As usual the .wav files crush these compressed versions.

SE-02

Tough, inventive, no-nonsense genre-bending hook-laden guitar-based multi-ethnic dance-music, that flouts convention.

Rave Phenomenon

Rave Phenonomen

THE AMERICAN DREAM - I REALLY DON’T THINK

Main synth chords: SE3X in Paraphonic Mode

Supplemental synth chords (Chicago turnarounds): CODE Omega 8

Piano: Mid-‘70s Heirloom (Childhood): 87 Warren Drive, San Francisco, CA, Yamaha C7—which in the early '80s laughed off a dicey and punishing slide down a flight of concrete stairs (ours), reportedly generating (once bottom was rocked) a very non-joyful noise, louder than the re-creation of the the earth, this last time out; EMU Extreme Lead carves out Jazz-e-er changes

Primary synth bass & leads: SE-02, an indispensable sonic & EMOTIONAL tool BTW

Additional synth bass colors: SE-3X, Boomstar Modular Sensei System (glorious), Tonestar 8106, Midimini V30

Synth drums: Boomstar SE-80, Boomstar SEM, CODE Omega 8

Visceral ending analog: Midimini V30

Unconscious Matt Weinhold vocal channeling: Salvatore St. Regis
Additional Portugal boots-on-the ground imagery: Carlo St. Regis
-

Wanted to gather and connect all the SE kin. Did, with some needle-drop .wav surfing and repurposing (that’s how I include Monte Neuble in nearly everything now—talk about indispensable feel!)

The main ‘3X riff felt complete and vibrant in solo mode; pushed on until a diversity of unity was gained, and “gained honor”

Enjoy,
MSR

The American Dream - I Really Don't Think

MSR’s Needle Drops & Isos, Take 2

"I Think That Worked" (like most things until they don't)

Built on SE-3X extremely habit-forming, paraphonic chording throughout, and a legion of instant-grease 'n grind SE-02 basses. Why settle for just one (a question asked by men-y)?

SE-02 Chickin' Pickin' plays nice-nice with juicy bass figures (periodically staccato), which then feed into the faux multi-tracked '02 Wurli (right channel) and "the real thing" (left), punctuated by SE-02 Wormy Lead crew.

All of this happens in the 1st few bars, as you have now entered The Micro Musical Klymit Zone, potentially punishing with it's creative density and attention-to-detail demands, placed upon the listener.

Childhood Heirloom C7 processed piano 3 chord preach, births culminating paraphonic purpose and a frenetic '02 bass/Wurli combo orgone generation.

Enter vintage Grecco Burrato Modmax/Wolftone guitar magic (drips, drops & crunches), and absolutely adorable/incredible '02 LFO gate "Latino Tablino" electro percussion.

Additional miraculous SE-02 multi-tracked polyphony and SE-3X paraphony reveals and revels.

Percolating fake space ensues, interrupted by a booming' SE-80 kick to Super Hero soundtrack vibes—I did just get "Flashed."

Vintage St. Regis/Sembello/Neuble (Michael) 3rd Stone drop and you're almost home... "Groove" Campasso vox; easy with those dope chords.

Dreamy SE-3X surrenders to arpeggiated, mult-tracked SE-02 polyphony.
---

Addl. Boomin' Boomstar Kicks, rims and selected hats were not harmed in the making of...

Enjoy,
MSR 7-5-23

I Think That Worked

Came across this dope Ebm @MonteNeuble SE-3X  bassline, in my needle drop travels, which I had to revisit and enlist in a pulsed paraphonic exaltation in DMaj; silky chord changes from “Onward Upward UFO,” a song written & produced in the late 1970s for the St. Regis brothers, by wonderful friend and Parcourse/health food store mentor, Norman H. Landsberg, assisted that sneaky downward modulation. 

The great James Levi (Herbie Hancock fame) and strongman Gary Calvin (on bass) kept the groove going at Bear West Studios in San Francisco—1st 24 track baptism, where “UFO” was recorded—and we brothers have tried to keep the funk analog ever since. Clavinet D6 is still with us: the one Norman unveiled at St. Regis & Leuenberger and taught us to play; ‘cause he was nice with it, "Cry Baby" style.

