StaticNomad

Hi again. I like this track even more after listening to it a few more times.

I also checked out your Youtube channel and watched the video of you in the car, which was pretty good fun.

Your concept idea album idea about different killers is an interesting one. I guess it doesn’t have to be celebrating their acts or glorifying them.

Good luck to you and your voice.

Word up/down/lying provocatively with its legs (the W) spread in the air.

You should get that old acoustic out more often as greater sonic variety has been something I have hoped you would slowly (or quickly) introduce to complement your fine guitbassery.

No, synths would not necessarily be tastier in my version of this. 303 sounds spot on.

“I always wonder if you will like it”

I get a bit like that sometimes, often as regards Crucethus as he reviews every track of mine. I review all of yours (usually more than once) so it’s unsurprising you wonder what I might say as you know I’m going to say something. And it’s generally a bit better than “not bad” or “ffffffffurrrrryyyyyy nutsack!”

We both work alone so probably don’t really have anyone else to consult for any sort of feedback at all, though I guess some random person off the street could do better than ffffffffurrrrr. I spent years making music alone with almost zero comment from anyone else or tips or advice or anything else. Bet I would have improved much faster with some external help. But maybe I developed my unusual style partly due to my isolation.

Yes, important not to have thin or weedy synths. Many ways of making the sound bigger, fatter, better eg delay, reverb, double tracking (eg with opposite panning), distortion and so on. Having good synth presets to start with helps a lot.

Congrats on moving too 100 BPM. I’d like to hear you go slower still eg 80, with an eventual target of knocking out some killer 2BPM doom funk metal. Sounds like it’s regular tempo if you’re on some serious amphetamines.

No, no Room Game reply. Shame I don’t have it all but what is there is still a tasty little selection. Yes, I am a hoarder of humo(u)r but only in my brain. I keep it all in a folder that’s next to my Music folder, which is also connected to my Awkward Things To Be Said Aloud In Public folder. So, if I do come out with some weird shit in conversation, hopefully the humour takes the edge off it and makes it more acceptable.

I’m strongly considering Steven Slate Drums Platinum 4.0 as it’s pretty cheap and I can’t really have too many good acoustic drum kits. Also looking at a plugin called Break Tweaker. Demo version works for 10 days and it looks amazing.

Greetings. Interesting mix of elements you have here. I like that main string part. Good groove to it.

Then I like the tone of the female vocals. Maybe too much reverb on them though. Also sound a bit like they're recorded processed down a phone line.

0:26 decent beat.

0:46 male vocals (yours?) that perhaps have a little too much reverb and delay though I like the repeating quality of the delay.

1:09-1:29 there are some slightly awkward edits or automation of the effects. If you smooth them out, I feel things would be a better. But I like that guitar part.

1:29 distorted guitar is awesome. I really like that simple type of riff moving through a few chords. Just a great tone. Drums are bit subdued though that's OK. Snare fills are a key part of that beat.

And then it ends when it felt like it was just really getting started. So, it feels incomplete.

Overall, I like the elements you have but it feels a bit disjointed as a whole piece.

Best of luck with improvements.

Yes, I was thinking of adding before that Underworld’s Two Months Off is a bit better than yours but thought I wouldn’t bother. Hey, it’s not easy being as good as surely one of the greatest dance acts of all time.

Those guys made quality home listening serious music albums as well as the obviously excellent pumping live dance shows. My favourite album is probably Beaucoup Fish, with killer tracks such as King of Snake, Jumbo and Push Upstairs.

If your mix is too crowded with the leads, just find ways of subduing the other elements eg use EQ to sculpt the pads when the leads are playing. And/or just turn them down.

I don’t use pads nearly as much as I thought I would years ago when planning to get a whole synth setup and emulate some of my favourite far out sounds. I find they take up a lot of room. I quite often just use delays on guitar parts as that often adds the far out vibe I’m looking for. And I can also make some pad-like sounds on guitar using a slow attack effect.

Also, if a mix is too crowded, turn the delays/reverb down and/or have fewer notes playing. Lots of ways to do it so good luck...

ffffffffurrrrryyyyyy nutsack!

I'm sure that's what mk320 meant to say. That would be really useful track feedback whereas ffffffffurrrrr is just rubbish.

Anyway, this is supposed to be the serious review. No humour, no confusion, right?

At the start, I thought: "Damn, how's that fucker getting his bass to sound like an acoustic guitar?"

Bass entry complements guitar really well with perfect tone. Playing some broken, legato chords?

