH00O4MQ/videos
Kris Kaiser and Stephen McCaul met at a pub in Santa Monica, California, and hit it off immediately. A shared interest in sound brought them together. Kris and Stephen's professional paths were quite different, but audio was a common thread throughout their lives. Kris's PhD dissertation studied the effects of urban noise on the breeding behaviors of frogs. Stephen developed audio software for video games. Both shared a love for spreadsheets, food, and the glorious sound and invitingly impenetrable interface of the Yamaha DX7 synthesizer. A few years later, Kris was a professor and Stephen worked on increasingly complex audio problems in his day job. As an escape, they began experimenting with home-built synthesizers and wild DIY noisemakers. Stephen developed a Eurorack module over a weekend after a dare from a friend, and the synth community took notice. That was the beginning, and in 2016 they quit their jobs and took Noise Engineering full time. Now a staple boutique developer, their hardware and software products are used and adored by hobbyists, composers, artists, and producers around the world. In This Conversation We Discuss:[00:59] Intro[01:26] A hobby into a full-time endeavor[02:18] Turning hackathon ideas into tangible products[03:26] Navigating the challenges of early manufacturing[04:25] Finding solutions through industry connections[06:13] Collaborating within a niche community[07:42] Gaining traction using marketing platforms[09:50] Episode sponsors[13:04] Balancing quality & price in a competitive market[15:35] Attracting early customers through trade shows[17:06] Educational content as top-of-funnel strategy[18:05] Connecting with people via face-to-face outreach[19:29] Tapping into LA's vibrant music community[20:00] Showing prototypes & gathering real-time feedback[21:50] Attending trade shows for customer interactions[22:33] Finding success with in-depth blog content[24:54] Expanding into software for flexible compositions[26:45] Developing innovative guitar products[27:53] High-quality instruments at Noise EngineeringResources:Subscribe to Honest Ecommerce on YoutubeBoutique musical instrument firm dedicated to making tools for any artist https://noiseengineering.us/Follow Stephen McCaullinkedin.com/in/stephen-mccaul-10842b1/Follow Kris Kaiser linkedin.com/in/kris-kaiser-77b345203/Book a demo today at intelligems.io/Done-for-you conversion rate optimization service storetester.com/If you're enjoying the show, we'd love it if you left Honest Ecommerce a review on Apple Podcasts. It makes a huge impact on the success of the podcast, and we love reading every one of your reviews!
Episode 129 Women Synthesists Playlist Time Track Time Start Introduction –Thom Holmes 04:36 00:00 Eliane Radigue, “Transamorem – Transmortem” (excerpt) from Transamorem – Transmortem (2011 Important Records). Composed in 1973 for ARP 2500 modular synthesizer. Music of slowly changing drones using the marvelous ARP synthesizer, which was Radigue's key instrument for years after having experimented with Moog and Buchla modulars. 39:29 04:40 Caroline K, “The Happening World” from Now Wait For Last Year (1987 Earthly Delights). Caroline was a co-founder of Nocturnal Emissions, together with Nigel Ayers, in 1980. Arranged By, Recorded By, Producer, Composed By, Performer, Caroline K. Executive-Producer, Nigel Ayers. Drones of a different ilk. Noisy sounds, steady articulation, interesting timbres popping in and out. Sonically articulate. 20:49 44:03 Pauline Anna Strom, “Organized Confusion” from Plot Zero (1987 Trans-Millenia Consort Recordings). Pauline Anna Strom was a decades-long composer, musician and healer who lived and worked in San Francisco, CA. Pioneering blind synthesist. Music composed, synthesized, electronic treatments by Pauline Anna Strom. Strom taught herself to compose intuitively, practicing sounds with her various synthesizers, which included a Yamaha DX7, Prophet 10, two Yamaha CS1X portable keyboards and an E-mu Emulator. When she was ready to record, she laid it down using a Tascam four-track recorder and assembled her albums using a computer workstation. Early days for both the sampler and workstation. 06:04 1:04:48 Pauline Anna Strom, “Spacial Spectre” from Spectre (1984 Trans-Millenia Consort Recordings). Composed, synthesized, and electronic treatments by Pauline Anna Strom. From her vampire-inspired album. 06:58 1:10:51 Pauline Anna Strom, “Blood Thirst” from Spectre (1984 Trans-Millenia Consort Recordings). Composed, synthesized, and electronic treatments by Pauline Anna Strom. From her vampire-inspired album. 07:23 1:17:40 Maryanne Amacher, “"Head Rhythm 1" And "Plaything 2" from Sound Characters (Making The Third Ear) (1999 Tzadik). Electroacoustic composer of sound installations, best known for her incorporation of otoacoustic emissions -- sounds that seem to be emanating from inside one's own head. This track plays with that concept and sets your brain up to experience itself, so to speak. 10:04 1:25:04 Caterina Barbieri. “This Causes Consciousness To Fracture” from Patterns Of Consciousness (2017 Important Records). Italian composer and musician from Bologna. This album was created using analog synthesis. Barbieri has said, “In Patterns of Consciousness I was interested in exploring the power of sound on our consciousness. I wanted to explore how a pattern creates a certain state of consciousness and how the gradual transformation of that pattern can affect that state of consciousness. I believe that sound is a tool for the exploration, reconfiguration and expansion of human perceptions.” I find this to be in a similar psychological vein as the Amacher work also heard in this episode. 22:44 1:34:56 QOA (Nina Corti), “Sauco” (04:22), “Liquen” (02:50), “Yatei” (03:04), “Muitu” (03:16) from SAUCO (2024 Leaving Records). Side 1 of the newest release from this composer-performer from Argentina. “Sonic journey crafted to cultivate poetic gestures amidst Fauna, Flora, Fungi, Mineral Waters, Wind, and Earth. Each track is an exploration of sound's constant transformation, akin to dragonfly particles swimming in the air. Like waves occupying a space in the spectrum, the compositions work with the movement, condensation, and lightness of the air.” 13:33 1:57:38 Opening background music: Pauline Anna Strom, “The Unveiling” from Trans-Millenia Consort (1982 Ether Ship Records). Her first cassette release from 1982. Composed and performed on synthesizer by Pauline Anna Strom. (06:04) 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.
