Glastonbury 2017 – A Review

Monday – Breakfast
Sunday – Midnight Feast
Sunday – Evening


Sunday – Lunch
Sunday – Nutella & Banana Smoothy


Sunday – Breakfast
Saturday – Midnight Feast


Saturday – Evening
Saturday – Breakfast


Friday – Evening
Friday – Lunch


Thursday – Evening
Thursday – Lunch

Fleetwood Mac – Tango in the Night

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.



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

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…

Michael Jackson – Bad 25

…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.