June 17, 2024
My seventh video blog is up! This is what I wrote in the description of the video:
In 1992, Yamaha released the SY85. To sum up briefly; the SY85 comes from the SY-series line of synthesizers that were released by Yamaha between 1989 and 1992. The SY85 followed up its predecessors such as the SY77 and flagship SY99 that combined AWM2 technology with Yamaha’s eminent FM technology that shook the world throughout the mid-eighties with the legendary DX7 leading the way. For the SY85, Yamaha ditched the FM-engine and users were able to create sounds relying on 6MB of ROM. Single waveforms/samples (in voice mode) could be modulated using its digital filters (with resonance), various ADSR settings and 90 different stereo effects that are similar but not equivalent to those of an SPX900 multi fx processor). In performance mode, four of these voices could be stacked to create some wonderful patches.
The SY85 never achieved the stature of digital classics such as – for example – the Roland D-50 or Korg M1. It probably just came a bit too late. But for me – and those who care about this synth – it will always be a special synth with an unique, distinct character and fantastic palette of sounds. Not to overstate it, but I will always love the SY-series (and its rack-mount brothers in the form of the TG-series). They were one of Yamaha’s finest lines of synths and were already discontinued before I was born. Yet, I use them all the time in my own productions!
Speaking of the video: the video shows me playing a song I uploaded a little while ago that I gave the title ‘Blimped’. This quasi-ambient (you pick the adjectives) string piece was originally recorded with only three elements; piano, a choir from the Yamaha SY22 and the TG500 which provided the main chords and lead. the TG500 is the rack-mount brother of the SY85. They carry the exact same engine with a few differences and I have a dedicated article to that which can be found here on my website as well. The patch used for the main chords and lead is called ST Power. As I have previously stated in the article I was just referring to; ST Power is one of my favourite patches of all time. In my words; ‘it being sounding grandiose and very moving’. Something about its overall sound, the digital artifacts and overtones; I just find it to sound wonderful! The patch relies on wave no. 129 ‘Pad 3’. The same waveform is also used on patches such as SP Phaze, OR Cheap & ST Tron; the last being a mellotron type of sound. It’s impressive what this synth engine can do modulating only a single source waveform. Long live the SY85 and SY-series!
Click here to watch the video.
Many thanks!
Devin
June 14, 2024
The Intro From Gary Numan’s America On The Roland D-50
My sixth video blog is up on Youtube and can be found by clicking right here.
This is what I had left in the description of the video:
In the late 1980s and early 1990s, English musician Gary Numan had a great run of several recordings that included sounds from the classic Roland D-50. A perfect example of that is the album ‘Metal Rhythm’ from 1988. For the intro of the song ‘America’, the preset ‘Soundtrack’ is used. The countless records where I have heard this patch – as a factory preset or slightly adjusted – would make a list too long to include here. I consider the Soundtrack patch – and I have written about it before – to be one of my favourite presets of all time. Metal Rhythm was the first record of a total of three albums that Numan would release on the label I.R.S. Records. The other two albums from that era; The Skin Mechanic (1989) and Outland (1991) are also heavily influenced by the use of the Roland D-50. Without going into great detail; the Metal Rhythm album was released – in America – under a different name (New Anger) with different mixes, a different tracklist and the original artwork changed from dark/black to blue. This was against Numan’s wishes.
Many thanks for reading and watching. I salute you all, Numanoids!
DG
June 11, 2024
Afscheid van Indië (Farewell Indonesia)
Een week geleden plaatste ik mijn vijfde video blog op Youtube. Hieronder de beschrijving die ik daarbij heb toegevoegd:
Het origineel werd gezongen door Wieteke van Dort. De muziek is geschreven door Harry Bannink. De laatst genoemde heeft een zeer belangrijke rol gespeeld in het schrijven van muziek voor de Nederlandse radio, televisie en theather. Een paar jaar geleden hoorde ik dit lied voorbij komen in een documentaire van Hans Goedkoop getiteld ‘De Indische Rekening’.
Ik draag deze video op aan Martin. Het is jammer dat je er al langer dan tien jaar niet meer bent.
Recent heb ik vernomen dat van Dort ernstig ziek is. Ik moest hierdoor weer denken aan het lied wat ik al enige tijd niet meer had gespeeld.
Bekijk de video door hier te klikken.
Devin Gademan
May 30, 2024
Playing Gypsy Woman By Crystal Waters On The Legendary Korg M1
My fourth video blog is up on Youtube. Here is what I have written in the description of the video:
“Released in April of 1991, Crystal Water’s ‘Gypsy Woman (She’s Homeless’) shook clubland all across the United States and all the way through Europe, topping the charts in many countries around the globe. Famous for its “La da dee la dee da” refrain, it also includes the unmistakable ‘Organ2’ preset from the legendary Korg M1 from 1988. It would make a list too long to include all the songs and records on which the Korg M1 – as well as this preset – can be heard. For my fourth video blog, I decided to turn on the M1 and bring on some ‘La da dee la dee da’.”
Click here to watch the video.
DG
May 27, 2024
Crystal Waters – Gypsy Woman Videoclip
For those who are interested:
The iconic music video for Gypsy Woman by Crystal Waters was directed by Mark Pellington. Although I knew the video was filmed somewhere in the Lower East Side, I could not figure out the exact location, up until last week!
