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 Michael Hoenig - Rare Tracks on Sandpiper Records

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dronescape
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PostPosted: Tue Feb 06, 2018 3:10 pm    (No subject) Reply with quoteBack to top

Oh, btw, the built-in touch keyboard sequencer of the Synthi AKS was a pain in the arse to use. It's a digital sequencer which records pitch and timing in real time, there is no way to skip single notes or reduce pattern length by just de-activating single steps within a sequence -- which is a trademark TD, Schulze, and Hoenig used in their work.

Amazing work Pink Floyd did on On the Run which is all Synthi AKS... great showcase for the timbral character of a rev. 2 EMS Synthi, too.

Stephen

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BruecknerAmbient
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PostPosted: Tue Feb 06, 2018 5:25 pm    (No subject) Reply with quoteBack to top

Thanks for the further insights, Stephen! Smile

« dronescape » wrote:
Certainly, the live recording was performed after Hoenig's stint with TD, i. e. early 1976 perhaps. You can clearly hear references to the later album recording -- sounds a bit like a finger exercise to get the tone and the Setting right.


Hm. Seems to make sense, but did You see my quote of Bernd Kistenmacher a few comments back (saying it was a studio recording from around 1974 / 75) ...?

« dronescape » wrote:
Oh, btw, the built-in touch keyboard sequencer of the Synthi AKS was a pain in the arse to use. It's a digital sequencer which records pitch and timing in real time, there is no way to skip single notes or reduce pattern length by just de-activating single steps within a sequence -- which is a trademark TD, Schulze, and Hoenig used in their work.



Shocked

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softroom
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PostPosted: Tue Feb 06, 2018 5:30 pm    (No subject) Reply with quoteBack to top

The AKS definitely has a weird sequencer, but in this case weird is in character. I don't find it a PITA personally, but organic and quirky - those typical EMS qualities.
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dronescape
musical thief & thoroughly bad guy




Age: 45
Joined: 05 Feb 2007
Posts: 4375
Location: Bobbejaanland, hèt lekkerste land!


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PostPosted: Tue Feb 06, 2018 6:57 pm    (No subject) Reply with quoteBack to top

Well, perhaps Bernd could ask Michael himself, he ought to know.

1974/75 definitely sounds too early to my ears.

The nicest bit when using the KS sequencer was recording glissando notes sliding across the touch keyboard and speeding them up for extremely fast arpeggios -- Controlling a percussive or noise-based patch creates those lovely effects heard on Rubycon and Phaedra.

"We later added a keyboard as an aferthought for those barbarians who wanted to play melodies." (David Cockerell).

Mr. Cockerell explained that the abbreviation VCS-3 stood for Very Crappy Synthesiser, third attempt...

Stephen

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