Follow me on patreon.com/hainbach to help me create and get music & soundpacks, as well as more exclusive stuff. If the voice over sounds a little different or you are wondering about the birds, I recorded it with a Nagra SN in the garden of my childhood home in the Black Forest.
The first time I ever encountered Peter's work was at a show in a little pizza place in Madison, Wisconsin, USA. He had the peg version of the Din Datin Dudero and did a performance using earth worms. I was transfixed. He also brought Shinths and encouraged everyone there to play them. He was so receptive to questions from anyone. It's clear that his passion is creating instruments that rouse the curiosity of not only musicians, but anyone that sees them. The very form of the pieces incite creative action; Sometimes before the person encountering it is even aware of it or why. In my opinion, his pieces are more than just mere musical instruments. They're a seductive lure to actually make something.
Got a Stuber this week and I cannot believe how good it sounds. Both the warmth for lower/super low pass tones and crispy highs, having the stereo field capable of handling both simultaneously is amazing. Lovely device, thanks for this video (which helped make an educated purchase).
Hainbach... That last track is probably the most beautiful sublime ambient I've heard in a long time. Better than most Eno /Budd. Stunning. worth joining patreon for that alone. Need to buy the album asap. Thank you for this.💯👍
Thank you for a great demo for an intriguing filtering device. You had me LMAO in the description: "...the result of a surfboard and a CDJ getting cozy in a woodshop." But the sounds here are truly amazing.
The Nagra SN always strikes me as looking clean and modern. Almost wish they were made new and at a reasonable price point, I don't really have a use for it but it's just cool.The sound of it is really nice tho.
the Wooden design of Ciat lonbarde is super cool. Wood interfacing that with the mechanical parts, is that a pot or encoder? but not really for the faint hearted as there is no description for the jacks.
Thank you for the amazing video on this device! Such an enigmatic piece from Blasser and it's great to get this insight. Way in the past you mentioned you would work on a Plumbutter 'Tutorial' in a similar vein to the Cocoquantus walkthrough you have. Do you still have any plans on doing this?
Beautiful sonic tapestry! That last cut was really nice. The sounds you were getting are similar to the gadgetry of the line 6 "big purple pedal" that has an Oberheim random filter modeling setting. Though It seems like you have much more interesting control with the oval piece.
Count me in with those who love that Nagra tape deck, we have all these boutique builders making cool instruments, but I'd love to see someone bring back tape decks with that level of beautiful design and workmanship. Might have to sell my house to buy one, but there are worse things than a tape deck and a cardboard box to sleep in I guess.
Amazed and absolutly frustrated. Everytime I manage to forget a bit about peter blazer's creations and my ciat lonbarde lost schematics mysteries files on my computer, but then another great hainbach video take me back to the fact that I need those beautiful things but I'm just broke and never would have enough money to buy one. When time will be right I'll get started on those diy projects. Anyway I'll just enjoy the beautiful sounds for now
Things like the Ciat-Lombarde-gear are not really my cup of tea, that does not mean I am not admiring them. Even if the price-tags were way lower, I'd still just want to have a go and for sure then let go. I'd say it depends "from where you come" to really get in touch with your philosophy. Coming from a sadly non-musical biography I discovered music-creation really late on my journey and always tried to reach for the "known and meaningful", stepping further away from the science of "not knowing - only trying and feeling". In instruments I need to know the "rules to play them" to have the chance on deciding to break them meaningfully. Same applies to sound-creation: I may be able to create a sound by accident, but often I ended up disappointed in not being able to slightly reproduce that sound on other instruments. So my personal desire lies in knowing how to get something. To adress you personally: I think of your creative mentality as something like early-to-late-picasso, simply because you seem to really well know the rules of things to admire the experimental and unforseen nature of sound, which is of course a beautiful "thing" to have in creativity. You and many other guys of your quality can do things like twiddling a ciat-lombarde-piece by pure choice and enjoy it. ;) For my part, after years of pretty hard learning to walk with music and the relating technology my best pieces in experimental quality came from the earliest of learnings, and quite slowly come back to their quality whilst understanding much more - and therefore making me able to accept the quality much better. Eurorack seems to be my socially related fate and I could not be happier to really grasp the design and the possibilities by still maintaining the labels. - Case cleared: Ciat Lombarde starts making happy, when you know your stuff, I guess? :-P
An additional thought to add to the mix of ideas is that music is at its core a sort of language, and just like other languages, there isn't really one path to follow in using it and expressing oneself in it. Certainly there are certain conventions to usually follow in each, but our different approaches will facilitate, and be facilitated by, different approaches. All of that is to say, I do think this brand of instrument is at their peak when performed by someone who knows their stuff, but there is a wide variety of ways people make music. Some are far more intuitive and spontaneous - and these instruments will facilitate that (even if they have a clear understanding of the technicalities of their instruments) and others are precise, planned, and analytical in their approach. And the beauty of music is that there is space for all those different journeys of expression without going down the same road. Basically, I just don't want anyone to think that any instrument or piece of gear is for a perceived "leveled up" musician or something, like there is only one path to walk in musical growth, even within a single genre or instrument. Some will plan with precision, some will twiddle things intuitively - and in both camps there are those who are very knowledgeable about music and those who are just starting their journey and everyone in between. And that's a beautiful thing, to me, because music is so broad and diverse, the way we approach creating it is also an expression of our own creative ideas. :)
Fascinating! Which version of the Nagra SN is that? According to their website there are several versions, and if I get one I want to make sure I get the best one for music.
Omg that poor OP1 looks like it is barely holding it together. The build quality on those were awful. I'm super surprised that one made it to be 10 years old.
I’ve been watching banana videos for years, waiting for someone to plug one into the the right angle hole in another cable, and at 8:03 it finally happened. 🥲