An airhacks.fm conversation with Geert Bevin (@gbevin) about: Yamaha DX7 - Geerts first synthesizer, Classic Minimoog analog synthesizer by Bob Moog, First synthesizer was a Yamaha DX7 successor, Early music production using Amiga computer and MIDI, iOS and macOS development with focus on audio DSP and synthesis, Returning to Java development after years away, high productivity with Java, New Java release cadence and experimental features, Rife web framework and bidirectional template engine, BLD build tool and philosophy, Kotlin Multiplatform capabilities, SwiftUI DX compared to Java and IntelliJ, Moog Music website, Jean Michel Jarre, Geert personal website, Rife 2 GitHub project, Bld GitHub project Geeert's website: uwyn.com Geert Bevin on twitter: @gbevin
In May of 1983, the world of synthesizers and electronic music as we knew it would change forever with the launch of the Yamaha DX7. To celebrate 40 years since its launch, Rob Puricelli spoke to Dr John Chowning, the developer of FM synthesis, Dave Bristow and Gary Leuenberger, sound designers for the original DX7 and Manny Fernandez, who has worked on all Yamaha's FM projects from the Mk.II DX7 through to today's Montage M series.See the Show Notes for further details.Chapters00:00 - Introduction01:55 - First Experiences Of The DX712:49 - Did The DX7 Meet Expectations?16:57 - The Feedback Loop17:51 - Creating And Sharing Sounds22:47 - A Career From Creating Patches27:55 - Sound Design Using FM31:36 - Hearing Your Own Sounds34:26 - Working With Don Lewis44:26 - Demonstrating The DX757:00 - FM Synthesis 40 Years On01:07:12 - Formant Shaping And The Future Of FMDr John Chowning BiogBorn in Salem, New Jersey in 1934, John Chowning spent his school years in Wilmington, Delaware. Following military service and four years at Wittenberg University in Ohio, he studied composition in Paris with Nadia Boulanger. He received a doctorate in composition (DMA) from Stanford University in 1966, where he studied with Leland Smith. Chowning discovered the frequency modulation synthesis (FM) algorithm in 1967. This breakthrough in the synthesis of timbres allowed a very simple yet elegant way of creating and controlling time-varying spectra. In 1973 Stanford University licensed the FM synthesis patent to Yamaha in Japan, leading to the most successful synthesis engine in the history of electronic musical instruments.He taught computer sound synthesis and composition at Stanford University's Department of Music. In 1974, with John Grey, James (Andy) Moorer, Loren Rush and Leland Smith, he founded the Center for Computer Research in Music and Acoustics (CCRMA), which remains one of the leading centres for computer music and related research. Although he retired in 1996, he has remained in contact with CCRMA activities.Chowning was elected to the American Academy of Arts and Sciences in 1988 and awarded the Honorary Doctor of Music by Wittenberg University in 1990. The French Ministre de la Culture awarded him the Diplôme d'Officier dans l'Ordre des Arts et Lettres in 1995. He was given the Doctorat Honoris Causa in 2002 by the Université de la Méditerranée, by Queen's University in 2010, Hamburg University in 2016, and Laureate of the Giga-Hertz-Award in 2013.Dave Bristow BiogDave was born in London and worked as a professional keyboard player recording and touring internationally with a variety of artists including Polyphony, Slender Loris, June Tabor, Tallis and 2nd Vision. Active in synthesizer development, he played a central role in voicing the Yamaha DX7 synthesizer and is internationally recognized as one of the important contributors to the development and voicing of FM synthesis, co-authoring a textbook on the subject with Dr John Chowning.He spent three years at IRCAM in Paris, running a MIDI and synthesis studio working with contemporary music composers and artists, then moving to the United States in the 1990's to work for Emu Systems, Inc. on sampling and filter-based synthesizers. In 2002, he began working again with Yamaha developing ringtones and system alert sounds for the SMAF audio chip series used in cell phones and mobile devices.He has been an instructor at Shoreline Community College teaching electronic music production and synthesis for ten years, but still finds plenty of time for composing and playing piano with RedShift jazz quartet and developing his interest in computer arts.Gary Leuenberger BiogGary started in music at a young age and, in 1975, founded G. Leuenberger & Co. in San Francisco. It soon became one of the world's largest retailers of pianos, synthesizers and electronic keyboards. In 1980 he started working with Yamaha as part of their product development team. It was through this that he was recruited, along with the likes of Dave Bristow and Don Lewis, to create the factory presets for the DX7. Gary's most famous, or infamous, patch was the legendary E.Piano 1 which became equally one of the most popular and despised sounds ever! Nevertheless, his association with Yamaha continued until 2000, at which point Gary went back into education, gaining his Bachelors of Music and Masters in Classical Piano Performance from San Francisco State University in 2007.Since then, he has taught electronic music at SFSU and gives private tutoring to budding musicians of all ages. Manny Fernandez BiogDr. Manny Fernandez has been involved in synthesizer programming and development with many manufacturers for over 35 years. Initially self-taught prior to traditional university study of analogue synthesis, in the late 1970's - early 1980's the emerging digital synthesis techniques caught his attention with their expanded timbral possibilities.He acquired a DX7 in the fall of 1983 and using Dr. Chowning's original academic articles as a guide began exploring FM synthesis in depth. In 1987 he began his relationship with Yamaha, programming for a wide range of their synthesizers through the years to the current Montage M. Acknowledged as one of the world's foremost FM synthesists and having extensive experience with physical modelling synthesis as well, his programming approach is to create unique and dynamic timbres with interesting yet useful real-time controller implementations.Rob Puricelli BiogRob Puricelli is a Music Technologist and Instructional Designer who has a healthy obsession with classic synthesizers and their history. In conjunction with former Fairlight Studio Manager, Peter Wielk, he fixes and restores Fairlight CMI's so that they can enjoy prolonged and productive lives with new owners. He also writes reviews and articles for Sound On Sound, his website Failed Muso, and other music-related publications, as well as hosting a weekly livestream on YouTube for the Pro Synth Network and guesting on numerous music technology podcasts and shows. He also works alongside a number of manufacturers, demonstrating their products and lecturing at various educational and vocational establishments about music technology.www.failedmuso.comTwitter: @failedmusoInstagram: @failedmusoFacebook: https://www.facebook.com/failedmuso/
What would yacht rock be without the Rhodes electric piano? Or, put another way, what would the Rhodes be without yacht rock? John and Tom examine the history, the technology, the evolution and the allure of the Fender Rhodes — a hallmark of the West Coast sound. We compare and contrast with the Wurlitzer and the Yamaha DX7 that, by all accounts, replaced the Rhodes for a bit. Recommended Listening/Viewing: The History of Rhodes - Rhodes Music Jay Graydon's Official Web Site: The Famous E Electric Piano More on the Fender “E” Rhodes State Cows' Stefan Olofsson presenting the stunning sounds of the Famous E Electronic Piano, a medley of Al Jarreau classics - https://youtu.be/PEw2SxxP68w More from Stefan Olofsson on his love for the Rhodes - https://youtu.be/rneMEzmLjM8 Lightning Round: Found at Sea Buried Treasures Off the Map References and Related: John's Spotify Yacht Rock Playlist Tom's Spotify Yacht Rock Playlist Yacht or Nyacht? The Official Yachtski Scale Playlist of songs featured on Out of the Main Intro/outro music: Never-Ending Story by August Red Find and Follow: The Mainland: YachtRockPodcast.com Facebook: https://www.facebook.com/yachtrockpodcast Twitter: https://twitter.com/yachtrockpod YouTube: https://www.youtube.com/@yachtrockpodcast Anchors Aweigh: https://anchor.fm/yachtrockpodcast --- Support this podcast: https://podcasters.spotify.com/pod/show/yachtrockpodcast/support
A dramatic rendition of T. S. Eliot's 1922 poem "The Waste Land," considered by many to be the most important poem of the 20th century, its echoes heard long into the 21st. Put to music by me. Equipment used consisted soft synth versions of the Sequential Prophet-5, Yamaha CS-80, Yamaha DX7, ARP Solina, Oberheim Matrix-12, Moog Mini, Moog Modular, Buchla Easel, Fairlight CMI, Mellotron, Eventide Harmonizer. For more, check out Magick.Me, our school for Magick, Meditation and Mysticism: www.magick.me. You can start with a free meditation at start.magick.me.
Space Mutiny throws Chris Hardcheese and Charlotte Manmuscle over a railing while they talk about Battlestar Galactica, Captain America, Jane Fonda, Annie Sprinkle, and body positivity.SHOW NOTES.Space Mutiny: MST3K Wiki. IMDB. Trailer.Season 13 on Pluto! (But not in Canada, it seems.)And the announcement for Season 13 on Pluto.The nicknames for Dave “Blast Thickneck” Ryder.David Winters' obituary.Our episodes on Kitten with a Whip and Starcrash.The Last Horror Film.Thrashin'.The Bad Movie Bible on Space Mutiny. There are even more great details in this video we didn't include in the episode.Sledgehammer.Captain America.Yor, The Hunter from the Future.Uncommon Valor.Barbarella.Skidoo.Polyphonic on the Yamaha DX7.“Ancient Chinese secret”? Calgon, take me away!Annie Sprinkle.Wikipedia.Chambers' Cyclopædia on chess.Diderot and d'Alembert's Encyclopédie on chess (échecs).Jane Fonda's Workout (1982).An article from Vogue about Jane Fonda's Workout.Jazzercise and aerobics.Jane Fonda is still at it!Support It's Just A Show on Patreon and hang out with us in our Discord. Thanks!
In preparation for this year's tournament to claim the title of Official Sixth Beatle, this week we're revisiting our famed 2022 tourney to crown a Fifth Beatle. Download your own copy of the Fifth AND Sixth Beatle Brackets to play along at home: www.untitledbeatlespodcast.com/bracket ----- EPISODE LINKS: Like and subscribe! NEW! Please support our scrappy show. Score some sweet merch or find us on Patreon Come hang with us on Facebook/Twitter/Instagram! Drop us a review on Apple Podcasts! ----- Part 1 originally published March 26, 2022 What's more exciting that March Madness? March Fabness, of course! You don't need to be Jay Bilas (or South Pacific's Luther Billis - #RayWalston) to play along with Tony, T.J., and Producer Casey, as they dramatically determine the 2022 Fifth Beatle Champion! Also, if your whole office isn't playing along with us, they have failed and you should quit your jobs immediately. Seriously, where are your priorities? Round one is filled with stunning, Cinderella-story upsets on the road to the title, and along the way, Beatleworld's Jim Pantz (#HelloFriends) and Steve Weirdo debate:
Like the best part of an '80s pop song, this Sleep Song celebrates the Yamaha DX7 synthesizer, and answers the question: What would happen if a song like "Boys of Summer" was stretched like taffy and transformed into an extended soothing melody? The throughline of this piece stems from one sound, a chord reminiscent of pastel sunsets when you cycled until the dinner bell rang. From there, pads, bass, and those classic DX7 chimes will have you drifting off into nostalgic bliss.Original music from composer Eduardo Rivera.Meditative Story combines extraordinary human stories with meditation prompts embedded into the storylines — all surrounded by breathtaking music. Think of it as an alternative way into a mindfulness practice, through vivid stories and cinematic music and production values. Find Meditative Story wherever you listen to podcasts.
