Aphex Twin’s Remote Orchestra

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Aphex Twin’s Remote Orchestra

Richard D. James came up with the idea of controlling a 48 piece string section and a 24 strong choir by remote control, using MIDI controllers, headphones and visual cues.

Remote Orchestra was developed for the European Culture Congress in Poland and premiered Sept 10, 2011 at Centennial Hall, Wroclaw.

Solvent On Aphex Twin, Indie Music & Vintage Gear

StudioFeed cuaght up with Canadian producer and hardware lover, Solvent (Jason Amm), for an inside look at his home studio set-up, his influences and the story behind his recent RDJ-CS5 EP.

In addition to making music, Solvent is also involved in an upcoming documentary on modular synthesizers, I Dream of Wires, that is expected to be released later in 2012.

via Oliver Chesler

Duck Sauce – Big Bad Wolf (NSFW)

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Remember when electronic music videos were mind-blowing freakouts, instead of a bunch of people dancing at a party while a sexy guy and a sexy girl meet?

When Aphex Twin videos made you realize that there are some things that you just can’t ‘unwatch’?

Duck Sauce tries to bring back those days of mind-blowing electronic music videos with their video for Big Bad Wolf.

It’s NSFW. Possibly not safe for anywhere, actually. You’ve been warned.

Micronaut – Experiments One & Two

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Sunday Synth Jam: Here are a couple of new synth jams via Chris Randall.

Here’s what Randall has to say about micronaut – experiment one, above:

Having a bit of fun with the new equipment set-up, and trying to get a feel for the workflow. This piece is entirely sequenced from an Apply //e and Roland CMU-800R. I’m recording in to Ableton Live, but there are no samples or pre-recording. This track is 100% live.

The quick arpeggio sound, drums, and 16th note pulse are coming from the CMU-800R. The low bass note is from a Korg MS20 running through a Roland RE-201 Space Echo, and the main melody sound is coming from the Doepfer modular (in this case a TipTop Audio Z3000 oscillator, plus some Doepfer shit) and running through a Realistic Electronic Reverb and an Eventide TimeFactor. I used a couple instances of Audio Damage Eos for the main reverb inside the DAW, but that’s the only computer effect.

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