CD Rot

A few weeks ago I wrote about the idea of buying music largely as mp3's rather than in any physical format. I am failing miserably in this endeavour as the ever growing pile of amazon packages my postman is delivering testify. 

 

Now, the idiocy of my expanding CD collection is no longer solely limited to lack of space. I have begun to encounter the first incidence of what I think is CD rot in my collection. On opening up an Eurythmics CD I must have bought sometime in the late 80's, I noticed it had a distinct brown/copper tinge that I do not remember it having. I can find no pictures of the actual CD of this release on the net and am slowly convinced it is succumbing to bronzing. The disc does have a tendency to produce read errors but is also scratched a little so I can't identify if the problem is the scratches or the presumed bronzing. 

Either way the CD is easily replaced and is not especially significant. However, if one day I open up the cupboard and find a few hundred CD's unreadable and brown, I am not going to be impressed. If these discs are bronzing because of a known manufacturing error should the record company not offer us recompense? Faulty workmanship of any other sort would demand redress.

Whilst a blown hard drive may wipe out my music collection, I can at least make multiple copies of my music to offer some sort of safety net. If my CD's rot and become unplayable I am stuffed. This digital collection idea makes increasing sense. Anyway must go. Postman is at the door with a package from amazon.

VCMG "Ssss"

Forming one of the greatest British bands back in the early eighties obviously wasn’t enough for Vince Clarke and Martin Gore. 30 years on they have decided to bury their differences and try again. Anyone with even as little as a passing interest in electronic music should have been eagerly awaiting the release of the VCMG album “Ssss”. So now it’s here what are we to make of it?

Well, despite having two of the greatest writers of pop songs this country has ever produced in the group, VCMG have gone down the ‘techno’ route. But it’s definitely techno with Depeche Mode DNA. Comparisons with “Speak & Spell” are a little wide of the mark, but there is liberal use of some wonderful analogue synth sounds that hark back to he early days of their careers and draw on their shared history and love of synthesizers.

I found the first single “Spock” a moderately entertaining slab of minimal techno that didn’t hold my interest for long. Yet in the context of the album the track sits nicely alongside its counterparts and sounds a much better prospect. There are some good tracks on the album with stand outs such as “Skip this track” and “Windup Robot” proving that these pop pioneers know just how to get us dancing.

This is my kind of techno – bright, mid tempo, funky, evolving and electro-pop tinged. Highly recommended to even none DM/Erasure fans.

CD's - what are they good for?

About 5 years ago I threw away a wheelie bin full of CD’s. I had listened to them once and had no intention of listening to any of them again (you know “Eskimos and Egypt” “Spacehog” - shit like that). I needed to slim down my collection as I had moved house and didn’t have as much storage. It turned out to be a painless process and I have never thought “Oohhh where is that ‘Phil Collins Hits’ CD?” only to find it has been binned. I don’t regret anything – so why do I find it so hard to swap to digital music and let go of the rest my CD’s?

I keep a back up drive of my MP3’s as I’m worried that should my hard drive die, I will loose all of my music. Yet, I know I always have the back up of the CD’s. But each of the boxes in my spare room contains around 50 CD’s. There are 27 boxes - so that’s about 1350 CD’s (I have sold/thrown away/given away about as many in recent years too). That’s a lot of weight and storage space for a ‘back up for a back up’. It’s ridiculous.

Increasingly I am realising that the CD’s might be a 'back up' for a lot of my music, but there is an increasing amount  which I only own in digital download format. Sometimes this is because I have no choice and the music is only available as a download, sometimes it is out of choice, but I am becoming increasingly comfortable with the idea that music doesn’t have to come on a black or silver disc. I never play my CD’s or vinyl anymore and only use them as a source to rip. I play music from my phone via Bluetooth in my car and home; I use last.fm on my Xbox and play MP3’s constantly from my PC. Thus, it is totally illogical that I continue to buy music in physical formats.

I am trying hard to give up physical releases and weaning myself off by only buying digital downloads of artists who are new to me (such as Chairlift’s “Something” this week) and sticking to physical releases for artists I love and consider myself a collector of (Pet Shop Boys, Nine Inch Nails etc etc). I hope I can stay on the path to CD sobriety; my spare room is small enough as it is and I really don’t want to have to throw away that Sven Vath CD – oh no, hold on a minute……..

In time?

Until recently I always thought it was pretty easy to play in time with a sequencer. Since acquiring an electric guitar I have realised it is in fact, not that easy. Yet syncopation or just plain ‘playing out of time’ drives me mad.

Nowhere is the difficult nature of playing in time with a sequencer more painfully illustrated than on records made in the late 70’s. Take ‘Beat the clock’ by Sparks – you an almost hear the drummer cursing the producer (the inimitable Giorgio Moroder) as he frantically tries to keep up with the pulsating bass sequence. I always cringe at the timing on Gary Numan / Tubeway Army records such as “Me! I disconnect from you” and especially “We are so fragile” where the poor drummer stands no change until the guitar comes in to cover the millisecond variations in timing which sound so wrong.

 

Of course Mike Oldfield couldn’t stand things being out of time either and even went as far as re-recording “Tubular Bells” so that it was quantized. But would “Replicas” sound as good if it were re-recorded? Well “Tubular Bells 2003” would suggest some bits would sound better and others not.

Personally I would love it if the multi track was stuck in pro-tools and quantized. I can hear some people saying “Oh noooooooo, that’s takes away from its charm and naivety” or “It’s the only human element in an electronic recording and adds something”. Well no, sorry, it just spoils it. And whilst yes, I now appreciate that it’s hard to play along to a click track or sequencer, it doesn’t mean I want to listen to it.

Do I actually NEED you? Break and I'll know.....

