October 1983

Total Page:16

File Type:pdf, Size:1020Kb

October 1983 October 1983 BASIC FILM SCORING MATH LARRY FAST INTERVIEW FOSTEX X-15 REVIEW ISSN : 0163-4534 T H G O B G R H G I M SYSTGM “ Let me overturn a “The system inspires “ In truth,these “There's no other way “The interface with myth here—this is creativity and three little boxes to record a symphony the DSX exponentially the greatest drum box experimentation on (DMX, DSX&OB-8) by yourself... enlarges the possibilities of for sound and every level.” will do far more than Sting (The Police) programmability....” we yet know how to what I can do.” David Sancious Musician/ June 1983 make use of musically.” Stewart Copeland May 27,1983 Jeff Lorber (The Police) Jim Aikin Obernotes/Fall 1982 Melody Maker Keyboard/IkprW 1983 June 18,1983 'Jf / OB6RH6IM GLGCTRONICS, INC. Some things are better than others 2250 So Barrington Ave. Los Angoles. CA 90064 DX Digital DMX Digital DSX Digital OB-8 Polyphonic 700 Professional Drum Machine Drum Machine Polyphonic Programmable Stereo $1395.00 $2895.00 Sequencer Synthesizer Power Amplifier Suggested retail Suggested retail $1995.00 $4395.00 $895.00 Suggested retail Suggested retail Suggested retail STAFF ISSN: 0163-4534 PUBLISHER John S. Simonton, Jr. VOLUME 8, NUMBER 6 EDITOR Craig Anderton OCTOBER, 1983 MANAGING EDITOR Linda Kay Brumfield TECHNICAL ILLLUSTRATOR Caroline Wood Basic Film Scoring Math By: Dr. Maury Deutsch ....................... 24 CIRCULATION Ramona French Build the Hip Bass Drum Peggy Walker By: Craig Anderton........................... 13 BOOKEEPING Cathi Boggs E-Mu Systems Drumulator Trigger Modification By: Kevin Monahan............................ 28 PRINT PRODUCTION Phuong Nguyen Fostex X-15 Review SEMCO Color Press By: Tom Mulhern ............................. 22 POLYPHONY (ISSN 0163-4534) is published Index to Volume 8................................. 33 bimonthly at 1020 W. Wilshire Blvd., Oklahoma City, OK 73116, by Polyphony Publishing Co. Entire contents copyright Larry Fast, Interview (c) 1982 by Polyphony Publishing Co. All By: Craig Anderton ........................... 8 rights reserved. No portion of this publication may be reproduced in any manner without written permission frpm the publisher. Second Class postage is paid at Oklahoma City, OK 73125. ADVERTISING rate card and deadline schedule is available upon request. Contact Linda Brumfield at (405) 842-5480. DEALERS & DISTRIBUTORS bulk prices are Applied Synthesis: available upon request. Contact Linda > Orchestral Voicings Using the Tenth Interval Brumfield at (405) 842-5480. By: Bill Rhodes ............................. 16 SUBSCRIPTION rates: American 1 year $12.00 Practical Circuitry: Micro Drums part II 2 years $22.00 Foreign 1 year $14.00 By: Tom Henry ............................... 18 2 years $26.00 We now accept MasterCharge and Visa Review payment for subscriptions, back issues, ana PolyMart items. Foreign payments By: Robert Carlberg........................... 6 must be by charge card, money order, or certified check in US funds drawn on a US bank. BACK ISSUES are available at $2.50 each ppd. Send SASE and request o u r 'Back Issue List' for a complete index of issues and their features, or see the back issue ad in this issue. Ad I n d e x .......................................... 34 CHANGE OF ADDRESS notifications must include your former address and zip Current Events .................................... 29 code, and any numbers from the mailing label, as well as your new address. When you move, be sure to notify your Equipment Exchange Classified .................... 34 post office that you DO want second class and controlled circulation Letters ........................................... 4 publications forwarded. This will save lost or returned issues. Polyphony is not responsible for replacement of lost or returned issues when we have not been supplied with change of address information. ON THE COVER: The Gleeman Pentaphonic Clear - visible TO POSTMASTER, send address changes to: electronics. POLYPHONY PO Box 20305 Oklahoma City, OK 73156 COVER PHOTOGRAPH by: Vesta Copestakes - Vesta Advertising, Inc. Ph. (405) 842-5480 Santa Rosa, CA Fofyphoity October 1983 3 CALLING ALL TAPES... CORRECTION I currently produce a weekly, Re the "Log Response LF0" three hour radio program here in (April 1983 issue of Polyphony), California that is dedicated to pin 7 of the 2209 should be pulled new electronic/acoustic musics. I up to 15V through a resistor. The encourage any Polyphony readers to exact value depends on the desired send me air quality reel-to-reel output impedance; lk is about the tapes (no cassettes!) for consi­ lowest you can go. Without this Need an