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Richard Vission Talks INTEGRA-7

Jim Bybee [Roland US] — Wed, 24 Apr 2013 21:18:53 +0000

INTEGRA-7, the Best Sound Modules All in One

Electronic dance music DJ and producer Richard Vission discusses his use of the INTEGRA-7 in his remixes and original music productions.

Richard Vission has been a preeminent house DJ and producer in Los Angeles since the late ’80s. His musical career started when DJ culture was first taking flight in Los Angeles, becoming known for a freewheeling mixing style that cycled through dozens of records per hour. He took the same frenzied sound into his production career, scoring big in 1992 with the sports-anthem classic “Jump” as a member of The Movement.

Static Revenger’s First Look at INTEGRA-7

Since then, Richard has produced and remixed top dance tracks for artists such as Donna Summer, Radiohead, Todd Terry, Lady Gaga, RuPaul, Ace of Base, Taylor Dayne, Crystal Waters, The Black Eyed Peas, Madonna, and many others. In 2001, he earned a GRAMMY nomination as Remixer of the Year. For over two decades, Richard’s hosted Powertools, the longest running mix show on U.S. radio. Powertools airs weekly on KPWR (Power 106 FM) in Los Angeles, and is syndicated in other markets.

As a busy producer who works on up to ten songs at any given time, Richard needs fast access to great sounds. That’s why he’s recently turned to the INTEGRA-7 SuperNATURAL® Sound Module, calling it Roland’s “best sound modules, all in one.”

We recently talked with Richard about his long career, current projects, and how he’s integrating his newly acquired INTEGRA-7 into his everyday production process.

INTEGRA-7

How many projects do you work on at a time?

In the studio, I’m working on nine or ten songs at one time. Usually, the norm is about seven in the pop world and about three in the EDM world. There’s just a constant flow. For good or for bad, I’m one of those tweakers—I’m never, ever done until it’s done done. You know, sometimes we’re writing pop stuff and we’ll be editing those vocals and working melodies out, and then at night I’ll be working on an EDM track. We’re also developing new tracks at the same time. It’s just ongoing, like nonstop here for us.

How does the INTEGRA-7 help you with your workflow and the demands of your schedule?

What’s cool about the INTEGRA-7, what I really like about it, [is that] it’s going to cut down on my time that I have to go searching for sounds. Right now, in the computer, we probably have 50 [virtual instruments] to choose from. But it’s very nice to know that I can get a lot of answers for what I’m looking for in my head [faster from the INTEGRA-7 hardware]. The INTEGRA-7 is going to make things really, really cool and help the workflow work faster.

Also, working from the INTEGRA-7 Editor for the iPad just makes it a little cooler. Looking at a sound module, sometimes it’s just difficult to get your head around it. The way [Roland has] laid it out in iPad form is very, very simple—touch here, press here, touch there—as opposed to [going] into different pages. An iPad just makes it [more fun].

How do you think other musicians and songwriters will use the INTEGRA-7?

I think the INTEGRA-7 is going to be used by a lot of different people, from studio rats like myself to live musicians. I can see every band wanting to have access to all these different synths when you’re on the road; you’d probably have to bring 20 different synthesizers to bring what’s in that box on the road. I think for songwriters, too, they just want access to a lot of different sounds to get their ideas out.

You’ve been ahead of the curve for a long time with EDM groups like The Movement and Stranger Days. Could we possibly see you forming a new group in the future?

[Laughs.] I don’t see myself being in a group in the future; I think my days of stage diving [are over]. But I think I will be producing other groups, for sure. Being in a group is a really cool thing, and I think you’re going to start seeing more EDM groups come back into the fold, without a doubt. I think that’s going to be the next evolution.

I always like to look at history; history always repeats itself, but with a twist. And I think it’s really cool to see DJs play music, and I think the next thing for an EDM fan is to actually go and watch the person play the music. I mean, the best EDM show in the last 20 years is Daft Punk. So I think there’s going to be an evolution of that. Kids are going to be like, “There are a million DJs out there, but I want to play my stuff live.” I think you’re going to soon see four, five people on stage. I think that’s going to be the next thing. I think an electronic outfit having access to all the sounds that the INTEGRA-7 has is going to help them. If you’re doing your records live, you’re going to need access to a bunch of different sounds.

