Thinking out loud...

[nowaysj]

You know what, if you are not inspired, don't do it. Fuck it. People dripping with talent, skills, producing incredible music, ain't getting shit for their toons. There is no worldly return on music making. If you're not driven to do it, for whatever reason, fuck it. Just play xbox or something.

[hubb]

There's still quite a gap between what developers want you to do with their software and how most people tend to go and paint by numbers.
It's not just the anachronistic notion that most sequencer developers still try to create a faux recording environment/studio feel, instead of just making a composition tool, that most people that 'paint by numbers' could suffice with.
It's also a genuine 'meta' -field where those who produce play a game inside another game. If some cool kids play some cool game, its probably cool?

[nowaysj]

Really want a daw that is more focused on composition. Like okay, lets say you still have a playlist/arrange page kind of thing... like you need a section of space to work on something, lets say like a scratch section with 20 multitracks, and that section can then be inserted into the main playlist.

I know logic and cubase have something like this. Motherfuckers...

Hey does reaper have folder tracks, or some function that can wrap up and hide a bunch of sub tracks?

[fragments]

It's also a genuine 'meta' -field where those who produce play a game inside another game. If some cool kids play some cool game, its probably cool?

Curious what you mean by this : )

[hubb]

Nowaysj

Definitely what reaper is meant to be about. Like it doesn't distinguish between creating a miditrack or an auditrack- it just depends on what you put on the track.
That idea has been kind of a metaphore for where they have wanted to take it
- not making it a studio emulator. It works really well, I just prefer logic because I've used the same exact version for years.

Fragments.

I mean, like all the misinformation/ production myths on for example doa, has litterally influenced that scene of music.
200hz sn, frequency splitting bassmids etc.
Even in a way where developers of software have incorporated some of those principles back into new software.
The loudness war is probably evidence of something like that too.

Bass sounds (in underground dance music) were for a long time something you could only achieve if you knew the right ways to misuse the software.
Like resampling and similar stuff that is hard to figure out on your own.
Probably an exaggeration but.. you know.

Ni Massive vst is probably not only a good thing - or at least it compromises the general producers tendency to go for other modular stuff.

[nowaysj]

Nowaysj

Definitely what reaper is meant to be about. Like it doesn't distinguish between creating a miditrack or an auditrack- it just depends what you put on it.
That has been kind of a metaphore for where they have wanted to take it- not making it a studio emulator. It works really well, I just prefer logic because I've used the same exact version for years.

Yes, but can you wrap up 10 tracks, into just one track on the arrange page, and just have it be like one discreet entity, and then you can get back down into its guts...

I think they're called folder tracks in logic, or something. I haven't used logic in 10 years.

Will post in a few hours for clarification.

[hubb]

I only just now clocked how there's a joke in your name

[nowaysj]

Multidimensional at that.

[hubb]

I think you can create really complex editor/mainview/audiolane or whatever setups and just pull them in like they were presets.
Like long fx chains from one song -can be pulled in by one click.


I don't know why I say pull.

If your name is daniel - then daniel san would be appropriate.

[fragments]

Nowaysj

Definitely what reaper is meant to be about. Like it doesn't distinguish between creating a miditrack or an auditrack- it just depends on what you put on the track.
That idea has been kind of a metaphore for where they have wanted to take it
- not making it a studio emulator. It works really well, I just prefer logic because I've used the same exact version for years.

Fragments.

I mean, like all the misinformation/ production myths on for example doa, has litterally influenced that scene of music.
200hz sn, frequency splitting bassmids etc.
Even in a way where developers of software have incorporated some of those principles back into new software.
The loudness war is probably evidence of something like that too.

Bass sounds (in underground dance music) were for a long time something you could only achieve if you knew the right ways to misuse the software.
Like resampling and similar stuff that is hard to figure out on your own.
Probably an exaggeration but.. you know.

Ni Massive vst is probably not only a good thing - or at least it compromises the general producers tendency to go for other modular stuff.

Ah. I gotcha. I can groove to that. Its funny because every time ive tried those specific things youve mentioned my tu es turned out worse than if I just did something simpler. With those myths or whatever ive always felt like that stuff sounded so complicated for the result...I also feel like resampling is a bit of a myth along those lines. I cant imagine getting a clean sound resampling a bass through a stacked fx chain more than once or twice...

[hubb]

Yeah.. maybe resampling is vague. More like 'breeding' and then probably splicing samples, but I would never take it through exactly the same chain.
Always a good idea to keep the original sound so you can mix it back in and regain the 'clearity'.
Working in layers like that can be time consuming though .

It's the most interesting aspect of production to me.

[nowaysj]

It's the most interesting aspect of production to me.

[nowaysj]

Don't know where else to put this:

[wub]

...because Kelloggs put a cease & desist on FruityLoops because of the similarity to their cereal FrootLoops.

[wub]

http://www.vanguardredmagazine.co.nz/sp ... t-om-unit/

Between the 14th-16th of February, New Zealand’s well loved Splore Festival returns to Tapapakanga Regional Park, one of the most beautiful outdoor locations in the country. This year headlined by the likes of The Orb, DJ Shadow, Ty, The Bamboos and The Ragga Twins, the 2014 edition of Splore will also feature some spectacular left-of-centre musical entertainers like Awesome Tapes From Africa, Kutmah, Om Unit and Kingdom. Over the next week we’ll be running a series of interviews with some of these talents. Today Martyn Pepperell talks with amorphous UK bass music talent Om Unit.

