Tuesday, 22 March 2011
Thursday, 17 March 2011
PEARSON SOUND - NSWL007
PEARSON SOUND
NSWL007
Night Slugs
DUBSTEP / GRIME / FUNKY
12'
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DOWNLOAD: Ghostpoet - Cash & Carry Me Home (feat. Kano)
Moving, recently, from Coventry to London, Obaro Ejimiwe has made the same Midlands-to-capital migration as the man who's done more than any other in the last decade to add emotional weight and depth to British rap. Mike Skinner's a huge Ghostpoet fan, but on "Cash & Carry Me Home" it's the lazy drawl of another Streets devotee that springs quickest to mind—with talk of being lonely and half-drunk and then lost in subsequent headaches, the track comes on like an early Jamie T demo. Kano's there, too, swimming in the cloudy soundworld Obaro has built out of lost pirate radio bass bumps and Valium grime synths, but it's the slack-mouthed spit of its creator that will stay with you the longest. Find more of the same on Ghostpoet's debut album Peanut Butter Blues & Melancholy Jam, out now via Gilles Peterson's Brownswood imprint.
Ghostpoet - Cash & Carry Me Home (feat. Kano)
Find More Free Ghostpoet Music Here
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Synth Madness, as Sound-making Manufacturers of Austin Gather Today at Switched On
Analog and digital, gadgetry and module, DIY and ready-to-play, today in Austin we’re blessed with a get-together at the insanely-amazing Switched On music store. Austin’s noisiest manufacturers are dropping in to show some of their wears.
If you’re not in Austin, have a look at the lineup below and see if you have any questions for these makers, and I can bring back those answers to our readers around the world.
The event is free, 4:00 – 7:00 pm. It’s very informal and intimate – just sound geek boys and girls hanging out.
The Victory Grill Cafe
Across from 1111 E. 11th Switched On
Austin, TX
Switched On: a place where your money goes to die, but vintage synthesizers and circuit-bend video machines and other goodies replace it
I’ll kick of the proceedings with the MeeBlip, our fully open-source synth – which, now after several months of use and creative users, I can now say quite a lot about.
http://meeblip.com
Then…
Bleep Labs is a locally owned & operated manufacturer of some of the most creatively unique sound toys, some of which can be interfaced with CV supported hardware. His Thingamagoop 2 light controlled Analog + Digital Synth Friend is a hot item in every store who carries it. Please come check out some of his other gadgets that will blow you away!
http://www.bleeplabs.com/Livid Instruments has been crafting controllers for electronic music in Austin, Texas since 2004, and offers a line of commercially available control surfaces and DIY products through dealers and distributors worldwide. Livid will be demoing it’s product line with software tools like Ableton Live, Max/MSP, Reason, ArKaos, and Traktor.
http://www.lividinstruments.com/
http://www.lividindustry.com/
http://www.lividdesign.com/Dann Green of 4ms will demo synthesizer modules, including the Rotating Clock Divider, Shuffling Clock Multiplier, and the soon-to-be-released VCAMatrix. The RCD and SCM are hackable microcontroller-based timing generators for creating complex rhythm patterns, and the VCAMatrix is a 4×4 CV-controllable analogue signal mixer/router.
http://4mspedals.com/Mickey Delp will be demoing several Delptronics products including the Guitar Meister, which plays real guitar sounds on a PS2 guitar controller; and the Bender Sequencer, a step sequencer designed for DIY synth builders and circuit benders. Mickey will also be showing his custom synthesizer created for Dorkbot’s SXSW event. The synth was sponsored by, and built with parts from Radio Shack.
http://delptronics.com/bubblesound is proud to be joining this line up a month after we relocated from NYC, and we will be showing off our new oscillator: the VCOb. This is the first time the VCOb will be demo’d in public, so come on down. The VCOb will be joining the rest of the bubblesound line; the SeM20, the uLFO, the cvWS and the LvL+rm. It starts shipping in April.
www.bubblesound-instruments.com
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SALVA – NEW VIDEO “KEYS OPEN DOORS”
A very bizarre video from the new cool kid on the block – Salva, directed by Keith Musil premiered on Pitchfork. “Keys Open Doors” from Salva’s Complex Housing album definitely received a unique video treatment. Check it out, and say hi to the boss himself at 3:26.
Salva – Keys Open Doors from FoF Music on Vimeo.
