September 26, 2015
09/25/2015 A Shortage of Resources


I see that it has been over 4 months since my last entry. I shall try to give the reasons for this, and some of them may indeed be true. Oh well. Let's see how this goes.


A new musical project appeared on the horizon in the middle of May. I was approaching this with an equal measure of enthusiasm and trepidation. I have still not yet managed to move this project forward. This is disappointing, and I really need to attend to this. Other factors may have contributed to this lack of attention and focus. 2015 has been particularly tough, particularly at work. There have been numerous job-losses over the last 10 months, and there may be more to come. You would think that, with a reduced workforce, the amount of work needing to be done would decline in line with reduced staffing. In my department, that certainly hasn't happened. So the working day has become longer just to keep thinkgs "ticking over". Family/domestic things still require attention, and with the reduced number of  hours available due to work commitments, I seem to have had a lot less time and energy available for actually creating music this year. In July, I took time out for a much needed family holiday. which certainly went a long way towards recharging the batteries, but upon returning to work, I found that things seem to have become even busier. Enough of the boring stuff. What about musical matters?

In early June I completed a new track, Parallax. I think this is probably one of my more successful pieces of the last two years, and is another foray into the realm of ambient-influenced sound and music, whilst not being ambient in the traditional sense of the term, but I don't let these things bother me. This track was another deliberate attempt to create a track which utilised "space" to give the final mix some air, as opposed to "Divide and Conquer", which was a deliberate attempt to create a "wall of sound", with a reasonable amount of harmonic content. The track generated some interest and discussion on KVR, the upshot of this being a remix, completed in early August, called Paradromic, featuring an even sparser arrangement, which I also think was reasonably successful. Most people seemed to prefer the earlier piece, but the process involved during the remix, and subsequent listening alerted me to some improved dynamics, both musical and sonic, which weren't present in the original. I may produce another mix of this later, attempting to incorporate the most successful elements of each track. 

Whilst I was on holiday, I made a few field recordings on my Android phone using a piece of software called, somewhat surprisingly, Field Recorder. The quality of the recordings is surprisingly good considering they were made on a phone. When I got back home, I put together a track which became the basis for my AmbientOnline Volume 5 submission, although I knew I couldn't submit the track in this form as the field recording I used consisted of  people chanting in a temple and the performance element would prohibit the use of the sample. Consequently, I have spent a couple of evenings recently replacing the chanting with more fakery and misdirection. I recorded a synth patch from z3ta+2 and stretching it to various degrees in Audacity to produce a string-synth texture. I have also been playing with a Zebralette patch which features some interesting harmonic characteristics, whose wilder side I hope to tame using the addition of some selective automation to produce a pseudo-random result.

Last weekend I processed the audio from the last remaining complete Hobgoblin track in my posession. This consisted of some Low and High pass EQ (I had already performed the necessary hiss removal), and then adding a mild quad-band compressor. I have since been asked to write a history of Hobgoblin, but I fear that there isn't really much information available, or even of interest. A single A4 page would present a major challenge.

I have just started work an another TD-influenced piece. This will feature some fairly prominent sequenced bass synth, a couple of 'trons and I'm thinking of wheeling out Lounge Lizard 4 and a phaser too. I'm currently of a mind to produce a track of 15-20 minutes in length, so I don't think this is likely to be finished anytime soon. I'm doing something a little strange with this piece. I've begun in the middle, and will flesh it out in both directions to produce a beginning and an ending. 

A couple of weeks ago I completed the 2015 remix of Offsets. No major work was involved here. I revisited the EQ, panning and leveling, modified the bassline, added some saturation with Satin and mastered it. The second album is now 66% complete. Next up for the remix treatment is "Stand Still I Say". After all, any album worth its salt would not be complete without a piece of Ambient ElectroHouse Pop, and people gotta dance.

My music has had a fair amount of support in various forms from different people on the internet in the last week. This sort of thing is unexpected, but nevertheless, extremely welcome. Arriving home from a long day at the office to an enthusiastic message from a listener is not only restorative, but positively uplifting. Enthusiasm is infectious.

