Posted on 11/08/2012
Like all the MoogerFooger pedal-style units, the MuRF is built like a tank, and still has that definite Moog look and touch. Controls are reassuringly firm and tight, and the whole thing oozes quality. The sound The MuRF is capable of rhythmic filtering and overdrive of the input material. A range of rhythmic patterns are […]
Posted on 01/01/1998
The PCM-80 is one of the later quality Lexicon hardware digital reverbs and the successor of the venerable PCM-70. A very good sounding device, with quality convertors and digital I/O that allows you to match it with DAWs and digital mixers. It contains the acclaimed Lexicon reverb algorithms, but also sports a wide range of other […]
Posted on 17/06/1992
“Adveritising people are not listening enough.” Interview in the leading Danish Advertising Magazine, 1992. With this rather bold statement, I point a finger at the advertising agencies, claiming that they do not prioritise sound. It seems like the point was taken, since the existing clients stayed – and new ones came along. Photo was taken […]
Posted on 30/09/1984
Since the early days of electronic music, the Vocoder has always had it’s place. Originally invented to reinforce intelligibility of telephone calls, the vocoder was soon abused by electronic musicians to make synthetic voices and other spectral processing. Early albums such as Wendy Carlos’ “A clockwork orange”, “Tales of Mysery and Imagination” by Alan Parsons […]
Posted on 13/08/1984
[gdlr_divider type=”solid” size=”100%” ] A Danish classic A real studio classic, and a classy piece of engineering. The “TC-2290 Programmable Digital Delay and Effects Control Processor”- or just TC-2290 – by Danish company TC Group (formerly TC Electronics) has found a place in most high end studios across the world. Writing the manual Being deeply […]