April 12th, 2016
I’ve recently started dabbling with music again in my spare time. This is the first “finished” track with the new setup, that I’m reasonably happy with. Practice makes perfect, so more better stuff is on the way.
You can download a high quality MP3 version here on SoundCloud.
December 16th, 2014
Here’s a new track that I have produced. It started out in 2010 as a remix of Another Visitor (sticking with the Impossible Mission theme), but then it sat on a hard drive as an unfinished loop for four years. I finally grabbed a day recently to turn it into a more finished tune. I think this is better than the original; I’m much happier with the production but I definitely need some monitor speakers to get more control over the mixdown.
August 17th, 2014
I’ve put together a new ambient mix. It was recorded live and then tweaked in Ableton. The field recordings were captured with my ancient MZ-R50 MiniDisc recorder and a stereo mic.
It’s on both SoundCloud and Mixcloud:
- Firstperson – field recording: Stamford morning
- Stéphane Kerecki & John Taylor – La Source (intro)
- Firstperson – field recording: Wet London street 1
- Carroll Gibbons – The Night Is Young
- Brock Van Wey – Forever a Stranger
- Bill Evans – Spartacus Love Theme (sample, looped)
- Firstperson – field recording: Rain on plastic roof
- Tim Hecker – The Star Compass
- Firstperson – field recording: Market day
- Firstperson – microphone feedback experiment
- Hallgrimskirkja Motet Choir – Jón Leifs – Requiem, Op. 33b
- Firstperson – field recording: Wet London street 2
- Future Sound Of London – Photosynthesis
- Stephen Crow – Starquake, in-game sound effects (C64)
- Arthur Russell – Another Thought
- Spooky – Orange Coloured Liquid
- Nick Drake – Hazy Jane II
June 29th, 2014
I enjoyed Metallica’s Glastonbury Pyramid Stage set last night. Prior to becoming acquainted with (what came to be) techno / electronica I was a teenage rock fan of sorts. Never a ‘proper metaller’ in all honesty but aged ~8-11 I had a modest collection of albums on tape from the likes of Alice Cooper, Twisted Sister, WASP (yes), Guns N’ Roses and Motley Crüe. And then on starting secondary school I became acquainted with Megadeth and Metallica, before Nirvana came along and then died and then I sort of discarded it all for years having discovered the whole dance music thing.
Anyway I still have a soft spot for Metallica. They can’t half write a cathartic harmonised instrumental. I realise that I speak here as a lay-person and that for true ‘metallers’ there are certainly more nuanced artists who technically do the genre better. But for me they are great entertainers. A bit cheesy, but it’s fun.
I gather that some much closer to genre have been whinging about them being sell-outs for accepting the gig – scoffing about “tofu-munching hippies”. Presumably these elite only eat raw beef, whist head-butting each other to the death in mosh pits. In the 1980s.
But how many bands would have honestly turned down the chance to headline at Glastonbury if actually asked? Would the aforementioned naysayers rather keep Metallica for themselves? You can’t be (of have been?) the biggest rock band in the world and stay underground. And hey Lars Ulrich’s bald patch isn’t getting any smaller.
They’re entertainers. People were entertained. Job done.
April 1st, 2014
Been meaning to get round to this for ages. I bought a Traktor Z1 mixer a few months ago and have been very occasionally dipping into Traktor 2 Pro. I also went on an ambitious vinyl recording spree, digitising the best of my records most of which are from 1994 – 1998.
However it was only when trying to put together a mix of old and new techno that I realised quite how much the genre has moved on in the past ten years. The 90s tunes are great but don’t generally flow in with the new stuff (well, except for the timeless Basic Channel obviously).
I’ll do a separate retro mix at some point in the next few months, which I imagine will be very different.
Anyway, I think this turned out OK given how rusty I am. There’s a couple of clumsy transitions where the outgoing track ran out slightly too soon (haven’t quite got the hang of looping in Traktor yet) and like a fool I managed to record it with the recorder’s input gain at -12dB so I had to boost the finished recording by the same amount to compensate. Had it been recorded through an analogue mixer that would have killed it with noise.
March 22nd, 2014
About once every month I’ll browse around on Boomkat or Bleep and spend some money on music; often tracks I’ve tagged through Shazam. If I can’t find something there, or direct from the label’s website I’ll fall back to Google Play and then eventually iTunes (though its catalogue is less likely to contain what I’m after).
I just spent £23-odd, for which I got 34 tracks totalling 5 hours and 3 minutes of playback. That’s the result of weeks and weeks of artists’ time and effort for under a quid a track. And I get DRM-free 320kbps MP3s or FLAC files to keep.
Does anyone else still pay for music? Presumably it’s not just me otherwise it wouldn’t be for sale. But I’m in a dwindling minority.
Spotify has its value, but it (famously) pays most independent artists a pittance for plays. If you enjoy listening to music I urge you to keep paying for it! And go direct where you can to cut out middlemen. Long gone are the days of paying £17.99 for an album at HMV.
I’d guess that at least a third of the artists I listen to have day jobs to support their music careers. The least I can do is buy them a beer.