Tell us a little about how you ended up being so fascinated by sound. I think I was around seven or eight years old when I was able to program a pixelated balloon flying from left to right on my screen. I wasn’t too keen on playing games, but I loved programming my own things in BASIC. Every Sunday I went to the attic for a couple of hours to play with my Commodore 64 computer. I always wanted to create stuff, so when I got my first cassette recorder, I could record things that I made myself. Richard: I listened to a lot of my dad’s cassette tapes when I was a kid and when we went to my grandmother I wanted to play the harmonium, these are my earliest memories of being interested in music and sound. Take us back to the very beginning: How did your interest in music start? Be it for beat-making, modern pop composition or elaborate sound design, the Electronic Edge EZX has got you covered. Welcome to an immense universe of sound and an ideal vantage point for near-endless creative odyssey. You’ll find kicks, snares, risers, hi-hats, toms, atmospheric and FX sounds, claps, cymbals and more – all free-floating at the divides between electronic and acoustic and between modern and vintage and as far from anything conventional you can imagine. In total, the EZX covers 30 mix-ready kit presets made up from in excess of 370 unique and individually engineered percussive components. In this zero-gravity audio cosmos, layering, texturing, pitch shifting, granular processing and circuit bending all intersect and pivot at the zenith of cutting-edge sound design to deliver a truly one-of-a-kind percussive battery for modern music production. In the Electronic Edge EZX, drum machines, acoustic percussion, foley and melodic instruments merge, meld and converge in a universe of never-before-heard hybrids of sound.
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