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Messages - Julio Di Benedetto

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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.

342
Other Ambient (and related) Music / Re: AMBIcon 2013 Update
« on: May 15, 2013, 05:55:42 AM »
Brilliant way to begin the concert series with the discussion panel.....the only person Ive heard talk before was Robert Rich so it is special to listen to these musicians express their "core" in a verbal sense. 

It is HOS that has been the touch bearer all these years for this deep listening music we love so much.....Thank you!  Glad to see that HOS was also acknowledged in the discussion for the "creative" and I image challenging task of producing an hour show and what goes on behind the sense to make it happen.



343
Now Playing / Re: Currently listening, part 1
« on: May 07, 2013, 05:54:04 PM »
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

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Now Playing / Re: Currently listening, part 1
« on: May 04, 2013, 11:21:12 AM »
John Foxx : The Complete Cathedral Oceans  What and immersion! Did not expect to like the vocal element....How wrong I can be.
Krill Minima : Nautica Really enjoying this!
Oophoi : Il Silenzio Di Dio Beautiful!

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Other Ambient (and related) Music / Re: R.I.P. Oophoi
« on: April 15, 2013, 04:28:18 AM »
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.

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Now Playing / Re: Currently listening, part 1
« on: April 08, 2013, 06:59:56 PM »
Here is my Bandcamp Profile to date.....http://bandcamp.com/digitalvoices

What I like is bandcamp connects you to others that have similar music taste....I have discovered music I might have passed on or not even discovered left to my own devices.  Sure, nothing that special in the grand scheme of things, yet it is, because it is within the single most largest "lossless" download music site that I am aware of.

347
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.  ;)

348
Music Gearheads Tech Talk / Re: Vintage Gear
« on: April 01, 2013, 05:44:25 AM »
I think vintage gear as discussed in the article does not have the same mystique and wonderment that say a classic british motorcycle like a Norton or BSA does. Why, because there is money in the equation. The article is written by an audio professional about the recording business.  Certainly all the passion for this vintage gear is there but as a business where money is to be made reliability and repeat performance are paramount. I don't have a picture in my mind of a garage full of vintage recording gear being lovingly maintained and resurrected, but I do have a picture of a garage where vintage bikes or cars as Harry talked about are striped down and rebuilt and driven because I know people how do this.  There is only money to be lost.  Granted it is apples and oranges but it resides under the label "vintage".

If I run my Matrix 12 through a vintage Neve pre amp and hear the synth like I have never heard it before I am reminded of what an incredible and creatively inspiring instrument it is not how phenomenal the Neve preamp is.  I have had some good modern tube and solid state pre's and they are gone.  The M12 is still here.  What does that say? 

Thanks for listening to me debate this with myself  :o

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Music Gearheads Tech Talk / Re: Vintage Gear
« on: March 31, 2013, 06:01:58 AM »
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!




350
Other Ambient (and related) Music / Re: AMBIcon 2013 Update
« on: March 24, 2013, 05:36:22 AM »
for anyone who might wonder what my set is going to sound like, here's a three minute snippet of one of the rehearsals I've recorded


.... and, yes, I'm particularly proud that I learned how to embed the soundcloud player...  :)

Quite Beautiful it is Jeff........been playing "Bleed" these last few days, a special cd for me.  I hope these HOS concerts will be recorded!  :)

351
Other Ambient (and related) Music / Re: AMBIcon 2013 Update
« on: March 18, 2013, 05:03:40 AM »
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 

352
Great work Tomas.....had to listen without looking at the screen to get a sense of the music by itself because the actual music merges so well with the visuals and creates the mood while supporting the drama......The key elements to a good film score
     
Hope the movie makes it over the atlantic to us! 

353
Other Ambient (and related) Music / Re: What's happened to Depeche Mode?
« on: February 23, 2013, 05:57:15 AM »
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!

354
Music Gearheads Tech Talk / Re: Is Analog the future for hardware synths?
« on: February 13, 2013, 11:10:53 AM »
Pete I do agree and it is what I was suggesting in my post that software is the one place that digital synthesis has really evolved.  Much more so than digital hardware. 

