i did a search for some time here but couldn’t pull up the appropriate thread. i seem to remember @tehn talking about wanting to have one giant knob to turn somehow… then i saw this:
…or a bounch of people whining about the price
Isn’t this every Synthtopia Gear thread?!
I watched the video on the page, was duly impressed, but then the creator/engineer/developer at the end really creeped me out with his wide-eyed stare
does anyone remember what thread here on lines was talking about this type of thing? was it current state of grid sound? i know it sound crazy, but i looked all over and can’t find it.
you mean this?
Well, tehn did say this:
and then we did this:
Right now the three mixers that are catching my attention are these:
i really like the idea of having very specific physical controls for each musical situation, or i mean crafting such a piece of music with this level of specialized hardware “needs”… though of course practical reality sets in again and the fantasy doesn’t seem so appealing.
is there anyone out there who uses widely individual setups per song? unique hardware for each specific track? obviously there are combinations of guitars and pedals for example, or a software plugin here or there… but i’m talking about an entirely new array of hardware dedicated to only one very specific composition… and an artist then who uses many of these to make an album for example?
Aphex twin according to recent interviews. See the gear/track list on the recent lp liner notes.
Many people with Richard’s gear collection habit would inevitably encounter friction from less than understanding family members. He doesn’t have that problem:
I’ve toyed with this, but there are always issues, firstly economically, space-wise, and then secondly with my own attention-span. I play very different sets with different set-ups, but that’s pretty normal, isn’t it? I have a laptop set, a gameboy and vl-tone set, a dual MPC set… they’re all different, but not just for ONE composition.
I guess you’ve got to be very focused to buy or build a piece of equipment with a view to compose just one piece for it.
I am reminded of an earlier discussion that touched on Richard Devine’s habit of using one patch per season (for live performances, he does multiple things in the studio), and Morton Subotnik’s one patch per year. The idea being that with a modular, every patch is in a way a new instrument, and it takes time to get to know an instrument and to get it to express its full range.