0:38 bouncy creature synth meshes in well. Three cool elements and then you kick into your wicked 303 part on 0:57. Plus another choking, coughing creature underneath that's accurately on the beat.

Do you agree this sounds a little/lot like something I might do? It's funkier than usual and has a fine blend of acoustic and synth. And it's maybe a bit slower than usual. 110BPM? Have you worked out how to change your sequencer tempo off 120 yet?

1:36 return to main theme is just right. Classic, breezy, summery melody there and good theme music. This is pretty light, funky stuff.

2:14 ah you've exteneded it now and have gone into a dancier synth part that's quite unlike you. And fatter, midtempo beats.

Overall, the synth stuff is all a fine addition to your normal excellent bassery. Bass has actually taken a backseat role here. Y'know - a bit like how a bass guitar is allegedly supposed to be.

Only complaintis piano at the end. it;s Ok but maybe a bit of an afterthought though fade of music underneath is good and way better than most people's 'fade out everything' endings.

P.S. You've never replied to whether you got the emailed So Much Room Game compilation.

P.P.S. Please check out Steven Slate Drums. Top product is only $150 but has lots of kits. Might suit you nicely. I might get it too.

Well, that’s an interesting concept. It’s a better track title with the extra characters though not quite sure how you’re supposed to say it out loud. Good point about sleep being a waste of energy (time?) for machines.

Anyway, you should try having your lead Rhodes instrument’s notes switch to another instrument (or 10). The reason I think Danke felt the track was a bit too long is because you keep this lead part going for too long while you vary the bass and drums around it. So, it’s not really offering anything new so could work better being shorter. The track won’t feel as long if you vary things more.

A lot of my synth work comes from somehow coming up with a good bunch of notes and then trying out having them played by every instrument I have in the rack. Amazing how different the notes sound when played by a new type of instrument. So, I just load up a new device with the notes already copied to it and cycle through the thousands of presets I have. I actually use the Reason Factory Sound Bank a lot. Tons of great stuff in there.

Real shame Reason doesn’t let you mute notes in its sequencer lanes (something that has pissed me off for years!) though you could trigger the Reason synths from Studio One as I’m sure you can mute MIDI notes in there. Use muting of notes to make the quite busy playing you already have much sparser and less busy (fewer notes).

Anyway, if you give each different section more variety and character, the whole thing will be a lot better. But people already like it as it is so you’re definitely on the way to something good.

I look forward to an improved version.

The title (and style a bit) reminds me of Underworld's excellent Two Months Off. Here's a live version:

Underworld - Two Months Off (KCRW 2011)

http://www.youtube.com/watch?v=a7UViEBeSqo

Maybe they were thinking of summer holidays or downtime from touring in a band and you're just thinking of time off a regular job.

Anyway, this really gets moving on 1:14 and that is a classic bassline. Fizzy cymbal stuff works well.

1:43 key change was a bit of a surprise but it works pretty well.

Definitely solid dancefloor stuff.

One thing I'd say is the track is lacking leads as, aside from drums, you're relying on basssline, pads, key changes and stops to provide interest. Slot a lead or two in (eg arpeggiated) and things might get more interesting and have more depth. Just an idea...

You asked me to listen and comment so here are my thoughts:

You've got a pretty decent voice, especially for pop music, though I guess it is a bit girly. I'd like to hear it backed by some fuller-bodied music to see how it blends in with bass and drums etc.

0:37 is a good held, wavering note.

0:46 vocal movement and tone.

Final held note to finish things off shows some power and tone.

The recording sounds pretty decent for a built-in laptop mic but make sure to get yourself a half decent mic. Not sure of prices (especially in the US, I live in England) but you'll probably want something costing around $150-$200. Maybe consider a Shure SM57 or 58. They're quite common mics. I have the SM57.

Also get a pop shield that is placed inbetween you and the mic. Do an online search to find out why they're useful.

Make sure you get your recording levels right so that your loudest singing doesn't overload the mic and introduce digital clipping (what is known as 'going into the red')as that's not a nice sound.

More another time, hope that helps a little for now.

Truly a fine and effortless voice. Almost a classic, really. And I'm not really into this sort of music though I quite like the darker vibe but with the brighter piano chords.

Good flow to the vocals too and I like the variety on 1:20 as the vocals turn groovier and busier.

2:23 you show a good extra "overdrive" edge to your voice and that repeating Jonestown vocal merges well with the other vocal line.

Can't really fault this track so well done and I should check some of your other work.

