Three instruments have been stoking the fires of my gear-lust a lot lately. I’m just putting this out there in case Santa is listening and has not been effected too much by the economic crisis.
Tenori-on
There is lots to love about this thing. The portability, the method of sequencing, the pretty lights, the interface, and perhaps most importantly, the freedom of not needing a computer. There are tons of videos out there about the Tenori-on, but this on is the most musical that I’ve seen.
Fender Rhodes
Oh, that smooth Rhodes sound…. It just slips into your ears and hugs you from the inside. I would not have a place in my studio to put one of these things, but I would certainly make some serious layout compromises to squeeze one in. That classic, soulful sound just calls to me.
Hang
This is a incredibly hard instrument to purchase. Only a few are made each year, and the desirability should be obvious. That combination of smooth melodious notes from a percussive instrument really attracts me. Due to the scarcity of the Hang, this is realistically the instrument of these three lusts that I’m least likely to ever own. A boy can dream though.
One of my favorite pieces of music production software, GleetchLab, just got an update to v3. Gleetchlab is best suited for making glitchy, ambient, experimental sound scapes because at its core, it is about taking existing audio loops and running them through a sonic meat grinder. Previous versions of GleetchLab were used heavily in the making of my Regression Session release.
Each full version update has done a lot to make this one fine audio mangling instrument, and the move to v3 is no exception. Significant progress has been made in making the interface more user friendly and intuitive, plus much needed midi implementation, a new batch of signal processors, quadraphonic mixing and recording, and a parameters recall utility, make for a nice step forward. Sadly, some of my favorite pieces from v2, namely the Lightman controller and Strange Attractor Oscillator are missing from this release. I’m crossing my fingers that they reappear in a future update. Check out this page for some video demos of the new features.
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Regression Session is a mega-mix tapestry, woven from my older ambient works. It has been sitting nearly completed on my hard drive for many many months, and I’ve finally finished it up, and am now putting it out on the ‘net for the world to download and hopefully enjoy.
The music in this produced set was created between 2000 and 2008, which was a very explorative time in my music making pursuits. I’m at a point now where I’m feeling more certain of my own creative voice, and feel that combining my older works into a larger piece is a proper way of closing the book on that chapter and allowing me to have a fresh start with my newer techniques, equipment, and processes. Essentially, Regression Session is a time capsule of sorts, documenting the ambient side of my musical voyage since 2000. The production files of most of these tracks have been lost to digital gremlins and computer platform changes, so they are presented here in their final state—goofed notes, audio glitches, mastering mistakes and all. They are what they are and will never be anything different. Despite these imperfections, I am proud to say this is/was me and am happy to have a nice package of the material to present to the world.
Your thoughts and feedback would be very welcome, but are not expected. If you enjoy what you hear, or parts of it, let me know! This music has been intensely private for so long, that I’m now very curious about how it sounds to other sets of ears.
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Download » Leave Trace - Regression Session
Tracklist::
Ocean Deep
Uncertainty Principle
Time Lapse
Quantum Soup
Freedom of Movement feat. Gel-Sol (live)
Interlude
Deeper States
Lighter Than
Had
Moment of Clarity (Ethereal Bliss Mix)
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Leave Trace - Regression Session This is a great electronic cover of the classic Pink Floyd track, On the Run, by Muzik 4 Machines. It is performed with only hardware synths and effects units, and no computer, which is a deliciously novel thing in today’s music making. Check out the video description on the YouTube page for a complete gear list.
Here’s a vid of me working in one of my favorite production tools, GleetchLab.
According to the program’s author, “Gleetchlab is a stand-alone software for glitch music authoring and sound design. Gleetchlab is a modular software designed for realtime sound manipulation. Features include convolution, granular, neural and attractors synthesis, spectral filtering, loop points manipulation, CD skip and wow & flutter simulation, vst plugins hosting, webcam controllers.”
It is perfect for making those textural ambient soundscapes that I so love. Plus, it’s free!
Meet Tom Cosm, electronic musician/digital busker.
This man is an active participant, a pioneer even, in one of the more exciting new fronts in electronic music. Specifically, the free sharing of music, knowledge, techniques and actual working files. His style covers a lot of ground, but there’s a definite Tom Cosm sound, typified by super funky, almost spazzy, bass lines with a heavy layer of glitch-like effects. As he mentions in the introduction video, he releases all of this creativity and knowledge into the world for free, partly as a promotional effort to drum up bookings and partly just to share with the universe. This is where the “Digital Busker” title comes into play. There are several ways to donate a few dollars when you can to help him continue down this path. Often he lists specific goals for his donation requests. Currently, he’s asking for help drumming up the cash to upgrade to Ableton Live 7.
Check out his latest track, Heaps Good Strong Board:
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Pretty cool, huh? Now here’s the brilliant part, go here to download the full Ableton Live set that allows you to perform or remix this track. There’s even a tutorial video to walk you through the entire file and how he’d use it in a live performance situation.
If you are an electronic musician (aspiring or otherwise) or just a fan of interesting music and want to know more about the processes behind making it, I highly encourage you to go to his site, TomCosm.com. Download his music, Ableton Live performance packs and tutorial videos, subscribe to his blog, and donate a few dollars if his selfless sharing of ideas and music inspires you in any way. This concept of a Digital Busker is perhaps the future of music on the Internet, and hopefully Tom not only inspires musicians with his software techniques, but also with his philosophy.
In a related bit of sharing, the super awesome duo Pitch Black has offered up their track Harmonia for remxing and personal use. You can download the complete Ableton Live file here: pitchblack.co.nz/harmonia.
Whatever is in the water in New Zealand (the home of both Tom Cosm and Pitch Black), I hope it spreads throughout the world and this idea of freely sharing your working files catches on. Musicians are becoming content creators, DJs are becoming remix artists and producers, and all of this blurring between rolls in the grand electronic music circle can only lead to better music and performances for us all. The DJ as it has been known is on their way out, and soon (if it isn’t already true), it will take original content, remixes and mash-ups to make any sort of statement worth listening to.
