Your performances definitely evoke the music of Tangerine Dream and Klaus Schulze, both of whom we miss. I still feed on their music and will never stop doing so. Thanks to you too. Thank you very much. Never stop offering us your talent.
Thats very kind ES - yes we all mist them for sure, as nothing can replace those early days of sequencer driven cosmic pieces ... nice to be able to do it on the kitchen table now!
You are my new hero, Gary! 😉 Your music is the best I have heard since a long time - and I heard a lot, a lot! I can only say : Thank you very much for your art.
Thanks for listening Ivan - yes the MF is great for big aftertouch pads, I have since replaced it in Berlin style jams with the Solina, but still love the little portable beast!
Beautiful! Hard to imagine that TD used tons of equipment in the 70s to make such music! We live in a wonderful time - at least musically ;-) May the force be with you!
Well said! Yes we are so lucky with music tech at the moment, and I suppose much the same as early computers filled rooms, we now have 100x that power in our phones! Cheers dO
Thanks GLT - this is all being sequenced via the two analog 'knob' sequencers in view, the 960 sequential (top black long one) and the 182 (grey one), both behringer clones of 70s gear
Thanks Rman - I have played sop sax and clarinet acoustically for 20+ years, but I have used my EWI on dozens of tracks, so yes definitely more than a gimmick eg: ruclips.net/video/NfQhc_VsTGk/видео.html and ruclips.net/video/xIZ1ksxx4Jc/видео.html
I enjoy that your sessions don't feel stagnant. There is lots of repetition in the patterns, but I wonder if you have any advice on how to approach this kind of thing such that the looping nature doesn't start to redundant?
Thanks Mark - yes that is really the challenge with this sort of music, trying to get the patterns to not sonud repetitive (which is much harder with sample or fixed sequencer music). I suppose I use various techniques, a) is to use a lot of polymeters, so layers of odd time signatures eg: a 7/8 over a 5/8 will require about 17 bars before it repeats but by then I would have b) constantly change the notes in each sequence or c) change the time signature step lengths or d) have the sound modulating constantly usually on 2 or more areas (filters, waveforms) ... another key one is to move the tones from aggressive to soft and everything in between. Finally adding occassional melodic elements, either nice chords or simple melodies break up constant elements ... all that said, actually choosing repetition itself can work so that it does 'rest' sometimes ! Hope that helps?
Your performances definitely evoke the music of Tangerine Dream and Klaus Schulze, both of whom we miss. I still feed on their music and will never stop doing so. Thanks to you too. Thank you very much. Never stop offering us your talent.
Thats very kind ES - yes we all mist them for sure, as nothing can replace those early days of sequencer driven cosmic pieces ... nice to be able to do it on the kitchen table now!
You are my new hero, Gary! 😉
Your music is the best I have heard since a long time - and I heard a lot, a lot!
I can only say : Thank you very much for your art.
Wow, thank you Diderich ... you win best comment of the year!! Very much appreciated :)
Great Jam, very Tangerine Dreams style. The Microfreak is a very permeable synthesizer, it has allowed me to build many sounds and sequences
Thanks for listening Ivan - yes the MF is great for big aftertouch pads, I have since replaced it in Berlin style jams with the Solina, but still love the little portable beast!
very beautiful music my awesome friend your video I liked it very much have a nice day a +
Many thanks again Sativa ...
Love hearing the EWI!
Yes I should use it much more! Cheers Mark
The synth Force is strong with this one!
haha cheers Antonio
Outstanding 🔥
Thanks 🔥TW! Appreciate the listen
How fast one and a half hour pass by when you are relaxing to synth sounds, thank you so much Gary.
Glad you enjoyed it Rayder - yes likewise playing these long pieces, relaxing too!
Baby Yoda approves 👍
He had no choice :)
Very nice!!
Cheers Tonal! Appreciate the listen
ohh hell yeah that hill crest at 49:50, so worth the climb
Cheers No - so glad you appreciate the rise and falls :) Not many do!
beautifull setup.
Glad you like it Montenote! Appreciate the listen
Excellent, now teach me to perform such work on my rig ;-)
Deal! What's your budget, including flights :) cheers
Beautiful! Hard to imagine that TD used tons of equipment in the 70s to make such music! We live in a wonderful time - at least musically ;-)
May the force be with you!
Well said! Yes we are so lucky with music tech at the moment, and I suppose much the same as early computers filled rooms, we now have 100x that power in our phones! Cheers dO
Woah, I haven't seen those synth clarinet things before. It sounds great.
Thanks TG - yes the EWI 4000s here has it's own synth engine onboard, which are the sounds you are listening to.
Sounds great and love how dreamy and atmospheric it comes across.
Cheers RM - glad you liked, a mispent youth listening to those early synth records :)
Beautiful!! How are you sequencing this piece?
Thanks GLT - this is all being sequenced via the two analog 'knob' sequencers in view, the 960 sequential (top black long one) and the 182 (grey one), both behringer clones of 70s gear
I have a Eurorack too and I play flute. Are you content with the EWi? Is it more then a gimmick for you? Thanks for the track
Thanks Rman - I have played sop sax and clarinet acoustically for 20+ years, but I have used my EWI on dozens of tracks, so yes definitely more than a gimmick eg: ruclips.net/video/NfQhc_VsTGk/видео.html and ruclips.net/video/xIZ1ksxx4Jc/видео.html
I enjoy that your sessions don't feel stagnant. There is lots of repetition in the patterns, but I wonder if you have any advice on how to approach this kind of thing such that the looping nature doesn't start to redundant?
Thanks Mark - yes that is really the challenge with this sort of music, trying to get the patterns to not sonud repetitive (which is much harder with sample or fixed sequencer music). I suppose I use various techniques, a) is to use a lot of polymeters, so layers of odd time signatures eg: a 7/8 over a 5/8 will require about 17 bars before it repeats but by then I would have b) constantly change the notes in each sequence or c) change the time signature step lengths or d) have the sound modulating constantly usually on 2 or more areas (filters, waveforms) ... another key one is to move the tones from aggressive to soft and everything in between. Finally adding occassional melodic elements, either nice chords or simple melodies break up constant elements ... all that said, actually choosing repetition itself can work so that it does 'rest' sometimes ! Hope that helps?
What pad sound of the Microfreak is it at the beginning?
One I quickly made up using the superwave engine ...
@@GaryHayes Very cool 😎. I own a microfreak since a couple of days and I'm at the beginning of diving into this device 😃
@@rainerwasilewski6849 yes they are very deep and Arturia keep adding to them too!