amazing source of synthesized sounds a t an ab­ deration. resistor the triangle wave will surd price? Here you go . a noise oriented pre­ patched minisynthesizer built around a powerful LSI chip. come out fine, but the square wave The Dark Star provides a digital noise source with Jon Iverson amplitude will be real low - about variable clock, plus a noise filter, LFD, VCO, VCA and 1931 Nancy Avenue envelope generator; a whole panel of synthesizer half a Volt, if that. modules in just a tiny 6 "x 4 "x 3 " package. It can be Los Osos, CA 93402 powered from +5, +15, or +9 volts [battery], is a Ole Kvern nice beginner kit and requires only an external amp. You can use it to simulate all those surf, wind, rain, cym­ Seattle, WA bal, explosion, spaceships hurtling across the void and EDR MODS? warping out type sounds. Careful design and wide range controls give you a real sound exploration tool; don't be fooled by the low price. Try it as a percussion kit addi­ I own an Echo Digital Recor­ In the April '83 issue, page tion, a drone voice, even as a CV source. The Dark Star der (made by Imaginearing Audio, 35, "Meet Sid": The table 1 re­ just doesn't sound like anything else—we guarantee it! PRICE: $ 4 9 PPO since out of business) and have gister map is incomplete. For BLACET RESEARCH, 18 4 0 5 Old Monte Rio Rd. heard that there is someone who is registers $04, $0B, and $12, D6 Guerneville, CA 95 4 4 6 modifying them for improved fi­ should be a square wave, D5 should delity. Also, I'm trying to lo­ be a sawtooth wave, and D4 should cate a pedal to sweep the EDR VCO be a triangle wave. for flanging, as well as foot controls for live use. I also Lon O'Bannon need a schematic! I am not the Columbia, MO only EDR owner in the Seattle area with these needs, and we are col­ lectively seeking this informa­ AMS-200? tion. I know you are busy but Polyphony is my last hope. A few months ago I ran into an issue of Polyphony and ordered Jim Billington the 12 back issues of DEVICE. I The new Series V Digital/Analog Keyboard Carnation, WA was quite pleased with what I got. Controllers from PAIA offer enough stan­ Is DEVICE still being run? dard features and options to fill every need Jim — The person you have Also, I'd like to know how from stage to studio. Standard features heard of is probably Keith McMil­ include Pitch & Modulation Wheels, Gate you solved the problem of convert­ and Re-trigger outputs, Low Note Rule lan from Zeta Systems (1122 Uni­ ing a guitar's hex pickup signals Priority, Smooth Pratt-Read Action, Light versity, Berkeley, CA 94702). from frequency to voltage. When I weight and only 2” high. While not affiliated with the saw your articles in DEVICE on the You have your choice of: company that made the units, he is AMS—100, I decided to go poly­ very familiar with the circuitry phonic and order a hex pickup from • 37 or 61 Note Actions and has come up with some acces­ Roland; I like the AMS-100 ap­ • Exponential Or Linear C.V. proach to signal processing, and • MIDI or Parallel Digital sories (such as foot controls) for • Mono or Poly the EDR. A control voltage pedal would like to add VCOs to my set­ • Factory Assm. or Low Cost Kits is simple: plug a 9 volt battery up. I also intend to integrate into the input of a standard vol­ Best of all, prices start at less than $180 PAIA's Shepard Function Generator ume pedal (+ to hot, - to ground; into my guitar synth by multiplex­ call our toll-free line if you're using a battery connec­ ing the pre-processed hex pickup 1-800-654-8657 tor, red goes to hot and black signals through a series of VCFs 9AM to 5PM CST MON FRI goes to ground). Run a cord from and VCAs. And, whatever happened for price & ordering details the pedal output to the VCO input. to the polyphonic AMS-200? Sweeping the pedal will present a & get your free RAiA catalog! 0 to +9V voltage change at the Mark Davis Direct mail orders and inquiries to: Dept.11 pedal output, sufficient to sweep Marquette, MI the VCO over close to an octave BWV Electronics, Inc. range. 1020 W. W ils h ire , O kla ho m a C ity, OK 73116 ( 405)843 9626 4 Polyphony October 1983 Mark — I am always amazed by as the AMS-200 polyphonic version. and sawtooth wave works? the continuing interest in the I certainly couldn't predict when AMS-100, which was intended as an all this will come about, but it Ronald Parker experimental system. Several peo­ is something I want to do, and I'm Norcross, GA ple have urged me to update and sure will eventually get done. redesign the AMS-100. While time Ronald — Glad you like the limitations have prevented me from Hyperflange + Chorus, I blew up taking on this large a project, I plenty in the design process so hope to return to it soon.
