Buong transkripsyon ng TALK 910 - Eventide H910

we got 13 videos up, and they seem to be very popular. So, 19 00:02:30,090 --> 00:02:35,785 [Nick] well, there you go. Thanks very much. And don't forget, if you are a member either of YouTube or 20 00:02:35,865 --> 00:02:41,865 [Nick] Patreon, 30 off Cherry Audio DS two, music hack space courses, and talkback.s 21 00:02:41,865 --> 00:02:43,385 [Nick] e mix collaboration. 22 00:02:43,625 --> 00:02:52,660 [Nick] At this point, I will plug by pressing the members video, which will promote this, and then we'll be back and introduce our guests back after this. Yes. 23 00:02:53,620 --> 00:02:57,220 [Nick] Indeed. And let's get on to our guests. I'll start 24 00:02:57,380 --> 00:02:58,500 [Nick] furthest away. 25 00:02:58,660 --> 00:02:59,860 [Nick] Ladies and gentlemen, Charlie. 26 00:03:00,635 --> 00:03:05,115 [Nick] Here he is in the studio. You got the blinky lights for us on on everything and 27 00:03:05,275 --> 00:03:11,515 [Nick] and a different view. Looks lovely there. It's a very nice studio room. I didn't realize it was so big. Do you pace around 28 00:03:11,915 --> 00:03:12,955 [Nick] and kind of 29 00:03:13,355 --> 00:03:24,360 [Nick] in in deep thought, rushing over to a synthesizer and and performing a a a swift move on it. Is that your is that your There's not too much pacing going on unless I'm 30 00:03:24,840 --> 00:03:27,640 [Charlie] unless I'm walking outside in sheer frustration. 31 00:03:28,705 --> 00:03:31,825 [Nick] I'm sure that doesn't happen very often. Prolific 32 00:03:31,825 --> 00:03:34,305 [Nick] Charlie, of course. Charlie has 33 00:03:34,705 --> 00:03:43,345 [Nick] has been part of the Saw franchise since its inception and many other things. Nine inch nails performs live. Are you well, are you got any musical projects on the go at the moment? 34 00:03:45,280 --> 00:03:46,080 [Charlie] Preparing 35 00:03:46,080 --> 00:03:46,560 [Charlie] for 36 00:03:47,440 --> 00:03:51,040 [Charlie] I have to take a bunch of music from the Saw franchise and 37 00:03:51,200 --> 00:03:53,600 [Charlie] arrange it for full orchestra 38 00:03:53,600 --> 00:03:55,520 [Charlie] for a live performance 39 00:03:55,920 --> 00:03:58,445 [Charlie] in Europe in the spring. 40 00:03:58,925 --> 00:04:03,405 [Charlie] So I'm kind of puzzling over how I can take these in the box productions 41 00:04:03,725 --> 00:04:05,565 [Charlie] with all these simulated 42 00:04:05,565 --> 00:04:06,685 [Charlie] orchestral 43 00:04:06,765 --> 00:04:17,300 [Charlie] items in the mix and turn it into something that can really be played by a full orchestra with a guy waving a stick up in front. And I won't be the one waving the stick, so don't worry. 44 00:04:18,500 --> 00:04:22,420 [Nick] Ah, okay. Well, that sounds really exciting. What a fantastic project. 45 00:04:23,255 --> 00:04:35,175 [Nick] I mean, I imagine because you must use lots of those kind of the things that only a few people know the names for the way that they can play a violin or stringed instruments or whatever. Yeah. So you you'd be there'll be all of that stuff. 46 00:04:35,870 --> 00:04:46,590 [Charlie] Yeah. That'll be the challenge. You're trying figure out how to get these yeah. All the rattling and clattering and and scraping and honking and trying to figure out what the correct Italian 47 00:04:46,590 --> 00:04:48,750 [Charlie] word is for those playing techniques. 48 00:04:50,545 --> 00:04:52,785 [Nick] Nice. Well, I look forward 49 00:04:53,025 --> 00:04:53,585 [Nick] to 50 00:04:53,825 --> 00:04:59,025 [Nick] more information as it comes. That sounds like a really interesting thing. We've also got 51 00:04:59,105 --> 00:05:03,025 [Nick] Paulie Bo, who's there in Birmingham in the Noir studio, 52 00:05:03,780 --> 00:05:06,180 [Nick] home of Vintage Digital and 53 00:05:06,340 --> 00:05:07,380 [Nick] cooker of 54 00:05:07,860 --> 00:05:11,540 [Nick] Retro Sonic Retrocast episodes amongst many other things. How are you, Paulie? 55 00:05:12,100 --> 00:05:15,860 [Paulee] Yeah. Good. Thank you. The the old freelance 56 00:05:15,860 --> 00:05:20,195 [Paulee] life is actually going pretty well, and I'm, you know Nice. Earning money. 57 00:05:21,235 --> 00:05:22,515 [Paulee] So that's really, 58 00:05:22,755 --> 00:05:24,275 [Paulee] really positive. But, yeah, 59 00:05:24,995 --> 00:05:28,755 [Paulee] in fact, you know, I am kind of trying to, you know, diversify 60 00:05:28,755 --> 00:05:30,915 [Paulee] income streams. That sounds terribly 61 00:05:31,510 --> 00:05:34,870 [Paulee] business like, doesn't it? I opened up a cool 62 00:05:35,750 --> 00:05:37,110 [Paulee] t shirt shop 63 00:05:37,350 --> 00:05:38,710 [Paulee] on t public. 64 00:05:39,190 --> 00:05:44,390 [Paulee] So if you go to tpublic.com/magical-synth-adventure, 65 00:05:44,955 --> 00:05:48,875 [Paulee] You can find a couple of t shirts. I'm I've put up a couple yesterday. 66 00:05:48,875 --> 00:05:51,195 [Paulee] One's got the magical synth adventure logo. 67 00:05:51,195 --> 00:05:52,315 [Paulee] Another one 68 00:05:52,795 --> 00:05:54,555 [Paulee] is a play on an old 69 00:05:55,195 --> 00:05:56,315 [Paulee] pun which 70 00:05:56,555 --> 00:06:01,860 [Paulee] said real coders don't eat quiche for some reason. So I've done a modern Uh-huh. 71 00:06:02,260 --> 00:06:08,020 [Paulee] Play on the words, which is vibe coders eat quiche, and I've done a three d rendered quiche 72 00:06:08,180 --> 00:06:11,060 [Paulee] underneath it. Nice. So if you want a a t shirt with 73 00:06:12,500 --> 00:06:19,905 [Nick] feel I feel I I vibe code. I've been vibe coding a lot You do. And I eat quiche, although I haven't eaten any quiche this week, but maybe I should. 74 00:06:20,385 --> 00:06:31,800 [Paulee] I'm not I'm not I don't happen to be a fan of quiche, so it fits fits my kinda life quite well. But, yeah, it's just a bit of a playful tongue in cheek stuff. But yeah, as you said, RetroCast is doing really well. 75 00:06:32,600 --> 00:06:52,875 [Paulee] I'm so happy with

like the the reception to it and the fact it's given us kind of, you know, like well, there's only two shows, but it's given us kind of a brand of podcast now, hasn't it? Like Yeah. Well kind of a bigger entity. I spent all that I spent all that time working on the podcast server so we could do more shows. 76 00:06:53,275 --> 00:07:10,660 [Nick] And I as I said, I was thinking about doing a show about AI and generative AI and it being used, but I I feel the I feel the tide is probably not with me at the moment. I think there's probably gonna be more people getting angry about it than there are interested in it. So I'm holding off for that just now. I might do a special, but I I like the idea of some more. 77 00:07:11,380 --> 00:07:14,180 [Paulee] Could still do it as a kind of, you know 78 00:07:17,135 --> 00:07:20,255 [Paulee] you could still do it as a kind of Suicide mission. 79 00:07:20,815 --> 00:07:23,455 [Paulee] Well, like someone who's for and someone 80 00:07:23,695 --> 00:07:29,030 [Paulee] who's against, don't give me the link because I'll rush in the room going, AI is murder. 81 00:07:29,030 --> 00:07:31,590 [Paulee] Artist lives. Blah blah blah. No. I wouldn't really. 82 00:07:33,590 --> 00:07:37,030 [Paulee] Maybe be hidden. Hidden make a good YouTube channel. Got 83 00:07:37,430 --> 00:07:45,245 [Nick] I've got plenty of contacts today. I'm still thinking about it, and it's just I know people are so it's so it's so binary. It's very very 84 00:07:45,965 --> 00:07:50,285 [Paulee] yeah. It's very it's very Well, you say that, but interestingly, 85 00:07:50,285 --> 00:07:51,085 [Paulee] there is a 86 00:07:51,565 --> 00:07:53,805 [Paulee] and I have to get used to this now. 87 00:07:54,365 --> 00:07:59,920 [Paulee] There is kind of a a breed of musician who very much doesn't want to use AI in the 88 00:08:00,720 --> 00:08:02,080 [Paulee] composing process, 89 00:08:02,800 --> 00:08:07,200 [Paulee] a lot of them are using it to develop soft synths or weird 90 00:08:08,080 --> 00:08:10,400 [Paulee] like, for instance, there's been like a 91 00:08:10,885 --> 00:08:14,725 [Paulee] million different firmwares for the Akai s 900 92 00:08:14,885 --> 00:08:17,205 [Nick] released Yeah. People fixing stuff. Yeah. Yeah. 93 00:08:18,245 --> 00:08:20,405 [Paulee] Which is which is really weird and I 94 00:08:20,805 --> 00:08:25,445 [Paulee] I don't know where I sit on that yet. This is how all happening too quick for me, Nick. But it's like, 95 00:08:26,460 --> 00:08:34,700 [Nick] that's why I made the T shirt. I think I'm having a fight. It is an interesting one, isn't it? Because all these devices now I mean, it's same with electron people are just provide unable 96 00:08:35,180 --> 00:08:43,535 [Nick] to move. It's like, here's something that turns it into something completely different that somebody else's vision. Those that that stuff's really fascinating, and I guess democratization 97 00:08:43,535 --> 00:08:44,815 [Nick] of music technology 98 00:08:45,135 --> 00:08:46,335 [Nick] is good. 99 00:08:46,655 --> 00:08:48,255 [Nick] I mean, it's better than, 100 00:08:48,655 --> 00:09:02,490 [Nick] hey. You don't have to know anything about music to make music kind of era that we went through with all the apps and all that stuff. It's it's that that that was extremely depressing. So I suppose it's in a way, this is a lot better. It is. But I have a romantic notion of the 101 00:09:02,810 --> 00:09:04,330 [Paulee] recluse coder 102 00:09:04,650 --> 00:09:06,730 [Paulee] sitting in his own filth 103 00:09:06,730 --> 00:09:08,490 [Paulee] and old takeaway boxes, 104 00:09:08,985 --> 00:09:27,090 [Nick] coding some genius plug in. There's a romance in that for me. I know I'm extremely weird, but there is for me. That's interesting. Well, yeah, I've been doing a lot of that. I have been sitting in my own my own filth, but I do I do feel most of it. What I've what I've been doing this week is I'm trying to complete my 105 00:09:27,410 --> 00:09:31,730 [Nick] in a in a sense of irony, I'm trying to complete my extraction 106 00:09:31,730 --> 00:09:32,290 [Nick] from 107 00:09:32,690 --> 00:09:40,345 [Nick] some of the big tech services by using the big tech services to write the services that I can then run on non big tech services. 108 00:09:40,585 --> 00:09:55,060 [Nick] So Sure. Like, we've got a machine we've got a machine that we ingest all of our video in from shows, and that's been running on Amazon for years. And I thought, right. You know what? I can move that to Europe. I wonder how that will work. And I did it yesterday, and I've made it better. So it's like, made it better. Wow. So, 109 00:09:55,380 --> 00:10:08,895 [Nick] you know, that's the so now I have the only machine that now runs in the cloud, in Amazon's cloud, is this one that runs the show, and there's not much I can do about that because I don't have all those GPUs and stuff. So so, you know, I'm doing my thing, but burning 110 00:10:09,295 --> 00:10:11,615 [Nick] the planet to save my morals. Yes. 111 00:10:13,455 --> 00:10:18,575 [Paulee] I was gonna mention one of the things I did. I wrote I'm writing a series of articles on extremely 112 00:10:18,655 --> 00:10:19,855 [Paulee] cheap devices. 113 00:10:20,910 --> 00:10:28,270 [Paulee] Like, I think I'm calling it Brokebeats instead of Breakbeats. I know. Not the Oh, Terrible puns, but I'm pun master. 114 00:10:28,590 --> 00:10:32,270 [Paulee] And this is this is the Livtran NanoCore. 115 00:10:33,225 --> 00:10:34,905 [Paulee] It's a 37 116 00:10:34,905 --> 00:10:39,065 [Paulee] pounds, so that would be about $50 in your money, Charlie. 117 00:10:41,065 --> 00:10:47,225 [Paulee] Mono USB audio interface and guitar effect. It's got in out USB rechargeable battery, 118 00:10:47,940 --> 00:10:48,820 [Paulee] delays, 119 00:10:48,820 --> 00:10:52,100 [Paulee] courses, amps, cabs, £37 120 00:10:52,100 --> 00:10:53,220 [Paulee] of AliExpress. 121 00:10:53,220 -->

