奇妙 2020年12月7日| 847兆字节
RJD2（出生的Ramble Jon Krohn）是在新世纪帮助塑造和引入电子音乐新潮的先驱，几乎不需要介绍。在这个Splice包中，他使用所有模拟乐器分享了他的原始声音，并将重点放在了杰出的复音模拟合成器Yamaha CS-80上。挖掘黑暗，空间，合成波的声音，将您的下一个乐谱，嘻哈，流行音乐或电子作品带到另一个维度。
RJD2于2002年广受好评的首张专辑《 Dead Ringer》反映了他与地下嘻哈现场的紧密联系以及对电影氛围的热爱，而对爵士乐的热爱使他与众不同。从那以后，他又一次出乎意料地发生了变化，将70年代的流行音乐和摇滚影响融合到2004年的“自我们最后一次演说”之后，在2007年的“第三只手”的另类流行音乐沉思中进行了免费采样，并将自己的现场爵士鼓添加到了2010年代。巨人。一路上，他还为热门节目《疯狂的男人》（Mad Men）制作了简介。
根据Tivo团队的Heather Phares和Charles Spano的说法，他一路成为了按需制作人和混音师，其客户列表几乎与他自己的音乐一样多变，包括Massive Attack，El-P，Elbow和Polyphonic Spree 。在2010年代及以后，他重返R＆B并从他早期的音乐爱好中脱颖而出，从而获得了灵感。2013年《 More is Than Is n’t》的新灵魂主义倾向和2016年《 Dame Fortune》和2020年《 The Fun Ones》的更多复古色彩使艺术家的凝聚力略强但仍不拘一格。
FANTASTiC | 07 December 2020 | 847 MB
A pioneer who helped shape and usher in a fresh wave of electronic music in the new millennium, RJD2 (born Ramble Jon Krohn) needs little introduction. For this Splice pack, he shares his original sounds using all analog instruments with a strong focus on the Yamaha CS-80, the pre-eminent polyphonic analog synthesizer. Dig into dark, spacey, synthwave sounds to transport your listeners to another dimension with your next score, hip hop, pop, or electronic production.
RJD2’s acclaimed 2002 debut album, Dead Ringer reflected his strong ties with the underground hip hop scene and his fondness for cinematic atmosphere, while forays into jazz set him apart from the pack. From there, he took one unexpected turn after another, folding ’70s pop and rock influences into 2004’s Since We Last Spoke, going sample-free on the alt-pop musings of 2007’s The Third Hand, and adding his own live drumming to 2010s The Colossus. Along the way, he also composed the intro to the hit show Mad Men among several other projects.
According to Heather Phares and Charles Spano of the Tivo team, along the way, he became an in-demand producer and remixer for a list of clients nearly as varied as his own music including Massive Attack, El-P, Elbow, and Polyphonic Spree. In the 2010s and beyond, he found inspiration by returning to the R&B and funk that were his early musical loves. The neo-soul leanings of 2013’s More Is Than Isn’t and the more vintage shadings of 2016’s Dame Fortune and 2020’s The Fun Ones made for a slightly more cohesive, but still eclectic, approach from an artist who’s still best defined on his own terms.
