Colin OOOD
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Posts posted by Colin OOOD
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yeahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh
colin get on the phone give them a call, tell them to get down to that basement
we will all go 3rds?
33.3333333333333333333333 each (first we will take a copy each for ourselves)
sell the rest on ebay!!
better give tony and kit a cut to
what do you say?
Fuck that, Kit still owes us money for aLIVE.
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Poor old Tony Symbiosis and Kit (ptui!) Cabbaged must be laughing like drains if they see this, considering that Symbiosis closed down cos of a tax bill... it's such a shame that the label won't see a penny of that sum - a few of these in the right places back then and who knows, the label might even have stayed in operation...
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[notentirelyseriousbutkinda]
I'd like to see an interview with the other members of OOOD, seeing as I'm the one with my head above the parapet most of the time. It would be very interesting to read what they have to say about the OOOD experience!
[/notentirelyseriousbutkinda]
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The best thing is, given it's authors views on intellectual property, it's likely to be freeware
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I've actually listened to it now and it's really rather psychedelic.
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I'd already been working with synths and 4-tracks for a year or so by then. I'll upload some earlier stuff sometime; I haven't got the VERY first thing I ever recorded any more but I've still got 99% of everything I've ever written so I can get pretty close
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I don't even need to hear this to know that we are witnessing the birth of a new era in music. A new genius strides out amongst us from the shadows, where his talent has quietly been nurtured by the cool green hills of <insert wossname's location here>. Never before has such a prodigous prodigy produced work of such quality at his first attempt - and the fact that this isn't his first attempt is merely added testimony to his skill.
The world will never be the same again.
And not in a good way.
Sorry, I meant "And not in a bad way".
Honest.
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A couple of tracks on We Are Free have a very light shuffle - never more than 10%. Right now I can't remember exactly which ones though - "Bubbles of Nothing" and "The Unknowns", I think, but there might well be others.
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Funnily enough, the weight of them has caused the skin on my scalp to stretch down past my ears; the folds of extra skin tend to collect mucus from my sinuses so when I have a cold they inflate with snot and it actually does make my head twice as big as it should be.
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There was only ever one more Unconscious Collective track written by the original lineup, and it is unreleased to this day - "Cosmic Ken's Magical Spaceship". Crazy tune. It was written at Steve's parent's house while they were out on holiday, by me, Steve, Nigel, Tim and Jeremy (aka Starseed), and perhaps because we were unused to the sound of the room it never sounded good enough to release - very muddy, and the kick was way too quiet. Unfortunately, although I still have the Cubase file for it we no longer have the samples or much of the kit it was written on, so there's not much chance of a remix. Much better to move on and write new tunes!
You might be interested to know though that 'way back when', we did a dub version of Fluorostani Transcendance which will probably be released when we get round to doing an Unconscious Collective album... UC is now the home to the chillout side of what we do as OOOD though, so don't expect 10 unreleased dancefloor killarghs.
It's immensely gratifying to have been involved in the creation of a piece of music that seems to have touched so many people's lives in such a positive way. Even at the time we knew that track was something special and for people to be mentioning it 10 years down the line is just... awesome. More than I could ever have expected.
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Very nice indeed. I love the melodies and the slow build, and the bass/kick stabs are very effective, although they lose their power as the track progresses and they become disconnected from each other. There are also clashing frequencies in the kick, probably around 400-500Hz that I would cut. I agree that the main snare is dying to be synthetic and I'm glad you're changing this in future versions! I realise that it's probably a sound that is present from the beginning of the track in modified form but the main lead sound eg. the smooth melody present at 4:35 could do with a little low-mid cut at times as some notes 'stick out' of the mix a little too much I think.
I might be wrong but it sounds to me like you're using the bog-standard Reason delay - I would suggest using the delay algorithms in the RV7000 as these allow for tape-delay style decays, which I feel would add a little depth and interest to sounds as they die away. To me, the track also sounds quite dry in that Reason way; this might be helped with the addition of some early reflection reverb on some of the higher-frequency percussion sounds.
Very nice track Per, very nice indeed. Thoroughly releasable with a little work - and eminiently so if mixed outside Reason!