The videoclip was filmed at E 5th Street (210) between 2nd Ave and Cooper Square adjacent of Bowery Street (New York City’s oldest thoroughfare). Located at 210 E 5th Street is Beethoven Hall and it dates from around 1860. Around the 1940’s, the Beethoven Hall became a film studio, Mother’s Sound Stages. After a major fire in 1992 – one year after shooting the video for ‘Gypsy Woman’ – it was transformed to the New York Kunsthalle. But in true New York fashion, the building was converted into residential condominium units. Somewhere around 2012, photographer Gregory Colbert put up his condo on the market for $25 million (la da dee la da da).
Many thanks for reading.
DG
May 25, 2024
The Riff From Gary Numan’s Children On The Roland D-50
My third video blog shows me playing the synth riff from a song by Gary Numan titled ‘Children’ as well as some footage of the Roland D-50. This is what I wrote in the description of the video:
“In the late 1980s and early 1990s, English musician Gary Numan had a great run of several recordings that included sounds from the legendary Roland D-50. For the synth riff on ‘Children’, the preset ‘DigitalNativeDance’ is used. The countless records where I have heard this patch – as a factory preset or slightly adjusted – would make a list too long to include here. It can be heard on some of the biggest recordings from that era as well as more obscure albums. For my third video blog, it was time to turn on the D-50 and play this great riff!”
I’d certainly like to write more about Gary Numan another time on my website. Click here to watch the video.
Devin Gademan
May 23, 2024
A Handful Of Records From The Past
This video – my second video blog – showcases a simple, visual representation of a selection of great recordings from the 1980s and 1990s. I would like to say many things regarding these albums, but that would take too much time. So for the sake of a short post, I’ll mention a small detail for each record. Click here to watch the video on Youtube.
- Peter Gabriel – So (1986)
Peter Gabriel chose to record the album along with Canadian producer Daniel Lanois with whom he previously worked on ‘So’s predecessor ‘Birdy’.
- George Michael – Older (1996)
George Michael always had some of the best vocal performances (and productions!) on his records and it is known that he made extensive use of Lexicon reverbs. However, on the fifth track of the album ‘It Doesn’t Really Matter’, Michael’s voice comes through – apart from the bridge section – in this incredibly warm, personal, clean and pristine way. A subtle, nuanced song that – at least on vinyl – closures side one and exposes Michael’s god-given voice in a very unprocessed way.
- Gary Numan – Dance (1981)
The first song on the album ‘Slowcar To China’ immediately sets a great mood for the rest of the record. The drum machine that is used is the famous (and loved) CR-78 that was released by Roland in 1978.
- Tears For Fears – The Seeds Of Love (1989)
The album that spawned the big hit single ‘Sowing The Seeds Of Love’ costed over a million pounds in production.
- Falco – Data De Groove (1990)
After having produced a series of three very successful albums with the Dutch brothers and music producers Bolland & Bolland, Falco decided to have ‘Data De Groove’ be produced again by his former producer Robert Ponger with whom he recorded his first two albums; Einzelhaft & Junge Roemer
Thank you for reading and goodnight.
DG
May 10, 2024
I have uploaded a so-called video blog on YouTube. It’s a simple video titled “Frogs In The Pond”. It was recorded last week on one of the first beautiful spring days. I find videography interesting and I have always invested time and effort in developing a complementary form of aesthetics in combination with my music. I have always made these types of videos and although there is not necessarily a reason to share them, I no longer see any reason not to do so. The second video blog is also already planned. Click here to watch the video.
DG
March 31, 2024
I have spoken about the Yamaha SY85 a couple of times. A little while ago, I had the opportunity to buy its rack-mount relative; the Yamaha TG500. A few words;
Though the TG500 uses the same synth engine as its keyboard relative – the SY85 – it includes a total of 8MB of waveform ROM (50 additional waveforms) whereas the SY85 has 6MB. To state the obvious; it lacks a key-bed and also unlike the SY85, there is no sequencer & floppy drive. It does add additional outputs and an extra data and waveform card slot (four slots in total instead of two). Because of its bigger size and greater surface, the SY85 makes it easier to make instant changes by using things such as its matrix section, the eight sliders to control parameters as well as a section where you can easily switch to your preferred patch. It will take a bit more menu diving and pressing buttons when using the TG500 which has a 24 character x 2 line LCD display (The SY85 has a 40 character x 2 line LCD display), but as far as making not too many drastic changes, it is certainly feasible and once you understand its architecture, you’ll do just fine.
Here are five of my favourite patches; try them out if you can!
- AP Dance > early 90s house piano, a great alternative to the famous Korg M1 Piano 16′.
- OR Sine (Performance) > punchy, gritty house organ made out of 4 layers from the waveform “244: sin(e)”
- ST power > One of my favourite string patches of all time. Grandiose and very moving.
- KY Roady (Performance) > Excellent Rhodes EP. Beautiful for chords in the lower register and for soloing in the higher register
- ME Mello > A shimmering bliss of classic Yamaha AWM2
Here are some of the other articles that I have written so far regarding the SY85/TG500 (there might be more in the future, so scroll around if you’re interested)
I could’ve added far more patches and some of my favourite things you can do with the SY85/TG500, but I can always add another article later. I hope you liked it and have a pleasant April.
