Synthés dans la techno dans les années 90.
- 100 réponses
- 19 participants
- 8 271 vues
- 30 followers
Afficher le sujet de la discussion
, une table Mackie 32-8bus (je n'ai pas réussi à identifier le synthé à gauche de la table, peut-être un Roland V-Synth ?)
minimalteck
615
Posteur·euse AFfolé·e
Membre depuis 15 ans
coyote14
15772
Modérateur·trice thématique
Membre depuis 20 ans
phanou2000
773
Posteur·euse AFfolé·e
Membre depuis 17 ans
kosmix
46255
Ma vie est un thread...
Membre depuis 19 ans
vilak
3971
Squatteur·euse d’AF
Membre depuis 7 ans
minimalteck
615
Posteur·euse AFfolé·e
Membre depuis 15 ans
kosmix
46255
Ma vie est un thread...
Membre depuis 19 ans
vilak
3971
Squatteur·euse d’AF
Membre depuis 7 ans
Youth, ex bassiste de "The Killing Joke", devenu producteur de Dance Music, pour Sound On Sound en janvier 1993 :
Youth was nominated as Producer Of The Year for the BPI awards in 1991 and 1992. He's worked with The Shamen, The Orb, Maria McKee, INXS, Wet Wet Wet, Blue Pearl, PM Dawn, Lisa Stansfield, U2, Siouxsie and The Banshees, The Orb, De La Soul, Erasure, System 7, Zodiacyouth, and, believe it or not, Bananarama. Most of his work consists of 7" and 12" mixes and dance remixes, but Youth has also written and produced such tracks as Maria McKee's 'Sweetest Child', Blue Pearl's 'Naked In The Rain', and Zoe's 'Sunshine On Rainy Day' (often playing and programming all instruments), and oversaw the construction of albums by James (Seven), Blue Pearl (Naked), Zoe (Scarlet, Red and Blue) and Bananarama (Pop Life).
"I don't like modern keyboards too much. I leave them to jingle writers. Those modern sounds are so associative of those advertising images that I prefer to stay well away from them. But of course they end up using your music anyway [laughs]." The only modern keyboard which has his approval is the Roland JD800, because of its "analogue versatility. It's hands-on, direct communication with the machine, rather than numerical, mathematical communication. You can change the sounds very quickly. One of the most important things with equipment is how much time they take to use and program."
Hence the presence of keyboards like Alpha Juno 2, Juno 106, Oberheim OB-X (MIDI), SH101 + MCV, Korg MS1, Proteus, Proteus World, plus of course the JD800 in the main studio in the basement. There are also the well tested TR808 and 909, plus Akais S1000 and S1100.
"The S1000 and S1100 are probably the most beautiful invention in music ever. They're more fundamentally important than piano or guitar. To me they are like time machines...."
-----
DDA studio
basement :
Tascam analogue 24-track
Lexicons 480L and PCM70
Akai/Linn MPC60
Genelec and NS10 monitors
Korg M1 who is subjected to his derision, much to the amusement of the programmer.
16-track studio
Tascam MSR16
Soundtracs PC series desk
A small editing suite with its Macintosh and Soundtools digital editing.
Demo Room
Tascam M312B desk,
Atari
Akai S1000
Midiverb II
SPX50D
NS10s'
DX7II played by Jaz Coleman, who's making a gothic-sounding godawful racket together with Geordie Walker on electric guitar.
-----
Youth was nominated as Producer Of The Year for the BPI awards in 1991 and 1992. He's worked with The Shamen, The Orb, Maria McKee, INXS, Wet Wet Wet, Blue Pearl, PM Dawn, Lisa Stansfield, U2, Siouxsie and The Banshees, The Orb, De La Soul, Erasure, System 7, Zodiacyouth, and, believe it or not, Bananarama. Most of his work consists of 7" and 12" mixes and dance remixes, but Youth has also written and produced such tracks as Maria McKee's 'Sweetest Child', Blue Pearl's 'Naked In The Rain', and Zoe's 'Sunshine On Rainy Day' (often playing and programming all instruments), and oversaw the construction of albums by James (Seven), Blue Pearl (Naked), Zoe (Scarlet, Red and Blue) and Bananarama (Pop Life).
"I don't like modern keyboards too much. I leave them to jingle writers. Those modern sounds are so associative of those advertising images that I prefer to stay well away from them. But of course they end up using your music anyway [laughs]." The only modern keyboard which has his approval is the Roland JD800, because of its "analogue versatility. It's hands-on, direct communication with the machine, rather than numerical, mathematical communication. You can change the sounds very quickly. One of the most important things with equipment is how much time they take to use and program."
Hence the presence of keyboards like Alpha Juno 2, Juno 106, Oberheim OB-X (MIDI), SH101 + MCV, Korg MS1, Proteus, Proteus World, plus of course the JD800 in the main studio in the basement. There are also the well tested TR808 and 909, plus Akais S1000 and S1100.
"The S1000 and S1100 are probably the most beautiful invention in music ever. They're more fundamentally important than piano or guitar. To me they are like time machines...."
-----
DDA studio
basement :
Tascam analogue 24-track
Lexicons 480L and PCM70
Akai/Linn MPC60
Genelec and NS10 monitors
Korg M1 who is subjected to his derision, much to the amusement of the programmer.
16-track studio
Tascam MSR16
Soundtracs PC series desk
A small editing suite with its Macintosh and Soundtools digital editing.
Demo Room
Tascam M312B desk,
Atari
Akai S1000
Midiverb II
SPX50D
NS10s'
DX7II played by Jaz Coleman, who's making a gothic-sounding godawful racket together with Geordie Walker on electric guitar.
-----
kosmix
46255
Ma vie est un thread...
Membre depuis 19 ans
Pevets
13340
Drogué·e à l’AFéine
Membre depuis 19 ans
- < Liste des sujets
- Charte