But working with presets – the sounds and patterns preinstalled in music production software – tends to be seldom discussed. At the same moment you’re wincing over the crude drum sounds, you’re also grooving to the funk pattern Goldmann has created with them.”įrieze Magazine (DE) “In art, works made using unaltered found objects are referred to as ‘readymades.’ In music, the terms ‘cover’ and ‘sample’ are used when artists borrow from others. With the presets constraint in place, Industry‘s music naturally sounds cheesy in places, yet Goldmann, not surprisingly, transcends the self-imposed technical limitations through the force of his composing sensibility and imagination. The slamming snare and vocoder-like effects featured in “Aurelola,” for instance, embody an entire era all by themselves.
#Korg m1 preset tv#
Yet while that might generally be true, a great many of the recording’s sounds call to mind the ’80s and ’90s and low-grade music production for movies and TV shows of the time. Industry doesn’t, therefore, feature successful presets but instead “ failed sounds of now obsolete synths,” as wryly noted in the press release. Īdding to the project’s perverse appeal is the fact that, despite being equipped with sounds aimed at electronic music production, the three workstation synths didn’t make significant inroads into techno and house, or anything other electronic music style for that matter. The Berlin artist’s latest project explores how effective a music production can be when factory presets only are used, in this case presets from three outmoded devices, specifically Japanese workstation synthesizers: the Technics WSA1R (1995), Korg Triton Rack (2000), and Yamaha TG33 (1989). Like them, Goldmann flouts expectations and challenges conventions, and does so with no small amount of audacity and humour. Textura (CDA): “There are times when I can’t help but think of Stefan Goldmann as some modern-day reincarnation of Marcel Duchamp or Andy Warhol. Groove (DE): #4 readers poll, best books 2015. Goethe Institut in Kyoto, Osaka, Sofia, Plovdiv and Veliko Tyrnovo Universität der Künste Berlin’s Techno Studies symposiumįolkwang Universität der Künste Essen, Germany Stefan Goldmann’s lectures & artists talks on presets: As beautiful as the scheduled meeting of a pvc sheet and a thermoform mould on a workbench. The result is a surprisingly pleasant listening experience with effortless grooves and rich textures, and mildly demonic connotations of conveyor belts experiencing mood swings. INDUSTRY doesn’t rely on successful presets but on failed sounds – industrial assumption of where culture will go, but chose not to.
All sounds are obscure factory presets from three now obsolete 1990s Japanese workstation synths, all effects are presets, all notes are quantized and most panning is purely accidental (laid out in the presets themselves). INDUSTRY sheds all personalised effort and tests how far one can get by employing presets – and nothing but presets. The book is currently available in its fourth edition (black cover). The original Korg M1 developer team: Tomoko Itoh / Junichi IkeuchiĪnd traditional Bulgarian musician Dimitar Kotev. Michael Wagener (producer – Metallica, Janet Jackson, Ozzy Ozbourne) Disruptive gear and iconic presets, their background and impact – from Korg’s M1, Yamaha’s DX7 and Roland’s 909 to Ableton Live, Native Instruments’s Reaktor, Sidechain compression and Auto-Tune – are discussed in unprecedented depth and clarity, with several persons in charge of such developments speaking out for the first time.įeaturing an introductory essay by Stefan Goldmann + extensive interviews with: Each modern instrument or software comes with presets, and people use them heavily.įor his first book, PRESETS – digital shortcuts to sound, Stefan Goldmann has talked to industry leaders, programmers, producers, musicians and fine artists for a comprehensive description of preset audio: from synthesis to sample libraries, from instrument emulations and gear-cloning to automated composition and performance – short cuts in electronic music, classical and traditional musics, guitar rock & audio-related visual arts are covered. Audio presets provide a library of “typical” and supposedly desirable sounds – thus enabling a consumer to bypass individual programming and get results quickly.
Presets are pre-programmed and electronically, magneto-electrically or mechanically saved settings of a device such as a synthesizer or an effects unit: factory stock sounds, equivalent to stock photography or preset styles and filters in apps like Instagram.