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Exclusive: Rough Cut

Rough Cut is a hard techno track with a driving motive and thick groove. What I always liked about it is that it “grew” organically, much on its own with me just adding some water, so to speak. Much of the filtering was performed live and the final mix was initially considered the rough cut, which explains the title.

Due to the fast pace of music technology and the global reach and influence of dance music, many tracks quickly become characteristic of a specific time-frame (a polite way to call them “dated”), but I’d like to think that this one spans generations. Whatever,… enough metaphors.  Here it is – another exclusive, and available in WAV and MP3 formats.

Download: Rough Cut (mp3)Download: Rough Cut (wav)

Rough Cut is a hard techno track with a driving motive and thick groove. What I always liked about it is that it evolved organically, much on its own with me just adding some water, so to speak, here and there.  Much of the filtering was performed live and the final mix was initially considered the rough cut, which explains the title.
Due to the fast pace of music technology and the global reach and influence of dance music, many track quickly become characteristic of a specific timeframe, but I’d like to think that this one spans “generasions”. Whatever,… enough metaphores.  Here it is – another exclusive, available in MP3 and WAV.

Ableton Live: User Interface Proposal

ableton_logoI’ve been using Ableton Live for the past few years and have recently decided to switch to it as the centerpiece of my DJ setup (with the Vestax VCM-600 midi controller), leaving behind my decks, records, as well as the previously used Native Instruments’ Traktor Scratch setup. (I’ve used Serato’s Scratch Live as well but at the time opted for Traktor since it offered the key feature, which allows control over the track’s key independent of its pitch or tempo.  Btw, Ableton Live offers this as well.)

So what’s wrong with Ableton Live’s UI?

Not too much actually which made this post pretty easy and hopefully increases the likelihood of its influence.

The short story is this… There has always been an element of motion in DJing. It started out with mechanical devices and media actually spinning (decks, tapes) and this has been represented in most DJ software tools.  Specifically, there are two examples of moving indicators which provide essential information to the DJ:

1) Mix levels

2) Track progress

These visual cues are very important to a DJ since they (aside from the audio itself) are the only way to stay on top of the mix.  Furthermore, having visual indicators really helps not only with mixing, but also with getting into the mix.  As many MIDI controllers, including the Vestax VCM 600 do not represent the mix levels, I really started to miss those.  (To be fair, some of the other hardware controllers, such as Allen & Heath’s excellent 3D and 4D–which combine an audio interface, mixer and midi controller–do have this feature, but I am pretty happy with my audio interface and prefer the layout and portability of the Vestax surface.)

So the problems are waveform and level indicators.  Well, the bigger part of the problem, anyway.  I realized that this is not really the controller’s fault.  Ableton Live’s interface IS the visual indicator for everything, and with the entire display at its disposal its got plenty of space to work with.  So why does it look like a spreadsheet or at best, a calendar? True, the layout of the session view is great for live playing and real-time composing but its really not ideal for DJ sets.  There are way too many tiny boxes and there’s barely anything moving.

To be clear, my proposals for enhancing  Ableton’s interface for DJ use (ordered by priority) are:

1. Addition of waveforms for the currently playing track, per channel. This would replace the existing progress-bar style indicator which is tiny and doesn’t show the audio structure of the currently playing clip.  Even vinyl records (which had no waveform) did a better job of this since the grooves themselves indicate (upcoming) changes. Btw, I realize that this becomes more complex when multiple clips are playing simultaneously on the same channel, but this prevents independent control over each channel which is why its often avoided in DJ sets.

2. Wider level indicators. Ableton’s interface is very intuitive and slick, but I can’t think of a single reason not to expand the width of the level indicators. (They are currently only 5 pixels wide.)  I like to make my channels wider and would expect the indicator to expand with it, but they stay ultra narrow.  Why?

3. Better highlight for the currently selected scene. This visual indicator becomes less visible as more content is added to the session, which is the opposite of its utility as its most useful when there are many clips in the session and far less when there are only a few. I often catch myself having to investigate where it is.  It should be obvious.

