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randomvarious · 11 months

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Today's mix:

Global Underground 013: Ibiza by Sasha 1999 Progressive House / Progressive Trance

Oh no! I really am not trying to sound like a contrarian with this super popular Global Underground series, folks, but more often than not, I am finding myself underwhelmed and shortchanged by these experiences. Last time I posted about an installment from this series, it was John Digweed's acclaimed Los Angeles set that I wasn't very fond of, and now I'm back to say something similar about his pal Sasha's Ibiza mix from 1999 😕.

Now, a lot of people seem to regard this double-disc as simply one of the greatest commercial DJ mixes that's ever been made, and while the transitions tend to be impeccable, and some of its tracks really fantastic, I think that, overall, it's still a pretty overrated release. I mean, the peaking moments just don't seem to reach that totally sublime pinnacle that you'd expect from a globetrotting legend such as Sasha himself. Maybe these discs hit a lot better when they originally came out in '99, but a little less than a quarter-century later, it seems to me that they're lacking a bit of juice.

Disc 2 is certainly the better of the pair though, which is the progressive trance set. Sasha doesn't really seem interested in raising your heart rate with any enormous and flamboyantly transcendent tunes; he's more after the reserved and technically masterful stuff. And his own "Xpander" provides for a good example of this: a calm, steady, spacious, intricate, and sprawling track. Things do still eventually ramp up a bit in the final leg though, with Frankfurt legend Oliver Lieb's remix of UK duo Aquilia's "Dreamstate," and then John Digweed and Nick Muir's "Heaven Scent/Lifeline" serving as the closer under their Bedrock moniker. But again, since Sasha doesn't seem to be in pursuit of that typically epic climax that most trance mixes would be trying to achieve at this point in their sets, these tunes don't feel like surefire floor-burners. They're great and satisfying tracks on their own, but not hugely showy and surging affairs.

So, all in all, it's not ultimately to the same degree, but like Digweed's Los Angeles mix, I'm afraid that I don't really get this one either. I'm definitely not a fan of the first disc, but the second disc is still good; I just don't understand all the hype that's behind either of them. And as far as trance goes, with this growing handful of Global Underground mixes that I've now listened to, I'd still say that the breakbeat-infused second disc from Nick Warren's Brazil release is still the benchmark to beat. That thing really tears up like no other, I swear.

Listen to CD1 here. Listen to CD2 here.

Highlights:

CD2:

Cass and Slide - "Perception" Sasha - "Xpander" BT - "Mercury and Solace (Dub Mix)" Aquilia - "Dreamstate (LSG Mix)" Junkie XL - "Future in Computer Hell (Part 2)" Bedrock - "Heaven Scent/Lifeline"

#progressive house #house #house music #progressive trance #trance #dance #dance music #electronic #electronic music #music #90s #90s music #90's #90's music

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pitchshitterarchiver · 1 month

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Black velvet interview with J.S Clayden from Pitchshifter.

PITCHSHIFTER

(JS Clayden Questionnaire - Taken From Black Velvet 20 - May 99)

By Shari Black Velvet

When JS Clayden sang ‘I must be some kind of genius’, he was not too far wrong. www.pitchshifter.com is an immaculate piece of artwork in one of its noisiest forms. It rips, cuts, tears, bleeps, bops, blares and generally twirls you around in circles leaving you dizzy and decidedly off-balance afterwards. JS Clayden, his brother Mark, plus Johnny Carter, D Walters and Jim Davies are one of the most inventive quintets in rock today. Let’s find out more... courtesy of an email questionnaire which JSC was kind enough to fill in.

J = Js clayden

BV = black velvet interviewer

Black Velvet : What has been the highlight of your career so far?

JS Clayden: Meeting Jello Biafra, selling out the Astoria, playing with Black Sabbath, playing Reading Festival to a full crowd, going to Troma Films offices, not having to get a real job for the last five years.

BV: If you were a contestant on Mastermind, which subject (excluding The Life & Times Of Pitchshifter), would you most like to answer questions on?

J: Punk rock/jazz/art.

BV: How was your UK tour back in February? Do any gigs stick out? Which and why?

J: The UK tour was amazing. We sold out about five venues which was a nice surprise. Our fans in the UK have been very patient while we have been touring the world in '98. It was great to get back home and play to a very appreciative crowd. The London gig was obviously awesome, as there were 2250 nutters up for a mad night out.

BV: Which has been your favourite tour to date and why?