Devin Gademan
February 9, 2024
Het laatste nummer op het album Kontakt (1984) van Frank Boeijen Groep is een klein liedje en draagt de titel “Mama”. Direct is daar een kille, digitale inslag van een Yamaha DX7 te horen die een jaar eerder op de markt was gekomen. De zwart, bruine bak met die levendig groene membraan knoppen (de MK1 was zelfs nog in mono). Je kunt gerust stellen dat de DX7 voor een aardverschuiving zorgde binnen de muziek. Technologie en wat je door de jaren heen uit je speakers hoort komen zijn onlosmakelijk met elkaar verbonden.
Vermoedelijk geschreven door Jos Haagmans. Hij was destijds de toestenist van de groep. Het is zo’n vreemd, summier lied, gedefinieerd door die ijzige DX7 preset (ik geloof dat hij op een van de ROM cartridges staat die je er bij kon kopen). Dit jaar is het 40 jaar geleden dat het nummer werd uitgebracht. Plots kwam het nummer voorbij op nieuwjaarsnacht jongstleden. Dat was mooi.
Devin Gademan
January 19, 2024
Okay, here is some information – historical and personal – regarding the Yamaha SY22 and SY35.
In brief: both synthesizers are vector synthesizers in which AWM (sampled based synthesis) and FM sounds (two operators) are altered and can be combined using the on-board joystick to create sounds.
The SY22 (1990) and SY35 (1992) are from the SY-Series. The way I see it personally goes as follows; the SY22 and 35 belong together, like the SY77 and SY99. You could consider that the SY55 and SY85 belong together as well, because both engines rely on sampled based synthesis only. However, because their overall character of sound is so significantly different in my opinion, I see them as separate sources in my altogether palette of sound.
- SY22 has 12 bit samples resolution against 16 bits in the SY35
- They have the same quantity of waveforms (128 samples and 256 FM) onboard. Because some of them are different, they do not sound exactly the same. For example: you can send sysex files from the 22 to the 35, but the final output – due to the different waveforms – will be different.
- The SY22 internal bank is empty, while the SY35 is pre-programmed. You could say that the SY35 comes with an extra 64 presets from the factory. These of course can be overwritten.
I use the SY22 and SY35 for eccentric sounds, as well as some of the bread and butter sounds. I feel they do well in both leagues. They have a distinct character that often times adds something extra to a mix. Some beautiful and interesting textures. They are part of my most used sounds and you’ll hear them in many of the productions that I have done.
Often described as thin, metallic sounding, digital and cold, but described by me as authentic, lo-fi, raw and emotional. If it makes your heart beat faster, then stop questioning it.
DG
January 15, 2024
Released three years ago today. For a while now, whenever looking back on the things that I have done in the past, I feel at least glad for just doing them, leaving behind a trail of either – hopefully – bits of beauty or mass destruction (depending on how you look at it). I hope that in hindsight things will make more sense and as it goes for these writings as well; I hope that in hindsight all things will make better sense. Here are a few words regarding the “Twelve Years, Three Months And Ten Days” project:
A 37 minute long piece of music that I composed on the beautiful Yamaha SY77 from 1989. The SY/TG series were released after the famous DX-Series but added “Advanced Wave Memory” to its synthesis engine that combined with “Advanced Frequency modulation” was called Realtime Convolution and Modulation Synthesis (RCM). Also, other features were added to the system and this merge of components gave the SY/TG series their unique character. Before I started this composition, I decided that it had to meet a small amount of conditions. First, I felt the desire to limit myself to a single instrument. Another important condition was that – although I initiated its range of possibilities – (for example the key of the piece) ; the music would partly generate itself. I knew that the envelope generator on the SY series were capable of creating loops and changing the envelope rates plus doing some experimentation resulted in an on-going and randomized output of sound when holding down the sustain pedal. I had put down some books on my pedal and started doing something else in the meantime. AWM cannot be looped by the envelope generator within the system and partly because of this; only FM-sounds are being processed in this piece of music. I added some external delay, reverb (I bypassed the internal effects) and added some automation to the tracks. The soundscape for this piece was played in the early morning on the day after I recorded the looping sequences. It was done in one take as I sat down through the whole piece and tried to respond to what I heard with some chord progressions in the key of Eb Major.
DG
January 12, 2024
Trust That Better Days Are Coming
One of my earlier projects I released three years ago today. Here are a few words in relation to that project.