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It makes it a stereo track carrying a mono signal, therefore functionally identical to a mono track.Now I'm curious...If I split two a mono channel into two mono channels panned to the left and right, this doesn't make it a stereo track, does it?
If you use a stereo imager to narrow the width to zero then yes, whatever you put through it will come out in mono.
In general, what we think of as 'mono' is really pseudo-mono, as the sound is still coming out of both speakers, creating a 'phantom' mono image between them. The stability of this mono image is very much dependant on various factors such as speaker placement and room acoustics. For true mono you need to be listening to only one speaker, which is where eg. Waves S1 and other stereo imagers come in handy as you can narrow the stereo width to zero and rotate it so that it only comes out of one speaker. This is useful as a temporary mixing or mastering aid, to ensure that one's mix or master is mono-compatible and to provide a more accurate indication of the frequency balance within the track. I'm not sure whether Reason offers the same facility - maybe in the new v3 plugins?
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See, I've never been able to figure out what people mean by this or why they do it. Mathematically each speaker will receive an identical signal from a mono sound whether it's presented to the mix buss as a single mono track or as two identical mono tracks (each the same as the single mono track) panned hard left and right. The only difference I can see is that playing back two mono tracks takes twice the disk/processor bandwidth as playing back one.
No-one's ever told me that my bass/kick combo overwhelms the middle of the track... maybe they were just being polite though?
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One of my early dance tracks is available online - it's from 1987. I can't remember the direct link to it though, so you'll have to go to the Voice of Cod website, click on 'Biography' on the left, then download the track from the bit where it talks about my history. Sorry about that!
It's off cassette; the track was recorded on a Tascam 8-track tape machine and was sequenced using a Chase Bit master keyboard slaved to tape by FSK sync, with a Chase Bit 99 analog synth doing the acid line, an Akai S612 doing the samples, a Yamaha drum machine and sound module, and an Alesis Microverb for FX, all mixed on a Soundcraft 16-channel mixer.
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I've done freebies before but there either has to be some kind of relationship there first (you know my email, I hope, Per. 32 bits@44.1K by preference), or the track has to be so awesome that I simply MUST do it. Making good music sound great (to the best of my ability) is something I really enjoy doing, but it does take time and energy, and to my mind if I do a good job, that's worth something to whoever made the track in the first place.
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Ott tells me he's already working on some NHJO remixes...
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I finally got round to converting a bit of music to LAME then ripping it to CD and must confess to being quite surprised. When playing electronic music, even on a 20 grand system, it was reasonably tricky distinguishing between the original WAV and LAME files. The only telltale signs were the bass which was slighly more flabby with less punch and very high frequency treble sometimes sounded harsh and rather blunt (as opposed to ending in a long, smooth, sharp point).
The difference when playing live and acoustic music was much easier to recognise with the LAME files sounding relatively flat and compressed compared to the original recordings. Certain subtleties and nuances such as the twang of a guitar string played slightly off key, slight intakes of breath and the sound of saliva as a vocalist parted their lips were less prominant on the LAME files so in conclusion detail retrieval and resolution fall some way short of the original WAV files.
Overall though I was genuinely surprised, especially with it's scope for dealing with electronic music. It's very impressive.
Interesting. What encoder settings did you use?
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Nice avatar. I've always thought our logo looks best on a white background though; the black is a little difficult to read at that size.
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Good idea - I'll start.
Please send your donations to O_O_O_D@yahoo.com
(Cangrejo it's ok, you don't have to).
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Bullshit. You're totally putting words in his mouth there. He's not saying "well, if you want a signed copy, then show me what you would pay for it". All he's saying there is "if you want to buy a signed copy of the album from my own collection, you can do so here". I bet if you wrote him a nice letter and sent him your own copy of the album he'd sign it no problem. Or if you asked him politely at a party.
You're just looking for a reason to get pissed off with him.
Oh, and Twisted already very nearly folded 18 months ago when they had big problems with their distribution, and at least one of their artists lost a lot of money in unpaid royalties. I don't know how they're doing at the moment though.
Just for the hell of it
in Music Making and Production/Industry
Posted
I posted this in Offtopic but it seems kind of relevant here too