Ah, two of my favorite things: Berlin and Daniel Miller. Slice (also based in Berlin) visits Daniel Miller in his home. I love seeing which Eurorack modules he has, the art on his walls and just hearing him talk all things Depeche Mode and anything else!
“Daniel Miller has earned his place among the most influential figures in the music business from the last three or four decades. Throughout his career, Miller has often showed great vision and an excellent taste in music; he founded the legendary Mute Label, discovered and produced Depeche Mode, signed classic acts like Throbbing Gristle, Fad Gadget, Erasure, Nick Cave & The Bad Seeds as well as contemporary greats such as Moby, Goldfrapp, The Knife. For this Slices feature on Electronic Beats TV we had the honor of joining him in his Berlin home.” – Slices
For more info: mute.com
I was looking through some old photos last night and I came across a photo of myself in my studio in 1995. It was in this room I wrote the first Things to Come Releases including One Night in NYC and many of the early Industrial Strength Records I recorded. This studio was in my mother’s basement. Her bedroom was just above it. Looking back I realize how funny it is that I was screaming my head off down there. I do remember I was going to a wedding and thought, “OK I look cool lets take a photo in the studio.”. So hah please look past my uncool look and let’s see what gear I had!
– Atari 1040ST & SM124 High Resolution Monochrome Monitor running Cubase and Dr. T’s KCS.
– Yamaha NS10M Studio Monitor Speakers driven by a Crown Microtech 500 AMP.
– Roland TR-909 Drum Machine
– Roland TR-707 (not pictured… sat to the right of the 909)
– Roland TB-303 Bassline Synthesizer
– Roland SH-101 Synthesizer
– Roland Juno-106 Synthesizer
– Roland SH3 Synthesizer
– Electrocomp-101 Synthesizer
– Roland S-50 Sampler with external monochrome CRT
– Akai S950 Sampler
– Korg SDD-2000 Digital Delay
– Mackie 1604 Mixer
– Another large old mixer (in the photo with the record, CD and DATs on it)
– Tascam 1/4″ Patch Bay
– Tascam Dual Cassette Deck
– Tascam DA-30 DAT Machine
– Turntable for Sampling Records
– Ultimate Support Systems Desk with extra “wings”
– Ultimate Support Systems A-Frame Keyboard Stand with extra “wings”
– Ultimate Support Systems 3 Tier Keyboard Stand
– 2 SKB Rackmount Cases
– Slanted 19″ Rackmount Stand with Wheels
Today kids own a ton of gear. Back then my studio was considered “a lot of stuff”. In making this list you can see how Roland owned the techno world or at least you can see how much I love their stuff. This photo was right before Apple Macs became powerful enough to run Cubase VST with audio recording. So all the vocals I did back then had to be recorded live in one pass to DAT (digital audio tape). One night in NYC, Dark Germany, Mission Ecstacy, etc… all recorded live to DAT in one pass. Of course I would make mistakes and had to start the tape again. So what things in this photo do I still own today? I moved to Brooklyn and the TB-303 and Juno-106 were stolen. I sold the Akai S950, Dat Machines, Mackie Mixer, SH-101 and TR-909. I never regretted selling the 909 actually and until I saw this photo I forgot I even once owned a SH-101! I sold the Korg SDD-2000 digital delay and I do regret that. I will buy one again on eBay someday. I still own the Electrocomp-101. You can’t really see it in this photo (it sat above the SH-101). My father gave it to me and I’ll never part from it. It’s number 521 of 2000 ever created. I still own, love and use the Roland SH3. This is a SH3 not SH3a. The 3 has the original filter in it which was a clone of a Moog design. Moog threatened to sue Roland to they created the weaker 3A revision. While it’s fun to fetishize gear it’s very important to remember it’s not the equipment it’s the artist. Just make music, have fun and tell YOUR story.
For more info: thehorrorist.com
I think it’s fair to say at this point Roland did create a proper modern day replacement for the TB-303. The TB-3 is a box we can bring out and toss around and while it doesn’t sound quite as good as the original it is far more versitile. Back in the day if I wanted to create a random pattern on a real 303 I would have to take the batteries in and out. On the TB-3 you hold the [PTN SELECT] and press [SCATTER].
“Based on the wildly influential TB-303, the new TB-3 Touch Bassline is a performance-ready bass synthesizer with authentic sound and intuitive controls engineered to play. The TB-3 contains the unmistakable character of its predecessor, wrapped in a modern package with a pressure-sensitive touch pad that makes both playing and programming a total joy.” – rolandus.com
For more info: rolandus.com/products/details/1313
photo and tip by: twitter.com/davidahlund
If you want to sound authentically very early electronic music but still buy something new Denmark’s Gotharman’s Musical Instruments is a great place to start. The video above could easily be Throbbing Gristle. I’ve been looking through the website to try and figure out exactly whats going on in the video. I am very tempted to create my own small side set up of this stuff. I noticed he has a Eurorack module too. If anyone uses some of this stuff or know more let me know what you think of it I am very curious!