J: Personally I loved the American tour with Gravity Kills, Junkie XL and Cold. It was summer, we had a great tour bus, the tour was 3 months long and we all got along really well. I met a lot of really cool people that I still correspond with over the net and it was just one of those Summers, ya know? Japan was also amazing, but I think America had it.

BV: What would be your dream gig? Where? When? Supported by whom?

J: My dream gig? Dead Kennedys, Big Black, Plug, The Walking Seeds, DJ Shadow, Sex Pistols, Jeff Mills, The Specials, Everclear, The Ruts, Shellac and Girls Against Boys.

BV: Are you looking forward to the 'Big Day Out'? How do you think it will be?

J: We are all looking forward to it. The Ozzfest at the same place was amazing and the Big Day Out will be just as cool I'm sure. I like the fact that crowds get so see different facets of harder edged music rather than just a day of ‘heavy metal’. We'll have to wait and see, I guess. Hopefully I can get in the crowd again and meet the folks down front.

BV: What do you think of Earache's re-issue of 'Infotainment?'?

J: I think for someone who doesn't already own the release it is a great package. And for those who already do, well you get the 3 mixes and all the videos for free if you have a computer. Although the band had nothing to do with the re-release it is quite tastefully done and it looks pretty good. The CD-Rom portion is comprehensible and easy to use.

BV: Fanzines - your thoughts on them...

J: They get to review stuff commercial mags are too afraid to, or can't sell. I like fanzines. Pitchshifter have always featured well in zines. Good luck to them all!

BV: Is there such a thing as a typical Pitchshifter fan?

J: I don't think so. Our public is very cross-genre. I would hope that one thing all our fans have in common is their willingness to be open-minded. We try and give our fans every opportunity to experience new things when we can. We take new bands on tour with us, we talk about what affects us on our website, we get interesting remixes done etc.

BV: You're admired as a band by all sorts. Who would you say is your most famous fan? How do you feel knowing that you might have fans who are also into bands ranging from Bon Jovi to 3 Colours Red to Napalm Death?

J: I was out with 3CR last night! They played Rock City and we had a party afterwards (ouch!) (S: I know, I was there). I am always flattered that people have even heard of the band. We never get any radio play or major press. It's through the small indie stations and fanzines and mags like Metal Hammer and Kerrang! and Terrorizer and our website that people know what we are up to. Our most famous fan? The aliens that left the crop circle in the shape of our eye logo!

BV: Since the Seagram merger/Universal Group takeover, have you found any major changes occurring that involve Pitchshifter? How do you think, as a band, this change will affect you?

J: I can't discuss that element of our deal right now. I can assure you that the new LP is on its way however.

BV: The tour diary on your web site is very interesting and enjoyable to read. When is the release of the book and will it be available worldwide?

J: When I collate it and find a publisher! I am actually in the process of writing a novel based on the first tour diary I did in 1994. It won't be finished for some time though. I am actually far more comfortable writing prose instead of music.

BV: Why did you start writing a tour diary in the first place? Do you keep a regular diary? When did you first start keeping a diary?

J: I have the worst memory. I started writing a tour diary to try and remember what the hell I've been doing for the last 5 years. It was just for me. I think being able to see what you think on paper on the screen also acts as a cathartic catalyst for what you think. You should try it.

BV: You've been touring pretty much constantly for ages. How do you keep things fresh and fun on the road?

J: Satanism, child slavery, sex before marriage, crack cocaine, AC/DC records and Sony playstations. No, seriously - we are having so much fun playing music that we just enjoy it every night. We just literally goof around with each other on stage. Watch us and you'll see us laughing as we stage dive. It's a great life style and it's a shame it can't last for ever. The plethora of laptops, digital cameras and samplers that travel with us keep us on our toes too.

BV: How would you like to see Pitchshifter in the 21st century?

J: Madder, balder, fatter, richer, more irreverent, more cynical.

BV: You once said "The music that spoke to us unemployed kids on sh**ty estates in the North of England was punk music... It was angry and we were angry...". Are you still angry now? What makes you angry?

J: Take a look outside your door... GM foods, police brutality, racism, us f**king the 3rd world over, bulls**t politics, right wing lunatics, pro-life extremists, restrictive religions... Want me to go on?

BV: Is there any subject you'd really like to write a song about that you haven't so far?

J: I think we should write a love song. Now that would be funny.

BV: You come up with all sorts of samples. Where do you get your ideas from for them? Have you thought of anything you'd already like to sample for the next album? Anything really weird?