"around the: Omar S
wokół nieziemskiego Omara S aka Villalobo formuje się ostatnio dużo polichlorku winylu, warto nadmienić chociażby epkę 'Here's Your Trance Now Dance!',
warta przesłuchania jest natomiast długo niedostępna na necie:
Omar S & Kai Alce - Jive Time
Real nice Motor City/Atlanta House jams from Kai Alce and Omar S, dropping vinyl only-styles on FXHE. Kai has previously appeared on the label with his discofied 'Dirty South Dirt' 7" but these collaborations are structured as more functional DJ tracks.
a nadchodzą...
upcoming releases:
Big Strick - Detroit Heat
Omar S / MK - Given (MK Dub / Sarah
lbl: FXHE Records
#: FXHE-001
deep house, detroit
New release on Detroit label FXHE. First is a happy vocal detroit house cut from MK aka Mark Kinchen, while the second track is an unmistakable Omar-S cut.
samples
AudioRealism releases technoBox2 music app for iOS
AudioRealism has announced the release of technoBox2, an update to the groovebox app for iPhone, iPod touch, and iPad.
technoBox2 is the next version of our hugely popular technoBox adding many asked for features such as dual 303s and drum machines, export recordings of songs and SoundCloud integration. A performance page has been added which allows access to the most commonly used controls on one page. The drum machines now allow you to load your own samples (via iTunes documents). technoBox2 runs on iPad and retina displays with crisp native resolution.
Changes in technoBox2
- Dual 303s and drum machines (2×303, 2×808/909).
- The 303 emulation is our latest engine which sports improved authenticity.
- Improved song sequencing with Start/End and Loop markers.
- Lock parameters song bars.
- Export recorded songs (as .wav) via iTunes (documents).
- Upload recorded song to SoundCloud directly and share.
- Load your own .wav and .aif samples (uncompressed 44.1kHz 16-bit) into the drum machines (via iTunes documents).
- Performance screen with the most accessed controls on one screen.
- Completely redesigned FX Panel: You can now activate effects on any or all of the 4 machines.
- Improved tempo synced phaser and distortion effects. Added a damp parameter to the delay..
- Filter cutoff added to the drum machines.
- Per part decay added to the drum machines.
- iPad native resolution support.
- Retina display support.
- Requires at least iPhone 3G S (but runs best on iPad/iPhone 4).
technoBox2 is available to purchase for the introductory price of $4.99 USD.
More information: AudioRealism
Related Posts
- AudioRealism technoBox2, updated groovebox for iOS posted on 11/03/2011
- Audanika updates SoundPrism to v1.1, Music App for iOS posted on 02/11/2010
- UVI.net introduces ElectroBeats by David Guetta, music app for iOS posted on 26/11/2010
"
Quick Tip: A Few Ways to Avoid Pops and Clicks in Your Audio
I’m often asked by my students why there are pops, clicks and crackle in their mixes. The answer is never a 100% straight forward one as the causes of this annoying issue can be pretty varied.
Let’s take a look at some of the possible causes for these nasty anomalies and how they can creep into your audio. We’ll also talk about how to avoid these problems as you go. Just for the record, these examples assume that you have thoroughly checked your original recordings for errors and clicks.
Watch Those Buffers
One of the main causes of clicks, pops, errors and dropouts in any digital system is CPU overload or buffer overflow. These problems are most commonly caused by the amount of memory used for the buffer being set too low.
Low buffer settings are perfect to keep latency to low and will work well with stripped down projects but as the CPU load increases there is a risk of inducing clicks and pops.
To resolve this you should keep a constant eye on the buffer setting and make sure that you raise it as you move through your project and your CPU needs increase. This way you should stay clear of any clicks and pops.
Very low buffer settings can be a common cause of clicks in playback
Check Your Loop Points
Another major cause of clicks and pops is bad looping. The accuracy of audio editing in most DAWs is so good these days there is pretty much no excuse to let this one slip through the net.
Try to spend some time on every loop you use to ensure playback is 100% smooth. Simply playing the files in isolation may be enough here but if you find a problem you may have to resort to using a simple crossfade or a ‘snap to zero crossing’ editing mode.
This level of quality control will ensure that the critical loop point is a smooth transition and does not contain any problem areas. This may seem like a small thing but get one of these loop points wrong and you could potentially hear the click produced hundreds of times in an arrangement.
Fine tuning a loop in Logic to avoid clicks
Look at Your Envelope Settings
A more unknown culprit when it comes to nasty noises is the envelope settings of synth patches. The clicks created here are usually more noticeable in simple sub bass style patches but can crop up in other similar sounds.
The problem arises here when a zero attack and zero release setting is used. This essentially means the envelope is trying to go from zero to maximum amplitude in no time and then back to zero with the same lightning fast response.
