Music That Bites Back

Technology With Teeth

By GLENN DAVIS DOCTOR G

If you are into music, specifically making music, and even if you’re used to doing things old school, it’s virtually impossible to ignore new technology. I not only design and develop hardware and software for music, but I do it by blending tried and true with “here’s what’s new” and through trial and error, it seems to work very well for me.

I embrace the notion of “what’s old is new again” as much as I embrace trying out the latest and greatest. I also apply this practice when it comes to composing, arranging, performance and everything that is involved with producing records. I keep an open mind, love collaboration and keep enthusiastic and impassioned even when things hit a brick wall. I am inspired by challenge.

Currently, on the technical side of things, I am working on music using a wild combination of prototype technology (some created by myself and some by others) and older technology that is available to anyone. My weapons of choice are as follows:

– Arsenal of dedicated hardware including rack gear and stand-alones.
– Application based software (running wired AND wireless)

Instead of listing a complete inventory, the bulk of my front end kit is:

– Tape Machines (YES, I still use tape for many reasons and for different applications dependant upon what I am working on at the time)
– Computers (several custom and a $200 Walmart special)
– My main controllers are a Palm Airdrum unit (with wireless hand controllers similar to a Wii system), heavily modified Roland Workstation, Wireless Airguitar System processed through the Concertone, and my acoustic drum kit fitted with triggers.
– Consoles are a custom re-profiled (all Japanese electronics) Yamaha Recording Console with automation and a Toft designed LARGE format desk with all hand-wired British Electronics including two custom channel strips; one all Neve and the other all API.
– My main way to capture acoustic audio depends on what I am trying to capture and print, but I mostly use a Marshall Prototype Tube Microphone.
– Monitors include NS10m, Cizaks, Genelec 1031A’s, JBL (custom), Mini-Auratone’s that are actually house-branded and a pair of Calibration Standard Instruments MDM-TA3’s. Cans are an assortment from Fostex and Sennheiser and AKG (240 DF being the favorite for accuracy)
– I mix to tape, direct to CD, direct to disk and through the Cloud 9 Music Pro App Suite. I choose what I like best on each project (and yes, strangely enough it sounds different each time) and the unchosen formats become archival.

I am currently collaborating via file-transfer with other artists as a way to save time and money. It seems to be working superbly.