I was born years after the release of the classic Roland D-50 from 1987. It is one of the synthesizers I feel very attached to ever since I bought one. For this project I used an original D-50 from 1987 and a D-05 from 2017. With this I combine the advantages of the modern reissue that has a lot more memory storage (very expensive back in the day) + the additional sequencer and arpeggiator that did not come with the original unit as well as having the feel, control and expression of the classic unit. My D-50 dates from June, 1987. It sounds a little more noisy, gritty, with a little hiss and comes with the funny PCM transition imperfections (although only synthesizer sound generator / structure 1 sounds are generated from the D-50 in this piece). The D-05 comes with Roland’s Digital Circuit Behavior (DCB) technology and I think it sounds exceptionally beautiful. The music is a combination of various sequences from the D-05, randomly generated by the device itself and assisted by a soundscape that is played throughout the whole song by me (all in the key of Bb major). The sequence patterns are set in the lowest tempo (40) possible and the note value of one step is a quarter note. The order is set to RND (random) and around seven of the sixty four steps are filled with notes. This makes it around a change of 5 percent per step for a sound to be triggered. The various sequence patterns include sounds that I thought made a good combination altogether. Some adjusted, some in its original form. Particularly noticeable for many might be ‘Spacious Sweep’ which came with the original presets of the Roland D-50. Sounds are launched into the stereo-field through random automation. I enjoy the randomization that computers and synthesizers can give you. Although prepared, there is no human decision involved as of when the sounds come together. I find something magical in that. To record the sequences, it took about 3 hours in total and I wasn’t in the room when it was recording. I decided to have a microphone placed in the room to capture the audio coming out of the speakers as well and some of that is mixed (in reverse) at given points throughout the piece. The soundscape is an adjusted sound from the two upper tones of the famous preset (11) ‘Fantasia’ (I therefore called the patch ‘Fantasia Only U’. Changes are made particularly in the TVA menu plus an external reverb with a very long tail is added. Lots of seventh chords are used for the soundscape and I tried to let it evolve steadily, but not in a rush. The atmosphere of the music itself is somewhat different from what I usually produce in terms of sound (although I can recognize my playing in the soundscape of the song very much). I enjoy some of the transitions that come in and out during the play. The union of human and machine was an absolute goal and I am glad it worked out fine. I also see this piece as an ode to the Roland D-50 and the build of a bridge between past and present times.
The video below captures the project in both imagery and sound.
Many thanks and have a good weekend!
DG
January 10, 2024
Don’t Let Me Down & Down (And Down)
It has been eight years today since David Bowie’s passing. I have much to say about Bowie, his work, his art and more. Sure that in the subsequent years there’ll be writings on this website in which Bowie (and friends) will be topic of conversation. For today, I just simply would like to remember him. On the photo we see his “Black Tie White Noise” album on cassette. I love many of the things that he did throughout the 1990s. This album dates from 1993. Also, the cover of the album is one of my favourites photos of David, taken by Nick Knight. Down below the ninth track of the album: “Don’t Let Me Down & Down”.
January 7, 2024
We hebben hier een boxset liggen van Rob de Nijs getiteld ‘Tegen Beter Weten In’. Maar liefst 32 cd’s vullen deze boxset en tja, daar ben je op z’n zachts gezegd wel even zoet mee. Ik haal er voor deze post twee – voor mij – opvallende momenten uit. Om te beginnen met het nummer “Liefste”, afkomstig van het album “Hartslag” (1991). Het is geproduceerd door Bolland & Bolland en dat hoor je terug in de productie (we mogen als Nederlanders trots zijn op wat dit duo heeft bewerkstelligd). Invloeden van Falco’s “Jeanny”, maar ook sferen van het debuutalbum van Enigma (Michael Cretu) die daarvoor net was uitgekomen en wereldwijd uiterst goed heeft verkocht. De productie zingt het begin van de jaren negentig.
Daarnaast een nummer van het album “De Regen Voorbij” (1981). Een Nederlandse variant op “The Hungry Years” van Neil Sedaka. Voor mij doet het nummer denken aan Nederlandse tijden van vroeger. Tijden van voor mijn tijd. Het contrasteert met mijn eigen bestaan. Ik luister naar een lied waar veel mensen zich in zullen herkennen, maar daar ben ik niet een van. Dat geeft niet (nog niet). De tekst en het arrangement is prachtig. Het nummer bezit een soortgelijke kwaliteit die je ook zult terugvinden in een wat bekender nummer van de Nijs zoals “Foto Van Vroeger”. Het bezingt de schaduwzijde van het leven.
Ik deel hier alvast een stukje tekst uit het refrein:
‘T glanst maar het is koud
Geen vonk onder de as
Die nog herinnerd aan
Hoe warm het vroeger was
Het laatste beetje vuur
Dat doofde op de duur
We hebben het gemaakt
In minder dan geen tijd
Maar waar het ons om ging
Dat raakte we snel kwijt
Blind van klatergoud
‘T glanst maar het is koud
Dank voor het lezen.
DG
January 1, 2024
Just here to wish you a happy new year. May your troubles of last year be washed away. Let good things happen to you and others in 2024.
DG
December 22, 2023
Photo of me replacing the battery of my Yamaha AN1x. This synthesizer was released in 1997 and came in its eye-catching, splashy, but period-specific blue housing. At the time, virtual analog synthesizers (VA) were very prominent (Yamaha itself called it ‘Analog Physical Modeling’). Well known examples also include the Clavia Nord Lead and the Roland JP-8000.
To this day, VA Synthesizers are still rather popular and with the release of the Yamaha Montage M this year, Yamaha added a so called ‘AN-X’ engine to their new flagship synthesizer. As an article by musicradar – written by Andy Jones – states in a very nice way; “With AN-X, Yamaha has put three-decade old Virtual Analogue technology into its latest flagship synth, the Montage M. Here’s why that’s a great thing”.
The Yamaha AN1x adds a distinctive, classic flavour to your music productions. I used the AN1x on of my songs titled ‘Warm Sun’ that I recently uploaded on my Youtube channel.
DG
December 18, 2023
Ik vermoed dat het volgende fragment dateert uit de late jaren 90 (zie de mooie Citroën XM). De titel van het programma luidde ‘De Stoel’ en werd gepresenteerd door Rik Felderhof.