Although some synths will do this pretty well a small click at the start and end of each note can be produced. A simple solution here is just to add a little attack and release to the sound. Even a millisecond or two will create the right result and remove the chance of any click begin introduced.
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Institubes (2003 – 2011)
See below for the official message left from the two people behind Institubes: a great, cutting edge Parisian label with an eye for great design. Its so sad to see them go, this came out of nowhere for me. Anyways, read this and learn a little bit of the trials of running an independent label in the post-Napster era. While I don’t agree with all of their points, I really respect them for what they’ve accomplished and most importantly for staying true to themselves.
“So, the next Institubes record is not coming soon. And I can’t tell you how much it pains me to write these words. We’ve released many records in our (almost) eight years of existence and managed to introduce a number of excellent artists to the world. Good times were had and accolades garnered. I’m not so conceited nor high on my own supply that I’d try and talk up our “legacy” but I don’t think that in five, ten or twenty years I’ll look at our discography and cringe. Now I get to tell you, Institubes fans, friends and allies, that we have to wrap it up. Party’s over.
I could write ten pages about the realities and difficulties of the music business but you’ll only get about two paragraphs and not much whining. We never lived those halcyon days some industry elders tend to rave about. We always moved through a post-apocalyptic, terminally pauperized landscape, complete with irradiated A&R zombies and mutated eyeless bloggers. It’s always been a bit of an uphill battle. But it got worse and worse. At first it was fun to figure out ways to get people to check out our music. But once that’s done and you have something resembling an audience, it becomes apparent that this is not really your job. Your job is to reconcile the public with the very idea of buying records. All the power to you if you can bear it.
We’re closing shop because the operation is losing too much money, this much is clear. Most of what we could have done to prevent or delay this outcome reside in two words: lifestyle and branding. Investing in t-shirts and co-branding, scoring “collaborations” or sponsorship deals with deep-pocketed companies. I have but a regret: we actually did it sometimes. We should have said no more often. Bands struggling to get together with brands, artists and audience deriving more validity from corporate interest than from anything else, bands happy to learn that in the future they would have to “take charge of their own promotion”: this wasn’t for us. In other words, on our small scale, we should have been able to carve a non-capitalist niche within the larger corporate world. I thought, being young and naive when we started, that “underground” meant just that.
The fact that ours is a struggling industry, where 90% of your time is spent “staying afloat”, obscures an important fact: we are still playing by the rules that got us fucked in the first place. The way we do business is defective: our values are defective, our contracts are defective, our post-Napster economy itself is defective. I just read an article by a label owner who states that “anything we can do to stay afloat should be condoned”. I don’t think so, no. Staying afloat by any means necessary is a meaningless pursuit. The only honest way for a record label to make money is by selling records. We’ve always been uneasy about selling anything else.
And our current cultural economy isn’t healthy either. Consumer practices are fucked. You don’t need me to tell you that music is devalued. Not only because we no longer sell shit (and even when you do, it’s hard to shake the feeling that you’re selling free shit), but also because tracks are peaking faster than tumblr memes. In our historical moment, music is everywhere but second or third or tenth to many other interests and areas of culture. Fashion, Apple, video games, “devices”, social media, etc. And that’s cool, I guess. But I don’t want to have to be a function of fashion. Nor do I want to urge an artist to publish half-baked tracks every month in order to stay “relevant”. Depleted accounts is one thing, but depleted attentions?
I don’t really have a conclusion to this weird press release. So let’s end with two things I’m very proud of:
1. It’s nice to end on such a great year. In 2010 we have released two EPs by Surkin, two by Bobmo, two by Chateau Marmont, two by Rob, singles from Jean Nipon, Crystal, Das Glow, High Powered Boys, plus Bart B More, Para One, and Teki Latex EPs via Sound Pellegrino.
2. The label is gone but the artists are in top form:
Bobmo, Para One and Surkin just announced the birth of their new label called MARBLE, home to their (many) upcoming singles.
After the extremely successful release of the chart-topping “Calcium” single he produced with Strip Steve for Boysnoize Records, Das Glow has a new EP coming on Marble very soon.
Teki Latex and Orgasmic are now operating SOUND PELLEGRINO as an independent entity which has released the new High Powered Boys EP “Udon / Work” and a double compilation called “Les Jeunes Années” this week.
Jean Nipon has released his new EP “International Meek” a few weeks ago.
Cuizinier has recently launched his website and store lapizzachaude.com where he’s slowly unveiling pieces of his (great) upcoming debut album.
Para One’s album under the name “Slice & Soda” with San Serac is ready and coming.