The following is a short piece of audio that was edited out of the original podcast interview with Don Lewis back in November 2020, where he discusses his time programming the Yamaha DX7's factory sounds. In the wake of Don's passing we decided to publish this excerpt, along with a tribute on the website.Chapters00:00 - Introduction02:29 - Yamaha DX7 and DX9 Demo03:02 - The Beginnings Of FM Synthesis09:26 - Working For The Competition12:26 - Yamaha DX7 and DX9 DemoDon Lewis BiogDon Lewis was a gifted musician and educator whose mission was to inspire and empower audiences to achieve their dreams. Whether presenting a solo concert or collaborating with other musicians and artists, Don's music brought a message of hope, respect and community. Don began playing piano as a Dayton, Ohio high school student. Later, at Tuskegee Institute, he accompanied and sang with the Tuskegee Chorus and played for Dr. Martin Luther King, Jr.'s Freedom Rallies.Uniting his interest in engineering with his musical talent, Don became one of the pioneers in synthesizer use and technology. In 1977, he designed and built a synthesizer system, Live Electronic Orchestra (LEO) that was an inspiration for Musical Instrument Digital Interface (MIDI), now on display at the Museum of Making Music in Carlsbad, CA.Don performed at concerts worldwide and appeared as a soloist with many symphony orchestras. As a studio artist, he worked with such greats as Quincy Jones, Sergio Mendez and Michael Jackson. Don also created scores for film and television productions including the award winning Rainbow's End and Were You There series featured on PBS. In addition he scored commercials for such clients as Nissan, Pacific Telephone, and Digital Equipment Corp.Also an enthusiastic teacher, Don taught courses in the history of Gospel Music, multimedia, and synthesizer technology at University of California at Berkeley Extension, San Jose State University and Stanford University. In 1987, Don combined his love of children, education and music to create Say “Yes” to Music! He delighted thousands of students, teachers and school administrators across the United States and Canada with his inspiring musical assemblies.Throughout the years Don had been a concert artist and consultant with various musical instrument manufacturers including Hammond, Arp, Yamaha, Roland Corporation, and Rodgers Instruments. He continued to delight and touch the hearts of his fans in his concerts at home and throughout the world until his untimely passing on November 6th, 2022.Links / Credits Music from Yamaha's DX7 and DX9 demonstration cassette.https://donlewismusic.com/https://www.donlewisleo.comhttps://www.augustenborgproductions.com/ Rob Puricelli BiogRob Puricelli is a Music Technologist and Instructional Designer who has a healthy obsession with classic synthesizers and their history. In conjunction with former Fairlight Studio Manager, Peter Wielk, he fixes and restores Fairlight CMI's so that they can enjoy prolonged and productive lives with new owners. He also writes reviews and articles for Sound On Sound, his website Failed Muso, and other music-related publications, as well as hosting a weekly livestream on YouTube for the Pro Synth Network and guesting on numerous music technology podcasts and shows. He also works alongside a number of manufacturers, demonstrating their products and lecturing at various educational and vocational establishments about music technology.www.failedmuso.comTwitter: @failedmusoInstagram: @failedmusoFacebook: https://www.facebook.com/failedmuso/
In today's Sleep Song, composer Eduardo Rivera follows the path of least intrusion, creating a synth sanctuary for weary bodies and minds. The Yamaha DX7 (an instrument made famous in the '80s by the Talking Heads, Brian Eno, Level 42, Supertramp) takes center stage with its distinct tone, created by its unique frequency modulation synthesis. Attune your ear to the higher melodies, and you may notice a more glassy sound this kind of coalescence creates. Or … just float on the rolling current of tranquil vibes.Original music from composer Eduardo Rivera.Meditative Story combines extraordinary human stories with meditation prompts embedded into the storylines — all surrounded by breathtaking music. Think of it as an alternative way into a mindfulness practice, through vivid stories and cinematic music and production values. Find Meditative Story wherever you listen to podcasts.
Paul, Jenn, and Ben talk with Dr. Megan Lavengood, Assistant Professor and Director of Music Theory at George Mason University, about her work analyzing timbre in popular music, the classic sounds of the Yamaha DX7, and the potential for music theory exploration in video game soundtracks.
Entspannungsfolge mit Musik Danke an Ralphy Grey für die programmierten Beats. https://www.instagram.com/ralphy_grey/ Die Nummer 1 aus dem Tailor Realbook „16°Wasser32°Luft“ Mit Querflöte, Fretless Bass, Yamaha DX7 und drums Programming von Ralphy Grey Tailor Realbook bei arpeggio brioso
Support Topic Lords on Patreon and get episodes a week early! (https://www.patreon.com/topiclords) Lords: * Dan * https://strangecurrencies.org/ * https://twitter.com/SCReviewsDan * Shepard * They are known as Earthnova in the Discord and has one published work: http://thelitmag.com/2021-edition/this-story-has-a-ghost-in-it/ Topics: * Only playing narrative/story-driven video games once * Sometimes life is like an adventure game, a skill or item that's useless when you get it is needed years later * Sleng Teng Riddim * https://www.engadget.com/2015-12-04-casio-and-the-sleng-teng-riddim.html * Here's an argument that the riff originated with David Bowie: https://axischemicals.wordpress.com/2016/01/11/david-bowie-digital-reggae-kingpin/ * Tyger! Tyger! by Robin Johnson * https://mobile.twitter.com/rdouglasjohnson/status/1517804673998237697 * The internet and college are two great tastes that taste terrible together. * The first time I beat my father at Scrabble * Explaining traffic jams, or at least this one traffic jam Microtopics: * Wanting to see all the stuff. * Replaying a series of four RPG length games to see the alternate endings. * Getting the most video game endings for your dollar. * Tenable and untenable ways to have an adventure. * Recapturing the magic of your first time (with emulators). * Getting every video game you wanted for a system and then enjoying that for 10 minutes. * A giant archive of every DOS game ever. * Losing your nostalgia for old games via emulation, but keeping your nostalgia for the box art. * Falling out of love with Windows Vista. * Keeping your custard pie intact until the yeti needs it. * The bread maker approach to learning a new skill. * Why there are no cupcakes in Frog Fractions 2. * Playing Go against someone better than you and suddenly losing. * The Go community rallying around the identity that computers can't beat the best Go players. * Whether computer Go has shaped the way humans play Go. * An extra creative extra special humany thing. * Beating a chess expert by convincing them to play something else. * John Henry's retirement plan. * Being promised a Yamaha DX7 but receiving a Casio MT-40 instead. * Writing a part for a rock and roll rhythm section that is accidentally a great reggae rhythm section. * The origins of the Amen Break. * Setting up a situation where you can write your own notes. * Figuring out where the genre can go with this new tonality. * Stripy guys and chonky units. * The best kind of tigers. (Floofers.) * Learning about slant rhymes one morning and that afternoon writing a poem that rhymes "eye" with "symmetry." * Blake hearing about the Great Vowel Shift from his grandpa and deciding that that would be a great way to make Tyger! Tyger! sound old timey. * Googling why Blake tried to rhyme "eye" with "symmetry" and finding dozens of implausible theories, all expressed with complete confidence. * Making an impression on the world of poetry by not being good at it. * Hipster throwbacks to the great vowel shift. * Calvin and Hobbes panoply of tiger poems. * Holding off on reading more Calvin and Hobbes tiger poems until you're done recording the podcast. * Not letting online schooling get in the way of your online education. * Whether someone will figure out how to do a college class online before we transition back to in-person classes. * Whether ASL is especially well suited to bring taught over Zoom. * Doing yard work and wearing protective equipment so you can't pull out your phone to check Twitter. * Lying down in court. * Realizing for the first time that your parents don't know everything. * A framed photo of the one time your mom won at Risk. * The one thing you and your dad are both interested in. * Sports montage of getting better at Scrabble. * Driving or better yet watching movies with cars in them. * Everybody slowing down to take a look at the two headed chicken. * Driving towards a shadow and being blinded by the sun to what's beyond the shadow. * A time loop where the car in front of you slows down for no reason and then you slow down for a good reason but the car behind you thinks you're slowing down for no reason. * A car driving on a road. * Stacking a bunch of human reaction speeds on top of each other. * Slot cars as a fun and disastrous solution to traffic. * The slot car model of public transit. * Finding everybody on the Discord.