Time to go to work, in a manner of speaking.


May 17, 2015
05/17/2015 Tickover


Only 2 months since my last blog entry, so that's an improvement. My listening backlog still stands at 16 months. I need to take a break from buying albums if I am to get this down to a reasobale backlog. My local music sstore recently closed down, so hopefully, that will make my task easier. It doesn't feel like I have accomplished much, musically, in the last couple of months, but that is not quite true.

In March I completed a track for the excellent Ambient Online Compilation Volume 4. This was a fairly minimal piece featuring only 3 instument tracks and some reverb. I used this track as a development vehicle for my ambient mastering chain, which I hope to have stabilised by the time my next-but-one album is released, hopefully in 2016. I'm getting closer to a solution. Now I need to see what can be done in terms of EQ standardisation within my mixes. I fear that this will be a much more difficult and possibly insurmountable problem with my current setup.

At the beginning of March I completed the 2015 remix of Field of Dreams. This wasn't a particularly difficult remix. The main aim here was to replace the original reverb processors and tweak the EQ. I added Satin and my latest mastering chain.

In March and April I supplied an article for the excellent website. This article was a review of my favourite 5 King Crimson albums and involved a lot of listening, writing, listening and rewriting. When that was complete, I rewrote it again. The article can be found here 

In April I was busy with the Hobgoblin tracks from 1980. I took the audio from my stereo cassette deck and applied hiss-reduction in Goldwave, tweaked the panning and removed a little of the low-end, to reduce the bass volume slightly. In the last week I have been playing with a quad-band compressor on here and I think I have managed to achieve a decent result using a mix-channel patch for vocals. I'll see what people think about this.

Yesterday I completed the 2015 remix of Terraform. This was a little more involved than the Field of Dreams remix. This remix involved changing a few chords, minor tweaks to some of the percussion, and making some adjustments to the Wave2.V patches. Next I switched out all of the reverbs for newer acquisitions, although I decided to leave Freeverb3 on the SD2 kit because I loved its sound. I have tweaked all of the channel EQ settings, made a few minor panning adjustments, releveled and added Satin to the master. This came out of eXT with with a -10dB peak on the master, which was exactly what I was aiming for. I processed it using my "goto" mastering chain in T-Racks, The resulting master is a little "quieter" than the earlier version, but the DR figure has increased significantly. This is the fourth version of Terraform, and I hope that will be an end to it. I'll probably replace the earlier version next week, when I've had more time to get used to this one. By my reckoning the album is now just over halfway completed.

I'll probably make the project file for my next remix - Offsets, later tonight. This is one of my favourite tracks, but I seem to remember that the last remix was quite difficult due to some stability problems with one of the VSTis. We'll see how that goes, but I am expecting problems.

A new musical project has appeared on the horizon. I currently have no idea how it will pan out, or what it will involve, but I'm looking forward to a new challenge.

This week I plan to purchase Echobode. I'm hoping that this will be my last delay purchase - it should be, I certainly have enough of them.

March 14, 2015
03/14/2015 Slacker


No blog entry for over 6 months. Some might call that laziness or forgetfulness, but the conspiracy theorists among you can put your knives down. One of the team at the office has had a back operation and has been absent for 6 months, meaning that I have been extra busy with work, on top of other real life issues, and the odd foray into the world of music. Damn, where does the time go? I have had nowhere near as much time available for music as I would have liked, but I've still managed to complete a few new pieces.

I currently have a 16-month backlog of listening to attend to. These are albums which I have bought on CD or downloaded from Bandcamp, which I have only managed to listen to once immediately after purchase, or not at all. I'm currently listening to a 123 track compilation (approx. 11 hours of music) which I bought from Bandcamp in December 2013. I'm almost 1/3 of the way through this.

I spent quite a lot of time remixing and remastering Beacons in September. This was quite a revealing process which has informed me about "congestion" within mixes. My beat-driven tracks don't seem to exhibit this property to the same degree. I still have to work out exactly why this is the case but it's probably related to the percussion occupying a sizeable percentage of the available amplitude range within the spectrum. I have a good idea of what I need to do with the next mix of Beacons, thanks to layzer at KVR. This experimentation has also had beneficial effects on more recent tracks.

