processor control

Daft Punk: Behind The Scenes - KR, December 2007 [Translated]

KR talks with Thomas about Alive 2007. There’s in-depth information (some things I had never seen before!) about their equipment, and Thomas gets really nerdy about it. There’s a short quote from Guy-Man in a side-panel about Daft Punk sampling and being sampled themselves.

One of the best parts of this interview is Thomas explaining that they put in a lot of effort to make their music and their shows seem effortless. Which has been largely successful, considering the perpetual “is it really live” debate that goes on about their performances.

As always, thanks to ifcwdjd for the scans!

Daft Punk: Behind the Scenes

With Alive 2007, Daft Punk present their second album recorded live. An occasion for our humans after all to revisit the art of bringing the machines that are usually in the studio on stage. The robots do their show… 

KR: Daft Punk is releasing its second live album with Alive 2007, recorded in Paris-Bercy last June. Live albums by electro artists are rather rare. Why?
Thomas Bangalter: Live electronic music albums are rare because of the issues of performing it, which stem from it being a type of music that is principally developed with machines. We toured for three years, between 1995 and 1997, and we released a live album just after that tour. At the time, we had a concept and a different way of bringing electronic music to the audience in a live situation. We took our studio on stage, with about fifteen drum machines, ten keyboards, and four sequencers. We were undisguised in the darkness of the rooms, or in raves, and we were more in a process of improvisation. After this experience, we got the impression of having done the tour that we wanted to present, and we preferred to focus on the studio. In 2006, and after three albums, a film, and an anime movie, we wanted to totally rethink our project by starting over in terms of performance, of the on-stage representation of Daft Punk, of the idea of a concert itself. We chose to adapt our new vision by constructing a new type of set-up. The concert became a multimedia presentation based around the music, music which was part of a precise stage design. It’s also a new type of performance, because we brought together lots of songs from several times in the same show. Plus, the concert is very structured. We aren’t in a process where we improvise between cues anymore. From the moment we found ourselves in a theatricality between reality and fiction, we felt like it was a musical. Plus a concert, this show, is really a performance, with the idea of a written show with a score and a virtual story.

Keep reading

The iPDS (Intel Personal Development System), released in 1982, is a rare and powerful luggable computer. Powered with an 8085 (and later an 8088) CPU with 64KB RAM (upgradable to a max of 128KB RAM), this CP/M-based machine was NOT used for personal computing! This is a Development System for building systems using the 8085 or 8088 microprocessors, or the 8051 line of microcontrollers.

There are built-in connections on the unit for hooking up various development devices, like an EPROM burner for making new ROM chips, or a powerful ICE (In-Circuit Emulator) adapter that would allow you to use the system in place of a microprocessor or microcontroller. With this, you could directly control the processor and monitor it.

The system, however, was not cheap. The base system with no development hardware was $4500! Relatedly, this is why the system was designed to be portable: it’s so expensive, you could really only loan it instead of having one at each engineer’s workbench. There is a prototype of a 16-bit version, using the 8086 microprocessor, but it was never manufactured.