Een mooi fragment (zie de video die ik hier heb toegevoegd) met kunstschilderes Maya Wildevuur. Bijna alles wat zij zegt in dit interview vind ik treffend en waarachtig.
April jongstleden is zij overleden. Tijdens het weekend van 9 december zijn op de Ennemaborg in Midwolda veel van haar persoonlijke eigendommen verkocht. Ze laat een omvangrijk oeuvre achter.
December 13, 2023
Roland XP-80 And The Red Glue From Hell
I absolutely love the Roland keybeds that started to appear in the late eighties/early nineties. Nerd alert incoming > i’m talking about the Matsu****a SK-7/8/9XX. Keys like these are found on for example the Roland JD-800, D70, JV and XP Series. I like to refer to them as the “slightly shorter, squared Roland keybeds”. As much as I like the FS keybeds found on Yamaha and Korg synthesizers such as the Yamaha DX7, SY77, SY99, SY85 or Korg M1 and Wavestation, I slightly prefer the ones that come with the Roland synths. Because of this, I use the Roland V-Synth not only as a synthesizer, but also as my main keyboard in the studio for quite some time now. I also use an old Roland JW-50 as alternative to carry around when working on music at other places. Although the JW-50 has a good feel as well, it does not include the metal plates that give weight to the keys. They are glued underneath the keys and this is what causes a big issue with some of the units from around 1989-1996. Throughout the 1990s, Roland used a particular glue that – after a couple of years – eventually looses its consistency and drips onto the keybed. The glue is red, hence the name “red glue”. The red glue from hell!
Unfortunately, my Roland XP-80 from 1996 suffers from this problem. Apart from the red glue, it’s in great condition and I can of course make use of its sound engine through MIDI. However, I would love to use it more often as a controller. Having six octaves at your fingertips would be nice!
On the web you will find enough information (both blogs and videos) that addresses this issue and instructive tips to solve it. It will be my turn as well sometime in the future.
Devin
November 8, 2023
For a while now I have been uploading some music that I have been working on to Youtube mainly to keep the channel running and the flow going.
Usually I pick a photo that I feel goes well with the song and for my latest upload, I used this picture that I have posted before on the web. It’s a photo of me playing the Roland D-50 and this is what I added to the description of that photo:
‘My D-50 dates from June, 1987. An astonishing amount of albums from the late eighties/early nineties era contain sounds coming from this machine. George Michael’s debut album “Faith” (the LP is on top of the cassette deck) was no exception’.
This photo was taken on the day that I bought the last Roland D-05 (the little box to my left) that was in stock at a local music store in September of 2020. Without going into any detail; the D-05 is essentially a D-50 in a small format, released 30 years after its original day of release. I have some interesting writings about the D-05/D-50 that could possibly be of value for the community and I may share that another time.
The Roland D-50 wasn’t my first ever synth, but it is certainly the synthesizer that changed my life. I learnt programming it by using the screen, and because of understanding the D-50, it made it a lot easier to program other synths. I always find it amusing how an old piece of gear that existed before I arrived on this earth, made an impact on me and many of my generation.
I will talk about the D-50 another time, but as I have stated before; one step at a time as I have the tendency to go into too many details, weaken the eventual outcome, blurring the core thing I wanted to address and essentially crushing my brain as well.
Devin
October 31, 2023
To my own surprise, I learnt that she was ‘discovered’ at the age of 47. Then, she had already lived through quite a tumultuous life.
I notice that many people, regardless of background, age and musical preference, can somewhat relate to her voice and music. Her voice resonates mixed emotions of everyday life in a very striking way. She cuts straight through.
We have ‘Cabo Verde’ on vinyl. Another album I can recommend is ‘São Vicente di Longe’ from 2001. It is certainly near and dear to my heart.
DG
October 14, 2023
Today marks exactly 11 years since I went to my first ‘real’ concert. It was October 14, 2012 and Radiohead came to Amsterdam for a concert at the Ziggo Dome that had officially opened earlier that summer. What I remember most of the experience is the feeling of being sick because of the nerves. The days prior to the concert, the show was all I could think of. Of course that’s why I have always remembered the date. In hindsight, quite a remarkable first concert. Recently, I talked to someone who is working on a project to make a multi-cam edit of that particular concert. He’s been working on it for some years now. I’ll be sure to watch it when finished.
Devin
September 30, 2023
All the songs from the ‘Tiere’ album are now on Youtube. Here is some extra information:
I wanted to make a record that would include a couple of songs that had a certain overall sound. The album has this atmospheric, ambient feel, but the songs themselves very much rely on chord changes (often layers of synths) and small, simple melody lines that have a slight staccato feel. The sound I envisioned in preparation of making this album is certainly there on the eventual recording itself.
95% of the album exists of synths that were from the late eighties and early nineties. In most cases, they just have the right sound palette.
The intro song on the album includes one of the most famous presets ever: 00 ‘Universe’ from the Korg M1. During the first sections of the song it goes together with a similar patch from the Yamaha SY85 that has this beautiful – sort of – ‘shimmering’ quality to it. Later some ‘anchoring’ depth is added using two patches from the Roland JV-1080.
