Autechre Gear List

Originally from http://mikebaas.org/autechre
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Autechre Gear List
Future Music, 2003
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http://www.maxmsp.ru/files/fizzarum/ae/fm2.jpg
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Akai Z8 sampler & ADAT card 
AKG C1000 mic 
Alesis QuadraVerb GT effects 
Alesis Monitor 1 speakers 
Alesis MMT8 sequencer (x2) 
Analogue Systems RS8500 modular synth
with various modules 
Apple 7200 PowerPC 
Apple 9650 PowerPC 
Apple Airport LAN card (x2) 
Apple G4 dual 800 computer 
Apple G4 450 computer 
Apple G4 500 Powerbook (x2) 
Apple G4 800 Powerbook 
Apple Powerbook 1400c computer with Newertech G3/PB
1400 upgrade card 
Atari 1040STE computer 
Behringer Autocom 
Behringer Composer Pro 
Behringer Ultrafex 2 
Behringer Ultrapatch (x4) 
Boss RDD-10 effects unit 
Boss RSD-10 effects unit (x2) 
Calabash gourd rattle 
Casio FZ-1 sampler 
Casio RZ-1 drum machine 
Casio PT-7 workstation 
Casio SK-1 sampler (x2) 
Casio SK-5 sampler 
Clavia Nord Lead rack synth 
Clavia Nord Modular synth with
eight-voice card (x2) 
dbx DDP processor 
Digidesign 882 I/O interface 
Digidesign Disk I/O PCI 
Digidesign DSP Farm PCI 
DOD phaser pedal 
Dynaudio BM15a speakers 
Dynaudio M1 speakers 
Emagic AMT8 MIDI interface 
E-mu Esynth Ultra sampler 
Ensoniq ASR-10R Sampler (x2) 
Ensoniq DP2 effects unit 
Ensoniq EPS16+ sampler 
Griffin iMate adaptor 
Grundig tape recorder 
HHB CDR850 Plus CD recorder
(link is to the CDR830 Plus)
IBM 4.5Gb SCSI drives (x2) 
IBM ThinkPad computer 
Iomega Zip 100MB drive (x2) 
Iomega Zip 250MB drive 
Kenton Pro 4 CV/MIDI interface 
Korg Prophecy synth 
Korg MS10 synth 
Kurzweil K2500R synth 
LA Audio 4x4 compressor (LA Audio C400?)
Lexicon MPX1 effects unit 
Mackie 24:8 mixer with meter bridge 
Mackie CR1604-VLZ mixer 
Mbira with resonator 
Micropolis AVLT 2Gb SCSI drive 
MidiLink MIDI Data Extender
MOTU Fastlane USB MIDI interface 
Miny portable tape recorder 
MOTU micro express MIDI interface 
MOTU MIDI Express XT USB interface 
Nintendo Gameboy 
Oberheim DMX drum machine 
Opcode Studio 3 MIDI interface 
Panasonic SV3800 DAT recorder 
Peavey PC 1600X controller 
Philip Rees 5S MIDI switcher 
Philips oscilloscope 
Phonic MRT60 mixer 
PSE stereo spring reverb 
Pro Tools III PCI interface 
Realistic induction mic
Reyong 
RME Hammerfall
RME Hammerfall ADI-8 Pro audio interface 
RME Hammerfall Digiface digital interface 
Roland CR-8000 drum machine 
Roland Juno 106 synth 
Roland SH-2 synth 
Roland MC-202 synth 
Roland CR-78 drum machine 
Roland PMA-5 sequencer 
Roland TR-606 drum machine 
Roland R-8 drum machine 
Seagate Barracuda 4Gb SCSI drives (x3) 
Seagate Barracuda 9Gb SCSI drive 
Seck 18:8:2 mixer 
Simmons SDE drum expander 
Simmons SPM MIDI mixer 
Sony CRX 1600L CDRW 
Sony lapel mic (which one, we may never know....)
Sony MDS JE520 MiniDisc recorder 
Sony HR-MP5 effects unit 
Sony TCD-D7 Portable DAT recorder 
Sony DTC690 DAT recorder 
Symbolic Sound Capybara 320 
Tascam US-244 four-track recorder 
Tascam DA-20 MKII DAT recorder 
Tascam DAP1 Portable DAT recorder 
Tascam M2600 mixer
TC XII B/K phaser pedal 
Wacom A5 & A6 tablets 
Yamaha 4260TX CDRW 
Yamaha CBXD5 interfaces (x2) 
Yamaha CX5 M computer (x2)
(changed to M model, ok?)
Yamaha DX100 synths (x2) 
Yamaha FS1R synth 
Yamaha KX-W321 tape deck 
Yamaha NS-10M speakers 
Yamaha QY20 sequencer/synth 
Yamaha RY30 drum machine 
Yamaha SU10 sample

