The point is this: You’re still using someone else’s bit rather than making it yourself.
The word “stealing” itself is a distraction. I think that’s why there’s so much confusion: people have the illusion that if they pay for a loop library, it’s not stealing… but to me, it still is, sort of. That’s the thing about sampling: Unless you make all the noise going into the sampler yourself, it is stealing, in a sense - even if you pay for it. He even came up with titles like “Moments in Love ” and we went on to write the song.” Paul Morley came up with the name – the Art of Noise – and the name inspired us. “Beat Box,” the beginnings of “Moments in Love” and bizarre things like “The Army Now,” were just me screwing around.
We used to say, “Hoist the Jolly Roger! We’re coming aboard!” We would sample bits of tracks and throw stuff together. “That was ZTT and what became the Art of Noise was born out of us just looning around.
I read Tape Op’s interviewage of Trevor Horn, and there’s this one bit: Art of Noise is the first thing that falls out of my head. In between the last two phases, though, a lot of interesting things went down. The sampler is a relatively recent invention: showed up in the late 60s, affordable by plonkers in the 80s, and gutted by legal nonsense the 90s. Then I see this:Īlong with the release of my album Sampled Library, I wanted to write up some thoughts about sampling I’ve had kicking around my head. …and, then, lord help me, it’s 4AM, because I’ve just been studying the schematics for ages. I order a pack of CR-2032 off the ‘nets, standard really seems to be what everyone says it is… but I’m not sure.
#Api reverb lp csv Patch#
I could go program my dubstep patch again from memory right now, but it would take me 15 or 25 minutes of pressing buttons, and, ok, this synth, I feel its power now, I need to fix that battery because I am going to make some sick patches As soon as I turn it off, anything I’ve done is erased gone. It is long ded has been since I was gifted the ‘station. The problem, however, is that there’s a watch battery somewhere within the Korg Wavestation EX, that saves all the non-ROM patches. Of course, silly me I should have thought to look for “just a sine wave” in the low 160’sįifteen minutes after that, however, I have a dubstep patch that does the most wicked wobbles in response to moving the vector joystick about.
Surely, this must have a sine wave?Īfter spending easily ten or fifteen minutes listening to all sorts of waves, I find it: #161, sine wave. HECK! None of these freakin’ things have sine waves one never notices until one needs sine waves, that one has sine qua non I look around my studio: sine waves, sine waves. Tie an LFO to modulate pitch if you want more Use an envelope so the pitch slowly/subtly descends. Two oscillators -2, one +30cent, other -30cent. The only reason I did get there is because, one day, for some unfathomable reason, I asked myself: How do I get a dubstep bass, anyways? I’d never really wanted to before… but, this day, I wanted a dubstep bass, how do I get it? Probably not, because it’s a solid 15 minutes of data entry to get there. But, did you know that the Wavestation can actually do great dubstep wobble bass, if you sit there and carefully program for a few, rather than smashing around with the presets? Pads, sure, yes, it does great pads - everyone loves the pads all the presets are pads. Someone very kindly gifted me with a Korg Wavestation EX that had been languishing in their closet, and I’ve found myself gradually sinking deeper and deeper into the guts of the beast.
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