“Gotharman’s Little deFormer combines a granular effects processor with special effects like TimeStretcher, StepGranulator and PitchShaper and more usual effects like Reverb, delay, distortion, compressor, filters and bit manipulation, with some special parameters, with a 100 minutes sampler, a synth and a step sequencer. A MIDI Note Randomizer is also included.” – Perfect City
For more info: gotharman.dk
Korg is really making products I like these days. There is a new Volca and it’s a sampler. It’s called the Volca Sample. Being an old Akai S950 guy I love that they made the new box white! It has a eleven parameter motion sequencer, reverb per part, analog eq, active step and jump functions, reverse and the very important sync jack in the back. It holds 100 samples but actually doesn’t sample on it’s own. You need iOS to load in new samples. That said since I use iOS devices I am happy but I can see this as an issue for some. Price TBA.
“The volca sample is a sample sequencer that lets you edit and sequence up to 100 sample sounds in real time for powerful live performances. It’s a powerful addition to any existing volca setup, or simply on its own. The new volca lets you recapture the excitement of the first generation of samplers, in which any sound — vocals, spoken words, ambient sound, or glitches — becomes material for your creations!” – korg.com
For more info: korg.com/us/products/dj/volca_sample
I used to own and use a Roland SBX-10 to get my 909 and 303s all in moving along nicely with my Atari ST. Today Roland has released the SBX-1. Not only will it sync MIDI and DIN devices but also CV. This is going to a very useful box for live or in the studio.
“The SBX-1 lets computers and electronic instruments communicate and synchronize with each other. It supports a vast array of both analog and digital devices through DIN SYNC, MIDI and USB, and any of these can be the master clock source. You can use the SBX-1 itself as the master sync and control your external devices with its rock-steady internal clock. With hands-on control over timing and groove, and support for CV/GATE, the SBX-1 is far from just an ordinary sync box.” – roland.com
For more info: roland.com/products/en/SBX-1
Whenever a new Noystoise creation comes out I usually post about it. They are just so beautifully hand crafted. The latest NT02 would be nice in a live set up. It is available now for $260 USD.
“The NT02 consists of a square wave VCO with chorus/delay, a white noise generator, a ramp LFO, and individual 12db resonant lowpass filters for the VCO and white noise generator. the pitch of the VCO is controlled by one axis of the VCO joystick, while the other axis controls the delay time of the chorus. the chorus circuit is basically just your typical PT2399 delay chip setup, except there is no feedback loop. the VCO is fed to the delay chip, and the delayed signal is recombined with the initial signal before the filter stage. the effect makes the VCO sound much bigger and warmer with the chorusing effect. almost like an old analog poly-synth with detuned VCOs. the white noise generator is your basic two transistor type found in many old synth designs.” – Noystoise
For more info: noystoise.com/2014/08/nt02
I am working on my next album. I have equipment lying all over the place in several totally different locations. In one corner of my apartment I have “little” Eurorack set up and for the sample of the track above Im using a Korg SuperDrums DDM110 for beats and sync. Your also hearing a Noise Engineering Basimilus Iteritas through a Synthesis Technology E440 which has it’s filter controlled by a Make Noise Pressure Points and transpose controlled by a Flame Tame Machine. Now to do some vocals…
“Where does all this leave the DDM110? Not realistic enough to satisfy people who want a drum machine to act as a convenient substitute for a real drummer, not considered ‘classic’ enough to command the extortionate prices paid by retro enthusiasts for just about anything 15 years old with a Roland badge and no MIDI port. This ‘half-way’ status, coupled with its more eccentric qualities, is enough to place the DDM110 in the ‘love it or hate it’ oddity category. I personally gravitate towards the former opinion.” – Sound on Sound
For more info: soundonsound.com/sos/jan01/articles/korgddm110
One of the most famous synth synth sounds ever recorded is the bassline on New Order’s Blue Monday. It is in fact a Moog Source. Above Retrosound gets close but I think he needs a little more resonance. Ministry also used a Source in their Twitch era recordings. When I lived in Berlin I used the band Camouflage’s Source and was blown away by it. It’s also in my top five most beautiful looking synths ever. The Source was released in 1981 and Blue Monday in 1983.
“At nearly seven-and-a-half minutes, “Blue Monday” is one of the longest tracks ever to chart on the UK Singles Chart, and is the biggest-selling 12″ single of all time. Despite selling well it was not eligible for an official gold disc because Factory Records was not a member of the British Phonographic Industry association. According to the Official Charts Company, its total sales stands at 1.16 million in the United Kingdom alone, and “Blue Monday” came 69th in the all-time UK best-selling singles chart published in November 2012. The song begins with a distinctive semiquaver kick drum intro, programmed on an Oberheim DMX drum machine. Gillian Gilbert eventually fades in a sequencer melody. According to band interviews in NewOrderStory, she did so at the wrong time, so the melody is out of sync with the beat; however, the band considered it to be a happy accident that contributed to the track’s charm.” – Wikipedia
For more info: vintagesynth.com/moog/sourc
This my friends seems like a must have combination. For less than $700 you get a truly killer bassline monster.
“waldorf rocket sequenced by roland aira tb3 effects come from the mc808 in the beginning i used a little reverb later some more effects. this is just an example nothing special tb3 volume is turned down so all you hear is the waldorf rocket damn i really love the rocket great little synth.” – bananepoep
For more info: waldorf-music.info and rolandus.com