YouTube: https://youtu.be/nt_1L0TTGxM Album is available on streaming services from 9/06/22 ▼ TRACK lIST: 01. We Fight Back INTRO (Live) 02. We Fight Back (Live) 03. In The Morning (Live) 04. Calm My Mind (Live) 05. Future (Live) 06. Abandoned City part 1 (Live) 07. Abandoned City part 2 (Album Bonus Track) 08. Abandoned City part 3 (Album Bonus Track) Composed & produced: Greg Helden Mix & mastering: Greg Helden Cover design: KMV Studio Distribution: Mugo - MyMusic Label: Kręci Mnie Vinyl CONCERT TEAM: Camera: Łukasz Łukasiewicz Camera: Jakub "Gonzo" Woźniak Music videos: Greg Helden Production manager: Ireneusz Woźniak Video production: Zajafka Pictures Instruments: AudioTech Pro INSTRUMENTS: SYNTHS: Novation Summit, Studiologic Sledge 2.0 SYNTHS VST: Lethal Audo, Yamaha DX7, Jupiter 8, Mini Moog, Emulator II KEYBOARD: Native Instruments Komplete 61, Akai Fire SOFTWARE: FL Studio 20 Audiotech is the exclusive distributor in Poland of companies producing solutions for professional recording studios, as well as for homerecording. Among them are: Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. Audiotech jest wyłącznym dystrybutorem na Polskę firm produkujących rozwiązania dla profesjonalnych studiów nagrań, a także dla homerecordingu. Wśród nich są m.in. Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. https://audiotechpro.pl/ https://www.youtube.com/c/AudiotechProfess
YouTube: https://youtu.be/nt_1L0TTGxM Album is available on streaming services from 9/06/22 ▼ TRACK lIST: 01. We Fight Back INTRO (Live) 02. We Fight Back (Live) 03. In The Morning (Live) 04. Calm My Mind (Live) 05. Future (Live) 06. Abandoned City part 1 (Live) 07. Abandoned City part 2 (Album Bonus Track) 08. Abandoned City part 3 (Album Bonus Track) Composed & produced: Greg Helden Mix & mastering: Greg Helden Cover design: KMV Studio Distribution: Mugo - MyMusic Label: Kręci Mnie Vinyl CONCERT TEAM: Camera: Łukasz Łukasiewicz Camera: Jakub "Gonzo" Woźniak Music videos: Greg Helden Production manager: Ireneusz Woźniak Video production: Zajafka Pictures Instruments: AudioTech Pro INSTRUMENTS: SYNTHS: Novation Summit, Studiologic Sledge 2.0 SYNTHS VST: Lethal Audo, Yamaha DX7, Jupiter 8, Mini Moog, Emulator II KEYBOARD: Native Instruments Komplete 61, Akai Fire SOFTWARE: FL Studio 20 Audiotech is the exclusive distributor in Poland of companies producing solutions for professional recording studios, as well as for homerecording. Among them are: Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. Audiotech jest wyłącznym dystrybutorem na Polskę firm produkujących rozwiązania dla profesjonalnych studiów nagrań, a także dla homerecordingu. Wśród nich są m.in. Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. https://audiotechpro.pl/ https://www.youtube.com/c/AudiotechProfess
YouTube: https://youtu.be/nt_1L0TTGxM Album is available on streaming services from 9/06/22 ▼ TRACK lIST: 01. We Fight Back INTRO (Live) 02. We Fight Back (Live) 03. In The Morning (Live) 04. Calm My Mind (Live) 05. Future (Live) 06. Abandoned City part 1 (Live) 07. Abandoned City part 2 (Album Bonus Track) 08. Abandoned City part 3 (Album Bonus Track) Composed & produced: Greg Helden Mix & mastering: Greg Helden Cover design: KMV Studio Distribution: Mugo - MyMusic Label: Kręci Mnie Vinyl CONCERT TEAM: Camera: Łukasz Łukasiewicz Camera: Jakub "Gonzo" Woźniak Music videos: Greg Helden Production manager: Ireneusz Woźniak Video production: Zajafka Pictures Instruments: AudioTech Pro INSTRUMENTS: SYNTHS: Novation Summit, Studiologic Sledge 2.0 SYNTHS VST: Lethal Audo, Yamaha DX7, Jupiter 8, Mini Moog, Emulator II KEYBOARD: Native Instruments Komplete 61, Akai Fire SOFTWARE: FL Studio 20 Audiotech is the exclusive distributor in Poland of companies producing solutions for professional recording studios, as well as for homerecording. Among them are: Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. Audiotech jest wyłącznym dystrybutorem na Polskę firm produkujących rozwiązania dla profesjonalnych studiów nagrań, a także dla homerecordingu. Wśród nich są m.in. Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. https://audiotechpro.pl/ https://www.youtube.com/c/AudiotechProfess
YouTube: https://youtu.be/nt_1L0TTGxM Album is available on streaming services from 9/06/22 ▼ TRACK lIST: 01. We Fight Back INTRO (Live) 02. We Fight Back (Live) 03. In The Morning (Live) 04. Calm My Mind (Live) 05. Future (Live) 06. Abandoned City part 1 (Live) 07. Abandoned City part 2 (Album Bonus Track) 08. Abandoned City part 3 (Album Bonus Track) Composed & produced: Greg Helden Mix & mastering: Greg Helden Cover design: KMV Studio Distribution: Mugo - MyMusic Label: Kręci Mnie Vinyl CONCERT TEAM: Camera: Łukasz Łukasiewicz Camera: Jakub "Gonzo" Woźniak Music videos: Greg Helden Production manager: Ireneusz Woźniak Video production: Zajafka Pictures Instruments: AudioTech Pro INSTRUMENTS: SYNTHS: Novation Summit, Studiologic Sledge 2.0 SYNTHS VST: Lethal Audo, Yamaha DX7, Jupiter 8, Mini Moog, Emulator II KEYBOARD: Native Instruments Komplete 61, Akai Fire SOFTWARE: FL Studio 20 Audiotech is the exclusive distributor in Poland of companies producing solutions for professional recording studios, as well as for homerecording. Among them are: Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. Audiotech jest wyłącznym dystrybutorem na Polskę firm produkujących rozwiązania dla profesjonalnych studiów nagrań, a także dla homerecordingu. Wśród nich są m.in. Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. https://audiotechpro.pl/ https://www.youtube.com/c/AudiotechProfess
YouTube: https://youtu.be/nt_1L0TTGxM Album is available on streaming services from 9/06/22 ▼ TRACK lIST: 01. We Fight Back INTRO (Live) 02. We Fight Back (Live) 03. In The Morning (Live) 04. Calm My Mind (Live) 05. Future (Live) 06. Abandoned City part 1 (Live) 07. Abandoned City part 2 (Album Bonus Track) 08. Abandoned City part 3 (Album Bonus Track) Composed & produced: Greg Helden Mix & mastering: Greg Helden Cover design: KMV Studio Distribution: Mugo - MyMusic Label: Kręci Mnie Vinyl CONCERT TEAM: Camera: Łukasz Łukasiewicz Camera: Jakub "Gonzo" Woźniak Music videos: Greg Helden Production manager: Ireneusz Woźniak Video production: Zajafka Pictures Instruments: AudioTech Pro INSTRUMENTS: SYNTHS: Novation Summit, Studiologic Sledge 2.0 SYNTHS VST: Lethal Audo, Yamaha DX7, Jupiter 8, Mini Moog, Emulator II KEYBOARD: Native Instruments Komplete 61, Akai Fire SOFTWARE: FL Studio 20 Audiotech is the exclusive distributor in Poland of companies producing solutions for professional recording studios, as well as for homerecording. Among them are: Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. Audiotech jest wyłącznym dystrybutorem na Polskę firm produkujących rozwiązania dla profesjonalnych studiów nagrań, a także dla homerecordingu. Wśród nich są m.in. Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. https://audiotechpro.pl/ https://www.youtube.com/c/AudiotechProfess
YouTube: https://youtu.be/nt_1L0TTGxM Album is available on streaming services from 9/06/22 ▼ TRACK lIST: 01. We Fight Back INTRO (Live) 02. We Fight Back (Live) 03. In The Morning (Live) 04. Calm My Mind (Live) 05. Future (Live) 06. Abandoned City part 1 (Live) 07. Abandoned City part 2 (Album Bonus Track) 08. Abandoned City part 3 (Album Bonus Track) Composed & produced: Greg Helden Mix & mastering: Greg Helden Cover design: KMV Studio Distribution: Mugo - MyMusic Label: Kręci Mnie Vinyl CONCERT TEAM: Camera: Łukasz Łukasiewicz Camera: Jakub "Gonzo" Woźniak Music videos: Greg Helden Production manager: Ireneusz Woźniak Video production: Zajafka Pictures Instruments: AudioTech Pro INSTRUMENTS: SYNTHS: Novation Summit, Studiologic Sledge 2.0 SYNTHS VST: Lethal Audo, Yamaha DX7, Jupiter 8, Mini Moog, Emulator II KEYBOARD: Native Instruments Komplete 61, Akai Fire SOFTWARE: FL Studio 20 Audiotech is the exclusive distributor in Poland of companies producing solutions for professional recording studios, as well as for homerecording. Among them are: Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. Audiotech jest wyłącznym dystrybutorem na Polskę firm produkujących rozwiązania dla profesjonalnych studiów nagrań, a także dla homerecordingu. Wśród nich są m.in. Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. https://audiotechpro.pl/ https://www.youtube.com/c/AudiotechProfess
