Chords for Alessandro Cortini in his personal studio
Tempo:
128.15 bpm
Chords used:
Em
D
E
B
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Em]
[D] [E] [B] [N]
So why don't you like to mix your modules in the same
I like the liberty and the freedom that the modular environment gives you, but I like,
and I think I got this from the booklet thing, I think there's a certain mentality behind
the designer, and I like to limit myself.
I don't like too many options, even though it might sound pretentious when you see two
modulars in a room, but I like the fact that you can limit yourself to a certain environment.
That's why I like to put all Harvestmen in one small case.
So I want to see what I can come up with just with those, as opposed to
First of all, there won't be an oscillator, so I'll probably have to use the Polyvox filter
as a sound generator, or use the Zoroan Canon, or whatever it's going to be.
I think that limitation is what makes me more creative, even though, again, it can sound
a little critical when you see the equipment.
If you see it and you actually analyze it, it's not that much.
I have one polyphonic analog synthesizer, which I love, two monophonic, one is the Macbeth
and the other one is the Korg MS-20, and that's about it, man.
Two modulars, and that's it.
I use Korg a lot, you know, the native instruments, but that's a totally different thing.
One of my favorite synths ever is the Joe Mox Sunsyn.
It's just awesome sounding.
I think it's one of the few
When it came time to buy a synthesizer, the only thing that I was using plugins for was
polyphonic pads.
I was still using plugins, so I needed to buy a polyphonic
I wanted to buy a polyphonic analog one.
So I went to Analog Haven, which is the place to go.
And they had this at Analog Haven.
It was there in a corner, and I plugged it in and it just sounded freaking awesome.
And I brought it home, and I kept in touch with Juergen at Joe Mox, who helped me tuning it
and all that.
It's been on ever since.
I've used it on everything.
Everything I've recorded.
It's just amazing for pads.
It's really personal.
It's one of the few instruments that I think are not just reissues of old ones,
but I think that it has its own personality, just like Oberheim does.
You know, like you could
Ten years from now, people are going to
or whatever, five
Even now, because it doesn't make them anymore.
You know how it is.
As soon as people stop making stuff, they go crazy.
Oh, where can I get it?
And it's one of the few modern, old-school instruments that has its own personality,
as opposed to trying to recreate something that was done before.
And the same thing applies to the N3X by Ken Macbeth,
which is a much preferable Minimoog-oriented or structured synthesizer, in my opinion.
There's a lot more routing options.
It just sounds great.
Easy to come up with the sound that you want.
Whatever you want to control via MIDI, you can if you want to.
Even though I'm more like
I do a couple of takes and just tweak knobs in a different way.
I don't do a lot of MIDI automation.
And then the Joe Mox drum machine, which is
The fact that it has so many knobs makes it easy to come up with the sound I'm happy with.
As opposed to
If I need something a little bit more researched, usually I use Ultrabeat in Logic,
because that one allows for a little bit more sound design and come up with weird stuff,
since it's a little deeper.
But obviously it lacks the whole hands-on action that you can get from a machine like that.
What would you say is the percentage of soft instruments versus hardware in your band's music?
Like when you're writing a song.
I think, well, the fact that I write, a lot of the ideas come from playing with hardware, I think.
It's mostly hardware.
But I still use a lot of software.
There are programs like Reaktor from Native Instruments, Guitar Rig.
I mean, even though I'm a guitar player and I know that a guitar amp sounds great,
I've been using Guitar Rig for guitars forever.
Just because it's really easy to come up with a sound that fits well in a song
and to have enough variation for it to sound different, depending on
You know, the fact that Guitar Rig allows me to integrate elements that are more synthesizer world-oriented,
like sequencers and stuff like that, into my amp.
So all of a sudden you have a 16-step sequencer sequencinging the gain of an amplifier
or sequencing the position of the microphone.
So all of a sudden it just goes from sounding like it's right in front of the speaker
to the other end of the room in a song.
So those things you couldn't do in the real world.
And I think Native Instruments is one of the few companies that are doing something not to recreate old
You know, like old mini-moogs.
I don't have anything against it, but I'm just saying they're trying to do something new.
And with KOR, I think it's like the top of what that environment is,
in the sense that you're putting everything together.
The only problem that I have with it is that, as I said before,
the more options I have, the more difficult it is for me to commit.
So the idea is actually to use KOR for my rig in the tour.
So we're going to try and see if I can switch everything over.
We're going to have an old rig where I have my old Virus, my old Akai sampler,
my old 01V96 for volumes and effects, and my old guitar pod for that stuff.
