« on: January 13, 2014, 12:18:03 PM »
Sounds like you have a really nice line-up teed up, John. Congratulations. I've been enjoying Zero Ohms' 369 release on rM recently.
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Finally on "Calibration", an entire track was taken from the previously released album "Perfume" by Klaus Wiese.
Oh geez. That's really disappointing to read.
I'm not an expert on the Buchla stuff, but from my understanding the Electronic Music Box was Don's 200 system while it was being sold through CBS. This box we are talking about here was the portable performance version call the Music Easel, basically his version of the Mini Moog. I think its based on three different 200 modules.
Im still trying to figure out what all the hieroglyphic type symbols refer to.....a musical language of some sort.
One possibility opened up by all this processing power we have now is the use of complex multi-effects configurations built by the user. You can build all kinds of crazy sound processing machinery using systems designed for this purpose like Max or Pure Data, or systems designed to be synthesizers with audio input options, such as Reaktor or the Nord Modular.
Something I've enjoyed doing from time to time for experimental purposes is wiring up a crazy, complex signal chain all through my studio, creating feedback loops along the lines of the things I've seen Eno set up. You have to include compressors or limiters in the loop so the setup doesn't just feedback on itself into an ever-increasing racket. Often this just creates a hum, or a throbbing oscillation, but sometimes it can be useful.
"I lost track of him after his 'Chariots of Fire' hit."
My thoughts too.
OK - I'm not a Vangelis keener - but this video of him playing his setup has some serious "wow" factor.
Wait a minute or two for him to finish his prep on whateverthehellthosemodulesare.
[I guess since most people are artists here they have the need to some kind of self censorship in order to portray their own reputation. So as I said within a certain circle of people in this forum there will never ever been any arguments cause they do not want to risk to to create tension between relations.
You seem to be getting lost in the details and are not attuned to what some of the more experienced musicians are trying to say to you.
I think if some one said that to you you would consider such statements proactive.
I wish we could have a coequal discussion, where all people are equally worth, and not people riding on high horses saying things like "I have better experience then you" it really kills the discussion, and is not really constructive and right.
I said that the years of experience is of no relevance, some people have it in them some have not, so to make this into some kind of competition who has released most albums and how have been working with certain audio in certai amount of years I find really provocative and arrogant. People use it as their main argument that they have certain years of experience so for that reason everything they say is above others, there is so many artists out there who have been working all life so years of experience say really zero to be honest. Some one achieve the same results in 1 year then the other person achieve in 30 years in terms of sound quality and production.
A better title for this topic would have been "Whither the zither?"
I saw a couple of tremoloas available on ebay recently. They weren't as expensive as I expected but then again, there's probably not a huge demand for them. Hadn't heard of the other two but I looked them up and they seem like cool instruments. I've never played a bowed instrument before though.
Yeah, the strings do sustain themselves well. It's like they have a little bit of a natural reverb. I like to go pretty light with the EQ as well. Stripping out all the midrange on a zither recording is not a good thing.
Do you have any other zithers besides the guzheng?