When I am designing sounds for a new synthesizer or drum machine, I can really enjoy being locked up with this one instrument in my studio. I do a lot of different projects in various disciplines. Richard: It really depends on the project I am working on. Walk us through a regular day in the life of Richard Veenstra, on the job! You’re a composer, sound designer and electronic artist by trade. The sound of the insect turned out to be the source of one of the ‘Atmosphere’ sounds in the EZX (‘Insect Buffer’). For the Electronic Edge EZX I tried to record a piece of scrap metal outside when suddenly a huge insect flew past my mobile recorder. I am not interested in recording the perfect cymbal sound, this has been done so many times before. I also take this approach when recording foley sounds or instruments. Richard: Yes, I tend to misuse gear for purposes they are not designed for. For me, this was the most interesting part of this instrument.įor this project, you described your approach like “there’s a drum sound in everything.” Is this something you apply to your approach to composition in general? A neighbor had a big antenna in his garden and radio signals would sometimes be picked up by the organ. For example, I pressed multiple buttons at once to create glitched sounds or changing the timbre by not fully flipping some of the switches. I found the sounds and patterns quite boring, so I was constantly on the lookout to get more out of the instrument. I remember we had an electronic organ in my parents’ house with those preset drum buttons. I always wanted to get sound out of everything. Tell us a little about how you ended up being so fascinated by sound. I think I was around seven or eight years old when I was able to program a pixelated balloon flying from left to right on my screen. I wasn’t too keen on playing games, but I loved programming my own things in BASIC. Every Sunday I went to the attic for a couple of hours to play with my Commodore 64 computer. I always wanted to create stuff, so when I got my first cassette recorder, I could record things that I made myself. Richard: I listened to a lot of my dad’s cassette tapes when I was a kid and when we went to my grandmother I wanted to play the harmonium, these are my earliest memories of being interested in music and sound. Take us back to the very beginning: How did your interest in music start? Be it for beat-making, modern pop composition or elaborate sound design, the Electronic Edge EZX has got you covered. Welcome to an immense universe of sound and an ideal vantage point for a near-endless creative odyssey. You’ll find kicks, snares, risers, hi-hats, toms, atmospheric and FX sounds, claps, cymbals and more – all free-floating at the divides between electronic and acoustic and between modern and vintage and as far from anything conventional you can imagine. In total, the EZX covers 30 mix-ready kit presets made up from in excess of 370 unique and individually engineered percussive components. In this zero-gravity audio cosmos, layering, texturing, pitch shifting, granular processing and circuit bending all intersect and pivot at the zenith of cutting-edge sound design to deliver a truly one-of-a-kind percussive battery for modern music production. In the Electronic Edge EZX, drum machines, acoustic percussion, foley and melodic instruments merge, meld and converge in a universe of never-before-heard hybrids of sound.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |