Dopamine peak starts here for me. If it was the mid 2000s I’d try to make a ringtone out of it. But now I know better

Premium Quality Studio Electronics Boomstar SE80 Demos

Sweet SE80

soundtrack to the end of the fucking world

motion

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@grimoireonline

howtodreamawake (nexus)

I usually tweak with the right hand... 

Boomstar SE80/short 1/4 to 1/4/Saffire PRO 14.  Sentence fragments tend to cut to the chase best.  Arpeggiator courtesy of DP8, right hand (and left) courtesy of Marc St. Regis.  This is not an attempt at music making in the classic sense, rather an initial "soundquest."

Lefty SE80 One Take

My entry for the "Lucky Remix Competition".
Composed and played entirely by me with the exception of the drums played by Gianluca Pellerito.
Cover remixed by Andy Abrami.

Bad Snacks - Lucky (Riccardo Oliva Remix)

slick has been lying around on my hard drive for quite some while, never really got around finishing it really, until i decided it is what it is - hope you enjoy it

Slick

All tracks written by HIMURO Yoshiteru
Cover art by Salvatore Scandurra https://www.instagram.com/salvatore_scandurra/
LISTEN
https://music.apple.com/jp/album/transition/1689715218
DL
https://himuro-yoshiteru.bandcamp.com/album/transition

Transition

Buy/Stream

Transition ALBUM Teaser

What happens when one disappears into the wilderness road of one's mind (and mighty-mighty DP8) with a Boomstar SE80, a little help from its friends: Boom*s 4075, 5089, SEM, 3003, no fixed deadlines, the power and elegance of Kontakt, and a desire to inspire and be inspired?  This piece "right there"—my two and a half year old daughters' go to phrase.

The Boomstar SE80 got the party started early with its remarkable capacity to generate very warm, acoustic sounding drum sounds, in addition to the emblematic, voltage-flavored fare.  Hundreds of samples later—some put through "Waves" paces—I dragged my favs into a new sequence window at bar 1, with a fixed tempo, sans bar lines, and no particular key signature in mind.

Very non-random, if avant garde sounding patterns and melodies emerged, preparing me for an immersion headlong into West African rhythms, and demanding an extended vacay to the Isle of Dub.  Once those pillars were in place all of the Stevie, Gino, Duke, Cameo, Zap, Monte Moir, and St. Regis (the band yo) chords, leads, and turns—produced by both the 4075 and SE80 Boomstars—colored and kept pushing until the Roger "vocalisms" of the dual resonant SE80 filters sat atop the throne, playing the solo diva, wowing the key Dub backbeats, and hitting the combo-organy voicing stretches.  It was with great difficulty that I backed away the ’80's knobs and switches, because of that intoxicating "vocality and warmth.”

The drums, excepting one distorted fill which I enjoyed complimenting and co-opting with synthiness, the triangle (Drew Nuemann’s brilliant 3003 creation recorded at 3% of unity—it’s true Drew!), a crisp D. Neumann tom design (4075), a very Mike Neuble-ish 16th note triplet figure (SEM), an open hi hat (SEM), the crash cymbal (SEM), and the "Bonham" room mic kick drum from “Boomstar the Beguine” (SEM), were generated by the SE80; I made far more samples than I could press into service, but it was most enjoyable slipping and sliding them in whenever I could.

All of the leads are single sample stretches in Kontakt, or sampled performances (some of which went under the knife and tune); the chords are a mix of the same and individually tracked single note performances, which were in turn repurposed/retuned in various places spectrally in DP.  The more percussive and filter driven polys represent the latter.  It was amazing how good the "stretches" sounded—kind of reminded me of working with valve instruments and their gradually lower register, longer and slower envelopes ramps.

A bit of Boomstar 5089 begins supporting the last half of the Dub groove with a bass double, figure, and slide or two, snapping once in the 1st Movement (a pull from the “Shootout at the Boomstar Corral” YouTube vid for those still awake).  The B* Moog filter also supplies the sub in the rejected “Simon Says” soundtrack moodiness in Movement 5.  The piano and synth patches are from GarageBand, ported in via that .aiff stripping trick.  

Boomstar 4075 gets its Gary Wright/Rene and Angela 2600 bass groove on, above the 5089 sub fray, yet under it's own classic lead sound; a bony redux of Movement 3’s “Moir-ish” charm brings the effort to a conclusion.

Boomstar 5089 boomed both the intro bass and 1:53 breakdown.

Lest I forget, the SE80 freeform synth jazz dance of the 4th Movement (3:03), grinds into “that perfect machine voice like ELP's, "I am perfect are you!" Directly following it is my friend Dan’s “kind of atmospheric, distorted, Tomita-esque mood till 4:51 whence come the mysterious morse code signals from the nether reaches of outer space.”  All of which follows the sub movement (small m) of the SE80 Beat/Glitch Boxing: the punctuation for the preceding micro Glam Synth beatdown. 

