One of the problems with trying to record stuff live at 2:30 AM is that if the first take is a messy disaster - and it frequently is - I often then fail to find the energy or motivation to make a second attempt.
Ho-hum, more fodder for the recording recycling robot.
“I… set out… for a… noiseless… room. Then I remembered… The silence depressed me.”
In silence we face and admit the gap between the depth of our being, which we consistently ignore, and the surface which is untrue to our own reality. We recognize the need to be at home with ourselves in order that we may go out to meet others, not just with a mask of affability, but with real commitment and authentic love. That is the reason for choosing silence.Thomas Merton, Love & Living, Naomi Burton Stone and Br. Patrick Hart, Editors. New York: Harcourt. 1979, p. 41. (via silencesounds)
Silence is Golden; it has divine power and immense energy. Try to pay more attention to the silence than to the sounds. Paying attention to outer silence creates inner silence: the mind becomes still. Every sound is born out of silence, dies back into silence, and during its life span is surrounded by silence. Silence enables the sound to be. It is an intrinsic but unmanifested part of every sound, every musical note, every song, and every word. The unmanifested is present in this world as silence. All you have to do is pay attention to it.Awakened Life: Silence is Golden (via silencesounds)
EKO ComputeRhythm drum-machine from 1972 (demo 1)
Oh my! That case, the carrying handle, the analogue sound, the punch card feed slot, and those lamps! ♥
Who dares attempt the impossible task of convincing me that this gloriously dusty, tactile, personable machine would be “better” as a cheap and disposable iPad App?
My stab at the January acid pattern recorded live last night.
Rust Creep’s original pattern is a cool smooth 4 bar thing but I got tired after inputting the first 13 notes and then absent-mindedly left the door open for some weird mutants to creep in, confuse me massively with their monkeying around, and introduce stacks of hard-to-control layered distortion.
Eh, it happens.
What The Future Sounded Like (2006)
“Post-war Britain rebuilt itself on a wave of scientific and industrial breakthroughs that culminated in the cultural revolution of the 1960’s. It was a period of sweeping change and experimentation where art and culture participated in and reflected the wider social changes. In this atmosphere was born the Electronic Music Studios (EMS), a radical group of avant-garde electronic musicians who utilized technology and experimentation to compose a futuristic electronic sound-scape for the New Britain.
Comprising of pioneering electronic musicians Peter Zinovieff and Tristram Cary (famed for his work on the Dr Who series) and genius engineer David Cockerell, EMS’s studio was one of the most advanced computer-music facilities in the world. EMS’s great legacy is the VCS3, Britain’s first synthesizer and rival of the American Moog. The VCS3 changed the sounds of some of the most popular artists of this period including Brian Eno, Hawkwind and Pink Floyd. Almost thirty years on the VCS3 is still used by modern electronic artists like The Emperor Machine.”
Ralph Dyck’s prototype digital sequencers, which then evolved into the Roland MC-8 MicroComposer.
