Korg’s Hiroaki Nishijima & Tatsuya Takahashi on The Magic of The Machines
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- Опубліковано 10 гру 2014
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In this 2014 Red Bull Music Academy Tokyo lecture, we dug deeper into the physics behind the phenomenon with Hiroaki Nishijima, a longtime Korg engineer who developed the MS-20 three times (as an original, a plug-in, and a mini). Plus, Korg’s young hotshot Tatsuya Takahashi explained more about the Volcas, the Monotron, and why we’re all so damn crazy for analog. MS-1, Electribe, Triton, Wavestation, Kaoss Pad: Korg has put an indelible stamp on the synthesizer game since 1962, when the company was founded in Tokyo by a nightclub owner and an accordion player looking to build a better rhythm machine.
TOPICS:
05:48 - The Korg MS-20
11:24 - Analog vs digital
21:18 - Humans vs machines
31:10 - The beauty of schematics
39:07 - Ghosts in the machines
1:07:09 - The history of Korg
The Red Bull Music Academy is a global music institution committed to fostering creativity in music. We celebrate music, its culture, and the transformative minds behind it. Begun in 1998, the Academy has taken the core principles that underlie its annual workshop for selected participants and applied this curatorial approach to events, lectures, and city-wide festivals throughout the year.
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Tatsuya is such a lovable guy.
great stuff, the white noise thing blew my mind a bit
What a great find! Thank you kindly.
Excellent!
Very good show. Makes me want to buy more Korg products!!! Anyhow... I think that when these engineers talks about the digital technology requirements to get close to analog, they mean the internal processing. As we all know, the CD technology released in 1982 already overcame all the limitations of analog technology. So, I think the engineers needing higher sample resolution and sampling frequency has to do with modeling of the internal circuitry components, not the final output, since we all know, that listening to a CD quality sound output makes it indistinguishable from the source.
cool talk
wowww i love him
does anyone know what Hiroaki Nishijima's band name? Can't find it in google easily, maybe it is written in japanese
1:00:27 // hiroaki's soul transcends into outer space
1:00:40 // tats: ok we r exiting this dimension goodbye !
i think the interviewer has not interest at all on who he`s sitting in front of him nor the hole subject of the talk, he seems so abrupt and cold, he hardly could put a smile where tats talking was warm, vivid and humble and hiroaki totally open to tell the story behind we wanted to know.....i`m so sorry Redbull has selected this man (wtf he believes he is) and loses the opportunity of have a epical talk with them.
Nice hair dye
The calculations of today's CPUs are perfectly enough to emulate analog synths very well. u-he Diva, Native Instruments Monark, TAL U-NO LX, these virtual instruments sound extremely close, and for a good deal of bread&butter sounds even virtually identical to their analog counterparts. I find it quite weird that Tats wasn't aware of that in 2014...
no
Yes.
Mario Krušelj so long as digital is 'modelling' analogue it is always behind. The idiosyncrasies of the analogue machine need to be written-in, this has practical limits. These limits may be processing but also (increasingly) man-hours/cost. This is not to say that digital products can't be (or aren't already) effectively indistinguishable in use.
You are absolutely right. The idea though that analog is not easily emulated is not what Tats is saying though. What he is saying is that the limitations of the circuit is what gives the synth character. You can emulate that character but without new analog synths there is no new characters to emulate. I think that transistor tubes are inferior technology but Tube amps have character and some have a very pleasant character. To evolve we need limits. Understanding and embracing those limits is a beautiful thing.
Quantum computing VSTs
the interviewer is a bit abrupt on tats and his gov
Awful interviewer, his questions are all over the place and has absolutely no sense of focus