youtube - Merry Christmas Mr. Lawrence live performed by Ryuichi Sakamoto
… gorgeous !
Merry Christmas to all of you !!!
peter
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Eben läuft auf ATV Laura’s Stern. Eine Sendung die meine beiden Kinder ausnahmsweise sehen dürfen. Wie bei den privaten Sendern üblich gibt es Werbeblöcke und in einem solchen wurde eben eine Werbeeinschaltung von hilfswerk.at gesendet. Ein Mann betritt eine Bank, geht zum Bankomat, plötzlich baut sich im Hintergrund eine Riesenschlange auf die sich sogleich auf ihn stürzt, umwickelt, aus der Bank verschleppt und vermutlich später frisst.
Es sei mir an dieser Stelle die Frage gestattet - wie krank muss man zum einen sein um sich solcher Mittel zu bedienen und wie skrupellos um diese Werbeeinschaltung im Kinderprogramm (!!!) am 24.12. zu senden?
Vielen Dank an alle Verantwortlichen, denn es ist ihnen gelungen meine Kinder zu verschrecken.
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You can download Charlie’s OASYS Excel-List of default sound-locations by clicking here.
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Seit nun mehr einigen Jahren verwende ich in meinem Mac G5 Dual 2.7Ghz - warum das so wichtig ist wird sogleich klar - von Universal Audio deren PCI Karte der ersten Generation, sowie eine Anzahl handverlesener, optionaler Plug-Ins (Neve, Roland, etc.). Die Qualität derselben ist, sofern ich meinen Ohren trauen kann, erstaunlich gut wenn nicht sogar über jeden Zweifel erhaben. Soweit so gut. Allerdings sind die eben angesprochenen optionalen Plug-Ins Resourcenfresser die den auf der Karte befindlichen “Prozessor” schnell in die Knie zwingen. Aus diesem Grunde wird die UAD Card 1 von einigen - so auch vom Verfasser dieser Zeilen - auch gerne liebevoll als UADongle bezeichnet.
Nun hat sich Universal Audio nach jahrelangem Betteln der Anwender dazu herabgelassen eine neue Karte auf den Markt zu bringen die sogleich mein Interesse geweckt hat. Schnell die entsprechende Internetseite des Herstellers abrufen, die entsprechende Unterseite gewählt…. hm… aha… ja… für sehr interessant befunden. Ein schneller Blick zur Geldbörse.. wo ist sie die Mastercard? … doch davor noch ein kurzer Moment des Innehaltens. Wie sieht es denn mit der Kompatibilität aus? Mit der Maus auf “Support” dann unter “FAQ” … tja und schon macht sich Ernüchterung - in Zeiten des kollektiven Punschtrinkens der Leber durchaus zuträglich - breit!! Was steht hier? Dass diese, die UAD2, nicht mit den “alten” PCI Slots kompatibel ist. Ich wette 95% der Leser würden sich daran nicht echauffieren, ist dies doch gängige Praxis in diesem Bereich… schnell wird argumentiert, Bussystem, Leistung, Datendurchsatz.. und was auch immer - kurz message “ist doch eh klar”. Das mag auch seine technische Richtigkeit haben, ABER … da ist zum einen in meinem Fall eine wirklich einwandfrei funktionierende DAW - keine Abstürze, verlässlich, über lange Zeit optimiert und bewährt… es läuft einfach und das ist letztendlich das wichtigste Kriterium um die seltenen kreativen Momente nicht zu bremsen oder gar im Keime zu ersticken. Tja und dann kommt da der Faktor Geld ins Spiel. In Zeiten der nie enden wollenden Konjunktur in der wir uns ja alle offenbar befinden, da wäre also nun die neue UAD Card 2… damit ich diese überhaupt in einen Slot stecken kann der ihr genehm ist müsste ich dazu einen Mac kaufen dessen Leistung an meinen derzeitigen heranreicht und dafür Minimum € 2.500.- berappen. Waauh, jetzt bin ich aber happy, dafür gibt es dann einen 2x 2.8Ghz.. ich hoffe sie merken meine Euphorie, ich kann mich vor Begeisterung ob der Leistungsverbesserung kaum halten. Tja… und dann kommt noch eine weitere kleine Änderung des Systems hinzu. Denn die Lynx Audiokarte - und die klingt wirklich topp !!! - steckt ebenfalls in einem PCI Slot und wäre dann nur mehr ein Kandidat für den Müll. Auch nicht schlecht, oder? Von einem anzuschaffenden, adequaten Subsitut ganz zu schweigen. Um auf Augen… sorry Ohrenhöhe zu sein würde das mit Sicherheit nochmals mindestens € 1.000.- an Neuinvestition bedeuten. Und da haben wir noch gar nicht von den schönen Stunden gesprochen die dieser “Umzug” mit sich bringt. Klar, es ist ein Mac, da sollte alles problemlos klappen, die interne Festplatte ausgetauscht und in den neuen Rechner… NUR, in all den Jahren mit PCs und Macs weiss ich eines, es kommt immer anders als man denkt.