J: We just go to the studio and sample what we like. I think there will be some more back tracking on this LP. We tried dog whistles but they are outside the audio range of a CD. I have sampled my answer phone messages, my flatmate talking drunk, a woman sleep talking and the sampler feeding back through my computer - I'm sure other stuff will ensue.

BV: If you could introduce three new conditions/regulations into today's society, what would you like to introduce?

J: 1 - Radio stations would be forced at gun point to play wide variety of music and the DJ is only allowed to talk if she/he is telling you the name of the record. 2 - Politicians are not allowed to own ANY businesses and any that are caught lying have to parade naked with a dunce hat around Trafalgar Square for 30 minutes while the populous get to throw rotting vegetable matter at them. 3 - Big business is never allowed to regulate itself, no more BSE scenarios please.

BV: Similarly, you like to get people to question what's going on and you hope to open their eyes by writing and/or talking about your beliefs. What do you currently think the masses should open their eyes to?

J: The continual stream of bulls**t in the news and the government line. The classics from Tony Bore: 1 - "We will not support actions that will endanger the lives of people in minority communities abroad". So what does he do? Grants MORE weapons licences to countries like Indonesia who we know for a fact will use to kill people in East Timore. 2 - "GM foods are safe". Yeah, just like BSE baby. We have no idea what the repercussions of altering food might be until 10 years down the line when they say "Oops, actually they kill you". Just like the pill, just like BSE.

BV: When you originally set up the band, and when you bring new members in (i.e. when Jim began working with the band), do things such as whether the guy is a vegetarian, into Greenpeace and all the other same political and social beliefs as you take up as much a role as whether he's a good musician?

J: They are not mandates but they are important. Jim is a veggie and he believes in a lot of things that we think are important anyway and so all is well. We don't care if people eat meat. It's up to the individual. We don't do it and it works for us and we will be happy to explain why to you. But if you don't want to know then we aren't going to shove it down your throat. It's about education not indoctrination.

BV: Describe the other members of the band.

J: Drinky, mumbly, randy, and happy (does that make me snow white?).

BV: Sum up Pitchshifter in ten words or less.

J: Degenerate low life, mal-adjusted freaks.

BV: Anything else you'd like to add?

J: Go to http://www.pitchshifter.com now and see what's up!

Yep, do as the man says.

#alt #alt metal #alternative #alternative metal #metal #metalhead #nu metal #pitchshifter #idk #industrial #industrial metal #industrial nu metal #British #black velvet

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treesofsilverleaves · 6 years

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hey why the FUCK is michael bublé’s cover of the spider-man theme so fucking good

#ITS A RIDICULOUS SONG BUT THIS COVER IS SO FUCKING GOOD AND JAZZY #listening to the junkie xl remix specifically btw idk how different it is from the regular cover #spiderman

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soundsof71 · 5 years

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Hal Blaine: “May he rest forever on 2 and 4.”

That quote is from his family’s Facebook posting, announcing Hal Blaine’s passing at age 90.

He played on 40 #1 singles, 150 top 10s, some 6000+ tracks in all. (You’ll see stats that say north of 30,000 but don’t believe the hype. All these guys were union and kept their timecards. When Hal says more than 6000, he knew what he was talking about.)

Hal was the drummer on six straight Grammy Record of the Year winners, 1966 through 1971:

“A Taste of Honey”, Herb Alpert & The Tijuana Brass

“Strangers In The Night”, Frank Sinatra

“Up, Up, and Away”, The Fifth Dimension

“Mrs. Robinson”, Simon & Garfunkel

“Aquarius/Let The Sunshine In”, The Fifth Dimension

“Bridge Over Troubled Water”, Simon & Garfunkel

Plus if it was a studio recording by The Byrds, The Beach Boys, Simon & Garfunkel, Sonny & Cher, Carpenters, The Association, The Fifth Dimension, or The Partridge Family, the odds are that it was probably Hal.

You don’t need me to cue up Hal’s biggest hits like the ones listed above, or “Be My Baby”, “Good Vibrations” (Hal seen below working on it with Brian Wilson)...

...so I’m going to take you to the first song that made me say, “WHO’S PLAYING THOSE DRUMS?!?!” The song was a deceptively complicated pop trifle called “Dizzy” by Tommy Roe, and it spent four weeks at #1, starting on March 15, 1969 (50 years ago almost to the day as I write this).

I say deceptively complicated because even though it’s basically two verses and the chorus three times (it actually starts with the chorus, which I’m a sucker for.) There’s not even a bridge, but it manages to go through 11 key changes in less than three minutes! And while there are other instruments, I always heard it as a duet between the drums and the strings.