Final Note: The ambient, “spooky sound starting at 0:43 which weaves underneath awhile,” following the 1st Movement (really another sub movement…), is an SEM lead subjected to generous Paulstretching in Audacity.

And do c.f. http://tinyurl.com/nmk7rfx for your purest listening pleasure!

Special Thanks to David Bowie whose fascinating, multimbral life and entertainment genius distracted and reinvigorated me near project’s end; throw Gino Vannelli into that motivational kettle as well—THAT VOICE!  Well, as my beloved mother Maria Therezia was wont to say without undue emphasis: "He's an Italian."

Enjoy near responsibly, preferably over some worthy Genelecs or Audix speaks,
Marc Alexandre Theriot St. Regis  6-24-14

(Quoted commentary by Peri O’Meri)

Roman Bayou's Cinq: SE80 Beats ’n Band in a Boomstar Box, in 5 (or so) Movements

https://soundcloud.com/hunter-miller-4963825
https://www.youtube.com/@brucardi/videos

ORBIT (Feat.king Buu) (Prod.Brucardi) (Nightcore Version)

Aaron Todd's dynomite growling SE80 Boomstar funk can be heard at the head of the piece, and the Tonestar Folktek 5089 / Toolbar / Quadnic (with I, MSR at the helm) handles  the balance. Quadnic is being colored/enveloped by the TF5089's EXT IN—brilliantly adding warmth and vibe to the 8bit 4 voice poly dco.

Aaron Boomstar and the Funky Quad Folktek

Dome To Caddie

The tablas @ 2:56 like Mary Tyler Moore make it all seem worthwhile (suddenly or otherwise).

Absolutely desirable vocal grinding and throat-singing bass beginning @ 0:30 front-load, and funk encode, with each turn and every little movement it shows... it.

Condensed, re-composed, and contrived-down 11+ minutes of glorious dual-resonance SE-80 one-taking, from our SoundCloud sanctuary, when the world was newer—because... the reason is never because—and the SOUND Brother!

Lefty 2020 - Bomstar SE80

https://soundcloud.com/m3tzu/alice-mu-cho-remix-synthwave-version
synthwave remix!!

mixed, edit by @M3tzu :>
(go check him out please he's great)

Alice (mu-cho remix)

CATAWAKE presents his album 'RUN SIX'

follow CATAWAKE:
@catawake
https://twitter.com/catawakemusic
https://www.instagram.com/catawakemusic

follow sanctuary:
@sanctuarycollective
twitter.com/sanctuarycoll
www.instagram.com/sanctuarycollective_

RUN SIX

SEARCHER

Bandcamp

CATAWAKE - SEARCHER

Once upon a drum machine, The Brothers St. Regis had to part with their beloved, stock TR-808; before it left the building, Greg St. Regis programmed this beat: "HE is The Rhythm Man, tapping at he backseat..." Several summers passed and it again found favor in their sight, after hundreds of cuts & creases and "Boomstar Brotherhood" SE-80 percussion pieces. Soon Rhodes chords followed the Rhythm-Man's-flow. It is commonly believed bass was next (30+ tracks): driving, testifying, border-defying Midimini V30, in the lead role, with wildly versatile and colorful programmable support from the SE-02. 10 or so passes of Omega 8—essentially MIDI Channel 1/1980’s style—broadened and brightened the Gospel of Chordal Excellence. The Oracle at Ableton/Atlanta spoke a Wayne Shorter spirit into the leads, so the SE-02 and Midimini began stacking up the solo flights, fighting and reuniting like play-cousin nights. Voices from the “Family Herrre” Chorus preached and ascended majestically—though soothingly prosaic at times—inspiring, shaping, begging, cajoling, demanding, elevating and refining the piece to unforeseen coherence and towering heights… feigning silence for moments, only to reanimate through & beyond fragmentation challenges with that magical dialect and love from The Lou.

"Consider all that."

FINIS

Captain’s log supplemental: 1182021:

Most if not all of the polyphonic detail work (apart from the Waves Morphoder vocoding), not tracing or amplifying the piano track MIDI, rather often clustering around spoken and sung WORD, like a gritty reverent glitter (WORD, arguably entirely too sacrosanct to digitally preserve… to orchestrate, yet now its dope message moves forward and out), was tracked note by Motu's brilliant “Split Notes” feature in DP10: Midimini V30 and SE-02 battling again for the muse’s attention/affection. There is no other DAW ;)

Original Midimini on the 1st and last conspicuous bass slides.

Additional Cameos: Modstar Sensei, Tonestar 8106, 2600.

Writers: Marc St. Regis, Greg St. Regis
Produced by MSR
Executive Producer Adrian Drummond

Special thx to Drummond, Sean Charles and Huston Singletary.

Family Herrre

STUDIO ELECTRONICS

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