December 6th, 2013



Day two of this new run of uploads, lasting until 2015, wow, that’s quite scary when you think about it. So think about this, while you might be listening in, remember when it all ended so quickly last time at the end of last year? well that is going to happen again, and it’s going to happen before you know it. Time does indeed move pretty fast Ferris. So if your thinking about learning the Nord, getting some kit, releasing a track, sending a demo off… well get to it and skip reading my rants that follow.

So the plan this time with these uploads, is to try and attempt to make more simple, little ideas sound wise. I guess more a variety of explorations of the Nord G1, more ideas than sketch or track. I think one of the main reasons I slowed up so much this year was due to them becoming more like tracks, and I want to preserve them for something more special, like my label.

Maybe this format seems a little similar to how it went before, and to be honest it might well ‘sound’ similar in some respects, but the difference here I guess it to do with how I think about it while I create. And how something is thought about is probably ‘the’ biggest battle with anything.

While making something I tend to always think of its application. Rarely do I turn the equipment on and just play about for playing sake. For me, I feel this approach of play allows me far to much freedom, I get lost in sound, direction, and generally feel pretty pooped and pissed at the end of it, with often nothing much to show. I feel the same with lots of modern technology and for this reason am quite selective about it, but, that is probably best left for another post.

For todays upload I wanted to explore various bass sounds working together in a more typical rhythmical pattern, and basically am testing out somethings I have concerns about.

This time I started by listening to a loop of a Pole track called Pirol on Waldgeschichten 2. I basically sat there listening to this on loop for the whole while I got some modules hooked up and continued doing a bit of copying and comparing as I built the patch, getting it somewhere handy. The reason I did this, and this is something I do quite often, is to learn better how to position my sounds along side a certain feeling or balance of frequencies that I appreciate in someone elses.

For me, this is also how I end up referencing or talking about the music I create. How I begin to understand it. It is always created in this context and therefore can often lead me to talk about or describe certain sounds I create as artists. For example, ‘that Pole-like bass but with a more Vladislav/Mark Fell-like pattern’.

I have heard some people get a little annoyed at their sounds being described or compared to other artists. This whole pigeon hole thing I guess. Although I can kind of understand it, I generally can’t see the problem. I certainly don’t mind. We all have a way of communicating about sound, and if it is through making it like spitting out bass and rasping sounds with our mouth when describing that crap music that has filled the Formula One coverage recently here in the UK, or it is using an artists name, it’s each to their own and for me personally, it all helps in our understanding of sound and the development of a genre. In-fact, referencing artists is a great way to understand a persons taste and place it in some kind of context, a place or time. It references history, scenes or equipment.

Todays upload, although not sounding much like Pole in the end, and largely due to last minute changes, it definitely nods towards that groove and pace he seems to go for. Ultimately though, in a few days when I get to listen to this one on some speakers, as I do these uploads on headphones, hopefully I will have balanced the frequencies used a little more predictably than sometimes has been the case.