So that's always working.
And then Matt Mitchell, which is responsible for my rig,
is going to have a parallel rig where we're going to recreate everything that we have there,
all the samples and all the Virus patches, into KOR.
The goal is to be able to have all my rig as a KOR rig on a laptop or a Mac Pro,
whichever it's going to be.
So I'll be able to integrate, especially nowadays when plugins are seen as instruments.
And one example is EchoBoy by Bitesound Toys, which is an awesome,
probably the best delay that I've ever, [Bb] hardware or software, that I've ever worked with.
A lot of the plugins nowadays, including Reaktor, EchoBoy,
the first ones that come to my mind, are really creative.
They're not just effects.
So you end up creating music with them.
So I think of KOR as a way to integrate those in a live environment
without having to have a screen in front of me.
That's the thing, that's the reason why I really like the Monom in the first place,
is that you look at it, you load the patch, and then that becomes the instrument.
You tend to forget that [B] the computer itself is actually running it.
[Em]
[D] [E] [B] [N]
So why don't you like to mix your modules in the same
I like the liberty and the freedom that the modular environment gives you, but I like,
and I think I got this from the booklet thing, I think there's a certain mentality behind
the designer, and I like to limit myself.
I don't like too many options, even though it might sound pretentious when you see two
modulars in a room, but I like the fact that you can limit yourself to a certain environment.
That's why I like to put all Harvestmen in one small case.
So I want to see what I can come up with just with those, as opposed to
First of all, there won't be an oscillator, so I'll probably have to use the Polyvox filter
as a sound generator, or use the Zoroan Canon, or whatever it's going to be.
I think that limitation is what makes me more creative, even though, again, it can sound
a little critical when you see the equipment.
If you see it and you actually analyze it, it's not that much.
I have one polyphonic analog synthesizer, which I love, two monophonic, one is the Macbeth
and the other one is the Korg MS-20, and that's about it, man.
Two modulars, and that's it.
I use Korg a lot, you know, the native instruments, but that's a totally different thing.
One of my favorite synths ever is the Joe Mox Sunsyn.
It's just awesome sounding.
I think it's one of the few
When it came time to buy a synthesizer, the only thing that I was using plugins for was
polyphonic pads.
I was still using plugins, so I needed to buy a polyphonic
I wanted to buy a polyphonic analog one.
So I went to Analog Haven, which is the place to go.
And they had this at Analog Haven.
It was there in a corner, and I plugged it in and it just sounded freaking awesome.
And I brought it home, and I kept in touch with Juergen at Joe Mox, who helped me tuning it
and all that.
It's been on ever since.
I've used it on everything.
Everything I've recorded.
It's just amazing for pads.
It's really personal.
It's one of the few instruments that I think are not just reissues of old ones,
but I think that it has its own personality, just like Oberheim does.
You know, like you could
Ten years from now, people are going to
or whatever, five
Even now, because it doesn't make them anymore.
You know how it is.
As soon as people stop making stuff, they go crazy.
Oh, where can I get it?
And it's one of the few modern, old-school instruments that has its own personality,
as opposed to trying to recreate something that was done before.
And the same thing applies to the N3X by Ken Macbeth,
which is a much preferable Minimoog-oriented or structured synthesizer, in my opinion.
There's a lot more routing options.
It just sounds great.
Easy to come up with the sound that you want.
Whatever you want to control via MIDI, you can if you want to.
Even though I'm more like
I do a couple of takes and just tweak knobs in a different way.
I don't do a lot of MIDI automation.
And then the Joe Mox drum machine, which is
The fact that it has so many knobs makes it easy to come up with the sound I'm happy with.
As opposed to
If I need something a little bit more researched, usually I use Ultrabeat in Logic,
because that one allows for a little bit more sound design and come up with weird stuff,
since it's a little deeper.
But obviously it lacks the whole hands-on action that you can get from a machine like that.
What would you say is the percentage of soft instruments versus hardware in your band's music?
Like when you're writing a song.
I think, well, the fact that I write, a lot of the ideas come from playing with hardware, I think.
It's mostly hardware.
But I still use a lot of software.
There are programs like Reaktor from Native Instruments, Guitar Rig.
I mean, even though I'm a guitar player and I know that a guitar amp sounds great,
I've been using Guitar Rig for guitars forever.
Just because it's really easy to come up with a sound that fits well in a song
and to have enough variation for it to sound different, depending on
You know, the fact that Guitar Rig allows me to integrate elements that are more synthesizer world-oriented,
like sequencers and stuff like that, into my amp.