"I take it you are not fond of this one"

Damn, the foolish humour in my review apparently didn't come across at all. Perhaps it was too subtle. It was a review based on your comment recently that all you were hoping for in terms of feedback when you first uploaded your stuff online was "not bad".

SO I thought I'd give you a "not bad, bro" review (I really have seen that a few times on this site) but make it much longer than those three words without ever saying a single thing of substance. Just waffle on about how it's not bad without mentioning a single thing that would make it clear I was talking about your track.

Oh, and my page formatting didn't come out right. 'Bad' was supposed to be on the far left, 'Good' on the far right and your track title slap bang in the middle ie in the not bad zone.

I actually think it's an excellent track and very creative stuff. Makes me think of something I might do and the synth work is perhaps your best yet. Probably also doesn't even need to be longer.

I'll give my usual specific detail on each section a bit later. I'm hungry now!

"hopefully in the future it wont be so bad of a tack"

I'll have to be more careful with my humour in the future as I don't want to disappoint you when there's no need!

Not bad, bro. Not bad at all.

Basically, if bad is over here

Bad

and good is over there

Good

your track was pretty much in the middle, about here

Jason Only Gets Two Hits

I hear a lot of stuff that's quite bad and not so much that's good. I'm a harsh critic so not bad is a pretty decent achievement. Something you could almost boast about to your grandchildren.

I'm not really sure what else there is to say about a not bad track such as this (I think I've pretty much covered it)but I'll perhaps try to find something a little later.

Congratulations on coming up with a not bad tack.

A pleasant, dreamy thing, with the spoken word adding very much to that far out, lazy, dreamy vibe.

So too does the higher, delayed synth in the background. Beat is decent though I'd prefer it to change a bit even though the track is short.

This seems like an intro to something longer and more epic. Are you planning to extend it?

Yo again. Thanks for the praise and no need to be too humbled.

Shame you didn't say what you're actually doing on this. Playing guitar maybe? I guess bass and piano are loops you've got from somewhere.

Anyway, bass is kind of subtle in my headphones. Could probably do with being turned up at some points. Spacey long held note pad is quite loud but that's OK though I'd vary its volume at different points rather than just have it sitting at a static volume and position in the mix. Small thing but could help make this even better.

Lots of tasty guitar playing and some of those high sort of wails (eg 1:51) are great. One criticism of the guitar is that I could have done without so much space between some of the sections eg 2:00-2:26. Had to wait 26 secs to get more of that tasty playing without any extra element taking over inbetween.

This is a vibe, groove and bed of sounds that all sit very well for some grooving deep mega chill but I would prefer a change or two. Maybe even just dropping some elements out eg turning that spacey pad down at certain times. But a definite change would help too.

So, I'm asking for a bit more busyness in this and variety though what you have is absolutely fine without any changes. When I hear something good, I want it to be even better and try hard to work out what I would do differently. Not that it's my music, so you do what you like with it.

Great work...

P.S. It sounds faster than 80 BPM but tempo can be a deceptive thing. I've got different tracks at the same tempo where it sounds as if there's a 20-30 BPM difference between them.

Yes, yes, yes.

This is damn cool and deeply chilled with my kind of laid back cymbal-led jazz groove plus extra percussion. Nice tinkly piano on top and some good, emotional chords.

Cool guitar later on too.

I'm busy now but will return later to give a fair bit of additional detail.

Congratulations on allegedly entering the Static Nomad funky jam vibe zone. It's a fun place to hang out and I try to go as often as I can.

One reason it's not quite my zone is that lead keyboard part that's a bit light and slightly cheesy for me. The notes are fine, I just would have chosen a darker, more powerful sort of sound.

This has quite a summery, chillhop sort of vibe. Reminds me a little of another track or two of yours.

0:50 it takes off with the extra percussion. Good layering of drum sounds. Strummy guitar is pretty cool. After 1:36 I think we get a more powerful snare. The new kick drum is a bit too loud but not that big a deal.

You do a good job of having the whole track dominated by that same lead funky organ sort of part. The playing doesn't really get boring. However, I would definitely switch the playing to another instrument (or three), just for variety.

3:33 track could do with a bit more space in it but that lead part keeps going. It's a fun, joyful celebration of funkiness but I'd like different sections to be given a more distinctive character.

P.S. This has a weird title. Any chance of finding out what it means?

My first thought, just in seeing her name, is that this is probably against site uploading guidelines due to being copyrighted material.