Wenn ich mir das alles vergegenwärtige fällt mir spontan ein Zitat ein.. von einem der bekanntesten deutschsprachigen Schriftsteller, einzig die gute Erziehung meiner Eltern.. also nicht dass ich sie.. sondern sie haben mich, hält mich zurück - in seltenen Momenten greift sie dann doch -… aber es ändert nichts an folgendem Punkt - sorry Leute bei dem Spiel spiele ich nicht mehr mit! Das Sahnehäubchen kommt aber noch, denn dass die Konvertierung der “alten” Plug-Ins auf die neue Karte ab Jänner des nächsten Jahres kostenpflichtig wird… also da hilft einem der Voucher auch nicht wirklich drüber hinweg, oder wie sehen Sie das?
…. und eben merke ich wie schwer es mir fällt nicht doch Johann Wolfgang von für mich sprechen zu lassen.
Hochachtungsvoll
ihr blogasys
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Samu forging
After a short break Samu Teerilahti is the next interview partner at blogasys. Most likely you read some of his postings when he is writing as „sirCombatWombat“ at korgforums and karma-lab.
Blogasys: Samu, please be so kind and tell us about yourself.
ST: Hello Peter! First I wish to thank you for making this interview! I was born 1974 in Espoo Finland, a small five million people country up in the north of Europe. Besides music and sound synthesis my interests include 3D graphics, photography, technology in general, martial arts and blacksmithing. I work as a technology researcher and 3D graphic artist in our family business and as a practicing blacksmith. We married with my wife a year ago and life is good.
Blogasys: How did you start making music and have you been musically educated?
ST: I don’t remember how or why I started playing but I have always composed my own music. I have always played straight from my head or by ear, and it has been this way as long as I can remember.
My parents tell me that I started playing at the age of two. That was when I was able to reach the keyboard of the electric organ we had in our living room. The first evidence of me playing is this photo. I have no idea about the organs model.
young Samu
I went to an organ class roughly at the age of 8. After a couple of years in the class the owner of the school Juha Wiskari took me under his private tuition. From there Paul Fagerlund noticed me and offered to teach me. I studied with him until mid-teens, studying composing amongst other subjects. After a long time in private tuition under a good mentor I tried a couple of schools but could not adapt to class based teaching again and have studied by myself since then.
Somewhere on the way our electric organ was upgraded to Yamaha FE-50, and my father bought me my first synthesizer a Roland D-5. When my moped got stolen at the age of 16 I bought my second synthesizer an Ensoniq SQ’R with the insurance money.
Blogasys: Which musician influenced you most, why and who are your favourite musicians?
ST: Most influential music in my life comes from movies and computer games. I remember toying with my father’s computer a lot, a Step One PC with 8088 processor. There was a program written in basica that played music. One of the pieces was Francisco Tárrega‘s Recuerdos de la Alhambra. Even with the crude computer beeper I remember being moved by the melody. That was one of the reasons that persuaded me to learn computer programming.
Back in the 80’s there was a show on TV called The Silk Road that had Kitarō‘s Silk Road as the main theme, I loved that.
Then there were all the computer games we played with my friends Amstrad CPC 464. Like Never ending Story, Air Wolf, and of course Elite with Johann Strauss‘s The Blue Danube. The most beloved game music to me is in Origin‘s Ultima VI. I had it on PC and it had the capability to allow me to play the music thru MIDI to my Roland D5.
One of the most influential moments in my youth was watching George Lucas’s THX 1138 from the TV, I can’t remember what age I was but certainly too young. The end theme on that movie is Lalo Schifrin’s version of Bach‘s Matthäus passion (St. Matthew Passion) and I loved it. I still have trouble controlling my emotions when hearing it today. I must say that the version on the sound track CD is not as good as the original, I can’t put my finger on the difference though.