YouTube: https://youtu.be/nt_1L0TTGxM Album is available on streaming services from 9/06/22 ▼ TRACK lIST: 01. We Fight Back INTRO (Live) 02. We Fight Back (Live) 03. In The Morning (Live) 04. Calm My Mind (Live) 05. Future (Live) 06. Abandoned City part 1 (Live) 07. Abandoned City part 2 (Album Bonus Track) 08. Abandoned City part 3 (Album Bonus Track) Composed & produced: Greg Helden Mix & mastering: Greg Helden Cover design: KMV Studio Distribution: Mugo - MyMusic Label: Kręci Mnie Vinyl CONCERT TEAM: Camera: Łukasz Łukasiewicz Camera: Jakub "Gonzo" Woźniak Music videos: Greg Helden Production manager: Ireneusz Woźniak Video production: Zajafka Pictures Instruments: AudioTech Pro INSTRUMENTS: SYNTHS: Novation Summit, Studiologic Sledge 2.0 SYNTHS VST: Lethal Audo, Yamaha DX7, Jupiter 8, Mini Moog, Emulator II KEYBOARD: Native Instruments Komplete 61, Akai Fire SOFTWARE: FL Studio 20 Audiotech is the exclusive distributor in Poland of companies producing solutions for professional recording studios, as well as for homerecording. Among them are: Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. Audiotech jest wyłącznym dystrybutorem na Polskę firm produkujących rozwiązania dla profesjonalnych studiów nagrań, a także dla homerecordingu. Wśród nich są m.in. Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. https://audiotechpro.pl/ https://www.youtube.com/c/AudiotechProfess
YouTube: https://youtu.be/nt_1L0TTGxM Album is available on streaming services from 9/06/22 ▼ TRACK lIST: 01. We Fight Back INTRO (Live) 02. We Fight Back (Live) 03. In The Morning (Live) 04. Calm My Mind (Live) 05. Future (Live) 06. Abandoned City part 1 (Live) 07. Abandoned City part 2 (Album Bonus Track) 08. Abandoned City part 3 (Album Bonus Track) Composed & produced: Greg Helden Mix & mastering: Greg Helden Cover design: KMV Studio Distribution: Mugo - MyMusic Label: Kręci Mnie Vinyl CONCERT TEAM: Camera: Łukasz Łukasiewicz Camera: Jakub "Gonzo" Woźniak Music videos: Greg Helden Production manager: Ireneusz Woźniak Video production: Zajafka Pictures Instruments: AudioTech Pro INSTRUMENTS: SYNTHS: Novation Summit, Studiologic Sledge 2.0 SYNTHS VST: Lethal Audo, Yamaha DX7, Jupiter 8, Mini Moog, Emulator II KEYBOARD: Native Instruments Komplete 61, Akai Fire SOFTWARE: FL Studio 20 Audiotech is the exclusive distributor in Poland of companies producing solutions for professional recording studios, as well as for homerecording. Among them are: Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. Audiotech jest wyłącznym dystrybutorem na Polskę firm produkujących rozwiązania dla profesjonalnych studiów nagrań, a także dla homerecordingu. Wśród nich są m.in. Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. https://audiotechpro.pl/ https://www.youtube.com/c/AudiotechProfess
Cue the synth brass and Yamaha DX7, it's The Final Countdown to One Shining Moment; two songs definitely not written by John Tesh. Or were they? Buckle up for part two of March Fabness, where a sweet sixteen of important figures across the Beatles universe battle it out for the 2022 Fifth Beatle Championship! Awesome, baby! The matchups are intense. Neil or Klaus? Mark or Marcia? Derek or The Dominoes? Rule of threes, or just keep going? Plus, Tony, T.J., and Producer Casey consider:
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
Machine Music : with Man and TQ4 on the TQ404 synthesizer (unreleased) and my Ai that says : This music is pretty like a compiled machine. I have some of the best vintage computers and vintage synthesizers, and new programs for them, such as new programs for Roland JX3P, Yamaha DX7, Korg M1, Casio CT-1, Korg MS-20, Roland V-Synth, Roland VP-330, E-mu SP-1200, Synthogy Soundscape, Oberheim Xpander, and others. they used to create, but most programmers all have their legacy hardware first start, or has their first focus (eg Dos users influence, Win32 users influence, etc ) My MIDI CV Invoke synth still in work is good because I made it when it was big deal )) =D, more each new machine game I have find sweet ways from my machine (A89 etc hacked in MIDI messages from LP20 owned PC ) ) =D, Can you experience these cool imitative sounds examples maybe here, or should I link to youtube or some videos (cpsurreesey28 ) Some wav examples (cpsurre to help with my tunes and time-based music. Some programs will, which have since been edited out, created instabilization. All machines and the programs used are designed to ... Design, I'm really excited about helping Vission Golf with their wedding video. The corporate video was great. Imagine capturing history through a new kind of eyes. Not just imagery on a shoe cardboard. It's turned my hometown of Chapel Hill into a vivid fashion photo shoot. Watch out... I create on my PC. I think electronic music is difficult to define for new artists since I will be creating my own sound at first, it's difficult for me to communicate how I will make my music, this is the best way for me to describe it. Please be nice to me if you can because I'm a new artist and a lot of things can help me grow in the world and thank you very much for your attention. Hi sounds like what I do. I'll do beats on my Z80 so you can feel it. Nice to have you here in the community
Panelists: Paul Hagstrom (hosting), Quinn Dunki, and Blake Patterson Topic: Computing 24/7 In honor of episode 247, we talk about stuff vaguely related to "all the time." Mostly we wound up talking about whether we turned our computers off or not. Topic/Feedback links: RetroMagazineWorld #11 The World of Commodore 2021 event information The World of Commodore 2021 video Python C64 emulator, sort of Retro Computing News: Reverse-engineering the Yamaha DX7 synthesizer's sound chip TRS-80 PC-1 / Sharp PC-1211 LCD replacement Beginner's Guide to the Amiga - Workbench Beginner's Guide to the Amiga - Amiga OS tutorial Crash course to Amiga assembly programming Santa's Workout - new C64 Christmas game, from Vector5games (Indie Retro News) The Pudding Strikes Back (2021 Christmas game, Apple II) DOLORES double LORES library Flapple Bird The Register article on the BBC Micro and Elite BBC Micro Elite source code deep dive Vintage Computer(-related) commercials: Enterprise 128 DX100 synthesizer Retro Computing Gift Idea: THINKING cap See also: NeitherNet adapter Auction Picks: Blake: Enterprise 128 Apple IIgs Computer Paul: TK 2000 COVOX How to use the C64 See also: Blue Commodore 64 Echo+ Feedback/Discussion: @rcrpodcast on Twitter Vintage Computer Forum RCR Podcast on Facebook Throwback Network Throwback Network on Facebook Intro / Closing Song: Back to Oz by John X Show audio files hosted by CyberEars Listen/Download:
