Podcast: Sonic TALK - 045 Furby Don't Talk Much Since the Op

Bendery, Guitar tones, Gabriel does downloads, ads in music      10/05/07

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45:8 mins
Podcast: Sonic TALK - 045 Furby Don't Talk Much Since the Op
Our new guest

Phew, this one turned out ok after I sat down to record this weeks show, I realized I had no power supply or batteries to run the trusty Zoom H4 on which I record all the shows. A quick dash to the local shop rectified that, but it threw my routine - however, the participants ensured that it was another bumper show. I was joined this week by Rich Hilton - Nile Rodgers' studio dude, also John Musgrave - who uses the show to take a break from his constant flow of work remixing. Dave Spiers from GForce Software - makers of the Oddity, M-Tron, Minimonsta, and impOscar amongst other fine musical instrument plugins, PJ Tracy composer and studio owner from Minniapolis, US and Mark Tinley from camp D***n D***n - oh and a circuit bent Furby who sings for us. We meander through a number of topics this week, including: Credit Card MIDI control, the Berrtill plug-in modeled on circuit bent toys, wiggly worms make sound, IK Multimedias Hendrix Collection and other emulations, studio tomfoolery and Peter Gabriels We7 music download launch which brings us into a wider discussion on the relationship between advertising and music. Remember... Do Call Us We’ve set up a Skype account for people to leave comments (which may be played on subsequent episodes) or requests to be considered for a part on the show. You can contact using the Skype handle 'sonictalk' or if you want to use the phone, our number in the US is:

US Tel: (312) 376-8089
Intl: 001 312 376-8089

UK: +44 (0)20 7870 8616


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6 Comments...  Post a comment    original story
P.J .Tracy    Said...

I wonder if we can sick the animal rights folks on Mark for what he has done to that poor furbee!

It's more machine now then alive!

10-May-07 01:25 PM

Robbie Ryan    Said...

I honestly wish you guys would name drop MORE! It's just that even though Double D have had hits well beyond the 80s, people in the US have a real hard time living down the "Hungry Like A Wolf" era. That being said, Andy, did you ever actually meet Suzanne Vega?

10-May-07 08:15 PM

Nick    Said...

Andy? I guess you mean Nick? Well... yes several times - we went to NYC and worked at her house on a couple of tracks, she also came over and did a vocal on one our un discovered classic (:-), Taste This which was called Salt Water.

We stay in touch and a few years ago we did some mixes on a track called Rosemary for her too.

She's a nice lady - I used to ring her up after being at the pub to ramble on about stuff and she didnt seem to mind.

11-May-07 03:42 AM

beej    Said...

(Ah cool, comments are working again - the verification image was broken all yesterday so I couldn't post comments on anything).

Hehe - the interesting thing was, a few years before the DNA release (I forget the exact timescales), as a Suzanne Vega fan, I had done a really crap track using that Tom's Diner vocal, so when your version charted I was already hating you guys for nicking my idea and being so damn successful with it... :)

(Hehe - and when I say crap, it *really* was crap. I think in those days I had a CZ-101, a couple of cheap drum machines and a Fostex portastudio.)

But I guess that track started you on a path that eventually brought us Sonic State and this podcast, so all is forgiven Nick... ;)

12-May-07 07:12 AM

Steve from Saskatchewan    Said...

Mark & Nick,

A few episodes back you guys were ragging a bit on, I think, Herbie Hancock for some of his self-indulgent jazz wankering. Now I too prefer the world of esoteric electro-acoustic music to that of ultra-dense jazz music, but my question is:

Is it really fair to treat feedback music and shorted-out stuffed toys as "cool" while calling down experimental jazz music?

I think they actually are quite similar in the way Nick said this stuff is all about the process, the idea and the explanation, not about whether it will be popular or even necessarily listenable. In electronic stuff, we mess with sound. In jazz they mess with sound, but it's just in a "what would happen if we made this a Gminor flat5 #9 #13" kind of way. I didn't have a whole lot of use for Jazz before, but after teaching music in school the last four years, where jazz is a big part, I have way more appreciation for it.

19-May-07 10:17 AM

nick    Said...

You know, that's a very good point Steve.

I'm not sure I have an excuse or explaination to cover my embarassment. I guess my only defense is that it is more interesting to me and I would say that you dont see ciruit bending gigs where people pay a lot of money to attend or put on being confronted by extremely talented musicians pleasing only themselves.

Dont get me wrong, I do like Jazz a lot, but just not the non melodic, self-indulgent stuff. IMHO, there really is no difference between a shredding guitarist, going on and on in endless solos and the the jazz musician doing the same, just because its jazz doesnt make it okay.

07-Jun-07 03:59 AM

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