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Finally the signal from Auxiliary 1 on the mixer goes into a 266XL DBX rack compressor to form a side chain compression, and that has its own channel on the mixer as well. All the signal goes into a 14-channel mixer, with the ESX kick drums being split off into their own channel.
#Magic ab plugin is seriously fucking overpriced Patch#
All of this goes into a MIDI patch bay so all the machines can communicate and keep in time by running off the same MIDI clock – which is provided by the ESX, so that’s the start of the chain. Two samplers, one each – a Korg ESX and an MPC 500 a changing line up of synthesisers, at the moment it’s a xox box, an Access Virus Ti and a Bass Station 2 (but we’ve had a Moog Little Phatty, Yamaha TX7 module and a Korg Volca Keys along the way and just about to swap the Ti for a Snow) effects boxes – a Korg Kaos Pad and an old Echorder. IA: Okay so the first thing we all wanna know about is the set up! What’s striking about the stuff you guys do is the amount of hardware you use – I know the likes of Karenn and TM404 share an extensive love of hardware, along with British Murder Boys and innumerable others, but the scope of what you guys have is very impressive! What’s in the studio? Maybe some of these promoters just need to go to a club night they’ve never heard of before, take a shitload of MDMA and go fucking mental. It’s understandable because it’s the field they work in, but it’s the same thing I was saying about people listening to experimental music – you start analyzing it a bit too much. I do wonder how many promoters these days, especially ones who do it for a living and especially the ones who organize these big festivals and big events, I wonder how many of them go to just regular nights as impartial listeners, just for a night out. Otherwise you end up in this stale ghetto. I wanna play with rock bands, I wanna play with techno artists, hip-hop artists. If I’m playing a gig I don’t want to be playing with a whole bunch of artists that do a similar thing to me, I want to be playing with all sorts of fucking people. Promoters need to take more risks with festivals and club events. LFO might have played as well, but putting Whitehouse on at completely the wrong time – they went down like a sack of shit but I think that’s something that people need to do.
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A good example of that is a few years ago when Russell Haswell curated a night in London and had Whitehouse play before or after Aphex Twin, something like that. I mean if I was to put on a night, I like the idea of giving the audience something that they probably doesn’t want to see but I think they should fucking see. And I don’t think that promoters are that interested in doing that. I understand that, if you’re charging £20 to go to a night, you want these people to have a good time, but also I think you need to challenge your audience. I get the impression that promoters these days don’t want to piss off their crowds. It’s not as visceral and I don’t know if the impact is necessarily the same but that’s just something you can’t argue with. They’re probably having them via the internet.
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The new generation of kids that are having these kind of epiphanies are having them in different ways.