Thanks, early Hotel lounge house. Before I was using Ozone to master.

Thanks, new stuff is coming'

I miss Static Nomad, Miss you as well

Cool, Thanks

Thank You!

fggtttrresww!

Thanks, Mate Sorry for the late reply. This is designed for a high-end lounge experience!

Awesome and thank you, sorry for the late reply I was not well for a bit!

Hey Neurotic Wingnut!

" the KorgMS2000 and it's lovely arpeggiator"

I think you may be the world's biggest fan of that synth. You'll probably be playing it till you die. Perhaps as you're on deathbed, knocking out a wah porn solo as you croak. "

Maybe?, as I have made my will a few years ago. One of the stipulations I have is that if I go before my parents, my ashes are to be spread over my parent's living room. So my Mother could clean up after me one more time........

But the Korg MS2000 is the digital equivalent of the MS20, which is almost as important as the Minimoog. So yes, bury me with it, or burn me with it. I don't really care, when you're dead you don't actually have much a say in what happens to your cold dead torso.

"Why have you got old man ears? I didn't think you were an old man. Do you have old man balls? "

I have old man ears due to a transplant gone horribly awry trying to help poor Paul Stanleyof KISS and his microtia; , how ever I have shiny christmas like balls due to my close proximity to Santa! And my affinity of painting my balls in a shiny silver like colour every year just before St. Swithins day. ;-)

"Yes, you just need to get a good load of elements working well together, as you've done here, and then keep varying how they're presented. So, squeezing as much as you can out of the material, which is something I try to do all the time."

I was squeezing hard here mate, I was making diamonds from those squeezes.

The last few weeks I have been listening to a lot of Talk Talk which runs the gamut of awesome new wave to incredible experimental jazz and atonal. Some of the effects they used were way in your face and I realize that Mark Hollis and Tim-friese Greene were pioneering a sound unheard of at the time in popular music, but I still learn from those recordings.I mean they freaking created Post Rock. And the chord changes they made were a massive study in how to create an eighties pop tune and still hold credulity.

I still have a few tunes in the can that are over the top and use a bit of everything or have those wild solos, but my future is going to be more about creating an album of restraint and taste and to move away from the experimentation (anything goes) phase and buckle down and make something musically that will last and appeal to a wider audience and yet still keep an edge. That is my challenge, and it requires some discipline, something that has been lacking occasionally in my song structures. But I also know I needed to go way on the other side to find the right balance.

take care this evening my friend. you Spastic Cromag! ;-)
Cruesweek

Hey Alex.

I did add a few effects to the pads to deepen them and make them prominent in the back of the mix. The Jazz sections are simple and add in complexity as the mix carries on, but for me this is an exercise in percussion with soft minimalism.
Im glad you enjoyed and I inspired.
cheers
Steve

Hey Jamid
Thanks for stopping by.
Master of the industry!!!
That's like saying Kool Aid should have a vintage selection for your palate. (I'll have the red which has subtle tastes on the tongue of strawberry, cherry, black currant and failure)
but it was a nice thought..;-)
Cru

Hola El Statico Nomadico

Welcome to the deeep House.

"0:31 kick drum + shimmering, clangy, delayed parts that I really like. That's probably Promenade's loop."
Nope, his loop is a soft subtle sound that underbellies the whole track. That jangly guitar pad was a royalty
free pad from a Future Music Mag disk back in 2000.

"0:54 nice slow pads and then some fatter bass arrives. Real warm low end and there's some bass g too. Nice to hear the sound of its strings rumbling away." I love that bass detuned down to G to sound even gruffer.

"1:17 blippy, liquid, bubbly synth sound that I never use in my music. I'd like to. "

"You'll be happy to know that it was me and the KorgMS2000 and it's lovely arpeggiator.

"3:37 back to dance fatness, with a new, insistent, scrapey, snarey element banging away. Maybe like a snare drum with a slow attack effect on it played with brushes.
"
I had a tremendous amount of fun planning out the percussion for this piece. Fun Fact, I added no reverse cymbals or cymbal crashes directly to this piece. Not a one. It felt good.

"4:39 cool, psychedelic lead synth with lots of movement merging nicely with everything else. Bass hasn't got boring yet. I'm not sure it ever does."

