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.
Slightly late, here’s my riff on August’s monthly acid pattern.
Recorded live at Low Brow Eye Labs, 7th August 2011. It’s the first and only take, hence the sloppiness in places and imbalanced arrangement. (Shhh — don’t tell anyone, but apart from the cables and headphones it’s all digital. I didn’t dare risk exploding any more of the real analogues.)
Kudos to:
⚫ d-Rektional for the cool acid pattern
⚫ Yamaha RM1x: drums, synths, effects, sequencing, live pattern switching and muting
⚫ Kenton Control Freak: control of the RM1x’s filter cutoffs, channel volumes and clap pitch
⚫ STEIM’s junXion software: mapping of the Control Freak’s sliders to the RM1x’s parameters (far easier than reprogramming the Control Freak)
⚫ Ableton Live 8: recording the jam, constructing the intro, adding a big glitch at 5:18
⚫ ExperimentalHomeLab for providing the intro samples
⚫ Grado SR80i headphones: vital aural feedback
⚫ White Sambuca: composition and performance fuel.
Reblogged from soundsfromthefield.
From above music of sound link:
Following on from the first edition of Beautiful Tech: Bolex H16 comes part 2: the Nagra SN.
The Nagra SN was first released in 1960, and was apparently commissioned by the CIA, accordingly they were unavailable and unknown to civilians for the first 10 years.
Such an awesome article by Tim Prebble. Also includes a link to a great in-depth tour of the Nagra factory.
Oh, and you have no idea how happy I am to discover that there’s a fuckyeahreeltoreel on Tumblr!
“And the more we did, the house got more angry and it started reverberating like an big speaker cabinet and we got louder and he got more confident. Rooms become an extension of sound and what might seem like a simple formula, just a guy with a guitar and two amps, you get erm… if I can use an old dance term, you get a snowball effect where one thing bumps into the… like a domino… just keeps building and you get momentum and you think you’re great, then you do become great, the greatness becomes overwhelming and you just capture it.”
Daniel Lanois on the recording of Neil Young’s Le Noise album.
(via @prodAdvice)