Of course Vangelis‘s Blade Runner main theme is one of the milestones for me. As is John Williams’ music on the original three Star Wars. And Richard Strauss‘s Also Sprach Zarathustra (Thus Spake Zarathustra) on the 2001: A Space Odyssey. Other notable composers include: Sibelius, Bach, especially his organ works, and Tchaikovsky.
Blogasys: What kind of music are you listening these days and what does it make so interesting to you?
ST: I’m not aware of any musical style that contains only bad music. In my view lyrics are not important, to me the melody, harmony and sound is important but words are mostly a necessary evil. I listen to a very broad scale of different kinds of music. The most moving experiences still seem to come from movie and game music. Perhaps because a film and game scores need to convey emotions without words. Though I have to confess I have a soft spot for sexy female voices.
Blogasys: Now let’s talk about your music, are there any projects you have been working on?
ST: I’ve been doing music for some commercials and also have one short film in the list. I had the fortune to get a draft video for the short film, so the work was relatively easy compared to working only with a script. I would love to compose for a movie, but will need more exposure to land a job like that. I have also played in a band for a while, but my enthusiasm lies elsewhere.
Blogasys: What is your current musical project?
ST: Making an independently funded CD of my own. I’m studying mixing and mastering at the moment and that fits the project like a glove. But I think I will have to leave the actual mastering to a professional.
Samu’s studio
Blogasys: Which equipment did you use?
ST: On my previous jobs I had equipment like Alesis Quadrasynth Plus, Ensoniq SQR, E-MU Proteus MPS, Korg Prophecy, Yamaha EX5, RS7000, 01x and i88x and Kawai CA-950. On the software side various versions of Cakewalk and Sonar, plus others.
Today I’m using OASYS 88 (with HD-1, EXs1-3, AL-1, STR-1, LAC-1, MOD-7 engines and the EXb-DI i/o board), Alesis A6 Andromeda, Novation Supernova II ProX, Doepfer A-100 BS2, Sonar 8 Producer, RME FireFace 400 and a pair of Genelec 8040’s with a Tannoy TS-10 active subwoofer.
Blogasys: What do you like about them?
ST: The OASYS has 88 weighted keys, multiple synthesis engines and a 10“ touch screen with a sound quality that blows the competition out of the water.
The A6 Andromeda is my first step in to the analog world and I like it a lot. In analog circuits there is something that feels almost alive. And there is no substitute for knobs, I love knobs. That is why I bought the Doepfer too. And I like to drive audio through them. The real concern is keeping the signal quality on an acceptable level.
My first software was the Personal Composer. It was one of the first serious IBM PC compatible MIDI recording software. It had a horrible written command driven interface but it did its job. Then when I got my hands on the first DOS version of Cakewalk I have not had to look elsewhere. After something like 17 versions Sonar is now a formidable package, and has always been very strong in its MIDI editing capabilities which is the way I work mostly. It also includes its own scripting language, the Cakewalk Application Language, but regrettably it is not very well documented and has not been receiving a lot of attention lately.
What I like about the FireFace 400 is that it is practically invisible and the drivers are solid as a rock. I hate it when something does not work, and the FireFace does an exceptional job of keeping out of my way.
Blogasys: How do you start to compose, is it a sound that inspires you or do you have a melody already in your ear and start then by choosing the right sounds?
ST: I do both but mainly I improvise with sounds that have a feel that fits the project and then usually somewhere on the way a new idea strikes. The sound may need tweaking or I might try other sounds to the recorded midi data. But it is interesting to note that the sound has a lot to do with how I play, it affects me emotionally and my playing style adapts to it subconsciously. I don’t know if others do that but it comes very naturally for me. My current mood also affects the outcome a lot and that is one of the reasons I dislike playing live. I do play melodies in my head all the time and compose traditionally and the results are quite different compared to the improvisation. And of course the two methods can affect each other and the best results come from combining them.
I also try exotic equipment for inspiration, for example the Ergodex DX1 that I built to house a chromatic keyboard. It’s like a stripped down miniature version of the C-Thru Music’s Axis-64.
Samu with Ergodex DX1
There were few obstacles as usual as I had to overcome the 50 key limitation by using duplicate key ID’s and had to write my own software for it. There is no velocity sensitivity or other such goodies but it is still very fun to play, especially with the Yamaha BC-3 breath controller or the Thrustmaster Pro Throttle. The buttons on the sides are from top down “all notes off, sustain, transpose octave up/down/reset and programmable note shift”.