Celebrating his remarkable life earlier this month—brilliantly and with panache, thanks to Bob Yount (Landsberg & Yount) and Socorro!—brought his lovely spirit, song, and surprising, vast accomplishments to mind:

Founding member of Mountain, featuring Leslie West; Pointer Sisters MD—“Yes We Can Can…”, Lenny Willams (Tower of Power); sampled by Jay-Z (99 Problems), Kanye West, Tribe Called Quest—heard in films like "Barbershop" and "The Taking of Pelham 123.”

His group Hammer opened up for Leon Russell AND Miles Davis at Fillmore West… Wut!?!

“When tears come, remember brighter smiles can then show."

Miss them when they are here; that’s the Power of Love—which evrybody needs.

https://www.dignitymemorial.com/obituaries/san-francisco-ca/norman-landsberg-11515731

https://www.discogs.com/artist/860823-Norman-Landsberg

p.s. SE-02 stereo leads :14; ‘02 “Dorothy Ashby” harp :21; incredible SE-02 Paraphonic Preach: 24; SE-3X dual leads :25; Omega8 “Phat Fu” goodness: 31, :35 Norman’s (Manny Moka) piano :33; Manny Moka And The Band on Fire heavenly perc. break: 39

Boomstar Brotherhood drums assist.

Angel Grey ‘3X photos courtesy of @vcousa

Enjoy,
MSR

Monte Moka

Once Upon a Synthplex:

Tonestar 2600 kick thumps & '80s quality "Simmons" toms + @huston.singletary ’s groove merchant ways / heavy (he is my brother) harmonic vision + layers of SE-02 “split note” polyphony & monophonic bass ’n’ lead bravery + selfless SE3X accents—paraphonic and m-phonic + Boomstar Brotherhood claps, snares, shimmering addl. perc. (Boomstar SE-80 mainly) + a sprinkling of SurgeXT + Grecco Burrato crunch vault gems + Folktek visuals, made this story...

=

"Oh man. Sooooo good. A voyage into layers on layers."
 - Huston Singletary

Wait those MIDIMINI V30 "How do you beat that?" "quica" breakdowns. Nice.

Kingdom Inside—listen to it.

Enjoy,
MSR 5-18-24 / L1721
—

p.s. Medium mastering to preserve dynamic range & detail; so make your 🔊🔊work!!

Kingdom Inside

Two passes panned hard as granite, much of the time. Nothing to prevent such satisfying... separation. There's a thought.

SE-02 - Rubber Man Banding

SE-02 - Slider and Suddenly

SE-02 - MSR's 1st Touch

Liquid Light Bulb Shaking Love LFO Locked to Clock Shove

MSR

MSR Zenish Smoover

This will be fully fleshed out by an esteemed member of the secret MVC team: tablas, strings, FX, belly dancers... but I couldn't resist to show it off this way, in front of the veil, so to speak.

MSR

Mahavishnu Child Iso

A rejected lead patch makes its way back to the fold. Post offset at end. Recorded out of the USB audio. Sound good to me.

MSR

Leading Remark

7-5-17 Update: Version 2! WITH MORE CHORDS (and one more faux ending)!

SE Design Guru Alumni, Justin Maxwell (https://soundcloud.com/senor-pantalones), crafted this TB-303 driven bassline/MIDI file magic for me, far too many days ago, and I have nearly emerged from my SE-02 cave/sometimes hovel; there was much to explore and pudding prove.

Stumbled upon my Uncle Mario being interviewed by my favorite cousin (Eve Rouveral) re. my great grandfather Pasquale Sceppacerqua's Prohibition-era garages, and the vibes were off to the races.

The bassline is cut and pasted from several takes—in my beloved Studio Vision "sequel" and altogether marvelous and inspiring Motu's DP9—and apart from various and sundry (words which always seems redundant to me) amplifications lying about in supporting roles on other tracks, it is straight out of the box, the SE-02 sounding not at all like a 303, but matching and leaping over periodically, that god-like classic's intensity and character.

The only drum/perc. sounds (sweetened by a few plugins) not coming from the SE-02, would be a few snares, and most of the hi hats—Boomstar SE-80 lays claim to those: hey the Boom* is not to be outdone in some areas, OK?
The "LP congas" which occurred rather spontaneously and cooperated nicely with my virtual tape razor deserve a mention...

Bit of a Harvey Mason/George Benson/"Weekend in L. A." groove and spirit breaks out underneath the initially Russian sounding, triad half step chordal passage... can you dig it? 

