----------------------------------------------------------------------------- Here is the list of info sent to me via email and snail-mail describing the submissions to the Analog Heaven II tape: ----------------------------------------------------------------------------- Title Band/Author Time ------------------------------------------------------------------------------- Side A Seaside Johan Burman 3:54 Dial Mikael Hillborg 2:58 Asimov's Robots A.R.F./Ric Miller, AL McKinnon 4:48 Conspiracy of the System G. Forrest Cook 2:55 Rhapsodic D.A.C. Crowell 13:40 Jesus Dubs Tintinnabulation/Mike Perkowitz 4:55 St. of the Psychic Fallout Xenogen/Mark Bower, Andrew Joyner 5:12 Pannerama G. Forrest Cook 1:01 Mission Mikael Hillborg 3:43 Beware the Hunchback (part of) MS20/Romeo Fahl 0:55 Side B Winter Glow Xenogen/Mark Bower, Andrew Joyner 5:28 In Orbit Sami Khoury, Thomas C Butcher 5:24 Black Lotus D.A.C. Crowell 6:53 Kwyjibo G. Forrest Cook 1:52 ,fig Deathlehem/Ric Miller, Al McKinnon 3:45 Arrival Mikael Hillborg 2:23 Hard V1.0 Barry Sanders 4:58 A-Space AstroCat/Jordan Trais 5:48 Heaven (Holy Spirit Mix) Transmission 23/Dan Nicholson 5:06 Beware the Hunchback (more of) MS20/Romeo Fahl 2:26 ------------------------------------------------------------------------------- My Criteria for selection were: "Analogueness", Length of the piece, Individual's total time, order received in mail, the phase of the moon Not necessarily in that order. I don't really like to bow to the top 40 concept of 3 minute 30 second songs but I had to pick shorter pieces over longer ones in a few cases so that I could squeeze everybody onto the tape. [gfc] ------------------------------------------------------------------------------- Contributor Information for AH-II (alphabetized by the contributor's last name) ------------------------------------------------------------------------------- (group) Name of person email address location phone list of compositions with descriptions ------------------------------------------------------------------------------- (Xenogen) Mark Bower Andrew Joyner Wollstonecraft, NSW Australia Winter Glow Uses a JX8P as the main pad sound, 909 hats are used with an 808 kick. Lots of Yamaha bass noises used too. A Quadraverb adds to the depth. St. of the Psychic Fallout Uses a 909 kick CR78 closed hats, a sampled wooshy noise, and the TB303 used rather differently plays the scales. ------------------------------------------------------------------------------- (Woom) Johan Burman Snostigen, Sweden Seaside (compressed) Written, Produced, Performed and Recorded by Johan Burman. Synthesizers etc: The bassline is the mighty Akai Ax60 unprocessed. The delayed lead sound is a Matrix1000 (a preset sound). The bellish and the voice-ish (?) lead sounds are reprogrammed presets of the K2000. The resonant pad (or whatever, I've named it "Resonance" anyway) is from the JX8P. The choir sound is the Mixed Choir patch from the K2000. The heavily delayed and phased sound is the WS EX. All drums are R8, RY30 and real drum (acoustic...) samples played by my good old Akai S950. A Boss SE50 provides a multitap delay... I think that's all. ------------------------------------------------------------------------------- G. Forrest Cook Boulder, CO Conspiracy of the System This piece probably qualifies as "Found" since I was demonstrating my UMI box and the trackball theremin algorithm to a friend when this amazing sound started coming out of the speakers. Luckily, I captured it on a DAT before we tweaked it out of existence. I used a trackball's X axis to modulate the pitch on my Sequential Circuits Pro-One and the Y axis modulated the VCO input to a DigiTech delay line. Pannerama This little ditty is basically a demonstration of the voltage controlled panner that has been discussed on the Analogue Heaven mailing list combined with a modulated digital delay for an