I accidentally created this pack of cyber wolves on the Super Jupiter. I was dialing in sounds while watching the oscilloscope and getting all sorts of crunchy delights when all of a sudden I was hearing these eerie howls. Fortunately I was recording all along, so afterward I edited it down to the best bits and uploaded it for your enjoyment.
Robot Wolf Pack
This 1:52 minute segment of improvisation from the DGK performance at Try This 2 on March 25, 2011 contains drums by Tim Glenn, Soprano Sax by Jon Davis, and jumble sale of gear played by yours truly. These instrument include, in order of appearance, the Sequential Circuits Pro-One, followed by the Korg Monotron, my handmade Sonodrome Posc, and my Max for Live, granular synth, Grain Machine. Prior to this performance I had been limiting my palette of textures to the Rhodes and the Pro-One, but for this performance I thought I would try including the Monotron, Posc, and Grain Machine in order to draw from a few more atonal colors.
DGK Try This 2 Segment
Here’s the second in a series of stacked polyphonic synthesizer experiments. Once again I used the Roland D-50 and the Roland MKS-80. The percussive sound that fades in and out was made by by the D-50, and the evolving synth texture came from the Super Jupiter while manipulating parameters with the Bitstream 3X. My goal is to eventually have control over D-50 with the BS3X as well.
Stacked Polys Part 2
On March 13, 2011, my trio DGK (Jon Davis on bass, Tim Glenn on drums, and John Keston on Rhodes and Pro-One) performed at the Honey Lounge in Minneapolis, Minnesota in collaboration with an esteemed line-up of colleagues. Through the night people came and went, so in the upcoming parts of this series I’ll name the individuals involved. For the beginning of the evening it was DGK with Martin Dosh on additional drums, and Juno Alpha 1, Scott Fultz on electric guitar and soprano saxophone, Andrew Broder on electric guitar, Rajiah Johnson on flute, and Brandon Wozniak on tenor saxophone. The record is a bit chatty at times, but that’s to be expected with bootleg recordings. You never know, you just might stumble across a bizarre conversation buried in the mix.
DGK and Friends Part 1 (36:16)
I made this synth bass patch today on the MKS-80 and performed real time edits with the Bitstream 3X sending sysex directly to the instrument. This technique feels a lot smoother and lower in latency that any other routing method I have tried so far. After recording it I ran it through Ableton’s resonators and automated some chord changes. Here’s an excerpt from the results.
Synth Bass Through Resonators