Emax

there's a lot of people out there with all the top high end cool gear and
don't do a damn thing with it..  then there are people with whatever they
could get their hands on and make amazing music.  so, IMO the pendulum
swings towards the artist, not the medium.   sure there's gear out there
than can do certain things really well and if that's your thing go with it,
but at the end of the day it's really about how you use it.

just my thoughts...

cheers

b

On Fri, Jul 10, 2009 at 5:50 PM, ss <ssws1@...> wrote:

>
>
> Was: "Celebrity Emaxes..." etc.
>
> Hi Everybody! :-)
>
> While you guys continue that thread can I start a new one...? It's
> related and I think it's what
> we're really after here. It's about designing great sound.
>
> I saw the "Violator" concert. I owned an Emax at the time (and still
> have it and use it). Yes, DM
> had piles of Emax IIs on stage for the concert.
>
> But what this is really all about, the thread, is designing great
> sound -- isn't it?
>
> A better question would be WHO sat around and designed the sound that
> DM played on those Emax IIs
> in concert, etc. I think.
>
> My guess is that these guys were all designing on an EIII and -- other
> gear -- and dumping onto Emax(s) for performances.
> I think I can hear Spectral Synthesis work on "Violator" for example
> -- unless I'm imagining it (which I may very well be!)
>
> What I think is strange is that people dump their gear in this way...
> Many of the "popular" artists today are sending somebody
> out to purchase all of this "vintage" gear and use it for it's unique
> sound capability -- so why dump it in the first place on eBay?
>
> Yeah, yeah -- the Native Instruments sound is hot right now -- so
> what???!
>
> As an example, an old friend of mine designed sound for a large film
> before I'd met him. When I asked him about his sound designs
> he said to me: "I was using a lot of DX7 sounds at the time." I was
> REALLY surprised by that, but then I could hear the DX7, but
> it really wasn't a DX7 anymore. He'd multi-tracked the sounds, sped
> them up and slowed them down with tape, re-recorded and
> processed the sounds, so the source was the DX7 but the end product
> was NOT a DX7 in the film it was my friends own ear and
> way that he heard things. It was his Sound Design artistry.
>
> Isn't that what we're really talking about here? (Or should be talking
> about?)
>
> Who cares who had what keyboard! LOL!! That's like worrying about
> which Macintosh Steve Jobs used!
> It's rather absurd, isn't it?!
>
> So can I start a thread about Sound Design and what makes you love and
> cherish your Emax so much, rather than what
> rock star used to use your keyboard back in the 80's? We can have two
> threads. Continue the old one and start a new one?
>
> (I don't care a god-dxxx about Roland Orzaball -- or whatever his name
> was!) ;-) :-)
> But if you do god-bless you! That's what you like! :-)
>
> So let me start-off the thread by where our Jammie Emma left-off by
> saying that it's the Emax/EMU filters that can make the
> difference and give that beautiful incredible sound to a sample that
> you don't hear elsewhere. I thought that was a brilliant
> observation by him and quite true in my experience! Yes, I love the
> EIII, EIV and Emax because of the filters.
>
> And on the Emax HD SE
> I have I love the Spectral Synthesis feature because one can come-up
> with some remarkable samples with experimentation. Also,
> the TM (Transform Multiplication) engine! Now that makes for some
> great discussion! Yes, they take far too long to use with 1 MG
> of RAM and processing time! :-) But go and make yourself a cup of tea!
>
> I'll never give-up my Emax HD SE. Period.
>
> Steven
>
> PS - No insult to anybody! If you like your Jimi Hendrix Strat --
> cool! ;-) It's all great!
>
> ***************************************
> - This communication is confidential to the parties it is intended to
> serve -
>
> Truth does not fear investigation.
>
> "There are no secrets that time does not reveal." -- Jean Racine (1669)
>
>  
>


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