final installment in today's post-apocalyptic photoshop adventures:

and as a bonus, a semi-transparent device skin:

an industrial skin i created for x-protocol; thought i would share with yall :)

reason in it's stock configuration is pretty aesthetically docile, so i 'shopped up some combinator skins to butch it up a bit. the 'zero' skin is fun :) enjoy!

this post describes how to build resonator effects in reason using delay units. here we will explore the comb filter approach. this demo song uses no synths or samples other than an (atonal) drum loop and a comb resonator. you will find this type of resonator makes it extremely easy to produce dissonant and spooky ambiences.

for you knob-tweaking pleasure, the .rns

some people who are thinking about getting into production have asked my advice regarding the best way to go about it - should i get a degree? should i just start producing tracks and see where it takes me?

a formal education in the field is not to be sneezed at, but if you look at the drug-addled faces of the producers ripping up beatport of late, it's clear that it is not essential. i am self-taught and not totally incompetent - in my experience, you can get very, very far teaching yourself, especially if your focus is electronic music, which is a far easier domain to master than the drum mic-ing, hum-cancelling hairiness of the physical recording world.

’side-chain compression’. ‘bass-ducking’. if you’ve been paying any attention to music production in the last few years, especially dance production, you know that these concepts play a huge role in the modern sound. virtually every dance track, and increasingly many rock and pop tracks, feature these techniques - so what are they, and how do you incorporate them into your productions using reason?

view my tutorial on reasontutorials.net.

japan: a suzuki jetcycle seethes through the holographic infrastructure. on the horizon stands a biomechanoid centaur with a plasma crossbow - time to intercept: 1:36

if you're into breaks, drum 'n bass, hip-hop or many other electronic genres, you will want to deliver a solid low-end - but you may find your bass patches under deliver at these frequencies. enter : the sub-bass.

firstly, be sure you're using a subwoofer - the sub is often going to be more felt than heard, and without a subwoofer you're going to miss out on a lot of what you're working on.

paul oakenfold is making out on my living room couch - outside the city is evaporating.

some down-tempo house for your post-human pleasure.

throwing down heavy with echo revolution

where: beauty bar, s.d.
when: Sat. Jan. 1 9~2pm

dancepunk, indie, electro

more details forthcoming :)