By Category

Digital FX
Alesis QuadraVerb GT effects
Boss RDD-10 effects unit 
Boss RSD-10 effects unit (x2)
dbx DDP processor
Ensoniq DP2 effects unit
Lexicon MPX1 effects unit
Sony MP5 effects unit

Analog FX
Behringer Autocom 
Behringer Composer Pro 
Behringer Ultrafex 2
DOD phaser pedal
LA Audio 4x4 compressor 
PSE stereo spring reverb
TC phaser pedal 

Computers
Apple 7200 PowerPC 
Apple 9650 PowerPC 
Apple Airport LAN card (x2) 
Apple G4 dual 800 computer 
Apple G4 450 computer 
Apple G4 500 Powerbook (x2) 
Apple G4 800 Powerbook 
Apple Powerbook 1400c computer
with Newertech G3/PB 1400
upgrade card 
Atari 1040STE computer
IBM ThinkPad computer
Yamaha CX5 computer (x2)

Analog Modular Synth
Analogue Systems RS8500 modular
synth with various modules

Synth
Casio PT-7 workstation
Clavia Nord Lead rack synth 
Clavia Nord Modular synth
with eight-voice card (x2)
Korg Prophecy synth 
Korg MS10 synth
Roland Juno 106 synth 
Roland SH-2 synth 
Roland MC-202 synth
Yamaha DX100 synths (x2)
Yamaha FS 1R synth 

Samplers
Akai Z8 sampler & ADAT card
Casio FZ-1 sampler
Casio SK-1 sampler (x2) 
Casio SK-5 sampler 
E-mu Esynth Ultra sampler
Ensoniq ASR 10R Sampler (x2)
Ensoniq EPS16+ sampler
Kurzweil K2500R synth
Yamaha SU10 sampler 

Drum Machines
Casio RZ-1 drum machine
Oberheim DMX drum machine
Roland CR-8000 drum machine
Roland CR-78 drum machine
Roland TR-606 drum machine 
Roland R-8 drum machine 
Simmons SDE drum expander
Yamaha RY30 drum machine

MIDI Interfaces
Emagic AMT8 MIDI interface
Kenton Pro 4 CV/MIDI interface
MidiLink MIDI interface 
Midiman Fastlane USB MIDI interface
MotU Micro Express MIDI interface 
MotU MIDI Express XT/USB interface
Opcode Studio 3 MIDI interface
Philip Rees S5 MIDI switcher 

Audio Interfaces
Digidesign 882 I/O interface 
Digidesign Disk I/O PCI 
Digidesign DSP Farm PCI
RME Hammerfall
RME Hammerfall ADI8 Pro audio interface 
RME Hammerfall Digiface digital interface
Yamaha CBXD5 interfaces (x2)

HDDs and CDRWs
HHB CDR850+ CD recorder 
IBM 4.5Gb SCSI drives (x2)
Iomega Zip-100 drive (x2) 
Iomega Zip-250 drive
Micropolis AVLT 2Gb SCSI drive
Seagate Barracuda 4Gb SCSI drives (x3) 
Seagate Barracuda 9Gb SCSI drive 
Sony CRX 1600L CDRW
Yamaha 4260TX CDRW 

DATs
Panasonic SV3800 DAT recorder
Sony TDC7 DAT recorder 
Sony TDC690 DAT recorder
Tascam DA20 MkII DAT recorder 
Tascam DAP1 DAT recorder 

MiniDisk
Sony MDSJE 520 MiniDisc recorder

Tape Recorders
Grundig tape recorder
Miny portable tape recorder
Tascam 244 four-track recorder
Yamaha KXW321 tape deck

Control Monitors
Alesis Monitor 1 speakers
Dynaudio BM 15a speakers 
Dynaudio M1 speakers
Yamaha NS 10M speakers

Mixers
Mackie 24:8 mixer with meter bridge 
Mackie CR1604 VLZ mixer
Phonic MRT60 mixer
Seck 18:8:2 mixer
Simmons SPM MIDI mixer
Tascam M2600 mixer 24

Mics
AKG C1000 mic
Realistic induction mic
Sony lapel mic

Sequencers
Alesis MMT8 sequencer (x2)
Roland PMA-5 sequencer
Yamaha QY20 sequencer/synth 

MIDI Controllers
Peavey PC 1600X controller

DSP Farm
Symbolic Sound Capybara 320

Other
Behringer Ultrapatch (x4)
Calabash gourd rattle
Griffin iMate adaptor
Mbira with resonator
Nintendo Gameboy
Philips oscilloscope
PT3 PCI interface
Reyong
Wacom A5 & A6 tablets

Sound on Sound, November 1997
http://www.soundonsound.com/sos/1997_articles/nov97/autechre.html

