Archive for the ‘Audio’ Category

Morning Light

Monday, June 28th, 2010

This is quite unlike anything I’ve produced before. It’s very light and airy. It’s not likely to represent the final version, but I thought I’d get this up here as a sort of milestone.

After working with Kendal on her latest work, I was taken by her use of glockenspiel with guitar. So it got me thinking about trying some more traditional sounds instead of going my usual heavy electronic route. I decided that it might be interesting to restrict myself to harp and piano, just play and see what came out. At first I wasn’t too thrilled with the sound, but as I worked more and more on the piano portion, I started to rather enjoy it.

It did start to sound awfully ‘Robert Miles’ to my ears at first, so I thought I’d go with a downtempo Chicago style electro beat and see how it offset the music. I’m rather pleased with the result, even if it is a radical departure from what I normally do. I hope you enjoy it. Comments are always welcome, even if it’s just ‘This Sucks!’ . Cheers!

New Track Added To Audio Gallery

Wednesday, April 21st, 2010

Added ‘Stardust’ – my latest work in progress – to the audio gallery. Pretty happy with it for the first take without editing or mastering. It defintely needs some work, and to be fleshed out, but I think its a pretty decent start.

Akai MPD24 vs M-Audio Trigger Finger

Tuesday, April 20th, 2010

AKAI MPD24 Recently I picked up a new Akai MPD24 replace a dying M-Audio Trigger Finger. I’ve used the trigger finger for years, but sadly the pads on the right side of the unit stopped responding a couple of weeks ago, and it started to send some wierd junk MIDI data to ableton. A replacement as it turns out was problematic. The product has been discontinued, and the few places still ‘selling’ them online always seem to be out of stock. M-Audio will still service them (cheers to M-Audio / Avid), but the RMA process takes some time, and I needed something in the meantime.

Well, the MPD24 is Akai’s answer to the Trigger Finger, and I’d read a lot of positive reviews, so I thought I’d check it out. I compared it to the Pad Kontrol, and a few others out there, but after playing with them at my local dealer, I liked the feel of the MPD24 a lot more. Frankly the Korg Pad Kontrol has a lot of nice features, but it feels like a toy made out of cheap plastic, and the pads just did not have the right feel or size for me. So I went with the Akai.

MPD 24Well, my first impressions are pretty good. It’s reponsive, easily programmable and adjus

hard to do. Yes, they might be in different octaves, but in that case you use a bloody number like the trigger finger did. C0 for middle C, C3 for C 3 octaves up, and so on. Why they went with numbers… well, it just strikes me as somewhat lazy, and it does make it somewhat irritating to program as an instrument.

Now that being said, I really appreciated the fact that out of the box it worked brilliantly as a drum controller for Abelton, which is why I bought it. Also the bundled programming sofware was very straightforward and much easier to use than that piece of crap Enigma software that M-Audio provides, which frankly doesn’t bloody well work on Vista or Win7, and doesn’t much care for Wine either. The pads have a great feel and repsonse, and trigger cleanly where ever you strike them, unlike the trigger finger which can be picky if you hit the pads on a corner. I did however miss being able to roll on the pads to get good aftertouch, and the analog style slider for pad sensitivity is something I loved about the trigger finger. The one touch sensitivity operation on the akai is neat, but not particularily useful for live situations.

The construction of it is far better than the trigger finger, but it looses a lot of points for missing features that I’d come to rely on. Still, at the price point that I paid, and the ease of use with my software of choice, I’m pretty happy overall. I’m getting the TF repaired for sure, but this is a great tool to have in the toolbox.

I hope that M-Audio ressurects the Trigger Finger. It was such a great product, and there are tons of people out there that love it still. The MPD24 is a great alternative, but won’t quite replace it for me.

I love my APC-40

Wednesday, April 14th, 2010

I got to say that I love the Akai APC-40 Ableton controller. I’ve used Ableton Live since it first came out in 2001. I got a free copy with some audio hardware I was buying for a DJ gig at the time. I’d recently started making the transition from CDs and traditional vinyl to digital (Final Scratch), and needed an external sound card for the ole laptop. I spent a small fortune on what turned out to be a lemon of an audio interface. However, the promotional package I bought came with a stack of bundled software, containing a bright green disk in a white envelope with this authorization code for something thing called ableton live, and a stack of pro-sessions sound libraries. There was no manual, no explanation, no indication of what it was, and to be frank, bundled software usually sucks monkey balls, so I put it aside, and it sat there for weeks.

Well, a Saturday afternoon a few weeks later, I was kicking my heels looking for something to do. So, I decided to check out this bundle of software to see if there was anything even remotely usable. I set up and installed this ableton thing, and fired it up. My first impression was that though the interface was a little unusual, this piece of software looked like little more than an updated version of the old Amiga Tracker Software. Having been a fan of a number of ProTracker 2 for Amiga I decided to play around with it. 10 minutes later I was in love. This was shockingly good software written with composition and live performance in mind, and not just another DAW or software synth. It had everything I had ever wanted in a audio application. It was mind blowing.

AKAI APC-40

AKAI APC-40


Over the last nine years, the product has just gotten better and better. I will admit that some of the features are making it a little bloated these days, and it is starting to get to the point like some of it’s predecessors (like Cakewalk, Cubase, or Reason) where there are so many options and capabilities that option paralysis is a becoming a common problem for new users. That being said, if you do know what you are doing, and what you want, there are few tools out there that even come close. The only criticism that I had was that despite being written for live performance, the fact is that trying to click on clips, loops and controls on a computer screen is just not feasible in a live situation. Yes, the software supported midi learn, but this meant painstakingly setting up midi devices and having to map them to the on screen controls every time you changed anything. Such a pain! Mostly, you just ended up mapping drum pads as triggers and using bank switching to access additional controls, or having to carry all kinds of otherwise useless equipment just for the control knobs.

A few controllers have come out over the years, but nothing great. The novation is a great launchpad, but what about effect controls, what about my cross fader (I am primarily a DJ), what about… well you get the picture.

However that’s all changed. Recently I saw the Akai apc in DJ mag. I was intrigued. So I started looking around and pricing them out. I got a chance to attend a local demo, and knew that I had to have one.

So I scraped together the cash, decided to risk it, even though it meant eatting pot noodle soup for a month, and went out and got one.

The APC-40 has transformed my interaction with audio. I love this thing. I have been more productive and inspired in one month as a result of playing with this thing, than I have in the last 5 years. I’ve been recording, remixing and writing new material more than ever before!

Now that I’ve got this blog up and running, I’ll be posting my latest work soon.

Hella cool. The oldest electronic music on record

Wednesday, June 18th, 2008

http://news.bbc.co.uk/2/hi/technology/7458479.stm

again, thanks Shaun. you have way too much time on your hands at work.

Holy Crap Was It Packed Last Night

Monday, September 2nd, 2002

Pandemonium had me guest DJ in the lounge last night. I am very grateful for the opportunity. It was so much fun! The place was packed. Sanctuary had its biggest attendance on record. The whole place was packed! It was also kinda cool to have two totally different vibes going on in the two rooms. When ya wanted to listen to phat dark electro, you could go over to the sanc side, and when you wanted to go bounce to 80′s cheese, you could wander into the lounge.<

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Well the formula worked. Sanc had its biggest attendance ever, and there was a hell of a lot of energy.<

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I had a blast. I hadn’t got to drag out my retro tunes since the Element shut down, and I had forgotten how much fun it can be. I drank, and bounced up and down all night. By the end of the night I was giggly, drunk and dead tired.<

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Thanks for the op, Pandemonium!<

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Gotta run, some errands I have to do…<

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VNV Before VNV

Saturday, August 17th, 2002

VNV Before VNV ?

So I am hangin out at Otis, chatting with Dave, and working my way through the hard trance that I had him put aside for me. As I listen through the tracks, discading most as crap, I come across this Schwarze Puppen outfit outta Munich. As I cue up the first track, I do a double take. Man that sounded awfully familiar…. I start playing the track, and my jaw hits the floor. This has got to be mislabled VNV nation. I double check the label, and stare in bewilderment at the vinyl spinning in front of me. There are some lyrics here and there in german, with a different voice, but other than that, this track is “Joy” with a slightly heavier drum beat and some extra fill. I quickly scan through the rest of this EP and realize that this German group is so damn close to VNV Nation, that you would swear that the music was written by Rowan. I stop the vinyl and take a close look at the label, looking for some indication that this is supposed to be trance remixes of VNV songs. Nope, in fact the copyright dates 2 years PRIOR to the release of “Praise the Fallen”. Holy crap! This is wierd. The similarity in the musical style is eerie.

Needless to say, I bought it, along with a bunch of what Dave refers to as Euro Crap Head Bangin’ Trance (*laugh*), and I can only describe as pseudo EBM trance and take it all home to listen to it.

On closer examination, there are differneces in melody and timing, but man are they ever close. I am still shocked. There must be some sort of muse that inspires both german trance guys, and ebm acts. Considering how close Aquagen is to Suicide Commando, and the similarities between TranceControl and some of Apoptygma’s stuff off of Welcome to Earth, I am beginning to suspect that all of these guys are drinking in the same bar… Probably Tresor. *laugh*

So, I am going to be doing some transfer of Vinly to CD and playing with remixing some of these trance tracks into a harder EBM style over the next few weeks.

On a related note, my remix of safety dance isn’t going to well. Everything I do seems to so seriously change the character of the song, that it isn’t even recognizable. The last three attempts have been pathetic. Oh well, back to the drawing board.

Does Faithless ever rock

Tuesday, June 25th, 2002

Oh my god! Does Faithless ever rock!

