Judging from that pic, it looks like you're
totally immersed in what you're doing
True, working with a hardware recorder is completly different from working with a software DAW.
When you work with software, you have a lot of visual aids, like colors, markers and stuff like that. A lot of people consider this as a big progress in recording techniques and studios, I'm a bit sceptic about this... I know that I'm personaly influenced by what I see when I work with audio, ex. if a new section of a song (with a different color of the section) is about to come in, i see the new section comming up on the screen and my brain is preparing for it to come before it is actually there. This alters my critical point of view on the song, since my brain was preparing to hear it, i didn't ask myself the question anymore if it actualy came in at the right spot. This is just one example how my brain is influenced by what I see, it could of cource be because I worked with hardware recorders before all that software existed, jounger people could be more used to this.
Another example is EQ. A typical example of 'what you see' against 'what you hear' are spectrum analysers. I can't/don't want to work with them. For me it's all about what you hear, a spectrum analyser can tell me that 2 instruments conflict in a certain freq. region but that doesn't mean that it sounds wrong...
I could ramble along about this, but to come to the point, I want to concentrate on what I hear and not be distracted by what I see when I work with audio material. other opinions differ of course.
You can really sense the crackly heat at the start - some very nice sounds you have there
The synth engine is actualy the interesting part of that piece of software and it's pretty well constructed. The engine is completly build around 14 wave ocsilator, those wave oscilators can hold predifined wave forms (sinus,saw,rectangle,...) or waves that you draw yourself (interesting), or a wav file that you load like a sampler.
The realy interesting point is that you can combine those oscilators.
Examples:
Typical example of this is FM synthese. You use 1 or 2 oscilators as modulator which will modulate another oscilator which is the carrier.
In the same way you can use it to create additive synthese, combining 2 oscilators.
Or make it even more interesting, by using 2 different oscilators and let the sound morph from the first to the second. And if you you then use a thirth oscilator to pilot the morphing you get some interesting effects.
Add to this the possibility to build a filter section in the same way and you'll understand that there are some nice possibilities. Ex. use a self drawed wave form to pilot a low pass filter and let the wave form pilot the cut of frequency
Unlimited possibilities ? No not realy, there is no way (or I haven't found it yet) to use substractive synthese...
Wish I understood French
The lyrics are actually pretty simple and the vox was more used as an instrument then for the sake of the lyrics.
Basicaly it goes like this :
Hot,hot, the sky is hot
Hot,hot, the sky is hot
Hot,hot, my body is hot
Hot, hot, my heart is hot
Hot, hot, Cairo is hot
...
Fire, fire, the sky is burning
Fire, fire, my heart is burning
Fire, fire, the sky is burning
Fire, fire, Cairo is burning
...
Fire, fire, the sky is burning
Fire, fire, my heart is burning
Fire, fire, Cairo is burning
...
Fire, fire, Cairo is burning