You already know it was Hal Blaine on strings, and the string arranger was another member of the extended family known at the time as The Usuals, Jimmie Haskell. I was delighted to find this, as both Hal and Jimmie were well known to me from so many other albums in the family collection by then. (I was reading album credits before I was reading books.)

This really is an astonishing track. Bubblegum pop on one level, exceptionally baroque on another, and a drums-strings pas de deux the likes of which we’ve yet to hear again. I used to listen to this on repeat for hours, singing at the top of my lungs -- including the drum breaks and strings stings (c’mon, you know you sing instrumental parts too!) spinning around and around the room until I was DIZZY.

Check Hal’s snare kicking it off like a gunshot.

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I have a couple of other gems of Hal’s that are a little off the beaten path.

I hope that y’all are enough in the know by now to not be pissing on The Partridge Family, who was making absolutely first-rate pop composed by some of the best writers of the day, with pros like Hal Blaine laying down the tracks.

(Plus, c’mon, David Cassidy would have been a singing star without the show, and Shirley Jones WAS a star, an Oscar-winner no less, with one of the great voices that humankind has ever been blessed with.)

“I Can Hear Your Heartbeat” uses Hal’s right foot on the bass pedal as the titular heartbeat, until the whole kit comes swinging in after the first verse. One of the keys to appreciating Hal (or any drummer, really) is to listen to when he starts and stops, and the gaps in between what his hands are doing. This one is a real gem.

(And yes, there’s performance footage of the Partridges of course, but none of the clips SOUND good enough to hear all that Hal is up to.)

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Now having sung Hal’s praises, I’ll note again that it’s possible to overstate the case (which Hal encouraged, and participated in more than once). There were plenty of other drummers on the Hollywood studio scene, including Earl Palmer (very likely on more records than Hal in fact), plus a number of times that Hal was one of a couple of drummers on a single track.

This was a Phil Spector trick. Multiple drums, multiple bassists (often one electric and one acoustic), and an army of guitars all playing at once were the key to the Wall of Sound, NOT multitracking. Sure, Phil used that too now and again, but rarely to add depth. More often for polishing, because there’s no substitute for the vibrations in the air when all those players are playing simultaneously. THAT’s the Wall of Sound, and Hal and his friends are the exact musicians Phil used.

Mike Nesmith used this "Wall of Sound” trick to fine effect when he produced one of the best tracks he wrote for The Monkees, “Mary Mary”, so sharp that it appeared in FIVE episodes, yet still manages to be too little known.

“Mary Mary” features FIVE guitarists (Glen Cambell and James Burton both on lead, with Peter Tork among the rhythm players), two bassists (Larry Knechtel and Bob West), and two drummers (Hal Blaine and Jim Gordon, whose name may also be familiar to you from Derek & The Dominoes, George Harrison, Delaney & Bonnnie, et al.), with notable percussive support from Cary Coleman.

This is definitely Hal kicking it off, though, with a snare lick so sweet that Mike looped it three times and added it to the front of the track, making it that much easier to sample, and sampled it was, including on a nifty COVER of this track by Run-D.M.C. (even though they changed Mike’s lyric on the verses, Mike is the only writer credited) that also used Mickey’s vocal singing the words “Mary Mary”.

I should mention that The Monkees’ version of “Mary Mary” was never released as a single in the US, but WAS included as a cardboard cutout single on the back of Honey Combs cereal!!!! Yes, I had it, though, like a fool, I failed to keep up with it.

Anyway, this is GROOVE, kids.

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Last but not least, Elvis Presley’s “A Little Less Conversation” (1968) was so far ahead of its time that it STILL sounds like it’s from the future. Originally recorded early in the year, it was re-recorded for the famed Elvis ‘68 TV special, but scrapped at the last minute. (Hal did in fact appear in the special!) The second version of "A Little Less Conversation” was used to outstanding effect in the 2001 version of Ocean’s Eleven, and a subsequent remix by Junkie XL charted even higher than Elvis’s original, going to #1 in 14 countries including the UK.

And all of ‘em featured Hal’s drums, absolutely swinging.

You’ve surely seen Hal’s name by now in the context of “The Wrecking Crew”, a name that he invented well after the era had finished to describe this loose group of LA studio aces. It was not only NOT used at the time, but explicitly and angrily rejected by many of the folks tagged with that label later (Leon Russell was so furious at the name that he insisted that the chapter of the movie devoted to him be removed, and he’s far from alone in his outrage)...but hey, as long as you keep that in mind, you can still enjoy the documentary of the same name for what it is: a long conversation between some of the folks who made some remarkable music.