00:10:55,860 [Paulee] It's it's wild what people are packing into 122 00:10:56,340 --> 00:10:59,700 [Paulee] tiny little boxes, isn't it? So I'm gonna be doing some other 123 00:11:02,065 --> 00:11:07,825 [Paulee] I'm not entirely sure. Software. The one that is hackable that I've got coming next week is called the 124 00:11:09,105 --> 00:11:10,545 [Paulee] m five stack 125 00:11:10,705 --> 00:11:13,185 [Paulee] card pewter ADV, which is like a little 126 00:11:13,800 --> 00:11:14,760 [Paulee] keyboard Capture. 127 00:11:15,560 --> 00:11:22,520 [Paulee] Computer. I mean, it's not that catchy, but it's got an ESP 32 inside and you can code DAWs and trackers 128 00:11:22,840 --> 00:11:24,520 [Paulee] for that. So it's wild, 129 00:11:25,080 --> 00:11:26,680 [Paulee] these kind of cheap little 130 00:11:27,555 --> 00:11:39,235 [Paulee] devices. It's got this this NanoCore's got really good bit crusher delay on it as well. So it's worth the £37 just for that. So there we go. That's me. What fun. What fun. 131 00:11:39,860 --> 00:11:46,020 [Nick] Okay. Well, we've got topics, and I I thought this is a cracky one stop. Obviously, this is episode nine ten. 132 00:11:46,340 --> 00:11:49,940 [Nick] We know the Eventide Hub h nine ten is absolutely 133 00:11:51,140 --> 00:11:57,175 [Nick] pivotal in music technology, but we'll get to that a bit later on. Let's start with this is an article by 134 00:11:58,615 --> 00:12:00,695 [Nick] by Robbie Puricelli on 135 00:12:02,055 --> 00:12:04,295 [Nick] on Gear News, and it's sort of top five 136 00:12:04,935 --> 00:12:09,735 [Nick] oh, hold on. I need to change something. I haven't actually finished that. Yes. Hold on one minute. I need to 137 00:12:10,050 --> 00:12:12,130 [Nick] because I can't see what I wrote in there. 138 00:12:12,770 --> 00:12:14,050 [Nick] Hasn't updated. 139 00:12:14,450 --> 00:12:20,050 [Nick] The top five since that sort of changed the world, and it's kind of interesting that because, you know, we've got 140 00:12:20,690 --> 00:12:21,730 [Nick] Fairlight CMI, 141 00:12:22,305 --> 00:12:27,825 [Nick] Yamaha d x seven preset electric piano. You know, hate it as you might, still very, very influential. 142 00:12:27,985 --> 00:12:39,350 [Nick] We've got preset Korg M1, preset piano, t x eight one zed lately bass, and Korg prophecy preset three zero three. Now I've got something to play on this because I realized that I had actually used 143 00:12:39,830 --> 00:12:54,385 [Nick] two of these five on one track, and I'll play it because and I teased it before the show. So let me play. I don't I don't know. I did the remix or we did the remix, but I'm trying to play the bit that only has the two elements that I'm talking about. So here we go. So 144 00:12:56,945 --> 00:12:59,105 [Nick] this was a classic nineties, 145 00:12:59,105 --> 00:12:59,825 [Nick] you know, 146 00:13:01,665 --> 00:13:02,705 [Nick] pop and house thing. 147 00:13:06,230 --> 00:13:07,430 [Nick] There's the piano. 148 00:13:11,510 --> 00:13:12,150 [Nick] And 149 00:13:12,470 --> 00:13:13,750 [Nick] the lately bass 150 00:13:14,150 --> 00:13:15,990 [Nick] underneath it, which I think 151 00:13:17,045 --> 00:13:21,525 [Nick] I think that was actually sampled and played from an Roland s 152 00:13:22,565 --> 00:13:23,445 [Nick] 300 153 00:13:23,525 --> 00:13:30,005 [Nick] you know, what was the little s three thirty, the little one rack sampler, which had a wicked filter in it, really good TVF. 154 00:13:30,350 --> 00:13:41,070 [Nick] And that's what and it was like one note. So when he plays really high, it gets very short and pecky, which really worked in that track. So, yeah, that was forget me not. It's tongue in cheek. I think it charted in The UK 155 00:13:41,230 --> 00:13:52,405 [Nick] at, you know, 20 something or other, but it was it was the week where all of the things that we'd be working on got released at the same time. So it was like we had three in the top 30 156 00:13:52,725 --> 00:14:12,990 [Nick] or top 40, and that was one of them. But that and that m one piano. And I would like to say, I I feel I'm blushing now because I didn't realize I was blowing my own trumpet so much. I play the guitar riff. So it wasn't a sample. Not not the wah, but the little picked ones. So, anyway, top five but there's, you know, there was the Fairlight CME, the preset to which is the Stravinsky 157 00:14:13,195 --> 00:14:14,235 [Nick] Orchestra 158 00:14:14,235 --> 00:14:23,275 [Nick] Strike Firebird four, I think. I mean, there's just so many of these. I mean, Charlie, you I know you've got a large library a large collection of older 159 00:14:23,515 --> 00:14:27,435 [Nick] sampling technology much like Paulie. So you've probably got much of this stuff. 160 00:14:28,460 --> 00:14:32,540 [Nick] Would you would you hold the hardware still or just keep the samples? You 161 00:14:33,500 --> 00:14:35,020 [Charlie] know, I still do keep 162 00:14:35,660 --> 00:14:38,460 [Charlie] at hand an e max one 163 00:14:38,700 --> 00:14:40,380 [Charlie] s e h d rack 164 00:14:40,785 --> 00:14:42,785 [Charlie] just because that one is truly 165 00:14:43,265 --> 00:14:51,665 [Charlie] barely holding on and in terms of sonic quality. Like, it just wrecks whatever goes through it. And I was such a huge fan of, 166 00:14:52,625 --> 00:14:58,580 [Charlie] you know, Hank and Keith Shockley, the bomb squad, and their on Public Enemy and on Ice Cube's first record. 167 00:14:58,980 --> 00:15:01,300 [Charlie] And on because there was this this 168 00:15:01,860 --> 00:15:02,900 [Charlie] jangly 169 00:15:03,220 --> 00:15:18,685 [Charlie] sort of I I I hesitate to call it lo fi because it wasn't like this muted kind of sound. It was it was bright and and had edge to it partly because of the aliasing and the low sample rate that they would use to increase the sampling time. 170 00:15:19,325 --> 00:15:24,925 [Charlie] And there was just like this a certain quality that could immediately jumped

out at me whenever I heard 171 00:15:25,370 --> 00:15:27,210 [Charlie] those Bomb Squad productions 172 00:15:27,290 --> 00:15:35,050 [Charlie] and they were of course, it's all down to their choices of sounds and their arrangements that makes it sound like this unruly riot going on. 173 00:15:35,450 --> 00:15:55,910 [Charlie] But the sound quality of the sampler itself definitely contributed to that rough edge to it. And of course, the Emax's were a big part of early Nine Inch Nails records and not just because of convenience, but because of their sort of ability to not dirtify the sound, but to sort of edgeify 174 00:15:55,910 --> 00:15:57,110 [Charlie] it somewhat. 175 00:15:57,110 --> 00:15:59,030 [Charlie] And Yeah. I still remember 176 00:15:59,190 --> 00:16:03,350 [Charlie] watching the Depeche Mode movie, Depeche Mode one zero one and there's a brief 177 00:16:03,590 --> 00:16:05,910 [Charlie] segment where Andrew Wilder 178 00:16:05,910 --> 00:16:17,075 [Charlie] goes over their stage rigs and he's sort of explaining it to a civilian audience, you know, saying describing what a sampler is, and he would hit a key and say, we can have a recording and trigger it from a key. 179 00:16:17,395 --> 00:16:29,930 [Charlie] But their entire rig in those days was all Emax ones, and that was kind of for me, the Andrew Wilder era of Depeche Mode was like the golden age of both of sound choices, but also sound quality. 180 00:16:30,010 --> 00:16:32,490 [Charlie] And so I was sort of 181 00:16:33,450 --> 00:16:45,955 [Charlie] have this nostalgic romantic attachment to the e max, which I do keep at hand. It is a pain in the butt to use, but it for certain sounds and, of course, it has analog filters 182 00:16:46,035 --> 00:16:50,675 [Charlie] as opposed to the digital filters that dominated every sampler after that. 183 00:16:51,075 --> 00:16:52,755 [Charlie] So it can sound quite 184 00:16:53,395 --> 00:16:58,115 [Charlie] earthy and warm if you use those filters. And I just that was 185 00:16:57,530 --> 00:17:08,170 [Nick] the high point What for me. What about actual presets? Because I imagine in the sort of music that you were involved in, presets were probably an anathema. Although, I'm guessing maybe in your early 186 00:17:08,410 --> 00:17:12,925 [Nick] music to picture years, you know, some people expect to hear a certain 187 00:17:13,165 --> 00:17:18,925 [Nick] preset or a certain thing that is certainly in the nineties, I think. Right? Or did that not happen to you so much? 188 00:17:19,885 --> 00:17:22,445 [Charlie] We were always in in every 189 00:17:23,645 --> 00:17:26,950 [Charlie] school of thought, I was definitely 190 00:17:27,430 --> 00:17:30,710 [Charlie] I would use presets as a tool to learn how 191 00:17:31,590 --> 00:17:33,830 [Charlie] some programmers had best 192 00:17:34,150 --> 00:17:51,095 [Charlie] took an taken advantage of the features of a synth. So if I heard Right. Flip through the presets and if I hear something interesting, I'd be like, oh, I didn't know it could do that. Is that a dual filter array or you know? And I could sort of disassemble those to to learn more about the hardware, but I I 193 00:17:51,415 --> 00:17:53,495 [Charlie] can't admit to actually using 194 00:17:54,260 --> 00:17:55,300 [Charlie] presets 195 00:17:55,780 --> 00:17:56,580 [Charlie] or 196 00:17:56,980 --> 00:18:00,180 [Charlie] stock ish, recognizably stock samples 197 00:18:00,180 --> 00:18:01,540 [Charlie] except for one, 198 00:18:01,860 --> 00:18:06,340 [Charlie] which I wanna credit to Eric Persing. I think it was part of some Spectrosonics 199 00:18:07,105 --> 00:18:13,425 [Charlie] sample library or something. And it's the the sample that makes every film composer roll his eyes, 200 00:18:13,985 --> 00:18:16,625 [Charlie] which is called I think it's called Rusty Spoke. 201 00:18:17,025 --> 00:18:20,625 [Charlie] And it's like a bode symbol patch. It has a very recognizable 202 00:18:20,625 --> 00:18:23,110 [Charlie] texture and you can hear it in 203 00:18:23,670 --> 00:18:27,190 [Charlie] or you can hear it or a very similar version of it 204 00:18:28,070 --> 00:18:28,790 [Charlie] in 205 00:18:29,270 --> 00:18:32,230 [Charlie] the score for the Robert De Niro movie 206 00:18:32,310 --> 00:18:33,110 [Charlie] Ronin. 207 00:18:33,270 --> 00:18:41,055 [Charlie] And there's a few scenes in some of the car chases where as the car chase kicks off, you hear this lovely Sort of gnarly bowed symbol. Yeah. 208 00:18:41,695 --> 00:18:44,975 [Charlie] Nice. It's one of those ones, like, you you can use it once. 209 00:18:45,295 --> 00:18:48,815 [Charlie] And then from then on, it's repetition. 210 00:18:48,895 --> 00:18:51,375 [Charlie] And I did you I did manage to use it once. 211 00:18:52,760 --> 00:18:57,320 [Nick] Ah, that's really interesting because those metallic sounds are extremely 212 00:18:58,040 --> 00:18:59,720 [Nick] they've got a very strong signature. 213 00:18:59,880 --> 00:19:06,725 [Nick] There was a I think we had an episode, like, I don't know, in the two hundreds, some time back, and it was about a sound. 214 00:19:06,885 --> 00:19:13,365 [Nick] And it was the sound of a gate opening, a squeaky gate. And it must have been in one of those big Hollywood 9,000 215 00:19:13,445 --> 00:19:23,600 [Nick] type libraries where it just had a very specific harmonic print. And as soon as you hear it, we go, I know that. I've got that sample on the CD somewhere. It's it's bonkers. And I still use I 216 00:19:24,720 --> 00:19:32,560 [Charlie] still use sort of anything that sounds like a squeaky rusty gate or a bowed symbol. I still collect those kind of samples by the bushel. 217 00:19:33,255 --> 00:19:36,535 [Charlie] But I use them as the fodder for 218 00:19:37,415 --> 00:19:41,095 [Charlie] granular sense like pigment Yeah. Or alchemy or the Waldorf quantum. 219 00:19:41,175 --> 00:19:43,895 [Charlie] And if you take a short little sound 220 00:19:44,375 -->