So all of a sudden you have a 16-step sequencer sequencinging the gain of an amplifier
or sequencing the position of the microphone.
So all of a sudden it just goes from sounding like it's right in front of the speaker
to the other end of the room in a song.
So those things you couldn't do in the real world.
And I think Native Instruments is one of the few companies that are doing something not to recreate old
You know, like old mini-moogs.
I don't have anything against it, but I'm just saying they're trying to do something new.
And with KOR, I think it's like the top of what that environment is,
in the sense that you're putting everything together.
The only problem that I have with it is that, as I said before,
the more options I have, the more difficult it is for me to commit.
So the idea is actually to use KOR for my rig in the tour.
So we're going to try and see if I can switch everything over.
We're going to have an old rig where I have my old Virus, my old Akai sampler,
my old 01V96 for volumes and effects, and my old guitar pod for that stuff.
So that's always working.
And then Matt Mitchell, which is responsible for my rig,
is going to have a parallel rig where we're going to recreate everything that we have there,
all the samples and all the Virus patches, into KOR.
The goal is to be able to have all my rig as a KOR rig on a laptop or a Mac Pro,
whichever it's going to be.
So I'll be able to integrate, especially nowadays when plugins are seen as instruments.
And one example is EchoBoy by Bitesound Toys, which is an awesome,
probably the best delay that I've ever, [Bb] hardware or software, that I've ever worked with.
A lot of the plugins nowadays, including Reaktor, EchoBoy,
the first ones that come to my mind, are really creative.
They're not just effects.
So you end up creating music with them.
So I think of KOR as a way to integrate those in a live environment
without having to have a screen in front of me.
That's the thing, that's the reason why I really like the Monom in the first place,
is that you look at it, you load the patch, and then that becomes the instrument.
You tend to forget that [B] the computer itself is actually running it.
[Em]
Key:
Em
D
E
B
Bb
Em
D
E
_ _ _ _ _ _ _ [Em] _
_ _ _ _ _ _ _ _
[D] _ _ [E] _ _ _ [B] _ _ [N]
So why don't you like to mix your modules in the same_
I like the liberty and the freedom that the modular _ environment gives you, but I like,
and I think I got this from the booklet thing, I think there's a certain mentality behind
_ the designer, and I like to limit myself.
I don't like too many options, even though it might sound pretentious when you see two
modulars in a room, but I like the fact that you can limit yourself to a certain environment.
That's why I like to put all Harvestmen in one small case.
So I want to see what I can come up with just with those, as opposed to_
First of all, there won't be an oscillator, so I'll probably have to use the Polyvox filter
as a sound generator, or use the Zoroan Canon, or whatever it's going to be.
I think that limitation is what makes me more creative, even though, again, it can sound
a little _ critical when you see the equipment.
If you see it and you actually analyze it, it's not that much.
I have one polyphonic analog synthesizer, which I love, two monophonic, one is the Macbeth
and the other one is the Korg MS-20, and that's about it, man.
Two modulars, and that's it.
I use Korg a lot, you know, the native instruments, but that's a totally different thing.
One of my favorite synths ever is the Joe Mox Sunsyn.
_ _ It's just awesome sounding. _
I think it's one of the few_
When it came time to _ buy a synthesizer, the only thing that I was using plugins for was
_ _ _ _ _ _ _ _
polyphonic pads.
I was still using plugins, so I needed to buy a polyphonic_
I wanted to buy a polyphonic analog one.
So I went to Analog Haven, which is the place to go.
And they had this at Analog Haven.
It was there in a corner, and I plugged it in and it just sounded freaking awesome.
And I brought it home, and _ I kept in touch with Juergen at Joe Mox, _ who helped me tuning it
and all that.
_ It's been on ever since.
I've used it on everything.
Everything I've recorded.
It's just amazing for pads.
It's really personal.
It's one of the few instruments that I think are not just reissues of old ones,
but I think _ that it has its own personality, just like Oberheim does.
You know, like you could_
Ten years from now, people are going to_
or whatever, five_
Even now, because it doesn't make them anymore.
You know how it is.
As soon as people stop making stuff, they go crazy.
Oh, where can I get it? _ _ _
And it's one of the few modern, old-school instruments that has its own personality,
as opposed to trying to recreate something that was done before.
_ And the same thing applies to the N3X by Ken Macbeth,
which is _ a much preferable Minimoog-oriented or structured synthesizer, in my opinion.
There's a lot more _ _ _ _ routing options.