exaggerated doppler shift effect. The tones come from a Pro-One. Kwyjibo This piece is a fractal composition played in tandem on a Sequential Circuits Pro-One and an Arp Odyssey with the voltage controlled panner and an Alesis Quadraverb for effects. The synths were semi-randomly tweaked by me as the fractal played out. The name comes from the very first episode of the cartoon "The Simpsons", Kwyjibo: a large, fat, dumb, balding north american ape (with a short temper). ------------------------------------------------------------------------------- D.A.C. Crowell Champain, IL Rhapsodic Black Lotus Both tracks were cut and mixed at the as-yet-not-quite-complete Aerodyne Works, Champaign, IL, and done direct-to-2, no ODs. Mixer was a Mackie 1202, with final mixdown thru Aphex Type C and Burwen DNF 1201A. Monitored thru a Sony amps (courtesy Larry Dixon), Urei 527A EQs, and a pair of Lantana TAD mixdown monitors (also courtesy Larry Dixon). Rhapsodic uses SCI Pro-One, Korg MS-20, Yamaha CS-80 and DX27, and Roland Jupiter-6 synths, plus the Hewlett-Packard/Rohde & Schwarz/ Krohn-hite fixed-formant semi-modular tube-driven hell-device. Drum part was a Boss DR-220. Effects used include Yamaha SPX-90II, Digitech RDS3.6 delay, Krohn-hite 330M bandpass filter, DOD R-870 stereo flanger, and Alesis MicroVerb II. Black Lotus uses Yamaha CS-80, Korg MS-20, Steiner-Parker Synthacon, SCI Pro-One, Roland Jupiter-6, and NED Synclavier II synths, as well as the tube-type drone monster system. Effects here include Yamaha SPX-90II, Digitech RDS3.6, Ibanez DD700 delay, DOD R-870, Biamp MR/140 spring reverb, Alesis MicroVerb II, and a Symetrix 525 comp/limiter to keep the Synclav's lead line's dynamics under control. Whole mess composed, performed, engineered, mixed, edited, diced, chunked, smothered, and covered by D.A.C. Crowell, to whom both tracks are Copyright 1994. Special thanks to Paul and Randy over at WILL for assisting with the digital transfer and to Forrest for insisting I toss a couple more tracks into the fray. :) DACC. ------------------------------------------------------------------------------- (HIgH TeCH) Romeo Fahl Seattle, WA Beware the Hunchback 3 old elementary school record players (tubes, mon!) playing records mutilated with exacto blade and Black and Decker (lock grooves from hell). Sent through graphic EQs, Roland Space Echo, Digitech 20/20 delay and DSP128 and all summed through an Audio Logic stereo compressor. ------------------------------------------------------------------------------- Mikael Hillborg Uppsala Sweden EQUIPMENT AND TRICKS: Mission ------- The sequence heard at the intro and all thru the song is a Korg ms-20 hooked up to a Polysix. Samples of a Roland CR-78 and ms-20 are also used. Additional instruments are poly-800, Ensoniq Mirage running Soundprocess (for that fat four-oscillator per voice sound with 4-pole curtis lowpass filter on top, yummy), some Proteus/1 and D-110 (for sync thru one of the separate audio outs going into the external soundprocessor of the ms-20). Arrival ------- Polysix in *UNISON mode* for that great expressive and screaming lead line. Dial ---- The Korg sq-10 analogue sequencer controls the pitch of the Korg ms-20. The effect is that when pressing start on the sq-10, a random pitch effect sounds like some electronic device, then at the end of the sequence a *boing* is triggered as the release portion of the envelope starts. The filter cutoff frequency of the polysix is modulated *live* during the recording, also it's arpeggiator comes handy at the end. ------------------------------------------------------------------------------- (Aural Research Facilities) (Deathlehem) Ric Miller Al McKinnon Winnipeg, Canada Aural Research Facilities: Ric Miller - Synthesizers; Sequencing; Drum Machine Programming; Voices; Patch Programming Al McKinnon - (On A.R.F. and Cannibal) Synthesizers; Sequencing; Drum