I picked up another couple of albums and a few singles, ’cause so far everything I have heard I love. The tracks “One Step Too Far” and “Buddah Bar” are quickly becoming my favorite pieces of music. They are like a gothic / electro “Massive Attack” It seems that everything that they produce is awesome!

On another note, I have finished my remix of Beton’s “Another World”. I acutally did three, and two suck, but the third worked out really well. I got Jeffy and Kev to listen to them all and select the best. The third is a winner!

Maybe I’ll unleash it on the unsuspecting Sanctuary crowd this weekend.

It is a bit harder than the regular version and about an exrta 3 minutes long. I should try it out on a few other people first before I give it a whirl in a club. I also have to recompress some of the guitar sounds, but none the less, I am particuarily proud of it.

Wasting too much time on LJ today… Gonna run away now…

Yay! – New CD Player!!!

Friday, June 15th, 2001

Yesterday I finally got my other Pioneer CDJ100S DJ cd player! I bought the other member of the pair last month. I was originally going to pick up both units at the same time, but finances have been a little weird lately. Since Michelle has been living with me, the little daily expenses have been a little larger. Picking up dinner for two people instead of one, extra bathroom stuff, and other little expenses. So, not wanting for me or Michelle to starve for a couple of weeks, I put off buying the second unit until this month.

Now I have it! – Yay!

My old CD decks have served faithfully for the last couple of years, but about two months ago, the transport on the left deck started occasionally pausing mysteriously during playback. This meant that you had to baby the cd player very carefully during any club event. The bass beat in a room could even cause a pause due to vibration. It meant that I had to watch my levels so carefully that I couldn’t concentrate on the beat match or dance floor response. I often had to kill the bass in some of my favorite tracks, and even that might not have been enough. I took the decks in for service, but spare parts for a unit as old as my Denton decks were are very hard to find.

I finally decided to break down, and drop a couple of grand on new equipment. Besides, I really wanted some of the DSP effects and a wider level of pitch control that are only available on newer units. It was time to upgrade.

So I bought the new units from Masterplan. Although Masterplan is not the cheapest place in town for equipment, the staff are really nice, and actually the salesmen themselves actually perform with the equipment that they sell. That means that they will tell you honestly how various pieces of gear behave on the road, and will warn you about the oddities of any piece of equipment that you may be considering. While I was there I also found out that they should be able to get me parts to give the old Denons a repair and a good tune up.

I am in love with the new units! They are almost indestructible and have a really nice feel. The huge jog dial has almost exactly the same feel as mixing with vinyl. You get a lot more sensitivity and control than you ever had with my old rack mounted units. The ease of chase mixing with them is phenomenal. It will take a little while for me to get used to the sensitivity of them however. They have a much faster response than older units I have worked with, so I have a tendency to be a little heavy handed when trying to give a burst of kick or drag to a track.

I spent about 3 hours with them last night, practicing old tricks I used to be able to do on the Denons. Looping is a bit different and playback speed from a cue point is a bit slower than on the older units, but having the DSP effects on the unit allows me to hide all but the worst train wreck mixes.

The Pioneers are the same model that Issac uses for Sanctuary, and that I used for spinning the night of the And One and Covenant concert. I fell in love with them that night. They are a bit weird to get used to if you are used to the rack mounted types. They cue very differently and are far more responsive, so if you are not used to them, everything seems far to sensitive.

Michelle has tried using them a few times and although she likes them, she isn’t comfor

I myself can’t wait to use them in a live venue. Some of the features that they have are only accessible via a Pioneer mixer, but the truth be known, I hate the Pioneer mixers (except for the very high end ones). The sample, transform, send, kill, and independent channel eq on my Numark are a godsend if you are trying to create new tracks out of canned music or doing a live off the cuff remix.

Although you really can’t get away with doing that too often when spinning industrial music (the crowd are “purists” who want only “the album version with no changes”), I usually put on a bit of a show when doing 80′s tunes and it gets amazing response from even a small crowd. My favorite live remix to perform right now is my “You Spin my Venus” mix (Dead or Alive vs. Banannarama – so much fun). I am trying to work out something with an erasure / depeche mix for the opening night of Labyrinth after the Tranist strike. It will probably help if I can get a third CD going. There is an old single deck American DJ unit at a pawn shop not far from me, but my pocket still hurts from the new Pioneer deck, so it will have to wait.

I can’t wait to get home to play with them some more!!!!

Hmmm…. I should record some of my stuff and put it up on my website.

Hmmmm….. Maybee I should bloody well finish my website this weekend.

I have also been trying to work out a good control system to use my laptop as a sampler when performing live. The output level of my laptop sound card is a little weak compared to the other equipment, and it is a little slow playing off a cue, but I figure I can find something to push a bit more speed and volume out of it.

I have also decided that all modern dance music owes its structure to New Order.

Nuff for now. Gotta run away. I just though of a mix I can probably do live! Need some samples from the breakfast club though….