drum machines do have a soul
Have you noticed how a lot of pop tracks seem relatively simple, but are hardly boring, and always end before you want them to? It is quite interesting to analyze those overplayed pop records, from last year and from 40 years ago. What makes them work?
Can I plug my own project on here? I’m not even going to answer that.
A [freaking talented] singer Rachael Dillman and me are working together on a project called Coast Green. We’re still looking for a defined style of our own, but so far it seems like tend to play electronic pop and downtempo jazzy kind of stuff. We’ve even got a MySpace page now (I know, I bloody hate it too, but who would refuse the networking it provides).
Today, as a warm-up, we played “Zombie”, and decided to make it into a short demo cover track.
A few days ago, I walked out of Staples, and while heading to the bus stop, recalled a South Park joke (the “shitfaced cockmaster” and “listen, you donkey raping shit eater”). I started laughing aloud. When I looked up, I saw a woman walking towards me; she was laughing about something of her own, and looked up too. Our eyes met, and we started laughing even harder sharing a short mutual moment of happiness. I couldn’t stop thinking about that on the way home.
Since May, MacBook has been one of Apple’s best-selling computers. Up until the Core 2 Duo upgrade of MacBook Pro’s, it matched its ‘pro’ bro in specs quite closely, with up to a 2.0 Ghz Core Duo CPU and 2 GB of RAM.
As many others, I saw the MacBook as a smarter option for the work I do, plus it would be far more powerful than my then current tower. I do quite a bit of audio and MIDI recording with Cubase outside of my full-time job here at a Mac reseller store, and got one of the 2.0 Ghz white Core Duo MacBooks as my main computer.
I found it quite suitable for audio work, except for a few quirks, which, depending on the audio work you do, will either not bother you, or drive you nuts.
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