Hi Gabbe! On 7/3/13, Gabbe Nord <gabbe.nord(a)gmail.com> wrote: This is absolutely great! I'm tapping my foot as I type this email, wonderful, easy summer beats. Thanks for sharing your great work.

Wow, great job, amazing sound and great tunes. I'd love to know how did you setup the drumset, are they the defaults in Hydrogen? Maybe i'll touch a bit the sound of hhat, cymbals and ride to make it more "real". For my ears that would be just perfect. Anyway, i'm absolutely amazed by your sounds! 2013/7/4 Brendan Jones <brendan.jones.it(a)gmail.com>

Hi Gabbe, On Wed, Jul 3, 2013 at 8:05 AM, Gabbe Nord <gabbe.nord(a)gmail.com> wrote: online! :D I'm listening to your album while writing code. I'm really enjoying your music. The melodies are beautiful. The transitions between songs are beautifully executed, and yet each song is obviously distinct from the others before it. Each part sits in the mix on its own, and doesn't crowd the other parts. If I had to pick one target for improvement, I'd say that the mix feels a bit too compressed in some parts of the first couple songs; however, I think now that might be an artistic choice, as the fourth and fifth songs have a lot of interesting, fantastic dynamics. I love the use of resonance in the synth sound at the end of "Come and Play". Great job. -- Devin Anderson surfacepatterns (at) gmail (dot) com blog - http://surfacepatterns.blogspot.com/ midisnoop - http://midisnoop.googlecode.com/ psinsights - http://psinsights.googlecode.com/ synthclone - http://synthclone.googlecode.com/