INTEGRA-7

How does the INTEGRA-7 inspire your creativity?

The INTEGRA-7 is great for inspiration, because it has so many different sounds, from brass to synth sounds to live piano, and a lot of new sounds, which is really cool. I mean, it’s just amazing to get ideas down or take your production to the next level. Anytime there’s something new that comes out, it’s definitely inspirational. [The INTEGRA-7] has old sounds too, and a lot of people have never discovered those old sounds, so to bring them back in the mix is very cool.

One other thing I think is dope about the INTEGRA-7 is the history of sounds that it has, especially a lot of the old drum sounds that I’m always searching for. One of the first drum machines I ever touched was a Roland TR-909. So to have access to that history in the INTEGRA-7, and their history of all their synths from the old JUNOs on down, it’s just pretty amazing and cool to have all that at your fingertips. It’s a JP-80, and it also has every SRX board. It’s like your best sound modules, all in one.

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TB-303 Acid Flashback

OV Valle [Roland US] — Thu, 28 Mar 2013 19:54:37 +0000

The Fall and Rise of the TB-303

Author: Oz Owen

Image from ‘Forward to the Past 2′ on PokerFlat Recordings. www.pokerflat-recordings.com

The machine that put a smile on the faces of party people all over the world, without even realizing—the incomparable TB-303 Bass Line.

It’s hard to make a definitive statement these days without kicking off an almighty flame war, but we’re going to make one anyway: the TB-303 is the greatest single-oscillator monosynth of all time, bar none. There, we said it. And you know what? We’re right. Argue all you want. Go on, see where it gets you!

What other monosynth, and single oscillator monosynth at that, has carved such a prominent niche for itself throughout the contemporary landscape of electronic music? What other synth could claim to have such a unique and distinctive feel, capable of creating sound like no other? No one could argue that the electronic music scene would be markedly different today without that little silver box.

The TB-303 (TB standing for “Transistorized Bass”) proudly left the Roland stable in 1981, originally designed to play bass accompaniment for solo guitarists. But notoriously difficult to program and producing a less-than-authentic acoustic sound, the 303 was swiftly relegated to a curiosity in second-hand music stores, where it languished for years—right up until Phuture, a trio of under-funded Chicago musicians, picked one up for a giveaway price and set about experimenting.

What the TB-303 lacked in user-friendliness and authentic bass tones it more than made up for with its quirky idiosyncrasies and insanely over-engineered tweaking potential via the half-dozen, front-panel rotaries. In 1987, Phuture released Acid Trax, a 10-minute squelch-fest that helped define the Acid sound, a sound that would quickly cross the Atlantic to become a pivotal component of 1988′s nascent rave culture that would come to be known as the UK’s very own “Summer of Love.”

See our list of 10 iconic songs made with the TB-303 on POWERON

There are many monosynths, so just what is it that makes the sound of the TB-303 so unique? In many ways, it’s a simple sound that emanates from that mono output; a single oscillator can be switched between a square and saw wave before sculpting with the 24 dB low-pass filter (often misquoted as 18 dB, 3-pole) that can’t even ascend into self-oscillation. For the truly authentic grind that the 303 is capable of, you’ll need one other element—overdrive or distortion. If you have nothing at hand, then overdrive a channel on your desk to add some crunch.

Video published by: alexfox101

Step ‘n’ Slide…

In Roland’s desire to create an instrument that was self-contained (a Roland ethos that continues to this day), the TB-303 was imbued with three vital functions that combined to create its unique, slippery “acid” sound: the basic-yet-almost-impenetrable step sequencer, the Accent that punched accented notes to greater heights, and that inimitable Slide function that didn’t remotely emulate the sound of a fretless bass. When these functions are used together, the TB-303 serves up those trademark slippery, creaking, acid-laden riffs that, to this day, stamp their authority on dance floors the world over. For best results, drop Josh Wink‘s “Higher State of Consciousness” on any dance floor and stand well back.

