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Messages - Julio Di Benedetto

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Sounds like a Fantastic evening the photograph and story.

You might like to try Caol Ila Islay malt.  It somewhere between Laphroaig and Lagavulin in taste and not as hard one your wallet as Lagavulin.  It is my current dram.

Writers always seem to have great taste in whiskies....hey maybe ambient musician do to.  :)

Music Gearheads Tech Talk / Re: Cans.....Whats on your head?
« on: December 16, 2013, 08:53:23 PM »
Very.....came to these monitors from a Mastering setup that had lots of audiophile paraphernalia.  I wanted the full range listening capabilities that B&W 802's, my old speakers, within a smaller studio environment.  The Focal Twins delivered.

Music Gearheads Tech Talk / Re: Cans.....Whats on your head?
« on: December 16, 2013, 07:01:18 PM »
Oh.....the monitors.  Got those in 2007,  dont remember then its gone up a little.  Today $3800 a pair +-

Found this thread buried in the archives......thought I would bring it back to life, tis the season!

I have been enjoying single malts scotch's these past several months.....never really got into them until I picked up a mix pack of small bottles that were Craggenmore 12, Talisker 10 & Lagavulin 16.  Well that change everything.  Its hard to image just sitting with a dram and sniffing and sipping for a half hour.  Such a small amount of liquid produces such aromas and flavor.

My list in particular order though I do tend to favor the Islay malts with their heavy peat smoke.


Ardbeg Ten, Lagavulin & Laphroiag Triple Wood really stand out.  They are all great whiskies.  The Islay ones seem to manage to bottle the smell and almost taste of the Ocean!

Still much more to discover.

Music Gearheads Tech Talk / Re: Cans.....Whats on your head?
« on: December 16, 2013, 06:48:42 AM »
$345....and the Focals are up against tough competition from my Grado SR325.  I love these cans but they are open backed

Music Gearheads Tech Talk / Re: Cans.....Whats on your head?
« on: December 15, 2013, 03:36:24 PM »
Indulging myself this christmas, that and I need a closed back headphone for recording purpose.  Im led to believe these cans translate well with my Focal Twin monitors.  Would be really handy. Lets see.

To me the cosmic consciousness means one is aware of the eternal past and infinite future simultaneously.   Galaxies, planets, our bodies, cells--all part of one big interconnected universe.

I took a very deep breath when I read this....pranayama, the universal breath.  Beautifully put drone on. 

Music Gearheads Tech Talk / Re: KVR Black friday/cyber monday sales list
« on: December 14, 2013, 11:44:32 AM »
Thanks for the link Paul.

Agreed, and I don't mean to say all synths are equal, or that a Casio CZ101 is just as good as an Andromeda or a Moog or a Matrix 12 or any of the "greats." I tend to think of all synths as having their own strengths. For some synths, like a CZ101 or my Roland SH101 (hey, my first two synths both had the number "101"...) one of the strengths is that they're straightforward and easy to learn, so maybe their value is more as learning tools which are limited in terms of practical usage.

This is very true Mike.....the learning is crucial and limited is good.  Without a decent amount of practical electronic synthesis knowledge one would have a hard time getting the most out of an Andromeda or M12.  They are very deep instruments and thus are a constant source of sonic surprises to the seasoned electronic musician. Im a much more knowledgeable programmer after spend time using a modular synth. 

I think a few different "limited" synths in one studio is just as good as using the some of the "greats" because as you suggest one becomes a master.

Music Gearheads Tech Talk / Re: KVR Black friday/cyber monday sales list
« on: December 14, 2013, 05:17:14 AM »

In all my years of recording the 2 most significant times when my ears perked up and I went ahhhh, I hear it! I get it! were:

1. when I treated my room and put my monitors on Prime acoustics recoil stabilizers
2. When I ran sound through a real hardware La-2a


I had been wondering about the Prime Acoustic Stabilizers, seen them everywhere and heard good thing but from no one I knew and who's point of view I respect.  Treating ones studio is really the best thing you can do for your sound.  It requires little effort unless you choose to make your own panels, minimum knowledge, because the "where to place the panels" info is all over the web and it does not have to be a big investment. 

Now Playing / Re: Currently listening, part 1
« on: December 13, 2013, 05:37:10 AM »
Martian Chronicles : Seren + Oophoi    When I got this cd it did not grab at first.  Ive been playing it a lot these last few weeks and like some of the music in this genre it can need a deeper listening.  It ask that you come to it open.  Great disc that is still unfolding!

