Analogue-sequencer

I am curious to know the future plan of Sequentix. What they will 
bring out next? 

It is sad that p3 it out of production now. I've been wanting one but 
I am not the one who have masses of gears and can spend a grand just 
for sequencing. I need more sound sources.

Regards,
/M.Q.

> I've been wanting one but I am not the one who have masses of gears 
and can spend a grand just for sequencing. I need more sound sources.

I used to think like this and got myself surrounded by more gear than 
was really useful. These days I would rather have a P3 and one less 
sound source. Using the P3 has made my music more minimal but, yet, more 
focused.

The other nice thing about the P3 is that unlike many other pieces of 
modern hardware I reckon it'll keep its second hand price for a while yet.

Tony

www.oakleysound.com/music.htm

On Wed, 20 Sep 2006 09:33:57 +0100, Oakley Sound
<tonyallgood@btinternet.com> wrote:

>I used to think like this and got myself surrounded by more gear than 
>was really useful. These days I would rather have a P3 and one less 
>sound source. Using the P3 has made my music more minimal but, yet, more 
>focused.

Have to agree. These days it is just *so* easy to add layer upon layer
upon layer - everyone can do it. But making each layer count is
another matter. 

And this from me, the most gratuitous layer-slapper on the planet! ;)

Paul

---
Paul Nagle - Joint Intelligence Committee - www.JointIntelligenceCommittee.com

> I am curious to know the future plan of Sequentix. What they will 
> bring out next? 

The immediate future plan is to get through the remaining mountain of P3
soldering before I even think about the follow-up...

Best regards,
Colin Fraser
Sequentix Music Systems Ltd
http://www.sequentix.com

Hi,Tony,

You are famous for your Oakley Sound modulars! Nice to see you here.

I am not in the same situation like you. I've been fighting with the 
limitation of just one Elektron machinedrum and a FR revolution. 
These are what I'm using right now. While I also have mpc1k, korg 
emx and moog murf left in the studio (It is in my company), cos of 
the lack of multitracking power at home.

I've done everything like using drum for melodics, re-triggering for 
Granulizer-like synth sounds... and so on. For my music vision now I 
need a waveshaping synth which can also take input, a nice versatile 
VA synth, and of course a good sound card. So adding a pure 
sequencer to my home rig is not a good idea imo.

Curious about the next product they'll come out with. Will it be 
pure seq as well or something else. No matter what it is I think 
I'll be able to buy it in next year.

It seems interesting that there are more pure seqs than seq-synthes 
that quit the market. For example, elektron products, spectralis in 
contrast to p3, milton vc and such.

Regards,
/M.Q.
http://www.myspace.com/mengqi


--- In analogue-sequencer@yahoogroups.com, Oakley Sound 
<tonyallgood@...> wrote:
>
>  > I've been wanting one but I am not the one who have masses of 
gears 
> and can spend a grand just for sequencing. I need more sound 
sources.
> 
> I used to think like this and got myself surrounded by more gear 
than 
> was really useful. These days I would rather have a P3 and one 
less 
> sound source. Using the P3 has made my music more minimal but, 
yet, more 
> focused.
> 
> The other nice thing about the P3 is that unlike many other pieces 
of 
> modern hardware I reckon it'll keep its second hand price for a 
while yet.

> 
> Tony
> 
> www.oakleysound.com/music.htm
>

>>I used to think like this and got myself surrounded by more gear
than was really useful. These days I would rather have a P3 and one
less sound source.<<

I find myself compelled to chip in.... & agree with tony & paul.
it's actually (pompous pronouncement alert) a healthy sign, this. 

it means that we are more interested in developing compositional
techniques & skill than we are in making "new sonic textures".

all this left-brain/right-brain stuff about the ideal hardware
sequencer control surface & functionality is fascinating. before the
notron, there wasn't anything to discuss. now, you could open a
boutique in denmark street to specialise in non-keyboard controllers. 

for too long, i.m.o., electronic music has been about making weird
noises & trying to convince people that this is, in itself, of some
artistic merit. once upon a time, perhaps it was, but it quickly
became a way to conceal (for want of a better expression) a lack of
chops. 
I have found what I feel is the right balance between things that make
noises & things that control them, though many other musicians see the
rig & wonder why more than half of it is hardware sequencers &
controllers, & maybe half of what's left (after effects & so forth) is
actually generating audio.
[picks up pint &, mercifully, gets interrupted by someone else]

duncan.

--- In analogue-sequencer@yahoogroups.com, "ferrograph632"
<ferrograph@...> wrote:
> I find myself compelled to chip in.... & agree with tony & paul.
> it's actually (pompous pronouncement alert) a healthy sign, this. 
> 
> it means that we are more interested in developing compositional
> techniques & skill than we are in making "new sonic textures".

This year's Different Skies concert audience commented on how much
more melodic content there was than in previous years. (Certainly
helped that we had our fair share of guitar controllers and wind
controllers and other non-keyboard controllers at work in the mix.)