A trick that I use quite often and that I’d certainly recommend is to layer the SY85 with the JV-1080. They go very well together and they’re often times the fundament of many of my songs. The second song from the album ‘Frösche’ demonstrates this very well around the 3 minute mark. The SY85 and the JV-1080 thicken up the sound nicely, but also leave room for other frequencies to interfere.
I always thought that the seventh track on the album titled ‘Vögel’ wasn’t going to be on the record because I felt that it sounded too grandiose and big compared to the other songs. Surprisingly, I got a lot of positive feedback about that song. The song plays multiple layers of strings & pads. It’s a variation on a song I previously uploaded named ‘My Hopes’, which originated from a more downtempo/techno demo that I haven’t uploaded as of yet. The original demo includes this section of strings that I always loved and have used as a foundation for – as is stands today – two songs.
My personal favorite is the final song. It is so simple and everlasting. I feel it’s both pretty and disturbing. Kind of reflective I suppose. It could’ve gone on forever, but I can’t do that to anyone listening (of course I can, lol). For anyone that has a SY85 or TG500, the pad patch is called ‘SP Synth’ which when played at a very low velocity, sounds quite nice.
DG
September 5, 2023
A little while ago, I was sampling some drum sounds from the Roland JV-1080. Released in 1994, this machine will be 30 years old next year. Considering this, I can’t help but feeling a little impressed. Every time I work with this machine, I get lost in the many patches and sounds that this 2U rack box in its black, brushed aluminum outfit is able to produce. You can install the printed circuit boards (SR-JV80-XX) yourself by unscrewing the top of the housing and placing the expansion boards. With the possibility to expand it with 4 expansion boards (I have 2 myself) this machine can produce up to 42 +/- MB of ROM(!) of sounds. That is – considering the year of its release – truly impressive!
I remember picking up my unit in The Hague on a hot summer day. A fine memory! I have used the 1080 in many of my productions ever since.
DG
August 31, 2023
I’ve had the pleasure of seeing Joe Jackson live twice. Of course, Joe has been releasing and performing music ever since the late seventies, but I discovered his music in 2016. Like so many of my generation, it was because of the song “Steppin’ Out” (I got to see the Korg Rhythm 55 that he used on that particular recording at his 2019 tour).
I think that ever since discovering his music, I have listened to almost all of his released material. The first album that came out since I knew about his existence was – as it stands today – his latest album “Fool” (2019). I absolutely loved that record. Somehow, it suited the times where I was at (it made a B sharp turn to C ;-)). Another album that left a striking impression on me was his 2000 recording titled “Night and Day II”. I kind of see why I like it in the first place, given that it pays an homage to the city of New York. The storytelling on that album is amazing. The cover of the album was shot at the intersection of Duane Street and W Broadway.
Of course, Joe is an exceptionally talented and gifted musician, but what I truly admire about him are his unconventional choices throughout his career, his “Eff you” attitude accompanied by his great sense of humor. His catalogue is all over the place and he doesn’t seem to make compromises for the sake of music that he cares about. In doing so, he has built enough of an audience that have and will support him whatever he is doing musically. As it should. Bravo!
I might write about stuff related to JJ another time. I have a cool photo that I took of him that I will share sometime soon. Also, a PR of Joe was once kind enough to shoot a video for me of the building front where the Night And Day album was recorded in 1982. He walks by it every day. It’s located at Green Street (No. 29). The studio is long gone.
Devin
August 11, 2023
Een naam die wellicht niet bij iedereen direct een belletje doet laten rinkelen, maar van een zeer grote invloed is gebleken voor de ontwikkeling van elektronische muziek is die van Michael Rother. Zijn naam is in een adem te noemen met o.a. Kraftwerk, Neu!, Harmonia, Conny Plank, Dieter Moebius, Hans-Joachim Roedelius en Klaus Dinger. Een buitengewoon interessante catalogus aan muziek is te beluisteren op het web.
Veel van zijn eerste werken zijn gedeeltelijk opgenomen bij/en geproduceerd door de eerdergenoemde muziekproducent Conny Plank.
Een documentaire – uit 2017 – over Plank getiteld “Conny Plank – Mein Vater, der Klangvisonär” is zeer zeker de moeite waard om te bekijken. Vanuit Wolperath, iets ten zuid-westen van Keulen, maakte Plank zijn muzikale dromen waar. In deze documentaire verschijnen naast Rother onder meer Gerald Casale (Devo), Gianna Nannini, Midge Urse (Ultravox) en Daniel Miller (grondlegger van Mute records).
Zichtbaar op de bijgevoegde foto; de twee hoezen van ‘Katzenmuzik’ (1979) en ‘Lust’ (1982). In Duitsland is nog behoorlijk wat van zijn werk te vinden in platenzaken. Doorslaggevend voor mij was het beluisteren van zijn uit 1987 daterende plaat ‘Traumreisen’. Sindsdien ben ik geïntegreerd door zijn muziek.
DG
May 31, 2023
Hey,
It’s been a little while. Been working on new music. I have been using my Yamaha SPX900 quite a lot in recent times. I think the SPX timeline goes something like this: SPX90, SPX90ii, SPX50D, SPX900, SPX1000, SPX990 and SPX2000
My SPX900 from 1988 (the last one of its family that had a mono in and stereo out) just sounds good to my ears. Most of its patches are nice sounding, it cuts through the mix and parameters are easy to access (playing around with the balance and reverb times is usually enough to get some good results). I recently opened the thing up and everything still seems to be fine.