Recommended publications
  • The History of Rock Music: 1970-1975
    The History of Rock Music: 1970-1975 History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Sound 1973-78 (These are excerpts from my book "A History of Rock and Dance Music") Borderline 1974-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. In the second half of the 1970s, Brian Eno, Larry Fast, Mickey Hart, Stomu Yamashta and many other musicians blurred the lines between rock and avantgarde. Brian Eno (34), ex-keyboardist for Roxy Music, changed the course of rock music at least three times. The experiment of fusing pop and electronics on Taking Tiger Mountain By Strategy (sep 1974 - nov 1974) changed the very notion of what a "pop song" is. Eno took cheap melodies (the kind that are used at the music-hall, on television commercials, by nursery rhymes) and added a strong rhythmic base and counterpoint of synthesizer. The result was similar to the novelty numbers and the "bubblegum" music of the early 1960s, but it had the charisma of sheer post-modernist genius. Eno had invented meta-pop music: avantgarde music that employs elements of pop music. He continued the experiment on Another Green World (aug 1975 - sep 1975), but then changed its perspective on Before And After Science (? 1977 - dec 1977). Here Eno's catchy ditties acquired a sinister quality.
    [Show full text]
  • Craig Anderton
    $2.50 February 1983 TW O NEW SYNTHESIZES . MODULES: SHEPARD ■ FUNCTION DYNAMIC TOUCH CONTROLLER NEW AGE MUSIC SYNTHESIZED CHOIRS PRO-ONE DYNAMICS MODIFICATION THE VOICE 400 The Fastest, Most Versatile and Musical Synthesizer Voice Available Oscillator A Oscillator B continuous waveshaping, continuous waveshaping variable pulse width, mod­ from saw to sine, AR enve­ ulation by S/H or LFO, low­ lope generator or LFO er octave, linear F.M. modulation, hard sync to VCO A. Keypad and Bank S w itch F ilte r Selects one of thirty-two High pass, Low pass, Band presets. pass all modes are 24db/ oct. Controls include Reso­ Operating Mode nance, Response (continu­ S w itch es ously variable) i: ADSR control Live, Memory and modulation, S/H or LFO Edit functions. mod, Noise source, Key­ board tracking. Output Section mixes your external signal Voltage Controlled into the delay, mixes Dry/ A m p lif ie r Delay, and output volume has its own ADSR and fea­ control. tures low noise and wide dynamic range. Analog Delay M o d u la tio n wide range low noise delay line operates from flanging to multiple wide range Low Frequency Oscillator with continuous waveshap­ repeats. Regeneration and LFO depth control will create a wide ing of three waveforms. LFO may be modulated by the Attack range of effects. Release envelope generator. The Voice 400 answers the need for a programmable syn­ * A voice for a sequencer or computer. thesizer that’s versatile enough to be all these things: * A complete synthesizer for wind or string controllers.