You’re a DJ and a producer. How and where did you get into these disciplines, what did you connect with about them, and do they inform each other on any level? I made music first. I started [out] around 1993/1994 just messing about with some tracker software on an old computer. I got into DJ’ing later on when I was about 15 [in 1995]. I was just so in love with the concept as a kid that I had to learn more and get into it. It was my way of escaping from dealing with life at the time. I think they totally inform each other for me, as I do think about structuring arrangements in a DJ sense [but not exclusively].

In a former music life you were known as a turntablist and hip-hop producer under the alias 2tall. Could you run us through the work you did there, and how that lead onto Om Unit? I produced instrumental hip-hop and was a battle DJ for a while. I also performed live on stage with MPC and turntables, and produced for some rappers. There’s a few albums out there floating about under the 2tall name people might want to check out for sure – I had a break for a while and worked on some new ideas and came back as Om Unit with the help early on from Plastician and All City Records as well as my remix of Joker’s ‘Digidesign’.

Soundcloud

A few years ago you stunned a lot of us with your Philip D Kick project, where you were remixing classic jungle tunes into a juke/footwork style. Could you talk about your relationship with classic jungle, your relationship with footwork/juke, and how you came about the idea to put the two together. I had just been down to see Mike Paradinas play a DJ set of footwork and the rhythm just grabbed me – it reminded me so much of hearing old jungle that I felt compelled to experiment with the fusion thing. I grew up with jungle music, it was my first real love as a youth so to me it was a the perfect marriage of old and new. I used an alias to keep the anonymity and also to be able to do it in peace until I felt I’d done enough. Myself and Machinedrum had the same idea at the same time, and it has now seemed to have been the seed for a lot of people to try their own take on it which feels great.

Like you just mentioned Machinedrum did something very similar at the same time. What is your relationship to him, and what was it like hearing this idea being explored by someone else like that? I assume this lead to you guys working together as Dream Continuum, could you explain that project? He’s a friend, and a musical peer for sure. It was just crazy that we had this same idea, which really speaks volumes about the idea of a shared social consciousness. I bet we were not the only ones with that in mind, but we were to my knowledge the first to make it a reality. And indeed we had to work together to try doing something as a collaboration. For me that was an honor as I’d been into his music since the early days of his stuff, albums like Bidnezz.

Soundcloud

Moving forwards, how did reconnecting with jungle through footwork inform the way your production and DJing style has developed over the years since? Essentially it’s allowed me to fuse things together. I take hip-hop stuff, drum and bass, jungle, footwork and synthesize it all into one thing. Off the back of that I think I’ve helped inform doing the same and now I’m playing music by musical peers that is their own style but fits nicely with my stuff. So as a DJ, I can represent a range of stuff that stitches together nicely. It’s great feeling. I am far from “the originator” of this though. I have to pay respect to D-bridge, Amit, Loxy, and their peers in the drum and bass world for being pioneering from early on.

Near the end of 2013 you released the album Threads as Om Unit. What did this record represent to you at the time, and upon reflection, where does it suggest you are headed? Threads is really a melting pot of styles and overall was intended to be more of an indoors kind of listening experience. It comes off like that I think, and in retrospect I am totally happy with the outcome. The feedback as been great! It perhaps suggests more eclecticism, which is true to a certain extent. I don’t really think too hard and plan stuff in this linear fashion though.

Soundcloud

Tell me about your record label Cosmic Bridge? Cosmic Bridge is my label. I launched it in 2011 via a collaborative release with Kromestar. Since then I have put out the first releases by EAN, Danny Scrilla, and Moresounds, all of whom are going on to flourish in their own way. I also released a few more bits by Kromestar and more recently an EP by Boxcutter, who is such a slept-on producer and musician. In 2014 we will see new artists popping up, as well as a compilation on the way.

Finally, what is your personal philosophy towards creativity? Wow, that’s hard to say in a sentence. I’d say I try to do more than think, and try not to compete with others at all. I think dedication to learning the craft of sound mixing and engineering continues to pay off. Overall I just say do what you love with it and don’t try to be someone else for the sake of being noticed, because nobody wants to hear another carbon copy of the next guy. People love and recognise originality over anything else. It takes a leap of faith, but it’s worth it in the long run.

http://www.omunit.com

[wub]

Resident Advisor Real Scenes series;

Toyko - http://www.youtube.com/watch?v=paR21Qi6848
Berlin - http://www.youtube.com/watch?v=KXfK7H2eFl8
Johannesburg - http://www.youtube.com/watch?v=Ykt2f6o7-e8
Detroit - http://www.youtube.com/watch?v=TCAY5L2zDtU
Bristol - http://www.youtube.com/watch?v=dyYeMOrm700 .

[wub]

Crafting Loud Mixes That Sound Great - http://www.soundonsound.com/sos/mar12/a ... udness.htm

[wub]

[wub]

Raw. As. Fuck.

[wub]

House Tech House Tune Behind The Scenes Building A Live Arrangement - http://www.youtube.com/watch?v=RtOYNcWyadA
Tec House Tune build a Live arrangement with Mackie 1604i MPC400 Xfer Nerve InnerclockSync Gen - http://www.youtube.com/watch?v=56l1ENx0eis
The KLF - Rapido interview - http://www.youtube.com/watch?v=Rnywi_7hgr8
The KLF - The Jams (how to use the 1987 edits) - http://www.youtube.com/watch?v=cyHh-84eMO8
Has the iPod changed our relationship with music? - Bill Drummond - http://www.youtube.com/watch?v=JlSqV8nqmuk

Last one is more a 'food for thought' style piece.