It just _ _ _ sounds great.
Easy to come up with the sound that you want.
Whatever you want to control via MIDI, you can if you want to.
Even though I'm more like_
I do a couple of takes and just tweak knobs in a different way.
I don't do a lot of MIDI automation.
And then the Joe Mox drum machine, which is_ _
_ The fact that it has so many knobs makes it easy to come up with the sound I'm happy with.
_ As opposed to_
If I need something a little bit more researched, usually I use _ Ultrabeat in Logic,
because that one allows for a little bit more sound design and come up with weird stuff,
since it's a little deeper.
But obviously it lacks the whole hands-on _ _ _ action that you can get from a machine like that.
What would you say is the percentage of soft instruments versus hardware in your band's music? _
Like when you're writing a song.
I think, well, the fact that I write, a lot of the ideas come from playing with hardware, I think.
It's mostly hardware.
But I still _ _ _ use a lot of software.
There are programs like Reaktor from Native Instruments, Guitar Rig.
I mean, even though I'm a guitar player and I know that a guitar amp sounds great,
I've been using Guitar Rig for guitars forever.
Just because it's really easy to come up with a sound that fits well in a song
and to have enough variation for it to sound different, depending on_
You know, the fact that Guitar Rig allows me to integrate elements that are more synthesizer world-oriented,
like sequencers and stuff like that, into my amp.
So all of a sudden you have a 16-step sequencer _ sequencinging the gain of an amplifier
or sequencing the position of the microphone.
So all of a sudden it just goes from sounding like it's right in front of the speaker
to the other end of the room in a song.
So those things you couldn't do in the real world.
And I think Native Instruments is one of the few companies that are doing something not to recreate old_
_ You know, _ _ like old mini-moogs.
I don't have anything against it, but I'm just saying they're trying to do something new.
And with KOR, I think it's like the top of what that environment is,
in the sense that you're putting everything together.
The only problem that I have with it is that, as I said before,
the more options I have, the more difficult it is for me to commit.
So the idea is actually to use KOR for my rig in the tour.
So we're going to try and see if I can switch everything over.
_ We're going to have an old rig where I have my old Virus, my old Akai sampler,
my old 01V96 for volumes and effects, and my old guitar pod for that stuff.
So that's always working.
And then Matt Mitchell, which is responsible for my rig,
is going to have a parallel rig where we're going to recreate everything that we have there,
all the samples and all the Virus patches, into KOR.
_ The goal is to be able to have all my rig as a KOR rig on a laptop or a Mac Pro,
whichever it's going to be.
So I'll be able to integrate, especially nowadays when plugins _ are seen as instruments.
And one example is EchoBoy by Bitesound Toys, which is an awesome,
probably the best delay that I've ever, [Bb] _ hardware or software, that I've ever worked with.
A lot of the plugins nowadays, including _ Reaktor, EchoBoy,
_ the first ones that come to my mind, are really creative.
They're not just effects.
So you end up creating music with them.
So I think of KOR as a way to integrate those in a live environment
without having to have a screen in front of me.
That's the thing, that's the reason why I really like the Monom in the first place,
is that you look at it, you load the patch, and then that becomes the instrument.
You tend to forget that [B] the computer itself is actually running it.
_ _ _ _ _ _ _ [Em] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[D] _ _ [E] _ _ _ [B] _ _ [N]
So why don't you like to mix your modules in the same_
I like the liberty and the freedom that the modular _ environment gives you, but I like,
and I think I got this from the booklet thing, I think there's a certain mentality behind
_ the designer, and I like to limit myself.
I don't like too many options, even though it might sound pretentious when you see two
modulars in a room, but I like the fact that you can limit yourself to a certain environment.
That's why I like to put all Harvestmen in one small case.
So I want to see what I can come up with just with those, as opposed to_
First of all, there won't be an oscillator, so I'll probably have to use the Polyvox filter
as a sound generator, or use the Zoroan Canon, or whatever it's going to be.
I think that limitation is what makes me more creative, even though, again, it can sound
a little _ critical when you see the equipment.
If you see it and you actually analyze it, it's not that much.
I have one polyphonic analog synthesizer, which I love, two monophonic, one is the Macbeth
and the other one is the Korg MS-20, and that's about it, man.
Two modulars, and that's it.
I use Korg a lot, you know, the native instruments, but that's a totally different thing.
One of my favorite synths ever is the Joe Mox Sunsyn.
_ _ It's just awesome sounding. _
I think it's one of the few_
When it came time to _ buy a synthesizer, the only thing that I was using plugins for was
_ _ _ _ _ _ _ _
polyphonic pads.
