Kit Ryder - Back In Touch

Kit Ryder - Crockett's Vice

Kit Ryder - Mr. Collins, I Presume?

Demo for Bitley's Way Beyond Fairlight soundbanks, available for Kontakt and Reason. Kontakt version used here. For more info please visit https://bitleysounds.com/index.php/fairlight-for-kontakt/

Synthwave 101 / Way Beyond Fairlight demo

originally transmitted on http://www.substrateradio.com

Merry Psychic Tuesday!!!

In this episode of PTR, we’ll be both celebrating and shedding some historical light on one of the most iconic samples used in the music of the 80’s : the “orchestra hit”, a fragment of Stravinsky’s Firebird captured within the Fairlight Computer Musical Instrument, the first digital ‘sampler’, as ‘ORCH5’. This loud orchestral attack was made famous by Bronx DJ Afrika Bambaataa, who incorporated the sound into his seminal 1982 dance track, ‘Planet Rock’. Tune in cuz we’ll be listening to an hour’s worth of 80’s tracks that use this legendary sample!

As always,

*** ENJOY ***

HOUR 1 : The 8 O’Clock Shuffle

AC/LeeC - Dirty Deeds Around The Christmas Tree 
TENGEN - The Straw Purchaser 
Images of Goo - Image 9 
Queen - We Will Rock You But Beat 2 And 4 Are Swapped
The Three Suns - A Ding Dong Dandy Christmas 
Earnest P. Vorell - O Christmas Tree 
Albert King - Santa Claus Wants Some Lovin’ 
Agrupación ilegal los imparciales - Cumbia  psicodelica (Dub) 
Diseno Corbusier - Festival Para Dos 
Domesticatrix - AA XXX 
Rick Potts - Ding Dong Christmastime 
Ladder To God - Temperature of the Sun
African Children’s Choir - Bolingo
Neneh Cherry & The Thing  - Dream Baby Dream 
Sweet Wreath Collective - Wind on Saturn

HOUR 2 : feature : Orchestra Hits!

2018 Vox documentary - The sound that connects Stravinsky to Bruno Mars
Afrika Bambaataa & The Soulsonic Force
The Art Of Noise - Close (To The Edit)
Divine - I’m So Beautiful
Milli Vanilli - Girl You Know It’s True
Rammstein - Laichzeit
Kate Bush - The Dreaming
Yello - Great Mission
Eurythmics - Beethoven (I Love To Listen)
The Smiths - Last Night I Dreamt That Somebody Loved Me
The Cars - Hello Again
Paul Hardcastle - The Wizard
Prince - It
Frankie Goes To Hollywood - Two Tribes
Grimes - Oblivion

Grouch Marx - Hello, I Must Be Going
The Velvet Underground - After Hours

episode 270 : Orchestra Hits!

clutterbuggin'

clutterbuggin *re-upload test 3*

Made from samples from Ecolove from the 1992 Dune game soundtrack
Sequenced using MAME Fairlight CMI IIx emulation

On YouTube: https://youtu.be/ITpaFJBqWnU

ECOJANK

Long ago, there was a group that called themselves Everything Is Terrible, and they did YTP-style video mixes of old VHS tapes. I suppose they still exist, but half of their back-catalogue seems to be gone, including this gem.
Anyway, one of those video mixes was of Angela Lansbury's Positive Moves. Cut a little bit out, loop it forever. In this case, the words 'the breast' (often misheard in the loop as 'abreast', the full line is, in reference to some sort of exercise, 'I call it On-Land Swimming, it's really the breast stroke.') And when I heard it, I thought, wow, this would make a great backing for a track! So I eventually made one, in eight tracks on a Fairlight CMI.

Abreast (House Mix)

You know those tracks where you just keep adding stuff but know you should really stop? Well this is one of those :)
Inspired by... a combination of being attacked by wasps (OK, I did accidentaly tread on their home), Hot Chocolate (the band) and all the cool synths in the early 80s.
Starts off scary, but maybe becomes happy(?) Learn to live with the wasps. Don't tread on their homes. But don't let them build nests above your front door. Lessons from life ;)
All synths from Arturia Analog Lab V - CMI, Emulator, Vocoder, SP-Xa, Mini, DX7. Plus a bit of Pigments and guest staring a real life wasp. The Vocoder phrase is one of the great defaults.

Who's afraid of wasps?

Kraftkabel is the artist name of Philip I. Buckland. I am a musical scientist in a parallel universe living in a studio flat orbiting Jupiter. My keyboards are suspended in gravity nets, and my mixer is controlled by the power of the mind. My cosmic sequencing software masters through the power of emotion, and my keyboards are simultaneously both retro and new.
My music originates from the point of divergence of these universes - the mid-late 1980's, but is spliced by genre splicing interludes. I use a time machine and dimensional portal to get to work.
For the other nerds out there:
Hardware synths: 
Moog Subsequent 37; Roland Jupiter X, JD-Xi, VR-09, S-1; Korg Prologue, NTS-1, Monotron Duo; Sequential Take5; Yamaha DX7; Akai PRO MiniAK; Novation Mininova; Arturia MicroFreak; Modal SkulptsynthSE; Teenage Engineering PO-20.
Main software: Ableton, Arturia Analog Pro, InSidious, random free stuff from the interweb and Dexed to program the DX7. Audacity. All played through Arturia Keylab and Keystep (which has a better arpreggiator).
Plus some guitars that I can't really play very well. And an mbira, tin whistle and an alien head-shaped ukulele.

love the dark, sad, experimental and hazy side of things, hypnotic loops and damaged sounds. massive horror geek. not without a sense of humour. partner in crime with Shelley and Loren.

if you're questioning why or how i'm able to upload on a frequent basis, simply put - i have A LOT of time on my hands at this point in my existence, a wealth of music/sounds to draw upon, and a decent collection of software to make things (e.g. both the synth and fx arturia vst collections). i'm not just auto-generating ai pieces ad nauseum, at the same time i have nothing against using ai in the creative process, but not as an outright replacement for creation. i really think the witch hunt over it all is a bit ridiculous, fueled by the greed pig corporate media companies mostly. 

one thing i've learned about making at least a little bit of money from streaming my music beyond measley penny scraps, i have to upload frequently and i've been experimenting with reuploading/reposting my tracks for better play counts (for now), if even it only results in cutting costs.

New tracks tagged #fairlight cmi