#drum machines

[heartnosekid]

🎧 napstablook 👻

for @im-taako-you-know-from-tv!

👻-🎧-👻 / 🎧-👻-🎧 / 👻-🎧-👻

[soupy-sez]

Kurtis Mantronik with his Roland TR909, 1986

[digdugdiy]

u change all the lead,

sleeping in my head…

@ https://digdugDIY.etsy.com

🦩

• LOFI DREAMS v3

• PURPLE RAIN ☔️

• MOONMAN 🌝

• RESAMPLE

• HEAVY IS THE HEAD…

• MICROPHONE

••••

•••

••

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#heady #kush #lofi #vibes #vaporwave #aesthetic #pedalgram #effectspedals #synthesizers #boombap #synthwave #bedroommusic #chillwave #sp404 #sp303 #op1 #stompbox #dreampop #shoegaze #lofihiphop #fxpedals #retrowave #chillvibes #ambient #pedalboard #effectspedal #pedalsandeffects #stompboxes #lofibeats #tapeloops

[ymofan04]

[catboy--slim]

happy 808 day! the TR-808 drum machine revolutionized music and was used in countless records. it's the sound of the 80s, and has never gone out of style since then. a commercial failure, it became very affordable on the used market and ushered in a new era of house music and hip-hop.

[transmissionsfromthebattlefield]

“Drum” machines aren’t cool, guys. They’re taking jobs away from actual drummers. Open your eyes, sheeple.

[extaplugins768]

Native Instruments – Retro Machines Mk2: Timeless Sounds for Modern Productions

Experience the nostalgia of yesteryear with "Native Instruments – Retro Machines Mk2." This full version download offers a comprehensive collection of classic synthesizers, keyboards, and drum machines meticulously sampled and recreated for the modern digital age. Whether you're a seasoned producer seeking to add vintage charm to your tracks or an enthusiast exploring the roots of electronic music, Retro Machines Mk2 provides the sonic tools you need to unlock endless creative possibilities.

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[thoughtportal]

From electric guitars to samplers to drum machines and beyond, the music we love is only possible thanks to the technology used to create it. In many ways, the history of popular music is really a history of technological innovation. In this episode, we partnered with BandLab to unpack four inventions that changed music forever. Featuring author and journalist Greg Milner.

[thelivingreceiver]

Lost and Safe, favorite Books album of all time The Way Out is probably a close 2nd tho

[garudabluffs]

Give the drummer some

As AI drum machines embrace humanising imperfections, what does this mean for ‘real’ drummers and the soul of music?

"There’s a moment five minutes into ‘Funky Drummer’ (1970), an instrumental jam by James Brown, when the clouds part and Clyde Stubblefield is left alone. We can hear on the recording Brown instructing his band to ‘give the drummer some’. He tells Stubblefield not to solo, but to ‘just keep what you got’. Even if you’ve never heard the original, you will have heard Stubblefield’s drum break. The looped sample has been used on more than a thousand other tunes. His right hand is playing semiquavers on the hi-hats throughout, with his left foot opening the cymbals to produce an occasional offbeat whisper. His right foot on the bass drum and left hand on the snare are in a conversation. The backbeats on the second and fourth beat of each bar are decorated with what drummers call ‘ghost notes’ on the snare drum, more felt than heard.

In principle, it would be perfectly possible to take each semiquaver, transcribe it, pull the notes from the stave, use readily available software to program them into a grid and fully automate the funky drummer. The beat is repetitive. Drumming is all about patterns, and computers are very, very good with patterns. And yet there is something ineffably human about this performance. The dance of his limbs, the bounce of his sticks and the movement of the air inside his drums combine to produce something undeniably musical. I think a drum machine couldn’t get close. But maybe not everyone cares as much as I do about the nuances of percussion."

"But before we rage against the drum machine, we should seek to understand its origins and its potential. I think that, in studying the evolution of this technology, we can learn something important about automation, the future of artificial intelligence, and what it means to be human in the machine age."

"Without some dynamics, harmonic interest or psychoactive stimulants, the comfort of repetitive beats quickly becomes boring. A rhythm also needs elements of tension or surprise. We call the placing of a beat where the ear doesn’t expect it ‘syncopation’. (In the late 19th-century United States, it was called ‘ragging’, giving ragtime its name.) Variations within and between bars take listeners and dancers to new places. James Brown was known for rigidly enforcing his band’s parts, but each bar that Clyde Stubblefield plays in ‘Funky Drummer’ is subtly different from the one preceding it."

