Colin OOOD

I agree totally. I must also say that I'm chuffed to bits that two people on this thread have seen fit to put the VoC album in their list of 'classics'... surely premature but very very flattering!

As far as I can gather it's about building a niche for the label in the current flooded market; the covers are well-designed, colourful and stand out amongst shelves full of generic digital artwork. In addition the continuing theme provides a kind of story that gives people something else to 'hook onto' in recognising the label. Some people might not like the style, but the fact that they are aware enough of the artwork to have an opinion shows that, to some extent, it's doing its job

Yousendit seems to be moving over to a paid service for larger files. I'm just off for a QuickDump...

I think it's Trilogy actually, but I can't remember 100% as it's a long time since that bassline was MIDI...

It's really not as hard as it looks... honest...

Bars 49-120 (approx)

They're muted parts.

Yeah, ok, when the track is finished.

I posted this in Offtopic but it seems kind of relevant here too

Fuck that, Kit still owes us money for aLIVE.

Poor old Tony Symbiosis and Kit (ptui!) Cabbaged must be laughing like drains if they see this, considering that Symbiosis closed down cos of a tax bill... it's such a shame that the label won't see a penny of that sum - a few of these in the right places back then and who knows, the label might even have stayed in operation...

[notentirelyseriousbutkinda] I'd like to see an interview with the other members of OOOD, seeing as I'm the one with my head above the parapet most of the time. It would be very interesting to read what they have to say about the OOOD experience! [/notentirelyseriousbutkinda]

The best thing is, given it's authors views on intellectual property, it's likely to be freeware

1987: http://www.triskelemanagement.com/promotio...un-acid_bod.mp3 Ah... those were the days

It's not like I didn't tell you before, Charlie.

I've actually listened to it now and it's really rather psychedelic.

I'd already been working with synths and 4-tracks for a year or so by then. I'll upload some earlier stuff sometime; I haven't got the VERY first thing I ever recorded any more but I've still got 99% of everything I've ever written so I can get pretty close

I don't even need to hear this to know that we are witnessing the birth of a new era in music. A new genius strides out amongst us from the shadows, where his talent has quietly been nurtured by the cool green hills of <insert wossname's location here>. Never before has such a prodigous prodigy produced work of such quality at his first attempt - and the fact that this isn't his first attempt is merely added testimony to his skill. The world will never be the same again. And not in a good way. Sorry, I meant "And not in a bad way". Honest.

A couple of tracks on We Are Free have a very light shuffle - never more than 10%. Right now I can't remember exactly which ones though - "Bubbles of Nothing" and "The Unknowns", I think, but there might well be others.

Funnily enough, the weight of them has caused the skin on my scalp to stretch down past my ears; the folds of extra skin tend to collect mucus from my sinuses so when I have a cold they inflate with snot and it actually does make my head twice as big as it should be.

Shhh... I'll get a big head.

There was only ever one more Unconscious Collective track written by the original lineup, and it is unreleased to this day - "Cosmic Ken's Magical Spaceship". Crazy tune. It was written at Steve's parent's house while they were out on holiday, by me, Steve, Nigel, Tim and Jeremy (aka Starseed), and perhaps because we were unused to the sound of the room it never sounded good enough to release - very muddy, and the kick was way too quiet. Unfortunately, although I still have the Cubase file for it we no longer have the samples or much of the kit it was written on, so there's not much chance of a remix. Much better to move on and write new tunes! You might be interested to know though that 'way back when', we did a dub version of Fluorostani Transcendance which will probably be released when we get round to doing an Unconscious Collective album... UC is now the home to the chillout side of what we do as OOOD though, so don't expect 10 unreleased dancefloor killarghs. It's immensely gratifying to have been involved in the creation of a piece of music that seems to have touched so many people's lives in such a positive way. Even at the time we knew that track was something special and for people to be mentioning it 10 years down the line is just... awesome. More than I could ever have expected.

Very nice indeed. I love the melodies and the slow build, and the bass/kick stabs are very effective, although they lose their power as the track progresses and they become disconnected from each other. There are also clashing frequencies in the kick, probably around 400-500Hz that I would cut. I agree that the main snare is dying to be synthetic and I'm glad you're changing this in future versions! I realise that it's probably a sound that is present from the beginning of the track in modified form but the main lead sound eg. the smooth melody present at 4:35 could do with a little low-mid cut at times as some notes 'stick out' of the mix a little too much I think. I might be wrong but it sounds to me like you're using the bog-standard Reason delay - I would suggest using the delay algorithms in the RV7000 as these allow for tape-delay style decays, which I feel would add a little depth and interest to sounds as they die away. To me, the track also sounds quite dry in that Reason way; this might be helped with the addition of some early reflection reverb on some of the higher-frequency percussion sounds. Very nice track Per, very nice indeed. Thoroughly releasable with a little work - and eminiently so if mixed outside Reason!

It makes it a stereo track carrying a mono signal, therefore functionally identical to a mono track. If you use a stereo imager to narrow the width to zero then yes, whatever you put through it will come out in mono. In general, what we think of as 'mono' is really pseudo-mono, as the sound is still coming out of both speakers, creating a 'phantom' mono image between them. The stability of this mono image is very much dependant on various factors such as speaker placement and room acoustics. For true mono you need to be listening to only one speaker, which is where eg. Waves S1 and other stereo imagers come in handy as you can narrow the stereo width to zero and rotate it so that it only comes out of one speaker. This is useful as a temporary mixing or mastering aid, to ensure that one's mix or master is mono-compatible and to provide a more accurate indication of the frequency balance within the track. I'm not sure whether Reason offers the same facility - maybe in the new v3 plugins?

See, I've never been able to figure out what people mean by this or why they do it. Mathematically each speaker will receive an identical signal from a mono sound whether it's presented to the mix buss as a single mono track or as two identical mono tracks (each the same as the single mono track) panned hard left and right. The only difference I can see is that playing back two mono tracks takes twice the disk/processor bandwidth as playing back one. No-one's ever told me that my bass/kick combo overwhelms the middle of the track... maybe they were just being polite though?