You probably know the song “A Little Less Conversation” well enough (although you should check it out if you don’t), but in this little clip from the aforementioned Wrecking Crew movie, you can see 2008 Hal playing along with 1968 Hal for 30 seconds or so.

Watch his right hand in particular. It’s practically floating on air. He’s holding the drumstick so lightly that I bet you could have snuck up behind him and snatched it right out of his hand. Not that 70s rock drummers like Bonzo couldn’t swing plenty, but the death grip on drumsticks as heavy as telephone poles characteristic of later drumming is barely even the same thing as what Hal was doing.

I’m not saying one is better than the other -- I hope you know by now that I love light 60s pop every bit as much as heavy 70s rock -- but this clip tells you everything you need to know about why drummers in particular revere Hal as one of the greats...even if he pissed them off sometimes, too.

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Additional notes: the photo, the quote and some of the stats at the top are courtesy redef, the picture of Hal with Brian Wilson is via forums.stevehoffman.tv, and the single of “Mary Mary” is via 45cat. The rest is from yewchewb, and me obsessively reading the back of albums since 1963.

Here’s a great list of highlights from Hal’s credits. You’re going to be flabbergasted by them. If you have any kind of record collection that dips into the 60s at all, you may have dozens of them.

And while most of Hal’s key work was in the 60s, he did in fact have a terrific 1971, with appearances on two albums each by The Partridge Family (including one of my favorite singles of theirs, “Echo Valley 2-6809″) and Barbra Streisand (Stoney End is one of my favorites by anyone that year), Carpenters (featuring “Rainy Days and Mondays”), and a good-sized handful more.

#hal blaine #the wrecking crew #rip #hal blaine rip #the monkees #the partridge family #mike nesmith #phil spector #tommy roe #dizzy #a little less conversation #elvis presley #my edit #essay #long post

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jakester95 · 6 years

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ლ(ಠ益ಠლ) Tomo - Cadillacs and Dinosaurs by Cartoon Playlist This is Dino House, reason being its massive! Tracklist: 1: Cadillacs and Dinosaurs Intro 2: Kingsin – Coconut of Quendor (Bosstone remix) 3: Junkie XL – Molly’s E (Canblaster Remix) 4: Lil Silva – Against Yaself 5: Myrryrs – Pesado 6: Don Rimini – Riminology (The Town Remix) 7: ??? – Neon 8: The Phantom – Girl (Brenmar Remix) 9: Bobmo – Fast Trax 10: Crookers & Savage Skulls – Bust Em Up (Panteros666 Remix) 11: The Phantom – Night Game (Zeppy Zep Remix) 12: Myrryrs – House Theory 13: SBTRKT – Living Like I Do 14: Kastle – Time Traveler 15: Teki Latex – Dinosaurs With Guns (Canblaster Remix) 16: Damu – Mermaid 17: Cadillacs and Dinosaurs – Village OF Flame (Outro)

#IFTTT #SoundCloud #Bass #House #Mixtape #Dinosaur #Cadillac

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bluexyedsacrilege-blog · 6 years

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The Official Score for VAMPIRES (listen here)

(Track list AND MORE under cut)

I. T H E B E A U M A N O I R S

Theme;; Bandersnatched- Danny Elfman || I chose this because I liked the royal/medieval vibe at the beginning because it related back to Isadora and Adelise’s roots. When the song switches from violent to softer, I imagine that as Juliet sort of coming into the picture, and that little tune fits her perfectly because its soft but mystical. And then it gets like violent again bc these bitches ready to fight.

Isadora;; In The Hall of The Mountain King- Trent Reznor and Atticus Ross || Reasoning: It’s a classic, ballet tune with a sinister, ready-to-fight twist and I mean come on, that’s Isa.

Adelise;; The Darklands- Daniel Pemberton || LISTEN TO HOW IT STARTS, IT COULD SO EASILY BE A ROCK SONG AND THAT SCEAMING NOISE THING, TELL ME THATS NOT ADI + PLUS IT SOUNDS SORT OF ROYAL-Y

Juliet;; Astral Doom- Michael Giacchino || The track is like mystical and also sort of scary but also incredibly pretty and thats just Juliet, plain as day

War Song;; The Devil and The Daughter- Daniel Pemberton || It’s royally, it’s dark, it’s agressive and it’s how these bitches are coming out to play, like Vanessa thinks she’s great but like these bitches are fucking duchesses and they had public execution and they just brought another bad ass in, lets fucking go

II. T H E V A U S E E N S

Theme;; The Beast- Jóhann Jóhannsson || Is this whole group not the literal beast of the world? And plus it sounds sort of like a siren, like one you hear in the tornado warnings, and these fucking babes better come with a warning

Vanessa;; The Red Caps Are Coming- Hans Zimmer and Junkie XL || You know in the old time-y movies where the villain has the big sinister piano music? Yeah, this the modern equivalent. And Vanessa is the old time, sophisticated, classical-music listening, villainous mastermind.