00:19:46,855 [Charlie] and chuck it in your granular sense, 221 00:19:47,650 --> 00:19:57,250 [Charlie] then that That's like a wave table, isn't it? Provide the base yeah. Exactly. It provides sort of the basis for these long drawn out pad type sounds that have this edgy 222 00:19:57,650 --> 00:20:02,050 [Charlie] semi atonal texture and they've been very that kind of sound character 223 00:20:02,290 --> 00:20:09,895 [Charlie] and that that folder on my on my hard drive has seen a lot of use in scary scenes. 224 00:20:09,975 --> 00:20:11,255 [Nick] Yeah. I'd imagine. 225 00:20:11,575 --> 00:20:22,530 [Nick] Paulie, I mean, any you'd add to this. I mean, this seems like a pretty good. If you're going for five and five only, I it's hard to argue against any of those, but there's gotta be I was thinking the 226 00:20:22,930 --> 00:20:27,170 [Nick] the JD is it the JD or the JP 8,000 SuperSaw? 227 00:20:27,170 --> 00:20:30,265 [Nick] It's gotta be in there somewhere maybe. Yes. 228 00:20:30,505 --> 00:20:31,465 [Paulee] Digital 229 00:20:31,465 --> 00:20:32,985 [Paulee] native dance, 230 00:20:32,985 --> 00:20:34,585 [Paulee] of course. Oh, 231 00:20:34,665 --> 00:20:36,025 [Nick] the fodder of 232 00:20:36,265 --> 00:20:39,385 [Nick] of of, yeah, of eighties and nineties 233 00:20:39,385 --> 00:20:40,425 [Nick] advertising 234 00:20:41,065 --> 00:20:42,105 [Nick] campaigns. 235 00:20:42,105 --> 00:20:45,450 [Nick] Yeah. God. Yeah. Yes. Dates very fast. 236 00:20:46,090 --> 00:20:50,410 [Charlie] But wasn't it called don't we call refer to it as digital native dank? 237 00:20:50,490 --> 00:20:57,370 [Charlie] Because I remember on the d 50, was either on the the keyboard or the rack, the name was too long to be fully displayed. 238 00:20:57,610 --> 00:21:02,535 [Charlie] So the the last e was cut off. So we'd always call it digital native dank. 239 00:21:03,255 --> 00:21:04,535 [Nick] Nice. I love it. 240 00:21:05,015 --> 00:21:15,470 [Paulee] That's absolutely brilliant. Yeah. I think on the the the d 10 and the d 20, you didn't even get the full thing. I think it was split into two presets. 241 00:21:16,270 --> 00:21:22,670 [Paulee] So you got digital native and then something else. But, yeah, that's that's one that kind of really 242 00:21:23,470 --> 00:21:28,910 [Paulee] sticks out to to me. And I think in terms of kind of samplers 243 00:21:29,115 --> 00:21:31,195 [Paulee] and sample fodder, 244 00:21:31,675 --> 00:21:33,275 [Paulee] there was a 245 00:21:34,395 --> 00:21:36,235 [Paulee] a Vince Clark 246 00:21:36,395 --> 00:21:37,195 [Paulee] analog 247 00:21:38,075 --> 00:21:38,955 [Paulee] synth 248 00:21:40,955 --> 00:21:42,955 [Paulee] CD 249 00:21:42,020 --> 00:21:43,300 [Paulee] in the nineties, 250 00:21:43,940 --> 00:21:51,780 [Paulee] which I think got a lot of got a lot of kind of traction, you know, because it had some really usable kind of little patterns. 251 00:21:51,860 --> 00:21:53,780 [Paulee] I think also there was 252 00:21:53,940 --> 00:21:56,500 [Paulee] the first time Future Music 253 00:21:56,500 --> 00:21:57,380 [Paulee] did a 254 00:21:58,645 --> 00:22:00,005 [Paulee] a sample CD, 255 00:22:00,405 --> 00:22:02,005 [Paulee] you know, with, like, samples 256 00:22:03,205 --> 00:22:03,845 [Paulee] of, 257 00:22:04,405 --> 00:22:11,605 [Paulee] I don't know, people in a in a rocket launch tower going, be ready for liftoff blah blah blah. And and, you know, people 258 00:22:12,245 --> 00:22:18,780 [Paulee] saying things like, you know, cut the midrange, drop the bass, and all that kind of thing. I think that got a lot of 259 00:22:19,180 --> 00:22:20,620 [Paulee] a lot of 260 00:22:20,780 --> 00:22:25,900 [Nick] mileage. Gotta check this place out. Sam samples-now.com 261 00:22:26,335 --> 00:22:30,255 [Nick] It's just full of all those time and space. We used to sell these 262 00:22:30,895 --> 00:22:35,695 [Nick] we used to sell these things. 160 dB drum and bass, black to black, 263 00:22:36,255 --> 00:22:42,380 [Nick] Brit horns. God, we had all of these things. But I was looking for the Vince Clark one, but I couldn't find it. So 264 00:22:42,780 --> 00:22:44,620 [Charlie] I do remember a Vince Clark 265 00:22:44,940 --> 00:22:46,140 [Charlie] CD that was 266 00:22:46,460 --> 00:22:51,580 [Charlie] drum one shots that he had made on all of this analog and modular synths. 267 00:22:51,740 --> 00:23:00,805 [Charlie] And I admit that some of those little one shots are still lurking around in in my collection, and they have seen the light of day from time to time. 268 00:23:01,525 --> 00:23:02,725 [Nick] If you don't Yeah. I'm 269 00:23:03,685 --> 00:23:10,485 [Nick] I I I remember we we when I was doing mixes around that time that I played that track from, we mixed 270 00:23:10,890 --> 00:23:11,930 [Nick] Erasure. 271 00:23:13,370 --> 00:23:21,610 [Nick] I can't remember what the track was, but I I remembered it. 40 we had a 48 track. So two two two inch tapes turned up, 272 00:23:22,090 --> 00:23:23,530 [Nick] and it was literally 273 00:23:24,205 --> 00:23:28,125 [Nick] each each track was like one monophonic sound. 274 00:23:28,525 --> 00:23:29,245 [Nick] Yes. 275 00:23:29,485 --> 00:23:29,965 [Nick] And 276 00:23:30,525 --> 00:23:34,365 [Nick] you would just sort of you'd have to push them all up for it all to work again, and it was 277 00:23:35,165 --> 00:23:55,955 [Nick] yeah. It it I just remember being astonished at how kind of how it all fitted together. I I wish I'd kept it. I I probably got it somewhere, but I can't I don't think I've digitized it or anything. But all of those little sounds, there were loads and loads and loads of little sounds. I can't remember what the sound what the what the remix was now. It's complete. And in the end, what we did is we put a just massive, 278 00:23:56,515 --> 00:23:57,395 [Nick] horrible 279 00:23:57,635 --> 00:24:02,595 [Nick] kind of 140 beat because they were all very fast. 140 bpm jungle type beat 280

00:24:02,755 --> 00:24:04,195 [Nick] and just absolutely 281 00:24:04,355 --> 00:24:10,450 [Nick] smashed it. And it was yeah. They didn't have very much music in it. I can't remember much else. I can't remember the name of the track. 282 00:24:10,770 --> 00:24:18,050 [Nick] One one that perhaps didn't didn't go very far, I think, but I just remember the multitrack being so I'd imagine he probably got as 283 00:24:18,535 --> 00:24:21,575 [Nick] gigs and gigs and gigs of little sort of sequenceable 284 00:24:21,575 --> 00:24:24,695 [Nick] blips and short notes because all this stuff is very 285 00:24:25,175 --> 00:24:33,030 [Nick] staccato, isn't it? It doesn't he doesn't have Yeah. Pads and that sort of thing. It's all little put together. Yeah. Master. Oh, 286 00:24:33,430 --> 00:24:37,350 [Paulee] the the CD I was thinking of was actually called Lucky Bastard 287 00:24:37,830 --> 00:24:42,710 [Nick] from '19 Oh, yes. I do I I remember that stuff. I remember that vaguely. 288 00:24:43,750 --> 00:24:46,710 [Paulee] Yeah. I've got it somewhere. A classic shit. It's really cool. 289 00:24:47,285 --> 00:24:49,525 [Paulee] It's really cool to be mangled through 290 00:24:50,885 --> 00:24:52,085 [Paulee] Oh, yeah. Kleptomania, 291 00:24:52,085 --> 00:24:53,925 [Nick] Norman Cook, Skip to My Loops. 292 00:24:54,405 --> 00:24:55,525 [Nick] Oh, yeah. Wow. 293 00:24:56,165 --> 00:24:56,885 [Nick] Wow. 294 00:24:56,965 --> 00:25:01,205 [Nick] Well, I because I remember back in the day when we first started out, none of this stuff was available. 295 00:25:01,890 --> 00:25:29,185 [Nick] And the guy I made music with, Neil, he used to go to New York quite a lot. And every time he would go, he would go to the record stores and come back with the the breakbeat albums, which were it was breakbeat volumes, you know, and we just had loads and loads of them. They were just somebody would sample it or turntable it and then make a new track out of it that just had the loop running for two minutes. And you just have you buy albums and albums of this stuff, and there were always acapella ones as well. In fact, I vividly remember 296 00:25:29,830 --> 00:25:34,230 [Nick] acapella's anonymous, which was one of what they they were sold in New York. 297 00:25:34,630 --> 00:25:36,870 [Nick] And literally one whole side 298 00:25:37,030 --> 00:25:38,550 [Nick] of one of the volumes 299 00:25:39,110 --> 00:25:39,750 [Nick] was 300 00:25:40,310 --> 00:25:50,945 [Nick] Massive Attacks Blue Lines, just all of them. It was like basically every single vocal that they sampled on the same side of one piece of vinyl. And we knew we knew. Anyway, 301 00:25:51,105 --> 00:25:56,625 [Nick] patches, though. Got any favorite what other patches, Paulie? You've got a great article by by 302 00:25:56,945 --> 00:25:57,345 [Nick] Robbie. 303 00:25:58,680 --> 00:25:59,720 [Paulee] Yeah. I'm 304 00:26:00,120 --> 00:26:03,080 [Paulee] I'm just I was thinking about the the 305 00:26:03,240 --> 00:26:04,680 [Paulee] the d x 306 00:26:05,080 --> 00:26:05,880 [Paulee] seven 307 00:26:06,120 --> 00:26:08,520 [Paulee] electric piano the other day because 308 00:26:08,680 --> 00:26:11,000 [Paulee] I think it it deserves 309 00:26:11,000 --> 00:26:13,160 [Paulee] a kind of rebirth almost 310 00:26:13,265 --> 00:26:15,425 [Paulee] in some kind of sinister way. 311 00:26:15,825 --> 00:26:17,105 [Paulee] You know, if you like 312 00:26:17,345 --> 00:26:25,665 [Paulee] Chuck a if you're doing like a pastiche kind of analog horror, I think it'd be quite cool to to have that sound play something 313 00:26:25,870 --> 00:26:39,870 [Paulee] not like a ballad and a bit wobbly and a bit VHS, you know, degrading That sort of music it would actually that music box thing that you have in horror films where it feels really sinister, that sort of vibe. Yeah. But it was but it's d x seven piano instead. 314 00:26:40,965 --> 00:26:46,805 [Nick] Yeah. Okay. Charlie, I I think you're the man. I mean, you know, there's your mission, should you choose to accept it, 315 00:26:47,045 --> 00:26:51,925 [Nick] is to slip a d x seven sound, e p one Diminished or something. Soundtrack 316 00:26:51,925 --> 00:26:52,405 [Nick] somewhere. 317 00:26:53,110 --> 00:26:55,830 [Charlie] Okay. That might be a I think would be a walk frame. 318 00:26:56,470 --> 00:26:57,350 [Nick] A walk. 319 00:27:00,470 --> 00:27:09,285 [Paulee] You Right. I'm just gonna take choppily. Just gotta take a quick Do you Oh, sorry. Sorry. Do you still have the one rusting in your back garden, Charlie? 320 00:27:09,445 --> 00:27:10,645 [Paulee] Oh, yeah. You 321 00:27:11,125 --> 00:27:12,085 [Paulee] had one rust. 322 00:27:12,805 --> 00:27:27,230 [Charlie] Yeah. There's one out out outside rusting. It was victim number 16 from one of the tours, and it's out there with a few missing teeth and a rusted chassis. It probably still sends MIDI though if you'd find a key that works. Sure. It still works. 323 00:27:27,790 --> 00:27:35,305 [Nick] Yeah. Feels like a tank. I gotta take a quick break. We'll be back after this short message from our sponsor. 324 00:27:37,225 --> 00:27:37,945 [Nick] Right. 325 00:27:38,585 --> 00:27:49,030 [Nick] Gosh. I don't know where to go next. There's so much we could oops. That's not what I meant to do. There's so much we could go to. To the nineties. Let I I think this one's kind of interesting. This is an antidote to the 326 00:27:49,270 --> 00:27:50,710 [Nick] to the the the pop 327 00:27:51,190 --> 00:28:06,445 [Nick] things. And this is a there's a piece on Create Digital Music just about from Tempest Audio, kind of excavated some of the oldest recordings. This one really took This piece of paper is the oldest recording of a human voice ever made, and nobody heard it until 2008, 328 00:28:06,445 --> 00:28:12,285 [Speaker 3] not even the man who made it. He died waiting for the technology that could play it back. It was Paris 1860, 329 00:28:12,285 --> 00:28:20,410

