Archive Page 2

Playedoh, Port and Pies

Only a few days until the Playedoh Records night, and just looking out a few things for the trip south. Surely time for a quick mix to think about what sounds might make the playlist. So feet up, glass of port, a mince pie and hope you enjoy the tunes…

Take a listen to the set on Mixcloud

Vampires (Afrolicious & Rob Garza Remix)– Thievery Corporation – ESL Music

Rhythm Turns Me On (Craig Stewart Remix) – Steve K, Yogi (Random Soul) – Universe Media

Underground (Dennis Ferrer Remix) – Nick Curly – Defected

NYC Sunset (CRAM Remix) – Jonny Bee – UM Records

Brotherman (Original Mix) – Detroit Swindle – Freerange Records

Funking (Original Mix) – Gion – Minimo Records

Red One (Original Mix) – Markus Homm – 8bit

Chip Chip (Original Mix) – Superlounge, Alex Niggemann – Strictly Chosen

Cicadas (Maya Jane Coles Remix) – Tom Middleton – Lo:Rise

I’m Glad You Came to Me (Nicholas Garage Dub Mix) – Bas Noir – Needwant

Tell Me (Instrumental) – Andre Crom – Freerange Records

No Sympathy (Original Mix) – Maya Jane Coles – Elite Records

Deep is the New Sh*t

So, after a thought-provoking tweet from Edinburgh’s wonderful Cabaret Voltaire, I think this might be my tune of the year: Evren Ulusoy‘s ‘Deep is the New Sh*t‘.

Thinking About the Playedoh Label Showcase- Deep House Mix

So, with the Playedoh Records Label Showcase just a week away, I thought it was probably time to start thinking about which sounds deserve a spot in the digital crate.

Take a listen to the mix on Mixcloud and answers on a postcard please…

Tainted Jazz – Poncho Warwick – Guesthouse Music

Season Finale (Original Mix) – Juan Lombardo – Shelving Music

Can Get Witcha (Original Mix) – Dimitry Liss – Eyepatch Recordings

Hot (Original Mix) – Flashmob – Defected

You Make My Dreams Come True (Original Mix) – Jonny Bee – UM Records

Philosophy (Original Mix) – Deep Active Sound – Two House Recordings

Moruno (Original Mix) – Amyi – Deep Nota

Maximum (Joyce Muniz Remix) – Claptone – Exploited

Dharbour (Original Mix) – Animal Picnic – Delicious Recordings

Hope you enjoy!

Ableton Live 9: additions and wishlists…

A few weeks ago, Ableton announced the latest update to their Live studio and performance DAW, Live 9. Having  been a Live user since version 1.5, I am always interested in the latest update to the DAW I find most inspiring; although, after all the bugs and issues I had with Live 8, I might wait for a dot update before upgrading. Anyway, I’m sure you’ve all seen the new features, but I thought I might list a few of the things I’d like to see in the next update…

I’m aware that I do not know Live as deeply as I possibly should, once I find a way to do what I need -no matter how convoluted- I tend just to use that rather than look for alternatives. So, if there are things in my wishlist that I Live can do already, please comment and let me know!

The wishlist:

While all these updates are nice, there are a few things that I’d like to see in forthcoming releases:

Mono tracks. I don’t need all my tracks to be stereo. I’d like to select whether a particular channel is mono or stereo so that I’m not using twice as much processing power when I’m running effects on that channel.

Groups within groups. Yes, there are ways to route things, but I’d like to be able to nest a few things. For example, I often use two or three different tracks for the bassline. I’d like to be able to group those, then have that group in another group with the kick drum so I can compress the low end together.

An easier way to turn clips into songs. I always start out in session view, separate channels for different sounds and instruments, then a few variations within each channel. Once I’m there, I’d love to have an easier way of getting those variations into the arrangement view would be nice. A ‘paintbrush’-style tool in the arrangement view that allows me ‘paint’ sounds down on the timeline from the ‘palette’ of sounds that are available in the session view of that channel would be absolutely fantastic.

‘Pinging’ an external effect to set up device latency. How fantastic would it be if the external effect device just had a button that said ‘ping’ or similar, which would then send a test tone to the external effect and learn how long it takes for the audio to make the round trip, ideally to within a tenth of a millisecond or better. Perfect.

There are a few more little niggles, but that should cover it for now. As for what is in Live 9, I bought the full version of Cytomic’s The Glue quite a while ago (excellent plugin, can’t recommend it highly enough!), so the new Glue compressor is just typical of my musical investments, but reassuring that I backed a winning horse I suppose! The audio to MIDI feature is what I think will make the biggest difference to my workflow though: looking forward to recording those solos and ear candy ornamentations with the guitar, changing them to MIDI and playing about with synths, electric pianos and anything else I’m not very good at playing! Bring on the release of Live 9!

