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Messages - Julio Di Benedetto

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421
Music Gearheads Tech Talk / Re: Vintage Gear
« on: March 31, 2013, 06:01:58 AM »
Article from the recent Sound On Sound. APK

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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.
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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!




422
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!  :)

423
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 

424
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! 

425
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!

426
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 

427
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.   

428
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.

429
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!

430
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

431
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.

432
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.

433
It most definitely is working.....as I audition my ambient shuffle mix playing from the studio in iTunes while listening from another room (I plan to export over to a undetermined mobile device soon).....I keep having to go into the studio to see what wonderful music is playing and each time its "Harmony through Conflict" Certainly the music is new to me today but its not that catching my attention, its the musicality, the subtle darker shades and sonic balance of elements......simple put, its inspiring music!   

434
Downloading the 24 bit ALAC now.......very excited to explore this release..... A beautiful work cast in gentle shadow.

435
Brilliant.....follow the advice at the beginning or ignore that part and go straight to the end where he writes the best advice.  However there are usually no short cuts. 

Ultimately we must do the best work we can.....great post, thanks!

436
Computers, Internet and Technology / Re: Allflac.....Ambient Flac Titles
« on: January 02, 2013, 06:42:34 PM »
REALLY.....it did seem fish somehow.  Need to open my eyes.  Perhaps Mike this thread should be delete unless its better to keep it to serve as a red flag for others. The last thing I want to do is send people to this sort of site  >:(

Thanks to you both for the heads up.

437
Computers, Internet and Technology / Allflac.....Ambient Flac Titles
« on: January 02, 2013, 09:16:57 AM »
Im in the process of ripping my cds to disk and I was doing so with Mondell & Mantrs's Sonic Continuum while searching the web for artwork which quickly came up first under  (LINK DELETED - CAREFUL WITH YOUR CREDIT CARD INFORMATION, EVERYONE!)

Im finding quiet a few titles.  Is this new, Allflac......Am I late to the game.  Prices are cheap.  Is it legit.  Must be, someones getting paid.


438
So happy you are all enjoying the music.....your comments mean a great deal to me!

439
Thanks drone on......happy you gave it a spin!

440
Got this in my email box today....interesting.


I was having dinner last night with Black Tape For A Blue Girl's vocalist Athan (check out his new project, NOIR). We talked about the "why?" of making art. What drives artists to create? I know that for me "in the old days," art was about working through angst and sadness. Getting it out of my head and into some sort of tangible form. The process of making music was tense, obsessive, and conflicted, but I did enjoy the expression. It wasn't about the supposed "fame" attached to being an artist; though (in the mid-90s) Blacktape was somewhere near the top of the pack of independent American darkwave acts. It was nice to have a lot of people experiencing my art and it was nice to see the checks that came with success. Somewhere along the line, these disparate things merged into one thing. Sales = Success.
But sales are a hard thing to quantify in this new era of the music industry when so much music is consumed for free by "fans" who obtain albums through unauthorized channels. I don't feel a connection with the listener, anymore. I'll admit I've grown quite disheartened by this. I've always run my own mail-order business, so I used to have a direct connection to my audience. But CDs (and downloads) don't sell much anymore, I don't see evidence of my music going out to listeners. I feel my creations lie dormant, nothing but bits of data somewhere in personal and digital memory. 

I've done a few things to rethink my connection to my art. Wayne Dyer has a phrase, "When you change the way you look at things, the things you look at change."

I started a Bandcamp page http://blacktapeforabluegirl.bandcamp.com/album/mesmerized-by-the-sirens-free-download afew months ago, and put some of my music up for free. There is something really sweet in seeing over 800 combined downloads for Archive 01 and A chaos of desire. Of that, 14% of you felt like giving me a little something for my work. It's not enough $$$s to pay my rent for the month, but it's something... your contributions show me that my music matters and you appreciate it enough to give a little something for it.

Those payments deposit directly into my PayPal account. I have a PayPal debit card which my son and I have rebranded as my "FanPal"

When I pay for apple juice, veggie chicken nuggets, and avocados at the local bodega, I pull out this card and remind myself it is you - my fans - paying for our food. And that feels really nice. It's not just anonymous cash coming out of my bank account. It's your love and support.

See: Change the way you think about things, and the things you think about change.

Income from sales of my novel, Rye, works the same way. Your payment goes to my debit card, and I buy dinner! : )

But let me get back on track here, because the subject was, Why do I make art?

One of the most rewarding things about creating art is having it received. Art is about communication. It's about some wacky idea I had in my head, that I converted into reality; somebody experiences that, and the connection is made. Whether in the form of lyrics; or now, in the form of my novel.

I really love hearing from people as they read Rye. Hearing their thoughts about the characters, their interpretations of motivations, their interest in the identity and gender topics I discuss. That communication and exchange is what makes art exciting to me. It's not the money (though don't get me wrong, money is nice, and I'd love to sell enough books to be a full time artist), it's the connection. The communication. These characters I've invented that seem real enough to make you want to turn the page, and learn what they do next.

As you read Rye, feel free to message me at Facebook or here, and tell me how you're getting along. What interests you, excites you, or confuses you?

To say thanks! for your interest and support, I've uploaded another Black Tape For A Blue Girl album for you to download for free at Bandcamp. This is Blacktape's second album, from 1987, Mesmerized by the Sirens.

It's been at least a decade since I've listened to Mesmerized. As I was preparing the page today, I streamed it beginning to end. As Rain would say, eyebrow raised, "Fascinating, captain!"

I was twenty-one when I recorded Mesmerized. Listening to it earlier today, I thought: "Huh? What kind of bizarre twenty-one year old writes an album like that!" It's emotional, torn, confused, happy (in moments), dark, dense, beautiful, complex and advanced! If someone sent me a link to this album, and an email, "Hey Mister, check out my demo, what do you think?" I'd be damn impressed! That's not ego talking, it's looking back through more than half-a-lifetime of experience, and hearing what's here! Of course, I hear the 4AD influence, and the Brian Eno influence; but think about it in the context of 1987 (From the top-10 of 1987: 1. "Faith" George Michael 2. "Alone" Heart 6. "La Bamba" Los Lobos 7. "Livin' On A Prayer" Bon Jovi 10. "(I've Had) The Time Of My Life" Bill Medley & Jennifer Warnes! This was also the year Dead Can Dance released Within the Realm of a Dying Sun).

Mesmerized is a very fluid, cohesive and rewarding listen.

For the free download, I added two related bonus tracks. A cover of "Jamais Pars" by my other band, Thanatos; and a cover of "Seireenien Lumoama" created with Bleeding Like Mine. Nice stuff!

On the bandcamp page, you can stream Mesmerized by the Sirens for free, or you can download it for free, and when you download you can even leave a little something. And rest assured we'll be buying some of that yummy tomato & basil soup at the bodega, and I'll be thinking of you!

Thanks for supporting of my art,

Sam


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