I could be totally wrong but just thought I'd mention it. Otherwise, the track actually sounds pretty damn good. I'll give more comment if you check this is OK to stay on the site.

Word, dawg.

I have now emailed you the So Much Room Game compilation. Maybe it’s been deleted, like last time). Quivering cunt muscle speculation coming later. Happy to crack your shit up so hard. That sounds pretty weird in English English.

One idea is that I could do a Harry version that is just replacing the drums, keeping the same structure as I think it’s fine. I could do a separate proper remix, with whatever structure I manage to come up, featuring however much banjo etc as seems appropriate.

Synth sounds:

I’m not very knowledgeable about synths and their programming. I just have good software and good presets to modify. I’m very careful with the few controls I modify, also carefully automating additional effects.

I think my synth sounds sound good because they seem appropriately chosen for the track. The way they blend with each other seems interesting and wouldn’t necessarily work with different sounds. There’s no way I can describe how to do that.

I’d love to teach you to modify synths but it would be hard. There are loads of controls on synths and I don’t think it would help if I described what I’m doing at a certain point in a bar. There might be many controls being automated at the same time, as well as drums etc so lots to describe. What you do with each instrument affects other instruments in the mix. Everything is supposed to blend together so describing what one instrument is doing doesn’t give the full picture.

But maybe I’m wrong and some of this might help you. Mainly, you need to get some better soft synths. Almost all my synth stuff is from Reason so you could do worse than just getting that (which would run simultaneously with Studio One, via Rewire).

I have no secrets to keep to myself and wouldn’t really want to. I don’t use unusual software or hardware. I use standard things but find creative ways to combine things. But, as I work alone, I may actually have some interesting little tricks that no one else uses, though no one (including me) is aware of this. I suspect the way I chop up, recombine and apply effects to guitar parts may be some sort of powerful little trick.

"Your Tips On Life" or "Something New Everyday" could be creative but the lyrics thread certainly isn’t. No requirement to be creative there so people aren’t. Room Game was just right for forcing you to dream up stranger and more elaborate things and it was wide open though the starting letter limitation and loose activity tense format helped provide some structure and format.

N,o I did not know snails only leave trails when they’re about to fuck another snail. Snail Fuck Trail could be your next track. That’s a nicely balanced title – a bit of linguistic fuck sandwich, so to speak.

Yo. You reply quickly and intelligently. Some people do neither. Good stuff.

Yes, I was surprised at the lack of bass in this. Most people into dnb go crazy for it, me very much included.

“I personally like it when a track comes back to its heart”

I totally agree and I do that a lot in my own work, including what I call ‘bookending’, where I start and end a track with similar sections. However, in my tracks, there are journeys through so many sections and changes so bringing it back to the heart, the original vibe, I find binds it all together a bit better. Like finally returning to your original point during a conversation that has taken in many topics.

But, here’s the problem with how you’ve done it in your track. You’ve basically got a quiet intro and built that to something good and powerful. But you’ve then gone straight back to that same intro and built it again in almost exactly the same way as before (perhaps just straight copy and paste of parts). It’s not really interesting to hear it twice in such quick succession as I know what’s coming.

Now, if you stick in a different section to break up that return to the quiet intro build, that might well work. That would be ‘returning to the heart’ after a while away from it.

Or, you can go for what I suggested, which is stick some mid-level intense beats in there (eg fat midtempo ones), which will keep the energy going nicely after dropping back down from that first dnb section.

That’s why I said you need to think much harder about your structure as you have good elements but I think a cleverer structure, with a better flow of energy, would help a lot. But no problem if you totally disagree regarding suggestions for this track. You did say “you've given me a lot to think about for future tracks” so that’ll do for me.

And I miss you
Like the deserts miss the rain

http://www.youtube.com/watch?v=Q4sPkS8b62Q

Remember that song?

Anyway, yours is good too. Very beautiful on 0:23. Flute sample blended with vocal?

0:44 classic little filtered dnb beat plus simple blocky chords and vocalisations. All sitting nicely.

Building now and kick drum build means it's going to drop and go big.

1:39 it does drop and it's good. Problem is that lead trancey synth is too loud, getting in way of drums. And there's no real bassline. Not sure I can hear one at all so it sounds too thin. No bottom, you see.

Back to quiet. Problem here is that you've kind of gone right back to the same structure as you already covered. So, it's not so interesting to hear pretty much the same build again. I thought it looked like an odd structure just from viewing the waveform and before pressing play.