[Speaker 3] seventeen years before Thomas Edison recorded anything. An inventor named Edouard Leon Scott de Martinville built a machine called the phonograph. 330 00:28:20,490 --> 00:28:42,015 [Speaker 3] It traced sound vibrations onto soot blackened paper. He wasn't building a record player. He just wanted to make sound visible like a Every bit of information I'm gonna fast forward it. Voice was sitting on the paper. The technology just needed a hundred and forty eight years to catch up with it, and the same was true of the man who made it. The world wasn't ready for the recording. So if you're making something the world doesn't seem ready 331 00:28:48,490 --> 00:28:54,010 [Nick] I just think that is absolutely mind blowing. So seventeen years before Edison, who basically famously 332 00:28:54,170 --> 00:29:05,795 [Nick] he did this a couple of times, didn't he? I I think when you look into the history of Edison, he he kind of he was a bit like Apple, you know, that claimed claimed that they had originate well, they actually Apple, to be fair, don't. They they popularize 333 00:29:05,795 --> 00:29:25,880 [Nick] an idea that's already been proven and and do it better, you know, which is a different thing. But he actually claimed I think Edison had a couple of things where he had one that wasn't the incandescent light bulb, somebody else's, and he just sort of, like, figured out how to manufacture it. But so so this is I just thought this was actually fascinating. So this guy, Graf Helmuth Karl von von 334 00:29:25,880 --> 00:29:29,285 [Nick] von Molker, who's a Prussian general field marshal. 335 00:29:29,605 --> 00:29:30,085 [Nick] He 336 00:29:30,405 --> 00:29:37,285 [Nick] oh, no. He wasn't. I'm not talking about this. Edison yep. This is Edison. Yeah. Ed Edward Leon de Scott de Montevall made of an autophonograph, 337 00:29:37,285 --> 00:29:44,600 [Nick] which trace paper. And that so until 2008, somebody found the paper. They brought it out and then scanned it, turned it into a waveform, 338 00:29:44,840 --> 00:29:50,760 [Nick] and then played it back, and that's how he heard it. So the guy never got to hear I just think this is absolutely astonishing 339 00:29:50,840 --> 00:29:58,885 [Nick] and probably is the first example of a recorded sound ever. I mean, it's just kind of amazing, isn't it, that that these things exist? 340 00:29:59,205 --> 00:30:04,165 [Nick] I don't know. I I I don't know if there's any point or any discussion to it. I just thought, what an amazing fact. 341 00:30:04,805 --> 00:30:07,205 [Nick] I'd take this audio also. B m 342 00:30:07,605 --> 00:30:12,200 [Charlie] chuck up to a 140 b p m jungle beat under it and, know, off to the club. 343 00:30:13,080 --> 00:30:13,320 [Nick] No 344 00:30:14,040 --> 00:30:20,760 [Nick] I I guess there'd be no copyright on this being as to how old it possibly is. So that's so we put we'd probably be pretty safe there. 345 00:30:21,480 --> 00:30:28,165 [Paulee] I think it would be fun to, like, get the different notes and multi sample and loop them and make a really creepy choir pad. 346 00:30:29,045 --> 00:30:30,965 [Paulee] Yeah. Some of the Adrian Pine Bar. I listen 347 00:30:31,925 --> 00:30:37,925 [Paulee] yeah. Yeah. I listened to some of the the dolls. Did you hear any of the dolls? 348 00:30:38,165 --> 00:30:39,845 [Paulee] They were absolutely 349 00:30:40,005 --> 00:30:41,365 [Paulee] terrifying. 350 00:30:43,440 --> 00:30:45,520 [Paulee] Think some of the lines were abused. 351 00:30:46,480 --> 00:30:47,120 [Charlie] Yeah. 352 00:30:49,120 --> 00:30:53,200 [Paulee] Yeah. They were brave. No one didn't even know that. Know kids were smiling 353 00:30:53,680 --> 00:30:55,760 [Paulee] in those old black and white photographs. 354 00:30:55,760 --> 00:30:57,920 [Paulee] They they were 355 00:30:57,225 --> 00:30:58,265 [Paulee] terrified 356 00:30:58,585 --> 00:31:03,145 [Paulee] at night by the dolls, but no. Absolutely brilliant. But, yeah, this is the kind of 357 00:31:03,705 --> 00:31:05,945 [Paulee] this is the kind of direction 358 00:31:05,945 --> 00:31:08,985 [Paulee] I'd like to take some episodes of retro casting, 359 00:31:10,620 --> 00:31:12,220 [Nick] like Real old stuff. Contact 360 00:31:12,780 --> 00:31:14,780 [Paulee] this person, real old stuff. 361 00:31:15,020 --> 00:31:20,620 [Paulee] One one little thing I'm trying to organize at the moment is an episode with 362 00:31:20,940 --> 00:31:23,660 [Paulee] someone from the Berlin 363 00:31:22,825 --> 00:31:32,425 [Paulee] Spy Museum about, like, cryptology and, you know, secret messages and things like that. So I do wanna do some kind of older general interest 364 00:31:33,385 --> 00:31:34,665 [Paulee] stuff that's 365 00:31:34,665 --> 00:31:40,220 [Paulee] not quite in my wheelhouse, you know, which which will be really interesting for me to learn about. 366 00:31:41,740 --> 00:31:55,355 [Nick] It's interesting, though. What I thought about this I mean, just the fact that he created something that it was like a megaphone with a stylus on it that just, obviously, the amplitude was quite low because there was no way of amplifying. This was just an, I mean, big cone 367 00:31:55,435 --> 00:32:02,520 [Nick] wobbly bit at the end and so so scratching into soot lined paper. I mean, that's just sort of what a what a massively 368 00:32:02,520 --> 00:32:07,800 [Nick] brilliant idea. I just think, you know, it's absolutely brilliant. The whole article is a great article by Peter Kern who's 369 00:32:08,200 --> 00:32:18,095 [Nick] obviously written on his own CDM link. Really good. I know, Charlie, have you come across have you ever have you ever come across any hidden recordings, recordings you'd forgotten about that have just sort of blown your mind? 370 00:32:18,495 --> 00:32:27,855 [Nick] You must have loads. I mean, I remember you talking about the brakes on the subway and all of that kind of stuff, but that that must be others. Yeah. I mean, I did have I

did have this 371 00:32:28,015 --> 00:32:28,895 [Charlie] one of the first 372 00:32:29,810 --> 00:32:37,410 [Charlie] Sony Walkman cassette recorders that was all there's actually a recorder and it had stereo mics on it. And I used to carry that thing around 373 00:32:37,810 --> 00:32:44,050 [Charlie] just in case of stumbling across, you know, a building being demolished or a guy with a jackhammer or something. 374 00:32:44,530 --> 00:32:55,385 [Charlie] And, course, the it had, you know, the auto gain control of those early recorders. So whatever you recorded sounded just all compressed and gnarly and fat. 375 00:32:55,705 --> 00:32:59,960 [Charlie] And I did, you know, I I it was probably two years ago 376 00:33:00,440 --> 00:33:07,400 [Charlie] going through the storage room and cleaning things out and found that box of of dats and cassettes that I had always meant to 377 00:33:07,640 --> 00:33:13,315 [Charlie] digitize and archive for the future. And I find and along with boxes of like 378 00:33:13,795 --> 00:33:15,395 [Charlie] mini DV videotapes 379 00:33:15,395 --> 00:33:29,250 [Charlie] from the Handycam I always used to carry around on tours. So there'd be, you know, backstage antics and shit like that. And I finally said, okay. I've got a a my collection of vintage media has sort of reached critical mass and I looked 380 00:33:29,250 --> 00:33:30,290 [Charlie] around for 381 00:33:30,770 --> 00:33:44,945 [Charlie] company or a guy who could digitize all this stuff from all these different formats and just give me back a a, you know, a Samsung t nine SSD drive with the movie files and WAV files of these of this and so forth. And 382 00:33:45,345 --> 00:33:50,225 [Charlie] finally, bit the bullet and did that and did did discover some some gems including 383 00:33:50,225 --> 00:33:54,945 [Charlie] there was some cassettes from the old Tascam two thirty four Porta Studio, 384 00:33:55,500 --> 00:33:59,020 [Charlie] which, you know, was a four track that would record 385 00:33:59,260 --> 00:34:00,220 [Charlie] both, 386 00:34:00,380 --> 00:34:05,260 [Charlie] you know, four tracks would occupy both sides of the cassette. So I 387 00:34:05,260 --> 00:34:11,875 [Charlie] I wound up with a whole bunch of WAV files, some of which were backwards because he had digitized it from a normal cassette deck. 388 00:34:12,675 --> 00:34:18,035 [Charlie] But it was and also, I think the two thirty four used d b x noise reduction, 389 00:34:18,355 --> 00:34:20,595 [Charlie] which Yeah. This person didn't have. 390 00:34:21,330 --> 00:34:33,490 [Charlie] So Yeah. He wasn't able to decode the d b x noise reduction. So I got back these files that probably the signal that went to tape was this feeble thin little thing. But what came back after 391 00:34:33,650 --> 00:34:35,250 [Charlie] not being properly 392 00:34:35,250 --> 00:34:36,530 [Charlie] d b x decoded 393 00:34:37,065 --> 00:34:38,505 [Charlie] was this compressed 394 00:34:38,505 --> 00:34:39,305

