The first time I heard Aphex Twin was a big moment for me. My friend played me his song “4” when I was 15, and my jaw dropped. I was blown away that some guy made something so complex in a bedroom studio. I knew that I wanted to do something similar. It took me about 10 years after that to fully get a grasp on production, but luckily, I finally got the hang of it. Now, I’ll listen to that same record and actually find the engineering to be rather poor. Modern-day production focuses so much on the quality of your mixes and how they are translated on both big and small systems. Naturally, songs made on old-school samplers back in the ‘90s/early 2000s just don’t sound as big as they used to. I still love all of the old electronic music that I grew up with, but now I think they could use updated mixing and mastering. My overall taste is still the same, but now my ear is more technically trained. Are there any techniques or styles from jazz that you integrate into your own bass house productions? Your genre-defying sound mixes in perfectly with so many different sets and never fails to get a party rocking.
I think the main thing from jazz that’s incorporated in the Ephwurd sound are the samples. I love to sample old disco and acid jazz records that work well as fills or stabs.
These Wright Streetlite vehicles are the 11.5m Micro-Hybrid variant.Īnything that’s energetic and “vintage” works really well to give the record some more character. The Micro Hybrid recovers energy lost from braking to power the vehicle electrics and compressed air systems, saving up to 10% in fuel costs.
#One more night metrognome remix full
The vehicle features full white LED destination displays on the front, side and rear, and the interior specification for this batch of vehicles has been completely overhauled: they feature Esteban Civic V2 and V3 seating complete with e-leather, two-colour Tarabus 'Wood Effect' flooring, and blue accent lighting which is fitted underneath seats to provide extra light on the gangway. The first batch of four, which carry a dark blue base livery, were delivered to the company last month. They were branded soon after, and are destined for allocation to Riverside Depot for use on service X66. The branding focuses on the three main elements of intu Metrocentre: shopping, leisure, and eating/drinking. The use of red, green, blue and yellow vinyls is prevalent, which ties in with the different coloured "quadrants" of the shopping centre. Intu Metrocentre's 'Metrognomes' were having some fun this morning, while checking out the brand new buses which are due to enter service soon.
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You'll be able to see the Metrognomes in action, get a 'selfie' using the special 'selfie bus', get a free goodie bag, and much more! Go North East is additionally hosting a publicity event at the Metrocentre's Exhibition Square tomorrow (Saturday 18th April 2015), where members of the public will be able to join in all of the fun. Sleeve design: Paul Henry Bob Searles ( Illustration) Recorded: February–August 1977 at Basing Street Studios, London Mel Collins – alto saxophone, tenor saxophone, soprano saxophone, clarinet, bass fluteīrian Eno – Minimoog, electric piano, piano Peter Bardens – organ, piano, electric piano, Minimoog, synthesizer, Hohner ClavinetĪndy Ward – drums, percussion, ocarina, glockenspiel, talking drum "Rain Dances" (Bardens, Latimer) – 3:01Īndrew Latimer – electric guitar, acoustic guitar, 12-string guitar, panpipes, flute, backing vocals fretless bass "Skylines" (Bardens, Latimer, Ward) – 4:24 "One of These Days I'll Get an Early Night" (Bardens, Mel Collins, Latimer, Richard Sinclair, Ward) – 5:53 "Unevensong" (Bardens, Latimer, Andy Ward) – 5:35 "Highways of the Sun" (Bardens, Latimer) – 4:29 "First Light" (Peter Bardens, Andrew Latimer) – 5:01 There are five "concrete poems" here - BELOW A CHRISTMAS STORY FROM 2004 seeing a moon's emblazoned leaf and its reflection at the same time - but there's always hope in the New Year. As you know, last summer I became interested in a little “tick tock metrognome” I could start up while sitting or meditating. Recently I have been working with it some more. Now I almost always begin a meditation session with the tick tock, which once I get going, becomes almost an automatic mind/body backbeat. Then after a while it will speed up on its own, becoming so fast that it disappears and is replaced by an awareness of the breath. Because I wanted to see the Full Moon before it set.
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