Mark Broom New Arrival
MG Wo gehobelt wird ... pure genius
Swayzak Kensal Rising (not "Kensai")
all youtube sorry, have been trying to avoid since it became a spy outlet but we need this techno
hat tips sucrete, FAUXreal, OIE and GCSP
"Fog Computing Variation" [6.8 MB .mp3]
Spent some time crafting a bleep in the modular. An LFO was triggering it about 127 bpm. I added pitches and made a tune, recorded it, and then played it twice, four steps apart, to create a delay.
Then parts from "Fog Computing" were added, and some beats. It needed more so I wrote some softsynth tunes as counterpoint and imported them into the Octatrack. The USB cable is moving a fair amount of audio back and forth between the Octatrack and PC these days, at least until something is finalized in one or the other location.
This is pretty spare, robotic, and demo-like, but that's intended.
hat tips FAUXreal, footbath, unknown mod
This is a fan/user-posted YouTube tutorial course on the Elektron Octatrack sequencer/sampler. It's intermediate level in that it assumes you've read the manual, know some basics, and still have questions. It's fast-paced and smart, unlike many narcissistic how-tos-but-this-is-really-about-me-and-my-wonderful-hands-turning-knobs-on-this-fabulous-gear-I-bought that can be suffered within the YouTube swamp.
Most gear demos don't ask why, as in, what type of music are you making, who is your intended audience, is this just an advertisement for a commercial product, might someone's "workflow" include other things besides this gear, what is a good mangled sound vs a bad mangled sound, is all this complexity about avoiding cliche, is power-sucking equipment a luxury that only one generation will possess on a widespread level, what happens after six years when the battery in this machine runs down and the manufacturer has "moved on," why this piece of gear as opposed to a thousand other gimcracks available for home electronic music makers, and so on.
Statue of General Sherman, recently re-gilded, with the Pierre Hotel spire in the background, near 59th/5th.
Have been working on some collaborations with Jules Laplace. His original song, "Clouds 21," is below. Taking the mixes in reverse order:
"Fog Computing" [4.2 MB .mp3]
A MIDI file of Laplace's "clouds21" was played in Winamp and a few "general MIDI piano" notes were sampled. "Fog Computing" is made with those samples using the Doepfer A-112 8-bit sampler module and the Octatrack for sequencing. Some of the patterns were re-arranged and remixed in Cubase and imported back into the Octatrack.
It's uber-noisy and dirty. Both the wavetable and sampler functions of the A-112 were used. The really dense static-y sound is the sampler playing the notes very slowly.
Thing I learned: how to reduce an LFO signal to swing between 1 and -1 volts to modulate the wavetable: this adds Hammond-like grit to the sound.
Tom Moody and Jules and Laplace, "Clouds Remix" [4.1 MB .mp3]
Some of the gritty patterns also used in "Fog," but playing in conjunction with the march-like MIDI piano version of Laplace's tune below. This isn't the same Winamp piano as above -- it's a sampled concert grand, but "played" with very little nuance.
Jules Laplace, "clouds21" [6.2 MB .mp3]
I maximized the volume to CD level. A diaphanous, faintly Kirk Degiorgio-esque synth confection, very nice, that can in no way be blamed for what came later.
This was originally called Mr. Vomit but we aren't having any of that around here. The name changed with the GIF mod.
Humorless pink-shirted associate at T-Mobile: "How can I help you today?"
Rebellious sage: "I need some minutes for my phone."
Hpsaatm: "OK. Hmmm, whoops. I was going to help you using this tablet but there's no signal. Can you come with me over to the desk?"
Rs: "Yeah, those tablets are a really bad idea."
Hpsaatm: [Blank look with a hint of condescension]
Hpsaatm: "OK, the desk computer's up. What's the phone number?"
Rs: [Gives number]
Hpsaatm: "There's no name showing here."
Rs: "Right, it's one of those burner type deals."
Hpsaatm: "That's fine, I don't need the name. But we do recommend for your safety and security that you give us a name."
Rs: "Just out of curiosity, what could happen?"
Hpsaatm: "Someone could claim their phone was stolen and use your number if they had it."
Rs: "I've had the number for years and that's never happened -- I'll take the risk. In fact [feels a rant coming on] this is one of the last services where you don't have to give your name, and that's great. I assume it's because T-Mobile is a German company."
Hpsaatm: "Not anymore, it just became an American company."
Rs: "Well then, guess what -- the policy will change. This time next year you'll ask my name, address and Facebook."
Hpsaatm: "We just ask your name, that's all. Your reasons for not giving it are your business."
"Slow and Go" [3.1 MB .mp3]
Octatrack playing modular patch(es) with some overdubbing/multitracking in the sequencer.
In the patch an LFO is opening a filter frequency control in one synth on the upstroke and closing on the down, the inverse of the same wave is opening and closing a volume gate on another synth.
While this is going on continuously a 1V/OCT signal plays a tune.
Things I learned doing this:
How to use a "scene" in the Octatrack arranger to switch delay effect on and off in a single track.
Slicing an LFO-d wave into 64 slices and then muting every other slice to get an additional gating effect.
Tempo changes in the arranger to make these "gated" slices play faster and slower in sync with the percussion.
This is mostly analog but sounds computer-gamy due to MIDI-triggering and "simple waveforms."