[Charlie] gnarly 395 00:34:39,305 --> 00:34:40,665 [Charlie] fat sounding 396 00:34:40,985 --> 00:34:42,185 [Charlie] mess of 397 00:34:42,505 --> 00:34:43,785 [Charlie] soupy audio 398 00:34:43,785 --> 00:34:44,425 [Charlie] and 399 00:34:44,585 --> 00:34:47,465 [Charlie] was actually probably a lot better than 400 00:34:48,105 --> 00:34:56,830 [Charlie] my original recording. And of course, it was all at half speed because those TaskCams ran at double speed, I think. So I had these wonderful pitch down 401 00:34:57,550 --> 00:35:00,990 [Charlie] d b x can be encoded and not decoded 402 00:35:01,630 --> 00:35:08,830 [Charlie] files that were all slow and gnarly and compressed. And so those those went into the 403 00:35:08,005 --> 00:35:15,445 [Charlie] to be edited and used folder on my desktop for sure. Is it can you is it actually possible now? 404 00:35:15,925 --> 00:35:20,485 [Nick] Because d Dolby are famously very litigious and very protective of their licenses, 405 00:35:20,830 --> 00:35:38,545 [Nick] And I can't imagine any of that stuff is is used anywhere anymore. But I want then I'm I'm also not public domain. So to be able to decode it, are there plugins or anything available to do that sort of thing? I mean, just just as a matter of There must be. I mean, I haven't dug into it too much, but I'm sure 406 00:35:38,705 --> 00:35:43,185 [Charlie] that there are plug ins that somebody has developed for some multiband 407 00:35:43,505 --> 00:36:08,035 [Charlie] dynamics plug in that would basically reverse the process of a DBX encoding. I do know there's a few plug ins that seek to emulate the Dolby type a and type b noise reduction that was used on, like, 24 track machines. Because that was an old trick back in the day was, you know, encoding it to tape and then switching off the that channel's unit for the decode 408 00:36:08,035 --> 00:36:11,555 [Charlie] and playback process. So you'd get this sort of hyped, 409 00:36:11,875 --> 00:36:22,490 [Charlie] slightly compressed signal coming back off tape where the highs were compressed more than the mids and the lows. And there are a couple of plugins that don't use the word Dolby 410 00:36:22,890 --> 00:36:27,930 [Charlie] in their name, but they do say this is this is the type a trick or whatever. 411 00:36:28,330 --> 00:36:30,010 [Charlie] So I'm sure there's gotta be a preset 412 00:36:31,530 --> 00:36:32,890 [Nick] Yeah. I remember in 413 00:36:33,050 --> 00:36:35,475 [Nick] the studio, there was nobody 414 00:36:35,715 --> 00:36:42,035 [Nick] because if you had if you had 24 track if you had multitracks and you had because having Dolby on the multitracks 415 00:36:42,355 --> 00:36:46,835 [Nick] was both a blessing and a curse because if somebody sent you a tape with multitrack 416 00:36:47,070 --> 00:37:07,375 [Nick] doll that was Dolby, it was like, oh, I can't I can't do it unless I have the Dolby rack, and you'd have to rent a Dolby rack from FX Rentals or something like that and bring it down just to decode it, to do the mix. It was a bit of a it was a bit of a rough yeah. That was didn't didn't kinda work out kind of for that many people, I think, in many ways. And, also, it was very 417 00:37:08,975 --> 00:37:16,320 [Nick] it's a bit like nowadays when you have noise reduction on your Zoom call or whatever. It it was it was quite blunt, wasn't it? I think seem to remember. 418 00:37:16,720 --> 00:37:18,880 [Charlie] Yeah. And if you didn't get everything calibrated 419 00:37:18,880 --> 00:37:23,120 [Charlie] just right, then things would kind of be fluctuating weirdly, and 420 00:37:23,520 --> 00:37:25,520 [Charlie] I was not necessarily a fan. 421 00:37:26,595 --> 00:37:28,435 [Nick] No. It was a bit of a nightmare. 422 00:37:28,595 --> 00:37:29,475 [Nick] Interesting, 423 00:37:29,475 --> 00:37:29,955 [Nick] though. 424 00:37:30,515 --> 00:37:39,155 [Nick] I'm sorry, Paul. I've I've completely got lost of that. I can't remember whether I've already come to you about this. You you did mention it. You already came to me about this. I talked about and stuff. 425 00:37:40,020 --> 00:37:46,980 [Nick] I think sample library is a really good idea. Maybe do a little bit of a decent sample thing. That would be kind of fun. Yeah. Right. 426 00:37:47,700 --> 00:37:48,820 [Nick] Excuse me. I 427 00:37:50,340 --> 00:38:09,920 [Nick] I'm gonna go to the 09:10 now because it just feels like we're we're romping through the through the time and not the topics. So I wanted to do nine ten as it's episode nine ten. So I need to get it in here. And I might have to split this up because I need to do play another ad, and my other ad was a bit early. So this was this is a video from 428 00:38:11,920 --> 00:38:13,280 [Nick] Funky Junk Italy, 429 00:38:14,800 --> 00:38:17,600 [Nick] and it's just a bunch of so the nine ten, 430 00:38:18,320 --> 00:38:21,360 [Nick] 50 years old. Is it 51, 52 years old? 431 00:38:24,125 --> 00:38:27,325 [Nick] This is the heart. You could play it via a keyboard, feedback. 432 00:38:27,725 --> 00:38:30,445 [Nick] And when you hear it, I mean, this is mostly on 433 00:38:30,605 --> 00:38:31,885 [Nick] crazy guitars, 434 00:38:32,125 --> 00:38:34,045 [Nick] but this was all over drums. 435 00:38:34,045 --> 00:38:45,060 [Nick] I mean, there there's another couple of videos from them where it's just all about how it was used on drum sounds, on guitar sounds, on vocal sounds. And if you had two of them and you could get the knob so that it just 436 00:38:45,860 --> 00:38:50,100 [Nick] wibbled, so it didn't it Yeah. You often see this in the studio and they fluctuate. 437 00:38:50,665 --> 00:38:54,505 [Nick] And that's because you would if you got the knob in between the values, 438 00:38:54,745 --> 00:39:12,080 [Nick] it would wobble, and that would give something even more it's only be a you know, not even a cent, would it? Would it be a cent or something like that? It'd be a cent, and it would just give the extra

you know, all sorts of tricks that were done with it. I don't think I've ever used one. I mean, obviously, there's plenty of plug ins in here, but it was nine seventy four 439 00:39:13,440 --> 00:39:19,360 [Nick] and a hundred and twelve milliseconds of delay. I just saw one on Reverb for £2,397. 440 00:39:19,855 --> 00:39:29,055 [Nick] So they obviously hold their price, and they're very, very thought sort of and you'd need two, really. Would you need two to get the best from me? Because then you have pound pound one left and right. 441 00:39:29,535 --> 00:39:31,855 [Charlie] I would I'd default 442 00:39:31,855 --> 00:39:40,260 [Charlie] to having if something's mono, I default to having two of them and panning them left and So, yeah, that would be that would be ideal, but that sounds like a pricey 443 00:39:40,660 --> 00:39:43,780 [Charlie] a pricey investment in this day and age. Yeah. 444 00:39:44,900 --> 00:39:49,545 [Nick] Did you I mean, I'm guessing yeah. I mean, I I don't remember 445 00:39:50,265 --> 00:39:55,865 [Nick] this being a factor because I came up through this sort of really cheap digital effects. I remember it being in studios, 446 00:39:56,025 --> 00:40:09,650 [Nick] but I don't remember ever using it on anything. It wasn't the sort of sound that perhaps we were looking for at that time. I'm guessing it must have been something that you you came across for some of the earlier recordings you were working on. It's still still used now, I guess. 447 00:40:10,210 --> 00:40:12,770 [Charlie] I mean, it's I remember seeing 448 00:40:12,770 --> 00:40:14,130 [Charlie] it and using it 449 00:40:14,450 --> 00:40:15,330 [Charlie] once 450 00:40:15,745 --> 00:40:21,425 [Charlie] on some tom toms, like war tom kind of pattern because I had heard 451 00:40:21,665 --> 00:40:23,185 [Charlie] I had heard it on 452 00:40:23,745 --> 00:40:26,305 [Charlie] My Life in the Bush of Ghosts. There's a there's 453 00:40:27,425 --> 00:40:38,250 [Charlie] on a couple of the tracks, there's sort of very obvious use of that sort of pitch envelope y effect that the nine ten can do on drums where the drum hits kinda go. 454 00:40:39,050 --> 00:40:40,090 [Nick] And 455 00:40:40,330 --> 00:40:53,825 [Charlie] I was very kind of upfront and noticeable on My Life in the Bush and Ghosts and I was like, oh, I gotta try that. And I tried it on some can't remember what the track was that I've used it on and it was cool and worked, 456 00:40:54,465 --> 00:40:56,065 [Charlie] but it it screamed, 457 00:40:56,305 --> 00:40:57,985 [Charlie] I am the h nine ten 458 00:40:58,440 --> 00:41:00,040 [Charlie] snare drum effect. And 459 00:41:01,400 --> 00:41:09,800 [Charlie] then but I was interested to read many years later and I can't believe it didn't occur to me ever and that I didn't automatically 460 00:41:09,800 --> 00:41:12,680 [Charlie] know this was what was done when I heard the record. But that 461 00:41:13,625 --> 00:41:16,985 [Charlie] that, of course, Mutt Lang used it on ACDC 462 00:41:16,985 --> 00:41:22,265 [Charlie] to fatten up the snare by using that harmonizer with a little pitch envelope 463 00:41:22,505 --> 00:41:33,060 [Charlie] element to it, but mixing it very far behind the main snare sound and it would just add a bit of a a very subtle kind of Ew. Little sweeping effect. Yeah. 464 00:41:33,620 --> 00:41:34,660 [Charlie] Exactly. And 465 00:41:35,300 --> 00:41:46,855 [Charlie] it was not overt like it was on My Life in the Bush and Ghosts, but that was when I read that that was one of the true one of the millions of tricks that Mutt Lange had used, I thought, I 466 00:41:47,175 --> 00:41:52,775 [Charlie] can't believe I didn't think of that or notice that when I the thousand times I've heard those records. 467 00:41:53,950 --> 00:42:00,270 [Nick] So, Paulie, the world's first digital effect unit, and I do not see one in your studio. I mean, what are you thinking? 468 00:42:02,430 --> 00:42:03,550 [Nick] You've muted, I think. 469 00:42:08,425 --> 00:42:09,225 [Paulee] I 470 00:42:09,225 --> 00:42:10,825 [Paulee] mean, is the price Yeah. Got 471 00:42:13,865 --> 00:42:14,585 [Nick] ins. Yeah. 472 00:42:15,305 --> 00:42:21,880 [Paulee] Yeah. Yeah. So when you were when you were when you were playing the video for this topic, 473 00:42:22,600 --> 00:42:24,040 [Paulee] and I saw it was, 474 00:42:24,360 --> 00:42:27,640 [Paulee] just, you know, a picture of the rack, I was like, thank God. 475 00:42:27,960 --> 00:42:29,400 [Paulee] Thank God he didn't play 476 00:42:29,880 --> 00:42:31,880 [Paulee] Laurie Anderson's o Superman, 477 00:42:31,880 --> 00:42:40,575 [Paulee] which has this rack on it. Because that video is the it gives me nightmares, you know, when she puts the mouth Really? Light in her mouth and go. 478 00:42:41,055 --> 00:42:42,975 [Nick] Oh, yeah. Yeah. Come on. 479 00:42:43,695 --> 00:42:44,655 [Paulee] It's like 480 00:42:45,855 --> 00:43:00,390 [Paulee] childhood trauma. Anyway, But yeah, I I love it. It's brilliant. And yeah, it's all over Bowie's low as well, isn't it? As well as Yeah. Life in the bushy ghost. And it's on my favorite track from that album, breaking glass. Lately, 481 00:43:00,630 --> 00:43:01,510 [Paulee] I've been 482 00:43:01,795 --> 00:43:04,515 [Paulee] breaking glass in your room again, 483 00:43:04,755 --> 00:43:06,835 [Paulee] which is brilliant. It's a brilliant track. 484 00:43:07,635 --> 00:43:14,275 [Paulee] Nice. And if I could get my hands on one, of course, I would. I'm kind of obsessed with pitch shifters, 485 00:43:15,170 --> 00:43:22,210 [Paulee] and the the more terrible they are or the more artifact laden they are, the better 486 00:43:22,530 --> 00:43:30,125 [Paulee] in my mind. You know? I don't want, like, an octave a clean octave up. I want an octave up that stutters and grinds. 487 00:43:30,925 --> 00:43:34,205 [Nick] You need an SPX 90. That's what you need. Yes. 488 00:43:34,925 --> 00:43:40,525 [Paulee] Well, I've got a a Rex