Still no proper bass in second big breakout. There is an off beat sort of bassline but it's not covering the low end. I'd keep it in but add the low end the track is crying out for.

5:10 return to flute sounds good again.

I like your elements but think you need to think much harder about your structure.

On 2:23 I'd probably kick into a fat mid tempo killer groove ie not d'n'b at all. A whole range of good ones will slot right in (eg many from my track Trial By Ordeal that you liked) so give some a go as that'll help a lot with the structure.

Hope those suggestions are of some use.

Greetings. Not sure why you’re surprised I liked the track enough to write a comment. Quite a few other people also have!

“That's a surprise considering how picky you are”

Yes, picky is a good thing. I know you listen to some of my tracks, sometimes favouriting them but rarely commenting on them, so you know how complex and detailed they are. They don’t get that way without a lot of time-consuming work that takes a longtime. I sit there and really pick apart anything and everything that bothers me and try to correct it and have got pretty good now at removing most things that bother me.

Sometimes when I’m searching for inspiration for one section, but it’s not coming, I just go and adjust various levels, automate some effects units, smooth out any audio pops from the many guitar parts that I join together and so on.

If you’re exhausted by ‘afterwork” with tracks just leave them for a while (weeks/months) and work on somthing else more immediately enjoyable. When you come back, you should be able to quickly spot what needs to be done.

Audio pops in tracks like yours normally come from people arranging samples side by side but not crossfading the levels between them. In Cubase (the main DAW I use), you just select two audio parts and press one key to do the crossfade.

I never would have guessed these are male vocals. Repitching has worked out well. Men can sing like women but I never seem to hear women really singing like men. Probably an anatomical reason for that.

Reverb isn’t awful. Just could be more powerful if it wasn’t all turned uop so high all that time. Use it at the top level to emphasise certain parts and tunr it down for other sections.

I also prefer the chillout sections in this track.

Good luck.

Greetings. Bit of a crazy, far out intro but I like it.

I can hear a big audio edit pop at 0:07 so could do with being smoothed out.

Then it kicks in to a decent clap-led beat and a something that sounds a bit like udu drums - an interesting type of drum.

Vocals are rather beautiful and there are some big, far out pads.

1:16 big audio pop as a new sample comes in. Then a big trance lead.

1:47 I like the space here when the trance lead drops out. Allows me to hear beat better.

I like the heavy reverb vocal but maybe there's too much at times. Not a problem - just might be good to vary it a bit in places (if you can).

3:29, 3:32 and 3:42 big audio pops.

It's a good piece of music and my main suggestions are to remove all audio pops and perhaps look to turn down the reverb in places. Will be more powerful when you bring it back in big. And it's fun to sculpt it.

Salutations.

Yeah, I was pleased I managed to come up with Nomadgic. Also suggests 'no magic', which is fun.

I listened again to Harry and don’t agree it lacks a lot compared with some of your newer tracks. Still right up there as one of your finest. I could fiddle about and see if I can really add much if you’ve still got the stems you sent before. I’ll save them properly this time and not lose them again. When I listen back, I feel slightly unsure what I would do, apart from improve the drums as I see it as a pretty damn complete track.

I’d probably try to do what I have suggested you do for yourself – get funkier! Perhaps swing the groove more, that sort of thing. And add some synth stuff. Even if a track is excellent and complete, it can always be remixed/reworked in an equally good, or better, way.

I don’t know what Looperites is/are.

Yes, Evilarmy83 is a very good metal guitarist but has poor production – like he’s not even trying to improve (though I have no idea so can’t really judge) and a pretty poor guitar sound. Yes, I remember your StudioOne offer to him.

“I'll donate my living body to science”

Yes, good idea. You can legally sell parts now, actually (aside from organ donation to keep someone else alive). Maybe there’s something you feel you don’t need that much. Some people have sold a testicle, for instance.

So, it’s all over for So Much Room Game. I think I would have difficulty controlling myself in never mentioning anything sexual or risqué. I like to challenge/push boundaries of taste, though all in good spirit and humour and don’t like to have to think about censoring myself. Stifles creativity and pisses me off.
Technically-speaking, my dick-forehead reattachment wasn’t sexual or “bad language” – more anatomical. But I bet that was one of the worst offenders. Damn annoying to think that some people actually complained!

Oh no, maybe your track comments will now be removed! You can blame me if the same person who complained about So Much Room Game is reading this and gets offended again.