Oh, and Push as well, that looks handy…

Fynn’s Autumn to Christmas Sounds

It has been long overdue time for a new chart on Beatport, so, without further procrastination, some of my favourite tunes of recent weeks that will likely be the cornerstone of my net mix and upcoming gigs:

Para Mis Amigos featuring Omegaman (Instrumental) – Omegaman, Empresarios – Fort Knox Recordings

Can Get Witcha (Original Mix) – Dimitry Liss – Eyepatch Recordings

NYC Sunset (Original Mix) – Jonny Bee – UM Records

Dharbour (Original Mix) – Animal Picnic – Delicious Recordings

No Sympathy (Original Mix) – Maya Jane Coles – Elite Records

Brotherman (Original Mix) – Detroit Swindle – Freerange Records

Deep is All You Need (Evren Ulusoy’s Cosmic Deep Dub) – Edmund – I Records

Child (NY Stomp Remix) – George Fitzgerald – Aus Music

Sunday Gathering (Dyed Soundorom Remix) – Hanfry Martinez, Terence:Terry: La Vie En Rose

Twisted Sister (Original Mix) – M.A.N.D.Y. – Get Physical Music

Hope you all approve!

Dharbour (Original Mix)- Animal Picnic

Released on 1st October on Delicious Recordings, Dharbour is the second track from the Bean City EP from Animal Picnic and I love it. In some ways I wish I didn’t, but I just do. Those incredibly 80s sounding synth chords and the bassline just work for me. Yes, it has a hint of Beverley Hills Cop-era cheese about it, but I have been listening to this over and over again recently. This is going on the next mix I think!

Redwood City EP out Now on General Release

With some great support from Amazing Beats (thanks Mark!), my first release on Deep Nota, the Redwood City EP, is now available from all good digital retailers!

Redwood City shows my love of the deeper and jazzy side of house music; from smooth electric pianos, lilting trumpets and soulful vocal accents inspired by the sounds of classic deep house to more progressive and contemporary driving basslines, chopped chords and breakbeats.

Francesca Lombardo Comes to Edinburgh

Great news for all of us deep house fans around Edinburgh way: the fantastic Francesca Lombardo (Rebellion, Crosstown Rebels) will be in town on the 1st December as Illusion presents a fine night at The Third Door.

Looking forward to this one, I’ve been playing her track Wander and Wonder a lot recently and it will be in my next Mixcloud set, which I’ll try and get up this week. Things are kicking off at 10.30pm, but, if you want to get in the mood early, catch the pre-club party at the Assembly Bar from 9.00pm.

Redwood City EP released on Deep Nota

Redwood City is the latest release from Fynn Callum. Released on Deep Nota, the 4-track EP is available now on Beatport, and is on general release from 23rd November.

Fynn’s first release on Deep Nota shows his love of the deeper and jazzy side of house music; from smooth electric pianos, lilting trumpets and soulful vocal accents inspired by the sounds of classic deep house to more progressive and contemporary driving basslines, chopped chords and breakbeats.

Analogue Summing

So, feeling compelled to write something following a post on forum regarding whether or not analogue summing was important, I thought I would publish my response here as well:

Summing is a tricky one. Back in the days of DAWs with bad arithmetic, a lot of people thought that the DAW never got its summing right. These days, the maths that drive the DAW is really pretty good, and the sum output should be the arithmetically perfect mix of what went into it. So, as with the whole analogue thing, what people look for are the imperfections.

A lot of the interviews with producers in Sound on Sound mention analogue summing, saying things along the lines of “the Dangerous 2-Bus gave us a sound that summing in Pro Tools just couldn’t”, but as with all the discussions of DAW vs analogue summing I’ve read in the past, there is nothing scientific about these comments, everything is always subjective. It would be very nice for someone to conduct a proper double-blinded comparison with sufficient replication to try and get some statistical significance (or not).

So, with analogue summing, using a regular desk or summing mixer, you’re possibly looking to impart the sound of tubes, transformers etc, rather than getting pristine quality. Additionally, you also have to consider the fact that you can end up needing a lot of D/A conversion to sum outboard, and that gets expensive and, for many producers, may not even be possible. Let’s say that I have an Apogee DA16X, giving me 16 channels of superb DA conversion. Do my productions only have 16 tracks? No. So, therefore, I’m going to have to sum internally down to 16 tracks. And if I’m going to do that and be happy with the quality for that, why not just sum to a single stereo buss and then just send two channels out and back through something analogue?

That said, from a mixing perspective, there can be advantages to doing things that way, even if you go down to 8 channels. I generally all of my mixing in the box, all automation, effects etc. What I’ll then do, is run out my kick and bass as 2 mono channels and three stereo pairs of stems to my mixer or other outboard. I’ll zero everything, then mix those stems bringing up the faders and possibly adding a bit of eq and/or compression, then print that mix back as a final stereo mixdown. Then I’ll zero the controls, and do it again, and again, maybe over the course of a week. The differences in the final mix can be subtle, but sometimes one just sounds ‘better’. Yes, you can do that in your DAW, but sometimes breaking free of complete recall of every parameter can be a blessing, if that’s how you like to work of course…

If funds were unlimited, I’d probably mix or sum in the analogue domain, but would that be for sound quality? Probably not. However, as they are very tight, I think the money is best spent on good monitors and acoustic treatment: a mix is only as good as the weakest link in the chain.

A couple of articles you might want to check out:

http://www.soundonsound.com/sos/jun0…s/qa0604-5.htm

http://www.soundonsound.com/sos/jun1…light-0612.htm


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