moltar & zorak as autechre (4162024)

in the midst of it all tonight gals bought a second patchbay to give my setup a little more wiggle room and i'm paying the ultimate price (redesigning my signal flow and rewiring my studio) but i'm making headway...

December 27, 2020: Two years ago today, Corduroy Institute consulted the random number generator to help spur our 66th song. Its selections were laden with synchronicity. For one, the Magazine album in question had been discussed precisely the night before this endeavor. What's more, the Golden Palominos—a rarely-cited group— had already emerged during our second experiment with this method in late 2019. Pleased with the generator's suggestions, we endeavored to explore their potential.

To begin, we placed a capo on the second fret of the Takamine EG230 acoustic guitar which was tuned to DGDGBD. Two microphones captured the improvised acoustic content, while the simultaneous MC-707 drum performance went directly into our Tascam 2488neo. This was the first time we recorded acoustic guitar and electronic drums at the same time since "Her Book of Poems" in the summer of 2019.

Next, we overdubbed a Bass VI bassline and sets of chordal clusters from two alternating patches on the Ensoniq EPS 16 Plus. In doing so, we created the instrumental for our 66th song.

It wouldn't be until April 4, 2021, that we added vocals to what eventually became "You Bring the Sunshine, We Bring the Blackout." This song became a fan favorite off our 2021 album Eight/Chance/Meetings, available now across the entire gamut of online music services.

Took apart my Ensoniq EPS to try to fix a keyboard issue, and I noticed some writing on the bottom of the keybed chassis:

The “181 WK#. 21” matches other production marks: most things in here were built in late-May, 1987. But “ECHO+BUNNYMEN” is not something I’ve ever seen… and written in a weird, inaccessible area? Really not something a fan would do I think. Does anyone know if Echo and the Bunnymen had an EPS that they sold or went missing?

Break 6 - puffin billy 🧑🏻‍🦯 . EPS beat - 17 kHz . . Sample from some song from the 70s. When they sue me ill remember. . . . #eps #ensoniq #ensoniqasr10 #ensoniqeps #ensoniqeps16plus #beatsforsale #beatsforrappers #beatsforlease #producerlife #producergrind #lofi #lofibeats #lofihiphop #mpc60 #boombap #drumbreak #samplepack #sampleflip #hustlehard #hustleandmotivate #ableton #flstudio #drdre #kanye #trump #biden #mailinballot #tesla #mpclive #mpcone (at Melbourne, Victoria, Australia) https://www.instagram.com/p/CFIBzW_jIO9/?igshid=NGJjMDIxMWI=

PROPHET X a quick review

Had a chance to try out a Sequential PROPHET X for a couple of hours in total;

Though they don't clearly say so, it IS a successor model for my fave synth prophet12. More like a variant but still is designed perhaps with the sales failure of the p12 in mind.

Tone-wise, much like an ensoniq VFX is to a TS10, an outgoing kid p12 is to a grown up and matured pX.

p12 tends to sound harsh and aggressive, whereas pX sounds with great scale, profound depth, unfolding panorama view like an epic cinema.

Samples are with so high quality grain texture that you'll swear it's from a software sampler. They should be processed with synthesis and effects because that comes out great rather than just playing back the raw samples mindlessly like another ROMpler.

The twin DSP oscillators add deeper dimensions that are otherwise impossible from samples. Super Saw is from PRO2, which is a great addition.

The filter sounds very SSM!!! Very much reminding me of Emax and Emulators. Great feel, better than a dry Curtis Electronics.

The multi-effects sounds clear and deep too.

On the whole, the software sampler-like high quality convincing samples, with a mystery feel of the SSM-ish VCF, and profoundly rich sounding effects, make a pX a synth with sounds of in-depth scale and vast dimensions.

The cosmetic appearance looks very matured too, with dark feel, more sophisticated luminous button shapes than p12.

The sample edit screen has no graphical waveform rendering, but works superb with truncation and looping, all done via a highly abstract and symbolic representations like an 80s sampler.

Ensoniq EPS trick of having a single cycle sample loop and scan it through with a physical controller can be replicated with a pX. Great when playing chords, like a vocoder or even a bit like VariPhrase from Roland.

I finally understood the reason why it remains as a current model. I like it very much. It is a p12 with two of its DSP oscillators replaced with samples, coupled with deep multiplex synthesis.