I was still using plugins, so I needed to buy a polyphonic_
I wanted to buy a polyphonic analog one.
So I went to Analog Haven, which is the place to go.
And they had this at Analog Haven.
It was there in a corner, and I plugged it in and it just sounded freaking awesome.
And I brought it home, and _ I kept in touch with Juergen at Joe Mox, _ who helped me tuning it
and all that.
_ It's been on ever since.
I've used it on everything.
Everything I've recorded.
It's just amazing for pads.
It's really personal.
It's one of the few instruments that I think are not just reissues of old ones,
but I think _ that it has its own personality, just like Oberheim does.
You know, like you could_
Ten years from now, people are going to_
or whatever, five_
Even now, because it doesn't make them anymore.
You know how it is.
As soon as people stop making stuff, they go crazy.
Oh, where can I get it? _ _ _
And it's one of the few modern, old-school instruments that has its own personality,
as opposed to trying to recreate something that was done before.
_ And the same thing applies to the N3X by Ken Macbeth,
which is _ a much preferable Minimoog-oriented or structured synthesizer, in my opinion.
There's a lot more _ _ _ _ routing options.
It just _ _ _ sounds great.
Easy to come up with the sound that you want.
Whatever you want to control via MIDI, you can if you want to.
Even though I'm more like_
I do a couple of takes and just tweak knobs in a different way.
I don't do a lot of MIDI automation.
And then the Joe Mox drum machine, which is_ _
_ The fact that it has so many knobs makes it easy to come up with the sound I'm happy with.
_ As opposed to_
If I need something a little bit more researched, usually I use _ Ultrabeat in Logic,
because that one allows for a little bit more sound design and come up with weird stuff,
since it's a little deeper.
But obviously it lacks the whole hands-on _ _ _ action that you can get from a machine like that.
What would you say is the percentage of soft instruments versus hardware in your band's music? _
Like when you're writing a song.
I think, well, the fact that I write, a lot of the ideas come from playing with hardware, I think.
It's mostly hardware.
But I still _ _ _ use a lot of software.
There are programs like Reaktor from Native Instruments, Guitar Rig.
I mean, even though I'm a guitar player and I know that a guitar amp sounds great,
I've been using Guitar Rig for guitars forever.
Just because it's really easy to come up with a sound that fits well in a song
and to have enough variation for it to sound different, depending on_
You know, the fact that Guitar Rig allows me to integrate elements that are more synthesizer world-oriented,
like sequencers and stuff like that, into my amp.
So all of a sudden you have a 16-step sequencer _ sequencinging the gain of an amplifier
or sequencing the position of the microphone.
So all of a sudden it just goes from sounding like it's right in front of the speaker
to the other end of the room in a song.
So those things you couldn't do in the real world.
And I think Native Instruments is one of the few companies that are doing something not to recreate old_
_ You know, _ _ like old mini-moogs.
I don't have anything against it, but I'm just saying they're trying to do something new.
And with KOR, I think it's like the top of what that environment is,
in the sense that you're putting everything together.
The only problem that I have with it is that, as I said before,
the more options I have, the more difficult it is for me to commit.
So the idea is actually to use KOR for my rig in the tour.
So we're going to try and see if I can switch everything over.
_ We're going to have an old rig where I have my old Virus, my old Akai sampler,
my old 01V96 for volumes and effects, and my old guitar pod for that stuff.
So that's always working.
And then Matt Mitchell, which is responsible for my rig,
is going to have a parallel rig where we're going to recreate everything that we have there,
all the samples and all the Virus patches, into KOR.
_ The goal is to be able to have all my rig as a KOR rig on a laptop or a Mac Pro,
whichever it's going to be.
So I'll be able to integrate, especially nowadays when plugins _ are seen as instruments.
And one example is EchoBoy by Bitesound Toys, which is an awesome,
probably the best delay that I've ever, [Bb] _ hardware or software, that I've ever worked with.
A lot of the plugins nowadays, including _ Reaktor, EchoBoy,
_ the first ones that come to my mind, are really creative.
They're not just effects.
So you end up creating music with them.
So I think of KOR as a way to integrate those in a live environment
without having to have a screen in front of me.
That's the thing, that's the reason why I really like the Monom in the first place,
is that you look at it, you load the patch, and then that becomes the instrument.
You tend to forget that [B] the computer itself is actually running it.
_ _ _ _ _ _ _ [Em] _
_ _ _ _ _ _ _ _