At 39 seconds in the sound that comes in on the above track SM reminds me so much of the sound in the Front Line Assembly song Antisocial. I love when I discover these “sound alike” things.
“Produced by J.L Nowé & Ro Maron on Subway records Belgium 1988.” – yesterify
For more info: en.wikipedia.org/wiki/New_Beat
While I am using a lot of hardware these days software is still very important in my workflow. I often want a simple software synth to get things going. Audio Damage’s new Basic will definitely be useful. It may seem like a strange reason but I bet I end up using Basic often for the simple fact that out of all my plug-in folders in my Ableton sidebar I already go to the AD folder more than any other.
“One day not long ago, we were speaking with the music department head of a local college; he lamented the fact that there really wasn’t a commercial-quality low-cost three oscillator subtractive mono-synth available for the educational market. This puzzled us, because there’s no shortage of synth plug-ins out there, and this seems like a fairly glaring oversight. So we did some market research, and discovered he was right. All the available options are either slavish recreations of classic synths, with all the foibles and strange UI decisions intact, or modern behemoths with every feature under the sun. We decided to tackle the challenge of an inexpensive, simple 3-osc mono-synth that followed the classic subtractive style, and Basic is the result. While it is designed with ease-of-use, low cost, and simplicity in mind, the panel sits in front of a powerful modern synthesizer engine with an aggressive tone and self-resonating filters that scream when pushed. We’re sure every electronic musician will find a place in the mix for Basic.” – Audio Damage
For more info: audiodamage.com/instruments/product.php?pid=AD033
If you listen to the last clip in the above Soundcloud embed you can hear my latest remix. It’s for Al Ferox’s latest huge release. He has 15 producers to remix his classics including Workerpoor, Johnathan Cast, Anthony Lynn, Phantazma, Roman Carrot, Ethan Fawkes, Lado, Dave Tarrida and many more!. I chose “Effet Hypnotique”. I used a Kawai R100, QU-Bit Nebulae, Waldorf Rocket, Arturia Beatstep, Ableton Live and some Vallaha Vintage-Verb on it. I also recently completed remixes for German based Florian Punzel and the Rotterdam club’s Herr Zimmerman (Fraulein Z). Next I have a cover I am completing for a huge Sucide project and more, more, more for my next album!
“Al Ferox, also named Alessandro F., is an italian musician and producer, founder of the labels Kobayashi Recordings, Dancefloor Killers and Scream Recordings. He ran away from Italy to France at the age of 17, all that kept him going was his love for music. He got his first inspiration from his brothers vast record collection from 70’s listening bands as Black Sabbath, Led Zeppelin, Zappa, early Genesis stuff, then being profoundly inspired by the 80’s punk industrial metal, and new wave scene.” – discogs.com
For more info: facebook.com/alferox
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
The greatest acid house track of all time is Acid Tracks by Phuture. They have never played in NYC. That changes tonight as they will take the stage in Williamsburg, Brooklyn at Verboten.
“Yes there may have been Acid recordings before Phuture – Acid Tracks but this is the one that really propelled the Acid style in chicago clubs, this was originally created and played at the music box by Ron Hardy in 1985 2 years before its release… and they don’t come better than this” – Leroy Skibone
For more info: brooklynvegan.com/archives/2014/08/acid_house_pion
Next year Teenage Engineering will release a $50 drum machine called the PO-12. Built right on a circuit board it has effects, real time recording and different tempo presets. Watch the video above to see why it’s quite lust worthy!
“Teenage Engineering’s new PO-12 drum machine is awesome! In this video I’m taking a pre-production unit for a test spin, and it’s great. Looking forward to a 2015 release.” – cuckoomusic
For more info: teenageengineering.com
Sometimes things seem to change however often they are just the same. I absolutely adore my Sequential Circuits TOM and indeed also my Roland TR-8. Check out the interesting video above showing TOMs glitch mode vs one of the TR-8’s Scatter modes.
“I drive Glitch Sound in Sequential TOM, I compared it with Scatter of Roland TR-8.” – Yokushe
For more info: vintagesynth.com/sci/tom
Born in 1970 I spent plenty of time turning radio knobs searching for signals. The Evaton Technologies RF Nomad put that fun in a Eurorack module and makes it CV controllable. How fantastic! $176 USD.
“The RF Nomad voltage-controlled sideband shortwave receiver Eurorack module is currently in final stages of prototype evaluation. The RF Nomad adds the squealy, squelchy, noisy, unpredictable vintage sounds of shortwave radio to your modular. But this is no ordinary shortwave; it’s been designed to be extra noisy, extra squealy, extra gritty, and just downright nasty. No built-in output filtering means that a rich spectrum of harmonic content is available on the audio output jack. Audio levels can be driven to distortion. CV control lets you add your own creative spin on sound design. Hissy interstation audio. Squealy heterodynes. Fading stations. Atmospheric noises. Faint voices in foreign languages from distant broadcast stations. Fire and brimstone. It’s all in there, just like your granddad’s old tabletop shortwave. But, the RF Nomad adds a twist: The tuning is voltage controlled. Sure, when you were a kid, you discovered you could make spacy noises on Papa’s shortwave by slowly turning the tuning dial. But just how fast could you twist that dial? Faster than an audio-rate LFO? Hardly. Voltage controlled tuning means that the RF Nomad will let you explore sounds you never imagined you could get out of a shortwave receiver.” – evatontechnologies
For more info: evatontechnologies.com/rf-nomad
Hello loyal friends and readers of Wire to the Ear! You may have noticed I took an unannounced break from posting here. If you thought this blog would die after seven years of post you were wrong. Sometimes life throws you curveballs. If you have been following this blog for a while you will know that I usually tell you about them. However this time stuff just happened and I needed some privacy. I love music more than anything. I love sharing music I find with you. I love sharing the music I create with you. I love talking about the tools we use to make music. Thanks for being patient. Now let’s get back to it!
“A problem, which can be caused for different reasons, and, if solvable, can usually be solved in a number of different ways, is defined in a number of different ways.” – Wikipedia
For more info: thehorrorist.com
I’m a lucky man. For more than 10 years I’ve been booked to perform in Malta. It’s three small islands below Italy and above Africa. It’s paradise. It has ancient cities with Roman ruins and a blue lagoon you can’t believe. The hotel I stayed in (Le Meridien) had a pool on the roof, an indoor pool with water that changed colors and the view from my balcony looked out onto the Mediterranean Sea. I performed at the Dome which itself had three swimming pools. It gets it’s name from the main concert area which is well in a dome. I enjoyed performing! After 10 years coming back to a country you build up fans and friends. I performed some new songs I am testing out and also played the song I recently did with Haujobb. For those who were there and know what I am talking about a special thanks to “Super Mario”! I did plenty of sight seeing including visiting the ancient city of Mdina and the capital city (which is also dam old) Valletta. I took a wonderful boat ride to Camino to it’s blue lagoon and caves. I snorkeled, ate some nice Maltese food and hiked. I owe a great debt to Andrew Grech and his crew for continuing to bring me to their island. It’s always a terrific time. New York is a fast paced stressful place. To go to a place like Malta brings me a well needed alternate reality!
“Oliver Chesler better known as The Horrorist will return to our shores on the 21st of June at The Dome, Limits of San Gwann. Get ready for one Mental night!” – Shift
For more info: facebook.com/events/1393560704199821