Non-Blasphemous Rumours: Roland Sampler @NAMM?
I just quote what I got for you to recheck – this has been around for quite a while – so here’s it – thanks to Jens –
it is said this machine is made for emulating a plethora of classic samplers (filters, DACs) – well – we don’t really know. maybe based on the ESC2 FPGA chip that is used on most newer Roland synths.
Roland soll Gerüchten zufolge 19 Sampler emulieren, darunter natürlich auch die SP1200 – also einen speziellen Sampler bringen, der möglicherweise auch auf Basis von Component Modeling funktioniert (ESC2 Chip in System 1 / Boutique / JD X-Serie) -> Roland Sampler mit Modelling / Gerücht NAMM 2016
Emu SP-1200
Emu Emax
Emu Emax 2
Emu ESI-32
Emu ESI-4000
Korg SDD-2000
Akai MPC-60
Akai MPC-3000
Ensoniq Mirage
Ensoniq ASR-10
Ensoniq ASR-X
Sequential Circuits Studio 440
Yamaha SU700
Casio SK-1
Casio RZ-1
Casio FZ-1
Roland W-30
Roland SP-808
Roland SP-303
Roland SP-404
-> check them here
Hier ein paar Daten dazu // da facts:
->
“So, Roland just retweeted me on the sampler rumor: ´Roland U.S. Retweeted your Tweet: @Roland_US Just spill the beans on the new sampler I keep hearing about! The real #WinterIsComing #NAMM´”
https://www.gearslutz.com/board/11498465-post114.html
–>
“Met with my Roland rep today; he played dumb about the new sampler, but had a grin on his face. That says to me something is coming.”
http://www.korgforums.com/forum/phpBB2/viewtopic.php?p=668668&sid=3840e44c53f3ed0d65e0850eabc307ca#668668
–>
“kazuhiko gomi of roland usa just posted an old sp-1200 ad on the aira fb page.”
http://www.korgforums.com/forum/phpBB2/viewtopic.php?p=668267#668267
Roland reintroduces the simple Sound Canvas
Und: Roland bringt Sound Canvas als Software – etwas spät – aber es gibt ihn wieder. Einen GM-Player für Standard-Sachen.
-> Roland – Sound Canvas VA
Ein erstes Bild und Specs:
http://www.mpc-forums.com/viewtopic.php?p=1691229#p1691229
Ist aber wohl ein Spaß.
Auch bei Sonic State gehts drunter und drüber, inkl. Nick Batt, der sich entschuldigen muss…
http://www.sonicstate.com/news/2015/11/26/podcast-sonic-talk-427-kick-drum-through-a-squirrel/
Arturo said:
Roland has a new 16 Pad sampler/workstation coming with ACB modeling features. It’s causing a stir on Gearslutz for over a week now, but Nick has decided to stay silent. What a shame. Are you a journalist or what? In case you missed it: one insider named „Tha Knoq“ came thru with info about the MPC Touch first on Gearslutz. He leaked it a month before it being officially announced. This time around he claims he caught an early Roland promo vid. He wrote: “What I did see was the video that is going to be shown at NAMM 2016 by Roland announcing the new sampler/workstation and probably later on YouTube like they did with their AIRA line of products. Anyone who’s impressed with their MPC’s, Maschines and Push 2’s are going to lose their minds when the NAMM presentation is made.” His claim is merited. I have no reason to disbelieve what the dude is saying. He went on: “Roland will take sampling workstations to another level with their ACB technology. Models include: Emu SP-1200 Emu Emax Emu Emax 2 Emu ESI-32 Emu ESI-4000 Korg SDD-2000 Akai MPC-60 Akai MPC-3000 Ensoniq Mirage Ensoniq ASR-10 Ensoniq ASR-X Sequential Circuits Studio 440 Yamaha SU700 Casio SK-1 Casio RZ-1 Casio FZ-1 Roland W-30 Roland SP-808 Roland SP-303 Roland SP-404”. The new Roland sampler will model their converters! Some of the above drum machines are 12-bit or 8 bit. The SP-1200 and MPC 60 were both 12-bit samplers and it made drums sound huge cause of this. So Roland is modeling those characters into there new drum machine sampler. First I found it odd they wouldn’t include any of the S-series samplers either, as well as the Fairlight and Emulators. But it might be that the list posted is incomplete, legal issues, or they won’t include all models initially so they can get some more money off you later on selling them like they did with the 7×7 kits for the TR-8.
Plocki89 said:
I assume that Nick had to sign a non-disclosure agreement beforehand. Once you sign a NDA, you have entered into a legally binding contract. He could be sued by Roland UK if he talks about previously undisclosed products. That is probably the reason why he was mute about the sampler story.