In the intervening years, artists by the thousands have flocked to embrace that sound. Notable masters are legion, including Josh Wink, Aphex Twin, and Plastikman (aka Richie Hawtin). But Hardfloor, the legendary Dusseldorf-based proto-acid trance duo, are probably the most famous early exponents. They utilized up to six 303s to weave complex and subtle acid workouts that still stand the test of time, 1992′s “Acperience 1″ being essential listening for the uninitiated.

Programming the onboard step sequencer was a nightmare. But in the 303′s defense, one could jab randomly at those plastic keys to input a riff, then apply the timing, slides, and accented notes to complete the pattern. Bizarrely, 80 percent of the time the results actually sounded passable, if not entirely useable in a musical context. Such is the sonic allure of its cosmic tone.

Getting “That” Sound…

So just how do you get that classic acid sound these days? Purists seeking the original hardware will pay $1,500-plus for one of the 10,000 units that Roland originally made. Right now, there’s even one signed by Trax producer Marshall Jefferson on Ebay—a steal at $6,000.

For those who don’t have the funds for hardware, there are many hardware clones that approximate the sound, but arguably don’t come close. Many software versions, however, perfectly mimic the original. Propellerhead kickstarted the soft-synth revolution with ReBirth back in 1997, and now there are a flood of imitators. AudioRealism and D16 Group are regarded as the most authentic, with the latter’s Phoscyon adding a wealth of new features that take that 303 sound into incredible new territory, should you come over all experimental.

Originally published in POWERON – Download it for Free

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Static Revenger AKA Dennis White – First Look at Integra-7

OV Valle [Roland US] — Fri, 05 Oct 2012 17:16:56 +0000

A long time advocate of Roland products, Static Revenger AKA Dennis White is an extremely prolific, in-demand musician. His work spans a wide number of musical genres and styles and is perhaps best known for his EDM (electronic dance music) hits. In using the INTEGRA-7, Dennis explains that his turn around time for his projects has significantly decreased. Dennis explains, “The best part of all is that sound processing by the INTEGRA-7 is done at the speed of thought and is a piece of gear that should be in every professional studio.”

For Dennis, the INTEGRA-7 is familiar. That’s because all of the sounds from the XV-5080 are on board, plus all 12 titles from the SRX Expansion libraries, including SRX-05 Supreme Dance with essential electro sounds from vintage TR-808 and -909 drum machines, SRX-06 Complete Orchestra with a huge collection of orchestral instruments and dramatic sound-effects, and SRX-09 World Collection that’s like an audio encyclopedia of ethnic instruments including rare, hard to find samples. The INTEGRA-7 is equipped with four virtual expansion slots, which can be used to load four SRX libraries simultaneously.

Best known for the current international dance hit ‘Turn The World On Feat. DEV,’ and platinum selling Dance hits ‘I Like That’ and ‘Happy People,’ as well as numerous number one remixes around the world for artists like Swedish House Mafia, DEV, Madonna, and more, Static Revenger (aka Dennis White) enjoys international acclaim as a music producer and DJ, with support from the world’s biggest headliners and broadcasters. You can also check out his discography on his AllMusic profile.

Aside from his dance hits, Dennis also scores for film and television and is credited on Adam Sandler’s animated film Hotel Transylvania. Other film credits include The Illusionist, Hot Tub Time Machine, and others. On the television side, he’s worked on shows like American Idol, La Femme Nikita, Californication, and many more.

More of Static Revenger:

Dan Silver Explains the “We Are Ever Lasting Silver Sessions” Remix Video

OV Valle [Roland US] — Thu, 27 Sep 2012 00:40:06 +0000

On June 30th, the remix of Standing Shadows‘ “We Are Everlasting Silver Sessions Remix” single and video was released on all digital outlets and featured on the front page of VEVO. Over the last year, the band has released several songs from their recording sessions at Rancho de la Luna studio in the famous Joshua Tree National Park with producer Chris Goss (Queens Of The Stone Age, UNKLE, Duke Spirit, The Cult) featuring engineer Ethan Allen (Gram Rabbit, Daniel Lanois, Spindrift). The remix is a break from the norm for the band whose influences consist of Muse, Arcade Fire, The National, Jesus And Mary Chain, Spiritualized, Interpol, Sigur Ros and oldies such as Beach Boys, Beatles, Pink Floyd, Velvet Underground and many more.