That solo was played by myself on the Korg Microkorg with some knob twiddling as I made it. Originally made for another song ,looped and added as an afterthought as it worked.

"6:56 onwards there is a problem with an audio pop on the slow attack bassline at the end of each measure till the end. Maybe crossfade between the samples to get rid of that? "

You have ears of steel superman, as I can barely hear that (and only when you pointed it out) on my car speakers and studio speakers with my old man ears, but you are right it is ever so slightly there.

"Deeply chilled and uptempo and really quite sophisticated. "

People don't realize how hard it can be to do a minimalist piece. And I think what I have learned about doing that is restraint in the correct rhythmic places. Complex percussion that unfolds as a natural progression and doesn't overwhelm the mix. Simple piano lines and arpeggios that hint at melody. Try not to get to far off track (as I love to do) with the essence of the song. keep it changing (subtly) but true to it's core and return to the beginning at the end.

It was a fun track to make.
PS, Cruella de vil (thats a clever one)
Well Thanks for listening and commenting Rustic Nutbath. Always a pleasure.

Crutopia

Guten Abend

I'm glad you liked the track, and the detailed explanation to Greg. And sometimes I do know what I'm doing, and sometimes not so much.
uneducated..you ...no, your education is different though, and I appreciate that..and learning from you my friend.

Servus!

Thanks Billy.

How about a "Singapore Sling" as the lubrication.

Hey thank you Modnex, I'm glad you enjoyed this one. I just wanted to make a simple deep house tune like I used to hear in New York back in the day and it morphed into this.
Peace
Cru

"I love that intro. It's so soft and sweet I could spread it on my toast"

Yes I just invented Dancetella...so much better than nutella. I'm glad u enjoyed this one!
thanks for your comments
Cru

Not since 2012 I'm afraid Mr Wolf. Started in 1996 and 12 albums later it ended.
Thanks for the props.
Ciao
Steve

Hey Danke.

It took me a long long time to get to the point that I could do a track like this. I would say 15 years of practice just to understand the minimalism concepts and correct balancing of sound. So I was as elated as you are in this wonderful comment after completing it. I just needed a Muse.
Steve

Thanks Orlando.
you know I am a good cook in real life as well. Tonight A marinated Bavette with duck fat potatoes and asparagus, served with a syrah.
Here is an Ambient version of this track for comparison.
http://www.soundclick.com/player/single_player.cfm?songid=13352634&q=hi
Music has been very very good to me lately! ;-)
Ciao
Steve

Thanks D
I get bored easily so my songs have to have change in them to hopefully keep u interested but also to keep myself interested.
I'm glad U enjoyed it.
Cru

Hey digga, I'm glad you stopped bye and commented. This site can be awesome for learning.

I have a Drums and Bass only version of this song for comparison.
http://www.soundclick.com/player/single_player.cfm?songid=13352637&q=hi
Thanks
Cru

Thanks you, balancing the frequencies and tone of the instruments is important to me in my mixes.
Cru

Ahh my dear Greg with his obtuse questions again.
Let me educate yah on my methodology of percussion.
First you need an anchor kick that you can build everything else up from in the center track. Using Mathematics, tone disbursement and spatial panning and mixing from a 3d perspective is the first steps I choose. Then I start bringing in the high hats the snares the congas the rims, the effects, the toms.
In the case of this track and the last track which I remixed alex (promenade2299), I could hear the sounds I wanted in my head before I did the remix (and I actually stated that to alex before) and then went through my loop collection to get them organized for the mix while incorporating his very ecelectic perc loops he gave me for the mix. Some drum loops have a cool percussion vibe but I don't need the kick, so I high pass filter it out. Some loops I add reverb for the spatial effect of hearing it more in the background. Making music for as long as I have allows me to also make instant judgements on what perc loop will work and what doesn't and again it all comes down to simple math sometimes. The Best house artists have this ability to drive a minimalist song forward with fantastic percussion changes throughout the track. I love when Danny Tenaglia does his deep house mixes for small crowds because you hear this element profoundly throughout his set.
I like the jazzy part as well.
I hope this answers your question.
Cru

Yeah I want to hear this one on a soundsystem!!!
Thanks
Cru

Thanks!