----------------------------------------------------------------------------- Here is the list of info sent to me via email and snail-mail describing the submissions to the Analog Heaven I tape: ----------------------------------------------------------------------------- Dan Nicholson (8-Bit) Union, NJ * Yet another error crept in, it's 8-bit, not edrone. "Starmap 202" "Luminesse" (Peeling Waves Mix) - 4:11 - 134 bpm Arranged, produced, and engineered by D. Nicholson at The Pit, NJ, USA. Additional arrangement and remix by R. Nuottajarvi at Electric!, Oulu, Finland. Equipment used consisted of samples taken from a Roland MC-202 and sequenced on a 486 PC along with various other samples created by Riku and myself. After the original mix was done, it was sent via email to Riku for remixing. The end result was mixed from a Gravis UltraSound sampling card to tape. (notes on "Luminesse" from a discussion on the net) We used a protracker music format that contained the sampled MC-202 sounds etc and the sequence and sent the different versions across the internet till it was finished. I've never even met the other musician (Riku Nuottajarvi) in person. ----------------------------------------------------------------------------- Mikael Hillborg Uppsala, Sweden "A French Love-story" Ensoniq Mirage layered with Korg Poly-800 and Emu Proteus/1 provides an effective string pad. The melody is a squarewave type sound created by connecting my Korg ms-20 and korg X-911 via CV. They are then feeded thru a delay. The sound that sweeps a resonant lowpassfilter from low frequencies up to hi and back to low again is a single Poly-800 patch fed thru a delay. Some D-110 sounds are also used. "Eternity" The melody is played on my Korg ms-20 and the pedal Korg ms-04 provides a 2nd lfo and also controls some patched modulation- parameters. The Mirage layered with the Poly-800 creates that lush string sound. Some Proteus and D-110 sounds are also used. ----------------------------------------------------------------------------- G. Forrest Cook (Cosmosys Studios) Boulder, CO "A Million Suction Cups" This piece consists of a fractal melody which is fed into my home-made MIDI to CV controller (UMI) and a hacked Sequential Circuits Pro-One synth. A Quadraverb multi-tap echo program was used to double the notes. Both the melody and the filter setting are modulated with separate fractals patterns. The Pro-One filter envelope inversion modification that I posted to the analog-heaven mailing list was switched on. "Mr. GlubGlub" This piece was done entirely with non-standard musical interfaces and uses 6 tracks, 4 tracks were mixed onto DAT and transferred back to my TEAC 3340S deck, leaving room for the other 2. There are several "Theremin" style tracks made with a trackball and a smooth A/D algorithm on my Universal Musical Interface (UMI) box. One melody track was made with the trackball putting out notes on a scale and the other melody track was done with a Mattell Power Glove running on a 386 PC driving a MIDI card. Thanks go to the power glove mailing list and a nice piece of glove to PC code that was posted there by (?). The glove X position controlled notes on a scale and the Z position controlled the filter setting. All of the synth tracks came from the SC Pro-One synth. "Fi'ne" This is a piece that I composed shortly after the acquisition of my first analog synth, an ARP Odyssey. The tune consists of 3 tracks played on a real keyboard by me, a bass player. ----------------------------------------------------------------------------- Barry Sanders Champaign, IL "Meta-4 Track 2" "Meta-4 Track 4" (Note that I only included 2 of the many pieces from Barry's tape, track 2 and track 4. In retrospect, I should have put a few more on the end of the compilation tape to fill it out, but I was in a hurry to get the tape out of the door. [ed]) Equipment Information Meta 4 is just me, Barry Sanders, playing an Ensoniq EPS 16+, a Roland Juno-106, and an old beat-up (but beloved) Korg Mono/Poly. I use a Yamaha REX-50 for FX. I don't use multi-track tape; I sequence or perform live to DAT through an 8-channel Yamaha KM-802 mixer. Inspirations, Aspirations, Revelations... I've been fascinated by synthesizers since I was about 7 years old when I got to play with a crude home-brew modular system at my grade school. I dreamed of owning a synth throughout my teenage years, but I just couldn't scrape together the huge $$$ to buy even the simplest synth. (They were expensive then.) That didn't keep me from gazing longingly at PAiA catalogs until they were dog-eared, which I did. In college (1980), I enrolled in an Electronic Music Composition class. We used an old Moog modular system that had about 60 different modules. It was portable: It folded up into a 4' x 3' x 3' cube that weighed about 100 lbs... not including the separate keyboard! That, along with an EML SynKey, a TEAC 3340 4-track, and a ReVox 2-track formed the basis of our studio. I spent as much time there during that semester as I could possibly spare, sometimes falling asleep at the Moog, patch cords everywhere. It was very different then. I finally got my first "real" synth in 1986 -- the wonderful Ensoniq ESQ-1. I programmed and sequenced my ass off on that thing, recording it all onto Beta Hi-Fi. I got a MidiVerb II, and a Casio RZ-1 drum machine, and it was beginning to look like a home studio. I've swapped out a lot of units since then, but the basic configuration is about the same: 1 guy and some synths. I've composed everything from Nu-Age to Acid House to Industrial, and now I'm making Hardcore/Trancey stuff. I *love* Techno, especially the instrumental stuff. It's so great to see the talents of bedroom-bangers making it to club dancefloors. I love the rhythms, the sounds, the use of samples, the orchestration...everything! I'm amazed at the stuff I hear now in the clubs in Chicago. It's a far cry from the syrupy, predictable fluff we were dancing to in the early 1980's! The rhythms are very sophisticated now, and the sounds are noisey and in-your-face. There's something raw and anarchistic about good Techno that reminds me of what I liked about the early Punk music in the 70's -- but it uses synths! Wow! ----------------------------------------------------------------------------- D.A.C Crowell Champaign, IL "AHNOMIA" (from an email message) I have a _wonderful_ minimalist trance piece, done DDD with all analog synths, and this has been released in an excerpted version on a flexi in an SF 'zine. ----------------------------------------------------------------------------- Roy Roberts Stockton, CA "Suite for ARP 2600 and Yamaha DX7" (Delta Nine Revisited) "No porcupines were found sleeping in the open areas and equipment limitations prevent this piece from being a completely live performance. Most of the sounds were recorded onto a tape and come from either the ARP itself or the DX7 played through the ARP's filter. One comes directly from the DX7. The ARP is then played along with the tape." From email before the fact: I should be able to send you a DAT in a month or so: I expect to be using mostly DX7 pumped through the filter of an ARP 2600 as well as some "normal" (hehehe) ARP 2600 work. This will all be for a concert somewhere around May 7. I have only one ARP (and thus one filter) available, so I'll be recording the DX7 -> ARP -> DAT and then play that at the concert while improvising with ARP on top of it all. I expect the length to be six minutes plus or minus a minute or two. Sound okay? ----------------------------------------------------------------------------- Joe LeSesne (1.8.7) or (187- Mobile Live Techno Vibes) Pittsburgh, PA "Dream" (Funky Acid Remix) Equipment: Kawai K3M Analog-Digital Hybrid Roland Jupiter 6 Analog Synth Roland TR-909 Drum Machine Roland TB-303 Bassline Ensonic EPS sampler: "Dream and The Dream will be available on 1.8.7 - The Number of the Darkside." ----------------------------------------------------------------------------- Miscellaneous info: My Sony 75ES DAT deck sometimes has problems writing absolute time code so the times listed on the label are only "in the ballpark". -----------------------------------------------------------------------------