Today I found an item on Youtube where someone used Maths and a simple oscillator to recreate the Moog Subharmonicon, currently priced at 1600 euro or more. So I used a simple sine from the DPO, gave it a try and ended up with a magical piece of ambient music.
I’ve been experimenting with the MakeNoise Shared System to create a Didgeridoo sound, which turned out to be really cool. This also shows you need a lot of firepower to create a complex ‘natural’ sound like this. I am hoping to create a video for Shared System owners.
I was invited by Metapop and Native Instruments to join a live remix competition on the 18th of october, so I took my gear to Amsterdam and tried to create a decent remix in one hour. Native provided me with the new Komplete A25 keyboard and the handy Maschine Micro MK3. The original artist Raiden was on site to pick a winner. Really happy he chose my mix. Personally I think contestant LUVR was the best, and Vasko did a very original Big Room, but Raiden chose mine and now I am a proud owner of the Micro MK3. It’s going to be an important tool in my new Sound Lab, driving a big modular with sequences over multiple midi channels. Here’s the story on the Native Instruments blog 🙂
Tomorrow I’ll travel to Amsterdam for the annual Dance Event where the whole city is a stage. I am invited by Metapop/Native Instruments to participate in a live pressure cooker remix competition – obviously to show how much fun this platform really is. I am a Metapop Mentor, which basically means I try to help producers all over the world as much as I can. But the fun thing is, that NI did a really big launch for some new affordable gear, new software and three new platforms for loops, sounds and showing off your remix skills. Metapop has grown huge in a matter of weeks, with many, many people trying to get a hold of a 4K grand prize, basically a full studio setup. So people are starting to know me as some kind of ‘authority’. I am not. I am nobody. But when I provide feedback, I make people feel better about themselves. I guess that’s what mentoring is about.
So tomorrow I am going to try something cool. I am not sure about the track we need to remix and how many people are in the game. But I am going to take my field recorder to the lab and collect as many cool sounds to make the track as possible. So it’s going to be a Cinematic ADE Found Sounds Lab Remix. There’s a Brute, there’s a System 8, probably a lot of Boutiques, so plenty of sources on headphones and accessible L/R outputs. Then I will use them in Ableton 10 and Maschine to create the remix. I think they will probably give us an hour. More news tomorrow!
Ok. It just happened. Last week I got the eurorack modular disease. The money black hole. The addiction that beats drugs, alcohol and other bad things. I had to make some choices. Sold my Yamaha Montage 6. Greats synth – maybe the best synth on the planet – but it always gave me a wedding party vibe. It’s not cool as a Bob Moog or a Sequential Dave Smiths. Eurorack is cool. No doubt about it. It’s pure RocketScience. It belongs in the BatCave. And it suits the Cinematic sound very well. I will be creating pages with information about my modular choices. Hopefully this will help you to stay far away from it, or make wise(r) choices. There must be thousands of modules out there, just waiting to be part of your own personal custom synth.
Having seriously second thoughts about my MatrixBrute too. It was supposed to be the nerve center for my forthcoming eurorack adventure. But now both are part of the BatCave studio list, and I was hoping to borrow the Brute’s filters. Didn’t work. Gave it external sound, didn’t work. Patched the Steiner Parker filter, nothing happened. Obviously I don’t understand how all this works, but I will find out soon that all these patch points are for external CV/Gate control only. As far as the sounds are concerned, nothing screams like a Brute. But then there’s MakeNoise… So why keep this big, heavy and brutal machine when you can also fit it in a suitcase?
Keep you posted…
Very blog starts with a first post and no audience. This one is no exception. Fortunately a lot has been going on since I came up with the idea of combining cinematic stuff with electronic music. So maybe a new genre was born, but I don’t really think in genres and styles. I love beats, patterns, wide space and emotions – translated to sound.
I am a mentor at Metapop.com, which means I help people to produce their tracks and get better. Which is cool, because I just throw sounds at people and most of the time I just do what feels right.
When making music, I follow my own ‘tingle scale’. When I was young you could run into a track that could make the back of your neck tingle. It’s not just a track, sometimes it could only be a sound or bass riff. I can still remember ‘The Space Between’ from Roxy Music. After a while the effect wears out, but this is basically ‘what makes music good’. It’s personal. My ‘tingle scale’ is triggered by minor chords, pads, strings, dynamics, driving repetition, space and the unexpected / out of place. This basically sums up the style ‘cinematic dance music’.
If WordPress allows, I will be creating four sections on this website with posts about beats, patterns, space and emotion. Hopefully it will help you find your way in this huge universe of VST’s, gear and sounds. My favorite conventional genres are techno, trance, ambient and classical. I don’t understand Jazz, but people say I’m good at that. So I do that too. And I must say, playing jazz is really cool. It’s not that different from improvising with a modular. So welcome to the Cinematic Room. Make yourself at home.
You can find my music here: