PRYMEDIA - Kill Light

Been checking out some visuals by PRYMEDIA, the person/people responsible for some of the visuals at Outlook festival. The Videos are not so much animation-based as opposed to manipulating/placing video recordings in cool ways. The way this is done achieves quite an organic feel to it, as opposed to the obvious digtalism used by a lot of moving-imagers.

Kill Light - Dumbo from Thomas Buttery PRYMEDIA on Vimeo.

Here's an ident for the company:

Puzzle Prymedia from Thomas Buttery PRYMEDIA on Vimeo.

dirty electronics - mute synth

Dirty Electronics Mute Synth from Dirty Electronics on Vimeo.

Something a little bit quirky combining music and animation. It's a hand-held synthesizer type thing which reacts to tilting and stuff, plus there is a bit of animation to go with it. It'd be nice (if possible) to add in some small bits of film to my title sequence, perhaps as a transitional sort of thing.

top 10 synths

A top ten synthesizer list compiled by whoever operates this website....

http://web.mac.com/mwalthius/Site/Top_Ten_Synths.html

#10.  Oberheim OB-1 :  An Oberheim

monosynth with patch memory!

#9.  Yamaha DX-7 : State-of-the-art

FM synthesis that was THE keyboard

to have in the 1980’s.

#8.  Yamaha CS-80, the massive

prog rock beast that everyone wanted

but virtually no one actually had.

#7.  Fairlight CMI, the tremendously

expensive sample-playback instrument

that turned heads everywhere.

#6.  Sequential Circuits Prophet-5 :

Pace-setting analog polysynth.

#5.  ARP 2600 : The definitive semi-

modular analog synth heard on lots of

big records in the 70’s.  Not for us

mortals.

#4.  ARP Odyssey : Didn’t sound like a

Minimoog, didn’t cost as much as a

Minimoog, and was much more simple

to intuitively program.

#3.  Roland Jupiter 8 : The mother of

all 80’s analog polysynths that was as

incredible to look at as it was to play.

#2.  Moog Voyager : What’s not to love

about a Minimoog with full MIDI 

implementation, patch memory, and

backlit controls?

#1.  Access Virus TI : State-of-the-art

polyphonic VA synth that sounds

gorgeous, is 16-part multitimbral with

dedicated effects and arpeggiators 

for each part.  An amazingly versatile

synthesizer.

 

Fairlight ad

An old Fairlight CMI advert

Fairlight CMI

Whilst not being a drum machine in itself, this is a worthwhile synthesizer to consider, as a great selling point was its 'Page R' software, a real time graphical pattern simulator introduced with CMI Series 2. Using this it was possible to formulate beats to play along to. As further versions of the CMI were released, various other features were incorporated, such as MIDI compatibility and CD quality sampling.

another live 808

An 808 jam, this time you can actually see it in action. Very basic indeed. It is interesting how the machine, when first released, was considered far too inhuman and futuristic to be a realistic choice, whereas today its trademark sounds can be heard all over the place.

An 808 bass drum waveform

A visualisation of the 808 bass waveform, that distinctive boom that has appeared a countless number of times, whether original or sampled.    

Wurlitzer Side Man

Someone messing about with a Side Man, which was mentioned earlier on. As you can this is clearly a great deal more advanced than the Rhythmicon shown in last post; it seems that this machine was intended much more as something which could replace a drummer or provide drum beats, as opposed to mere rhythmical noises. It was arguably the first commercially-available drum machine, or at least the first to generate electronic drum noises as opposed to just playing back tape loops.

Rhythmicon demonstration

Some guy demonstrating how the Rhythmicon works. Well he doesn't really explain anything, or talk whatsoever, so it's not overly clear as to how it actually works. But you can hear how different rhythms cross over and combine. It sounds horrible really, and why anyone would have wanted to use it I'm not too sure. I suppose for the 30's it was quite an advanced piece of kit.

808 history

Some information from a website I found:

http://microchipseries.com/?p=42

The website has an article detailing the history of the Roland tr-808, 'one of the first programmable drum machines'.

Introduced in the early ’80s as one of the first programmable drum machines, the tr-808 was surpassed long ago by more high-tech musical tools. And yet musicians of all stripes and styles have deemed it indispensable for its stark percussion sound. With its metronomic precision, it may have none of the swing of a human drummer, but the 808 can still provide a futuristic kind of funkiness, especially when it’s in the right hands. This special timeline reveals how this once-lowly machine attained its iconic status.

1980: The Roland Corporation introduces the Roland TR-808, a programmable drum machine. According to Greg Rule’s book Future Shock, five percussion sounds characterize the 808: “the hum kick, the ticky snare, the tishy hi-hats (open and closed) and the spacey cowbell.” A Roland representative later credits the machine’s design to a Mr. Nakamura (responsible for the analog voice circuits) and a Mr. Matsuoka (who developed the software).

A 1980s advertisement for the 808. (Roland/Drum Machine Museum)

The 808 receives many poor reviews in the gearhead press of the day, generally being deemed inferior to the Linn LM-1, the first drum machine to use digital samples (i.e., prerecorded rather than machine-generated sounds). Nevertheless, it gains some popularity due to its relatively low cost of $1,195 US. Yellow Magic Orchestra, the pioneering Japanese synth-pop band, is the first band to put the 808 to use.

1982: Soul icon Marvin Gaye is the first artist to score a major hit with an 808-propelled song, when Sexual Healing becomes a worldwide smash. Even so, the obviously synthetic sound of the rhythm patterns does not gain wide popularity. Instead, the 808 becomes a cornerstone of the emerging genres of electronic music and hip hop, with the release of Planet Rock by Afrika Bambaataa and the Soulsonic Force. Marking, in the words of producer Arthur Baker, a “marriage of electronic music with street culture and black music,” this thunderous single would also have a massive influence on subgenres like Miami bass and Detroit techno, thereby cementing the 808’s reputation as a fundamental element of futuristic sounds.

1983: Roland ceases production of the model — according to Future Shock, approximately 12,000 had been made. The same year, British band New Order makes a transatlantic pilgrimage to New York to work with producer Arthur Baker; their first collaboration is the 808-laden single Confusion.

1983: Cybotron (an early electro group formed in 1980 by Juan Atkins and Richard “3070″ Davis) release “Clear”, an electro-laden odyssey track, that combines the sound of earlier pioneers  Kraftwerk, the funk sound of  George Clinton, and the rock sound of the time, to create a new sound that would establish “electro” as a genre. The 808 is heavily used as source of rhythm for much of these songs, including “Clear”.

1985: MC ADE releases “Bass Rock Express“  and is often credited as being the first Miami bass record, establishing a sound for a new genre. Known for its boomy kick drums, lo-fi hand claps in place of snares, and accents of the 808 attempt at a cowbell.

1986: The 2 Live Crew release, The 2 Live Crew Is What We Are, controversial for its sexually explicit lyrics, launches Miami Bass into the public eye. Known for its sustained kick drums, it ushers in the car audio craze. 1989′s As Nasty As They Wanna Be, further launched Miami Bass and the 808 sound into mainstream media.

1988: 808 State forms in New Order’s hometown of Manchester. The band soon becomes a progenitor of acid house, a British take on the stark, heavy electronic rhythms then emerging from Detroit and Chicago. In the U.S., techno will remain an underground sound. But in the U.K., rave music and culture goes mainstream, with acts like 808 State topping the charts, thereby making the 808 sound a staple on radio. Graham Massey of 808 State later admits that the group members didn’t think much of the Roland TR-808 initially, but the abundance of the machines in secondhand stores made them affordable and therefore popular with techno producers. The artificiality of the 808 sound is dearly appreciated by this new generation of futurists.

1993: Richie Hawtin — a DJ and musician from Windsor, Ont. — releases his first music under the Plastikman moniker, and ensures that the 808 sound is a key component in the decade’s most austere and minimalist varieties of electronic music. Hawtin later contributes a short track named 808 Loop on his 2001 mix disc DE9: Closer to the Edit.