    [Show full text]
  • Psaudio Copper
    Issue 116 JULY 27TH, 2020 “Baby, there’s only two more days till tomorrow.” That’s from the Gary Wilson song, “I Wanna Take You On A Sea Cruise.” Gary, an outsider music legend, expresses what many of us are feeling these days. How many conversations have you had lately with people who ask, “what day is it?” How many times have you had to check, regardless of how busy or bored you are? Right now, I can’t tell you what the date is without looking at my Doug the Pug calendar. (I am quite aware of that big “Copper 116” note scrawled in the July 27 box though.) My sense of time has shifted and I know I’m not alone. It’s part of the new reality and an aspect maybe few of us would have foreseen. Well, as my friend Ed likes to say, “things change with time.” Except for the fact that every moment is precious. In this issue: Larry Schenbeck finds comfort and adventure in his music collection. John Seetoo concludes his interview with John Grado of Grado Labs. WL Woodward tells us about Memphis guitar legend Travis Wammack. Tom Gibbs finds solid hits from Sophia Portanet, Margo Price, Gerald Clayton and Gillian Welch. Anne E. Johnson listens to a difficult instrument to play: the natural horn, and digs Wanda Jackson, the Queen of Rockabilly. Ken hits the road with progressive rock masters Nektar. Audio shows are on hold? Rudy Radelic prepares you for when they’ll come back. Roy Hall tells of four weddings and a funeral.
    [Show full text]
  • (At) Miracosta
    The Creative Music Recording Magazine Jeff Tweedy Wilco, The Loft, Producing, creating w/ Tom Schick Engineer at The Loft, Sear Sound Spencer Tweedy Playing drums with Mavis Staples & Tweedy Low at The Loft Alan Sparhawk on Jeff’s Production Holly Herndon AI + Choir + Process Ryan Bingham Crazy Heart, Acting, Singing Avedis Kifedjian of Avedis Audio in Behind the Gear Dave Cook King Crimson, Amy Helm, Ravi Shankar Mitch Dane Sputnik Sound, Jars of Clay, Nashville Gear Reviews $5.99 No. 132 Aug/Sept 2019 christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu Hello and welcome to Tape Op 10 Letters 14 Holly Herndon 20 Jeff Tweedy 32 Tom Schick # 40 Spencer Tweedy 44 Gear Reviews ! 66 Larry’s End Rant 132 70 Behind the Gear with Avedis Kifedjian 74 Mitch Dane 77 Dave Cook Extra special thanks to Zoran Orlic for providing more 80 Ryan Bingham amazing photos from The Loft than we could possibly run. Here’s one more of Jeff Tweedy and Nels Cline talking shop. 83 page Bonus Gear Reviews Interview with Jeff starts on page 20. <www.zoranorlic.com> “How do we stay interested in the art of recording?” It’s a question I was considering recently, and I feel fortunate that I remain excited about mixing songs, producing records, running a studio, interviewing recordists, and editing this magazine after twenty-plus years. But how do I keep a positive outlook on something that has consumed a fair chunk of my life, and continues to take up so much of my time? I believe my brain loves the intersection of art, craft, and technology.
    [Show full text]
  • Historia De La Tecnología Musical - Sintetizadores
    Historia de la tecnología musical - Sintetizadores Se presentan en este artículo breves reseñas de los instrumentos musicales electrónicos previos al desarrollo de los instrumentos digitales (que alcanzaron su plenitud a partir de 1980 con los sintetizadores digitales, el sampler y las computadoras). También se hace referencia a algunas de las tendencias estéticas y corrientes musicales (hasta 1950) más ligadas al desarrollo tecnológico o más influidas por este. -1891 Dynamophon o Telharmonium de Taddeus Cahill: Considerado el primer instrumento musical electrónico plenamente desarrollado, era una especie de órgano eléctrico con generadores por ruedas dentadas (dinamos que movilizaban engranajes) que producían tensiones sinusoidales a distintas frecuencias cuyas amplitudes (volumen) podían ser atenuadas mediante resistencias determinando las características de cada registro. Pesaba cerca de 200 toneladas y, ante la inexistencia de los altavoces o parlantes, el instrumento solo podía escucharse por medio de una red telefónica. En 1906 se lo consideraba un "invento eléctrico para producir música científicamente perfecta”. -1919 Eterófono, Termenvox o Theremin de León Theremin (Lev Termen): Instrumento que utiliza generadores de ondas heterodinas y dos antenas: interfiriendo con la mano las antenas el ejecutante puede controlar la altura del sonido y su amplitud, sin tener contacto físico con el instrumento. Dado el timbre casi puro producido por el theremin, el rango musicalmente aprovechable no superaba las 4 octavas. El instrumento fue muy bien recibido en la primera época de la Revolución Rusa y Theremin realizo giras por Alemania, Francia y EE.UU. antes del ascenso definitivo de Josef Stalin en la U.R.S.S. Para la presentación en Francia fue la primera vez que se vendieron entradas de pie en la Opera de París.
