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PostPosted: Fri Apr 23, 2010 11:03 am 
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intercorni wrote:
24db wrote:
intercorni wrote:
24db wrote:
Edgar told me last month that the Helmut Grothe sequencers have been 'recycled'

What does that mean exactly? Works again the old sequencer?


I imagine Edgar means they were scrapped and thrown away


:-(


apparently they weren't very good anyway


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PostPosted: Fri Apr 23, 2010 12:08 pm 
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bigmoog wrote:
24db wrote:
of course there have been rumours that at least part of Logos was-n't even recorded at the Dominion...but at a gig in Germany



having studied carefully, my LP and CD against the various trees and leaves, I once again point to a famous saying : ' all rumours have basis in fact '

:P :wink:


The evidence to suggest it may not have been recorded at the Dominion (or at least part of it) is in the upbeat section towards the end which has a different chord structure and a melody missing that occurred at the actual show(s).

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PostPosted: Fri Apr 23, 2010 6:12 pm 
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Peter Beasley wrote:
bigmoog wrote:
24db wrote:
of course there have been rumours that at least part of Logos was-n't even recorded at the Dominion...but at a gig in Germany



having studied carefully, my LP and CD against the various trees and leaves, I once again point to a famous saying : ' all rumours have basis in fact '

:P :wink:


The evidence to suggest it may not have been recorded at the Dominion (or at least part of it) is in the upbeat section towards the end which has a different chord structure and a melody missing that occurred at the actual show(s).


Yes, I've always wondered about that - I'd assumed they'd overdubbed it ( or at least mixed out the strident melody line that Schmoelling played), but maybe not.


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PostPosted: Fri Apr 23, 2010 6:19 pm 
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24db wrote:
Fritter Jr. wrote:
An amazing album, made better by the memories of being there. It was my first sit-down gig (for musicians as well as audience) and through my juvenile bewilderment I remember:
the interminable wait for them to start, only for the "thank you for being patient" announcement to make me think, 'Oh, that's nice of them'.

The chest-vibrating bass (especially on what became the first part of Side 2) and those FM shrieks and gongs scaring the bejesus out of me and being quite relieved when the following sequence started up.

Mojave Plan, Midnight In Tula and White Eagle were highlights as they were still so fresh and rocked so hard.

It's odd that I don't recall them doing Choronzon as that was my favourite track at the time, but that's 28 years for you.

Schmoelling really gave it some on his solos throughout, didn't he?.

The minimalist lighting/visuals were very effective and I thought the fact that the musicians spent a lot of their time with their backs to the audience was very cool indeed, as were Chris's cowboy boots. And to cap it all the back of my head turns up on the album cover!!!

Apologies for rambling, but this was a special night and the record has remained a favourite ever since. It's nice to read that so many people 'here' were 'there'.


Johannes played quite a few of melodies (on his Oberheim and Roland Jupiter 8?...I forget now), but they were quite low in the mix at times, whereas the sequencer melodies were still belting out (very loud even right at the back of the hall...loved the BASS, especially the doom ridden section on part 2...leading into the little false start to the sequencer section. Don't remember the band playing with the backs to the audience (only Chris for obvious reasons), as their equipment was set up differently (Edgar told me last month that the Helmut Grothe sequencers have been 'recycled'.

I remember doing a double take when Johannes played the melody on the long version of Choronzon thinking 'he's ****ed it up' only to realise that TD had changed the arrangement (from 6 to 8 bars, for musos amongst you). Mind you it still sounds wrong to me, even to this day.

I seem to have a memory that the curtains opened to a darkened stage, with only the equipment lights or perhaps a very faint purple and then increased to a rich Red when then 'Wake-up' part of Logos started to play (perhaps with some flame effects..or am I thinking of the twisted curtains? being short sighted I was lucky I could see the stage :D). Later they had some backlighting and a couple of slide projections (pyramids, statues...and the earth for White Eagle).


Yes! I remember thinking at the start, "All musical equipment should have chaser lights on it". I recall all three of them turned away at the start, twiddling knobs and pushing buttons on the racks behind them, like some kind of space ship crew. From the sounds of it, Edgar and Johannes were probably just trying to get theirs to work :lol:

And I agree about Choronzon, it's better in its shorter version, it feels much pacier, but also maybe that's just what I'm used to.


