Archives for posts with tag: Electronic

Sleepless weeks are often productive weeks!

I tried something different this time.  I only have 18 inputs on my DAW so i often have to overdub percussion and synths afterwards which can be good and bad.  So this time i used the first recording round of 18 inputs for only drums!

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Linndrum:

Kick, Snare, Toms,  Shaker, Hat, Congas, Crash, Tamb

SDS V:

Sub Kick 1-2-3, Splat Snare

TR 808:

Small Kick, Clap, Rim shot, Cowbell

Arp 2600 / Pro 1: Bass

DPX 1: Piano, Slap Bass

JP6 / JP8 SCI Maxx:  bleeps and Bloops

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This video is from a few years ago but i like the musical vibes.  And the video montage is truly baffling.

Sometimes in a good way!

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I’ve promised these and so fresh for 2013 here they are!  Extensive photos of the inner life and workings of a Simmons SDS-V with the MFB SEQ-01 sequencer built in.

But first, a little background.

Simmons electronic drums were developed by Richard James Burgess and Dave Simmons.  Burgess’ idea was to make a fully electronic drumset that could be played  by a real drummer or a sequencer.  He pioneered this idea while working on the first Landscape album From the Tea-Rooms of Mars… To the Hell-Holes of Uranus ( a great soundtrack styled listen BTW ).  In 1981 he produced the Spandau Ballet hit, “Chant No. 1 (I Don’t Need This Pressure On)”.  It was the first breakthrough hit with a real drummer playing the now famous hexagonal pads and the first production Simmons SDS-V brain.

They offered a Kick drum, Snare drum, Toms, and even High Hats and Cymbal modules although the Cymbal and HH ones are super rare.  Seven of any combination could be housed in one brain and triggered via octagonal pad, sequencer, and even acoustic triggers attached to drums.  There was even an open/closed HH pedal input to trigger 2 different variations from the HH module.  You could program your own sounds via the front panel of each module with full controls for 3 presets on the front and one ‘factory’ set inside that are all adjustable.  The Brain did double duty of allowing trigger inputs while offering basic mixing of the internal sounds via a stereo and mono output ( with individual out as well ).  These brains quickly became cult like in their status and were used in everything from jazz bands by Bill Bruford to rock groups like Def Leppard ( by the one armed Rick Allen ) and of course funk and dance groups like Prince.

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And i never get bored of this song:

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I had picked up an SDS-V brain with a Kick, Snare, and 3 Tom modules.  But there was those two empty slots at the end… hmmmm… Then it occurred to me, What if i turn this Brain into a full DRUM MACHINE!!! Lo an behold, a few Googles later yielded my plan of attack.  I could fit a modern modular sequencer into this old brain and make an instrument of the future past! There’s some technical hurdles to surmount in adding a sequencer to the SDS-V brain.

1, The MFB SEQ-01 is designed to work in a modular synth case.  the SDS-V case is of equivalent hight but the mounting holes are not lined up. So, more accurately, the MFB fits vertically and horizontally but the mounting holes don’t line up.  To avoid damaging the original mounting setup i opted to temporarily put  washers over the adjacent screws to hold the sequencer in.

2, The MFB SEQ-01 needs to be routed to the trigger or sequencer inputs on the SDS-V cards. I had a few options here.  One was to connect the sequencer outs to the Simmons’ native sequencer inputs.  The other was to hook it up to the trigger or pad inputs.  I opted to use the trigger inputs ( counter intuitive, i know! ) because this gave me a gain adjustment on the face plate of the brain for each trigger from the sequencer to the drum module.  The SDS-V drum modules are very dynamic and it’s useful to be able to hit them with sequencer trigger more or less to taste.

3, Lastly, The MFB SEQ-01 needs to be powered and it runs at a different voltage than the SDS-V. I had MFB modify the Seq-01 to run on 15 volts in the SDS.  Then i connected the power from the +/-15 volt rail in the Brain to the power input on the MFB edge connector.  Pretty straight forward!

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Photos by J-poo.

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Future plans for the SDS-V:

1, So, there’s one quirk in the Simmons SDS-V design i’d like to point out.  The audio outs are wired pin 3 hot.  This is the XLR wiring convention used by many old British companies and it’s the opposite of the US convention of pin 2 hot.  Reversing this would be great to more easily interface with other equipment.

2, I’d eventually like to disconnect the back panel sequencer jacks from the SDS-V modules and instead wire them to the MFB SEQ-01 outputs.  This way the sequencer outs  could be used to drive more than just the Simmons modules.  there’s actually 12 sequencer slots and the Simmons SDSV can only hold 5 cards with the sequencer installed. Maybe someday!

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References:

Simmons SDSV with MFB SEQ-01

Simmons SDSV – Wikipedia

Simmons Synth

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The Linndrum we have has a long and illustrious lineage!  It was originally owned by a good friend of mine who is now a great painter ( Alvan Long )!  He is also a drummer and was in several boston bands long before my time!  Here’s a Pure No Wave Gem from one of those bands called  The November Group:

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So, some of the people involved in that band started a studio called New Alliance Audio.  After several years the Linndrum was packed up in it’s road case and put into storage.

And it sat there for almost 15 years.  Those years took a toll too.  The batteries leaked, the capacitors went bad, and the foam from the road case became a rubbery dust that permeated everything!

When we pulled it out of storage i decided to send it to Bruce at FORAT for a refurb. He’s the Linndrum expert!  He fixed the batteries, power supply, sliders and pots, EVERYTHING!

I love this machine and use it all the time.  It’s built like a tank, has the OG JL Cooper Midi interface installed ( so it can sync to anything ), and it sounds great!  The Linndrum also had a great ‘pocket’.  The shuffle is sexy and if you tweak the hi hat decay while it’s playing you can create a great human feel.  It’s a great middle ground between the bright and open Roland 808 / 909 drum machines and the darker Oberheim DX / DMX 8 bit eprom machines.

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Linndrum VSE

Linndrum WIKI

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I (james) being one of 3 members to post on this blog have a problem. The problem consists of listening to suggested music and treating it with the same respect as the music I already love. Respect is probably not the best word choice, but the point remains the same. I love what I love and anything that comes into my field of hearing usually ends up being scrutinized too heavily and never given the chance it deserves.

Kraftwerk managed to bob and weave their way past the Wilco, Stereo Lab, Talking Heads, fortress and plant themselves into an unexpected place apparently reserved for them already. Computer World is the first record I had a chance to sit down with. I love it. It has all the things that make me feel as though I should be on a highway driving towards some unknown destination. Ambient electronic pop, whatever description you apply it’s great. There are people who can describe them much better than I (Nick Z, XBS Blog master) but that wasn’t really the purpose of this post (sorry, feeling lazy). More than anything it’s a suggestion to go out and give them a listen. They are assuredly not for everyone, but if you’ve never listened than it’s well worth it. “Computer Love” is one of my favorite tracks. If it sounds oddly familiar there’s a reason. Listen and find out.