    [Show full text]
  • BOX DIMENSIONS Width, Height
    2/19/2015 BOX DIMENSIONS width, height div { CSS height: 300px; width: 400px; background-color: #ee3e80;} p { height: 75%; width: 75%; background-color: #e1ddda;} RESULT 1 2/19/2015 LIMITING WIDTH min-width, max-width CSS td.description { min-width: 450px; max-width: 650px; text-align: left; padding: 5px; margin: 0px;} RESULT 2 2/19/2015 LIMITING HEIGHT min-height, max-height h2, p { CSS width: 400px; font-size: 90%; line-height: 1.2em;} h2 { color: #0088dd; border-bottom: 1px solid #0088dd;} p { min-height: 10px; max-height: 30px;} RESULT 3 2/19/2015 OVERFLOWING CONTENT overflow CSS p.one { overflow: hidden;} p.two { overflow: scroll;} RESULT 4 2/19/2015 BORDER, MARGIN & PADDING BORDER MARGIN PADDING WHITE SPACE & VERTICAL MARGIN Moog Moog Moog synthesizers were created Moog synthesizers were created by Dr. Robert Moog under the by Dr. Robert Moog under the company name Moog Music. company name Moog Music. Popular models include Moog Popular models include Moog Modular, Minimoog, Micromoog, Modular, Minimoog, Micromoog, Moog Rogue, and Moog Source Moog Rogue, and Moog Source Arp Arp ARP Instruments Inc. was set up ARP Instruments Inc. was set up by Alan Peralman, and was the by Alan Peralman, and was the main competitor for Moog during main competitor for Moog during the 1970's. Popular models the 1970's. Popular models include the Arp 2600 and the include the Arp 2600 and the ARP Odyssey. ARP Odyssey. Sequential Circuits Sequential Circuits Inc was Sequential Circuits founded by Dave Smith, and the Sequential Circuits Inc was company was pivotal in the founded by Dave Smith, and the creation of MIDI.
    [Show full text]
  • PRRP 021 – Peter Gabriel Manchester 1980 – Liner Notes
    Through The Wire With the release of his ground-breaking third solo album in May 1980, Peter Gabriel firmly began to establish his reputation as a highly innovative solo artist. In February of that year, before the release of the album, he embarked on a British tour, dubbed the „Tour Of China 1984‟, showcasing new material and a streamlined, more direct live sound. At The Apollo in Manchester, Gabriel and his band entered from the rear of the auditorium, arriving on stage to the menacing opening strains of “Intruder”. Alongside Tony Levin on bass and Larry Fast on keyboards was a surprising new recruit – guitarist John Ellis from punk outfit THE VIBRATORS. It was Ellis‟ raw, dry guitar, combined with Jerry Marotta‟s dominant, economical drumming, which gave Gabriel‟s new live sound much of its harder edge. This recording, from March 5th 1980, includes several rarely performed songs from Peter Gabriel‟s live repertoire at the time. “Milgram‟s 37”, given a lengthy explanatory introduction by Gabriel, wouldn‟t appear on an album until 1986‟s classic “So”, where it was renamed “We Do What We‟re Told”. The minimal “Lead A Normal Life” complements “Mother Of Violence” while “Bully For You” (co-written with Tom Robinson, who provided the lyrics for Gabriel‟s music) and the ebullient “I Go Swimming” both remain unreleased as studio recordings. “Games Without Frontiers” provided Gabriel with his second solo hit single (following the early success of “Solsbury Hill” in 1977) and it was during this song that he chose to leave the stage and venture into the audience to encourage a sing-along of the “Jeux Sans Frontières” chorus refrain.