I began work on an Acid-House track (LV-426) back in June last year. It took me four months to complete. I had quite a few distractions during that period, attending the Ambient Music Conference, and completing 3 other pieces. It wasn't a case of the dreaded "writer's block", more a combination of circumstances and mood. It turned out ok, and even got played at a party, causing a couple of interested revellers to make enthusiastic inquiries. Those are priceless moments. 

Whilst typing this, a couple of "new" tracks by FSOL ("Lakeside" and "Lizzard Crawl") started playing on my Zune, just to give me a timely reminder of how things should be done.

In November, I completed "Fools Rush In", a doomy piece of sequencing in the same vein as THX-15, but with a little more of a "Berlin" vibe and some messed-up pads. Whilst making this track, two things struck me. When I was in Finland, I remember Ambient Indigo saying that my music was quite "dark" in character. At the time, I wasn't sure that this was the case, although I do tend to favour minor keys. I do feel that the tracks I have completed in the second half of 2014 were moving in a slightly "edgier" direction, partly influenced by my attending the Ambient Music Conference and partly affected by my recent acquisition of some new FX plugins. In 2014 I bought some great stuff from Audio Damage, Izotope and 2C Audio along with some freebies from GlitchMachines. I also bought Ace and Bazille, but haven't really had the opportunity do much with these synths yet. I'm currently trying to decide whether I should splash the cash on Kaleidoscope.

In January, I got back on the remix horse and started work assembling my second album, which should be available on Bandcamp in August or September 2015. It will feature 9 tracks originally from 2009 and 2010 and should come in at just over 1 hour in length. Three of them have been remixed and mastered, and I hope to complete a fourth this week. 

In January I completed "Breathe, and They May Hear You". This piece features a stripped down soundset from "Fools Rush In" and has already been remixed 2 or 3 times, in an effort to find the best levelling/mastering combination. Again, I had some help with one of the KVR members "Frantz" with this one, so experience gained here and with Beacons has been carried forward to the next "ambient" project.

Last month I completed "Refrigerant", a dark/deep/tech house piece that I had been tweaking for a while. Valhalla Shimmer is heavily featured on here, and the sound and atmosphere drove the composition of the piece in a direction I was very happy to follow.

I have just completed my piece for the new AO compilation album. This is a minimal "ambient" melodic piece using 3 instances of FMERA and some reverb, Breeze. This was a balancing act between the amplitude envelopes, note lengths and positioning. It is a concept piece inspired by overthinking the immense distances light has to travel to reach us from the stars, and the information carried within that light. I just submitted the piece yesterday and will have a go at mastering it soon.

I have managed to get "clearance" to post a couple of old Prog-rock tracks by Hobgoblin on SoundCloud. Expect to hear these soon.

I also intend to listen to a lot of KC albums in the very near future.

September 12, 2014
12/09/2014 The Calm Before the Calm


Not very much to report in the month since my last blog. I managed to complete some suitably terse blurb for Beacons (my track on the AO compilation volume 3 album). I'm really looking forward to this release. I've now heard 2 tracks from the album, and they certainly manage to whet the appetite for what promises to be an astounding collection of tracks from a productive, and inventive ambient community whose common link is the website here at AmbientOnline, an ambient oasis on the Internet. 

By my reckoning you people have 6 days to listen to the AO compilation before the new Fripp & Eno album drops on September 15th. Wow, what a week that will be.

I have made a little progress with my Acid/House track, but I haven't had very much time for making music this month, with lots of work and personal commitments to satisfy, but I haven't given up on it. I have about 2 minutes of music written, and know that once I get some free time and sit down with this piece, I should finish the music within a day.

This month I've been catching up listening to various music that I bought over the last 2-3 years. There were some albums which I bought in 2012 and 2013, that I listened to once or twice and forgot about. I went back and revisited them, ripped some tracks to my Zune, and filed the albums in the proper place. I still have about 25 albums more to (re)visit, hopefully by the end of this year.

