Kraftwerk – Musique Non Stop (final solos)(live in Wien 2014)
Nintendo 8-bit version of “Home Computer” by Kraftwerk. Everything except the vocals are recorded with the Midines, in one shot.
The synthetic speech is made with SayIt by AnalogX:
Here’s an old favourite played solely on the new Stylophone S2, recorded on the OP1.
The video shots are the actual performances.. no fake dubbing. (I had some trouble with the sync though. I’m hoping it’s ok.)
Classic Kraftwerk tune, video details below:
No copyright infringement intended.
It’s not quite like the original, neither is not intentend to be.
Sequenced parts sequenced on Cubase 5 (several VSTs were used) then audio mixdown passed to Roland SP-404.
Korg T3ex Master Midi Keyboard
Roland XP-60 with SR-JV Vintage Synth Board
Roland JV-2080 with SR-JV Vintage Synth Board
Roland V-Synth XT for vocoder sound
No copyright infrigement intented.
Used for the purpose of criticism and education.
NOTE: This is a live cover. I don’t recorded the ambience sound of the public, bacause it was a small auditorium. Record was done though Mixer REC OUT.
Sequenced parts done on Cubase 5, than passed to Roland SP-404.
Hardware instruments used:
Roland SP-404 sampler
Korg T3 Master MIDI keyboard
Roland XP 60 fully expanded
Roland V-Synth XT
Roland JV-2080 fully expanded
In this video we see a live demo / rehearsal for the Drew Blanke (Dr Blankenstein) for his presentation for MAKE magazine at Moogfest 2014. The jam is based loosely around the Kraftwerk classic “Pocket Calculator” off their “Computer World” album. Keep in mind this is live, and unedited…. just a raw jam on 4 circuit bent pieces.
The pieces include a Mattel Bee-Gee’s “Rhythm Machine” keyboard, Casio ML-831 Musical “Pocket Calculator”, a built from the ground up custom Stylophone and a prototype for the APC2600 V2.6. All pieces have the ILLUMIRINGER device modification kit installed in them, although most of the demo is featuring the pocket calculator in ILLUMIRINGER mode. Only reverb has been added to the mix via the mixer. The beat was made on an Electribe ER-1 and sampled into a Boss loop pedal.
Sorry about the slightly out of tune Stylophone in the beginning, it’s needs to be left on for a bit to warm up and get into tune (kinda like an old moog). Hey, that’s rock n’ roll. It’s worked into the jam nicely… so why not let it roll.
Stay tuned for individual demos of each piece in this video coming at you THIS MONTH (I promise, I know we have been slacking on the videos:) Thanks for watching, please remember to SUBSCRIBE and follow the twitter link up top to stay up to date on the newest Dr. Blankenstein creations.
Better Living Through Circuitry
From the Rockpalast Archive
Mixed Media Show
3. Heavy Metal Kids
4. Improvisation 1
Used: iPad Mini, Garageband, Amplitube, iRig, Ibanez Mikro, iRig Mic. Music & Lyrics by Kraftwerk Ⓟ
Cover by Alex Agrico
Hello World, the man machine cover using the AtomoSynth KOE modular! all sounds come from the KOE modular (except for the drums) including sound effects and the one used with the electroharmonix vocoder, recorded in cubase.
Well apart from the obvious – this is about time that Kraftwerk gets this recognition, my main question would be will all four original members be there to receive the prize 😉
Or perhaps it would be better to send four robots…
From the Grammy.com website:
(In addition to the GRAMMY Awards, The Recording Academy presents Special Merit Awards recognizing contributions of significance to the recording field, including the Lifetime Achievement Award, Trustees Award and Technical GRAMMY Award. In the days leading up to the 56th GRAMMY Awards, GRAMMY.com will present the tributes to the 2014 Special Merit Awards recipients.)
For those listening to radio in the United States in 1975, it must have come as quite a shock. The country was still emerging from the era of granola and natural fibers, and music was still measured by its soul and authenticity. And along came this music that sounded as mechanized as a Ford assembly plant. It was vaguely rhythmic like a busy signal. It had a melody that never stepped out of order. For mainstream audiences, Teutonic pop was born that year in the form of Kraftwerk’s “Autobahn,” and music would never be the same.
Kraftwerk began devising their “robot pop” in Düsseldorf, Germany, in 1970. Their forefathers were such German experimentalists as Can and Tangerine Dream. Kraftwerk founders Ralf Hütter and Florian Schneider met as classical music students at the Düsseldorf Conservatory, originally forming the group Organisation and releasing the album Tone Float in the UK in 1969. They disbanded the group and reformed as Kraftwerk (German for “power station”), inspired to craft music more influenced by psychedelic art rock than machinery. By 1973’s Ralf And Florian, Kraftwerk were truly staring down the ghost in the machine. With their follow-up, 1974’s Autobahn, Kraftwerk hit on a trancelike, pulsing electronic rhythm that would set the stage for the nearly countless acts that followed, from rock (the Cars, Eurythmics) to new wave (Devo, Thomas Dolby, Joy Division), pop (Giorgio Moroder), electronic/dance (Moby), and even industrial (Throbbing Gristle).
Though he was being influenced by a number of outside forces at the time, David Bowie’s late ’70s period in Berlin found him adopting Kraftwerk’s electronic overtones and droning rhythms for his albums Low and Heroes, highly influential works in their own right, and reportedly making a direct nod to Schneider with the song “V-2 Schneider,” featured on Heroes.
In a January 2013 article in The Telegraph, music critic Neil McCormick posed the question: “Kraftwerk: the most influential group in pop music history?” McCormick referenced the literally hundreds of Kraftwerk samples used by artists ranging from Afrika Bambaataa to Madonna, Jay Z and Coldplay. But in an interview for the piece, Orchestral Manoeuvres In The Dark’s Andy McCluskey pointed out that Kraftwerk endured the peril of true genius: a lack of appreciation in their own time.
“When [Kraftwerk] started there was a lot of fear of technology,” said McCluskey. “People said, ‘Look at these robot guys making music on computers; this is wrong.’ Well, it turned out that they were absolutely right, not just about music, but in their whole vision of the future man/machine synthesis. And it’s not been scary, we have all embraced it and got on with our lives.”