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Why do you think things like the 303 and 808 are still universally adored? They are both incredibly limited instruments, but what they do, they do very well. If something is limited in some way, use it to your advantage.
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Work around the limitations of what you have. When inspiration hits you, the faster you can start working, the better.Ĥ. It may look confusing if you’ve never used a tracker before, but once you get the hang of it, it’s incredibly fast to get your ideas down, which is a major advantage. I have been using mostly Renoise for the past few years because I like the workflow and relatively simple interface. Pick one that appeals to you, learn it as you go along, and you will succeed. There are so many DAW options now, but they all do basically the same thing. Buy gear secondhand, but only what you will actually use. I made my first several albums (*Lost Subject*, *Greater Cascadia*, and *Mythology of the Metropolis*) with very limited means and equipment.
#Korg poly 800 case license
(Renoise license of about ~$75, and I bought the 800 on Craigslist for $40). From an economic point of view, the 800 EP cost me about $125 to make. There are a lot of people who think you need to keep improving your studio, and getting the latest, most expensive gear in order to have the ability to be able to make something good. Having a limited set of options forces you to focus. Having more options is not good for your creativity. If you read nothing else in this article, read this. (See bottom for some Deceptikon music, too.)īut let’s see if you agree with Dkon’s philosophy, behind this record and DIY, economy-be-damned, do-it-on-the-cheap, make-it-great spirit. And if you don’t, you know we’re not music snobs here I think you’ll be pleasantly surprised to discover him through the new Dkon music. (I love this sound - but for a radically different side of the artist, be sure to hear some of his past work and remixes below he’s got quite a range.)įor his part, Dkon is based in San Francisco, by way of Tokyo, Seattle, Washington, Eugene, Oregon, and Portland, Oregon, except I ran into him in Brooklyn at Percussion Lab.īonus points if you remember Deceptikon.
#Korg poly 800 case full
Have a listen: the full tracks are on SoundCloud: The synthesis is unabashedly front and center, everything perfectly machined in pure economy. Oh, and about the album: it’s raw, unaffected, with the sweet spare sounds of the Korg set to good-natured beats, as clean as your local Poly 800 in a garage sale probably isn’t. But tools aside, there’s a minimal philosophy here I think a lot will like. He’s been coupling the Poly 800 with a production workflow entirely centered on Renoise, the modern tracker, for recording and sequencing.
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With that spirit, Dkon sends along a manifesto of sorts about music making. The Korg Poly 800 on which the release is focused is a dirt-cheap eBay score, but as Dkon puts it, it’s also “one of the most underrated analog polysynths out there.” I’d be nervous about CDM driving up its value before I can get one – it’s been on my wish list – except that there are a lot of them. Swimming upstream against gear fetishism, the 800 EP is proud to be cheap. His name is now Dkon, and the story is more than just him: in the absence of a Merck to release adventurous music, Dkon is helping launch a new label entitled Tokyo Ghost Island, with an EP to be followed soon by new records from Jemapur, Secret Palindromes, and an EP from Stockton & Malone, among other things. Recording as Deceptikon on labels like Merck and Daly City Records, Zack is back. Photo courtesy the artist.Īrtist Zack Wright, for a handful of followers of what we used to call IDM, will be a blast from the past. Deceptikon morphs into Dkon - and talks to us about doing more with less.