Sterling Toles - Get Flicked (Instrumental)

released July 22, 2023

Sterling Toles - producer (Ensoniq EPS, VS-1880, Alesis Ion, vibraphone)

Josh Bonati - mastering

Mike Blank - alto saxophone

Rafael leafaR - ewi, flute, bass flute

yakoob - synth bass, synth pad

Kesswa - background vocals  

Shyheim - AKA the Rugged Child (19/04/1994)

Shyheim aka The Rugged Child es un rapero estadounidense nacido en 1979 en Staten Island, Nueva York. Comenzó su carrera en la música a una edad temprana, cuando fue descubierto por miembros del legendario Wu-Tang Clan. En 1994, a la edad de 14 años, Shyheim lanzó su primer álbum, "A.K.A. The Rugged Child", que fue producido en gran parte por RNS aka Arby Quinn. El álbum A.K.A. The Rugged Child fue lanzado hoy 19 de abril de 1994 y fue producido casi en su totalidad por RNS, menos la canción Little Rascals - que fue producida por Prince Rakeem mas conocido como RZA, el álbum fue muy bien recibido por la crítica y contó con colaboraciones de artistas como June Luva, Kia Jeffries, Down Low Recka, Pop Da Brown Hornet, Rubbabandz, June Luva, Kwazi & Prophet. La música de Shyheim se caracteriza por su estilo agresivo y líricas de la calle y la violencia en Staten Island.

RNS Influyente productor de rap de Staten Island que trabajó con el grupo de rap UMC'S años antes de prestar su Ensoniq EPS a RZA, lo que resultó en el primer álbum de Wu-Tang Clan. Permaneció conectado con el colectivo de Wu-Tang a través del trabajo de producción estudio mixto para Gravediggaz, GP Wu y más directamente con Shyheim.

Además de Shyheim y RNS, Wu-Tang Clan logro expandir sus artistas afiliados a la familia durante el auge del grupo en la década de 1990. Estos incluyen a grupos como Killarmy, Gravediggaz, GP Wu, 1.4.0. Productions, Killarmy, Maccabeez, Royal Fam, Sunz of Man y muchos artistas y grupos mas, ademas del inicio de las producciones solistas de Ghostface Killah, Method Man, Raekwon, etc.

(▶︎ Brothertiger | Brothertigerから)

Brothertiger by Brothertiger

A windows-down car ride through the desert. Graceful surfers shredding blue swells. A suburban road lit only by streetlamps. The big round sun, shimmering over a distant horizon. These are just a few of the images conjured by Brothertiger, the stunning new album from the Brooklyn-based electronic artist of the same name. Collecting a handful of singles released over the past year and a half, plus several unheard tracks, the album sees John Jagos, a.k.a. Brothertiger, moving through his chillwave roots and into the refined glitz of sophisti-pop, a UK-born microgenre that owes its ’80s and ’90s heyday to key releases by groups like Prefab Sprout and Scritti Politti. Brothertiger’s take on the style is pure escapism — immaculately engineered, retro-leaning songs for romantic vagabonds and urbane daydreamers alike. It might be the most impressive set of songs that Jagos has ever made. Jagos has released four full-lengths under the Brotheriger alias, a figure that doesn’t even account for multiple EPs, a Tears for Fears cover album, or his four-volume series of livestreamed improvisations called Fundamentals. Still, Jagos decided to give his newest album the self-titled treatment, a move typically reserved for an artist’s debut project. After spending time with the record’s maximalist soundscapes, and after hearing Jagos discuss the deeply personal creativity that fueled the production, it’s easy to understand his thinking: the Brothertiger LP is a testament to Jagos’ technical gifts, a polished culmination of his ambitious experiments and nostalgic obsessions. But it’s also an introduction to a playful new era for a songwriter whose synthpop has often skewed broody and introspective. Like a lot of artistic city-dwellers, Jagos spent the early days of the pandemic in a restless state. That changed after he scoured eBay for vintage gear, impulsively snagging some sophisti-pop-era synths and samplers manufactured by a now-defunct company called Ensoniq. Armed with a wacky new vocabulary of sounds, Jagos wrote “Dancer on the Water,” an elegant, up-tempo coastal fantasy with lustrous synths and pan flute flourishes. When he released the track as a one-off in spring 2021, new fans and longtime listeners were smitten by its unselfconscious optimism, by its throwback, feel-good energy. “I was like, I want to make music like this for a while and see what happens,” Jagos explains. What “happened” was a kind of magic: new songs spilled out of him with an unexpected ease. Jagos wrote the album’s fist-pumping centerpiece, “Heaven,” about the spiritual burnout he experienced after growing up in the Catholic Church. First-half highlight “Be True” pairs encouraging lyrics about self-sufficiency with sappy piano chords and chintzy synth arpeggios. If the hooks weren’t so crisp, or if Jagos didn’t sound so convincing, this mode might scan as melodramatic. In his hands, it’s legitimately moving. “I felt more connected to my songwriting than I've ever felt before,” he remembers. That self-synchronicity was contagious, leading to productive sessions with unexpected collaborators, including math rock guitarist Yvette Young (Covet) and metalcore icon Spencer Chamberlain (Underoath), both of whom Jagos connected with via Instagram. Young joins Brothertiger for a euphoric cover of a little-known 1987 track by British siblings Sophie & Peter Johnston, while Chamberlain contributes uncharacteristically subdued vocals to the midtempo, Tears for Fears-esque “Yesterdays.” Jagos and his co-producer Jon Markson (Drug Church, Cathedral Bells, Can’t Swim) took the minutiae of production extremely seriously, a practice that’s audible across Brothertiger’s meticulous arrangements; every hi-hat and pitch-warped sample feels deliberate and essential. “I’m really proud of the level of detail,” Jagos says. “There’s a lot of ear candy everywhere.” But Jagos was also conscious about leaving space for kitsch and absurdity, often embracing the inherent cheesiness of his slick influences: the verse rhythm of “Summer Wave 98,” for example, recalls the sing-spoken schmaltz of millenium mega-hits by Vitamin C and LFO. This resolution to not take himself “too seriously” also manifests in Brothertiger’s lyrics. Been livin’ like I’ve already won / Do I look fancy to you? / Pretending I’m the number one, he croons on opener “Tangerine,” a track that includes a steamy synth-guitar solo fit for a power ballad, the kind of song you might hear in the credits of a big ’80s blockbuster. “Trying to be less serious about the music business is a big theme,” Jagos explains. “I'm not trying to conform to the specific ideals the algorithm machine wants me to be a part of; I’m just trying to make music that sounds good.” Listening to the room-filling songs on Brothertiger, it feels safe to say that he succeeded. クレジット2022年11月4日リリース Produced by Brothertiger & Jon Markson Mastered by Jason Livermore Cover painting and innersleeve photo by John Jagos, Sr. Physical artwork and layout by Steven Duke Label photo by Evan Reed