The pads (polyphonic) are SE-02 single and multi-sample Kontakt instruments. Really quite amazed how good the single stretches sounded. The multi flute-y pad is easily up to the challenge of good ol' American jazz and blues chords... the priceless multinational treasure of musician/creators of (and not of) this mysterious earth.

Leads: straight box/native FX with one or two 'verb exceptions.

Great depths to be mined in this SE-02—most of my pulls were from our labor-of-love them factory set. Patches every bit as glacial and tropical as our SE-1X standards. Was hard to turn the red light off Johnny.

A touch of L3—how much is too much? Not possible to find certainty in that area and so many others...

MSR 7-4-17

Uncle Mario on "The Payroll"

Another day, another Justin Maxwell (https://soundcloud.com/senor-pantalones) co-opted techno adventure. It started out so innocently... demanding, relentless creativity tied me to the captain's chair until we were well clear of the sirens of semi-interesting-ness' tides.

Most of the drum paraphernalia is Boomstar SE-80 derived (and Sean Charles tweaked!), except for the kick, which is all Justin Maxwell.

Fabla-tablaesque perc. and technicolor flute: SE-02—stock patches too.

The polyphonics are multi-tracked SE-02 of course.

Eternal kudos and respect to Malcolm and James for the Power and wisdom: "The dream of safety," indeed.

MSR 9317

powerPower... is not Easily Fooled

Thank you Rickey West/Kool & the Gang for The Funk. I hope yous don't mind the bite, brawl, and sprawl.

SE-02 does everything, with the exception of (probably not a proper use of a colon, or list construction):

EMU Xtreme Lead Piano—apart from the fairly feral SE-02 External Input processed piano layers in the Cuban-flavored breaks—makes 1st appearance after the opening bass salvo;
95% of the hi hats;
non 90's kick;
voices;
ambient Golden Gate Park tunnel/stargate (Sunshine Jones knows the one), and "All the Things" Lyle Link's transcendent alto sax was on that eternal day spent with son #1 son Carlo (who maddeningly despises the saxophone). Good thing I never made Lyle any the wiser when we chatted warmly after the tune concluded; his entire performance is on my personal Facebook page. And yes brother Greg St. Regis and I are shedding the solo; the sax-like break in this piece is blessed by what I "met" in those SF reverberation revelations. Pay homage to the maestro, beautiful music people: https://www.lylelink.com/

Moving on from the things I must be forgetting, to bits I remember:

Synth chords/stabs/pads/moods—demanding polyphonics arranged and split apart in DP9, and then fed to the SE-02 one life at a time. Not as time consuming as one might imagine, and sounds so nice...

Kool's chords were tuned in the 3 OSC '02, and multi-tracked for the juicy result I hoped would follow, which did.

The ethereal flutey floating... lead (really needed another f word) = iPhone and SE-02 SPEAKER! Don't even think I touched it after that. And folks assigned that little guy to the trash heap upon 1st blush—another knee-jerk reaction proven wrong. We only know what we know, so knowing otherwise is tricky.

Crunch chords courtesy of DP9's brutally virtual Custom '59—you can hear the raw sound hard right.

Free now to pursue the next sound obsession, and not sure if that's wise...
thanks for listening and reading, if you got this far,
MSR 10-12-17

Oh yeah the ending verse, one can almost discern:

The game, always lies beneath the truth;
why you surprised when it's uncouth?
The game, strips and  preys with nail and tooth:
you can't decry your sacrificed youth.

© 2017 Marc St. Regis

The Game (it) It Needs You

Freeform and edited SE-02 Midi-synced LFO and Sundry Hijinks

Forklift Gameface

FG Instgram Shortenings and  Limited Edition Tweaks

Forklift Gameface Insta

As seen and heard on Instagram... but not fully.

Ext Box running a stock SE-02/MSR-modified sequence(1st time for almost everything).

Gorgeous Temple Bells courtesy of myNoise iPad app, filtered and driven very pleasantly through the External Input/Drive/HP chain, gated at times in an offhand but meaningful way by #charcotcircles, were recorded through the chunky audio out of the Ext Box; no USB-ing here.

Huelva (maybe it was Dublin—or Chester) crowd/transport noises emanate from DP9, and were patched into the Ext via a Saffire Pro 14, while the sequence was running, as captured here: https://www.instagram.com/p/Bn2n9upgyWw/?taken-by=studioelectronics

Same but different for the heavenly bells: https://www.instagram.com/p/Bn2aqK7glTn/?taken-by=studioelectronics

DRIVE and HP (hi pass) figure prominently, as they should.

