(313) D25: Detroit Twenty Five
http://www.backspinpromo.com/d25.html (Sorry if this has already been posted. I've been too busy to pay close attention of late...)
Re: (313) Been Reading...now speaking...talking about the future (of fbk that is:)
Now that's a good response.
It's all in the mix down.
On Thursday, February 25, 2010, Thor Teague wrote:
> I think this whole discussion is a)tired and b)a fat load of horseshxt.
>
> But I will say, perhaps tongue-in-cheekly, that I just can't get
> around a hardware mixdown. Other than that I'm fine with whatever, but
> putting it through a Mackie seems to make all the difference. A close
> second to that mixer would be hardware compression.
>
> I mixed one of my tracks a couple years ago then re-edited it
> digitally and bounced it. The mix just drops dead. It's really
> telling. I can play those two examples for anybody and they have only
> to listen with their own two earballs to hear the difference.
>
> On 2/25/10, kent williams wrote:
>> All hardware is The Detroit Way(tm), and one can't argue with results.
>> Virtually ('Virtually'?) every track that defines Detroit Techno and
>> House music was made with hardware synths and mixed down outside the
>> computer. As it happens, prior to roughly 1998, a computer was of
>> limited utility for anything other than MIDI sequencing.
>>
>> The sound of Detroit techno arose at least in part from the way
>> working with the hardware influences the aesthetic choices made. The
>> one measure drum loop is a limitation of Roland Drum Machines* so
>> Techno mostly involves one measure rhythm loops. Within that
>> limitation, producers soon used the tools available to them (volume
>> controls for individual sounds, sound parameters, write-mode real-time
>> step programming) to make something static come alive.
>>
>> I use a mix of hardware and software, and end up doing the mix in the
>> computer. That's just what I've evolved into using over the years. I
>> still have nearly every synth & drum machine I've ever bought, and got
>> my latest analog synth in 2008.
>>
>> That being said, I think it is very possible to make good music
>> without the hardware, and in fact many people who make tracks simply
>> can't afford a full-on hardware studio. Software synths are free to
>> cheap; a proper modern analog synth costs a minimum of $300-400, a
>> TR909 -- if you can find one -- is $1000 or more. A usable laptop is
>> $600, and sufficient software is free to cheap (or stolen).
>>
>> If you don't like how all-computer productions sound, you can spend
>> the multiple thousands of dollars to equip yourself with 'real' gear**
>> or you could learn to get the sound you want out of the computer. The
>> production techniques required for working in the computer are
>> different than working with outboard hardware.
>>
>> In the end it's always what your'e able to do with the gear more than
>> the gear itself. Whatever inspires you or feels comfortable should
>> your guide, not what anyone thinks that you 'should' be using.
>>
>> *You can use drum loops longer than one measure on Roland drum
>> machines, but it isn't the easiest or most natural way to work.
>>
>> **My rule of thumb about buying external gear -- if it's just a
>> computer on the inside, I'd rather save my money and use my computer.
>> A lot of external synths -- e.g. Nord, Elektron Machine Drum, Alesis
>> Micron -- are just computers in a fancy box. They may be useful for
>> many reasons, but they don't do anything your computer can't, at least
>> insofar as sound is concerned.
>>
>> On Wed, Feb 24, 2010 at 6:28 AM, Kevin Kennedy wrote:
>>>
>>> As a side note, I have gone back to using hardware, and there will be
>>> results to post for everyone soon...
>>>
>>
>
Re: (313) Chilly B of Nucleus has passed away
One of the most fun performances ever at the festival... http://www.youtube.com/watch?v=Fm99FhB9C0w respect to Chilly B... http://comment.myspace.com/index.cfm?fuseaction=user.viewComments&friendID=125617074 fh - >This act was at DEMF a few years ago, I thought they put on a great show. > >http://www.boingboing.net/2010/02/25/rip-old-school-elect.html > >-Arturo >
Re: (313) Been Reading...now speaking...talking about the future (of fbk that is:)
I think this whole discussion is a)tired and b)a fat load of horseshxt.
But I will say, perhaps tongue-in-cheekly, that I just can't get
around a hardware mixdown. Other than that I'm fine with whatever, but
putting it through a Mackie seems to make all the difference. A close
second to that mixer would be hardware compression.
I mixed one of my tracks a couple years ago then re-edited it
digitally and bounced it. The mix just drops dead. It's really
telling. I can play those two examples for anybody and they have only
to listen with their own two earballs to hear the difference.
On 2/25/10, kent williams wrote:
> All hardware is The Detroit Way(tm), and one can't argue with results.