Dan usually plays keys and guitar for the band but for his remix and production work, Dan takes on the Silver Sessions name. Another comment worth repeating is Dan’s mention of using synthesizers and hardware for this tune. In recent years, the trend for such remixes consists of recording mostly with soft-synths. We are pleased to learn that Dan used a V-Snyth GT and Jupiter-80 for this remix.

With the “We Are Ever Lasting Silver Sessions Remix”, Dan and the band are excited to introduce their music to the dance and DJ community. According to Dan, the dance genre has really gained traction in the United States and he felt the time was right to commit some Standing Shadows song’s to this treatment. With eight bars of lead in before hitting the thumping bass, it is evident that Dan has the DJ in mind by accommodating for song transitions. For a dance tune, it is definitely a great effort on Dan’s behalf and one could only hope to hear more in the future.

More of Dan Silver and Standing Shadows:

Part 4: Kurt Kesedar of VILE KINGS Demonstrates Arpeggiation on the Gaia SH-01

OV Valle [Roland US] — Mon, 10 Sep 2012 23:56:32 +0000

In Part 4 of our series with Kurt Kesedar of the VILE KINGS, Kurt demonstrates how to use the Gaia‘s arpeggiator. In the concluding video below, Kurt also explains the Gaia’s versatility for live use. To listen to the entire song (Tear The Walls Down), please visit the VILE KINGS on SoundCloud.

More of Kurt and the “VILE KINGS”

Kurt Kesedar (VILE KINGS): How to Create Bass Wobbles on the Gaia
Kurt Kesedar (VILE KINGS): How to Make Bass Drops on the Gaia
Kurt Kesedar (VILE KINGS): How to Make Builds on a Gaia

Part 3: Kurt Kesedar of VILE KINGS On How to Create the Wobble Sound Used in Electro and Dubstep

OV Valle [Roland US] — Fri, 07 Sep 2012 23:52:32 +0000

In this video, Kurt Kesedar of the VILE KINGS demonstrates how to use LFOs, modulation, and pitch bend on a Gaia SH-01 to create the popular wobble sound used in today’s dance and pop music. Stay tuned for Part 4 of this tutorial as Kurt demonstrates the Gaia’s arpeggiator.

To listen to the entire song (Tear The Walls Down), please visit the VILE KINGS on SoundCloud.

More of Kurt and the “VILE KINGS”

Part 2: Kurt Kesedar of VILE KINGS Demonstrates How to Make Bass Drops on the Gaia SH-01

OV Valle [Roland US] — Thu, 06 Sep 2012 23:41:35 +0000

In this video, Kurt Kesedar of the VILE KINGS demonstrates how to make bass drops (a break when the percussion pauses and returns with a heavier bassline) on a Gaia SH-01. Stay tuned for Part 3 of this tutorial as Kurt demonstrates modulation and pitch on the Gaia.

To listen to the entire song (Tear The Walls Down), please visit the VILE KINGS on SoundCloud.

More of Kurt and the “VILE KINGS”

Part 1: Kurt Kesedar of VILE KINGS demonstrates how to make builds on a Gaia SH-01

OV Valle [Roland US] — Wed, 05 Sep 2012 23:37:02 +0000

Kurt Kesedar is a member of the Electronic Dance duo “VILE KINGS” from New Jersey. This musical team prides itself for using gritty, retro, analog sounds that are usually reserved for vintage synths. In this video, Kurt demonstrates how to acquire that same vibe with a Gaia SH-01. Stay tuned for Part 2 of this tutorial as Kurt demonstrates bass drops on the Gaia.

To listen to the entire song (Tear The Walls Down), please visit the VILE KINGS on SoundCloud.

More of Kurt and the “VILE KINGS”