System Heavy is an electronic act from the UK, and they’ve recently shared with us their last tune Humming Bird, that you can freely download/listen. In this track they used a lot of Ohmicide:Melohman distortion and several instances of the OhmBoyz delay. Enjoyed their sound? There is more at their myspace profile…
Author Archive for David Ree
Nothing like tasty distortions! You owners of the Predatohm and the Ohmicide know what we’re talking about. The first just got a review on Wusik Magazine, you can read it here.
Today the postman brought us a cool envelope coming from Finland, containing two albums from Umpio – who seems to be from a noise-industrial-anti-music artist from there called “Umpio”. We listened to it and it’s not exactly our cup of tea, but we enjoyed a lot the album art and the FrΩage and Ωygod! (yes, I got that old mag… what a nerd!). So here’s some anti-music that uses your tools too. If you hate it, pass it on! Sources recorded to cassette tape → Reaper → CD. Oh la lá! Max respect! Pentti Dassum”. THANK YOU PENTTI ! And for all of you wanting to listen to Umpio’s (anti)music check his website…
- BOSNIA AND HERZEGOVINA
- COSTA RICA
- CZECH REPUBLIC
- DOMINICAN REPUBLIC
- EL SALVADOR
- HONG KONG
- NEW ZEALAND
- PUERTO RICO
- RUSSIAN FEDERATION
- SAUDI ARABIA
- SOLOMON ISLANDS
- SOUTH AFRICA
- SOUTH KOREA
- TRINIDAD AND TOBAGO
- UNITED ARAB EMIRATES
- UNITED KINGDOM
- UNITED STATES
Lanvary is Alex Sanches and Andrew. They are both from Moldovia and already use to make music together there. But Alex had to move to Dubai because of his job, then online musical collaboration became a natural solution for them to keep their music duo. So it’s been more than a year that these two guys are working hard – and having a good time after all – remotely, and it seems that it’s being worhwhile: several tracks made, a place in our last Remix Cohmpetition’s Top 5 (as their former alias “Kinki & NKoder”) and already some labels interested in release their tunes. In this interview they give us more details on their collaborative working methods and comment how they intend to use the Ohm Studio for their future productions…
1- Are you guys more focused on remixing or producing your own tracks?
The collaboration has roughly about an year since we started the production on serious level. Everything started with the remix of a track of mine, but the collaboration slowly evolved in a melting pot of ideas for original tracks, and speaking numbers we have created more original tracks together than remixes.
2- What’s your setup (hardware and software)?
I do use MacBook Pro running Windows and Andrew (Nkoder) uses a PC, we both are on Continue reading ‘Lanvary duo makes collaborative progressive house music between Moldovia and Dubai. They told us how they work…’
Funkhameleon is from Finland and have been in the Top 10 of our last Remix Cohmpetition. He made a cool french-housy track (massively) using Ohm Force’s Quad Frohmage, it worths a listen! His own words: “I did that one with a guy called Shine Fish, but I did pretty much all of the sequencing. So every single filter is done with QuadFrohmage and I have one doing something on almost every mixer insert – not necessarily always filtering stuff but also using the peak “filters” to boost some certain frequencies. I gotta say, I really love QuadFrohmage. It’s easy to use, the sound can be so funky and edgy, and it has so many filter types, settings and possibilities that I’ll never have to use another filter again.
Ceri Charlton is from Barry, an ex-docking town in South Wales, UK. He’s been doing online musical collaborations over the last 10 years and has some interesting experiences/feedback to share. In this interview he explains which tools and methods he used at the very beginning – with him and his partners running on Fruity Loops – and how things evolved to his current method: he and his partner already working on Reason 4 and planning to go for Reason 5 as soon as it’s released. He also talks a bit about the mixing process in a collaborative environment and which features he’d like to see on the Ohm Studio. You can listen to Ceri’s most recent collaborative productions here, they will make a nice soundtrack while you read the lines below…
Who are your musical partners and where are they from?
The main guy I work with at the moment is called Straker and he’s from Worcester, which is just over the border from me, in England. In the past, I’ve collaborated online with people from all over the world, Australia, Holland, Germany, Sweden, France, America, Chile.
So online collaboration has been a important role on your musical path?
Very important indeed. I think that’s one of the benefits of the internet from a social point of view is that you can “meet” people who you’d otherwise never bump into. From a musical point of view, this is particularly important. A lot of people talk nowadays globalisation and cultural homogenisation but, unless you live in a big city, if you have any sort of niche or indie musical tastes, you’ll really struggle to meet significant numbers of people with the same interest. Of these, only a small proportion will be making music that you’re into, so your prospective ‘partners’ are fairly limited. The internet takes away these restrictions that your physical location imposes.
At the beginning, how was using Fruity Loops for your collaborative productions?
I think the first thing I ever collaborated online with was Fruityloops 3.xx.xx, one of those really long version numbers that contained all the details of the patch level! In terms of collaboration, one of the best things was being able to save a file containing all samples used as well as the actual track itself and then ship that one zipped file off to whoever you wanted to share it with. Prior to that, it was limited to exchanging CD-rs, and even floppy disks with a very small group of school friends.
The other nice thing was that it came bundled with some samples, FX and synths, in one particular collaboration, we agreed to stick to just these, to keep files sizes down (so that it was mainly just a glorified midi file and patch data being sent).
Both these things were such big benefits and gave so much freedom to edit/tweak the other person’s material that at the time I only really sough out collaborations with people who would work in Fruity Loops too. I remember experimenting with ’remixing’ style collaborations where the other person gave you a set of .wav files and (if it wasn’t obvious) Continue reading ‘South Wales’ producer Ceri Charlton shares his experiences of almost 10 years of online music collaborations, talks about his methods and tools…’
One month ago we posted dutch artist Remco’s demo track for the Symptohm:Melohman PE and now he shows up again, this time showing his experiments with the Ohmicide:Melohman distortion. His Ohmicide demo track shows that this distortion – despite what many could think – is not only suitable for hard and agressive distortion grain. The owners of this unit know that the Ohmicide palette goes far beyond that, crossing the huge field of subtle distortion and ‘distortion to add warmth’. This demo shows us some percussive elements dictating the rhythm for some atmosphere/texture sounds, while the Ohmicide helps creating a global ‘soul’ for the whole landscape, the final result being anything but cold…
Robert LaDue and Matt Hettich attended together the California Institute Of The Arts some years ago and are good friends ever since. They already used to make music together at that time, as a band called “FTPP”. Then Matt moved to Oakland, while Robert stayed in Los Angeles: online musical collaboration became the obvious solution to keep their music plans up and going. Renoise is their sequencer of choice, and they told us in this quick interview how they manage their project files sharing and what they expect from the Ohm Studio… and their collaborative moves.
How long have you guys been making music together?
Since early 2007ish. We met while attending Calarts. We began the collaboration using the same process that we still use today; passing renoise files back and forth.
Why have you chosen Renoise to collaborate?
Renoise doesn’t use wav files, which is one of the reasons why we really enjoy it. It sends compact ogg vorbis files (I think). Each Renoise file can contain a large number of lengthy samples (i.e. multiple vocal takes, guitar parts, etc. ) and remain a relatively small size. The reason we chose this software Continue reading ‘West coast electronic act “FTPP” explains how they collaborate today and their expectations for the Ohm Studio…’