Dedicated to all things techno, with releases on the likes of Reldz Recordings and Naked Lunch and host of Technoise Radio Show.
If you have read the last couple of my interviews for Core (you will find the links below), you will remember my tendency to lean towards the deep, ambient and experimental side of techno. Recently, I had nAX_Acid provide me with a guest mix for my podcast. What I received was two hours of quality music. The tone, richness and variety of his sound represented everything that this sub-genre of techno means. Full of flavour, intensity and certainly experimental. His decision to double the length of the hour mix signalled to me that it was meant to be a story so I chased him up to ask about his tale…..
After our last interview with Deepbass, I decided to chase up his partner in crime for many collaborations, Ness. Currently based in Bulgaria, Ness has found himself becoming a busy traveller over the last few months with many gigs and booking in some interesting places like Taiwan and Japan. His style of techno can range from the deep, atmospheric and experimental to the energetic rolling techno with plenty of pace and attitude. I have been really interested in his side project, The God's Planet, that he runs with Claudio PRC, another Italian. I find the stuff they come up with very deep and has a very melancholic and soothing vibe to it. I had a chat with Ness to find out more…..
Recently, I have been looking further into the deeper side of techno. From dubby to ambient, dark to bright, finding some gems along the way of course. A few names have stood out for me during my travels, Deepbass is one of the main culprits. Since I heard his track 'Orion' on the 8 Sided Dice podcast, it immediately stood out as something different. Deep, subby and full of atmosphere and energy. I chased up Deepbass, Darren Roberts, with the aim of finding out more about this style......
After a stint living here in Amsterdam and getting my foot through the door of the Techno scene, I found myself at 'Compound', organised by Milan van Den Horn and Jerry Teunissen. A wicked lineup including Rebekah and Deepbass from the UK. Hosted in Studio 80, a compact club with a great sound system, a nice vibe and regular venue for some of Techno's legends like local boy Steve Rachmad. Before I finally leave the aftermath of the Amsterdam Dance Event behind me and head out to their next party on the 9th of November at Studio 80, I caught up with Milan to give us an insight into Compound and a bit of ins and outs regarding techno in Amsterdam...Read on!
We are very excited to bring to you a competition by one of the major players in the sample industry. Loopmasters have been around since 2003 and provide producers and musicians with extensive and flexible sample libraries. Their sample packs and libraries are produced by some of the highest quality professionals and musicians in the industry. Their experience and creativity shines through some of the best samples around to inspire your music.
Following on from my last article, this installation I will explore the 3 dimensional world of music. In other words I will be delving into some techniques that use the power of stereo to enhance your productions. First of all, something which I and many others will vouch for is the importance of the 'mixing' stage of production. Nailing this will make each track shine to its full potential as each of the elements are heard with clarity and definition as well as injecting energy, warmth and character into the music. Using your stereo field effectively will really help you find space in your mix where you didn't think it existed and take that flat sounding piece of whatever and transform it into something with a bit more shape and rhythm.
As this is my first post for Core Magazine I will do a quick round of introduction. My name is Esh, I go by my alias 'The Technoist', and I will be hoping to provide you with some tips, tricks and some general in-sight into the world of production.
Since a few releases with the likes of Reldz Recordings and Naked Lunch, I decided to hide away and really delve into the art of music production. As someone from a non-music/sound engineering background it was important to find a way to translate the ideas I had into more professional sounding productions. The current ease of setting up labels and releasing tracks has seen many genres of electronic music flooded with hundreds of new tracks everyday, and it is important to find a way of setting a higher bar. I find myself writing these articles to share some of the more important things I have come across that have really helped my productions take shape, and in the near future I will share the results of some of these processes.
For many up-and-coming producers it is a real puzzle of how to make their tracks sound as full and rounded as those of their idols. Over the next few weeks I will be bringing you three articles that cover some of the very essentials of how bringing the best out of your productions.
Generally speaking, most good quality productions will utilize Volume, Panning, and a good use of the Frequency Spectrum to provide a robust and clear mixdown. I will be visiting each of these aspects of production, in reverse order, over the next three articles. Which brings us nicely to this installation.