Hello Gabbe! Before I begin to say any word about the music you made, I will say: thank you for all the troubles you got up to to give me a chance to listen to it. This is very kind of you and - be assured - very much appreciated! As a whole, I very much agree with Dave's vote of the clear sound and good mix. The mixes have power, sound well balanced to me. What's even better, is that they fall on willing ears. In recent weeks I've turned more and more towards electronic music. the intro is a good introduction to the sonic world of your album. Slowly taking me in, preparing for the Skandinavian sound and feel. The width and openness. Only to surprise me later on. there is that Skandinavian feel poking through, but not as obvious as before. I like the bassdrum of the intro. It appears later on again. It has bite and pumps a little, not in a compression artefact way. It's somewhere between an edited acoustic bassdrum and something purely electronic. It might even fill the four-to-the-floor niche. It is alive is the nice four-to-the-floor piece. And it already shows something, which characterises the whole album. The tracks flow seemlessly from one into the other. Not only by ambient sounds, but by concept. If it had been me, I'd have mixed the snare louder. But that way it keeps the attention, while still deliviering. I can't completely let go with that, because, there is that small bit, which seems so uncharacteristic. I also love the somehow oneiric harmonies. Tending towards minor, yet rarely pure minor chords. While having a touch of 90s nostalgia about it, the mix sounds very much like the current decade. Do you use "overcompression" to get this slightly pumping effect? I noticed that throughout the album and had been wondering. If so: how do you compress? The whole song or only certain groups of instruments? - Again the bassdrum is nice, crisp and very well defined. Ha! The blend to Still is lovely. I recognise the sound and I must admit, that I never dreamt it could be used in such a place. Well sed. Still: I think here the bassdrum is a little too loud in the mix, but not so loud as to bannish the thought of enjoyment. :-) And so we have turned to a more hiphop styled track. And it still keeps in the spirit of the earlier tracks. As I said: it's a sonic world, this album. Listening to it again, I feel, that so far, it appears more like a change in arrangement and style than in harmony. It's bordering on my threshhold of boredom. If it wasn't for the very nice mixes and well executed styles and the morphing of one into the other... but there is that and it holds me. You know, that my threshhold of boredom is quite low. Since I'm still more of a prog and baroque listener than electronica. Come and play; why not. I'm game. :-) This sets a much lighter tone. I love the slight touch of breakbeat in this piece. Also the main instrument is interesting. the way the piece changes from almost elevator music into almost dubstep is great. The way the movement picks up and the arrangement fills up from almost meditative spheric guitar to the full beat. Teh effects you used, the well-placed delay and how you managed to use that to instantly isolate the main "lead" and the rhythm in places. Well done. good trick! Full Moon baffled me at first. Perhaps because I approached it with preformed notions, of what it should have been. That way it's the piece, that I still perceive as the weakest piece on this album. It sounds to common place for me. To worldly. The introduction and the "bridge" are the best bits. They talk to me of a full moon and the quiet night. The rest is more of the beach party next door with its drinking, barbecuing crowd. At least it's a Swedish party and not one of those Mallorca crimes, that they probably call "a beach happening" or "afterwork holiday". :-) Get out the "let oel" and let's say "skol" (sorry can't spell it and didn't find it quickly :-) ). I wonder, what you thought, when you called the next composition "Touchdown Germany"? Was it the ambient sound from the lecture hall at my uni? Or is it the plump beat? That beat, which makes me think of Flaubert, who said something about music of the heavens, that we hear, but only produce something, which sounds like it's being played on rusting tin drums, written for crippled bears. :-) It has a very raw edge this piece, while keeping with the flow of the dreamy melodies. the Circus reminds me even more of dubstep. Not really, but the stuttering rhythm and this change from third notes in a quarter beat. Only your version of it is like Debusy's sweet juicy apple eaten with knife and fork in comparison to Gershwin. Neither is wrong or right, but one is more tamed than the other. Rhythmic acrobatics in pensive music. A circus indeed. :-) Have you ever been to Korea? If my quick look at google didn't lead me astray completely, it should be somewhere in South Korea. Whereever Kojan is, we have returned to the good, old idiom of hiphop with the drumkit from the first track. If I were to analyse this piece, I'd say the instrument reminiscent of an electric piano in the middle has a slight touch of typica Asian harmony and the sawtoothy synth almost gives an impression of chiptunes synthesis. With the impressions we get, I might suggest, that this is to conjure up an idea of all those game consoles, that the youngsters over there love so much or at least use so much. One of my old classmates would at least agree with the interest in game consoles, if not wioth my implications on this piece. :-) In a way it's a good song to lead me out. It seems so much more worldly. The applause, the crowd, the rest of the world, that stands so far removed from the images of moonlit nights - parties or no parties - and the still, windy atmosphere of the album. You worked a great deal with white noise, which gives one the feeling of wind in the dunes. It's a sound I heard a lot in radioplays and this white noise patch - or patches - are close to that sound. Somewhere between wind and waves or the mixture of the two? All in all, it's a good album and I will be sure to listen to it again. Perhaps not in one go, as I did today, but now I've taken in teh atmosphere, I can quickly travel back there. It's a good piece of work Always slightly dreamy, dark, depressive and still with a consoling lightness behind the pregnant beats and occasional distorted synths. A good balance between the single mindedness of centre beats and basses and parnoramic harmonies and effects. I like it. And I hope, that you will get a whole load of feedback and a couple of new listeners. What will you give us next time? Perhaps once more something with the occasional lyrics? Some Swedish hiphop or some English song of longing? Or something different? Warm regards and thanks for sharing Julien ------------------------------**---------- http://juliencoder.de/nama/**music.html<http://juliencoder.de/nama/music…

Hello Gabbe! You're welcome and I'm very sure you put much more work into this than I did. :-) thank you for the explanations. It's a pitty, that sidechain compression doesn't really work with Ecasound. It appears to be a valuable tool, when you're doing electronic music. Kepp 'em coming! Julien ------------------------------**---------- http://juliencoder.de/nama/**music.html<http://juliencoder.de/nama/music…

On 07/05/2013 12:20 PM, Gabbe Nord wrote: Depends if the compression is following a fixed pattern (like a four-on-the-floor bass drumm) or not. Done more subtle, it can be a way of letting things like bass drum cut through the mix. -- Atte http://atte.dk http://modlys.dk ______________________________**_________________ Linux-audio-user mailing list Linux-audio-user@lists.**linuxaudio.org<Linux-audio-user@lists.linuxaudio.org> http://lists.linuxaudio.org/**listinfo/linux-audio-user<http://lists.lin…