Playlist ARP demonstration. Roger Powell and Harry Coon, the ARP 2600—How it Works, side 1 from The Electronic Sounds Of The Arp Synthesizer 2600 And 2500 (1972 ARP Instruments). Vinyl, 7", 33 ⅓ RPM. Narrated and all music by Roger Powell. 7:38 ARP demonstration. Roger Powell and Harry Coon, the ARP 2500—How it Sounds, side 2 from The Electronic Sounds Of The Arp Synthesizer 2600 And 2500 (1972 ARP Instruments). Vinyl, 7", 33 ⅓ RPM. Music by Harry Coon and an improvisation by Roger Powell. 6:20 ARP demonstration, Dave Fredericks, “I Can See Clearly Now” from The ARP Pro Soloist Synthesizer (1973 ARP Instruments). Vinyl, 7", 33 ⅓ RPM, EP. 2:24 ARP demonstration, unknown artists, The First Symphonic Keyboard - ARP Omni (1976 ARP Instruments). Flexi-disc, 7", Promo, 33 ⅓ RPM, Single Sided. 5:05 ARP demonstration, Dave Fredericks, “Zarathustra” from The ARP Pro Soloist Synthesizer (1973 ARP Instruments). Vinyl, 7", 33 ⅓ RPM, EP. 2:58 ARP demonstration, Music and Narration By Roger Powell from side 1 of The ARP Family Of Synthesizers (1973 ARP Instruments). Vinyl, 7", 33 ⅓ RPM, Stereo Music By Dave Fredericks, Harry Coon. The narrator is credited as being musician Roger Powell, but I don't think that's true. Powell was an ARP sponsored artist around this time and some of his works from Cosmic Furnace are played on the disc, though. 7:08 PAiA Synthesizers demonstration. “Selections From Epsilon Boötis” by Richard Bugg from PAiA Synthesizers (1974 PAiA Electronics, Inc.). Flexi-disc, 7", 33 ⅓ RPM, Single Sided, Promo, Red.Uses the Paia 2720 and Paia 4700 synthesizers. Interesting demonstration that also includes instruments being processed through PAiA modules. PAiA demonstration record which included an 18-page booklet with pictures and schematics of the featured composition. 6:17 Electro-Harmonix demonstration of guitar pedals and effects. The Electro-Harmonix Work Band. “Fame and Fortune” from State-Of-The-Art Electronic Devices (1976 Electro-Harmonix). Vinyl LP. Directed by Elliott Randall who organized a band of studio musicians recruited to play a variety of Electro-Harmonix effects boxes and pedals. Bass, Will Lee; Drums, Gary Mure; Engineer, Joe Vanneri; Guitar, Dan White, Jim Miller; Producers, Dan Gershon, Elliott Randall, Mike Matthews; Vocals, Piano, Philip Namanworth. Record was basically made to feature and promote high-end electronic guitar/bass/voice effect devices by Electro-Harmonix. Detailed explanations of each device and its role in each given track are given in the liner notes on the sleeve. This track features the Golden Throat, a mouth filter device running guitar sound through a tube into the player's mouth; and Octave Multiplexer, a downward octave displacer with tone control possibilities, used here on voice. 5:08 Electro-Harmonix demonstration of guitar pedals and effects. The Electro-Harmonix Work Band. “I Am Not a Synthesizer” from State-Of-The-Art Electronic Devices (1976 Electro-Harmonix). Vinyl LP. Directed by Elliott Randall who organized a band of studio musicians recruited to play a variety of Electro-Harmonix effects boxes and pedals. Bass, Will Lee; Drums, Gary Mure; Engineer, Joe Vanneri; Guitar, Dan White, Jim Miller; Producers, Dan Gershon, Elliott Randall, Mike Matthews; Vocals, Piano, Philip Namanworth. This track features the Hot Foot universal pedal, “allowing real-time foot control of any potentiometer (knob) on any other device; Frequency Analyzer, or ring modulator; Memory Man, a solid state echo/analog delay line; Electric Mistress, a flanger; Doctor Q, an envelope follower and voltage controlled filter; and Big Muff Pi, a harmonic distortion and sustain device. Not synthesizer was used in the making of these sounds. 8:19 The Elektor Music Synthesiser demonstration , no artist, (1977 ESS). Flexi-disc, 7", 33 ⅓ RPM, Single Sided. This was a small, analog synthesizer with 3 VCO's, 1 VCF, and a dual VCA.The Elektor Formant had a three octave keyboard and was made in the Netherlands and available by kit. From the manual: “Formant is not a suitable project for the beginner. The complexity of the synthesiser demands a high degree of competency in soldering p.c. boards and interwiring if an unacceptably large number of faults are not to arise.” 7:35 RMI Keyboard Computer demonstration. Mike Mandel, “Mandel Does it” from RMI Harmonic Synthesizer And Keyboard Computer (1976 Rocky Mount Instruments, Inc.). Vinyl LP. Mike Mandel, RMI Keyboard Computer. 1:58 RMI Keyboard Computer demonstration. Clark Ferguson, “Voices” from RMI Harmonic Synthesizer And Keyboard Computer (1976 Rocky Mount Instruments, Inc.). Vinyl LP. Clark Ferguson, RMI Keyboard Computer. 1:38 RMI Keyboard Computer demonstration. Clark Ferguson, “Strings” from RMI Harmonic Synthesizer And Keyboard Computer (1976 Rocky Mount Instruments, Inc.). Vinyl LP. Clark Ferguson, RMI Keyboard Computer. 3:00 Prophet 5 demonstration. Part 1, Performed by John Bowen from The Prophet (1978 Sequential Circuits). Flexi-disc, 7", 33 ⅓ RPM, Two Sided. Recorded at Music Annex, Menio Park, CA. 3:27 Prophet 5 demonstration. Part 2, “Sinfonia No. 11 in G minor” (Bach) performed by Dan Wyman from The Prophet (1978 Sequential Circuits). Flexi-disc, 7", 33 ⅓ RPM, Two Sided. John Bowen, Recorded at Sound Arts, Los Angeles, CA. 2:23 Synclavier demonstration. Denny Jaeger and Patrick Gleeson, side 1 from The Incredible Sounds Of Synclavier II (1981 New England Digital Corp.). Vinyl, LP, Compilation, Stereo, Blue Translucent. Demonstration disc for Synclavier sampling system. Includes “Untitled,” composed, programmed, and performed by Denny Jaeger; additional programming, composition, and performances by Bill Keenan. 14:23 Equinox 380 MusiComputer demonstration , Bob Snyder, “Heaven Came Down” from Equinox - Featuring The Amazing Equinox 380 MusiComputer Electronic Keyboard (1982 CBS). Vinyl LP. Equinox 380.” All selections were recorded 'Live" with a standard production model of the Gulbransen Equinox 380 MusiComputer. No "over-dubbing" was utilized in the production of this album.” Snyder himself recorded the following demo tracks that are different than the album I am sourcing for this podcast, Here is that recording of a YouTube video that demos this organ synthesizer with added narration and audience clapping. 2:46 Equinox 380 MusiComputer demonstration, Danny Saliba, “Runaway” from Equinox - Featuring The Amazing Equinox 380 MusiComputer Electronic Keyboard (1982 CBS). Vinyl LP. Equinox 380.”All selections were recorded 'Live" with a standard production model of the Gulbransen Equinox 380 MusiComputer.” 2:18 LinnDrum demonstration. Side 1 from The Ultimate Drum Machine (1982 Linn Electronics, Inc.). Red Flexi-disc, 7", 33 ⅓ RPM, Single Sided, Promo. 2:25 Emulator Demonstration, Side 1, “The Andrew Wilson Emulator Demo” (written by Andrew Thomas Wilson); and “Batteries Not Included” (written by Marco Alpert); narrated by Marcus Hale from Emulator Demonstration (1982 E-mu Systems, Inc.). Flexi-disc, 8.” Featuring the E-mu Emulator sampler. 6:51 Fairlight Computer Music Instrument demonstration. Don Blacke, narrator. Side 1 of the cassette, Just Fairlight - Number Three (1982 Fairlight Instruments Pty Ltd). Cassette. “Cassette released by Fairlight Instruments Pty Ltd promoting the Fairlight Computer Musical Instrument - the first polyphonic digital sampling synthesizer. Cassette was available when purchasing the synthesizer from the company. Printed information and tracklisting included on a separate sheet of paper. Side A includes informative narration explaining the Fairlight CMI and features various samples and short compositions. The last quarter of Side A includes recording of a presentation by Dr Robert Moog commenting on the Fairlight CMI. Side B contains all musical extracts from Side A, though without the commentary.” 20:02 Yamaha Electone demonstration. Claude Dupras, “Pulstar” from Interface Yamaha FX-1 (1983 Yamaha). Vinyl LP. Dupras, a longtime Yamaha Electone user, recorded this album for Yamaha to showcase the features of the latest model, the digital Electone FX-1. Here he plays the Vangelis piece “Pulstar.” 3:21 Yamaha DX7 demonstration. Side 1 from DX7 Sound Sensation (1983 Yamaha). Flexi-disc, 33 ⅓ RPM, Stereo. Tracks: Bell, Female Voice (2); Bagpipe, Snare Drum, Footsteps (3); Stardust (1); Harp, Cello (2); Electric Guitar (2); Church Organ (1); Violin (1); Train, Banjo, Fiddle, Honky-Tonk Piano (4); Volcano (1); Pan-Flute, Timpani, Shimmer, Chinese Organ (4). Notes on DX7 settings per track: (1) Signal processors used on this recording: Reverb, Delay, Graphic Equalizer, Parametric Equalizer, Flanger (used on 'Guitar'); (2) Number in parentheses indicate the number of overdubs used for the corresponding voice; (3) The entire recording was made with a single Yamaha DX7." 6:37 Background Music Excerpts from the Moog 900, RCA Music Synthesizer, Sound of Moog, ARP family of instruments, E-mu Emulator, demonstration recordings. Blue Marvin, “Release Time” from the album With Arp Sinthesyzer 2600 (1973 Joker). Blue Marvin is Alberto Baldan Bembo in this Italian release of ARP Odyssey tracks. 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.
