K Records
viaMalaikat Dan Singa – La Blogothèque.
K Records
viaMalaikat Dan Singa – La Blogothèque.
K Records
viaMalaikat Dan Singa – La Blogothèque.
Hello Tristan! … (quickly)… basically:
* don’t trust reviews on HPD-15!!! … the main interest (for me) is the ribbons… without this feature, it would be just another drum toy. For example: HPD10 is a toy (a nice one and a useful one, but a toy)… HPD-15 could be a serious/powerful instrument…
* the main work on it is not really (fast) moving fingers on it but building personal setups…
* a very good start is to directly pick a set in the user zone (which is a duplicate a preset kits) and just change what you don’t like (1st the basic sound, 2nd the pich) sound by sound (each time don’t forget to save your change: write (save sure?) and write again (to answer yes)…
* doing so you will realize quickly the problems of making a full coherent kit (15 sounds on the pad + 2 ribbons + DBeam = 18 sounds)…
* making a kit, ask your self: what sound(s) I want to hear/play + how I want to play it (the 2nd answer to this 2nd question will give you « where to play it » on the pad)…
* once you’ve got a « decent » kit, name it ???_1 and duplicate it on another place and rename it ???_2 from this step you will use _1 as a reference point and you will work on _2 … and so on when you think _2 is pretty ok and different than _1…
… it takes time but not so much if you do step by step, following your own ideas…
I hope all this is clear and will be helpful… Let me know…
F.
The Contemporary Classical Composer’s Bullshit Generator.
My work is primarily concerned with rhythmic sound. My latest composition explores the boundaries between sketches and gestures, whilst utilising a highly symbolic attitude to a traditional, electronic key-signature. Unlike traditional techniques, I aim to develop microtones, including a highly orchestral semitone that morphs all notions of meaningful sonorities. As a primarily spectral artist, I aim to decipher the improvisation within disparate-tempi, and bring forth a single material that really examines the most post-similar issues. As a highly traditional composer, I explore the connection between movements and tempi, and search for new ways to ‘transpose the dyad’. All composers should transcribe a variety of interactions, and (if this senses pseudo-multimedia works), proceed to perceive microtonally until the best result is achieved.
This must be one of my favorite pack from Puremagnetik. Subscribe ! It’s only 5 dollars a month and there’s one new pack each month !
playing with those sounds makes me think about Richard Lainhart and the tremandous sonic art he shared with the Buchla 200e…
Richard, we’ll miss you.
More on Richard’s work on CDM blog
Barbican Music – Tracks – SoundCloud.
Quelques perles…