Roland MC202
Roland TR606
Roland R8
Ensoniq ASR-10
Ensoniq EPS
Ensoniq DP2
Alesis Quadraverb
Kenton Pro4
Clavia Nord Lead
Korg Prophecy
Casio SK1
Casio SK5
Casio RZ1 sampling drum machine: "That's really old school. The sampling quality is crap but it sounds awesome."
Philips Oscilloscope: "We have a lot of problems with high frequencies, so we try and keep an eye on it. We also occasionally write tracks that look good on the oscilloscope. Unfortunately it tends to be really basic rave stuff."
Yamaha DX11
Tascam 24 channel mixer: "Fat as f**k. We like the range and flexibility of the EQ a lot."
Korg MS20
Alesis Point 1 nearfield monitors: "We replaced our NS10s with these because we thought our music was suffering."

The UPIC System

This tool/instrument is one of the key factors of the Aphex Twin sound.

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UPIC is a computerized musical composition tool, devised by the composer Iannis Xenakis. It was developed at the Centre d'Etudes de Mathématique et Automatique Musicales (CEMAMu) in Paris, and was completed in 1977. The name is an acronym of Unité Polyagogique Informatique du CEMAMu. Xenakis used it on his subsequent piece Mycènes Alpha (1978), and it has been used by composers such as Jean-Claude Risset (on Saxatile (1992)), Takehito Shimazu (Illusions in Desolate Fields (1994)), and Curtis Roads.

Physically, the UPIC is a digitising tablet linked to a computer, which has a vector display. Its functionality is similar to that of the later Fairlight CMI, in that the user draws waveforms and volume envelopes on the tablet, which are rendered by the computer. Once the waveforms have been stored, the user can compose with them by drawing "compositions" on the tablet, with the X-axis representing cumulative duration, and the Y-axis representing pitch. The compositions can be stretched in duration from a few seconds to an hour. They can also be transposed, reversed, inverted, and subject to a number of algorithmic transformations. The system allows for real time performance by moving the stylus across the tablet.

The UPIC system has subsequently been expanded to allow for digitally sampled waveforms as source material, rather than purely synthesized tones. In 2005, Mode Records of New York released a 2-CD compilation of works composed with the UPIC, entitled Xenakis, UPIC, Continuum, [1] which provides an overview of the machine's sonic possibilities.

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Notes on Composing with the UPIC System: The Tools (Equipment) of Iannis Xenakis (PDF)

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The UPIC System

The UPIC is a configuration of a computer linked to a large-size digitizer table (75 by 60 cm) on which the user designs his music using an electromagnetic pencil. At the other end of the UPIC system, the digits are converted into sound through the loudspeakers. Two screens allow the permanent dialogue between man and machine.

You can use the UPIC system in 4 steps: 1. draw waves; 2. draw envelops; 3. compose a page; 4. mixage.

Take the pen, select DRAW on the function menu. Enter the bank of timbres. Draw your desired waveform and then the control screen will show the waveform: you store the waveform in the temporary memory of the computer. Then, select "HEAR" with your pen. Look for a pitch in the drawing area, you hear the sound immediately. Point on another square and after drawing the sound, you will hear a new timbre. About one hundred of timbres can be stored.

Touch "DRAW ", select an envelop in the ENV- bank. Draw the variation in the sound dynamic in relation to time: the farther your pencil goes from the horizontal line, the louder the sound. Instantly, the envelope is displayed on the control screen; if you aren't satisfied, just draw it again.

At this point, you are able to draw a PAGE of music, you compose just like a traditional composer but without training or limitation of tuning, conventional orchestral sounds or rhythms. The pitch (low notes, high, up) will be represented on theY- axis in relation to the X- axis on which you read the time read from left to right. At any time you may erase, correct, delete the drawing of a page to listen to a timbre, or to draw a new envelope.

Each new line defines a "sound arc" at which you have allocated a timbre, an envelope and an intensity. Over about 2000 sound arcs are allowed to make. To hear the musical result, you have first to determine the duration of the page (from 1/4 of a second to 1 hour) by pressing on CALCULATE PAGE. In the same way, it's possible to modify the range of your page by AMBITUS: from a semi-tone up to 10 octaves (= Y- axis). Up to 100 different sound waves can be stored.

Selecting "DRAW MIXING SCHEMES" you can mix these sound waves in horizontal or vertical direction, defining the architecture of your piece. The global score will be displayed on the control screen (SHOW WAVE). You can even EXTRACT a new timbre or envelope from that global sound wave.

The UPIC system is controlled by a special set of computer programs which help the user to facilitate his musical choice, without the experience of programming or instrumental skills. The user controls all components of his composing process, from the inner sound structure to the outside architecture of the composition. The program allows to make complex timbres or envelope forms that would be impossible to obtain by freehand drawing.

