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Sadayatana 081: Hold Something
"'Fear,' Jason said, 'can make you do more wrong than hate or jealousy. If you're afraid you don’t commit yourself to life completely; fear makes you always, always hold something back.'"

--Philip K. Dick: Flow My Tears, The Policeman Said (1974)

http://ios-music.homewoke.net/ Very pretty, dark-based is sound. You can play alone is iPhone. However, I think that I can use effects such as compressor Once you have the processing and recording. The dirtiest, filthiest, dubstep wobble keyboard and sampler ever! Make wobbles bass sounds, dubstep loops and throw in some drops and fx at the touch [...]

Learn more – http://www.image-line.com/documents/synthmaker.html FL SynthMaker 2, included FREE with FL Studio Producer Edition, is an audio programming application that is used to create virtual instruments and effects without the need to write basic code. The instruments and effects you create in SynthMaker can be used in FL Studio as ‘native’ plugins and shared with [...]

This is a track I recorded in 2011.  I was surprised when I sampled a small 4-inch diameter Tibetan singing bowl.  I transposed the sample several octaves down, and it still retained much of the richness of a large bowl.  It's still a little harsh, so I may re-sample it in the future with a better mic.  This was recorded live in a single stereo track using Cantabile Solo 2.0.  Featured are an Ensoniq ASR-10, Roland Alpha Juno 1, and SampleTank VSTi.  Hopefully, I'll have some new tracks…

“Even non music-makers are aware of filters and the effect they can have on the way music sounds. What you might not be so sure of, however, is what the different varieties of filter are and how they work. If you fall into this camp – or if you simply want a quick refresher course [...]

This is the first in KORG’s series of four “How-To” videos for Kaossilator 2, the next generation dynamic phrase synthesizer! This video covers basic operation and will help you get around the Kaossilator 2 quickly and easily. For more information on Kaossilator 2, check out http://www.korg.com/kaossilator2

Acoustica has announced the release of Mixcraft 6, the latest version of the powerful music production and multi-track recording workstation that comes packed with thousands of music loops and dozens of audio effects and virtual instruments. Mixcraft enables you to record audio, arrange loops, remix tracks, compose with MIDI and virtual instruments, add effects, score [...]

This is a track I recorded in 2011.  I'll try to upload some newer material soon.

Just found out again that this past Sunday at Night Tides Radio, the title track off "The Calling Whisper" was featured.  It was the first song of hour 3. The show was entitled "It's a Mom Thing." Here's the link:

http://archive.kcur.org/mp3/?id=9072&pid=5&t=It'sAMomThing&h=3

Spectralis groovebox + a microkorg xl pad sound sequenced by the spectralis The Spectralis is the first “GrooveBox”, which combines the LIVE usability of the latest digital technology with the best elements of proven analog technology. We also have thrown in some other cool features which give the synthesizer much more flexibility than anything seen [...]

Deadmau5 shared some advice at his tumblr sitefor musicians wanting to make a career in the music business. He offers three recommendations, whether you’re a musician with 10 fans or 10 million: You need to make a world. So you have a rollercoaster in your backyard. And it’ll be the hot thing in the neighborhood for [...]

According to Crysonic, the upcoming Inpressa multiband compressor effect plugin provides zero latency plus stereo and mono compatibility combined with the company’s unique new proprietary technology in order to deliver a one of a kind type of effect. Crysonic notes that Inpressa offers full double precision processing natively, which employs very steep 24 dB / [...]

THE TRINITY Korg Trinity Pro-X 88 Keys Music/Video Demo by Ares Kalogeropoulos. Korg Trinity is a commercially successful synthesizer music workstation released by Korg in 1995. It was also the first workstation to offer modular expansion for not only sounds, but also studio-grade feature such as SCSI, ADAT, various sound engine processors, audio recording capability, [...]

Just got confirmation that TwT has been named Artist of the Week at Eclectic Vibrations Radio.  As well, a couple of songs off "The Calling Whisper" have been featured.  If you wish, here's a page created for me: http://evrn.net/2012/05/transcend-with-time/  Thanks a lot Howard.

  Keyboard Shortcuts are at the heart of any DAW’s workflow, and SONAR X1 is no exception. And the QWERTY keyboard is still the central way in which we use those shortcuts and interface with our DAWs in general. Traditional keyboards aren’t labelled for anything other than a particular language. However, the custom made, slimline, [...]

The Merdedith Box is a simple electronic instrument created for a forthcoming performance by the Dirty Electronics Ensemble of a specially composed piece by leading contemporary composer Anna Meredith.