SMT Chromatic DX1
I have also just ordered the half sized Continuum from professor Haken. It should work especially well with the AL-1, STR-1 and MOD-7 EXi’s of the OASYS as they have a pitch bend range of 60 semitones and the engines cope very well with the range. I have very high expectations for the Continuum and I am prepared to spend considerable time learning to play it, which I’m told is not as easy as it might at first seem.
Blogasys: What about your plans to install a 5.1 audio system? Did you experiment with it and do you think there is a market for such mixes in times where people download mp3s?
ST: I have couple of good 5.1 surround music DVD’s and listening to a stereo record afterwards is like closing one eye. The clarity and imaging of the tracks is exceptional. I have read a book about surround mixing and feel that I simply have to give it a try. Also in my view surround sound in movies does not count as the theater format requires several compromises, especially having to tolerate large amount of people and their noises, and the engineers are usually determined to split your ears for the sake of few cheesy effects. Buying three more active studio monitors is going to have an ouch factor but otherwise my system is ready for 5.1. The mp3 downloading audience is going to be happy too as Fraunhofer has released a mp3 surround format with a reported average file size of only 10% larger than stereo.
Blogasys: Let’s come back to the musical instruments. What is your favourite instrument and why?
ST: The OASYS. I could talk about the OASYS for the whole interview and probably drown your readers on the way so I’ll try to be short. The OASYS for me is not the all in one solution that some people perceive it should be. To me it is a very high quality instrument that feels and plays in such way that it gives inspiration. It also is an extremely deep but still very comprehensible synthesizer that gives me ability to create my own aural worlds with the same aforementioned quality. To me there simply is nothing available to parallel the OASYS.
Blogasys: What was the main reason for you to decide for OASYS?
ST: I saw a concept for the OASYS in a technology seminar at Wanha satama in 1995 if I remember correctly. It was like a dream come true only it never came. When the OASYS actually was released ten years later it caught my attention big time. The bad news was that I could not afford it. Two years went by and when I heard that DLX Music Helsinki had one in their show room I could not resist. I went there and played the whole afternoon. When I got home I downloaded the manuals and digged in deep. Next time I went to the store I took my trusted headphones and my newly acquired knowledge with me. The rest is history; I sold a lot of stuff and bought it.
Blogasys: What do you use most and are there parts you rarely use?
ST: The keyboard! 
And the sound engines, all of them, I program a lot. The sequencer works as a sketch pad really well and is really fast and easy to setup. And the KARMA can be a good source for inspiration. The only thing I seldom use is the hard disk recorder as I work mainly with DAW.
Samu’s OASYS supported by some pedals
Blogasys: What is your favourite Exi and why?
ST: I really like all of them. And I like to combine them. There are these two techniques I discovered where you can route the engines through each other. Inside a combi and inside a single program, and you can for example create controlled feedback loops with nonlinear amplification. It enables really creative and unique effects. For example when I read a technical article about the Karplus-Strong string modeling algorithm, it was possible to test it in the OASYS using these techniques. Another example I would like to mention is one where I used the STR-1 string modeling engine as a comb filter. I made a combi with two layers where I drive the sound of left hand instrument, a metallic synth pad in this case, through the STR-1 that is opened polyphonically by the right hand. Here is an example.
Deep Bell Drone: OASYS
And here’s a link to the Karma-Lab Wiki tutorial I wrote concerning the routing of Exi1 in to EXi2 inside a single program.
Blogasys: Are there any things you miss in OASYS?
ST: I would love a possibility to edit programs inside the combi mode, which would enable several very cool techniques. For instance in detail program editing while the whole combi is sounding would make the tuning of delicate details more easy. My technique of program routing through each other in combi mode would be much easier when I could actually hear what I am doing. And as the built in sequencer is able to record sys-ex messages the whole program editing could be recorded enabling for example a complete program morph.
I’d love an ability to write per program, per combi, and per song notes so I could trash my paper notebooks.
Markers in the sequencer would make dissecting long improvisations a breeze amongst other things.
I have been looking for a stand-alone MIDI recorder that would continuously record everything I play. Too many times have I played something great and been unable to recall it with enough detail. It would be a life saver if OASYS could do that.
Blogasys: Thanks a lot, Samu!
Descriptions of audio demos:
Storyline: All OASYS except one washing machine sound
One of them sunny platforms: OASYS
Serenity: OASYS and A6
The Little Cantor: OASYS and A6
Vibrant: Supernova II and Yamaha EX5
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© for all fotos by Samu Teerilahti, edited by blogasys
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