Casio CT-370 and a drummer (me)

My latest youtube workings involve me creating music only on a Casio CT-370 keyboard (1987) then playing real drums to them. I’ve created two songs so far and have more in the works.

Here’s my second installment of the Casio CT-370 and drummer vids. I’m especially proud of this one and took a little longer practicing the parts and working something out on drums I thought would be interesting. If you like it, comment, click like and subscribe!

Gear used:
Synth:
Casio CT-370 (1987)

Drums:
Tama Imperialstar Bop Kit in Hairline Blue Wrap (18×16 kick 12×8 rack tom 14×14 floor tom 14×5 snare)
90s Ludwig Rocker 13×10 rack tom (left of snare) Metallic Blue Wrap

Cymbals:
Zildjian ZHT Mastersound 14″ Hi Hats (B12 Alloy)
Paiste PST 5 Rock Crash 19″ (drilled and rehammered B8 Alloy)
NuVader Ride 22″ (NS12 Alloy)
Meinl HCS Trash Crash 16″ (Brass)

Heads:
Remo Vintage A (toms and snare batters)
Aquarian Response 2 Coated (kick batter)
Remo Vinage Emperor (kick resonant, no hole with felt strip)
Tama Single Ply Clear (snare and toms resonant)
Remo Smooth White Emperor (Rocker top)
Evans G1 clear (Rocker bottom)

Mics:
Cad KBM412 Kick
Nady RSM5 Ribbon Overhead (used in Mid Side Miking Techique)
BM-800 Condesner (used in Mid Side Miking Techique)
SHS OM-450 (sm57 copy on snare miked from the side of the drum)

Sticks:
Aquarian X10 5B synthetic drum sticks

Software:
Ableton Live Intro 9 (sequenced and arranged casio)
Cubase LE 5 (recorded drums and mixed)
Audacity (mastered audio)
Vegas Movie Studio Platinum 13 (Video Editing)

This song, which I am calling “Central Interface Control Module”, was made entirely on a Casio Casiotone CT-370 (1987) and live recorded drums. I recorded and arranged in Ableton Live Intro then recorded live drums to it also in ableton, on the timeline screen with autowarp long samples disabled.

The CT-370 doesn’t have midi, so I was forced to play all the parts individually by hand. Ableton makes this easy though because of it’s amazing time correction tools.

It was quite hot in my studio when I was doing the drums to it, you can pretty much see sweat dripping off of me, haha.

Star Wars Metal

This has got to be one of the stupidest, dorkiest things I’ve seen in ages, but I have to admit I kinda love it.

Low Level Festival Starts Tonight!

Low Level 2016

I’m incredibly excited to be playing this festival that’s happening this weekend in Bushwick/Brooklyn, NYC!

Facebook event

Friday, August 19th

  Music Visual
6:00 PM doors
7:00 PM Tate Gregor Ohhinaifu
7:50 PM Demonic Sweaters mrghosty
8:40 PM Fashion Zoo 68krew
9:30 PM Zen Albatross Enerjawn
10:20 PM DZZ Party Time! Hexcellent!
11:10 PM Makeup + Vanity Set Magical Grill
12:00 AM Chipzel Turnt Shoujo

Saturday, August 20th

11AM – 3PM
Gallery hours
Family friendly
Free to all!

2PM
Artist Talk with
composer Chris Burke

Music Visual
6:00 PM doors
7:00 PM Little Paw Magical Grill
7:50 PM Ghost Cop Enerjawn
8:40 PM Warez Waldo mrghosty
9:30 PM Fearofdark Party Time! Hexcellent!
10:20 PM Mitomoro Turnt Shoujo
11:10 PM Trey Frey Alex Luna
12:00 AM Ducky Ohhinaifu

MANIFESTO

As time proceeds through the modern age, past once futuristic milestones like the turn of the millennium, and dates of apocalyptic prophecy, we look back on the years that have passed and wonder where they leave us. Neither shiny, idyllic utopias nor grim post-collapses have truly materialized, so we wonder now what future we have left to expect. What tale of tomorrow is left to be told by a world that should already be there?

Existing works of media, common purveyors of what may arrive next, are themselves couched in their own respective timeframes. Due to specific technological tools, or in-vogue stylistic techniques, most creative works telegraph the era in which they were made, even when depicting a hypothetical future. These means and methodologies were typically discarded when the next big thing came around (arguably, before their potential could be fully explored), further entrenching the identifiability of when something was produced.

More recently, this trend has started to reverse. The rapid advancement of easily available tools, along with anachronism itself becoming a motif, has lead to imitations of the past becoming common-place. This, combined with the Internet’s ability to preserve, catalog, and analyze our memories, has led to a sort of temporal compression of culture. The content of creative works has begun to disassociate from the context in which they were originally formed.

Rather than fight against this phenomenon, it is time to embrace it. Treating the past as off-limits makes little sense, as it has begun to act not just as inspiration, but more like its own type of material. By combining, retooling, and synthesizing these elements, a better understanding of time may arise.

We believe that the retro-future is still ours to create.”