It contains a simple oscillator with tuning and wave shaping controls, a light source and a speaker. Each member of the ensemble has built their own instrument in a box of their choosing. Mine is built into a wooden watch case with a polycarbonate panel with LED matrix mounted in it.
The piece will be performed on the 30th May 2012 along with other works including Optical Pianola by Jim Frize. PACE Studio1, De Montfort Universtiy, Leicester, UK

More pictures on Flickr

I am really happy to announce we have met and exceeded the initial funding goal with over $400 donated so far to. That money will go to planting 4,000 new trees thanks to you, the artists and Trees for the Future.

Already, our efforts can have the effect of $100s of millions in environmental clean up…

Photos courtesy John Tejada.

From his home in LA to the global scene, John Tejada is a planet-navigating techno ambassador and one of our favorite electronic musicians. He’s one of a handful of artists successful today who has managed to cross eras, whose experience isn’t just of this moment but who has touched the evolution of that scene. We turn to guest writer Alex Brandmeyer, who interviews Mr. Tejada about his own work as well as where the music scene is headed. What I like about Alex’s interview is that he asks some really fundamental questions about the evolution of the international audience for this music and tools – and Mr. Tejada is just the sort of person whose answers are worth reading. -PK

John Tejada’s music has been raising the bar for more than fifteen years. Alongside an intense schedule of performances all across the world, he’s managed a steady stream of high-quality releases on dozens of labels, including his own baby (now fully-grown), Palette Recordings. Add to this some high-profile DJ mixes for outlets like Fabric, along with strong support for his music from top international DJs, and what you’ve got is one of the highest-calibre electronic artists around. Despite this success, he remains a very friendly, down-to-earth guy who’s instantly approachable, and whose love and enthusiasm for electronic music and performance immediately comes across. I caught up with him following one of his recent live shows at Studio 80 in Amsterdam.

One thing that interests me most about dance music, and about house and techno music in particular, is the fact that its appeal traverses national and geographic boundaries. What do you think the common thread is? Psychology? Biology? Culture? And what is it about four-on-the-floor electronic beats and sounds between 120-130 BPM that allows dance music to tap into these things?

I feel these days it has become such a global movement, with everyone around the world linked together through social media and other sources on the net. My experience in the early 90s, however, was much different. These avenues didn’t exist yet, and you had to grab magazines to find out about what was going on abroad and order new releases with your local shop. These days it is so instant. Most of my friends and I still can’t wrap our heads around it. Back then, it was such a treat to find the thing you were looking for or hear an artist you loved live, because you couldn’t just do an MP3 search and have it instantly or watch clips on YouTube from last night’s concert half way around the world. I see all these new developments as mostly a positive.

The sound seems to spread to all cultures at this point. Everyone likes to dance all over the world and many want that moment of hearing a new sound for the first time and wondering what it is. For these reasons, I don’t think it is all that unique that the music is loved the world over now. Many genres of music exist worldwide because people love music and keep all these scenes going.

Of course there are differences, too. As someone coming from California with strong connections to Europe, how do you feel about moving between these places, between the different audiences and cities? Does it matter in the sense that it pulls music and music communities in different directions over time? Or does the music itself make this type of question less important?

I still have a tie to Vienna with my father still being there, and being able to travel to Europe on a regular basis, so I feel connected to both places. I feel when it comes to audiences being different, it’s usually a case of a venue or the people you meet that can have a big impact on your opinion of that place. You may have a good or bad experience in a certain city and your whole experience might rely just on that one club night, when down the street at another club could have been potentially a completely different good or bad experience. It took me repeat visits to cities to realize this and to try not to make up my mind about a place just because of one night. I think the music will keep evolving, as it always does.

Every year, there are new pieces of gear, new bits of software, new labels, new clubs, and new ways of spreading music. Apart from the internet and social media culture you mentioned before, what have been the most important evolutions in your own music making over the years? Have there been specific ideas or techniques which really opened up new creative possibilities for you? 

I feel while technology comes along and makes many things easier and options pretty much limitless, it also turns the same solutions into problems. Music has become more of a “paint by numbers” type of process for many people, which has made lots of new music less interesting for myself. The difference between imposing limitations on one’s creative process and actually having limitations is a different thing. When we were all starting out, the creative process was different than it is now. We now basically have limitless options, which can keep you second-guessing your work. At the same time, sure, it’s great to have new tools working more the way they were intended, and the resurgence of analog has made quite an impact in my workflow and sound. Generally, computer programs have developed mostly in positive ways, making music creation a lot more straightforward.

Again on the subject of evolution… an interesting question is always where this is all headed. People predicted a lot of different outcomes of the digital revolution, but underground clubs, labels, and to some extent, vinyl, all still seem to be doing pretty well, hand-in-hand with the ‘new era’ of Beatport, laptop DJs ,and commercial dubstep. What are your feelings about where the underground dance music scene is headed? Do you have any hopes or fears for the music? Does history repeat itself?