Exciting news....Hypnos download offering digital versions of the Hypnos catalog and then hopefully all the other ambient electronic labels and artists. I can see it growing to be a digital "Backroads Music"

Other Ambient (and related) Music / Re: Vangelis
« on: December 12, 2013, 06:43:43 PM »
Yes....could be Forrest.  Vangelis has some sort of corresponding symbols on his pedals as well.  I like the idea of inferred notation.

I remember seeing a Hans Zimmerman score, well the one part he performed and it was numerical, alphabetical and not annotated  in the tradition, I guess a language he could understand.  Being self taught.

Other Ambient (and related) Music / Re: Vangelis
« on: December 12, 2013, 03:25:52 PM »
Im still trying to figure out what all the hieroglyphic type symbols refer to.....a musical language of some sort.

Thank you Immersion...this is what I was hoping for as a contribution to this thread.

Music Gearheads Tech Talk / Re: effects - old and new
« on: December 10, 2013, 08:29:59 AM »
a lot of the fx these days do tend towards distortion, glitch and grunge such as.....OTO Biscuit.

In some ways I feel that musicians, certainly in this genre are looking to the recording process as FX...that is where it is recorded, natural reverb etc.  Old school put the amp in the stairwell type of thing.

Also the way individual tracks come together with in the DAW can often create an unexpected sense of processing when the actual tracks are clean and dry.  Im finding this a lot personally.

Forrest recently mentioned Audiomulch.......I dont use it but know of it.   Something I want to like into

I do use Iris From time to time which I think of more as an fx processor which it actually is not.....

I do agree the power has increased but the fx remains the same and not always better.

Good post Seren......interested to see what others think.

So Far Immersion if I can sum up for you regarding the possible future of synthesis......classic vintage gear other than Moog sounds bad.  Current analog synths like the Prophet 12 sounds like bad soft synths and soft synths in general also sound bad except the one or two you use though they don't  really sound that good either according to you.  So actually the future is in processing.  The source is of no importance because its the processing that will make these dead synths come alive.  This is what I have come away with so far from your comments.

If you feel there is no future say so.....then say why you think so.....oh, you have already done that then why not offer some possible direction you hope it might go.

Ok, I see what you mean Forrest.  That would be exciting.  It seems most hardware synth allow you to process external audio but only run it through the FX and or filters. I could see some deeper integration as you suggest, not just pass the signal but the signal become part of the synth as a building block or as an oscillator, almost more organic if that possible.  Ive looked for such a thing but I dont think it exist....yet.

Julio, what I've love to see is in the future is more of an integration of treatment of real-time acoustic sound sources (not just loops) with synthesizers within the same box.  I guess Live does some of this, but I'd like to see some hardware synths take this on.


I agree.....didnt the Korg Oasys system try and succeed from what Ive read to actually create acoustic instruments, not samples.  The Oasys Keyboard is discontinued but the technology still exists. 

Within software an oscillator could be anything and software is the future.  The Hartmann Neuron was a fantastic step forward and that technology it still around.  It made me laugh when people would complain that when you turned the Neuron on you could hear the computer boot up and disc drive spin.....nothings perfect.

I think its exciting times now and looks likely in the future.....modular synthesis is just going bonkers with new companies popping up all the time.  Synths like John Bowen's Solaris are selling out every production run.

In the very near future people wont care if a filter is modeled after a Moog or an Oberhiem or an ARP, and actually I dont think people really do today.  The Alesis Andromeda has just such physical modeling and the real programmers / players just got on and dug deep into the instrument to discover its unique character that has little to do with Moog's or Obie's.  How many times have I read that the A6 sounds just like...well you kind of missed the boat if thats all thats worth commenting on the Andromeda.

So its awesome in these rare times when someone says, "hey I'll try something new!" maybe it will succeed, maybe it will never get off the prototype stage or maybe the technology gets absorbed into a future model, but its still cool.

I can't wait to see what this one turns into as the guy has a great track record.

Exactly....and attempting to make an effort to be sustainable.

Immersion...who are you actually talking to because it sounds like its yourself.  Your diatribe has nothing to do with with any of the musicians here who are very critical about the sound quality of the synths, software or hardware, that they use to create music with.   Statements like "for me the Xpander was totally useless without processing".....good thing you put "for me" beforehand.  Can I assume you are talking about ambient music or just generally.  The Xpander/M12 does sound really good through a "lost in space" FX but this sort of processing is something found in our genre of perhaps soundtrack work. What about all the other music where an Xpander has been used and often with minimal processing because that was what the music may have needed. And tell me please who uses a synth totally dry.

In all of your comments you are have left out the most important does it sound in the mix, because that is what people will ultimately hear.  If you are going to be scientific about it then be so.  Dazzle us with findings.

As this is a thread about the future of synthesis so to speak, what do think.....where will it go.....what form will it take?

Your thoughts are welcome!

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