Ella;; Redemption at The Roulette Table- Nicholas Britell || It’s softly sinister in a way you just can’t put your finger on. And that’s Ella. Without knowledge of Vanessa, she seems like a nice girl but something is just... off.

Viktorya;; Dance of The Sugar Plum Fairy (Trap Remix)- Tchaikovsky || Come on, I had to. Viktorya is a russian little immortal stuck in a 13 year old body, and in some ways, mind. So like, this is her roots and also the pre-teen in her.

War Song;; Terminator Salvation Theme- Danny Elfman || Soft and sinister. Seems to be there thing, right?

III. T H E G R A N T S

Theme;; One Bullet is All I Need- Steven Price || It has the fast pace cello (i think) underneath it and yet that higher mystical tone which is fitting considering two people o this team have powers. It also sounds vaguely sad, like a fighting for your life thing, and we all know these are the ones who can die the most easily.

Sarafine;; Maximum Effort- Junkie XL || Honestly, it sort of reminds me of a hip hop song or a disco song and that’s just so Sara

Andrea;; Ge Get Em- James Newton Howard || Andrea is going into this fight without powers or immortality, prob just a wooden bullet gun and a stake cross bow and she’s just here to kick some ass without any fear or reservations, i fucking love this girl.

Alexandria:; Are We Having a Party?- Cliff Martinez || This might be the only one I chose more for the title than the song bc oh my god, you know Alexandria has not been here the whole time, she’s been scoffing at all this shit until it actually comes down to fight and then shes like sigh i have to go help. And so this bitch rolls up late in a fucking rolls royce, white tennis outfit, and hair all pulled back and she steps out and prob literally says “Are We Having A Party?” and Andrea looks at her like “the fuck are you doing? this is dumb, you’re going to get kill” and then we find out alexandria has ice powers, wow that was long

War Song;; Shoot Anything That Moves- Atli Ovarsson || These girls are working on nothing except what they’ve seen in action movies so it’s fitting that they have an action movie song. Plus they’re all working with shooting: fireballs, stakes and icicles

IV. T H E F I N A L F I G H T

End Credits- Junkie XL || JUST LISTEN AND YOU’LL KNOW WHY

V. A N D T H E W I N N E R I S...

Can You See Jane?- Patrick Doyle || Soft and hopeful and sad and sweet... perfect for this. there’s so much triumph for the winner but hey, we all know people died, most likely including people they loved.

#ingxnii #HAPPY BIRTHDAY #Mine #my playlist

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loadplugins · 5 years

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Camel Audio – Alchemy 1.25 VST RTAS WIN Full Version for free

Truly original and innovative software is a rare thing these days, but Camel Audio’s latest is exactly that. Let’s find out what it is that sets Alchemy apart from the soft-synth crowd. Alchemy is described by Camel Audio as “the ultimate sample manipulation synthesizer”. It’s a synth powerhouse and yet is very easy to use thanks to its performance controls and remix pads. Just tweak the library of included presets from many of the world’s top sound designers or dive in and analyze your own samples – it’s up to you.

Alchemy features additive, spectral and granular synthesis and resynthesis, sampling, and a very capable virtual analog engine with unison and PWM. You can morph or crossfade between sources. You can import your own samples from SFZ, WAV or AIFF files. A wide range of analog modeled filters are included, in addition to a flexible rack of effects which includes all those from CamelPhat and CamelSpace as well as many new effects such as a high quality reverb. The innovative modulation system is extremely flexible, yet easy to use. Alchemy also features a powerful arpeggiator with the ability to import the groove from any MIDI file for immediate synchronization to a beat.

Alchemy ships with over 2GB of samples and analysed content from in-house designers Tim Conrardy and Biomechanoid, as well as designers such as Ian Boddy, Robert Rich, Scott Solida and Nucleus SoundLab. A library of 300 presets from many of the world’s top sound designers is included, arranged into categories for rapid access to the sound you require. A variety of expansion sound banks are in development.

