Colin OOOD

Nice photo of Leen. I look so young!

We played live - chillout and main floor - at ZNA last year, but they've told me they don't want us for a live set in 2017. However it seems that one of us (either Steve or Rama, not me) will probably be DJing in the chill space. TBC. argh I know, makes me cringe every time I see that video!

It's like if Kurt Cobain didn't take the only honest way out, but instead went on to be a judge on X-Factor.

Bless you mate Now, back to the topic...

By request, here is a link to a DJ mix I did in 2006 to promote a Voice of Cod live set/Colin OOOD DJ set at Alex Grey's Chapel Of Sacred Mirrors, then located in NYC. There's no direct link to the mix but it streams and should be downloadable from the button on the player. The mix is the last one in the player on the following page: http://oood.net/oood-music/oood-live-studio-mixes Tracklist: Colin OOOD - Organic Sunrise OOOD/Voice of Cod/Unconscious Collective mix (2006) Voice of Cod - It's Just A Ride (original mix) OOOD - I'm Funk Definer (Inner Trip mix) Voice of Cod - The Art Of Funk Shui Unconscious Collective - Neptune Driver Unconscious Collective - Fluorostani Transcendance Voice of Cod - We Are Free OOOD - Heliopause OOOD - Kundalini Rising https://www.discogs.com/ColinOOOD-OOODVoice-Of-CodUnconscious-Collective-Continuous-Mix/release/2170874

haha yeah it makes my day to see our name amongst others here, it happens only very rarely and although we're still writing and playing where we can, I'm becoming resigned to the fact that we'll never really be in most people's list of favourite acts, or play at any of their favourite international festivals. I hold little hope of playing at RS as a DJ, and especially a a live act (or at Boom again, or Ozora, or Antaris, or etc etc); if my application was successful it would be the first time I've ever got a booking off an application form (hatethemhatethemhatethem with a violent passion, 22 years and 5 albums and you want me to APPLY to play? Fuck the fuck off), and I'm almost certain it would make me cry. The Organic Sunrise mix is not on my computer but I'll see if I can find it online. [EDIT] Last item in the player on this page - downloadable too. http://oood.net/oood-music/oood-live-studio-mixes

It's hard to know where to start but it boils down to the fact that terms like "warm" and "cold" have no agreed meaning in terms of sound quality and are purely subjective, and conversations like this often end up chasing their own tails as a result of people using different definitions and ascribing them to different causes. My opinion is that warmth or coldness are the end result of a combination of a myriad different factors, and can be emphasised or de-emphasised in any given production by a multitude of different means depending on the engineer's own taste and available tools.

Artha - Influencing Dreams is far from my best work. I started wishing I could have mastered it again just after it was released, by which point it was too late. I have noticed increasing pressure over the last few years from some clients (in general, mentioning no names) to make my masters louder. It's not my own preference but something I sometimes feel under pressure to conform to in order to retain a clients' business - this is vital to me as I have no other income. I'm often reluctant to stand my ground and say "No, this version is perfect" because a client who doesn't get what they want is more likely to go elsewhere next time, and because... well, I learn every day and it's mainly through constructive criticism.

LOL

According to the Rainbow Serpent website my application to play is still "In review". It would be awesome to finally get to play in Australia (hell, even to go there) but sadly it wouldn't be 'live' as there's as much chance of getting the whole band there as there is of <insert extremely unlikely event here>.

Andrew is possibly moving to Czech Republic soon, which could make things easier. If we can get in the same studio together, and the vibe is still there, it's a possibility. However my psytrance fuel-tank is running low at the moment. I feel like I get so little back from the care and energy I've put in over the years that there seems little point.

"Are you a grumpy old goa trancer?" Why, yes. Yes, I am indeed.

The word 'auxillary' isn't one I've ever heard used to describe a type of sound in a track, but I guess abasio's definition isn't strictly incorrect! In production, the term is used to describe a separate mixer path into which is sent, by the use of 'auxiliary' (or 'aux') send controls, a desired amount of one or more mixer channels which can then be processed as a group, separately from their original sources. It is often used to add reverb or echo; with the aux send for each relevant channel is adjusted to send an appropriate level of that sound to a new channel, upon which the effect is placed, and whose input is fed from that particular aux buss.

He reminds me of Steve Ishwara.

I would post exactly what Oopie just said, but I'd take out the word 'electronic'.

If a track sounds too loud and compressed, that's usually because of processing which has been applied to the stereo mixdown either by the artist or by the mastering engineer. Likewise if a track sounds muffled, or boomy, or harsh, or has no bass, it is because of decisions made about the mastering. Even a badly-produced track can be mastered to avoid these things, and although the mastered track will still sound badly-produced it won't suffer from those problems. A "noisy" track (I guess you mean a track that has been produced with a high peak level, ie. loud?) can be mastered quietly. The loudness of the final master is independent of the relative loudness of the mixdown. Bad production makes mastering harder and just making something loud is not 'mastering' it. Mastering is 100% of the reason why tracks these days sound much louder than tracks released 20 years ago. I would say that 100% of oldschool tracks could be subjectively improved by being remastered. The differences would include an improved frequency balance, more punchiness and more clarity without harshness or over-brightness. The question "what is the real diffrence between a digital and analog master?" is an ambiguous one and does not distinguish between the final delivery format, which can be analog or digital depending on the retail format and/or how it will be duplicated by the manufacturer, and the processes involved in the mastering itself, which can be analog, digital or a mixture of both, and are independent of the final delivery format. For instance you can master a track using only digital processes (eg. plugins) but deliver it to the manufacturer in an analog format (eg. laquer or 1/4" tape). Is it then a digital master, or an analog one? How about a track which is mastered solely using analog hardware but delivered to the manufacturer as a digital CD image? The question is not precise enough, but I hope I've helped clarify the issues

Not quite what you're after, as I don't have permission to share the unmastered version of the track, but it should give you some idea.

Every time I post about the Israeli occupation, Njho pops up on my chat. I've taken to just answering everything he says with 'Shalom'.

https://www.youtube.com/watch?v=u__qYjlT52A

Well done guys, congratulations on pulling it together and getting it out there. It's an honour to help represent Psynews, my old home.

Really glad people seem to be liking the sound of the album. Huge thanks for Pav and Draeke for being my sounding-boards. As has been said by others, it's a real treat to be involved with this series and I'm very grateful to be able to contribute

Luis is a f'kn dude.

Melodious, dreamy, floaty...

Ironic, because a lot of people on this thread are talking about 'live' performances from artists I know for a fact just press play on their laptop Not to say that their music itself isn't great, of course.