4. Better highlight for the currently selected clip. Here again, quickly locating the currently highlighted clip is difficult.

5. Utilizing empty space. This might be a reach, but when I feel too lazy to hook up my controller or just want to listen to some tracks using Ableton, I often find myself having to switch between the Clip and Track views.  Why not have an option to combine them?  There’s a always a huge blank space next to the effects on the track view (since I only have the EQ and Filter on each channel.)  It would be nice to have the option of displaying the Track settings and waveform next to it.

And that’s it.

Let’s review what the interface currently looks like.  Click on the image for the full-size version (this whole thing is sort of pointless otherwise).

And here’s what I’m proposing.  Click this one to open it in a new tab and then you can toggle between them to see the difference.

So how about it?  Anybody from Ableton reading this?  No? Santa?

Incognito

Incognito is an old housey track.  It was produced in 2002 and almost got released on New York’s Gotham Grooves label shortly after the release of Funk Matter EP (which came up a couple of months ago in this post), but I forget why it never made it out.  The artwork on the left was being considered as well at the time.

Anyhow, much like Funk Matter, Incognito is a sample-based, up-tempo jam and features some nice bells in the background. Wav download is provided.

Exclusive:< For the first time on on this blog (if my memory serves me right), I’m posting a few key samples used on a track so you can mess with them, if you’d like:

Download: Incognito Bassline (wav)Download: Incognito Guitar Loop (wav)

If you just want to listen to or download the track these links are for you:

Download: Incognito (mp3)Download: Incognito (wav)

Soft Decay

Soft Decay is a loopy track from 2002.  Its got a crunchy, bit-crushed sound which inspired its title. Playing over the beat is a stretched flute sample and an occasional drum break.  A more interesting component are the percussive synth hits played on the Virus B which pan around the stereo image and add to the track’s spacey feel.

Download: Soft Decay (mp3)Download: Soft Decay (wav)

Open Source

Open Source has that B-side feel. Coming through are some of my early Goa/Psy-trance influences mixed with the more usual tribal techno vibe.  The spacing of the heavy low-end vs. elements in the higher range works well and leaves enough room for the flyby’s in the middle.

This is another track which features a sample from the movie Event Horizon – not just because I liked that movie and the sound of it, but because it was probably the only movie I ever ripped the audio from for this purpose.  (I maintain that I’m NOT a big fan of movie samples in tracks, but yeah, I know. Whatever.)

I have no clue why this track is called Open Source.  Do you?

Btw, the photo above is of a Mars landscape and was one of the 35 Mars photos featured in today’s Boston Globe.  I’m guessing that these photos are “open source” since they ought to belong to mankind as a whole.

Download: Open Source (mp3)Download: Open Source (wav)

52nd and 2nd

Oddly named 52nd and 2nd, happens to be the 52nd track produced by me.  I used to live on 56th Street in Manhattan (right near Second Avenue) and would occasionally walk down 52nd Street on my way to the subway.  What does all that have to do with this track?  Absolutely nothing.  But both of those things have the number 52 in them and since I don’t like to spend more than 5 seconds coming up with a title, that became it.

The track is a pounding techno ride with a stabby riff and scattered kick twists which give it unique character.

Once again, the wav download is available.

Download: 52nd and 2nd (mp3)Download: 52nd and 2nd (wav)

Vanilla String

departureEPVanilla String was released on DJ Becka‘s Gotham City Records label in 2006.  The release, titled Departure EP, also featured tracks by Mark Verbos, Dan Physics as well as Becka and Agent Orange. A diverse set of tracks, Departure defined the sound of then new GCR label whose repertoire continues to evolve.

Vanilla String itself is an unusual track.  It basic idea sort of caught me by surprise and seemed a good opportunity to experiment so I didn’t hold back.  The result is a heavily mangled jam with wicked beats, heavily processed samples and a prickly riff which itself undergoes a transformation through Waves’ Enigma filter (if memory serves me right).

No download links since the track (the entire release, actually) can be purchased from BeatPort. Go get it!