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PostPosted: Thu Apr 29, 2010 10:54 pm 
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This was my very first TD album and still remains a firm favourite


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PostPosted: Fri May 14, 2010 2:35 pm 
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sorry of this has been linked before, but I found this by accident:

http://www.youtube.com/watch?v=nYBVzgr6LGA

8)


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PostPosted: Fri May 14, 2010 4:02 pm 
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T4N63R1N3 DR34M wrote:
sorry of this has been linked before, but I found this by accident:

http://www.youtube.com/watch?v=nYBVzgr6LGA

8)


almost as good as on the night :)

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PostPosted: Fri May 14, 2010 7:46 pm 
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Logos is a great album. The part that starts around the 8 minute mark and ends around 14 minutes on the title track (Logos Velvet?) is my favourite TD melody, it's really beautiful.


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PostPosted: Fri May 14, 2010 11:28 pm 
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I totally agree; that particular sequence of Logos Part One is just absolutely beautiful. There is an uptempo, partial reworking of the chords in this delightful segment that appears on the Johannes Schmoelling album Early Beginnings. This alternative piece is the theme to the film "The Soldier".

Getting back to the music as it appears on Logos (the sequence that starts around the 8 minute mark), does anyone know for sure which band member was playing the central (Moog?) melody over the basic chords? I have always pictured Schmoelling as contributing that part, but could of course be wrong ...


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PostPosted: Sat May 15, 2010 11:03 am 
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Didn't like it at first. The sound is horrible. However after a bit I found it compelling viewing. Not sure I'd listen to it lots. If they improved the sound it would be more interesting.

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PostPosted: Fri May 21, 2010 10:36 am 
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rigel wrote:
Getting back to the music as it appears on Logos (the sequence that starts around the 8 minute mark), does anyone know for sure which band member was playing the central (Moog?) melody over the basic chords? I have always pictured Schmoelling as contributing that part, but could of course be wrong ...

I think the melody came from the sequencer as all the note lengths, pitch bend and vibrato detail sounded exactly the same at each concert, though I do detect some fairly quiet unison playing along with it on at least one recording (but not on 'Logos').

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PostPosted: Sun Jul 25, 2010 1:48 am 
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Cor, 5 pages in and no-one's mentioned Steve Reich's "Music for 18 Musicians" yet :wink:

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PostPosted: Sun Jul 25, 2010 5:37 am 
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Seeker_UK wrote:
Cor, 5 pages in and no-one's mentioned Steve Reich's "Music for 18 Musicians" yet :wink:


Hi Seeker, i found that interview fron a OLD tadream mailing list. It's a Steve Reich interview :

The New York Times, June 1, 1986, Sunday, Late City Final Edition
SECTION: Section 2; Page 23, Column 1; Arts and Leisure Desk
HEADLINE: STEVE REICH, A FORMER YOUNG TURK, APPROACHES 50
BYLINE: By TIM PAGE

(. . .)
''I had to learn to write 12-tone music at Juilliard and I greatly resented
it,'' he continued. ''I hope that my work won't be used as a recipe for
academic music in the conservatories.'' Still, Mr. Reich is pleased that
composers such as John Adams and Arvo Paert have admitted a debt to his work.
''They clearly have their own voices, but if my music can be useful to them in
any way, then I am delighted.''
He is less happy with some other appropriations. ''I should be receiving
royalties for the theme to 'Adam Smith's Money World,' and the whole
soundtrack to the film 'Risky Business,' supposedly by a group called
Tangerine Dream, was an out and out ripoff of 'Music for 18 Musicians.' I
should have sued.
''Still, if I had a dime for every trace of 'The Rite of Spring' I've heard
in movie soundtracks, I'd be rich,'' he added. ''I don't think imitations will
sap the power of the originals. If anything, because of familiarity with the
sound, the original will come through more clearly. It will be approachable,
but particularly engaging, focused and musically cogent. Ezra Pound once said
that a classic is something that remains news and the best work is capable of
re-creating the context of its times.''
(. . .)


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 Post subject:
PostPosted: Wed Aug 04, 2010 6:58 pm 
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lot a fuss over a two second sample...way before sample copyright was an issue ;)

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PostPosted: Mon Aug 09, 2010 6:10 am 
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24db wrote:
lot a fuss over a two second sample...way before sample copyright was an issue ;)


haha ! Well said ! :lol:


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