> Virtually ('Virtually'?) every track that defines Detroit Techno and
> House music was made with hardware synths and mixed down outside the
> computer. As it happens, prior to roughly 1998, a computer was of
> limited utility for anything other than MIDI sequencing.
>
> The sound of Detroit techno arose at least in part from the way
> working with the hardware influences the aesthetic choices made. The
> one measure drum loop is a limitation of Roland Drum Machines* so
> Techno mostly involves one measure rhythm loops. Within that
> limitation, producers soon used the tools available to them (volume
> controls for individual sounds, sound parameters, write-mode real-time
> step programming) to make something static come alive.
>
> I use a mix of hardware and software, and end up doing the mix in the
> computer. That's just what I've evolved into using over the years. I
> still have nearly every synth & drum machine I've ever bought, and got
> my latest analog synth in 2008.
>
> That being said, I think it is very possible to make good music
> without the hardware, and in fact many people who make tracks simply
> can't afford a full-on hardware studio. Software synths are free to
> cheap; a proper modern analog synth costs a minimum of $300-400, a
> TR909 -- if you can find one -- is $1000 or more. A usable laptop is
> $600, and sufficient software is free to cheap (or stolen).
>
> If you don't like how all-computer productions sound, you can spend
> the multiple thousands of dollars to equip yourself with 'real' gear**
> or you could learn to get the sound you want out of the computer. The
> production techniques required for working in the computer are
> different than working with outboard hardware.
>
> In the end it's always what your'e able to do with the gear more than
> the gear itself. Whatever inspires you or feels comfortable should
> your guide, not what anyone thinks that you 'should' be using.
>
> *You can use drum loops longer than one measure on Roland drum
> machines, but it isn't the easiest or most natural way to work.
>
> **My rule of thumb about buying external gear -- if it's just a
> computer on the inside, I'd rather save my money and use my computer.
> A lot of external synths -- e.g. Nord, Elektron Machine Drum, Alesis
> Micron -- are just computers in a fancy box. They may be useful for
> many reasons, but they don't do anything your computer can't, at least
> insofar as sound is concerned.
>
> On Wed, Feb 24, 2010 at 6:28 AM, Kevin Kennedy wrote:
>>
>> As a side note, I have gone back to using hardware, and there will be
>> results to post for everyone soon...
>>
>
(313) Chilly B of Nucleus has passed away
This act was at DEMF a few years ago, I thought they put on a great show. http://www.boingboing.net/2010/02/25/rip-old-school-elect.html -Arturo
Re: (313) Been Reading...now speaking...talking about the future (of fbk that is:)
All hardware is The Detroit Way(tm), and one can't argue with results.
Virtually ('Virtually'?) every track that defines Detroit Techno and
House music was made with hardware synths and mixed down outside the
computer. As it happens, prior to roughly 1998, a computer was of
limited utility for anything other than MIDI sequencing.
The sound of Detroit techno arose at least in part from the way
working with the hardware influences the aesthetic choices made. The
one measure drum loop is a limitation of Roland Drum Machines* so
Techno mostly involves one measure rhythm loops. Within that
limitation, producers soon used the tools available to them (volume
controls for individual sounds, sound parameters, write-mode real-time
step programming) to make something static come alive.
I use a mix of hardware and software, and end up doing the mix in the
computer. That's just what I've evolved into using over the years. I
still have nearly every synth & drum machine I've ever bought, and got
my latest analog synth in 2008.
That being said, I think it is very possible to make good music
without the hardware, and in fact many people who make tracks simply
can't afford a full-on hardware studio. Software synths are free to
cheap; a proper modern analog synth costs a minimum of $300-400, a
TR909 -- if you can find one -- is $1000 or more. A usable laptop is
$600, and sufficient software is free to cheap (or stolen).
If you don't like how all-computer productions sound, you can spend
the multiple thousands of dollars to equip yourself with 'real' gear**
or you could learn to get the sound you want out of the computer. The
production techniques required for working in the computer are
different than working with outboard hardware.
In the end it's always what your'e able to do with the gear more than
the gear itself. Whatever inspires you or feels comfortable should
your guide, not what anyone thinks that you 'should' be using.
*You can use drum loops longer than one measure on Roland drum
machines, but it isn't the easiest or most natural way to work.
**My rule of thumb about buying external gear -- if it's just a
computer on the inside, I'd rather save my money and use my computer.
A lot of external synths -- e.g. Nord, Elektron Machine Drum, Alesis
Micron -- are just computers in a fancy box. They may be useful for
many reasons, but they don't do anything your computer can't, at least
insofar as sound is concerned.
On Wed, Feb 24, 2010 at 6:28 AM, Kevin Kennedy wrote:
>
> As a side note, I have gone back to using hardware, and there will be
> results to post for everyone soon...
>