Tacteel’s solo album under his legal name Jerôme Echenoz is in the can. Him and Para One have also recorded many tracks together in the last few months, expect to hear them very soon.
Chateau Marmont are in the studio recording their debut album. What we’ve heard so far is extremely exciting and totally pushing their craft to a whole new level.
The original soundtrack to the beautiful French independent movie “Belle Epine” composed by Rob has been released this winter.
Surkin’s album is finally done.
Crystal are recording their debut album and… well, you get the idea: everyone is very busy in the studio.
Looking at all the Institubes artists, I see the most talented, diverse, curious, self-challenging, smart, progressive and forward-thinking group of people we ever had the chance to know. They’re the best. Anyone disputing that is either misinformed or a liar.
Please keep supporting them.
Lastly, a closing event (= a massive party) is going to be announced very soon. Keep checking www.institubes.com for updates. Also visit www.soundpellegrino.net and www.marble.fm to stay in touch with the gang.
Pretty much every mailbox we ever had is clogged so we’ve just set up this new e-mail: byebye@institubes.com
Please use this for all correspondence from now on.
Jean-René Etienne & Emile Shahidi / March 16 2011 2:55 am”
Real talk.
"Marius Roosendaal – MSCED ’11
Marius Roosendaal from the Netherlands is making something cool every day. A small selection from the ever growing collection.
"DOOM To Record Full Album with Radiohead’s Thom Yorke?
In unexpected music news, it appears DOOM will be teaming up with Radiohead's Thom Yorke for a full length album. No word of when exactly this will drop but hes currently wrapping up his highly anticipated Madvillain album due out later this year. The news unfolded during a recent interview with 3D World at which point he stated the following:
“I’m doing some stuff with Thom Yorke… we’re working on some duets, some duet songs and shit,”
“Just like preliminary shit but we’ll probably end up doing a whole record together… he’s cool—he got a lot of ill ass ideas and shit, you know.”
Thom Yorke is no stranger to DOOM's work as he remixed his 'Gazzillion Ear' track back in 2009. Stay tuned!
Photo: LEON NEAL/AFP/Getty Images, Ross Gilmore/Redferns
"Blu featuring J*DaVeY – Everything’s OK (Produced by Flying Lotus)
Blu drops off a new single today off presumably his upcoming No York album. It features production by the experimental beat scientist, Flylo and J*DaVeY. Both of which are currently on the road with their NewWorldCulture tour. Meanwhile, many are predicting his album to be a classic as he's teamed up with an impressive lineup of producers such as Flying Lotus, Madlib, Daedalus and Bilal to name a few. Stay tuned!
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SR Mix #73: Ossie [Lightworks]
Following yesterday’s bumbling and unintentional twitter debate on the deployment of tracklists for online mixes the latest contributor to our ongoing mix series hasn’t given us one. Now, that doesn’t make us hate him, it doesn’t make us think he’s being intentionally difficult nor piss us off in any respect – he may have just not realised we usually include them – but it does stoke a level of interest in listening to the whole thing in its entirety.
Ossie is a producer that’s been bubbling under for a while now, making moves on the UK funky underground with his own decidedly warped take on the house sound of now. Turning his hand from tribal jams like ‘Ossie Baba’ to R&B refixes that heat up a dancefloor he’s just released the enchanting earworming ‘Tarantula’ on the freshly minted Lightworks imprint. It’s his biggest success to date, all hip shaking percussive manoeuvres, deep pulsing synth stabs and then there’s that mulitlimbed lead line that creeps and lurks in the most resplendent corners of your room late at night. Packaged with the tougher ‘Creepy Crawlies’ and a Funkineven remix of the A side on the flip, it marks both the dawn of a new imprint and the realisation of Ossie’s music – something that, judging by our quick exchange, has evidently been a long time coming.
With more releases on the horizon, including a 12” release forthcoming on Kode9’s Hyperdub incubator, we caught up with him to learn us a few things about him, his links to Live FM (and one of Joy O’s favourite selectors) Petchy and his future endeavours. Plus he turns in the latest instalment in our ongoing mix series, #73, a 90 min mix which features plenty of his own material set amongst some of his favourite house records.
Sonic Router: What do you do on the daily and where are you from?
Ossie: Born and bred in East Ham (East London). I’m in my final year of uni, studying music technology. When I get home its straight onto the decks or logic; so it’s music all around really.
What first got you into production and what’s your set-up like? Have you got a favourite bit of kit and how do you approach working in the studio?