It seem the true test of whether you actually need a piece of gear in your studio comes when it breaks down.

In 2003 I was in the market for some new gear; an analogue modelling synth to be precise. The object of my GAS was a Korg MS2000B. I seem to remember it was about £500, but something tells me it must have been more.

Anyway, during the journey to “Sound Control” I suddenly decided to take a different route and stop off at the second hand store. This was purely on a whim. Ever since I was young this shop has been an Aladdin’s cave of instruments and gear (albeit overpriced). What made me take a detour and go to the shop I have no idea to this day. But I’m glad I did.

My SuperNova II - dead

With the £500 cash in my pocket for the Korg I wandered into the smelly and cramped second hand shop to be greeted by a vision in blue. I’d never seen a Novation Supernova II keyboard before. The rack was almost obligatory in the early 90’s, especially if you recorded dance music, but the keyboards are much more scarce. The price of this rare and beautiful beast? You guessed it: £500.

The stats were heavily in favour of the Novation. The Korg had a small 44 key keyboard, a mere 4 voices and was monotimbral. The Novation had 61 keys, 24 voices and was 8 part multi-timbral. No contest.

Recently however, the Supernova has been ill. One of the master outputs decided to die and some of the LED’s no longer worked. Reluctantly, I took the Novation out of the studio and tried to carry on without it. This is the real test of whether you still actually NEED a piece of gear. Space is a real issue for me currently and every instrument has to justify the space it occupies.

The Supernova revitalised

I soon found I needed analogue type sounds and turned to the synths I had left. I have “classic” or “retro” soundboards in three of my ROMplers and whilst they provide some useful sounds, they just aren’t editable enough to be used as analogue modelling synths. The idea of getting my JP8080 or MS2000BR (yes I got one some years later) out of storage did not appeal as they are monotimbral and sonically just don’t cut the mustard. The Waldorf XTk is editable but just too noisy and mad for the subtle pads and glistening sounds of the Novation. VST is all well and good but somehow it just doesn’t appeal to me. Thus the Supernova went to the synth doctor at Sound Service, it was obviously needed.

At first, the diagnosis was of a terminal fault. Searching eBay led me to despair of owning a Supernova keyboard ever again, racks are 10 a penny but keyboards are not quite so abundant. With this in mind, the synth doctor went back and pulled the guts from the synth again.

It seems Novation do not make their circuit diagrams available to the public and diagnosing a fault on a board as complex as that in the Novation without one is very tricky. After many man hours, new chips and a lot of head scratching the synth began to live again. Now its back I am a little lighter in the wallet but relieved my bargain may provide loyal service for another 10 years.

So, if you are ever short of space or wondering if you need to replace a synth, remove it from your set up and try working without it for a few weeks. You’ll get your answer soon enough.

The plucky Casio

For some reason I always liked the idea of owning one of the Casio CZ series of synthesizers from the 1908’s. So, a few years ago, I decided to buy one. But which one?

Whilst the CZ-101 is a classic synth beloved of many, its small keys and user interface made it look a bit like the ‘toy’ Yamaha keyboards of my childhood. The CZ-230S is also toy like and to add insult to injury it isn’t even programmable. The CZ1 is the daddy of the CZ range and is both rare and relatively expensive. Thus I began looking for a CZ1000 3000 or 5000.

After a few weeks I discovered a CZ3000 complete with RAM cartridge, manuals, programming guide and original dust cover for about £100 on eBay. When it arrived, the mail had not been kind to it and the casing was a little smashed up and cracked, some of the buttons didn’t work and it generally looked worse for the treatment of Parcel Force. Luckily Sound Service managed to resurrect the Casio and it began to function again. Yet, I never really got time to play it and after a few weeks languishing on a stand the CZ3000 and all the rest of my equipment went into storage as I had to move house.

During the house move, one of the keys on the CZ3000 was smashed, I lost track of the RAM cartridge and generally lost interest in the synth. When I finally unpacked my studio some months later, the Casio was consigned to storage and not seen for years.

However, a few weeks ago I decided to try eBay again with a view to acquiring a new key for the plucky old Casio and get it up and running. Remarkably I sourced a new key from an eBay seller and took it to Sound Service once again for some TLC.

Now the CZ3000 is enjoying some time out of storage and is fully operational. All I need now is a slider cap for the Stereo Chorus knob to make it complete. 

Now you must excuse me, I have to go into the attic to retrieve the programming guide for this thing as I have no idea how phase distortion synthesis works and every sound I make is crap. Hope it was worth repairing....

Is a tune too much to ask for?

What in the name of god has happened to Björk? “Homogenic” is one of my top ten albums of all time and I am certain no one will ever surpass her live performance I witnessed in 1996 as part of the “Post” tour. Her versatility and originality were beyond compare. But, to me, her new album “Biophilia” represents a low point in her fall from musical grace.

There were three components to the work of Björk. Firstly she was the most amazing and unique vocalist, secondly she could write a great song and finally her music was well produced. Whilst her vocal ability remains, it seems Björk has come to the conclusion that she doesn’t need to write tunes and that a dirge will now suffice. To add insult to injury, she has decided that she will, in the main, produce these dirges herself. Predictably the result is something of a disaster.

There really is not one song to redeem this album. Recent albums such as “Volta” and “Medulla” had one or maybe two tracks that proved to be entertaining and thus the CD’s were not a complete waste of money. However, “Biophilia” is a stinker and even illegally downloading it for free will cost more in electricity than it is worth. A truly awful album.

In my imagination I give Björk a nudge and a wink and say: “Hey. Go back and make something a bit more like “Post”. I don’t expect another “Homogenic” but Jesus stop it with the arty, tuneless garbage and give us something with a beat now and again.”