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.
Mon Laferte lanzó SEIS, su flamante disco; lo escuchamos y hacemos un repaso por algunos de los pasajes más interesantes. Pistas: Chavela Vargas, géneros tradicionalmente masculinos, Gloria Trevi y mucho pero mucho lamento. Questo Quelotro es una banda de hip-hop que publicó Hermostros Rotos Rostros, su nuevo EP que está lleno de matices, cambios y toda la polenta de la actitud rockera de estos artistas pampeanos. Para descubrir y enamorarse. La Nueva Suavidad, además de ser un título hermoso, es el álbum recientemente publicado por RUDO, un artista multifacético, muchacho orquesta, que invitó a otros grandes talentos a participar de su obra y no pueden perdérselo. Hablamos con él y nos contó todos los detalles de su trabajo. FE DE ERRATAS: Cuando Manu menciona el YAMAHA CP90 puede que se esté refiriendo al YAMAHA DX7, sintetizador que Charly también usaba mucho en esa época. TRACKLIST COMPLETO DEL PROGRAMA: Mon Laferte, Gloria Trevi - 'Lassie'Mon Laferte, La Arrolladora Banda El Limón de Rene Camacho - 'Se Me Va A Quemar El Corazón'Questo Quelotro - 'Actitug Artesanal'Questo Quelotro - 'Hermostros Rotos Rostros'Rey Momo - 'Enano Verde'RUDO - 'La Nueva Suavidad' LINKS DATEROS: Questo Quelotro - Rimas y Latas (2018)Lihue Pumilla artista pampeanoRey Momo - 9809 (disco recopilatorio)Videoclip Questo Quelotro - 'Voia'RUDO - 'La Nueva Suavidad' versión MIDIband Seguinos y escuchanos en Spotify: NUESTRA PLAYLIST CON LO QUE SUENA EN EL PROGRAMA Conecta con Rocktails en Instagram. Escucha nuestros podcasts.
-H.P. Lovecraft connections! -Elmer Bernstein's score, including the Ondes Martenot and Yamaha DX7! -The soundtrack, including Ray Parker Jr.'s "Ghostbusters." -Promoting the movie! -Naming conventions! -Finance! https://www.patreon.com/rossmaywriter For 2020, patrons’ donations will be used to purchase toys for children at Victoria Hospital this Christmas.
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
What makes some songs, from Kenny Loggins' "Danger Zone" to Tina Turner's "What's Love Got to Do with It," sound so distinctively "1980s"? What is timbre, why does it matter, and how do music theorists study it? And did Michael Jackson write the music for Sonic the Hedgehog 3?! A conversation with Megan Lavengood, Assistant Professor and Director of Music Theory at George Mason University, about timbre and the Yamaha DX7 synthesizer.Show notes and more over at soundexpertise.org
We talk about 1985's Brat Pack coming-of-age-social-commentary drama St. Elmo's Fire and what unique problems the youngest Baby Boomers might have faced upon entering the adult world at the end of The Long Seventies. Also, the Yamaha DX7.
Can you hear that? It’s the sound of another Monday with another rad episode, this time featuring our buddy James Beesley III from Downbeat Studio.We spend a bunch of time sorting his musical history, getting an early start in high school rap metal, moving to Chicago and living in an art loft called FUCK MOUNTAIN while playing keys in his band Them, Roaring 20s, and transitioning from being a road dog into launching the multiple iterations of Downbeat Studio. Tune in if you want to learn about analog recording philosophies, Wurlitzer 200A and Fender Rhodes pianos, rebuilding and refurbishing vintage gear, and expert advice on adding a tape machine into your recording workflow - spoiler alert: it’s all about Otari.Other topics include the reopening of Chicago Music Exchange, INXS and their “bangers,” protest music with Machine Head and Hank’s personal diety Neil Young’s new old record Homegrown, noisemakers for protests, stellar Craiglist posts, Prince’s Yamaha DX7, and Fender’s masterbuilt guitars for the Crew Nation charity.Shake that tambourine, folks.
In this episode of the Bassfug podcast we talk with Håkan Lidbo. Håkan has a massive resume of accomplishments and cool projects ranging from doing Remixes for Depeche Mode to collaborating with the Swedish Space Corporation to beam music out into space. We talk about the future of music, what happens when you give monkeys a Yamaha DX7, Robots, and try to answer the question "What can music be?". It's another "the host laughs way too hard into the microphone again" episode that you don't want to miss! LINKS: https://www.hakanlidbo.com https://youtu.be/PRbWW-HZd0Q
Before the world went ‘doof' and the worldwide explosion of EDM there was synth pop. In Australia in the ‘80s, every second band suddenly had a Yamaha DX7 keyboard, a sequencer, a ‘keytar' or a Roland drum machine.
This song was lots of fun to make… and that was the whole point. It was a conscious decision to not overthink things, and to just let things happen with the writing and recording of it. Let’s talk about that mindset, the Yamaha DX7, blending pitched snare samples, Moog Clusterflux, finding random words in thesauruses, and more.
E-SportDu har måske hørt om Astralis-drengenes sejre i spillet ‘Counter Strike'. Spilindustrien er blevet kæmpestor og indeholder svimlende pengesummer. Spil som ‘League of Legends', ‘Fortnite' og ‘FIFA' har millioner af seere om ugen.Men hvad du måske ikke ved, er, at sammenhængen mellem musik og e-sport har en speciel historie. Den strækker sig fra 70’ernes blip-blåp lyde til i dag, hvor de fineste symfoniorkestre spiller musik, der er komponeret til videospil.Space InvadersDet første skridt i spilmusikkens historie sker i 1978 med spillet ‘Space Invaders.' Spillet er et af de mest populære spil i arkadehallerne på det tidspunkt. Her spiller man som et rumskib, der bliver mødt af frådende aliens. Bag de pixelerede aliens findes et primitivt lydunivers bestående af kun fire, faldende toner. Men selvom det er simpelt, har spiludviklerne alligevel gjort sig nogle nyskabende tanker. Tempoet på tonerne følger nemlig en gennemsnitlig spillers hjerterytme, og når de frådende aliens kommer tættere på, stiger tempoet.Det gør noget fantastisk for spiloplevelsen. Det føles selvfølgelig endnu bedre at vinde, når man, udover aliens, også har kæmpet mod stressende musik. Samtidig var der også et økonomisk aspekt for spiludviklerne i deres brug af musik. Hvis de kunne stresse spilleren til at tabe, ville spillerne være mere tilbøjelige til at prøve igen. Det gav flere penge i arkademaskinen og musikken blev herefter en vigtig del i strategien for at påvirke spillerens psyke.Super MarioEt stort kompositorisk gennembrud for spilmusikken sker med udgivelsen af ‘Super Mario Bros'. Her bliver der skrevet seks forskellige kompositioner. Hver især passer til banernes forskellige niveauer. Altså er det et signifikant skridt fra ‘Space Invaders’ simple toner, til et univers, der nu er kunstnerisk udfordrende.Kompositionerne er ifølge komponisten, Koji Kondo, inspireret af måden, spilleren bevæger Mario på i spillet, hvilket er en følge af det miljø, Mario er i. Så Kondo holder altså fast i filosofien fra ‘Space Invaders' om at tilpasse sig spillerens situation, men tilføjer et ekstra lag af kompositorisk kunnen til spilmusikken.Sonic The HedgehogI senfirserne sker der flere teknologiske udviklinger, som skaber nye muligheder for de komponister, der arbejder med computerspil. Med udgivelsen af Commodore Amigaen og Sega Mega Drive bliver de lydkort, der sidder i spillekonsollerne mere avancerede og har mere hukommelse. Dette gør, at man ikke behøver at begrænse sig på samme måde som før.På Sega Mega Drive-konsollen har man optaget teknologien fra den kendte synthesizer Yamaha DX7, som i høj grad definerede lyden af 80’erne. Pludselig har computerspils-komponisterne adgang til de samme lyde, som der bruges i temaet til serien ‘Twin Peaks‘ af David Lynch, eller som firser-pop-gruppen ‘A-Ha' bruger på det kendte nummer ‘Take On Me‘.Da ‘Sonic The Hedgehog‘, Segas daværende flagskib, skal udkomme, hyrer man derfor J-pop stjernen Masato Nakamura til at skrive musikken. Nakamura vil væk fra blip-blåp-lydene og lader sig i stedet inspirere af firsernes popmusik. På den måde åbner Nakamura op for, at spilmusikken bliver influeret af populærmusikken. Det skal vise sig at ske i endnu højere grad, som tiden skrider frem.Tony Hawk's Pro SkaterI 1999 sker den næste udvikling i spilmusikken. Nu har spillemaskinerne fået en hukommelse, der kan gengive lyd på kvalitetsniveau med CD’en. Skater-legenden Tony Hawk får på dette tidspunkt sit eget videospil. Til det licenserer spilproducenten en række pop-punk-hits, som bliver til ikoniske soundtracks på drengeværelser verden over. Musikken indebar numre fra bands som bl.a. ‘Rage Against The Machine‘, ‘The Dead Kennedy‘ og ‘Primus‘. Det starter en æra for spilmusikken, hvor det at få sin musik
Jan Hammers Soundtracks are legendary and influenced also the dance music. We made that sond with Roland Jupiter 8, MiniMoog, Yamaha DX7, Lindrum, Ober heim OBXa and Faitlight Sounds. The guitar sounds are made with DX7 and a Marshal Amp like the original.
