yes I saw the cravat. I wonder where he gets them. that huge set of right kit was almost enough to make me feel the emotion of jealousy. fortunately I caught myself and realized the insurance,the amount of workload,the engineers and suchlike. I talked myself down. nice area. and a just classy guy. thank you Uploader. I rather enjoyed that
Auratone 5c Cubes on the desk there, a must for final mix checking. I remember the first time i saw these speakers back in 1976, Iv'e used them ever since!
Daniel Miller can even make an innocent Yamaha upright piano sound like you want to go "warm... leatherette..." just by hitting some keys quasi randomly :)
The 45 of "TVOD"/"Warm Leatherette" is one of the best in my record collection. Has anyone detected the J. G. Ballard influence on these two particular tracks?
+rrliled Thanks for the confirmation. But I need to track down the interview for proper citation. Thanks again for the lead. Btw please see my RU-vid piece of "Kraftwerk." Daniel Miller is into "Krautrock."
Daniel Miller was meant to be very influential to 80s / 90s synth bands in the UK, I think a serious interview is in order, he claims in the video above that 'he's not a studio engineer' however, I suspect modesty has crept in and would love to know what work he actually did with those 80s/90s synth bands. The TrashTheory RU-vid channel should do a piece on him or someone similar.
Is that a KS Audio studio monitor in the back? That little square box :) How come I can't find so much references about it? Just a few extremely good ones, almost to good.
А что за группу он назвал? И если они так запросто мотались с гастролями по Союзу, типа, метнись в Лондон за дэиксом, и обратно в Сибирь - почему они нифига не на слуху у нас?
TODO UN HOMBRE ORQUESTA: PRODUCTOR DJ Y REMIXER DE #ERASURE #DepecheMode #NewOrder #NitzerEbb DEMAS DE SER EL DUEÑO DE LAS DISQUERAS #MUTE #NovaMute #MuteRecords
Does anyone know the studio speakers he is using? I want a good pair of near field monitors but it's so hard to find some truly clear monitors. I found something from KS Digital, the C5.. can anyone help me out with this journey? kind regards
why isnt this guy my grandad. imagine going to his every sunday for dinner. my sundays consisted of football italia and a wonky snooker table. id ve like come on gramps get your moog out
Beautiful studio and the great DM (Daniel Miller not the band 😉). I always found it odd when people put their rack gear down by their feet, not really conducive to work flow...
Saying the EMS2000 vocoder is more Kraftwerk than ELO is strange as Kraftwerk used the Sennheiser VSM? (as did Telex) and ELO actually used the (or a prototype of originally I believe) the EMS2000!
Depeche Mode was/is a French fashion magazine. Possibly some weird band or other might think that's a good name for themselves, but I'm sure they won't go anywhere. 😉
Would it be too amiss to say that this studio is appropriately built to freely accommodate one production with 90% software accompaniment, then another production which is totally live - or at least performed with your own hands and feet? (The latter is extremely important to me, since I prefer using the DAW just to capture my performance, not to perform for me. I would be all over that piano and the Minimoog D.)
It is definitely very, very pared-down compared to his previous studio, The Instrument, and quite deliberately so. I suppose if there is a decent software version of a synth, then that's what would be used in this studio. Otherwise, I can't imagine why Daniel wouldn't have included his signature, "bread-and-butter" synth, the ARP 2600. He still has his at home, but there are some pretty good VSTs of it by now, so that's what they must use instead. Presumably he isn't happy with the software Pro-Ones or Minimoogs out there; either that or these are some token bits of vintage hardware he decided to provide. I don't know, I think that in a studio setting, I'd prefer to be able to play with more hardware that I don't own than this. If I wanted to use software, then I could play almost any synth I wanted to on my own laptop with a MIDI controller.
What's absurd about this is that he has some of the most rare and desirable synths in his private collection, like the Roland system 700 and the EMS Synthi 100, but he says the bands he signs aren't interested in using them.
I suppose this is because you can make 99% of the sound without putting so much effort in learning the intricacies of a System 700. Unless you have a free access to using one, your time and money is better off spent using simpler equipment or even DAW plugins.
@@trizvanov Good point. Most bands are more into making music than spending weeks in the studio learning how to use one particular synth that none of the members happen to own. Generally, if something is intended for everyone to use temporarily, then they'd better be able to get some good use out of it pretty readily, without much effort. These two large modular synths also take up a lot of space, which isn't ideal for equipment that would only rarely be used. Additionally, I don't know about the EMS Synthi 100, but if it's anything like its smaller cousins the VCS 3 "Putney" or Synthi A/AKS (all of these are pretty much equivalent), then getting something that sounds "musical" out of them is a challenge in itself. Don't get me wrong, they're fantastic for making some of the coolest, strangest sounds, but to my ear they don't sound "musical" most of the time (contrast this with the Roland Jupiter-8, which can also make strange sounds, but it is quite easy to make it sound "musical", and it is easier to use in general, albeit more limited).
As a case in point, let's look at Mute artist and synth virtuoso Vince Clarke (of Erasure, of course, and formerly of Yazoo and Depeche Mode), who is the proud owner of a Roland System 700 and a super-rare ARP 2500 (as part of his massive collection that has a lot of commonality with Daniel's collection, and is even bigger). While he does use his System 700 a fair amount, as he's owned it since the 1980s and knows how to use it well, he doesn't use his 2500 for a whole lot. He'd rather use his ARP 2600s instead, since they're easier to use and he's used the 2600 since his Depeche Mode days (Daniel's before he got his own). Vince additionally has a number of other modular and semi-modular synths that he definitely makes use of, but he still often turns to the much simpler synths in his collection, such as the Sequential Pro-One and Roland Juno-60. They're easier to use and he can get what he wants pretty quickly from them, which in the final analysis works in their favor, since even this guy is more into making music than mucking about with synths all day long. To illustrate this principle, Vince once owned a Buchla 200 series modular synth, which he really liked in some ways, and said that it sounds "beautiful". But he eventually sold it because he found it unintuitive to use (for him) and there was just too much to learn. When asked, he said it was too "nerdy", which I interpret to mean that it's more for those who are really into electronic sound synthesis for its own sake, even more than he is. Vince only keeps what he tends to use, which is why he has sold some items from his collection. He used to have a Yamaha DX7 (who didn't?), but didn't like using it, especially since he'd have to master a completely different type of synthesis just to become good at using this one synth. He also sold his Moog Modular because it was more unstable than he could stand. He liked it alright, and it's a legendary, pioneering synth, but he felt it didn't do anything that his other modular synths couldn't do, and more easily for him, so he finally got rid of the thing. Others dream of owning one, and I'm sure Vince made someone else really happy by selling his to them, but he wanted something easier and less frustrating to use (it needed to be tuned every few minutes!).
Yeah, in the west, we had and still have more DX7s than we know what to do with! But I guess it was a hard-to-obtain novelty in the USSR, back in the day.