Feature Highlights

Sounds:

500 presets covering everything from pads and soundscapes to keys, basses and leads designed by many of the worlds top sound designers including Junkie XL, John Lehmkuhl, Ian Boddy, Richard Devine, Big Tone, Arksun, Beej, Summa, Xenox, Tasmodia, Paul Nauert, Christian Kjeldsen, Rory Dow, Artvera, Pendle, Dangerous Bear, Biomechanoid and Tim Conrardy. Over 2GB of samples and analysed content from in-house designers Tim Conrardy and Biomechanoid, as well as designers such as Ian Boddy, Robert Rich, Scott Solida and Nucleus SoundLab. Many years of dedicated sampling sessions of both unusual creative material such as the sound of chewing polystyrene to more conventional sampling of numerous acoustic instruments and voices, including a chamber choir. Advanced resynthesis engines help keep the library small, reducing the need for a huge disk-straining sample library. Samples are provided in open industry standard formats as SFZ and WAV files. Intelligent random preset generation. Add-on preset banks in development.

Performance Controls:

16 controls per preset carefully assigned by the preset designer, for instant access to each presets most tweakable parameters. 8 remix pad variations per preset – click and drag to morph between variations. Two XY squares. Unique ‘auto assign’ feature to assign a full set of performance controls with two clicks.

Morphable Sources:

4 stereo sources each of which has additive, VA, spectral, granular and sampler engines. Morph between sources using advanced harmonic blending and precise time alignment. Crossfade between sounds with vector mixing. Modulatable stretch and position knobs for anything from tempo synced loops to wave-sequencing. Up to 100 zones per source using any synthesis method. Easy to use file import browser with sample preview. Micro tuning support with comprehensive categorized library of scales. Highly optimized code including SSE and Altivec optimizations.

Analog Filters:

Up to 15 simultaneous filters. 31 different filter types including 18 analog modelled filters, 2 comb filters, 3 CamelPhat distortion algorithms and polyphonic ring modulation. Each source can be mixed between 2 parallel main filters each of which has an effects mix control. 3 filters per source configurable between serial and parallel modes; applications include formant filtering with free control over the frequency and bandwidth of each formant.

16 Effects:

Camel reverb, acoustic reverb, 2 delays, 2 mod fx (each capable of flanger and chorus effects), 2 distortions (each has bit crusher, tube, mech and xcita effects), bass enhancer, compressor, multi mode filter, 2 bandpass filters and band reject mixers, 2 three band EQs, panner and amplifier. All of the CamelSpace and CamelPhat effects included. Virtually all effects parameters are modulatable. Acoustic reverb with detailed control of time, damping and room design. Up to five effects blocks can be applied in any order. Flexible delay featuring two filter slots, crossover, offset and initial delay controls. Band pass filters and associated band reject mixers allow you to apply effects to specific frequency ranges for effects such as multiband distortion.

Groove Arpeggiator:

Separate control of the velocity, pitch and pan of each note. MIDI file import for drum patterns and melodies. ‘Groove import’ to synchronize to a particular drum pattern. Wide variety of modes including up, down, up/down, down/up, as played, random and chord. Many parameters including multiple latch modes, key splits, played key velocity control, octave and source controllable from the modulation system. Ability to control one source or all four. Up to 128 steps.

Additive Synthesizer:

Very high quality analysis and resynthesis – import vocal phrases, drum loops, … Up to 600 stereo oscillators. Realtime modulation of amplitude, pitch and pan spectrums by any modulator – for example, control the odd/even harmonic balance, pan partials using LFOs, stretch or contract the harmonic spectrum and lots more. Individual amplitude, pitch and pan envelopes for each partial. Easy to use additive editor with unique detail knob to simplify sounds for editing.

Virtual Analog Synthesizer:

PWM and symmetry control. Initial phase control. Up to 600 oscillator unison with pitch, amp and pan control of unison oscillators. Large library of single cycle waveforms from classic synths to new designs by Galbanum.

Spectral Synthesizer:

Phase vocoder analysis for high quality pitch and time stretching. Noise resynthesis mode using 256 band noise shaping. Advanced graphical sonogram editing – choose from a range of brushes and select the colour and opacity. Graphical spectral cut, copy and paste – cut or copy and paste specific frequency and time regions.

Granular Synthesizer:

Sampler or granular playback modes. Freely modulatable parameters including grain size, density (up to 10 simultaneous grains), random grain time and random pan. Selectable and customizable granular window shapes.