32-channel Impulse Tracker module, Yamaha DX7 samples (obtained by using Dexed VST), misc. drum samples, tracked with OpenMPT (through wine). The song title refers to air/space vehicle stations floating above clouds. The original IT format file can be found from the Modarchive. 2020 Creative Commons CC Attribution Noncommercial (BY-NC)
32-channel Impulse Tracker module, Yamaha DX7 samples (obtained by using Dexed VST), misc. drum samples, tracked with OpenMPT (through wine). The song title refers to flying vehicles looking like jet skis (pilots standing) that I imagined flying rapidly around skyscrapers. The original IT format file can be found from the Modarchive. 2020 Creative Commons CC Attribution Noncommercial (BY-NC)
On Episode 29 of Pop Unmuted Scott Interrante and Kurt Trowbridge are joined by Music Theory Ph.D. student Megan Lavengood, who is writing her dissertation on timbre and the Yamaha Dx7 synthesizer. They talk about the role timbre and sound plays in defining genre and why so much music released in the 2010s is called "80s inspired."
It's a spooky synth heavy episode as our Halloween Extravaganza co-headliner, Teeel stops by for an in depth, super cool chat. Find out what MonsterZero thinks of people that are better looking than him and Michael Ravenshadow stops by to give his thoughts on one of the highest grossing films of all time! The sleazy Fabio Freezy checks in to pontificate on The 2nd Law. Join "Jumping" Johnny Wolfenstein, "Dancing" Dynamo Marz, and "Twisting" Tiny Wight! It's Trick or Treat Radio!Topics discussed: Joss Whedon (again), popped collars and keytars, Episode 50, Teeel, Jason Voorhees and Frankenstein, old Moog advertisements, worshiping at the altar of Jack Daniels, Monster Squad, the necrophilia opus Aftermath, M.A.S.K., synth song writing, a little arthouse flick named The Avengers, Depeche Mode, the age old Google vs. Bing debate, Clockwork Orange, Nooka, Yamaha DX7, The Deftones, Astonishing X-Men, the new Muse album The 2nd Law, being ignored by The Deadites' ladies, New Order, Borderlands 2, hating dubstep, and the seedy world of gravestone repossession!Support the show (https://www.patreon.com/trickortreatradio)
School is in session... old skool that is.The legendary DJ Lollipop invites you to reminisce in the distinct sound of the Post-Disco era.If these joints are new to you, here are the original club jams that ushered in a new era - the DNA of hip-hop. If you know these artists, press play on Lollipop's Post-Disco Funk Explosion and fall in love with these favorite classic rare funk gems all over again.Post-Disco is the significant period in popular music history that followed the "death" of commercial disco during late 1970s. The anti-disco sentiment that proliferated at the time was partially due to the over-saturation and the big-business mainstreaming of disco. As a result of the "Disco Sucks" movement and the July 12th 1979 “Disco Demolition Night”, disco records & artists were rejected from airplay and their promotions dropped literally overnight. The face of pop radio changed following this backlash which social critics have described as “a bigoted, macho, attack on non-white and non-heterosexual cultures”. Top 40 radio stations avoided playing music by black artists in an effort to prevent their stations from being labeled with the dreaded "disco" tag.It was the dawn of a new decade and a sonically edited, more stripped-down sound was emerging as a reaction against what was seen as the over-indulgence of disco. Thanks in part to advances in technology, the over produced, melodically complicated "disco sound" was passé, and a simplified sound driven by synthesizers accompanied by rhythm guitar moved dance music toward ever splintering genres. This drift from the original disco sound has been labeled “Post-Disco”. In this music scene are the roots of dance music sub-genres that evolved into Italo-Disco, Boogie, Hi-NRG, Electro, New Wave and early Alternative.Funk music is sometimes overlooked and usually lumped with disco music. However, Funk has its own style, culture and was here before disco's birth. It was born in the mid-'60s by the legendary James Brown. Funk de-emphasizes melody and harmony and brings a strong rhythmic groove of electric bass and drums to the foreground. It usually is heavily syncopated with polyrhythmic rhythms, horn and percussive sections featuring rhythm guitar. Brown had the most outspoken voice in soul music and a groove that would prove to be the future of Funk music.Many of James Brown’s band members such as Bootsy Collins would go on to funk with many other bands like Parliament and Funkadelic which were both created and lead by George Clinton. Parliament had emphasis on horns while Funkadelic had emphasis on psychedelic guitars. Both had a deep, rhythm filled groove that had elements of several genres of music all rolled into one. Clinton had successfully fused together these types of music to create what he called “P-Funk”. The success of Parliament’s "Flashlight" would greatly influence not only funk music, but also New Wave and Hip-Hop.Lollipop’s Post-Disco Funk Explosion celebrates this exact time in musical history when horn sections were replaced by synthesizers and the horns that remained were given simplified arrangements. The classic keyboards of funk, like the Hammond B3 organ and Fender Rhodes piano began to be replaced by new analog synthesizers like the MiniMoog and Yamaha DX7.Join Lollipop and the legions of counterculture groove disciples in enjoying this sonic slice of historic funk cake. In the Post–Disco era between 1979 and 1981, bands that began during the P-Funk era incorporated technological developments to continue to craft funk hits. The magical formula of classic funk guitar and rhythmic horn hits combined with thumping synthesized bass lines became a club phenomenon. Groups such as Cameo, Zapp, Lakeside, The Gap Band, the Bar-Kays, all found their biggest hits during this period, but as styles evolved, funk had lost its commercial impact by the latter half of the 1980’s. This time period witnessed many jazz funk artists like Tom Browne, Lenny White, Don Blackman (Twennynine) and Harvey Mason dip their toes into the post-disco funk pool to create their most successful hits.To quote George Clinton – “Free your mind and your ass will follow.”LOLLIPOP’S POST-DISCO FUNK EXPLOSIONDJ Lollipop IntroZapp - More Bounce to the OunceCameo - Keep It HotYarbrough & Peoples - Don't Stop the MusicThe Bar-Kays - Move Your Boogie BodyVaughn Mason & Crew - Bounce Rock Skate RollTom Browne - Funkin' For JamaicaOne Way ft Al Hudson - Pop ItRay Parker Jr. & Raydio - It's Your NightRaydio ft Ray Parker Jr. - For Those Who Like To GrooveLakeside - Fantastic VoyageGap Band - Burn Rubber on MeTwennynine ft Lenny White - Peanut ButterPrince - ControversyFrankie Smith - Double Dutch BusRick James - Give It to Me BabyHarvey Mason - Groovin' YouThe Jacksons - Can You Feel ItLatoya Jackson - If You Feel the FunkFunkadelic - One Nation Under a GrooveParliament - Flashlight
The original Hammond used rotating tone wheels to generate harmonics which were added using drawbars; not true harmonics though. The principle is known as additive synthesis. The organ is usually played through a Leslie speaker which utilizes the Doppler principle to produce chorale and tremolo effects. Modern digital synthesizers such as the Nord Electro simulate both the drawbars and the Leslie speaker. In subtractive synthesis, used for example on the Korg MS20, tones with complex spectra are generated and unwanted components filtered out. The most common transient generator is the ADSR where the letters stand for Attack, Decay, Sustain and Release. The Yamaha DX7 uses Frequency Modulation (FM). Sidebands are generated in the frequency spectrum spaced at multiples of the modulation frequency from the carrier. MIDI allows you to control the sounds of one instrument from the keyboard of another.
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