I was just thinking about how much I enjoy programming with wavetables......another milestone in digital synthesis and now combined with the new Prophet 12 as well as the DS Evolver.....hybrid synthesis, Analog & Digital 

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Music Gearheads Tech Talk / Re: Is Analog the future for hardware synths?
« on: February 13, 2013, 05:47:56 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.




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.   

356
Music Gearheads Tech Talk / Re: Is Analog the future for hardware synths?
« on: February 12, 2013, 06:20:39 AM »
I've always had a fondness for analog because it's seeming unpredictability and warmth. 

Forrest

Yes the unpredictability is what I love most with modular systems.  One cable is capable of changing the sound completely, two cables and a tweak of a knob and the chance to ruin the patch you work on for a good while and three cables, two tweaks and odds are you cannot do back and recover the patch, yet your on the way to something even better, perhaps.  Modular synthesis forces you to take risk in sound design and with this though comes the opportunity to creates some of the most amazing and unique sounds.....once!

Actually I believe the Buchla 200e has memory.

357
Music Gearheads Tech Talk / Re: Is Analog the future for hardware synths?
« on: February 10, 2013, 04:36:24 AM »
See Julio, you should have better kept your Andromeda  ;) Anyway, why did you sold this extraordinary piece of hardware? I would never sell mine  :D

Cheers,
Tomas

Hi Tomas.....actually I still have it.  The sale never work out, however it is in need of some serious tech support.  The software and LCD screen malfunctions have made it impossible to program.  The Matrix 12 in is much better shape.  Strange as it may seem I find programming the Andromeda frustrating.  It does produce wonderful sounds nevertheless.  The Matrix 12 is much more intuitive to program for me.  I will get the Andromeda fix this year.

As Harry mention there has also been a huge revival of modular synthesis and all of this is so much more affordable!

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Music Gearheads Tech Talk / Is Analog the future for hardware synths?
« on: February 09, 2013, 06:21:39 AM »
Seems there is a lot going on with analog synths recently......the new Korg MS 20 Mini, various mono synths from Moog and Arturia, Oberheim has the 4 Voices SEM coming soon and now Dave Smith has released the Prophet 12.  This looks really special to me as my Matrix 12 depending on the day can be a Matrix 7 or 11 as voice chips die and seem to resurrect themselves.  Perhaps soon vintage analog gear will just be for collectors not players.

Imagine a polyphonic offering from Moog, or something from Roland that is worthy of the name Jupiter.

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

 
Introducing the Prophet 12 Synthesizer - Dave Smith Instruments

359
Now Playing / Re: Currently listening, part 1
« on: February 05, 2013, 06:40:09 AM »
Taylor Deupree : Faint (Limited Box Set) The word around is that this is his best,  perhaps because it is certainly accessible, beautiful and has all the content that you would expect from the artist yet there is something different that makes it so special.  Of course the hardest part to find words for.....his best, why not, it is that good!

Forrest Fang : Animism  If space music is for intergalactic travel or journeying the vast dimensions within then this music has my feet firmly plant here on earth.  It takes me to places organic that I had only dreamed of, to places I did not know could exist and if at times my feet do leave this earth, it is the spirit in me that soars.  The musicality of Animism is astonishing.....theres a quality to it that reminds me of the sonics & musicianship from the ECM Records.  Production is solid and the timbral balance from track to track are evidence of great mastering.

Steve Roach / Dirk Serrie : Low Volume Music  My expectations were high for this and unfortunately they were not meet.  The sounds of each musician are clearly evident and it works well from that perspective yet after much listening my sentiment has not changed.  Perhaps with time it will.  These two gentlemen sometimes need time to get into their sounds.....so Im going to chalk it up to that as I have great respect for their separate & collaborative works.

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Other Ambient (and related) Music / Re: Taylor Deupree "Faint" Box Set
« on: January 10, 2013, 06:11:30 AM »
I have to agree with both Darren & jim02......music is as they both say!  The prints/photos that are included are also really beautiful to me.  So much so Im thinking of framing them as a group and putting them up.

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