Flexible Modulation:

Up to 16 LFOs, 16 AHDSRs, 16 MSEGs, 16 step sequencers – only those you use are displayed. Virtually every knob is modulatable by up to five different modulators (including modulation-depth knobs, modulator parameters, …). Advanced mod-map feature for anything from drawing custom velocity curves to creating algorithmic random note in a scale effects. XY-mseg shows you a vector style view of two parameters such as morph X and Y position, with ability to import XY timelines. Per destination ‘smooth’ control. Modulation arcs intuitively show the range of modulation. Modulation details of selected knob automatically displayed. Right click on knob and select ‘add modulation’ to rapidly add and assign modulators. Playing speed modulation source allows variable response to fast and slow playing; for example to crossfade between staccato and legato samples. Unique flip-flop modulation source for customizable round robin effects.

Other:

Personalized keyfile for hassle free copy protection. Available as a download or on DVD. Tutorial videos. Graphic interface by BitPlant.

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thesinglesjukebox · 5 years

Video

youtube

NIALL HORAN - NICE TO MEET YA

[5.43]

We're not going to go home with you, Niall, but you can buy us a drink.

Vikram Joseph: Allow me to list the ways in which this is profoundly silly -- Niall Horan's strained Alex Turner impression, rhyming "name" with "drink," the fact that it sounds like it belongs on Radio 1's B-list in 1997, Horan's apparent belief that ink is an uncommon tattoo medium, and, obviously, "J'adore la mer!". I think I quite like it. [6]

Edward Okulicz: This shouldn't be a thing, but Niall doing some Robbie Williams-esque Let Me Provide Some Light Entertainment For You stuff is actually pretty catchy. Each part of the song lasts about 15 seconds so it never gets boring, and honestly, I couldn't have told you who was boredly drawling this. It's low key, but there's real movement in the bass too; it has a groove that wouldn't have sounded out of place on the UK charts in about 1990, 1994 or 1998. [7]

Wayne Weizhen Zhang: Your best friend's younger brother is all grown up now! You remember, the cute but derpy one that always had a massive crush on you, but you'd just pat him on the head and tell him "Nice try"? He was always so boyish looking with the boyband hair cut, but now he's got some unkempt stubble and new haircut. He's picked up an electric guitar and knows a couple pick up lines. He's been around the block a couple times, probably had some one night stands in hotel rooms, and even knows a little bit of French. His voice is deeper. He's discovered tattoos and sunglasses as a signifier of coolness. He consumes alcoholic beverages. So it's too bad then, that after he asks you out for a drink -- and you really want to say yes -- you remember all of a sudden that he'll still never be able to be anything except your best friend's weird younger brother. [5]

Alfred Soto: Come now, my boy, you know you'd never allow an act so savage to your sensibilities as a phone number tattoo -- a line as unconvincing at the background guitar raunch. [4]

Nortey Dowuona: Heavy rock piano slams down on Richard Watterson's hands as Niall's snotty croak is summoning a sledding guitar with paper Bond drums and Daniel Craig bass face are used as a shield from thousands of angry adult Gumball fans who just want meta jokes and a movie, gorshdarned it. [4]

Oliver Maier: Maybe someone tipped him off that "top 3 least interesting 1D expats" isn't much of a selling point but Niall has seen fit to transcend the aggressive beigeness of his last album and bestow upon us this gleefully anachronistic big beat cheesefest. It's incredibly 2000s-feeling, such that the best comparisons I can draw are to Junkie XL's once-inescapable Elvis remix and the colossal self-assuredness of bands like Take That. The lyrics and vocals convey personality inasmuch as they reveal that Niall is the kind of person who thinks faking a Southern drawl and saying "I love the sea" in French is some incredibly suave shit, and unfortunately I find that perversely charming. I can't really substantively defend my enjoyment of this song beyond the "it's just fun!" defence, but like, it is! Especially the middle eight! I look forward to hearing this in a car commercial in a few months and smiling as my thoughts turn briefly to Liam... I mean Niall. [7]

Ian Mathers: At its core this is a perfectly pleasant, unoffensive whiff of a song, studded with plenty of aesthetic and technological choices that soon enough we'll be able to look back at and point to as emblematic of what the state of the middle was in pop in 2019. Just as the narrative doesn't really go anywhere (even the bit that goes "you know what I want/you know what I need" is relying on you filling in the blanks in the most generic way possible) so this is a song that doesn't seem made so much as designed to one day be the back track for a smoothly-shot car commercial. [5]

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#Niall Horan #pop #folk #music #music review #writing

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