At an early age I was intrigued at how tunes were made. I took a production course in the summer when I was 11 and that’s when I first saw Cubasis VST. I remember going with my mum to Stratford Computer Fair and buying a crack version of Cubasis and I guess that’s where it all started. Throughout secondary school and college I was making beats in my spare time, though then it was mainly R&B and hip hop.
Set-up wise I’ve got a Macbook Pro, PowerMac G5, Logic Pro 8,Yamaha, MG16/6FX, M-audio Axiom 49, 2 Novation Launchpads and a MicroKorg.
My Macbook pro is one thing I couldn’t go without. Once that’s in front of me everything just flows. I never have a plan when producing. I just creatively mess about.
How would you describe your sound?
A fusion of everything really, I use a lot of percussion and synths, which gives a vintage but current feel. I try and have stories or mood in my tunes especially when producing house, and having produced R&B previously helps with build-ups and structuring.
I sample now and then hence the spontaneous remixes I put up on my Soundcloud, but most times I try and emulate the sounds used from the tracks I’m feeling at the time. I think I’d be a sample freak like Kanye if it didn’t cost so much.
You take influence from all over: We hear American vibes, UK vibes, Deep, Hype, African house, any house. You bring it in and make it your own, give us a clue how those strings got drawn together…
I go through phases when I’m listening and making music. I am never listening to one genre and this is what’s heard in my production. For example at the time I made ‘Ossie Baba’ I was listening to Fela Kuti, Tony Allen, Roy Ayers, Marvin Gaye you name it. I don’t just listen to house so in my music you hear everything which I hope will be my advantage as there’s something for everyone. When I started making house I was listening to a lot of Bugz in the Attic, 4hero and Vikter Duplaix and at the same time UK funky was just on the horizon so I just brought all influences together.
I guess cheeky refix’s come into that somehow: we’ve heard your take on the odd R&B legend or pop freak in our time lurking on the radio waves/soundcloud… I guess that’s another big part of your sound? How do you channel that into something more Ossie…
Yeah I’ve been making remixes from day. Once again it’s because I listen to such a variety of music. When producing my versions I make sure from the start that it sounds as far from the original track as possible while still keeping the best bits - if that makes sense? That way if compared to other remixes of the same track it stands out as Ossie.
Tell us about Live FM and Petchy? You’ve mixed with him we’re all feeling it, that energy is infectious…
Petchy is my friend’s brother so I’ve always been around him since school days. Petchy was at Live FM when I had started to make house and I was swinging him tunes to get a reaction. I gave him ‘Tarantula’ after I made it, the buzz really started from then and it just escalated. That mix you heard with us back to back was the first mix I recorded. I started DJing in October and I fast tracked myself to DJ in time for the release.
Seeing ‘Tarantula’ on a 12” is pretty sweet since it’s been making moves on the UK Funky scene for a bit now. How’d that track even come into existence? Can you tell us a bit about that release, what’s the inspiration/sound for the tracks?
To be honest I don’t remember much of making it because I made it so long ago now, but what I do remember is l was experimenting with sounds. I have this method I use sometimes when I’m producing, when I open up Logic the first sound I hear I use. So instead of sieving through for ages looking for a particular sound I do it that way to be spontaneous. It cuts production time and brings together certain sounds I wouldn’t normally put together. I did the same thing for ‘Creepy Crawlies’ because time was of the essence and I needed to make the B-side asap.
Talk to us about the state of funky right now and where you fit in with it today… What music are you feeling at the moment, any producers you think the world should know about?
The state of funky is healthy and I love the fact that it’s very tribal orientated, which allows me to go crazy with my drum patterns. Hard House Banton, Fuzzy Logic and Roska do it for me. I think they’re the cream of the crop when it comes to producers in the scene right now and I’m sure the world already knows about them. If you don’t where have you been?
After this Lightworks 12” arrives what have you got in store for us? Any more releases you can chat about on the horizon…
I've got a release scheduled for May coming out on Hyperdub, the tracks called ‘Set the Tone.’ I made it about three years ago even before ‘Tarantula.’ I just had it sitting in my hard drive for a while. I haven't got anything planned after that; I'm waiting for these releases to come out and for uni to finish before I do anything else.
Tell us about the mix you’ve turned in for us...
It’s mainly all the tunes I’m feeling at the moment, a few refix’s and remixes from me. Exclusive wise the B-side to ‘Set The Tone’ is in there. It’s called ‘Power of Love.’ Apart from that it’s just a bit of everything, typically Ossie.
Have you got any words of wisdom for our readers?
Perfect your craft!
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DOWNLOAD: Ossie – Sonic Router Mix #73
No tracklist given.
Words: James Balf & Oli Marlow
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