So, hook this thing up, make sure to set the levels right and let it bring some good late eighties/early nineties flavour to your gear of choice. Apart from maybe a battery change, I think I will be good for another couple of years.
DG
April 3, 2023
Lots of wonderful memories are shared on the internet in the wake of Ryuichi Sakamoto’s passing on March 28, 2023. Sakamoto leaves behind a great, great legacy. Exactly two weeks ago, I wrote a little piece about my Yamaha SY85 (down below here). On Youtube, a video can be found about Yamaha’s products at the time. This video was distributed at a musical instrument store when the SY85 was released, and was not for sale. After about half an hour, we see Sakamoto playing the Yamaha SY85 with the song “Sayonara” from the 1991 album “Heartbeat” in the background. I always thought it was a cool video. Last January, Sakamoto released his latest album titled “12”. I would like to invite anyone reading this to have a listen to it. Sakamoto worked on music until the end of his life.
Devin
March 20, 2023
(Originally written on January 3, 2023)
I love my Yamaha SY85 (the one that is on top). It’s a digital synthesizer that in my opinion sounds very different compared to its competitors from that time. It is very easy in use. In voice mode, each sound relies on a single sample that you can modulate using its digital filter (with resonance), some ADSR settings and different effect possibilities (similar, but not equivalent to those of an SPX900 multi fx processor).
Okay, let’s not talk about any geeky details. The SY85 has this sound to it that moves me. A character that I would describe as digital, full, emotional and a bit swirly in all of its ongoing effects (yes, they really liked the internal effects). Sliders can be used to adjust various settings, making it easy to have quick access to – for example – the attack, release, cutoff and resonance. Therefore, you can easily blend it into a mix that you are working on (in real-time). There is a quick edit option which will lead you instantly to all the simple parameters of any sound. I wish more digital synths would have an option like that.
There is more to this synthesizer, but I might write about that some other time.
Devin
Februari 22, 2022
Het is cliché om dit te zeggen, maar het voelt als gisteren toen we afscheid van je moesten nemen. Vandaag precies 1 jaar geleden. De fijne en mooie herinneringen zullen er altijd blijven. Ik denk aan je, oma ♡
Veel liefs,
Devin
January 3, 2023
Just here to wish you a wonderful 2023. May you have a prosperous New Year.
Love,
Devin
December 11, 2022
Recording Onto Cassette And The Michael Cretu Jacket
Hello,
This is me back in February of 2021. A month prior to this photo, I had released two projects and I thought it would be fun to record them onto cassette. The cassette’s artwork is different from the original and I have only one physical copy of it. The story goes that the jacket that I am wearing on this photo once belonged to Michael Cretu, but I am a little suspicious.
Devin
December 6, 2022
Who Knows More About This Detail On The Korg M1?
Hello,
I posted this question on a Dutch synth-forum the other day. The post was visited around a hundred times, but no one commented. That’s helpful (lol)!
So recently, I bought a Korg M1. A couple of days ago, when I saw it in the living room, I noticed the following: in my memory – when I didn’t own one myself – the letters on the rear of the M1 were much larger and more exuberant. I always thought; ‘wow, those letters stand out!’.
On Google I found that there are indeed two different designs for the M1 regarding the letters on the back. Not the font itself, but the size and color (see added photo). The rear of the M1 either has: more grayish and smaller letters (mine), or whiter, larger letters that are closer to the lower end of the panel.
A friend of mine who also owns a Korg M1 (white, larger letters version) thought this may have been an advertising related choice by Korg at the time. The M1 was made between 1988 and 1995 and it seems that – based on what I have found now – the differences in design depend on the serial number. On the internet I noticed that indeed, copies with the serial number 002100 and below have the modest, smaller letters. So far I could see that for example serial number 005560 no longer has this. It could be that all M1’s under either the 005000, 004000, or 003000 have this (former) design.
I wonder if anyone knows more about this. If you own the M1 yourself and you had not noticed this before, it would be both fun and interesting to let me know what design you have.
Thank you for reading and hope all is well.
Devin
November 14, 2022
Monday, November 14 2022 Update
Hi,
I hope all is well. Lately, I notice that it is getting dark quickly these days and it is also getting colder. I’m working on the final preparations for my new album. The photo that I added is from the photoshoot we did for the previous album. I just made a picture with my phone, looking through the lens of a Hasselblad 500 C/M which is a really cool camera from the ’70s.
Good evening and bye,
Devin
November 12, 2022
(Originally written on November 9, 2022)
Music, music, music..
If I can, I work on music all the time. For now, making music doesn’t make me happy per se, but music does distract me of the feeling of being unhappy. I know this is one of the true reasons why I am obsessed with making music.
Devin
October 12, 2022
(Originally written in July, 2021)
Holding Yoshimura’s Green (photo dates from January, 2021) audio cassette. FM-Synthesis was heavily used on this record from 1986 and part of Hiroshi’s gear was a (JVC) Victor AV computer. Introduced in 1984, It allowed real-time MIDI sequencing and was (sort of) a very early DAW implementation. It is similar to Yamaha’s CX5M and both are based on the MSX standard. Last year, rmcretro uploaded a great video to his Youtube channel regarding the CX5M.
