Looked a little like this. Very enjoyable!
Looked a little like this. Very enjoyable!
Looked a little like this.
Was banging. Very enjoyable night.
2x prog legends
The Guardian has reviewed the upcoming ‘deluxe’ reissue of Tango in the Night. If you read the first post on this blog you’ll know that this is perhaps my favourite album. It’s almost all killer. I can’t get tired of it’s solid gold driving pop and have always been a little surprised that it gets glossed over by the band itself in the various TV docs (no doubt due to what appears to be the toxic environment in which it was created).
I’m a big fan of many elements but the percussion really stands out. Pulsing and driving on tracks like ‘Caroline’ and ‘Tango in the Night’.
‘Isn’t it Midnight’ another example. The subsequent ‘live’ VCR in which Stevie Nicks insisted on cutting in close up shots of her face is however priceless.
A playlist of tracks used in the ES Waves Podcast which are available to stream from Spotify which will be updated with each Podcast.
I’ve had a subpac now for around a month and think that I’ve now just about got to a point where I understand how it responds / correlates to the mix / my ears. I picked this up largely on the basis that I’ve moved the studio from an environment where I could virtually crank it out at any volume at any-time of the night to an urban setting where sound levels could get to be a problem. That and who doesn’t want to feel a powerful accurate sub to mix with standard monitors.
This has definitely got me in the studio more. On the downside, and this is 100% connected with mixing in the new environment, it’s got me in the studio more mixing with headphones. The temptation is that you run the output fader hot as, as with non-headphone monitoring, the higher the volume the greater the bass sensation and I really don’t want to damage my hearing more than I already have.
And the subpac itself. Really good.
The Mutronics Mutator, partly because of its name (well probably mostly because of its name), partly because of what it is and partly because it came out when I was making my first music production steps is a bit of a mystical beast for me. It’s described as a (mutating) filter unit with ‘creamy’ analogue filters.
That said I’ve never seen one outside of the pages of late nineties future music. Reading future music was how I initially got to grips with the concepts of music production, of midi, of sequencing. There’s a desk draw in my studio which is full of each magazine I bought. I justify keeping them around on the basis that one day I’ll maybe dip in and work through the tutorials I never got around to doing (to be fair that’s probably most of them).
I can clearly remember the example samples of the mutator at work and just not understanding how the sound was manipulated, but being fascinated by it, the name just reinforcing the alien concepts.
I’ve always wanted one. At the moment they sell for around a grand. Maybe when that lottery win comes in…
…was on TV yesterday. I find insights into how people work creatively like this to be truly fascinating. Michael effectively had a studio machine at his home with a team of workers to create ‘demos’ which would then be passed to Quincy Jones’ team to create the final tracks.
One phrase idea that stood out for me was the notion of creating a ‘sonic fantasy’. Definitely a goal.
I caught the start of radio 4’s start the week on Monday before work in which Andrew Marr discussed the role of creativity with several ‘creatives’. The podcast is available now.
This discussion rang true for a lot of my creative life and I think anyone who is remotely creative in any part of their lives could find something they could relate to from one or several of the professional ‘creatives’ who formed the discussion panel. For some time I’ve tried to introduce a discipline to my work and happily there’s some discussion of the importance of persistence in any artistic endeavour but also of the less definite aspects of ‘creating’.
I’ve posted yet another old remix I put together up on my soundcloud page. This is a mix of the brilliant ‘Positive Light’ (basically Marc Mitchell) mix of Marillion’s ‘Face 1004’ which is taken from the ‘Tales from the Engine Room’ album. I fell in love with this track, and several others, when I first heard it on Paul Oakenfold’s first ‘world tour’ essential mix from Home in Sydney in 1999. I put this remix together again in 2003 (can you spot a pattern), September 2003 this time.
I’m not 100% on this mix but it’s not all bad. Just really playing around with short snippets of the track with some pretty natty keys I’ve put in which seemed to be a feature of the tracks I was making at this point. Around this time I got chatting with Marc via the chat program ‘ICQ’ (is that still going? we were all over it at university, alot of the time because you could send free text messages from it to mobiles (my first one as well, which obviously dates me!). I never actually sent him this track, as like now I think I wasn’t 100% on it but I can confirm that he came across as a really nice bloke. It goes without saying that he is just an amazing talent. Perhaps one of my favourite tracks of his being Human Movement’s ‘Love has come again’. Just beautifully produced and what an amazing voice.