Spaced out on the day of the week. Fixed now. It is FRIDAY (not Thursday.) Typoz. Doh!

Swiss synthetic punk, Syndrome WPW, is joined by NYC chipmeisters, glomag and Knife City at Goodbye Blue Monday in Bed Stuy on FRIDAY, May 14 for a night of unhinged electronics.

-Syndrome WPW (Midinette Records) is something akin to Bacalao, but a bit more punk.

-glomag (8bitpeoples) has suffered for his music. Now it's your turn.

-Knife City has been ripping it up on stage for almost a year now with one game boy and a BIG BIG sound.

Goodbye Blue Monday
1087 Broadway, Brooklyn, NY 11221
8PM
$ TBD
21+

googlemaps: http://tinyurl.com/3az4xev

51

(72 replies, posted in General Discussion)

bleo wrote:
XyNo wrote:

-8Bit Operators : Wanna hld yr handheld vol.1...the name say it all !

Oh, duh.  Leave it to me to forget to pimp the release I was on...

Such a self-promoter.

thnx matt.

Nigel suggested Visual Boy Advance. Works great. Thanks.

thanks Kevin. There is no longer a search function on the Nanoloop forum that I could find.

It isn't pausing at start, it just doesn't open at all. KiGB opens and that's it.

Can anyone tell me which emulator on OS X works best for 2.3? I am trying KiGB at the moment but can't get it to open. I have emptied the Battery Saves folder (is that correct for Nanoloop?)

Thanks.

This show was great. Goferboy kicked ass with Runaway. His covers are so well arranged.
If Rhinostrich lacked a Zardoz costume, he made up for it with great compositions. ExileFaker, damn. Last song ruled. Hear it in the music section:
http://chipmusic.org/exilefaker/music/ockhams-chainsaw
minusbaby ripped shit apart with the last live rendition of the brilliant "Left" with an extended "Flying" tagged on at the end. Gyrations aplenty in the crowd.

57

(52 replies, posted in General Discussion)

please checkl out DAF (Deutsch-Amerikanische Freundschaft.)

Amazing, minimal, synth punk. At the itme it was called Neue Deutsche Welle (German new wave.)

The awards were fun as fuck, to beat a rainbowdragoneyes saying into the ground. Thanks Peter, Akira, Brady and Lazerbeat.

*glomag is a compensated spokesperson for the TCTD Awards. But the dumb ass blew his compensation on breakfast at Westway Diner after the show.

Sycamore Drive wrote:
an-cat-max wrote:

this is badass. fuck. i hate the UK

Definitely. When this gig is on I'm going to sit and listen to my Thy Name Is Adventure tape and act out the show with a series of cardboard cutouts.
Good luck guys.

totes Rupert Pupkin style, amirite?

Looks and sounds great guys! I can't believe I STILL have not been to PAX.

61

(3 replies, posted in Releases)

That Peer dances release is quite nice.

62

(52 replies, posted in Audio Production)

Rainbowdragoneyes wrote:
tRasH cAn maN wrote:

I suppose you could record hot on a reel-to-reel.


I wonder if anyone is doing that..?

Just for you, TCM, my new songs will be mastered on a 1/2" MCI tape machine. Not really just for you but also for me.

In my only experience with the 'big boys', mixing and mastering at The Hit Factory, the engineer mixed all our pro-tools tracks to 1/4" reel to reel to warm it up. It ended up sounding pretty nice I think. The mastering session was really instructive. I asked the poor guy tons of questions about compression and EQ.

Rainbowdragoneyes' mixes are quite nice. Must be the hair.

63

(52 replies, posted in Audio Production)

Bob Katz FTW. Here is a really instructive section from the intro to Mastering Audio.

Mastering requires an entirely different "head" than mixing. I once had an assistant who was a great mix engineer and who wanted to get into mastering. So I left her alone to equalize a rock album. After three hours, she was still working on the snare drum, which didn't have enough "crack." But as soon as I walked in the room I could hear something was wrong with the vocal. Which brings us to the first principle of mastering: Every action affects everything. Even touching the low bass affects the perception of the extreme highs.

Mastering is the art of comprimise: knowing what's possible and impossible and making decisions about what's most important in the music. When you work on the bass drum, you'll affect the bass for sure, sometimes for the better, sometimes worse. If the bass drum is light, you may be able to fix it by "getting under the bass" at somewhere under 60Hz, witch careful, selective equalization. You may be able to counteract a problem in the bass instrument by dipping around 80. 90, 100, but this can affect the low end of the vocal or the piano or guitar - be on the lookout for such interactions. Sometimes you can't tell if a problem can be fixed until you try; don't promise your client miracles. Experience is the best teacher.

That Lazerbeat track is fucking INTENSE. Had my headphones on when I clicked it. MISTAKE.
thanks for the embed.
This thread keeps on delivering.