    [Show full text]
  • Peter Gabriel Plays Live Mp3, Flac, Wma
    Peter Gabriel Plays Live mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Plays Live Country: US Released: 1983 MP3 version RAR size: 1938 mb FLAC version RAR size: 1777 mb WMA version RAR size: 1564 mb Rating: 4.7 Votes: 574 Other Formats: VQF TTA MP4 APE ASF AA MPC Tracklist A1 The Rhythm Of The Heat 6:23 A2 I Have The Touch 4:37 A3 Not One Of Us 5:00 A4 Family Snapshot 4:00 B1 D.I.Y. 3:59 B2 The Family And The Fishing Net 7:14 B3 Intruder 4:34 B4 I Go Swimming 4:29 C1 San Jacinto 8:15 C2 Solsbury Hill 4:31 C3 No Self Control 5:03 C4 I Don't Remember 4:03 D1 Shock The Monkey 7:10 D2 Humdrum 3:54 D3 On The Air 5:14 D4 Biko 6:30 Companies, etc. Record Company – Fonogram, S.A. Phonographic Copyright (p) – Charisma Records Ltd. Distributed By – Fonogram, S.A. Pressed By – COFASA Printed By – Gráficas Foco, S.A. Mixed At – Shabbey Road Studios Mastered At – The Town House Mastered At – Artisan Sound Recorders Credits Chapman Stick [Stick], Bass, Backing Vocals – Tony Levin Drums, Percussion, Backing Vocals – Jerry Marotta Engineer – Peter Walsh Engineer [Live Recording] – Neil Kernon Guitar, Backing Vocals – David Rhodes Mastered By – Peter Wolliscroft* Photography By [Back Cover] – Margaret Maxwell Photography By [Front Cover] – Armando Gallo Photography By [Inner Bag] – Armando Gallo, Margaret Maxwell, Tony Levin Producer – Peter Gabriel, Peter Walsh Synthesizer, Piano – Larry Fast (Synergy)* Synthesizer, Piano, Written-By – Peter Gabriel Notes First catalog number on back cover and spine, second on inner bag 1 and LP1 labels, and third one on inner bag 2 and LP2 labels.
    [Show full text]
  • •Software • Hardware Mods for Synthesizer
    May/June 1981 lSSN:0163-4534 ELECTRONIC MUSIC & HOME RECORDING $2. SO •SOFTWARE • HARDWARE MODS FOR SYNTHESIZER Q THE ULTIMATE KEYBOARD The Prophet-10 is the most complete keyboard instrument available today. The Prophet is a true polyphonic programmable synthesizer with 10 complete voices and 2 manuals. Each 5 voice keyboard has its own programmer allowing two completely different sounds to be played simultaneously. All ten voices can also be played from one keyboard program. Each voice has 2 voltage controlled oscillators, a mixer, a four pole low pass filter, two ADSR envelope generators, a final VCA and independent modula­ tion capabilities. The Prophet-lO’s total capabilities are too The Prophet-10 has an optional polyphonic numerous to mention here, but some of the sequencer that can be installed when the Prophet features include: is ordered, or at a later date in the field. It fits Assignable voice modes (normal, single, completely within the main unit and operates on double, alternate) the lower manual. Various features of the * Stereo and mono balanced and unbalanced sequencer are: outputs * Simplicity; just play normally & record ex­ * Pitch bend and modulation wheels actly what you play. Polyphonic modulation section * 2500 note capability, and 6 memory banks. * Voice defeat system * Built-in micro-cassette deck for both se­ Two assignable & programmable control quence and program storage. voltage pedals which can act on each man­ * Extensive editing & overdubbing facilities. ual independently * Exact timing can be programmed, and an * Three-band programmable equalization external clock can be used. * Program increment footswitch * Ability to change programs automatically in Programmable volume control and a master the sequence.