And just in case the Beatport player doesn’t let you hear the entire track, its here:

Alek Biotic Presents: Stereohype

Stereohype a techno house set from 2006, heavily induced with funky and tribal grooves.  It was the last live set recorded with vinyl as the source.  As you probably know, the volume of vinyl records varies from one to the next as does the balance of the (left/right) channels.  To make things even more problematic, turntables, needles, cables, mixers, etc. all join the effort of making sound of mixed sets unbalanced and uneven, and making it that much more difficult for the DJ to achieve a tight blend.  While that’s always a part of the challenge (and the fun), getting an even mix became a central focus of this recording and I did a few takes before getting something I was happy with.  I’ll admit that some volume/balance adjustments were made during mastering and I think they really helped.

The problem described above are main reasons why I switched to DJ products like Traktor Scratch, Serato and Ableton Live – all of which are based on audio files played from the computer which minimizes the stereo problems to some degree and allows for more (visual as well as aural) control over the sound of each track.

On to the mix itself…

Its probably one of my most favorite mixes and the response has been very positive.  Many of the tracks on it were frequently in rotation and got lots of play time at the Frying Pan, Liquids and other NYC venues around this time. Heavily featured is the artist Hertz, whose Alone & By Myself is a classic and comes in around the 19th minute.  Another big-time track from the period is Joris Voorn‘s Incident. (As I look back at the track list, I want to mention each of the tracks as they are all amazing but I’ll highlight just a couple of more here.)  Tobias Van Hofsten‘s Afterhours is one of those massive tracks with a huge driving bassline.  Memory Lane (better knownw as Tomie Nevada) who could do no wrong delivers easily one of my most favorite techno house tracks of all time – Untitled 4a – whose driving raw elements make my head spin (pleasantly, that is) every time I hear it.  Lastly, Stereohype is the only mix I ever recorded which features one of my own productions, Idiom, released on the French label ExtraBall in 2004 (around 48th minute of the mix).

Download: Stereohype (mp3)

Track List:
Blueface – Nan In
Mario Lenzi – The Loop of Love
Memory Lane – 4a
Samuel L. Session – Less
Hertz – Phonk
Memory Lane – 4b2
Hertz – Alone & By Myself
Deetron – Don’t You Know Why? (Edit 9000)
Patrick Dubois – Another Track (Southsoniks Remix)
Joris Voorn – Incident
Frank Biazzi – Reflections
Unknown – Expression Sessions 004
Cave – Paseo (Hertz Remix)
Alek Biotic – Idiom
Marco Carola – Question 7b1
Bad Pimps – Get On Up!
Tobias Van Hofsten – Afterhours
Marco Carola – Question 7b2
Hertz – Work It (remix)
Nico Awtsventin – Aurelon
Hertz – Progress

Power Trip

Nordlead2_rackPower Trip is a wild tech-trance track from 2001.  Its got a weird mix of percussion and beats, vocal samples, a creamy synth bassline and a demented main riff that would earn it the name Ridiculist if only that title hadn’t already been used on a track even more ridiculous. The main synth sounds were again generated by the Virus and Nord Lead keyboards, with the latter taking the blame for the main riff which I really enjoyed tweaking in real-time.  A few high velocity samples are flying around and hitting things in the background, making this track a bit over-produced but at the same time giving it a unique vibe.

A bit of interesting info regarding this track… It was featured on the soundtrack of a short film Room by Aleksandar Kostic, and subsequently heard on various film festivals.

Download: Power Trip (mp3)Download: Power Trip (wav)

Goliath (part 2)

goliath2A couple of months ago I posted the track Goliath (part 1) which featured a sample from the movie Event Horizon. As promised back then, here’s the sequel, cleverly dubbed Goliath (part 2). Out is the Fishburne sample and in the tribal beats with a dirty bassline. Check it out.

Btw, while this version has no ties to the movie I’m including the photo because, well… because its a really f-ing cool photo. Enjoy.

Download: Goliath [part 2] (mp3)Download: Goliath [part 2] (wav)

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