Just watch the first few minutes of this to see Billy Preston dance! Believe it or not I can dance like that. I’m not kidding. I don’t have the yellow outfit though. Keep on watching it’s worth it.
“This documentary explores the reason why so few companies currently control the music played on the radio and for sale at retail stores, and whether corporations really have the power to silence musical innovation.” – talenthouselive.com
iPad apps like Artikulator make me happy crazy! This is really “next level” stuff. Besides the fun factor it’s detuney madness is very synthpunk. If you like this App also check out MIT’s Singing Fingers.
“Artikulator is a multitouch finger-painting synthesizer and musical toy for the iPad.” – artikulatorapp.com
Awesome list. Even I didn’t know some of these. I love Ableton Live. I tell all my friends using other DAWs to get into Live. It’s magic power in your music making hands!
1. Cut copy paste
3. Command A
4. Tab selects session or arrange window
5. command shift i
6. Highlight & effect multiple
7. Cmd f – scroll display to follow playback
8. Sidechain w/ compressor
9. Sidechain w/o compressor
11. Audio to midi
12. Command 4 (no grid)
13. Command 1,2 &3(grid)
14. Cmd b – pencil
15. Hear samples w/ speaker icon
16. Tune drums with EQ
17. Tune drums w/ freq shifter
18. Send returns
19. Step record
20. Assign midi knob/fader
21. Assign midi button
23. Assign midi key
24. Midi key select (no wrong notes)
25. Warp: alt drag
26. Warp: shift drag
27. Warp: Select multiple, alt Drag
28. Warp multiple
29. DJ cue
30. Split DJ track
31. Record multiple tracks
33. Add time
34. cut time
35. dup time
36. Group tracks
37. Group instruments
38. Group effects
39. Chain selector
40. Add random w/ groove
41. Bass/low layer/high layer
42. Reverse reverb
43. Impulse- separate samples
45. Record session to arrange
46. Sustain midi loops
47. Send output to:
48. Receive input from:
49. Envelope automate (draw)
50. Envelope automate (record)
51. Dummy clips
52. Make kick
53. Cut non bass at 120hz
54. Shift & up/down arrow key moves selected midi notes by the octave
55. Shift tab: clip properties to instruments/fx
56. Click arrow to return to zero or center
57. Double click when zoom tool appears to show full arrangement or select area
59. Space bar stop, hit again restarts from cursor point
60. Shift space bar to stop and continue
61. Linked unlinked clip automation
62. Shift click to grab multiple tracks. Effect 1 and they all are effected (like volume)
63. Change cue to a different output to be able to cue each track (headphones icon)
64. Ctrl + shift + m – add midi clip
65. Alt + click – expand/collapse all tracks
66. Click + shift + arrow key – shorten or lengthen selected midi notes.
67. add return track ctrl + alt. + T
68. Cmd + Del – deletes automation but not the clip.
69. Drag section of a clip to a midi track, automatically creates a simpler with the sample
70. Assign knob to 1 clip for looping & pitch correct
71. Highlight all clips change warp settings, save, launch info etc
72. Simpler to sampler
73. Shift + – zoom in. – zoom out
74. Shift ? – shows info
75. Cmd alt B – show/hide browser
76. Cmd alt O – show/hide overview
77.cmd alt I – show/hide I/O
78. Cmd alt S – show/hide sends
79. Cmd alt m – show hide mixer
80. Cmd , – preferences
81. Cmd drag – fine adjustments
82. Cmd R – rename tab, rename next
83. Cmd up/down double or half loop length
84. Cmd up/down on midi part – goes to next midi note
85. Shift left right on midi note – lengthen shorten note
86. Enter – launch selected clip/clips
87. Cmd L – loop selected
88. Shift drag over envelope breakpoints.
89. Cmd t – create audio track
90. Cmd shift t – create midi track
91. Cmd alt t – create return track
92. Cmd M Midi map on off
93. Cmd K key map on off
94. Cmd U quantize
95. Cmd drag (alt drag PC) adjust velocity on selected midi notes
96 Cmd shift U quantize Settings
97. Route multiple tracks to sidechain
98. Utility for automated volume & volume for fine tuning later
This weekend I returned to Denver, Colorado to perform for a second time. The event was called Gasmasquerade due to the fact show goers were advised to incorporate gas masks into their scare wear. The club called Tracks was in the warehouse district and is normally a gay club. It’s got a good sound system and is decked out with some very nice lighting effects, an LED message wall and disco balls galore. As you can see from the photos this was a full on gothic party. Dave “Vendetta” the promoter has finessed the scene in Denver for many years so when he tells people to come out they do so. I thoroughly enjoyed my entire time there including my stay at the purposely strange in a good way theme floored Curtis hotel. Thanks to everyone who came out and it was good to meet a lot of you after the show.
“The Goths were an East Germanic tribe of Scandinavian origin who played an important role in the history of the Roman Empire after they appeared on its lower Danube frontier in the third century.” – Wikipedia
I use panning and pan plug-ins for numerous tricks in my music. I love the 80s UI in Audio Damage’s Panstaion. It’s a pseudo recreation of the Drawmer M500. $39.
“Panstation is, without question, the most sophisticated autopanner plug-in available. We started with a loose model of the venerable Drawmer M500’s panning engine, then added the counting features from the Audio & Design PanScan (probably the most famous vintage autopanner, and the “secret weapon” of many well-known producers.) The result is an autopanner plug-in that is second to none in both feature set and sound.” – audiodamage.com
I’m back from a long weekend in Germany. The airline lost my luggage going and coming. To get my equipment in time for the show I had to go from the Leipzig airport to Tegel Berlin by car. This all took so long that I had to go directly on stage without sleeping almost 24 hours. Everyone reacts differently to situations like this and I just get basically [more] insane. Luckily that’s exactly what my live show calls for so it was all for the better. The show photos and the video I made above (music and video recorded in the car on my iPhone) shows my state of mind. To see the full set of photos from the night: click here. The Wet Club in Espenhain German has been properly opened. Stand by the Innovators!