replaced with appropriate rack ears, purchased on ebay from the seller “studio.supplies”.

1U rack gear you can see below the EPS-m is the external rack mount frame for two SCSI (originally for HDD) drive including scsi2sd emulator drive.

EPS-m boots OS from the scsi2sd drive.

A blast from Hip-Hop’s past! Heading to the future! Produced by DJ Cooley Mack & Joe Storm. STUDIO NOTE: This is a restoration project of music & sounds from the Ensoniq EPS keyboard (1989-1998). Some sampled sounds may be re-created via Ableton for improved sound quality. PS.. This project may include music & sounds from the Ensoniq Mirage keyboard (1986-1989) as well.

Happy Wednesday everyone. Look what’s arrived in the synth cave! #themusictechguyuk #musictechguyuk #ensoniq #ensoniqeps #eps https://www.instagram.com/p/CISkC1qBBJA/?igshid=1n9j10sk0sx99

#thevoiceofmine #ensoniq #eps #roland #sp-808 #oldgearsometimesmakessoundsbetterthannewstuff #washyourhandsandgargle https://www.instagram.com/p/B_XvbqEBIpr0Z1uhkgyTiaivpSYfHfUUbRiJ6A0/?igshid=n8ktgcprzwmr

Our Souls Are in the Hands of the Translator - An Era Of Spiritual Tenebrae - a couple more long jams, from Jamal Moss a.k.a. Hieroglyphic Being (Modern Obscure Music)

Sun Ra’s disciple and multiface artist Jamal Moss is back to Modern Obscure Music after his debut on the label with the "The Anticipatory Organization" under The Sun God alias back in 2018. J. Moss more known as Hieroglyphic Being is back to the Barcelona based record label with a new aka, OUR SOULS ARE IN THE HANDS OF THE TRANSALOR. Three years after "sɪŋkrɪtɪzəm", released on Warp’s sublabel Arcola, the chicago electronic-wizard signs "An Era of Spiritual Tenebrae”. The new EP is composed by two 18 minutes long freejazz-psychedelic improvisations. A trip to the dark holes of the space eternity. The artwork is conceptualized by Created by Us. "Continue to see yourself shining your light, brighter and brighter with every breath out as you hear yourself silently say these words. May love heal our world. May we all choose kindness and compassion" Instruments used for the recording of An Era Spiritualis Tenebrae Moog Mother 32 Semi-Modular Analog Synths Behringer 303 Clones Dr - 5 Drum Korg Ddd1 Drum Machine Ensoniq Mirage Workstation Stagg Electric Upright Bass Casio Dh-100 Digital Horn Midi Sax