16 de mayo de 2012

SCOPE en Comic Con 2012

La banda tributo SCOPE estará presente en el evento Comic Con Chile 2012 a realizarse en el Centro Cultural Estación Mapocho los días 25, 26 y 27 de Mayo.

SCOPE estará interpretando las mejores canciones, intros y soundtracks de las series clásicas de la televisión y la animación el Sábado 26 de Mayo a las 14:00 horas. El valor de la entrada es de $5.500.

Más información:http://www.comicconchile.cl

7 de mayo de 2012

Los sintes favoritos de Jean Michel Jarre

En el marco del evento "Les Nuits Sonores" que se llevará a cabo el próximo 16 de Mayo en Lyon, Jean Michel Jarre confesó al sitio web de Red Bull Music Academy cuáles son sus teclados favoritos.

Lo interesante es que en el relato va contando sus experiencias en cada uno de ellos, desde la época de "Deserted Palace" hasta hoy. Acá te compartimos algunos extractos de esa entrevista, que puedes leer integramente aquí.

E.M.S VCS 3 (1969)
My first synth, Europe’s answer to the American Moog: a Mini versus a Cadillac. The VCS3 was one of the first real synths to be developed from modular research, a technique with which I was already familiar. I’ve composed a lot of music with this synth, most notably on Oxygène and Equinoxe, although I’d already tried it out on Deserted Palace and the music that I composed for the Parisian Opera.

ARP 2600 (1971)
This is an American synth which quickly became the best modular/semi-modular synth on the market – different to Moogs, which didn’t have pre-set sounds. It cost much less than a Moog, but it was much bigger with an extremely rich sound. I used it a lot on Oxygène and Equinoxe as well as on the albums I made with Christophe such as Les Paradis Perdues (Lost Paradises) and Les Mots Bleus (Blue Words).

ARP 2500 (1969)
This is the big brother of the ARP 2600, created to compete with the modular Moog. Pete Townshend of The Who was one of the first musicians to use it in Europe. The ARP 2500 is the huge machine that we can hear in "Baba O’Reilly" playing that well-known sequence which would become so essential to The Who’s sound.

The Fairlight was the first instrument that I worked with which was directly linked to the training I’d received at GRM under Pierre Schaeffer, electroacoustic music, or what we’d later call "sampling". With the Fairlight, we could record and sample any sound – a natural, urban or domestic noise – play it on a piano and create percussion, a choir, the sounds of chords, a constructive element of music, improbable sounds of which we didn’t know the origin.

Roland JD-800 (1991)
This was the next synth to follow the DX7 philosophy and the approach initiated by Japanese synths, which was going to financially sink all of the American makers. With the JD-800, you could modify the sound, as you can on an ARP or a Moog, but with a Japanese sound quality, which in some respects, is more refined.

The first analogue polyphonic synth. Until then, modular synths such as the VCS3 and the ARP were monophonic. If you wanted a polyphonic effect, you had to play four different sounds at the same time. With the Memorymoog, and other synths that came out around the same time, in one fell swoop, we could make complete chords, and that changed everything. For better and for worse.

RMI Keyboard Computer (1974)
This is an instrument that was created in the 70s and which was revolutionary as it was the first digital synth in a period where everything was analogue. It’s a technique that was used heavily on Deserted Palace and on the track “Oxygène 5”, where the entire sequence is made using the RMI.

EMINENT 310 (1970)
This synth defines my sound, from Les Mots Bleus by Christophe and the songs of Patrick Juvet, right up to Oxygène and Equinoxe, where I used it heavily. To this day, I still use it frequently. The Eminent can be heard on Oxygène and Equinoxe, adding that gliding, phased feel.

Teenage Engineering OP-1 (2011)
A little new one that came out less than a year ago and was invented in Sweden [by Teenage Engineering, a company founded by 2003 Academy pariticpant David Eriksson]. It’s a synth which doesn’t even seem like a synth at all – it’s tiny and looks like a Casio toy, but hidden inside is a very sophisticated machine, created using military technology.

This is another mythical instrument from the electroacoustic scene, since it was one of the first samplers well ahead of the Fairlight. What was interesting with the Mellotron was that it was conceived at a time (the 60s) when the philosophy of sampling wasn’t on the agenda at all.

Fuente: Red Bull Music Academy