Light and selective normalizing and mastering—hurts sometimes to push those natural analog DC offsets and organic transients around... maybe it's just me.

MSR

SE-02 Ext Box - Temple Bass Convo

I just wanted to play that dirty synth bass like unto my man @buscrates, a fellow SE-02/Ext Box enthusiast, and funk/music savant. This was waaay back in August of 2018; and this is what I got myself into. Think I ended up with at least 20 tracks of bass (understatement). Good thing they aren't all playing at once.  Not sure when I happened upon the sumptuous, and highly melodious Nikki Giovanni/James Baldwin (disarming, wonderfully honest, and warm) interview, but it provided the conceptual, conversational glue & gumption. #wisdom #genius #charm

Initially this was just an SE-02/Ext Box offering, the focus being the usefulness, and potency of this surprising monosynth—as if it possessed the secret means of every instrument necessary—especially when multitracked, and the grit, push, and smooth cutoff sweeping the Ext Box gives. The SE-02 seemed to be more than enough analog; then the Midimini V30 crashed the party, and the piece I was near convinced (read panicked) I would never complete, got a fresh coat of paint & purpose—a rebirth of the cool, so to speak. And my, my... these two kissing cousins sure sound(ed) good together. One programmable, and CC-powerful, with that dope delay, feedback, and unique 3x crossmod, the other, a semi-modular, through-hole, complex gain-staging, fire-breathing 1980s-90s-2000s-strong bass beast of burden. The V30 is also delivering some gorgeous lead line moods, with the Ext Box (yes you read that right) drive boosting, bumping, and smoothly filtering it: hi pass too. I TOLD Greg St. Regis it would work wonders on our 30th anniversary Midimini! Takes a bit of extra cabling is all.

All of the Analog synth polyphony is SE-02, built using the indispensable "Split Notes" feature in Motu's DP10. The organy, dreamy, digital, sometimes hashy chording, features two tracks of free-ranging Quadnic (well it was at the time), which I gradually if reluctantly colored with redux ISO phrases, and some measure of harmonic awareness of its... er, intended direction.

A touch more eurorack organ-ish flair is of chopped-up Grainy Clampit origin, and Boomstar SE-80 hi hats, snares, clap, and kick accent the lifted traps.

It's best I pass the baton here.

The Gospel According to Carlo St. Regis:

"This is the most coherently incoherent meticulous madness I’ve heard. It seems to me like a love song to song, and to sound design. I’ll need to listen to it 30 more times to grasp 30% of its nuance, but on first impression I hear Stevie synth meanderings, funeral dirges and soaring cathedral snippets, interlaced by the unmistakable genius of James Baldwin and held together by a groove that reappears just when you begin to question if you’ve heard it for the last time. It’s a clinic on transition and variety and layering, and almost in spite of this, seems to culminate in a murderously funky and contrastingly bare base and drums section that makes you think yeah, this is why I use synthesizers."

Where most songs seek to build this one isn’t afraid to deconstruct and traverse a journey fitting of the time spent in creating and experiencing it. The impractical renaissance man is here and his background vocals have shown us the way."


MSR
41920

Practical Man Suite

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

IG:

@therealstillphilny got this shindig started, simply enough at 1st. And so nicely, brother… 🥁✔️🙏🏼

Ext Box filtered and SE-02 colored—think cros-mod, feedback, LFOs and LFO swung Oscillators, delay, noise, resonance, relevance.

Of course that thing that pushes us past our bedtimes and meals, had me pulling into DP seemingly unrelated drips ’n’ drops from Monte Neuble’s  DOPE and 🔥 SE-02 touches—captured at Roland US last year, as was this beat twisting and much of what's heard here—and my own designs from the MN/MSR session. It was almost there: transforming was snug; I had smashed and pinched away with the greedy DRIVE and HP of the ExtB, modulated externally with our Ste. 16, and the cowbell level was… good, but, DL PDC recordings felt necessary—vocoded at times—and some faux bossa 6 stringed couch vibes.

If you own an SE-02, how on earth can you deny yourself this Ext Box wonder? 
Once you’re jacked-in, it is incogitable to record and create without it.  So don’t already 👌🏼
—

MSR 6.21.19

SE-02

STUDIO ELECTRONICS