Could this be a sign that we're finally able to do the things we're
been dreaming about? Or maybe, we've finally got the sonic textures
thing down;^)

-Jim
www.myspace.com/jimcombs
www.sensitivechaos.com
www.touchxtone.com

Jim Combs wrote:
> Could this be a sign that we're finally able to do the things we're
> been dreaming about? Or maybe, we've finally got the sonic textures
> thing down;^)
>   
I wonder if we've maybe just got it out of our system. Well, I'm 
*pretending* I have. I still occasionally fall for the challenge of 
piling as many different squelchy synths on top of each other as I can, 
each with their own delay of course, plus about five different bass 
sounds and three kicks, four high hats... oh yes, oodles of good taste. 

I'm definitely there now I'm all mature, like. And if there's space 
left, you can squeeze a melody in too. Absolutely no room for chords 
though, sorry.

Hahahahaaaaar. Weekend is nigh! Nigh, it is! Forsooth.

Paul

---
www.softroom.co.uk / www.JointIntelligenceCommittee.com

--- In analogue-sequencer@yahoogroups.com, Paul Nagle <softroom@...>
wrote:

> Hahahahaaaaar. Weekend is nigh! Nigh, it is! Forsooth.
>
> Paul

International Talk Like A Pirate Day
<http://www.talklikeapirate.com/piratehome.html>  was 2 days ago, Paul.

But on subject: I guess my setup's probably a bit like Duncan's; i've
cleaned out my studio during the last couple of years, and ended up with
only a few pieces of sound-generating equipment which are,  each in it's
own way, versatile enough to accomodate my various different musical
tastes. Speaking for myself I think i've become more focused on what I
want and how I want it, which for me means having more possibilities to
control rather than having more sound(s).

Chiel




[Non-text portions of this message have been removed]

ch.³l wrote:
> International Talk Like A Pirate Day
> <http://www.talklikeapirate.com/piratehome.html>  was 2 days ago, Paul.
>   
LOL, awesome!

Makes a change from being premature.

Paul

---
www.softroom.co.uk / www.JointIntelligenceCommittee.com

On 21 Sep 2006, at 12:52, ferrograph632 wrote:

> it means that we are more interested in developing compositional
> techniques & skill than we are in making "new sonic textures".

I disagree. I don't think there's much correlation between music-vs- 
sonic-textures on the one hand, and more-vs-less-gear on the other. I  
know people who are seriously into the sonic textures world who work  
with very little gear, and people who have tons of gear who make very  
conventional music.

I also think it's wrong to be judgemental on sonic textures as music  
(or as art): Sturgeon's Law applies as always, but there's some  
really lovely stuff out there which arguably contains as much craft  
and skill as conventional music.

I do agree that, almost without exception, it's less healthy to have  
more gear, regardless of the kind of music (or sound art) one is  
engaged in making.

	-- N.


   nick rothwell -- composition, systems, performance -- http:// 
www.cassiel.com

>>I don't think there's much correlation between
music-vs-sonic-textures on the one hand, and more-vs-less-gear on the
other. I know people who are seriously into the sonic textures world
who work with very little gear, and people who have tons of gear who
make very conventional music....there's some really lovely stuff out
there which arguably contains as much craft and skill as conventional
music.<<

dammit. I agree with nick aswell. :-) 
I was just saying... I think there's been a /tendency/ amongst /some
of us/ to strip back a bit & start using what we've got a bit more
musically. but digging deeper, this means I spend more time
programming one or two boxes instead of looking around the room for a
short cut.
(I haven't managed to part with the rest of my gear- it's just not all
in one place anymore!) 
in addition to GAS wearing off a bit as one runs out of real-estate,
one matures as a musician &, well, my own experience of electronica is
that there's been a bit of an arms-race in the past....
I'm not explaining this very well, & it may only apply locally anyway...
as a bass-player, I have gone from playing & sounding like geddy lee
or chris squire, to playing more like john entwhistle, jack bruce,
felix pappalardi... the sound is less brash, more considered, & sits
better in the mix. & the new economy of notes means my hands don't get
tired & the bass parts don't sound so smug. if you play the bass,
you'll find that as you get older, you move your right hand further
towards the neck & away from the bridge. I've seen it happen to lots
of bassists. it's quite literally mellower.
I've begun to feel the same about the electronics, that's all I meant.
& I don't think I'm the only one.
but I also used to spend hours making tape loops with one synth, or
rigging frippertronics delays with two tape decks before we knew
someone guitarist was getting free pizzas for doing the same thing in
greenwich village.... I guess it's an arc. different heights for
different people, but an arc all the same.

of course, all of this has been speeded along by the emergence in
recent years of better, custom-built, user-defined instruments like
the p3 & one or two others. my music would certainly be different if I
was still using the maq/mmt8 combination of ten years ago.

d.