I laughed the other day at a post from underground house music legend Steve Mac mentioning a promo he had received that featured ‘a big ship noise’
It suddenly occurred to me that perhaps they meant a lighthouse foghorn, much like the one beautifully recreated in Spitfire Audio’s excellent LABS series https://labs.spitfireaudio.com/foghorn and a sound that I’ve actually used on one of the mixes of the new single “Memory” 🤣Take a listen below (you’ll need to scan through the track to the right point on the player) and you’ll hear it in its monumental majesty.
So I’m wondering, have I unintentionally got caught in a zeitgeist moment? If I have please let me know of more Ship Noise/Foghorn tracks I can reference. Perhaps Traxsource needs to setup a new genre to accommodate 🤣
Man, I’m so thankful for all the support received on the new single “Such A Shame”. Something has really resonated with people on this one and I reckon it’s largely down to it being an exceptionally written original song with an exceptional performance. Several weeks after release it’s still in the Traxsource Garage Top 10 with two of the available mixes still riding high. Check the videos below and you’ll find the links to download or stream.
So the brand new release is up now on exclusive Traxsource pre-order here – https://www.traxsource.com/title/1847124/such-a-shame-mixes It’s an original song featuring the incredible vocals/songwriting of Kayleigh Gibson and comes in 3 mixes covering Soulful House, Garage House and Deep House. Right now you can listen to edits from the full tracks up on the Traxsource player but I thought I’d drop the deep dub in full over at Soundcloud to get you in the mood for the full release on Friday.
So I was listening to a Louie Vega twitch session the other day and this super interesting dubby and trippy track came on with weird vocals that reminded me of someone that I couldn’t quite put my finger on. The track went on for some time, about ten minutes and featured what sounded like reel to reel tape twisting and some wicked percussion. It felt organic, it felt contemporary and I loved it.
The Shock, the horror!
So as the track neared completion the Maestro calmly announced that it was Paul McCartney, an ‘electronic music pioneer’ and I was in complete and utter shock. Here was someone who had prior meant nothing to me (I’m sure I’ll get shot down for this) and similarly the Beatles. I simply have never felt they have a place in my life.
Now Louie didn’t give out the name of the song, so I went on a mercifully short journey through the McCartney back catalogue on Spotify scanning a few seconds here and there across a variety of albums to find ‘Secret Friend’ – take a listen below and be completely blown away by this 1980 masterpiece!
Want to learn the subtleties of programming drum elements with the help of velocity? This maschine video has techniques that can be applied to any platform for realistic shaker, tambourine and hi hat patterns. Essential viewing for beginners!
Good question, how about you learn where all the instruments sit on the stage! Invaluable for classical music students starting out on their journey. If you’ve not been lucky enough to see everyone on a stage this is the next best thing. You’ll also learn the diverse range of instruments that exist in the orchestra and of course, you can play them from the keyboard and get used to the sound.
It Sounds Amazing!
As per the norm with Spitfire the actual sounds are high quality and expressive. The orchestral percussion is particularly interesting. Literally you won’t need anything else if this is the only orchestral plugin you have and your name is not Hans Zimmer (who can afford the super luxury ones)
So last night I did a trolley dash of new #garagehouse tracks on Traxsource and put them into a live mix on Twitch.tv/dannyjlewis but little did I know that one of the kids had been playing with my crossfader switches on the front of the Traktor S4 and the left channel was playing at all times!
When it’s late at night I have to monitor the audio quietly and therefore I couldn’t actually fully hear what was happening although I’ve got to be honest that something felt a bit ‘off’ on occasions from what I could hear. Basically I have gone back to working with crossfader instead of ‘upfaders’ so of course everyone got to hear what I thought I was cueing up and the train wrecks when I did. I literally only realised at the very end and that’s such a shame as I tend to record the mixes in Traktor and then upload after to Mixcloud https://www.mixcloud.com/DannyJLewis/
Why Not Delete the Mix?
Good question! Initially I thought it was pointless to keep up but then I realised actually there’s some audible and visual insight into the decision making process of putting together a mix. You can literally see me make decisions about tracks to include on the fly in latter parts and you get to hear the techniques I use to try and put the thing together.
I had some lovely comments surprisingly so there must be some value of keeping it up. You can take a look for yourself here – https://www.twitch.tv/videos/1527231614 is the session if you want to have a laugh!
Marc Cotterell and I are running the show on the brand new TRAXSOURCE LIVE! Garage Session #199. Marc plays the first hour and I’ve gotta say it’s an exceptional selection that is truly reminiscent of the classic days I used to spend avidly listening to DJs like Brian Tappert in the Soulfuric heyday. It’s a fantastic collection of super authentic Garage tracks that really took me back, but in a fresh way. I tip my hat to Marc, it’s a high quality selection with the perfect blend of vocal led anthems and underground dubs. You’ll also find in the second hour a mix and blend from yours truly live on the Traktor S4 complete with Maschine on the sample triggering duties. You can take a listen below, drop a comment in the player if you’re feeling it! Also, don’t forget you can catch me on twitch.tv/dannyjlewis every week.
There’s a great deal on at the moment that brings serious discount on Kilohearts plugins. I’ve not really paid attention to them prior to be honest until I saw recently some sound design videos using Phase Plant on twitter that were incredible. So I took the plunge and bought it and instantly I’ve taken to making some patches due to the speed and flexibility of the UI. Sure they’re not innovative but they are super useful for my sound and a great starting point in learning the UX. Can’t wait to dive into the more complex stuff over time. Here’s some of my patches:
If you’ve been watching my videos you’ll see that regularly I’m using the Korg Triton plugin and now more recently the Extreme iteration and it’s what helps me get the authentic old school sound I love. Now let’s talk about that ‘sound’ and how I’ve totally been missing a trick on this amazing plugin. Yes the classic factory libraries are there with all the patches you’ll recognise but little did I know that they’ve built in DAC emulation and I haven’t been using it! Here’s an excerpt from the manual with the lowdown..
Up until now I’ve been using the Digital mode, totally missing out on the vintage vibes and now feeling like a total idiot. To tell you the truth I haven’t yet carried out a detailed analysis on the how different each sounds so perhaps someone else out there has? If you have checked them out what’s your favourite and why?