“On the Autobahn. Driving on the Autobahn in a Mercedes Benz with an Italian. It’s the Axis Powers because we have a Japanese girl tied up in the trunk. We’re the Axis Powers driving on the Autobahn.”
I’m heading to the airport soon for a live show Saturday night in Espenhain, Germany. Espanhain is about a half hour from Leipzig. The event is for the opening night at a brand new club called the Wet Club. It’s a large event with a lot of DJs and live acts some of which include Divinity (Divinity.De, Bash Events), Tom B. (Beatbrothers, Dusted Decks), Jokers Of The Scene (Fool’s Gold), Acidkids (München), The Robstars (Beatbrothers), Perry Live! (Zehnvierzig and Psychodevils (Leveltrauma, Pd Records, Trier). I often think playing these German events is a kin to American car companies testing their cars on the Nuremberg Track. If you can rock as good as even the last person listed on the flyer you have some cred. I plan on sweating a few pounds off on stage for sure. If I can I will send you updates from the road. You can of course always follow my obligatory waiting in the airport and about to lift off Tweets (link).
“The solar power plant Espenhain Leipzig is in the municipality. This power plant is a photovoltaic power station. It is a partnership project of the Berlin project development company Geosol and Shell. The power plant was dedicated on the September 8, 2004 and at that time one of the largest of its type in Europe.” – Wikipedia
I like the production and idea behind Moog’s new Sound Lab series. Dorit plays the Theramin the way I always wanted to see someone “air it”!
“To function as a one woman band, Dorit triggers a prerecorded backtrack on her laptop, adding vocals and theremin in real time. At her feet are a Moogerfooger MF-104Z Analog Delay and an Akai Head Rush looper that add layers of complexity to the sonic depth to her sound.” – David I. Barkoe
Now that I released my latest album Joyless Pleasure one thing that has me excited is that I can now talk about the songs. If you don’t mind I am going to make a post for each song going into as much detail as I can about the inspiration, influences and production. There is a reason for all the pro-audio gear lust that happens on this site. The crazy plastic and metal boxes full of buttons and dials are my secret weapons in song-writing.
I recorded a large amount of music and only picked ten songs to release. Narrowing the selection was easy because my criteria was simple. I only picked songs that were completely inspired by true events in my own life. The first song was Modern.
It’s hard for me to label my success as an musician. I don’t sell millions of albums and there are no paparazzi on my front door. However, I can make a living solely from music and I have fans pretty much in any city I go to. The music I listen to and love isn’t popular so I don’t expect my own releases to be on the billboard 100. I can’t make pop music or trance or even Minimal tracks with a purpose to chart. I can only really make my own songs. I’ve tried to conform but all that happens is I pull my hair out and stress. Music like my own had it’s day in the 80s backed by a very different kind of music industry.
As I entered my late 30s I realized I wanted more. I began to see my friends begin to purchase homes, cars and start families. I knew if I wanted to afford more than rent and drum machines I would need to get a day job. I also knew that even though I was a full time musician I only actually worked on music when I was inspired. I could easily take on more in my life. This was the point I decided to move back to NYC. I loved my time in Berlin but if you’re going after large buckets of cash my home town is where it’s at. I crossed the ocean and started looking. My only requirement is that the pay had to be high. I looked into music jobs such as cataloging sounds for Toys R Us or running a Pro-Tools rig at a small television advertising company. Too boring. I decided I needed some help so I looked for an employment agency. I walked into a place called Tomorrow’s Workplace and immediately saw a sign for a job at an Energy Services company. I knew there was green stuff in energy in both senses of the word. I have no idea why I thought I could land the job. Amazingly I got the job on the spot and quickly learned my tech savyness made be popular. I could also sell quite well. Afterall I’ve been selling music for years. A commodity most people don’t even want to buy! Fast foward to today. I left that company and started my own ESCO called ENVEN with a 78 year old ex-lawyer, mortgage broker named Charlie. In some ways we couldn’t be more different. He’s a religous concervative who thinks in numbers. Yet we have become best friends and I’ve unearthed his not so secret past as a party animal. While parts of my job are unfun I am on my way to the things I want.
As my team modernizes around Manhattan I watch the old become new. Many of the things I love about Berlin are happening here. Glass, steel and cool white futuristic lighting replace what’s left of urban decay. I’ve learned more in the past two years than the ten before it. I’ve modernized myself. That’s the inspiration behind this song.
You can hear many of my music influences in Modern such as Kraftwerk and Joy Division yet I think it has my stamp on it. Now let’s talk tech! This song is very much an analog affair. Every single synth sound and the white noise comes from a Yamaha CS-5. It took me about a week to piece the panned layers into it’s repetitive verse chorus. The drums except the kick are from my favorite piece of equipment the Vermona DRM1 MKIII. I think the DRM is so under rated under noticed. The kick is from my Jomox Mbase which is signed by Jürgen Michaelis himself. The vocals were recorded using my API 512c mic pre and Shure KSM32 microphone. There is panned Altiverb on my voice. I used a Lexicon PCM90 Impulse Response. I recorded some NYC street sounds on my iPhone which you can hear in the background throughout the song. Everything was sequenced in Ableton Live.
“All the modern. All the modern. Super Building. Super Building. Growing into a new day. Growing into a new day.”