Devin
October 2, 2022
(Originally written on October 1, 2022)
Every year when October comes around, I play this song by The Pet Shop Boys titled “My October Symphony” from the Behaviour (1990) album . This year, I feel as if it suits better than usual.
So much confusion
When autumn comes around
What to do about October?
How to smile behind a frown?
It′s hard to settle down
It’s so bemusing
Will they cancel the parade?
We marched each October
Now they say we were never even saved
We must be very brave
Shall I rewrite or revise
My October symphony?
Or as an indication
Change the dedication
From revolution to revelation?
So we′re all drinking
As leaves fall to the ground
Because we’ve been thinking
How October’s let us down
Then and now
Shall we remember
December instead?
Or worry about February?
Mourn our war-torn dead
Never seeing red
Devin
September 25, 2022
(Originally written on September 22, 2022)
Some Extra Information Regarding My Latest Upload
Hi Everyone,
Yesterday, I posted a new album on Youtube called: “Non-Teleological: Why, How”. I am a little hesitant to say that I kind of like the “Non-Teleological” concept. For now, three other related records are scheduled for the 22th of October, the 23th of November and the 24th of December.
I can understand that not everyone is into this type of music. For me, and luckily a couple of kind people who have reached out to me, it comes very natural. For a long time, I have been enjoying music from composers who have been considered “Minimal, Avant-Garde, Repetitive, Ambient (you pick the adjectives). There are couple of important musical works that quite struck a chord with me and have changed the way that I perceive music.
In the meantime I also work on more “commercial sounding” music. Consider it to sound more inviting, upbeat, pleasing and harmonic. My recent studio is a lot bigger and even though it is not running on its fullest potential at the moment (we’re still in the aftermath of a big renovation), I finally have much more freedom to experiment with more gear, drummachines, vocals, guitars etc. I believe that the old “Home Studio” is part of the reason why I limited to myself to making – no pun intended – limited music. I simply didn’t have that much space, but I will never forget the lessons I learnt in that tiny, wonderful little studio.
Hope all is well with you,
Devin
September 18, 2022
(Originally written on September 11, 2022)
Earlier today, I saw Janis Ian posting a photo by Peter Cunningham titled “Toast” / “Raising A Glass To The World Trade Center” that he took from his roof on Sullivan Street, Greenwich Village in 1991/92, pointing south towards the Lower Manhattan skyline. Coincidentally, I posted that same photo on my Instagram on that same day, 4 years ago.
A beautiful photo from a time that is now long gone. I had yet to be born. I won’t ever get tired of beautiful photos taken in NYC.
Here’s a link to his official website and the photo that I am referring to:
https://www.petercunninghamphotography.com/inkwtc
Choose not to forget.
Devin
September 13, 2022
Lately, I notice that when I am trying to tell and describe something here, I automatically tend to include a lot of details and other side issues. Somehow, I tend to have the feeling that – if not included – my story or the point that I am trying to make doesn’t come across well enough. As if these details are indispensable. At the same time, I notice that I deviate from the core thing that I wanted to address or that I don’t get around to it at all. I find this to be very unnecessary, but mostly annoying.
Part of the intention of this website is to allow myself some space to grow and have a platform to clarify some of the things that I do, as well as having the opportunity of coming back to this later. I also find it incredibly irritating that everything has to be in English and that this is not my native language. Sorry. One step at the time.
Devin
September 1, 2022
Hi,
Right now, I am uploading a video to Youtube. It’s a preview for a new project that I started working on a while ago. I recorded, mixed and mastered this first piece around Christmas of 2021. The master file states that it was exported on January 1, 2022 at 00:05AM. Since I exported it in real time, part of the song was still being processed in the year 2021. Pretty cool, right? 🙂 It is quite an extensive piece (about 45+ min of music).
3 of the in total of 4 – I liked four better than three – have already been recorded, mixed and mastered. The plan was to release them throughout the year of 2022. Since moving to another place brought some issues along the way, things happen to be delayed. I am happy that I was able to work ahead. This means that I am now finishing the things that I wasn’t able to finish the past couple of months but with the advantage that I have already finished most of it. Being here today, I am glad that I did that.
So now these four projects will be released in the last four months of 2022: September, October, November and December. Not as I initially had planned, but happy to have them out in the year of 2022. I am likely to extend this project in the next year as well. From the very beginning, it was clear to me that I could take the basic principles of this project and turn them into many different, hopefully interesting things in the years to come.
The video is uploaded to Youtube. I have scheduled it for 10PM this evening.
PS: I found this photo of me in the – as of now – old “Home Studio”. I took the photo in the last minutes of 2021.
Ciao,
Devin
June 16, 2022
Hi all,
Currently working on the new website. You know, the one that you are visiting right now. I guess it’s going okay and in the right direction. However, trying to build the perfect frames/templates is difficult. When designing these type of things i’m likely to think a couple of steps ahead: ” Am I sure this will satisfy my needs without creating too much of a hitch which makes me have to change everything when it comes to the structure?”. Then also, nothing will ever really go your way. In almost any case, there will be minor things not working out the way you want to, but I tend to go for the approach of trying to avoid those type of situations as much as possible. Well, I better get going now. Oh, and I almost forgot to say: welcome to my website!
-Devin