I have been slowly accumulating different performances of Stravinsky's Firebird and the Rite of Spring. The Firebird has long been my favourite piece of orchestral music, containing so much emotion, darkness, energy and passion, but recently I have been also getting into The Rite of Spring although I can't really figure out why it took me so long. It's really very good indeed.

New gear this month - NuGen Audio Stereoizer3 and Izotope Stutter Edit. The Stereoizer is wonderful. It has mastering and mixing settings and is capable of creating some spectacular movement, although I suspect discretion will be the better part of valour with this plugin. I have just remastered my copy of Beacons, using Stereoizer3 on the master bus and the effect is certainly noticeable but pleasant. I'll put this version up on SoundCloud to coincide with the release of the AO compilation next week. I also picked up a copy of Izotope Stutter Edit. This plugin is amazing and is capable of some very extreme FSU effects, but is highly tweakable and is also able to produce some more subtle melodic and harmonic embellishments. I'm hoping to put this to some serious use on an ambient piece in the next few months, and also have plans for some acid glitching in the more immediate future.

I released an EP in May 2013, and an album in Feb 2014. The remixing involved with these, combined with the 56 track remix project I completed a few months ago persuaded me that I never wanted to make another album. I was "remixed out". The intervening 5 months has had a therapeutic effect, and that, combined with some encouragement from one of the KVR members has changed my opinion on the matter. I currently have no idea what form this album will take. The likelihood is that I will remix 9 or 10 tracks if I can find the right combination. I am certainly tempted to revisit Felonious Monk. 

August 10, 2014
10/08/2014 A (Relative) Return to Producivity


After returning from the Ambient Music Conference at the end of June, my priority was to complete work on the Acid/House piece that I began before departing for Finland. So much for plans. I haven't lost any enthusiasm for the project, but other things came up which demanded my full attention. I had made a little progress with the acid piece, but one night, I decided to play with my recently acquired Audio Damage plugins, and, out of nowhere a very dark motif (which later became Altar) emerged. I was quite excited about the new piece, so I decided to put the acid track on the back-burner and press ahead with the new one, the music for which was completed very quickly. I think it was two or three fairly short evening's work. I completed the mixing and mastering within a week (it was less than 24 hours' work in total).

This got me quote excited. I had completed two new pieces within three weeks, which was something that hadn't occurred for almost 30 months. Productivity had returned. I was just about to return to the acid piece when the call came for submissions to the AO Compilation Volume 3. I thought to myself "no problem, I have 5 weeks to complete this", but instead of the acid piece, I began work on Beacons the next day.

Beacons was an interesting piece. I decided to keep it relatively simple. It features DominatorCM (6 instances, using the default factory patch, with a slow attack setting) as the primary sound source. All instances are playing relatively short notes offset by irregular inter-instance timing, but heavily smeared with Eos. The two most melodically active instances are also routed through a non-reverbed Replicant to give the piece a slight rhythmic component. Just for good measure, later in the piece, I added a couple of 'trons. I was toying with the idea of putting some guitar on here, but I haven't yet figured out how to obtain the exact sound I need. This piece was very quick to put together. The music was complete within 4 or 5 hours. The initial mix was fairly quick too, but I later realised I wasn't happy with it, so I remixed it again a couple of days ago, doing some more work on the relative levelling and tightening up the EQ. Probably 12 hours' work went into this piece. I'm quite happy with this recent increase in productivity, although it has necessitated some changes in my workflow, with many aspects of the mixing process now incorporated into the writing phase. That's probably a good thing, but it can be difficult to prioritise the different parts of the process when creativity strikes. I completed the "artwork" for Beacons last week. All that remains is to write some sort of "blurb", but the guts of the technical notes are already here.

Back to the acid - I hope.

July 6, 2014
06/07/2014 Out of the Tunnel


No blog entry for over 3 months. This might suggest a lack of activity on my part, and would certainly contain more than a grain of truth. The truth, as ever is slightly less straightforward.