Only good thing is that I do have a good few of my So Much Room Game entries saved offline (and some of yours) so will have to spend a while collecting them all and email them to you. Provided no one deletes that email, right?

Kneading The Fat Lumpy Ass Of My Grand-Sugar-Mama, Ignoring The Smell Of Aspercream And Urine And The Sight Of What Appears To Be An Ill Placed Set Of Roast-Beef Curtains.

Oh no. I’m back!

I could still do some Harry remixing. Perhaps sprinkle a little of my Nomadgic on it. It’s up to you.

If so, would you like banjo or sitar with that? Or note-perfect double tracking of both of them to create a tasty banjsit blend?

I doubt I could do the perfect double tracking and am a bit surprised/impressed you do it in your tracks. Don’t think I could be that disciplined or manage to remember what the hell I’d just played. But then you don’t really jam so much but lay down tight, controlled riffs. I’m just the endless, unstructured jammer, I guess.

I didn’t have the balls before to tell you the files had been deleted from my hard drive. But I’ve since grown a small, modest and discreet pair so thought I’d own up.

Offing yourself is a bit of a morbid thought, isn’t it? Also, do you really want to go out of this world nice track, bro-ing it? That might define you and determine whether you end up in heaven, hell or purgatory (kicking your heels for a thousand years).

You’ve got to go out with something more profound than that. Maybe something like “Like it”, which I remember was a track comment on one of your tracks (which produced a fine, simple reply from you).

P.S. My new version of our favourite track comment is ‘buena cancion, hermano’ though I’m not sure how to say “bro” in Spanish, just brother.

I actually have a more hated track comment that I’ve seen a good few times on this site: “not bad”. What a waste of time that is!

Yo. Really like the vibe here. No idea it's going to be hip hop from those opening chords. Some big pad sound design there.

This is so slow and lazy and the pitched down vocal is very stoned and trippy.

1:37 another nice, big pad plus some pitch bend for extra drowsy trippiness.

It's pretty monotonous and I'd have added more variety and changes but I guess it's supposed to be very slow and drowsy trippy stuff so I supposed that sort of structure fits.

Might give some other thoughts later.

Good work.

P.S. Shame about that abrupt, chopped off ending. Gotta let it down more gently than that, no?

Damn, ten months and another reply from you. Sorry on two counts – that 46&2 remix and the Harry work I was supposed to do.

I’ve actually lost those Harry files – some sort of error on the laptop I use for going online. PC in studio never has been online, something I plan to keep like that for all eternity. I felt bad about telling you and that’s why I never have.

Whilst feeling a bit bad for never doing what I said I’d do – there’s another side to it. Basically, all I planned to do is stuff that I hoped you yourself would develop into. So, I wasn’t planning to play any guitar or banj on it (though maybe I should have added 50 bass g riffs, for irony’s sake), just do better drum programming, and chop up and maybe reorder the bass and add whatever effects I felt necessary plus synth stuff. You know how I do it with it my tracks.

When I offered, you were still back in your primitive days of being a slave to drum loops that didn’t really cut it in terms of track feel or movement. So, you’ve progressed a lot with the drum programming, which much better suits your style. I’ve still got much better drum software (and more of it ie more kits) but hopefully you’ll get that too once you can afford it. EZ Drummer is pretty cheap, in my opinion, though I don’t have it, just Superior.

Now you’ve moved seemingly entirely to the drum programming though I’d also recommend using drum loops here and there for their particular feel. I still use them a lot alongside the acoustic kit programming. I just like loads of drums!

Yes, of course, my treatment of your material would always be different to what you would do with it so I could still do the Harry progression remix if you’re really curious about what it might sound like. Maybe I’ll even add a bit of banj. Again, I was hoping that you’d progress even more so there’d be no need for me to work on the track ie you’d just do it all yourself and do a job that would be more pleasing to you than anything I might do. Saying that – quality musicians/producers still go to others for remixes as they like their particular style.

46&2 remix I keep putting off, mostly cos it’s not my actual music so far less important to me. The mixdown I did a few years ago is pretty damn cool (it’s only drums and about 4 synths!) though I still need to develop it a lot. And it’s way too loud – probably a solid tube of toothpaste waveform. Maybe I should just email it to you as a taster of what’s to come. Drums were done before I had Superior so kits are not as good. And it’s only about 3 mins. Total sacrilege for a track by me!

I actually have MIDI files of a bunch of Tool tracks so should sometime try to incorporate some riffs and melodies from some other tracks into the 46&2 remix. That would be great fun, if I can get it to work.