Colin OOOD

Try and do it without spamming, that'd be against forum rules. Can you make 74 intelligent contributions in 40 minutes?

I was there If you're in the UK and you want to keep up with what's going on, you should join http://www.psy-forum.co.uk

I didn't write a 'bad and unfaith critic' about him, but this clip is the only thing I've heard of his music. Read what I wrote again, without jumping to conclusions: I said that from this clip it DOES have potential, and that I'd like to hear more, however that clip seems to consist of the same riff all the way through, something that (IMHO) is not necessarily a positive thing; it was this aspect of it that reminded me of some fullon. Be honest, if you didn't already know his music, what would you have thought if that clip was your first exposure to him? He might well be really really good, but all I can comment on is what I heard in the clip. I really didn't mean to offend anyone by what I wrote, just giving my honest opinion. [EDIT] hahaha like I said, read what I wrote again. Nowhere in my post did I say it had no potential.

Funny to think that people who don't listen to dance music would find it absolutely impossible to tell the difference between most goa and most fullon.

Has potential from that clip... It would be interesting to hear two or three whole tracks and see how each track flows. Call me cynical if you want but I'd need to be convinced it wasn't just full-on with arab/oriental influences; there's not a lot of variation in the minute that clip lasts for.

aaaaaaaaaahahahahaha I'm 37 going on 24.

www.oood.net

Resonant sweeps through a bitcrusher can also sound very vocal.

It's actually Ryo who's half French and Japanese; Ramsay was the guy on the phone.

I posted this in the thread in Artist news but I've realised it should probably be here, so: We got interviewed for the current Chaishop Media podcast, #43 The show includes tracks from the album and a mix comprising old, new, released and unreleased OOOD tunes. You can download it here: http://www.chaishop.com/musicnews

Hey seaone, thanks for the comment. Unfortunately the Synergy Project gig was at the end of October; however we're playing at Tribe of Frog on Nov. 25th (this Saturday) and other places here and there after that; check our myspace for more details. Hope to see you at one of them!

We got interviewed for the current Chaishop Media podcast, #43 The show includes tracks from the album and a mix comprising old, new, released and unreleased OOOD tunes. You can download it here: http://www.chaishop.com/musicnews

Classical music is generally not mastered to sound good either played quietly, or played where there is a lot of ambient noise, eg. outside. By its nature, an orchestra has a very wide dynamic range when heard live; at its quietest it can be barely audible, whilst other passages might have you ducking for cover, and it is obviously this dynamic range that gives orchestral performances much of their power. If you pick eg. a symphony or other full-orchestra recording, find the quietest passage in the piece and turn up the volume until it's as loud as it would be if you were sat in front of the orchestra (probably louder than you normally listen), then listen to the whole thing, you'll get more of an idea of the power of the music than you would if you listened at a 'comfortable' volume. The loud bits should be LOUD! A recording compressed so that both pp solo piccolo and ff unison passages were clearly audible on iPod headphones when you're walking down a noisy city street (without the loud bits making your eardrums meet in the middle) would lose much of its impact if listened to on a decent hifi. From what I gather, compression can be used when mastering a classical piece but I seem to remember reading that purists tend to prefer uncompressed recordings and can be good at recognising them. Radio stations invariably compress their signal before its broadcast, as many people listen in their cars where the high ambient noise level means that quieter passages would otherwise be inaudible, but this is usually done as sensitively as possible (although listening to Classic FM in the UK you'd be forgiven for thinking otherwise!).

No worries Seraph, we always knew that different people would find different tracks more to their taste than others. Still, 3 out of 9 ain't bad considering As for the samples, we laid the CD out so that most (but not all) of the interludes can be skipped. No apologies for putting them there in the first place though! This Is Not A Dark Album BTW, DJs should find many of the tracks cue up very easily (including Eye Of The Beholder )

Futher details about the album are on the inside of the artwork. Muahahahahaaaa [EDIT] The info's on the forum somewhere if you want to look for it

<crosses one off the list of track ideas>

Ignore the hype, check the samples before you buy it... no point wasting your money on something you might not enjoy

I believe "pay for display" is common practise for many online shops, often in exchange for stock. Of course, the shops can choose to put CDs on their front page themselves if they really like them, so just because a CD is on the front page of a website doesn't necessarily mean that place has been paid for - just as it doesn't mean that the CD's actually any good

Man, after all this buildup I hope you guys like it! I'm gonna feel so stupid if it bombs.

Golly, is it the 17th already?

Towelie - thanks for proving Radi's point! If I understand correctly, his original issue was with the use of vocal samples in FL's factory sound bank. I think it was the fact that he was already familiar with them from his own use of the program that made the tracks sound shallow and uninspired to him. You as (presumably?) someone who enjoys Shpongle's music and who knows something about the production processes of electronic music obviously felt at least some small measure of disappointment when you found out that Simon bought the first few minutes of one of the - if not the - most famous Shpongle tracks off the shelf; is that not precisely what Radi was expressing? Personally, something small (and not really particularly important) died in me when Ott told me about the sample at the beginning of DMT; I think that and hearing Ott describe how Simon performed that unforgettable introduction to LSD using two notes on a Kurtzwiel K2000 preset patch were the main things that reduced his status in my eyes to that of a mere mortal. But then, the thinking goes, that sample CD was designed and sold specifically so that people could use those samples in their music, and it's the music that matters, after all, and full respect to the guy, he has composed and produced some of the best tracks the genre has to offer IMO - and he knows how to twist a vocal sample like no-one else on earth - so who am I to complain about where he finds his inspiration? It's not even stealing! It also seems to me that too many people here are ready to jump down Radi's throat as soon as he opens his mouth, even if it is in jest, so fair play to him for sticking with it and taking it in such good humour. Oh, and Simon - if that is you: http://www.theelephantlist.com ...and yes, I know, that's not the free one

It works fine here... please try again and tell me if you still have problems.

OOOD's Myspace page is now up and running http://www.myspace.com/oood It's got information, photos, tracks, links, a blog and everything... please stop by and say hello!

The Windows mixer for the AC97 is capable of boosting sounds too much... try turning the relevant channels down.

Good choice.