Hot Hog Infusion was completed in late March, but for some reason which I can't recall, didn't make it out into the wild until mid April. This track marked the end of my remix project, spanning 33 months, and I am glad to have completed what was, in truth, a labour of love. Looking back on this period, I have found it exceedingly useful in a technical sense. I have also demonstrated to myself reserves of willpower whose existence was never previously suspected. When I completed these remixes and the Occultation album, I was quite certain that I never wanted to repeat the exercise, having expended such vast resereves of mental, temporal and other resources that I was unsure of my ability to make such a commitment again. Three months later, and my feelings have begun to shift. ever so slightly. One of the kind people who purchased the album back in February has posted a very positive follow-up on KVR some 5 months after the album release, This is very encouraging for me. My current feeling is that I may evaluate another album release at the end of 2014. It's currently 50/50 which is a major shift from the 0/100 of 3 months ago.

Towards the end of April I put myself back into "composition mode" and began work on "Tang Dynasty". This was only my 4th new piece of music in 38 months, so I was quite nervous about the process. The track came from one of my many "building blocks", in this case a little Chinese snippet I had assembled in October 2013. Before long it had evolved into a 9 minute Berlin-influenced beat driven extravanganza which I was more than happy to call complete, although I may revisit this piece again later. There was some fairly complex routing on this track, and the mix was challenging, but I'm not somebody who likes making things too easy for myself. I also managed to put some new VSTs to good use.

In June I worked on another new track, "Ganymede's Inertia". The main riff was originally conceived as a techno piece back in 2010, but I started messing around with synth patches. The resulting change in sound suggested a much mellower mood, so the piece became downtempo, which in turn demanded that I put Phonec to work. The evolution of this piece even surprised me. I needed a contrasting section for the track and knew that it would require a Rhodes sound to achieve the mood I was after. Just as I thought the track was approaching the completion/mixing stage, I had an idea. Let's add some guitar and bass. 

I acquired some new gear last month. I bought a keyboard stand. this might sound inconsequential and particularly underwhelming, but this simple addition makes life and composition in particular so much easier. It's the simple things that make the biggest difference. I also bought a TC Ditto x2. I have only scratched the surface, but it's fantastic. I have spent hours just jamming along with myself. It's great fun. After a session I can transfer the audio to my computer via USB. I have managed to produce some remarkable sounds via subsequent audio processing, opening up the possibilties of guitar-glitch in the future. It's highly recommended. I also splurged on some Audio Damage plugins. I picked up Repicant, Axon and Eos in a sale a couple of months ago. These are quality tools and I can't recommoend them highly enough.

At the end of June I attended the Ambient Music Conference in Finland. The trip was great fun and I got to meet a wonderful crowd of people, including S1gns0fL1fe, Ambient Indigo, luftrum, Northstar11, AnneMarie Borg, Simon Lomax, Massergy, Ivan Black, [owt:kri], Utu Lauttori, Rusty Hodge, Ambient Lifeforms, Cosmic Cadence and many others. I managed to see and hear amazing performances from these artists and many others including 45ko, Sarana, Umpioo, Lux Ohr Musikgruppe, Nemesis, and a great presentation on sound design from the legenday luftrum. Finland was a great choice of venue, and the trip incuded a day trip to Tallinn which I also recommend as a place to visit. 

What's next for whatsisname? Acid/House is currently top of my list, possibly followed by something ambient.



April 1, 2014
01/04/2014 The End of an Era


After another alarming gap between updates, I'm back. So what's been going on here. As expected, the album hasn't set the world on fire, but I'm happy with it. I played it through from start to finish a couple of times, and I like the track ordering, and the pacing. It sounds quite good, but it ought to. I spent enough time on it. I currently have no plans to make another one. I'm "remixed-out" at the moment after a 33-month effort that has finally been completed. Mind you, any future release should require a much smaller effort in the remix/master department as my more recent tracks are already close to sounding the way I would expect them to. One track I do fancy remixing is Felonious Monk. I like the oriental feel of it and I think I could make that one sound much better with 8 hours work, but not right now. Other fish need frying.