a Rex 50, which is like the little desktop. Even worse. 489 00:43:41,165 --> 00:43:45,080 [Paulee] Yeah. Even worse. I've got I've yes. Got Some 490 00:43:45,800 --> 00:43:49,000 [Paulee] I've got some I'm looking forward to trying this out this week. 491 00:43:51,400 --> 00:43:53,960 [Paulee] Friend sent me a MIDI verb four. 492 00:43:54,600 --> 00:43:56,040 [Paulee] Dude. That would be good. Okay. 493 00:43:57,035 --> 00:44:02,715 [Paulee] So I'm gonna I'm gonna try the pitch shift on that, but, yeah, I was trying to think which which are the best ones 494 00:44:03,195 --> 00:44:04,475 [Paulee] I've got. I think, 495 00:44:05,035 --> 00:44:08,315 [Paulee] you know that, video I did with the the Amiga 496 00:44:08,315 --> 00:44:14,440 [Paulee] with a guitar through it? Cause that's all eight bit. I think that pitch shifting sounds phenomenal 497 00:44:14,440 --> 00:44:17,320 [Paulee] because it kind of clicks and stutters and 498 00:44:17,800 --> 00:44:20,120 [Paulee] almost drags the sound out 499 00:44:20,920 --> 00:44:22,440 [Paulee] rather than cleanly 500 00:44:22,440 --> 00:44:25,785 [Paulee] shifts it. And then if you get your dry signal 501 00:44:25,865 --> 00:44:30,505 [Paulee] and just add this behind, it kinda hides the clicks, you're just left with this 502 00:44:31,225 --> 00:44:36,905 [Paulee] just this amazing grunge. So, yeah, of course, if I could get one, a h nine ten, then 503 00:44:38,390 --> 00:44:44,550 [Paulee] Yeah. There's a I would get one, but I'm I'm at the point in my career where people are sending me midi 504 00:44:44,550 --> 00:44:46,230 [Paulee] verb fours and not Ebbantides 505 00:44:46,390 --> 00:44:49,270 [Paulee] Yeah. Well, that's Legacy racks. That's Maybe one day. 506 00:44:50,725 --> 00:45:02,245 [Nick] I I just wanna shout out doctor Syth in the chat room, Manny. Oh god. REX 50 gives me nightness. If I recall, I think the REX 50 was the first time Yamaha 507 00:45:02,245 --> 00:45:08,410 [Nick] went away from the green backlit screen to a sort of orangey one with white writing. 508 00:45:09,050 --> 00:45:10,890 [Nick] And I I know Mark Tinney 509 00:45:11,050 --> 00:45:16,570 [Nick] raves about his REX 50 or did maybe ten years ago, fifteen years ago possibly. 510 00:45:16,730 --> 00:45:22,205 [Nick] But, yeah, it was a sort of multi effects unit. What a shout out for the the the Eventide 511 00:45:22,205 --> 00:45:23,165 [Nick] on the 512 00:45:23,805 --> 00:45:36,470 [Nick] it's Frank Zappa, Joe's Garage, Watermelon, and Easter Hay, which not only has the the best and the most emotive guitar solo in my opinion of all time, But also the drums, I think it's Chad Wackerman's playing. I mean, they just go. 513 00:45:37,590 --> 00:45:41,030 [Nick] Just so beautifully spacey and brilliant. 514 00:45:41,030 --> 00:45:44,070 [Nick] If you don't if you get a chance, Joe's Garage, 515 00:45:44,310 --> 00:45:47,510 [Nick] Watermelon and Easter Hay, absolutely fantastic 516 00:45:47,125 --> 00:45:49,605 [Nick] guitar solo. What's that? Oh, that's the Rex 50. 517 00:45:50,165 --> 00:45:52,645 [Paulee] Yeah. But the thing is you can Modded. Circuit 518 00:45:52,645 --> 00:45:53,205 [Nick] Yeah. 519 00:45:53,925 --> 00:46:00,485 [Paulee] With a clock. So you can make it really, really grungy, or you can actually make it better quality than it originally was. 520 00:46:01,660 --> 00:46:08,140 [Nick] And then there's two What what happens to the example time? You turn you turn it up and then you get what? The reverb Yeah. You can actually 521 00:46:08,380 --> 00:46:16,220 [Paulee] it it actually speeds up the clock over the CPU that's trying to calculate the reverb. So the reverbs get shorter but better quality 522 00:46:16,435 --> 00:46:19,155 [Paulee] or they get really really really grungy. 523 00:46:20,515 --> 00:46:22,675 [Nick] So That sounds quite good. Guts. 524 00:46:23,395 --> 00:46:28,435 [Paulee] It is pretty good for if if you are, you know, able to circuit bend stuff, 525 00:46:28,950 --> 00:46:30,470 [Paulee] it's a good £60 526 00:46:30,470 --> 00:46:33,910 [Paulee] punch because because it works on the distortions and everything 527 00:46:34,390 --> 00:46:37,910 [Paulee] else as well, and, you know, it's one of my favorite 528 00:46:38,070 --> 00:46:43,110 [Paulee] circuit bend devices. I've got a an early called Chaos Pad which is circuit bend two, 529 00:46:44,095 --> 00:46:47,935 [Paulee] which is amazing. But this one, cheap and cheerful, add a switch. 530 00:46:48,655 --> 00:46:49,535 [Nick] Job done. 531 00:46:50,415 --> 00:46:58,575 [Nick] Nicely done. Excellent. Oh, glad to hear it. I'm gonna wing in with another quick ad because I'm I'm running out of time. So back after this. 532 00:46:59,930 --> 00:47:01,050 [Nick] Yes. Indeed. 533 00:47:01,370 --> 00:47:21,175 [Nick] Well, I think in that case, let's go back because I know you had a you were you're waxing about this in our Discord, which I encourage people to go and join. It's a good little community of people there. Artoria Mini Freak five point o gets a new firmware update. Arturia are Hi. Brilliant at doing updates. This video, I walk you through the Mini Freak update five point o. 534 00:47:21,575 --> 00:47:23,575 [Nick] We'll look at the Wavetable and sample import. How 535 00:47:24,390 --> 00:47:25,830 [Paulee] to update your hardware, 536 00:47:25,990 --> 00:47:29,430 [Paulee] and how to work with new sample and wavetable import. 537 00:47:30,150 --> 00:47:35,990 [Nick] Sadly, not so much information in the actual video until much later on, but as an initiative point. 538 00:47:36,070 --> 00:47:44,115 [Nick] And it allows, I think does it add granular synthesis to user wavetables and user samples and stuff? Paulie, I know that you 539 00:47:44,595 --> 00:47:47,235 [Nick] you you grasped this with both hands 540 00:47:47,395 --> 00:47:50,915 [Nick] as it were. And and when you said it was great. 541 00:47:51,555 --> 00:47:52,435 [Paulee] It's 542 00:47:52,990 -->

00:47:57,470 [Paulee] I'm I'm gonna have to do a video or something because the dystopian 543 00:47:58,350 --> 00:48:01,870 [Paulee] stuff that pours out of it now is just absolutely 544 00:48:01,870 --> 00:48:02,830 [Paulee] next level. 545 00:48:03,630 --> 00:48:04,350 [Paulee] Essentially, 546 00:48:04,430 --> 00:48:06,350 [Paulee] main the main things are, 547 00:48:07,145 --> 00:48:09,865 [Paulee] it's a 12 bit sampler, I believe. 548 00:48:11,385 --> 00:48:13,865 [Paulee] So it's got a nice sort of grungy sound. 549 00:48:14,185 --> 00:48:15,945 [Paulee] You could use factory 550 00:48:16,105 --> 00:48:20,825 [Paulee] a factory kind of, I guess, set of rumples or samples before. 551 00:48:21,385 --> 00:48:22,025 [Paulee] And 552 00:48:22,470 --> 00:48:25,350 [Paulee] now you can add your own samples and wavetables. 553 00:48:25,350 --> 00:48:26,630 [Paulee] And with the samples, 554 00:48:27,110 --> 00:48:30,390 [Paulee] it's not it's not like just sample playback 555 00:48:30,790 --> 00:48:45,495 [Paulee] or just granular playback. There were different forms of sampling and granular, so there's like hit grains for percussive sounds where the grains are so like brutally, you know, in your face with attack. 556 00:48:46,055 --> 00:48:49,735 [Paulee] But it's got even a just a standard looping mode, 557 00:48:50,055 --> 00:48:52,615 [Paulee] which kind of does an auto crossfade loop. 558 00:48:53,260 --> 00:48:54,380 [Paulee] Literally, 559 00:48:54,380 --> 00:48:57,340 [Paulee] you you put a sample in which isn't even looped, 560 00:48:57,580 --> 00:49:02,300 [Paulee] and then you just tweak the knobs, and it just is so easy to make it sound perfect. 561 00:49:02,540 --> 00:49:04,140 [Paulee] I don't know how they've done it, like, 562 00:49:04,715 --> 00:49:23,020 [Paulee] behind the scenes. You do not have to manually loop your samples at all. You just put your one shots in and just just tweak these loop points. But the Are they single are they single sample, or can you put in kind of key key ranges and whatnot? You you can't put multi samples in, but you can put a 563 00:49:23,420 --> 00:49:24,540 [Paulee] fair chunk 564 00:49:24,540 --> 00:49:25,260 [Paulee] of 565 00:49:25,740 --> 00:49:32,300 [Paulee] samples in. I think it it's something like a hundred and seventy to two hundred seconds of mono 566 00:49:32,860 --> 00:49:36,995 [Paulee] Wow. Samples in, and each sample can be up to six seconds long. 567 00:49:37,315 --> 00:49:39,635 [Paulee] And the the thing that absolutely 568 00:49:39,635 --> 00:49:41,875 [Paulee] kills it for me is that 569 00:49:42,115 --> 00:49:43,235 [Paulee] on oscillator 570 00:49:43,235 --> 00:49:43,955 [Paulee] two, 571 00:49:45,315 --> 00:49:48,435 [Paulee] there is a a ring mod and an FM. 572 00:49:50,000 --> 00:49:51,280 [Paulee] So you can 573 00:49:51,760 --> 00:49:58,560 [Paulee] put the sample in oscillator one, and then slightly FM it or slightly ring mod it, whilst modulating 574 00:49:58,560 --> 00:49:59,120 [Paulee] it, 575 00:50:00,720 --> 00:50:06,385 [Paulee] and then run it through the effects with a cycling envelope and stuff like that. Run it through the bit crusher. 576 00:50:06,865 --> 00:50:08,625 [Paulee] There's a really nice reverb, 577 00:50:08,625 --> 00:50:11,665 [Paulee] and then, like, go to town with modulation 578 00:50:11,665 --> 00:50:12,545 [Paulee] in a 579 00:50:12,865 --> 00:50:16,465 [Paulee] in a kind of staggering way, you know, as I said, there's the cycling envelope. 580 00:50:16,880 --> 00:50:18,480 [Paulee] It's all really playable, 581 00:50:18,880 --> 00:50:20,480 [Paulee] and it kind of it's 582 00:50:20,800 --> 00:50:22,720 [Paulee] for me, it's kind of rivaling 583 00:50:22,720 --> 00:50:27,360 [Paulee] some of the the old weird samples I have, you know, like the Ensonic EPS 584 00:50:27,840 --> 00:50:31,440 [Paulee] 16 that does weird things with samples and trans waves. 585 00:50:33,385 --> 00:50:38,745 [Paulee] I guess, you know, it's also kind of coming toe to toe with the the Polyvera 586 00:50:38,745 --> 00:50:40,265 [Paulee] a little bit now, 587 00:50:40,825 --> 00:50:43,945 [Paulee] even though the Polyvera has filter FM and is, 588 00:50:44,425 --> 00:50:44,905 [Paulee] you know, 589 00:50:47,000 --> 00:50:47,800 [Paulee] quite quite 590 00:50:48,280 --> 00:50:50,200 [Paulee] has special Mirage 591 00:50:51,400 --> 00:50:56,520 [Paulee] Yeah. And sonic Mirage modes and stuff. But this, honestly, update your Mini Freaks 592 00:50:56,840 --> 00:51:02,040 [Paulee] and pop some samples in and just go to town. It's absolutely 593 00:51:02,545 --> 00:51:05,265 [Paulee] the most fun I've had in a while. 594 00:51:06,065 --> 00:51:07,665 [Nick] Blew me away. Saying something. 595 00:51:07,985 --> 00:51:11,585 [Nick] I'd I actually, I didn't I see someone who also had written 596 00:51:11,745 --> 00:51:22,710 [Nick] a new operating system for for Mirages as well that I guess minecoded or ported or something. That was yeah. I can't remember the details. I just remember seeing it in the past. Yes. Wild, isn't it? It has SysEx now. 597 00:51:23,510 --> 00:51:24,390 [Paulee] So 598 00:51:24,390 --> 00:51:25,990 [Paulee] if you ever wanted to 599 00:51:26,550 --> 00:51:28,310 [Paulee] buy a Mirage with standard. 600 00:51:29,110 --> 00:51:29,670 [Paulee] Massos, 601 00:51:30,255 --> 00:51:33,455 [Paulee] then you could then now you can edit it from 602 00:51:33,695 --> 00:51:35,935 [Paulee] Those are the days. Soft synth kind of window. 603 00:51:36,735 --> 00:51:38,335 [Nick] Those are the days. 604 00:51:38,655 --> 00:51:42,575 [Nick] Ah, Charlie. I saw you. You're sort of glazing into sort of 605 00:51:42,910 --> 00:51:51,310 [Nick] sepia distance there, Charlie. I mean, I don't know. Have you got any of your Tory stuff? These minis are the freaks. They've absolutely 606 00:51:51,390 --> 00:52:00,645 [Nick] blown them out of the water. You know, the the the Vocoder updates, and now the sub there's