Nick B said:
Thanks for your comments folks, I’ll be honest, I’ve not been following the GS thread over recent weeks, so it was news to me, so Arturo, my lack of knowledge on the subject is a fair criticism. And seeing you post in the chatroom so insistently doesn’t mean I could talk about it, no matter how much you want it to be so. But for the main reason that at that time it was unverified, hard for me to do while hosting/producing the show. It also happens that we have an NDA with Roland as we’ve brought several exclusives from them to the site in the last 12 months. Which is a downside to such things, I wish it were different.
Slardibartfast said:
@Arturo: If you actually spent any time thinking about the idea you would realize how ridiculous it is. There is no ACB sampler coming from Roland at NAMM.
Arturo said:
@Slardibartfast: You´re way off! It is already confirmed that there will be a successor to the MV-8800 at the NAMM show in January. Stop posting BS. BTW, how was lunch in the sheltered housing group? @Nick: Appreciate your kind words. To be honest with you, I’m not remotely interested in the gear that Mark used in the nineties. I want to get hear of new stuff all the time. In this day and age one has to scan the boards and forums in order to be up to date. You should turn your attention to them. Talking about rumours is what would give Sonic Talk that extra something. Having said all this, keep up the good work.
> Blashemous Rumours
Jaaaaa, Alan Wilder muss zurück! Ohne ihn ist DM mega-öde.
Na, wir sehen ja, was draus wird. Und Alan ist in der Tat ein sehr guter Produzent und Musiker. Delta Machine war aber nicht uninteressant, hör mal rein, lohnt sich. Recoil gibt es ja (noch) und vielleicht spielt er ja mal hier. Wäre toll.
Und noch finde ich diesen Sampler insgesamt als ein sinnvolles Ding, die Emulation der vielen Teile ist aber ggf. gar nicht das wichtige, sondern wie man damit umgeht und so weiter – da es kaum Sampler gibt könnte er verdammt spannend sein, gerade weil es kaum einer macht.
delta machine? hm, geht so. ja, ich mag ben hillier, aber mehr für die sachen, die er für u2 gemacht hat. du, ich habe eine idee. wohne nicht weit von dir, in düsseldorf. was hälst du davon, wenn wir für synmag ein interview mit michael mertens (propaganda) machen? seine firma amontillado music residiert in düsseldorf-unterbilk: Martinstr. 40, 40223 Düsseldorf, Telefon 0211 5802367. laut handelregister gibt es zwar auch eine dependance in birmingham/uk, aber er wird nachwievor in d´dorf wohnen, nehm ich mal an. an ralf dörper ist vermutlich schwieriger ranzukommen, susanne freitag vermutlich nicht in der lage, über gear udgl. erschöpfend auskunft zu geben. andreas thein verstarb 2013. claudia brücken wohnt in london.
mein lieblingssong ist der extended mix von p-machinery, in dem mertens ein vibraphon-solo spielt (quantize off!). ich würde ihn u.a. fragen nach den zzt-protagonisten, die ihm und der band beim recording von secret wish über den weg liefen. zur ztt family gehörten damals u.a. j.j. jeczalik, anne dudley, gary langan, paul morley, julian mendelsohn, andy richards, heff moraes, peter-john vetesse, bob kraushaar und natürlich mein all-time favorite steve lipson. mit den ex-simple-minds derek forbes und brian mcgee gingen propagnda später auf tour, aber das würde zu weit weg führen. irgendwo im netz steht, die band hätte sich von der secret-wish-kohle einen waveterm b und und einen wave 2.3 zugelegt. da könnte man nachbohren. als die band nach london kam, besaßen sie die sachen wohl noch nicht. unter http://www.soundonsound.com/sos/mar05/articles/trevorhorn.htm erzählt trevor horn interessantes über gear, das auch bei der produktion von secret wish zum einsatz gekommen sein muss. er besaß u.a. einen fairlight IIx, der bereits über midi verfügte. zitat:
“It was all this technology that was just exploding at that time, and [Frankie Goes To Hollywood’s] ‚Relax‘ was probably the pinnacle of all that stuff. It was a combination of Fairlight´s Page R and the Conductor and locking it to a Linn drum machine. The Conductor was a device that allowed you to connect a Linn drum machine to Page R. And that might seem like a minor detail now but, boy, that was breathtaking for us back then, because it meant you could lock a Linn drum machine to Page R! And all of the early Art Of Noise stuff was locking things to Page R.”
