The SE80s

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

Lefty One Take - Alt. 1.  LFO pulses, filter sweeps and flips.  Overdrive at 33.68.  A light touch of selective normalizing applied here and there to push the softer bits.

Sounds by Marc St. Regis.
Spontaneous, dad-hijacked art by Carlo St. Regis.

Boomstar SE80 - Forbidden Intervals

Freeform, deep diving, high soaring Boomstar SE80 Flow... cuts made where electronic blood needed to flow ;)

Copy and paste festival seating at end - didn't want that little sound to end.

And yes that lovely spiritual haunts me yet from grade school.

MSR

Swing Low Sweet SE80 Chariot

Studio Electronics SE80 doin' its dual-resonant thing; like every love affair the start is mostly soothing and sensual; then come the disagreements and disconnects; but that is just the genesis of the affection revelation; salvation is always near.

MSR

Anatomy of a Valentine Star

 Boomstar SE80 LFO Trigger Drone and Pulse with Snare (made with SE80)

SE80 Dronevelope

Boomstar SE80 Near Indian Percussion.  No FX.

SE80 Tabla Pasa

Wukka Wukka Whee Out

Boomstar SE80: Electro Gathering Pulse and Vocal Praise

Patient Pow Wow Pulse and Praise

Boomstar SE80 — Carson M.'s Driveway

Boomstar SE80 — Carson M.'s Serious Mental Work

Boomstar SE80 — Carson M.'s Kick Drone Times Up

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

See it: https://www.youtube.com/watch?v=0xkBUlgtBmU

SoundCloud's data compression scheme... wow.

The foundation for this distinctly Analogian adventure is the Boomstar 3003 crunch 'n chunk sound, warmed-up nicely by Slate Digital's "Virtual Tape Machine." I intended to accent it merely with the ATC-1-ish cross-mod vocal sound lead work (way back in early Sept.), which re-interprets my uber-talented friend Grecco Burrato's rich and rootsy guitar solo at 2:29 in my CODE-filtered Theriot offering (http://studioelectronics.com/assets/Audio/CODEfilteredTheriot.mp3), but I kept getting pulled back into the power and poetry of the B*s circuits and smashing performance-centered feature set.

The jazzy polyphony heard at the beginning after my Uncle Mario's chuckles (more from him later, much more), is all Boomstar 5089, arranged on piano and tracked one note at a time—credit DP8's split notes feature; patience and persistence make pretty, and we are off to the races: the twin herculean pillars of 3003 rhythm and lead making friends along the way with slidey, glidey, echoey, multi-tracked B* 5089 / 1970's slippery, synthy goodness, B* 4075's punchy percolated arpeggiations, square-waved octaved finger bass, B* SE-80's rim shots, tablas, claps, 70's and 80's session snares, tuned "Tubaleans" kicks-basses, major toms, SEM  hi hats and crashes, all of which thins out dramatically at 3:06 for the 5089/SE80/4075/SEM bass and beats break—picked up by those 5089 faux muted guitars—commencing the beginning of the culmination, or so it seems.  Really, the show is just getting started with the 5089 holding court with its sweet and foxy leads on the run—love that "The Sweet" joint, a radio rediscovery one schoolday morning which revitalized and repurposed the back nine of “The Talking Booms,” called again upon the ARP-peggiations, Glam Synth drive, and clearing the mind for the late 99 year Oracle at Cleveland: Uncle M.

What are we learning?  What are we storing up inside?

Thanks for the listening and read,
Marc A. Theriot St. Regis - Thanksgiving-ish 2014

p.s. Apart from DP and various audio plugins—my DAW was my friend—everything is Boomstar, apart from a backwards piano snippet from a rejected short film score of mine, and the snappy kick drum, hit by our Fox mic pre, and wrapped with several 4075 and SE80 kicks, when things get Marley.  Oh yes, and brilliant cousin Eve (Capretta) Rouveral does the marvelous Mario mining.

The Talking Booms of Mario Capretta (Band in a Boomstar Box, the Final Chapter)

Tonestar2600 thumps & '80s quality "Simmons" toms + Huston Singletary's groove merchant ways/heavy (he is my brother) harmonic vision + layers of SE-02 "polyphony" & monophonic... bassline bravery among other Roland/SE crowning analog achievements + selfless SE3X accents + Boomstar Brotherhood claps, snares, shimmering addl. perc. (Boomstar SE-80 mainly) + a sprinkling of SurgeXT "Stevie" / Fab Four touches & Folktek visuals...

Wait that MIDIMINI V30 "How do you beat that?" "quica" breakdown,
EQUALS!:

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

Kingdom Inside; further advice will follow.

Enjoy,

MSR 5-3-24 / 172021

Kingdom Inside

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

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.

The SE80s

STUDIO ELECTRONICS