    [Show full text]
  • Read Ebook {PDF EPUB} Peter Gabriel in His Own Words by Peter Gabriel "In Your Eyes" Lyrics
    Read Ebook {PDF EPUB} Peter Gabriel In His Own Words by Peter Gabriel "In Your Eyes" lyrics. In your eyes The light the heat In your eyes I am complete In your eyes I see the doorway to a thousand churches In your eyes The resolution of all the fruitless searches In your eyes I see the light and the heat In your eyes Oh, I want to be that complete I want to touch the light The heat I see in your eyes. Love, I don't like to see so much pain So much wasted and this moment keeps slipping away I get so tired of working so hard for our survival I look to the time with you to keep me awake and alive. And all my instincts, they return And the grand facade, so soon will burn Without a noise, without my pride I reach out from the inside. In your eyes The light the heat In your eyes I am complete In your eyes I see the doorway to a thousand churches In your eyes The resolution of all the fruitless searches In your eyes I see the light and the heat In your eyes Oh, I want to be that complete I want to touch the light, The heat I see in your eyes In your eyes in your eyes In your eyes in your eyes In your eyes in your eyes. How Peter Gabriel ditched the masks and made the album that changed his life. “It was important to him that he step out and be recognised as an individual talent,” legendary producer Bob Ezrin says of working on Peter Gabriel’s debut solo album.
    [Show full text]
  • 1978 . RECORDING NOTES on SYNERGY's "CORDS' • L
    ^ $lM -V Sept./Oct. 1978 4 ELECTRONIC MUSIC &RIOME RECORDING H '1- • ^ . C ★ ^ . RECORDING NOTES ON SYNERGY'S "CORDS' • l SEQUENCES - DIGITAL &' ANALOG' * V_ o * BUILD A VOCODER * C i ’ • O c . n o ta tio n - To u c h sv^ tc h e s : p a tc h e s ANALOG DELAY INTRODUCING... TWO-CHANNEL ANALOG DELAY UNIT FOR AMBIENCE SYNTHESIS AND DELAY EFFECTS FEATURES 2 dimensional. Without the mixture of di­ mance and yet still serve to create rect and delayed sounds that a large hall strikingly realistic spaciousness in your * TWO INDEPENDENT CHANNELS provides, almost all music reproduced in listening room. If you don't have 2 extra * 3072 STAGES OF DELAY PER the home is lifeless. Quadraphonics has power amp channels on hand, we offer CHANNEL not proved to be the solution to this several low cost, low power amps in kit problem. The recent developement of form that would be ideal for this pur­ * ADJUSTABLE INPUT AND OUTPUT bucket-brigade semiconductor techno­ pose. LEVELS WITH INPUT OVERLOAD logy has made it possible to offer a rea­ INDICATION ‘ Although the 2AS-A has been de­ sonably priced delay unit that can trans­ signed for use in music reproduction * INTERNAL OR EXTERNAL VOLT­ form your listening room into a con­ systems as an ambience synthesizer, its AGE CONTROLLED DELAY TIME cert hall. Using your present stereo voltage controlled clock and mixing capa­ * COMPANDOR IN EACH CHANNEL system, the 2AS-A, and whatever you bilities allow it to be .configured in a have in the way of 2 additional speakers number of ways for delay effects such as * 3 MODES/CHANNEL WITH ADJUST­ and 2 channels of power amplification— phasing, flaging, chorous, and vibrato.
    [Show full text]
  • Brian Eno • • • His Music and the Vertical Color of Sound
    BRIAN ENO • • • HIS MUSIC AND THE VERTICAL COLOR OF SOUND by Eric Tamm Copyright © 1988 by Eric Tamm DEDICATION This book is dedicated to my parents, Igor Tamm and Olive Pitkin Tamm. In my childhood, my father sang bass and strummed guitar, my mother played piano and violin and sang in choirs. Together they gave me a love and respect for music that will be with me always. i TABLE OF CONTENTS DEDICATION ............................................................................................ i TABLE OF CONTENTS........................................................................... ii ACKNOWLEDGEMENTS ....................................................................... iv CHAPTER ONE: ENO’S WORK IN PERSPECTIVE ............................... 1 CHAPTER TWO: BACKGROUND AND INFLUENCES ........................ 12 CHAPTER THREE: ON OTHER MUSIC: ENO AS CRITIC................... 24 CHAPTER FOUR: THE EAR OF THE NON-MUSICIAN........................ 39 Art School and Experimental Works, Process and Product ................ 39 On Listening........................................................................................ 41 Craft and the Non-Musician ................................................................ 44 CHAPTER FIVE: LISTENERS AND AIMS ............................................ 51 Eno’s Audience................................................................................... 51 Eno’s Artistic Intent ............................................................................. 55 “Generating and Organizing Variety in
    [Show full text]