just so much stuff they put in these things, and it's still coming. It's a really testament to 607 00:52:00,805 --> 00:52:02,565 [Charlie] the company. I 608 00:52:02,565 --> 00:52:10,005 [Charlie] only have the code the obviously, the full collection of the plugins, but they're the software versions of MiniBrute and MiniFreak 609 00:52:11,310 --> 00:52:14,190 [Charlie] It's and I don't know if those are retaining 610 00:52:14,190 --> 00:52:15,390 [Charlie] feature 611 00:52:15,390 --> 00:52:17,870 [Charlie] parity with the hardware versions but 612 00:52:18,430 --> 00:52:24,670 [Charlie] They are. That'll be my first that'll be my first check after we finish here is boot up the are 613 00:52:25,790 --> 00:52:26,805 [Paulee] they? Yeah. 614 00:52:26,885 --> 00:52:27,605 [Charlie] Yep. 615 00:52:29,445 --> 00:52:30,565 [Paulee] It's awesome. 616 00:52:30,725 --> 00:52:33,045 [Charlie] I I promise I will immediately. 617 00:52:33,845 --> 00:52:45,540 [Nick] Okay. Well, that's good. Let's have a look. Was I think we're oh gosh. It's five to five. I can't believe how quickly it's gone. I think what I'm gonna do is gonna save those last couple of topics because 618 00:52:45,780 --> 00:52:46,820 [Nick] this summer of 619 00:52:47,780 --> 00:53:02,595 [Nick] this famine of summer topics is it seems to be extending into the autumn period at the moment, and I think it's possibly to do I I it's not I think it's because there's less hardware being put out because it takes more time, effort, resources, 620 00:53:02,595 --> 00:53:04,355 [Nick] and, you know, manufacturing 621 00:53:04,355 --> 00:53:04,915 [Nick] skills. 622 00:53:05,315 --> 00:53:08,515 [Nick] And so people are being much more careful and much more sort of 623 00:53:08,640 --> 00:53:15,200 [Nick] cautious about it. So there's less. I think we're gonna end up with a real period of craziness. As I said, we're gonna be 624 00:53:16,000 --> 00:53:21,440 [Nick] at Brooklyn, so the pedal expo in New York, so there's gonna be some modular stuff there. I'm gonna be at 625 00:53:21,680 --> 00:53:23,200 [Nick] Beijing Modular Commune 626 00:53:23,435 --> 00:53:34,155 [Nick] and then also Music China. So first for me, I've never been to that part of the world. So I'll be sending back video stuff there. I I was saying before the show, we got our new rigs kinda sorted out, and we 627 00:53:34,315 --> 00:53:38,490 [Nick] had to get these special batteries, which are designed 628 00:53:38,490 --> 00:53:39,050 [Nick] for 629 00:53:39,530 --> 00:53:56,575 [Nick] use in China. They have to have CCC on the back because otherwise, it won't let you on a plane. I think I'm flying between Shanghai and Beijing for the shows. Wow. And unless you've got certified batteries, they will confiscate them. So but the problem is it's bloody massive. That's probably about 630 00:53:56,815 --> 00:53:59,375 [Nick] half as big again as our usual batteries. 631 00:53:59,695 --> 00:54:01,695 [Paulee] So It's bigger than the phone,

isn't Yeah. 632 00:54:04,255 --> 00:54:15,400 [Nick] Yeah. It is bigger than the phone. But, I mean, it's only for China. I mean, obviously, we've got other batteries for that, but this is a a new rig. We've got new handles on it. We've got the p four next, which works really nicely. Oh, nice. Wow. 633 00:54:16,120 --> 00:54:18,200 [Nick] And and these lovely little 634 00:54:18,795 --> 00:54:21,675 [Nick] right angle XLR. So everything is just these 635 00:54:22,075 --> 00:54:23,595 [Nick] these brilliant little 636 00:54:24,395 --> 00:54:27,035 [Nick] things for sort of holding the the 637 00:54:27,515 --> 00:54:31,755 [Nick] the things in place. Yeah. I'm quite pleased. I'm looking forward to that. That's gonna be great fun. 638 00:54:33,060 --> 00:54:33,620 [Nick] So 639 00:54:34,420 --> 00:54:40,020 [Nick] what's next for you, Paul? Have you got got got anything on there? Have you started your course yet? Have you started tutoring? 640 00:54:40,020 --> 00:54:42,660 [Nick] And I guess it's a bit early, isn't it? That's October. 641 00:54:42,740 --> 00:54:45,300 [Paulee] That's October where I go to the 642 00:54:46,055 --> 00:54:58,535 [Paulee] I don't know if if you knew this, Charlie, if you'd seen me say it before, but I am I'm gonna be teaching some seminars at the music college I couldn't get into at 18, which I thought was hysterical. 643 00:55:00,330 --> 00:55:03,210 [Paulee] Know how life Vengeance. So crazy and works out. 644 00:55:05,050 --> 00:55:06,890 [Paulee] But I'm gonna teach yeah. Them about 645 00:55:08,730 --> 00:55:10,090 [Paulee] I'm gonna teach them about, 646 00:55:10,650 --> 00:55:13,770 [Paulee] scary sounds, specifically scary video game sounds. 647 00:55:14,375 --> 00:55:17,655 [Paulee] But I might chuck in a couple of examples 648 00:55:17,655 --> 00:55:23,015 [Paulee] from our podcast, Charlie, if that's okay. Especially your subway 649 00:55:23,255 --> 00:55:25,495 [Paulee] subway screeches slowed down. 650 00:55:27,920 --> 00:55:29,600 [Paulee] I'm sure they'd love to see that. 651 00:55:30,560 --> 00:55:33,360 [Paulee] I think it's gonna kind of, you know, give them a different 652 00:55:34,000 --> 00:55:37,840 [Paulee] slightly weird bit of musical education than their standard 653 00:55:38,000 --> 00:55:41,920 [Paulee] day to day, you know. Here's another bark at you. Just gossam. 654 00:55:43,335 --> 00:55:44,855 [Paulee] So, yeah, it's cool. 655 00:55:45,655 --> 00:55:49,575 [Nick] But So are you are you course designing, or is that all sorted? Yeah. 656 00:55:50,055 --> 00:55:55,175 [Paulee] Nice. Yeah. Yeah. No. That's all sorted. I think I'm gonna be teaching an FM synthesis one as well, but 657 00:55:56,550 --> 00:55:57,270 [Paulee] then 658 00:55:57,430 --> 00:56:01,750 [Paulee] after that, I'm gonna be starting the disability music stuff there, 659 00:56:02,390 --> 00:56:04,950 [Paulee] which is where we'll have monthly 660 00:56:05,030 --> 00:56:06,230 [Paulee] maker spaces 661 00:56:06,710 --> 00:56:08,070 [Paulee] and performances 662 00:56:08,790 --> 00:56:10,630 [Paulee] for, you know Oh, nice. Neurodivergent 663 00:56:10,630 --> 00:56:11,590 [Paulee] and disabled 664 00:56:11,845 --> 00:56:14,485 [Paulee] people in in the conservator itself, 665 00:56:14,485 --> 00:56:15,445 [Paulee] but inviting 666 00:56:15,445 --> 00:56:16,805 [Paulee] the community in, 667 00:56:17,285 --> 00:56:22,645 [Paulee] which I think is absolutely fantastic. Because sometimes these university buildings can feel very 668 00:56:23,125 --> 00:56:24,165 [Paulee] standoffish, 669 00:56:24,165 --> 00:56:27,525 [Paulee] and and we wanna Kinda attainable. Part of the community. 670 00:56:28,130 --> 00:56:30,610 [Paulee] Yeah. We wanna make it more attainable, basically. 671 00:56:31,170 --> 00:56:32,370 [Nick] So there we go. Good. 672 00:56:33,330 --> 00:56:47,795 [Nick] Well, I hope that goes well for you. That sounds fantastic. People in the chat room have been saying you should really get another Remom together, but because as we're going to New York and China at this last part of the year, it's probably not gonna happen at the moment. I'm still trying to figure out. And, Charlie, 673 00:56:48,195 --> 00:56:59,320 [Nick] you've been you said you were doing some testing. I I we we spoke before the show about some plug in companies you're working with, and I'd yeah. I know you wanted to mention it. And I guess, is that an ongoing project you're working on? 674 00:56:59,960 --> 00:57:02,200 [Charlie] Yeah. I mean, this is just I'll 675 00:57:02,200 --> 00:57:03,960 [Charlie] buy some product 676 00:57:04,280 --> 00:57:05,480 [Charlie] and love 677 00:57:05,480 --> 00:57:06,520 [Charlie] it almost 678 00:57:07,000 --> 00:57:18,955 [Charlie] and say, boy, this would just be great if it had just this and this in it. And then depending on my level of hubris at the moment, I I may email the developer, more so if it's a small 679 00:57:19,195 --> 00:57:19,995 [Charlie] developer, 680 00:57:20,395 --> 00:57:27,720 [Charlie] and say, you know, I really love your product and but it would be great if it just have you ever considered maybe adding this or this? 681 00:57:27,960 --> 00:57:38,760 [Charlie] And, once in a while, those developers get back to me and they say, oh, that's a great idea. Do you have any more ideas? Which is a dangerous thing to ask because then I 682 00:57:39,215 --> 00:57:47,455 [Charlie] sit at, you know, until three in the morning typing up a master's thesis on all the things I think their products should do. But there are a couple that have become, 683 00:57:48,095 --> 00:57:55,720 [Charlie] that I've been super impressed with the responsiveness and the speed and thoroughness that these developers have 684 00:57:56,120 --> 00:57:58,840 [Charlie] implemented my ranting and raving. 685 00:57:59,080 --> 00:57:59,560 [Charlie] And 686 00:57:59,880 --> 00:58:10,865 [Charlie] and I will plug them. I'm not on all these things. I'm not a partner or