Things do seem to go in circles. I think we’re at the beginning of the next phase in the way music is being distributed. I have a strong belief that physical media will in some form make a comeback, wether it will be records or something else. I just can’t imagine a future where one’s music and book collection are only digital. It sort of misses the point of having a collection. Part of the fun of collecting is finding these physical objects that are tangible. While watching the new Comic-Con documentary, I had this thought that no one values PDFs of classic comic books, or JPEGs of hard-to-find baseball cards. The real physical item has great importance. This is why we love to collect records. I think people will start to miss that the more it disappears. 

The past year I’ve been lucky enough to catch a couple of your live shows, and have enjoyed seeing you perform some of the tracks which I’ve come to love over the years. I’ve also really enjoyed listening to some of your DJ mixes. What for you is the difference between playing out as a DJ and playing using your live setup? Do you have a preference for one or the other? What are the challenges in each type of performance?

DJing can be stressful in the way that I’m looking to make a playlist with the goal of being an entertainer. Sometimes I don’t want to bother with that, and just concentrate on my own art and being creative that way. Playing live limits me to my own ideas which is a little easier for me, but can also be stressful, because if the set isn’t going down well I’ve got nowhere to go, really. I may have the ability to change my set list and arrangements live, but for the most part, it’s just me. At the moment, I’ve been enjoying the live sets quite a bit more. I’d love to bring more gear, but I’m usually shoved in a DJ booth, so for now, it’s a small synth and computer mixer set up.

I think distinguishing between a DJ as entertainer and a live performer as artist taps into something interesting about the way in which electronic music is performed and consumed these days. How important is your connection to the audience when you perform? Do you notice a difference in this connection when you perform live as compared to when you DJ?

When DJing, I have a stronger connection to the audience, because I’m choosing songs based on what I perceive to be their reactions. When playing live, I am really involved making sure I am doing all the right things and controlling the right parameters; I hardly have time to take a look around. That can also be a good thing, as I’m less influenced by people’s reactions. I’m limited to my own compositions, so my main goal is to perform those pieces that as best as I can.

Do you notice differences in the types of crowds that will come to see a live PA as opposed to those who come out for a DJ set? 

The crowds can be different, more in the US I think. In the States you’ll have more “concert” shows, and that’s where people are more open to what a live performer will do. If I’m just shoved into a DJ booth in Europe and asked to make it work somehow, and the crowd is just a party crowd, then there is no difference there. I find in those spaces a DJ set is more appropriate.

You’ve been involved with electronic music for quite a while now. Do you have any particular achievements or peak moments that really pop out from the rest?

I’ve had some really unique opportunities including doing some shows here in LA at the Disney Hall which were really special. Checking out most of the planet has been quite great as well.

Could you tell me a bit more about the shows you did at the Disney Hall? How different is performing in a proper concert hall from performing in a club?

I got to play there twice. Once opening for The Orb at an all night event, where I played a hardware set and covered a table full of synths. The other time was when I got to play my piece “The End Of It All” with a 100 piece male chorus. The piece was reinterpreted by myself as well as adding all the vocal harmonies.

What was it like performing with a choir?

It was quite an experience to be able to do that, especially in that space. 

Did the acoustics kick ass?

The acoustics are really tailored for acoustic performances. It was designed for the LA Philharmonic. While they have a really high-end PA, it is not really geared towards electronic shows. However, the space below the hall, The Red Cat Theater, hosts a big variety of very cool synth shows and avant garde programs. I’ve seen tons of shows at both recently. Definitely LA’s best venue.

Can you amuse us with any anecdotes about bizzare/amusing/plain weird things that have happened to you so far during your career as an electronic musician? No need to name any names.

There’s just so much and of course nothing comes to mind immediately. It’s usually disasters that end up being a little bit funny later on, but at the time they are not amusing, unless someone just says something completely ridiculous at dinner like the Italian promoter who was repeatedly asking Arian (Leviste) and I “don’t you think my wife is beautiful?” I remember in Tokyo, a good friend from Germany was playing and asked if I could start immediately. I said “sure,” and he went off to a corner of the stage and huddled on the ground in fetal position and just stayed there, apparently a bit food poisoned. He was soon OK.

For the coming years, what are the things that keep you motivated to make new music? Do you have any projects or ideas that you’re really excited about? Are you still looking for the perfect beat?

I’m always striving for something, tweaking my technique, my mixdowns, quality of sounds, stripping things away, the list goes on and on. I’ve just completed work on a new full length. Hopefully details on that will be announced soon.

http://www.paletterecordings.com/

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Thanks to all that tuned in! It was a great two hours of music.