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Colin OOOD

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Posts posted by Colin OOOD


  1. By request, here is a link to a DJ mix I did in 2006 to promote a Voice of Cod live set/Colin OOOD DJ set at Alex Grey's Chapel Of Sacred Mirrors, then located in NYC.  There's no direct link to the mix but it streams and should be downloadable from the button on the player.

     

    The mix is the last one in the player on the following page:

    http://oood.net/oood-music/oood-live-studio-mixes

     

    Tracklist:

    Colin OOOD - Organic Sunrise
    OOOD/Voice of Cod/Unconscious Collective mix (2006)

    1. Voice of Cod - It's Just A Ride (original mix)
    2. OOOD - I'm Funk Definer (Inner Trip mix)
    3. Voice of Cod - The Art Of Funk Shui
    4. Unconscious Collective - Neptune Driver
    5. Unconscious Collective -  Fluorostani Transcendance
    6. Voice of Cod - We Are Free
    7. OOOD - Heliopause
    8. OOOD - Kundalini Rising

    https://www.discogs.com/ColinOOOD-OOODVoice-Of-CodUnconscious-Collective-Continuous-Mix/release/2170874

     

    • Like 3

  2. haha yeah it makes my day to see our name amongst others here, it happens only very rarely and although we're still writing and playing where we can, I'm becoming resigned to the fact that we'll never really be in most people's list of favourite acts, or play at any of their favourite international festivals.  I hold little hope of playing at RS as a DJ, and especially a a live act (or at Boom again, or Ozora, or Antaris, or etc etc); if my application was successful it would be the first time I've ever got a booking off an application form (hatethemhatethemhatethem with a violent passion, 22 years and 5 albums and you want me to APPLY to play? Fuck the fuck off), and I'm almost certain it would make me cry.

     

    The Organic Sunrise mix is not on my computer but I'll see if I can find it online.

     

    [EDIT] Last item in the player on this page - downloadable too.

    http://oood.net/oood-music/oood-live-studio-mixes


  3. It's hard to know where to start but it boils down to the fact that terms like "warm" and "cold" have no agreed meaning in terms of sound quality and are purely subjective, and conversations like this often end up chasing their own tails as a result of people using different definitions and ascribing them to different causes. My opinion is that warmth or coldness are the end result of a combination of a myriad different factors, and can be emphasised or de-emphasised in any given production by a multitude of different means depending on the engineer's own taste and available tools.

    • Like 3

  4. Artha - Influencing Dreams is far from my best work.  I started wishing I could have mastered it again just after it was released, by which point it was too late.

     

    I have noticed increasing pressure over the last few years from some clients (in general, mentioning no names) to make my masters louder.  It's not my own preference but something I sometimes feel under pressure to conform to in order to retain a clients' business - this is vital to me as I have no other income.  I'm often reluctant to stand my ground and say "No, this version is perfect" because a client who doesn't get what they want is more likely to go elsewhere next time, and because... well, I learn every day and it's mainly through constructive criticism.

    • Like 2

  5. According to the Rainbow Serpent website my application to play is still "In review".  It would be awesome to finally get to play in Australia (hell, even to go there) but sadly it wouldn't be 'live' as there's as much chance of getting the whole band there as there is of <insert extremely unlikely event here>.


  6.  

    Man, I love Bill Hicks, that track and the album it comes from! :wub:

     

    Any chance for a new Voice of Cod release someday?

    Andrew is possibly moving to Czech Republic soon, which could make things easier. If we can get in the same studio together, and the vibe is still there, it's a possibility. However my psytrance fuel-tank is running low at the moment. I feel like I get so little back from the care and energy I've put in over the years that there seems little point.

    • Like 1

  7. The word 'auxillary' isn't one I've ever heard used to describe a type of sound in a track, but I guess abasio's definition isn't strictly incorrect!

     

    In production, the term is used to describe a separate mixer path into which is sent, by the use of 'auxiliary' (or 'aux') send controls, a desired amount of one or more mixer channels which can then be processed as a group, separately from their original sources. It is often used to add reverb or echo; with the aux send for each relevant channel is adjusted to send an appropriate level of that sound to a new channel, upon which the effect is placed, and whose input is fed from that particular aux buss.

    • Like 2

  8. If a track sounds too loud and compressed, that's usually because of processing which has been applied to the stereo mixdown either by the artist or by the mastering engineer. Likewise if a track sounds muffled, or boomy, or harsh, or has no bass, it is because of decisions made about the mastering. Even a badly-produced track can be mastered to avoid these things, and although the mastered track will still sound badly-produced it won't suffer from those problems.

     

    A "noisy" track (I guess you mean a track that has been produced with a high peak level, ie. loud?) can be mastered quietly. The loudness of the final master is independent of the relative loudness of the mixdown. Bad production makes mastering harder and just making something loud is not 'mastering' it.

     

    Mastering is 100% of the reason why tracks these days sound much louder than tracks released 20 years ago. I would say that 100% of oldschool tracks could be subjectively improved by being remastered. The differences would include an improved frequency balance, more punchiness and more clarity without harshness or over-brightness.

     

    The question "what is the real diffrence between a digital and analog master?" is an ambiguous one and does not distinguish between the final delivery format, which can be analog or digital depending on the retail format and/or how it will be duplicated by the manufacturer, and the processes involved in the mastering itself, which can be analog, digital or a mixture of both, and are independent of the final delivery format. For instance you can master a track using only digital processes (eg. plugins) but deliver it to the manufacturer in an analog format (eg. laquer or 1/4" tape). Is it then a digital master, or an analog one? How about a track which is mastered solely using analog hardware but delivered to the manufacturer as a digital CD image? The question is not precise enough, but I hope I've helped clarify the issues :)

    • Like 4

  9. I would first like to hear the original unmastered versions + compare it with the mastered versions we already have on CD.

    Then see if actually it was the lack of mixing and good production or the mastereing thatw as the blame.

    Not quite what you're after, as I don't have permission to share the unmastered version of the track, but it should give you some idea.

     


  10. edit: no discussion regarding what an artist do or not do live is allowed in the thread. Last time that happened people left psynews and shit got real, real quick.

    Ironic, because a lot of people on this thread are talking about 'live' performances from artists I know for a fact just press play on their laptop :D Not to say that their music itself isn't great, of course.

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