financial participant or anything. I'm just an enthusiastic user who then bugged the developer about them, 687 00:58:11,585 --> 00:58:13,185 [Charlie] and they responded, 688 00:58:13,265 --> 00:58:14,385 [Charlie] which was dangerous. 689 00:58:14,705 --> 00:58:17,745 [Charlie] And one the first was this a plugin manager 690 00:58:18,300 --> 00:58:20,140 [Charlie] called Pluginize 691 00:58:20,380 --> 00:58:23,020 [Charlie] from sonicrepublic.net. 692 00:58:23,420 --> 00:58:27,100 [Charlie] And I had bought over the years, had bought everything 693 00:58:27,100 --> 00:58:28,380 [Charlie] that claimed 694 00:58:28,380 --> 00:58:29,740 [Charlie] to be a plugin manager 695 00:58:31,245 --> 00:58:35,085 [Charlie] that I could find. And usually these things are $30, 696 00:58:35,085 --> 00:58:37,485 [Charlie] $50, maybe a $100. 697 00:58:37,805 --> 00:58:48,220 [Charlie] And all of them kind of did something cool, but I wound up using like three or four different apps to manage my unruly collection of plugins. One to scan for updates, 698 00:58:48,300 --> 00:58:51,980 [Charlie] a different one to enable and disable plugins in sets 699 00:58:51,980 --> 00:58:53,020 [Charlie] and so on. 700 00:58:53,260 --> 00:58:54,380 [Charlie] And when 701 00:58:54,380 --> 00:58:57,500 [Charlie] I finally got a hold of Plugin Eyes, that's when I emailed 702 00:58:57,215 --> 00:59:04,975 [Charlie] the the developer and said, oh, it's really great, but it'd be great if it did this. And that kicked off a a multi week 703 00:59:05,295 --> 00:59:13,280 [Charlie] back and forth on a private Discord where he really did implement amazing features and it is for anybody has a unruly 704 00:59:13,280 --> 00:59:20,640 [Charlie] plugin collection or tests plugins and needs to manage moving sketchy things in and out of folders. 705 00:59:21,200 --> 00:59:22,960 [Charlie] It's very complete, very 706 00:59:23,360 --> 00:59:23,840 [Charlie] sturdy. 707 00:59:24,295 --> 00:59:26,695 [Charlie] And if I enable all the plugins, 708 00:59:28,215 --> 00:59:31,815 [Charlie] new, WAVs, UAD, everything on my system, 709 00:59:32,055 --> 00:59:36,295 [Charlie] I'm ashamed to admit that it's a total of 8,477, 710 00:59:36,960 --> 00:59:38,240 [Charlie] which includes, 711 00:59:38,240 --> 00:59:42,560 [Charlie] you know, each each plugin counts as three in many cases, an AAX, 712 00:59:42,560 --> 00:59:44,640 [Charlie] an AU, and a VST three. 713 00:59:45,360 --> 00:59:47,360 [Charlie] So that number is misleadingly 714 00:59:47,360 --> 00:59:51,175 [Nick] large, but this It's still by the sizes. Manager. 715 00:59:51,495 --> 00:59:52,775 [Charlie] It's ridiculous. 716 00:59:52,775 --> 00:59:55,735 [Charlie] It I admit I really admit that it's ridiculous. 717 00:59:56,055 --> 01:00:01,335 [Charlie] But that's what happens after forty years of fiddling and twenty five years of collecting plugins. 718 01:00:02,300 --> 01:00:04,860 [Charlie] Yeah. And this PlugInize handles that 719 01:00:05,180

--> 01:00:07,740 [Charlie] massive collection without breaking a sweat. 720 01:00:07,980 --> 01:00:17,985 [Charlie] And for anybody who's become frustrated with their plugin folder and dealing with it, it's highly recommended. It is Mac only, but it's a very sturdy 721 01:00:18,065 --> 01:00:18,945 [Charlie] solution 722 01:00:18,945 --> 01:00:19,665 [Charlie] to the And 723 01:00:20,465 --> 01:00:22,385 [Charlie] I also stumbled across this 724 01:00:22,625 --> 01:00:25,505 [Charlie] program that I think has no equal 725 01:00:25,985 --> 01:00:30,065 [Charlie] nor equivalent. It's it's called Remiq, r e m I q 726 01:00:30,305 --> 01:00:31,345 [Charlie] from 727 01:00:32,280 --> 01:00:34,840 [Charlie] iCindy Sound, I believe it's called. 728 01:00:35,320 --> 01:00:44,440 [Charlie] And he's a small developer, and he had developed a a standalone app that helps to automate the process of sampling drums from live input. 729 01:00:45,875 --> 01:00:47,555 [Charlie] And it will automatically, 730 01:00:47,555 --> 01:01:00,035 [Charlie] as you hit the drum, it will detect the the start point of each sample and the end point, and it will trim it, and it will then move on to the next cell in a grid for your velocity ranges in your round robins, 731 01:01:00,820 --> 01:01:02,100 [Charlie] which is amazing. 732 01:01:02,100 --> 01:01:03,140 [Charlie] But it also 733 01:01:03,620 --> 01:01:08,260 [Charlie] correctly deals with and allows you to record multi channel 734 01:01:08,500 --> 01:01:09,460 [Charlie] drum 735 01:01:09,460 --> 01:01:14,020 [Charlie] signals in one pass. So you'd have your close mics, overhead room 736 01:01:14,100 --> 01:01:17,235 [Charlie] and so forth. And he's very 737 01:01:17,395 --> 01:01:22,035 [Charlie] cleverly implemented a thing called a you designate one of the channels 738 01:01:22,275 --> 01:01:23,555 [Charlie] as a leader, 739 01:01:23,635 --> 01:01:27,795 [Charlie] and that might be so let's say the close mic. Whatever sit whatever channel has the 740 01:01:28,550 --> 01:01:29,990 [Charlie] is gonna be earliest. 741 01:01:30,470 --> 01:01:36,150 [Charlie] Like, the room mics will be a little bit some milliseconds behind the close mic. So you designate 742 01:01:36,230 --> 01:01:43,270 [Charlie] a leader channel and it uses that channel as the basis for detection of the start point and the so forth. 743 01:01:43,835 --> 01:01:48,155 [Charlie] And you can, in one pass, in a semi automated fashion, 744 01:01:48,395 --> 01:01:57,355 [Charlie] sample a drum kit with up to I think it's 10 stereo pairs at once, and it cuts all of the samples in one pass 745 01:01:57,595 --> 01:02:02,920 [Charlie] and allows you to, using a token based naming system like in Kontakt, 746 01:02:03,720 --> 01:02:06,120 [Charlie] create the file names that will be 747 01:02:06,600 --> 01:02:07,400 [Charlie] adhering 748 01:02:07,400 --> 01:02:08,760 [Charlie] to the exported 749 01:02:08,760 --> 01:02:09,560 [Charlie] files. 750 01:02:09,800 --> 01:02:10,680 [Charlie] It's incredibly 751 01:02:11,160 --> 01:02:13,560 [Nick] multi track, I guess, well, like we said earlier. Exactly. 752 01:02:14,915 --> 01:02:17,075 [Charlie] And he's also just implemented 753 01:02:17,795 --> 01:02:20,755 [Charlie] hosting a virtual instrument. So if you wanted to 754 01:02:21,555 --> 01:02:24,035 [Charlie] sample sounds from a different plugin 755 01:02:24,675 --> 01:02:26,915 [Charlie] and turn them into drum samples 756 01:02:27,075 --> 01:02:33,130 [Charlie] for Logic Sampler or whatever you might be using, it helps to automate that process too. Amazingly, 757 01:02:33,210 --> 01:02:35,450 [Charlie] it's a full featured, but still 758 01:02:36,010 --> 01:02:36,810 [Charlie] simple 759 01:02:36,810 --> 01:02:44,570 [Charlie] and not an a hailstorm of tiny UI elements like you find in resampling apps like auto like a sample robot 760 01:02:44,855 --> 01:02:54,215 [Nick] and a couple others that are getting a bit longer than two. It's it's Sample Robot's got a new version coming out, Sample Robot seven, I think, in the next few weeks. 761 01:02:54,615 --> 01:02:55,655 [Nick] I've had I've 762 01:02:56,295 --> 01:03:04,180 [Nick] and we'll have a native decent sample support, which is what I want because I'd be doing loads more if it wasn't such a Yeah. Such a pain to make them. 763 01:03:04,980 --> 01:03:11,140 [Nick] But I I mean and again, this is something that I you could I because I think Starsky Carr did a thing which is like a Vibe coded 764 01:03:11,940 --> 01:03:13,140 [Nick] browser based 765 01:03:13,575 --> 01:03:25,415 [Nick] decent sample sampling engine. I tried it on my system. I just couldn't get it to work because the permissions were wrong, but I think we're gonna see more of the you know, I've got an idea. Can I make it work? Yes. Yes. You can. And this And I think that's a great 766 01:03:25,655 --> 01:03:38,370 [Charlie] use for vibe coding. And I remember talking to both the the developers of Plug in Eyes and of Remake and saying, you know, how much of this is is AI assist and vibe coding and Claude code and so forth. And in both cases, 767 01:03:38,865 --> 01:03:41,185 [Charlie] the hard part is done 768 01:03:41,585 --> 01:03:42,465 [Charlie] by hand. 769 01:03:43,105 --> 01:03:44,945 [Charlie] And the only part that 770 01:03:45,105 --> 01:03:48,705 [Charlie] sort of Claude code helps with is just 771 01:03:49,185 --> 01:03:51,745 [Charlie] draw me the 87 GIFs I need 772 01:03:52,320 --> 01:04:00,880 [Charlie] to show a UI knob at every position. And the sort of tedious and mundane stuff that slows down plug in development 773 01:04:01,040 --> 01:04:09,635 [Charlie] is the only area where any of these people are really using it for, which frees up their mind and their time to concentrate on 774 01:04:09,875 --> 01:04:12,435 [Charlie] nickel and diming the milliseconds 775 01:04:12,515 --> 01:04:16,355 [Charlie] of their sample crossfade or whatever. Because a lot of those 776

01:04:16,595 --> 01:04:19,955 [Charlie] more niche aspects of DSP or audio programming 777 01:04:20,120 --> 01:04:21,240 [Charlie] are less exposed 778 01:04:22,600 --> 01:04:23,960 [Charlie] to the 779 01:04:25,080 --> 01:04:30,120 [Charlie] Claude codes learning module or whatever that there's not many Yeah. Yeah. As many examples 780 01:04:30,120 --> 01:04:36,685 [Charlie] for it to to try to call from. Whereas designing UI knobs or something, there's a million 781 01:04:37,165 --> 01:04:38,125 [Charlie] applications. 782 01:04:38,525 --> 01:04:42,525 [Charlie] So those elements are more easy to automate through some of those, 783 01:04:43,005 --> 01:04:49,860 [Charlie] like, Claude code type programming tools, I think. I mean, I don't know how it's it's all witchcraft to me. But 784 01:04:50,420 --> 01:05:01,140 [Nick] but Well, yeah. I see. I mean, I because I've I've like I say, I've I've spent the week. I've I've been I have a I've had we have had a system for five or six years now, an automated system where you drop a 785 01:05:02,315 --> 01:05:14,075 [Nick] a video in a folder. It gets uploaded to the YouTube channel, auto titled from some defaults depending on whether it's a SonicLab or a Friday fun, you know, just the first two characters of the file name. And now I've 786 01:05:14,395 --> 01:05:16,395 [Nick] got Claude involved to say, right. Okay. 787 01:05:17,180 --> 01:05:26,620 [Nick] How can we make this even more interesting and even more useful? And and it it's really really kind of opened it up a lot. Yeah. So those kind of tools can help with the mundane stuff, 788 01:05:26,940 --> 01:05:31,595 [Charlie] then Yeah. That frees up the pro the coder's 789 01:05:31,595 --> 01:05:35,515 [Charlie] mind and schedule to concentrate on the difficult stuff. So 790 01:05:35,915 --> 01:05:45,330 [Charlie] I I'm definitely opposed to trying to use AI to generate sounds or music, but Oh, yeah. To generate Definitely not. You know, UI knob My GIFs 791 01:05:45,330 --> 01:05:46,530 [Charlie] or whatever. Sure. 792 01:05:47,730 --> 01:05:49,410 [Paulee] My Luddite pitchforks 793 01:05:49,410 --> 01:05:51,170 [Paulee] that half mast for that. 794 01:05:52,210 --> 01:05:52,450 [Paulee] Okay. 795 01:05:55,605 --> 01:06:10,405 [Nick] You've got a little bit life. Feels like a that feels like a positive note to end things on. So thank you very much, everybody, for joining us. Thanks, Charlie. I hope I hope you make good year. See, it's not even breakfast time, and you've and you've still got the whole day, you've done a you've done a big thing already. 796 01:06:11,080 --> 01:06:12,920 [Nick] So now you can just, you know, 797 01:06:13,640 --> 01:06:15,240 [Nick] gaze lovingly at your 798 01:06:15,480 --> 01:06:15,880 [Nick] yeah. 799 01:06:16,520 --> 01:06:18,120 [Nick] Oh, you're you're disintegrating 800 01:06:18,120 --> 01:06:25,800 [Nick] d x seven in the garden perhaps. Yeah. Something like that. Right. Thank you very much, everybody. Great show, and we will see you all next time. 801 01:06:25,795 --> 01:06:33,395 [Nick] Thanks for everybody in the chat room as well. Nice to see you there. That's it. We'll see you next time. Take care. That was Sonic Talk episode nine ten. Bye.