Quote:
Originally Posted by
weirdfishee
β‘οΈ
Sir lovekrafty..
Can i ask about your synth history? What was your first main synth do you recall? Was there one synth that really helped you learn synthesis? How long would you say its taken for you to hone your craft so to speak? I love your beat work equally as much as the sonic textures you lace over everything.
Hey there weirdfishee.
The first synths I had my hands on back in 88
Was a Micromoog a Tiesco 60F and a DX7 at school
though in all honesty I didn't know what I was doing other than
rattling the classroom windows and making helicopter sounds
I did buy a Casio SK-1 in the 80's when they came out, that was fun
and experimented in college with samplers and a Juno 1
Jump forward a few years to the early 90's
and I purchased a Korg poly-61 from a junkie in Atlanta for $40
and a Poly 800, used my friends ESI-32 a lot, that was a fun learning
experience.
But I would have to say the purchase on my first analog mono synth
in the mid 90's taught me a lot about synthesis, it was a Roland SH-1 and I used it a lot in my early recordings, Also had a Emax II did a lot with that.
I would say the late 90's is when I really started exploring electronic music
but it has only been the past 5 years that my technique developed along with
my sound, really I just had to re-teach myself that not every track
had to have a certain structure and drum beat and just to write what was
popping in my head at the time as opposed to trying to force a polished
glossy production with no soul to it, much of that teaching came from the
80's mentality.
I actually enjoy listening to my more recent music now, for a long time I just pulled it apart for its inaccuracies ,I now revel the raw nature and exploration
of my music, comes with experience and age I suppose.
It's fun and it's also like a drug, there is a process I go through until it's complete and then I am spent until that energy builds up again.
Mistakes can add beautiful things to sound as can mistakes in recording
sound, these days we have the privilege of recording sound perfectly
and then choosing to add the mistakes.