Machine Programming A.R.F. consists of myself, Ric Miller most of the time, and myself + Al when our schedules coincide. Both Al and I prefer to work from behind the keyboard of a computer based sequencer, quantizing performances by hand, and in my case, creating drum tracks in an Event Edit list. (IE: I type drum parts into an event list, out of my head). Tune ideas are usually developed from something that either of us has played on a keyboard, and then recorded into the sequencer, or by typing into an edit list. Many times, we'll be inspired by something as simple as a sound; an effect; a rhythm or lyrically - a viewpoint. Please note: I consider the Ensoniq ESQ1 a Digital/Analog hybrid due to it's Voltage Controlled Filters and Voltage Controlled Amplifiers. This is why there are A.R.F. songs included seemingly without any analog machines. Asimov's Robots - Music Ric Miller / Lyrics - Issac Asimov - April 1992 Instruments used: Ensoniq ESQ1 - Bass synthesizers; Choir; Arpeggio; Melody; phasing chords Kawai K5m - Choir; Melody; Stereo sound effects Kawai XD5 - Drums; Electronic drums; Synth effects Atari 1040ST running Dr. T's Omega I've been a fan of Asimov's stories about Robots for a few years now. In 1992, I thought it would be a nice idea to write a song using his 3 Laws Of Robotics (Then, I only knew of 3) as the lyrics, and then to send him the piece as a 'thank you' gesture for writing such great stories. And lo and behold, before I could get the song recorded well enough, he passes away. That's what I get for procrastinating: "I'll record it better, tomorrow." A Christmas Carol - DEATHLEHEM - October 1993 Instruments used: Ensoniq Mirage Korg MS20 Roland MC202 Boss SE50 ARF Low Frequency Oscillators and Voltage Controlled LFOs (manipulating the MS20) This is one of the last carols that we had to do in order to complete our DEATHLEHEM Christmas Album. Ric ------------------------------------------------------------------------------- (Tintinnabulation) Mike Perkowitz Seattle, WA Jesus Dubs Sample sources: cabaret voltaire (jesus saves) intermix (requiem dub) ------------------------------------------------------------------------------- (Induction) Sami Khoury Thomas C Butcher Houston, TX (S.K.) Berkeley, CA (T.B.) In Orbit ------------------------------------------------------------------------------- (Transmission 23) Dan Nicholson Union, NJ Info: "Heaven" (Holy Spirit Mix) - 159bpm, techno This track was made using sounds created with an MC-202, a Juno 106, and an Arp Odyssey which were sampled and then sequenced on a Gravis UltraSound in a 486DX-33. - Dan ------------------------------------------------------------------------------- (meta4) Barry Sanders Champain, IL Hard v1.0 This one is a stomper: fast tempo, 4-on-the-floor, stripped-down and raucous. I heard this sorta "ripping" sound coming from the synth that made me decide to make it into a song. BTW: This song was recorded without *any* sync between the beats and the bassline. I just twiddled the Tempo knob on my 606 and on my Mono/Poly until they were very close, and then manually started them together (at several points during the song). That explains the subtly evolving 'feel' of the rhythm -- it's just the minutely changing tempos of each unit getting a little out of sync. Fun, huh? Equipment: Korg Mono/Poly (arpeggiated ripping sound); TR-606 and TR-909 (manually synchronized rhythms); ART SGE Mach II (delay fx). May Your Filters Resonate, Barry (meta4) "Information wants to be free! (Or for a small charge, which will be conveniently added to your monthly phone bill.)" -B. Sanders ------------------------------------------------------------------------------- (Astro Cat) Jordan Trais Chicago, IL A-Space Equipment: Roland 303, 909, Kawai K3, Oberheim Matrix 1000 plus buckets of studio gear. -------------------------------------------------------------------------------