I put up the 2014 remix of Cape Different on SoundCloud in February. This was a track that I felt quite ambivalent towards back in December 2010, but almost 3 years away from it gave me a different perspective, and I quite like it now. The remix was quite straightforward, consisting of the usual sonic shaping and a few cosmetic tweaks.

I had an old Lenovo laptop with 2Gb memory running WinXP32. I decided to upgrade the RAM to 3Gb, update the OS to Win7/64 and try using the machine as an audio recorder. My plan is to buy a Focusrite 2i2 (which should also work with the tablet). I have already tested recording on here through the UX2 and it works very well. A few weeks ago I managed to play my drumkit for an hour or so. I just can't seem to find the time to do everything that I want to do these days.

Last month I put Absent up on SoundCloud. This differs from the version on the AO compilation only in the mastering. Yesterday I completed the 2014 remix of Hot Hog Infusion. I had a few sound design issues to grapple with and  that marks the end of the remix project which has taken up 33 months. So - my record is 61 tracks completed in 63 months, plus a few other projects on the side. Not too bad for a part-timer I suppose. It's time for some new music.

February 7, 2014
07/02/2014 Slacking - or possibly not


I have been quite busy since my last blog entry, although you wouldn't necessarily know that. I updated a bunch of plugins and installed a few others, specifically to help with my mixing. I aim to delve into the world of compressors in the near future, although my goal in this endeavour is not loudness, only understanding. I've heard some pretty lame justifications for loudness recently. It's probably just as well that the loudness wars have now been declared to be over. I had a fairly quiet Christmas and New Year this year, managing to wake up without a hangover on New Year's Day for the first time in living memory.

Just before New Year I completed the 2013 remix of Froth. I managed to fatten up the sound a little by adding an extra bassline during the climax (no surprises there). On New Year's Eve I bought Phonec and Construct. After playing around with them for about an hour it became apparent that they will  get some serious use in the future. Just before New Year I started work on the remix of Cape Different. There was not a lot of work required on here. I did some cymbal reversal and the usual mixing/mastering business, and the whole thing was complete by January 3, just in time for inclusion on the ambient online podcast #23. On January 4 I started work on the 2014 remix of Hot Hog Infusion, but in truth have not got very far with it. I did encounter another "missing patch" problem but have been able to resolve that quite satisfactorily. Just as it looked like I was about to make big strides with this remix, another project presented itself to me.

That project was a new track, Absent, which sits quite nicely within the ambient electronic domain. A request came through for a track for the AO compilation volume2, so I started trawling through my hard drive looking for suitable jumping-off points and found a sketch I made in 2012 which presented a suitable basis for expansion. Six hours of work and I had a mastered track ready to go. My first new complete track since Axis Part 1 in March 2013. I was flabbergasted.

Last week I had a PM asking for permission to use Froth in a radio show warm-up mix. I received another master of Flow from Loz at Crimson Sun Audio, which sounds better than mine. Then I completed the artwork for the album, Occultation, which I finally managed to release yesterday. I have played the entire album through 3 or 4 times in the last couple of days, and the overall feeling is one of relaxed energy, although Divide and Conquer, and to a lesser extent, Des Rez are more energetic than the average on here. 

December 19, 2013
19/12/2013 Brushing off the Cobwebs


I put up the 2013 remix of Recant on December 1. I wasn't totally happy with at least one aspect of this track, and sure enough, people spotted it, so I took the opportunity to rectify it and, in the process, came up with an extra bassline which quickly found its way onto the last section of the track. I'm much happier with the piece now. Last week I put together the project file for the 2013 remix of Froth, which I'm planning to complete by the end of the year. I've been messing about with some new instruments and FX and have put together some basic parts for new tracks. I hope to complete at least one of these by the end of March 2014, but there are a few other things to take care fo before then. I have to remix Cape Different and Hot Hog Infusion, and there is the album release to finalise, hopefully over the New Year holiday. It's good to be moving things forward again. Oh, I'm trying to move the Hobgoblin project forward as well, but this might take a little time.