Click and see the full picture of String Glissandi bars 309-314 of Metastasis (1954)

You can RECORD one or more external samples by converting them in your UPIC system. You can assign a global envelope to your page, make graphic or algorithmic transformations (rotations, symmetries, etc) . Once you have stored the set-up, the UPIC system includes also the modus of REAL TIME playback: when you move, accelerate, or stop your pencil , you can control the interpretation of the score manually. Just like a traditional instrumentalist or conductor.

However, the UPIC-user is able to check and modify the musical result instantly, just like a sculptor. At any moment the UPIC-user can control his composing process. If the gesture is naive, the music will be naive. If the use is elaborated , the UPIC converts the appropriated gesture or manipulation. The composer is also the performer.

This UPIC-page from Mycènes Alpha (1978) will extend over one minute.

The original idea for developing the UPIC, belongs to the Greek composer Iannis XENAKIS (1922-2001) who wanted to convert the graphical drawings on his composition METASTASIS (1953) to notes for traditional performers. Xenakis imagined a machine to perform graphical music immediately and to produce the allocated sound waves. Living in Paris, Xenakis worked 12 years as an engineer with the architect Le Corbusier. About 25 years later, the Centre d'Etudes de Mathématique et Automatique Musicales (CEMAMu) in Paris has realized the first version of the UPIC (Unité Polyagogique Informatique du CEMAMu). With this tool Xenakis created in 1978 "Mykenae Alpha".

Xenakis didn't want to exclude anybody to "compose" on UPIC, he introduced many groups of dancers, kids, computer minded people, non-musicians ànd composers to the UPIC tool.

Les Ateliers UPIC

"Les Ateliers UPIC" is founded in 1985 as a center for musical creation authorized by the French Ministry of Culture. In the beginning, "Les Ateliers UPIC " has promoted the research at the CEMAMu, especially the UPIC System. Later, the association enlarged its field of activities. Today, "Les Ateliers UPIC" supports the initiation, research, production, musical creativity, workshops, courses, concerts, etc. Since its foundation "Les Ateliers UPIC" has a large number of collaboration with composers, musicians, instrumental ensembles, vocal ensembles, teachers, universities, producers , theaters, opera houses and festivals from all over the world.

Les Ateliers UPIC
18, rue Marcelin-Berthelot
94140 Alfortville
FRANCE

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Example

Iannis Xenakis: Mycenae Alpha

The Alphabet Dub

Credits:

Directed by:
David Lynch

Writing credits:
David Lynch ... writer

Cast:
Peggy Lynch ... Girl

Produced by:
H. Barton Wasserman .... producer

Cinematography by:
David Lynch

Film Editing by:
David Lynch

Sound Department:
Robert Cullum .... sound mixer
David Lynch .... sound
Robert McDonald .... sound editor

Animation Department:
David Lynch .... animator

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Sound Remix & Music: Ky Olsen

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Plot:

(from imdb user jodiac ):

Another Phobia Envisioned by David Lynch, 29 May 2002
Author: jodiac from Lexington, KY

David Lynch says this film was an attempt at visualizing the "fear of learning." In it, a young girl is tortured by the alphabet in a competely abstract nightmare. Lynch has always been fascinated by the darker side of dreams, the seemingly nonsensical black procession of symbols and fears, and this film simply adds another phobia to the canon.

We are shown images of a head with information going in one side, and this eventually causes the head to erupt into a black mess. Lynch juxtaposes the most innocent of subjects (the alphabet), which usually marks the beginning of our schooling, with disconcerting images of blood and vomit. Disturbing? Yes. Lynch apparently formed the idea after hearing of a girl who was found reciting the alphabet during a nightmare.

On a more profound level, the film examines a fear that perhaps appears for most later in life: the dread of knowledge. There's quite a bit of truth to the oft-repeated line "ignorance is bliss." Gradually, we realize that the more we learn, the less we understand, and therefore, the less control we have over our situations. It's a problem that has vexed people since the conception of "science." We ask questions out of curiosity, find there are no accessible answers, create a religious penumbra that satisfies a great deal with a few simple passages, and then science comes along and we are confronted once again with the inconsistencies of our faith. Thus, we fear that which turns the rock-solid black and whites of our existence to a confused mass of gray.

Also, The Alphabet hints at what linguists and intellectuals and songwriters have known for centuries; words are wholly inadequate to describe even the simplest of human perceptions. And once one has etched that list of letters into one's mind, in a sense, there is no turning back. Life becomes shapes patterned on paper, and conceptions of reality will no longer be formed purely and internally; they are immediately attached to an imperfect language and remained tethered to that which will never truly suffice.

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The Film:

Lynch on The Alphabet



Original Film



The Alphabet Dub
(Original Film with audio remix and music)


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Sources:

The Alphabet on IMDB.com

The Alphabet on Lynchnet.com

David Lynch Home Page