mich würde interessieren, wie mertens das erlebt hat. horn besaß zudem einen oberheim dmx und einen dsx sequencer. kam das zum einsatz oder war das schon oldschool? horn weiter:
„Back in the mid-80s we had 24-track Sonys. I had one of the very first 24-track Sonys in 1984. And ‚Two Tribes‘ I think was the first number one single on a Sony 24-track digi. ‚Two Tribes‘ was completely digital.“
doch jetzt kommt der knaller:
„If there was one piece of gear that cost the most and was the least useful it would definitely be the Synclavier. It cost well over a quarter of a million dollars and it’s still there in a cupboard. We used it on a few records in the late ’80s, but then it became too cumbersome. We more or less — Lippo [Steve Lipson] particularly with the Frankie stuff — we really kicked Synclavier into shape because their sequencer was crap when we first got it. It wasn’t even as good as a Linn drum machine! „With the first Synclavier, we tried to sequence the bass drum playing fours on a four-on-the-floor. It sounded dreadful. We phoned them up and said ‚Is your sequencer accurate?‘ They said ‚Oh yes, absolutely accurate.‘ ‚Is it really accurate?‘ ‚It’s absolutely accurate.‘ ‚How accurate is it?‘ ‚Well it’s accurate, give or take 200 milliseconds.‘ ‚What the!… You think that’s accurate? I know people that can hear a millisecond!‘ And they were saying ‚That’s impossible, nobody can hear a millisecond.‘ I said ‚I know somebody that can hear a millisecond — Chris Squire [Yes] can hear a millisecond.‘ Then it came back again and they worked on it and they said ‚It’s perfect now,‘ and we listened to it and we said it still didn’t sound right. And they said ‚It’s perfect but it corrects itself every two bars, to within plus or minus 10 milliseconds!‘ „We wanted it to be perfect. If you listen to a Synclavier sequencer, it’s absolutely perfect now. They got it perfect but it took a few months, and then it was so incredibly slow to use because you had to put the tempo in as a coefficient of 120bpm. So if you were at 80bpm it had to be 0.66! It was immensely complicated, and I remember Lippo and I got very angry with them, Lippo in particular. So we had a little competition. We insisted that Synclavier come down and bring their best programmer, and we showed them this software that we’d bought that we were using in some PCs that was called Voyetra Octave-Plateau and they had their guy on the Synclavier. So Lippo was there on the Octave-Plateau stuff and I gave them a chord sequence and I said ‚program that‘. Lippo did it in 25 seconds on Octave-Plateau and the Synclavier people admitted that it would take at least 20 minutes on the Synclavier! And we said ‚That’s our case!‘ The Synclavier’s finest hour was [Grace Jones’s] ‚Slave To The Rhythm‘ and after that it sort of faded off. We used it a little bit on Simple Minds [the Street Fighting Years album] because it sounded fantastic.“
so weit ich weiß, kam der synclavier bei der produktion von secret wish nicht zum einsatz. dennoch: mertens wird vermutlich viel insider-informationen über ztt und lipsons produktionsweise erzählen können. horn war ja bei secret wish “nur” als executive und “übervater” tätig. 12-inch-remixing sollte auch ein thema sein. klingt doch gut, gell?
klingt alles cool- bin ja für alles zu haben was spannend ist und so, vielleicht auch mal als pod/videocast.
A.Thein kannte ich auch, war mal bei den Jams im Camouflage dabei, lustiger Typ, aber verstehe auch wie er Trevor überreden konnte *g*.
From a recent Steve Lipson Interview | The Electricity Club
Question: “Propaganda’s ‘A Secret Wish’ is still a stunning sounding piece of work, were the demos you received for the album pretty fully formed?”
Lipson: “For the most part the demos weren’t finished at all. They were skeletons, which is one of the reasons the album took so long. Michael Mertens, the musician in the band, lived in Düsseldorf. Trevor was working on other projects, so we were very much left to our own devices. Paul Morley was the main person who helped steer the project. My main memory of the album is of working in a black room for months with Andy Richards and loads of gear.”
http://www.electricity-club.co.uk/stephen-j-lipson-interview/
Oha. Andy Richards ist der ZTT-Keyboarder gewesen. Das klingt ja so, als sei Mertens kaum anwesend gewesen bei der Produktion. Hm. Kann das sein? ZTTs Fairlight-Programmierer J.J. Jeczalik sagte vor einem Jahr:
“…Whereas ZTT was lots of stuff going on, I mean I was helping with Propaganda, programming for Frankie… you know, every day I’d get a call and it would be something different.”
http://www.superdeluxeedition.com/interview/ztt30-j-j-jeczalik-on-fairlights-the-art-of-noise-and-life-at-ztt/
Ich finde das sehr interessant. Du auch? Übrigens: jetzt kommt der absolute Kracher!
In the case of ‚Welcome To The Pleasuredome‘ the result was a three-minute song that eventually clocked in at 13:38 and, as mixed by Steve Lipson, became the title track for Frankie Goes To Hollywood’s debut double album.
O-Ton Steve Lipson:
„Interestingly, I screwed up with one thing that I didn’t know at the time,“ he now says. „When you do this stuff, your time code needs to be word-clock locked. But because I didn’t know that, by the time it got towards the end of the song it had somehow drifted to the offsets that I’d done. In other words, whatever we were sync’ing up after the event, by the time it got to the end of the song everything was slightly out of time. On the one hand, that really pissed us off, but on the other hand it gave the track a certain kind of freedom and energy at the point where it needed it. So it was fortuitous, but it was also a big lesson.“
http://www.soundonsound.com/sos/apr08/articles/classictracks_0408.htm
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