[ Hypnos Forum ]

Came across this and actually Im still watching it as I post.....not sure if its been posted before but here it is. Its an hour and change that gear heads will enjoy yet listening to Mr Moog talk is something everyone should hear.

Very organic and universal

Robert Moog-the documentary

Good point Seren......I am sure it will be an issue I will face.  My studio is acoustically treated but this is for mixing purposes, theres no iso booth.

I once asked Taylor Deupree about his acoustical recording method in his studio and ambient noise issues and he had no concern about addition sound being recorded along with the source.....in fact he seemed to almost welcome it as a creative opportunity.

I imagine that getting a "good" recording will be more of a challenge than microphone selection.   

I would like to use my sing bowls in music I plan to record over the summer but have no clue about microphones.  Have not held a mic in more than 20 yrs.  Not certain if I will record a performance or just record individual bowls in a sampling manner.  From what I have read on the net, and there is not much out there on recording singing bowls is that because of the the low volume and complex tones a good pre amp and AD converters are recommended.  As far as mics go it seems wide open.  Perhaps a matched stereo pair?  Like any gearslut I know the names and the insane price some mics can go for but they are just names to me.

Im Looking for a good microphone(s) to get the job done well without getting a second mortgage.

Your thoughts are most welcome.

Been having a bit of a retro journey.....Level 42, Love Games.  I was listening to this about the same time I discovered Eno's Ambient series 1 - 4 in the early 80's.
He is paying respect to Stanley Clark at the beginning, but make no mistake, Mark King was/is a brilliant bass player up there in the ranks.....and damn are they tight and I do Love a bass that drives a song. What else would expert from a drummer.

MARK KING BASS SOLO + LOVE GAMES - LEVEL 42 Retroglide Tour 2006

My deepest sympathies go out to Family, friends and fellow fans.  How privileged I am that his music touch me / us to the core.  Thank you.

Ive seen classical "audiophile" files  for this much but the files are 24bit / 96k and upwards.  They must be trying to push the cd's and put off potential paying downloaders.  Still, look at how much you save in shipping if you downloaded. 

Article from the recent Sound On Sound. APK

-------------------------------------------------------------------
Why are we lusting after vintage gear?
SIMON GOGERLY

My suspicion is that the obsession with vintage equipment has more to do with a desire to impose limits and discipline on the process than anything else. The ‘limitless’ possibilities of modern recording and production can lead to laziness of performance and a lack of decision making. Musicians and producers are spending more time working alone on a computer rather than collaborating in the studio with like-minded souls. Bouncing ideas around with others can be the most creative and fun part of recording, and it’s easy to get bogged down in isolation. The lack of discipline that the technology can promote isn’t the fault of the equipment itself — it’s the fault of the users. Making music shouldn’t be about the equipment at all: it should be about the music makers. What kind of equipment you use doesn’t matter that much. What really matters is what you choose to do with it.
..........................................................................

I feel it is the limitless possibilities that are the real issue.....there are too many choices and I have work at making my own musical choice very limited.  A few piece of good gear and a clean recording path.

To use another creative pursuit to illustrate.....when I was involved in photography some 25 years ago there was film and darkrooms.  Digital was not even dreamed of, well maybe a dream.  You had to know how to use a camera to its full extent to get good technical results. Automation did not exist. Same goes for the darkroom.  In a way somewhat archaic to todays photographic production yet it was so hands on.  Today I use a very good full frame canon camera with a beautiful piece of glass attached, what this camera can do technically is astonishing.  Automation everything.  How do I use it....completely in manual mode as I did 25 years.  Why will people pay $10.000 for a Leica camera.....because they are silly and have too much money, perhaps. " That much money for a camera and it does not even have auto focus"....I have heard this said.

Back on topic....

I wouldn´t want to be bothered with that sort of bulk and maintenance (*enter any other early digital reverb here). Same thing with Fairchild or Tubetech outboard stuff.

Waves have recreated a hardware version of the Fairchild called Puigchild after said famous producer pictured below.  Interesting as Waves are leaders in creating analogue / tube / tape plugin recreations of vintage gear

What I find most irritating in this context is that most music which is produced using this extremely expensive type of studio gear is condensed into lossy audio formats and played back using the internal speakers of a mobile phone... pathetic.

Stephen

I agree....also these gifted studio engineers have to contend with their work being slammed at the mastering stage, certainly with pop music, also not the mastering engineers fault.  So who's responsible then?

25 years ago few of use would be able to create, play, record and release music as we do today and though we may work in isolation as discussed, we are not alone....case in point, The Hypnos Forum!

I also want to show my support for Stephen and his show, which has been on so long, it's easy to take for granted. 

Forrest

Reason enough....plus the performance.  I call that well worth it.  HOS radio show was the only source for new space / ambient music back when I originally tuned in during the mid 80's 

In my mid teens some 35 years ago a synth pop band came on the scene when I lived in England.......and that same band is about to release a new album.  Respect!

Quote from: Julio Di Benedetto on February 09, 2013, 06:21:39 AM

I think its exciting times for analog hardware synths especially as digital synthesis development in hardware has stopped.

I'm not sure this "stopped" is true. Plenty of good, relatively new digital synths out there. Roland, Korg, Novation, and more. Yep, a limited number, but in that sense it is like the analog manufacturers. Of course, digital hardware is always in competition with software synths, and there have been some very fine VST synths released this past year.

Yes Anthony "stopped" is a bit abrupt.....its more a "stopped" personally speaking.  I haven't seen anything that has grabbed my attention since the Hartmann Neuron. I had the software with the joystick controller.  In one sense the Neuron Keyboard was a soft synth with a very stylized and expensive user interface as I believe it was run by a pc internally. For me the Neuron was a major development in digital synthesis and something I have not seen since.

John Bowen has created the Solaris which is digital...I haven't heard it but if it is digital technology emulating analog then Im not sure I would call that a development imho. 

I have always felt that digital would be the touch bearer for synthesis development and it has in software.  I love my Virus TI and the sounds it produces but for me its not a torch bearer. 

Of all the synths I have used the Oberheim Matrix 12 / Xpander still stands as a unique synth that was lock in time and never developed further. And thats ok....however programming and play it is an experience that no other synth Ive used has equalled considering it was created nearly 30 years ago

In this light one could argue the new Prophet 12 is no synthesis revolution.....looks very special but the technology under the cover is "old school" yet put together in a new way perhaps.

Quote from: Julio Di Benedetto on February 12, 2013, 06:20:39 AM

Actually I believe the Buchla 200e has memory.

The 200e does have memory but you still have to repatch everything, it only remembers the settings for each module. I started learning the art of synthesist first on a Moog modular and then on an old Buchla 100 system. I try to take a sort of zen approach to modulars, a patch is here one day and gone the next. You can literally start with a clean slate at any time.

That makes sense...how can a memory module remember where a physical patch cable was.

I was really fortunate to own a 3 panel Serge system and what was  unusual was the ability to stack the banana plugs, something that is true for the Buchla systems as well.  I can recall having up to six banana plugs coming out of one jack on a Universal Slope Generator....serge speak for a strange and wonderful LFO, well sort of an LFO but much more.  Programming the Serge modular became almost 3 dimensional.  Layer one was the initial patch with plugs in contact with the various jacks and then the was the next possible layer.....banana plugs into banana plugs.....and the next layer.  TRS and mini jack systems have patch bay type modules to do the same thing but for me the Serge system offered a way of seeing the physical sonic layers of a patch.