The new stickers for “The Horrorist” have arrived. They were designed by Maurice Roy and printed at uprinting.com. Maurice created 3 color versions based upon red, white and black. They turned out quite beautiful. The first people to get some of these will be in Malta this weekend!
“Shift & Cubik are proud to be able to bring over the PETs and The Horrorist for a night of bone crunching bass and in your face vocals. Supported by: Faddy, Punisher, Jefaz & The Volt Tickets are out at €20 from PCWise, Royal Impact, Fact and selected runners. Infoline – 99909808”
I really didn’t see Steinberg re-releasing some of the very first widely used VST plug-ins Model-E and VB-1. Cubase VST was one of the biggest innovations in music production. To be able to have software instruments, effects, audio recording and a MIDI sequencer all natively running was quite amazing in the mid 1990s. The first computer I owned that was capable of running the software was a Power Computing Powercenter Pro210 Mac clone. The Pro210 had a 210MHZ processor, 16MB of RAM and a 2GB hard drive. I was able to run Model-E a Moog type clone and maybe one reverb plug-in. You can hear Model-E in my remix of for David Tarrida the “Horrormone” remix. It’s the main detuned synth. The new version of Model-E is unsupported but free. Now where is my 2012 version of Neon?
“Holy crap there’s a 64 bit version of Model E (Diva faces stiff competition)” – aMUSEd
Above is the trailer for the upcoming Morbid Angel remix album. I’m pleased to be on the same release as Laibach, Skinny Puppy and many other great artists. Morbid Angel is causing a lot of controversy within its own fanbase by jumping genres. Usually artists need to change to grow so I respect what they are doing.
“39 artists from the electro / indus / dub scene, each remix a song from Morbid Angel’s latest offering “Illud Divinum Insanus”. Featuring Laibach, Combichrist, The Horrorist, Punish Yourself, Micropoint, Treponem Pal and many others!”
Vince Clarke and Martin Gore’s collaboration into electronic dance music called VCMG is upon us with their first release Spock. I think it’s hard to jump genres and if your already famous for something it’s very difficult to get fans to accept your new art. I honestly was expecting to hate what they did but I’m pleasantly surprised. The original version of Spock is quite nice. It’s a well produced metallic analog sounding track with a modern arrangement. It’s worthy and has me hoping for more. Listen to samples of the songs: amazon.com/EP-1-Spock/dp/B0…
“Earlier this year, Gore had revealed that he and Clarke had reconciled and would be working on a new project together. “Out of the blue I got an e-mail from [Clarke] just saying, ‘I’m interested in making a techno album. Are you interested in collaborating?,'” he said. “He said, ‘No pressure, no deadlines,’ so I said, ‘OK,’ and that’s what I’ve been doing for the last six months.” – nme.com
I’ve started to plan a modular synthesizer. I really like the Monorocket cases and I’ve picked out some modules to start with: Doepfer A-190-3 Midi to CV interface, Doepfer A-155 Analog Sequencer, Doepfer A-198 Ribbon Controller, Livewire Audio Frequency Generator (AFG), Harvestman Hertz Donut digital oscillator, Doepfer a-118 Noise Module, Livewire FrequenSteiner Filter, Doepfer A-140 Envelope Generator (two of them), Doepfer a-147 LFO, Pittsburgh Modular Analog Delay and a Doepfer a-199 Spring Reverb.
I have some questions: Do I need to know anything about powering these? If I got the Monorocket M9B could I just plug the above in and expect it to work? Is there a shop or meet up in the NYC are where I can try out some modules? What about my choices above? For example I picked two Doepfer A-140 Envelope Generators because I have two Oscillators. I assume I need them otherwise the Oscillators will just drone on. I know there are a lot of other exciting modules out there but any recommendations are welcome.
“Combining the signals generated by multiple modules into a common audio output allows a potentially infinite number of configurations, leading to a potentially infinite number of sounds.” – Wikipedia
Happy Thanksgiving everyone. I have a mountain to be thankful for. I’m healthy, working and making music often. It’s only 1:30 but so far I demoed some software synthesizers I had my eye for a while. I tried the Madrona Labs Aalto, UH-E ACE and the XILS-3. They were all interesting and if your a soft synth person I could recommend them all. I did the the XILS-3 the best though. That said, they don’t compare to my new AS Telemark so I zapped them from my hard drive. I uploaded an “old” demo to Soundcloud as an apple pie was being created in my kitchen. I’m off to my mother’s house soon for the big eating. I really do appreciate everyone who visits Wire to the Ear so that’s one more thing I am thankful for in 2011.
“I celebrate Thanksgiving in an old-fashioned way. I invited everyone in my neighborhood to my house, we had an enormous feast, and then I killed them and took their land.” – John Stewart
Here’s an idea that should find it’s way on to all controller keyboards. German company Endeavour has created the Evo which has touch sensitive keys. Perfect right? Well it cost 2800 EUR so about $3,742 USD. Let’s hope they license the technology to someone like M-Audio for the next Oxygen 8.
“The combination of a classic claviature and modern touch-technology. The best of two worlds united in one keyboard.” – endeavour.de
Have you ever been watching modular synthesizer videos and wondered what the touch “keyboard” was you were seeing? It most likely was the Make Noise Pressure Points. A module like this makes you part of the CV circuit. Don’t you want one? $215 USD.
“Pressure Points is a controller in which 1 of 4 sets of 3 tuned voltages are selected by touching the corresponding printed copper wire at the bottom of the instrument (aka the Touchplate). Touching Pressure Points, you become part of the circuit, generating a gate signal (Gate OUT), a control signal proportional to the amount of pressure applied (Press OUT) and activating the corresponding Stage. The Tuned Voltages for the activated Stage appear at their respective OUTs along the right side of the module. In this way, Pressure Points is like an analog sequencer that is played by hand. 2 pots allow the circuit to be adjusted for desired playing response.” – makenoisemusic.com
I received a delivery from Noisebug yesterday and made the above unboxing video for you. I was also inspired to add the Analogue Solutions Telemark to an EBM song I am working on for my next album. You can hear the song in the video above. It still needs plenty of work and of course vocals. You’re also hearing a Jomox Brane 11 and the sequences are being fired off by a Doepfer Dark Time. The Telemark is created in the UK by Tom J Carpenter. He recently repaired some of Alan Wilder’s (Depeche Mode) equipment for an auction. The Telemark starts off as an Oberheim SEM clone but adds Noise (to me VERY important) and some other goodies. It’s a large beautiful synth and it sounds incredible.
“More features than the original SEM such as Sample and Hold, LFO Square wave, Noise, extra inputs, many more signal modulation options via rotary switches.” – analoguesolutions.org.uk