November 23, 2013
23/11/2013 The Leviathan wakes (and about time too)


I had a long period (about 3 months, really) of being unable to summon any energy for the creation of music, or even the polishing of it. I couldn't become enthusiastic about the 2013 remix of Recant, or even about the relatively simple task of mastering the Crimson Sun Audio mix of Flow. It was all quite depressing. I was stuck on the mastering of Flow, because I assumed that I would have to rethink my mastering chain. Of course, this wasn't necessary. I was suffering from some sort of mental block or possibly some kind of self-induced apathy. When I sat down and thought about my mastering chain with respect to Flow, I quickly realised that only one parameter needed to be tweaked, and from that point on, the mastering was really no more difficult that for any other track. I completed the master on 24/10 and even managed to incorporate SDRR on the master bus. It turned out quite well. At about the time I was completing this master, drunity at KVR contacted me about also making a master of the track, so I sent it to him to process and that turned out rather well. On November 3rd, I completed the 2013 edit/remix/master of Recant, but haven't had the opportunity to put the track up yet. I'll probably do that sometime in the next week. Last night I was messing about in the DAW with some percussion tracks and actually managed to come up with the basis for a new track. I'll probably sit on it for a few months before taking it any further, but it was quite exciting. It's probably one of the strongest pices I've wrtten so far. So, things are moving again.

October 7, 2013
07/10/2013 Stasis/Static


I seem to have sunk into a chronic musical malaise recently. I am having difficulty summoning the enthusiasm for remixing my next track, Recant. I was fully aware that it was going to be a difficult task, but it seems to have wiped me out. I've been hoping that events unrelated to music would help to shake me out of the doldrums, but so far, nothing has helped.  I really need to do something about this. I also need to take care of the "artwork" for the album, but again, enthusiasm is absent. I did receive the remix of Flow, which turned out very well, but I have to rethink my mastering parameters in order to do this any justice. Again, there is is a lack of willingness to get things done. On the bright side, I have managed to evaluate a couple of recent additions to my mastering chain, but have not managed to do anything productive with them yet.

August 26, 2013
26/08/2013 Catching Up Again


I completed the demix of Flow for Crimson Sun Audio a couple of weeks ago. That was fairly straightforward. After that I completed the 2013 Edit/Remix/Master of THX-15. I didn't encounter any real problems with that, but managed to have a bit of fun creating a simulated echo for the SampleTank soprano. I put the track up on SoundCloud last Wednesday. After that we went on a short holiday to Devon and The Cotswolds. Upon my return I had a lot of catch-up listening and today I managed to recover the Microtonic parts for Axis Part 1 after a VSTi renaming issue caused parts of the project to become unusable. The next job on the agenda is the 2013 remix of Recant. This is presenting some sound design difficulties.

August 7, 2013
07/08/2013 Undoings/Doings


I just completed a demix of Stand Still I Say for Crimson Sun Audio. Loz is setting up an online mix engineering business, and asked for a couple of tracks to use in his portfolio. I thought it would be interesting to hear my music with a different perspective. Hopefully Flow will also get the treatment.

I am currently working on the 2013 remix of THX-15. I initially thought that this was going to be a difficult process, but things have gone quite well. Hopefully, I can complete this by the weekend. 

July 21, 2013
21/07/2013 Happenings


Last week I made a 1 minute drone for AmbientOnline. Whilst making it I decided that it needed livening up a little so decided to add some exta elements in a misgiuded attempt  to funkify the piece. I have had a positive reaction to this, so will probably proceed with this later in the year.

A review of my Citron EP appeared on last week. I was quite pleased with it. the review can be found here:- Citron album review 

I just finished the 2013 edit/remix/master of Tom Re-Armed. That was quite tricky. It took me about 12 hours and this piece features more automation than I have attempted previously. I'll probably put this track up in a few days.

I'm just about to create the project files for the 2013 remix of THX-15 

July 8, 2013
08/07/2013 Quiet


Not much to report lately. I started work on the remix of Tom Re-Armed. I have some patch changes to make on here. I also re-levelled Drown (pre-master) today. That's it, apart from the upcoming Citron EP review next week.