1994: The 808 sound hits saturation levels on alternative-rock radio stations in North America when Nine Inch Nails main man Trent Reznor exploits its potential for doomy menace on the industrial-strength hit Closer.

1996: ReBirth RB-338 (commonly referred to as simply ReBirth) was arguably the firstsoftware synthesizer . Propellerhead Software, had constructed this application to emulate a tr808, a tr909, and not one but two tb303. This launched software synthesizers and a whole slew of “clone” software that made the recognizable sound available to those that could not afford the now legendary used market prices ($2000-$3000 US dollars) of the original hardware.

1998: “Nothing sounds quite like an 8-0-8!” So goes the rallying cry in Super Disco Breakin’, a song on the Beastie Boys’ album Hello Nasty. The list of artists similarly inspired to give shoutouts to Roland’s gift is many. These resounding voices and praises for this loved sound only ensure that it will continue to be staple bit of kit, in many studios for years to come.

808/303 jams

A couple of 808/303 live jams by Boddika. I mean they're not to everyones taste, I've definitely heard a lot better, but it's still pretty cool. It's basically a recording of layers of patterns being built up and stripped away, and affected in various ways. Proper synthetic stuff.

Kanye West - 808's and Heartbreak.

Obviously referring to the drum machine. Or maybe the area code for Hawaii.....but probably the drum machine. Definitely.

Swamp 81 t shirt

I'm sure I've included swamp81 records as part of the research for nearly all of my projects so far..
Swamp81, a label run by Loefah with the aims of diverging away from the current state of dubstep, released a few drum-machine-heavy singles by producers like Addison Groove, Ramadanman and Boddika, which came as a refreshing change to other sounds of today's scenes. Presumably in celebration of Roland's renewed/continuing popularity this t-shirt was released:





quite simply displaying the numbers of three of Roland's drum machines.

Goes a fair way to show that whilst digital software has rapidly become very popular, there will always be a place for older, more established hardware that perhaps shows a greater level of solid consistency, despite their restrictions.

A bunch of adverts for older drum machines, particularly the Roland series (I'm not sure how legit the first one is, doesn't seem like it would be part of the same campaign as the others). I imagine most of these surfaced around the 70's or 80's kind of thing, though I'm no expert...A lot of the history and information about these machines is quite shrouded; maybe I'm not looking in the right places just yet.

Wurlitzer SideMan

Another advert for the SideMan presumably in a magazine or something. It'd be interesting to hear how primitive an instrument like this might sound when stacked up against more modern machines. 

Early Drum Machines

The Rhythmicon - 1930-32





An instrument created by Henry Cowell, who wanted an instrument that could play compositions which had rhythmical patterns far too complicated for existing keyboard instruments. Could produce sixteen different rhythms each associated with a particular pitch.


Chamberlain Rhythmate - 1957








A device containing 14 tape loops with a sliding head that allowed playback of different tracks on each piece of tape, or blending them. Contained a volume and a pitch control, and also had separate bass and treble level controls.


The Wurlitzer Side Man:

Drum Machines

For the 'top 10' side of the Digital Design brief, I have selected Drum Machines as a topic to investigate and create a title sequence for. I feel that this might be quite an interesting topic to certain types of people, such as those with an interest in the production of the music that has shaped today's sounds and scenes.

Many producers (particularly amateurs, beginners etc.) have ditched drum machines in favour of modern DAW's (Digital Audio Workstations); so in some ways we have left behind an era of hardware; drum machines, synthesizers etc. as we can do pretty much all of it on a laptop screen. Many producers undoubtedly still use drum machines, so the future of their place in the production process is obviously uncertain.

Drum Machines have had a profound effect on many parts of the music scene, perhaps the most noticeable being Roland TR-808's influence on hip-hop in the 80's, but also of course with many other genres and subcategories that can be found in modern day music.