"Perhaps the most transformative recent music technology has been Auto-Tune. The human voice, while it is able to produce tones of great beauty and emotion, is an unreliable instrument. For singers who are untrained, unable to hear their own flaws, in possession of weedy vocal cords, or just having an off day, Auto-Tune provides a quick fix. The patent for Auto-Tune is very clear on the invention’s purpose: ‘When voices or instruments are out of tune, the emotional qualities of the performance are lost. Correcting intonation, that is, measuring the actual pitch of a note and changing the measured pitch to a standard, solves this problem and restores the performance.’

"The first uses of the technology were not to fix music, but to provide a novelty effect, much like its forebear, the vocoder. Since 2000, however, Auto-Tune has become a ubiquitous studio tweak. Time magazine labelled Auto-Tune one of the world’s 50 worst inventions. Catherine Provenzano describes how Auto-Tune raised concerns that ‘it is not just the musician being deskilled but the listener, too’. Critics worried that its turd-polishing would take even more power from musicians and hand it to producers. Software like Auto-Tune requires elaborate programming to reshape the complex waveforms that emerge from human vocal cords. Compared with this, a drum machine is as easy as 1, 2, 3, 4."

"The point is not that, as has happened with chess, these computers will surpass the best composers or players, but that a modern version of what used to be called ‘muzak’ can now be generated without the involvement of a producer or the payment of any royalties. With the encroachment of AI into music, there are important questions about what happens to creativity, imperfection and the livelihoods of music producers, but the bigger questions are about who gets the rewards and who gets to define culture."

"Musicians are all too familiar with the gig economy, and the exploitation that comes with it. Despite James Brown’s exhortation to ‘give the drummer some’, Clyde Stubblefield was paid a session fee but saw hardly any royalties from his wildly successful creation. Drum machines took creative power from drummers and handed it to producers. Generative music seems to displace not just one or two musicians, but all of them, and their producers. Companies are already autogenerating ‘functional music’, made to provide aural wallpaper rather than artistic novelty. Their machines feed on historic music data, but unlike with Stubblefield’s sample, we won’t know where they get their inspiration from. There need be no credit, just profit. Musicians do not just fear their own redundancy. They also fear the devaluing of their art. All innovation in art has generated new answers to the question of what counts as art. Drummers may be the canaries in the coal mine. We have seen with the development of the drum machine that there is an opportunity to use AI to release a new wave of musical innovation. The risk is that the technology will concentrate power in ways that devalue and homogenise music."

READ MORE https://aeon.co/essays/what-drum-machines-can-teach-us-about-artificial-intelligence

[krazetv]

Ujam Beatmaker Circuits - WALKTHROUGH

[electrosquash]

KNOBS YOU CAN TWIST AND BUTTONS THAT MAKE SOUNDS OH YEAH

[ymofan04]

Yamaha RX11 and RX15. (1984)

[ryansholin]

The gear purchases have begun. First, I picked up a used Pocket Operator KO-33, complete with case and cables and another case for all of it. It’s in perfect shape, and I’ve started playing with it, chopping up Stereolab beats, sampling cicadas, and even figuring out how to download drum sounds from my laptop. No, there are no beats worth sharing here yet, because I have not had enough free time with these tools to come close to completing even a single experiment yet.

But time will come.

Then, I added the lightly used Korg Volca Beats in the pic at the top of this post. Y’all this thing is fun. I’m still short a couple cables to comfortably and intelligently connect it to the laptop, but it’s been pretty neat to mess with it in headphones.

I’m still shopping for the “main” synth in my gear plan, although I have definitely stretched both the plan and budget in the direction of a Korg Minilogue instead of the originally intended Monologue because why not. I think the deciding factor might’ve been learning that’s what Laetitia from Stereolab has been using on their recent US tours (well an XD model I think) rather than lugging a delicate Moog around, and if it’s good enough for Laetitia, it’s good enough for me. By far.

In related news, I’ve started describing both my sabbatical plans and current state of middle-aged-ness as “gettin’ into synths” and people my age chuckle, and I think they get it. Maybe. Maybe they’re just being polite.

[liltaireissocute]

last time i drew a comic i swore never to do that again BUT HERE WE ARE i did it again (and it killed me)

[arcadebroke]