The music for the CDs is created blending a combination of live instruments and samples. This allows me to introduce all manner of interesting instruments from across the globe to create an interesting musical fusion wonderfully described by one listener as "Aztec trance music!"

Audio Recording

The main programmes I use in recording are Cool Edit Pro and Acid, with all PCs equipped with the excellent Midiman Delta 66 and 10/10 LT soundcards. These software programmes are really easy to use, with all multitrack work in Cool Edit mastered at 32 bit, in order to get the best possible sound quality. Acid Pro also opens up a whole realm of musical options and is great fun to use. All mixes are finally mastered using the excellent Waves L3 Multimaximiser (shown) for the finest sound quality. There has been a great deal written for and against the use of samples, but in my opinion they are like paints in that it is the job of the artist to take these individual elements to create something unique! I especially like to use combinations of drones and unusual rhythms to produce environments that induce deeper trance states.. The guitar parts are played on custom made Telecasters or Strats from Dan Ransom and Gary Brawer in San Francisco, as well as the excellent Parker Fly acoustic and electric range of instruments. Most guitar work is recorded directly through a Line 6 original Pod or through a 1970s Fender Vibrochamp using the classic SM57 Sure mic.

Recording Vocals

For vocal work I tend to prefer Rode microphones, which are run through a TL Audio Ivory preamp and then processed using the excellent Acoustic Mirror reverbs from Sonic Foundry, which use "impulses" rather than processed reverbs such as found in Lexicon outboard units. Remember that in the 1960s many classic LPs were recorded on 4 track tape machines and EMI wouldn’t even allow Paul McCartney access to their 8 track machine as they decided that it was at that time only available for "serious classical musicians!" Today it's possible to record up to 120 tracks at 32 bit rate in a home studio for a sensible cost.

I should also mention at this point special thanks to Pete Kelly who first persuaded me to move from digital tape to hard disc recording (in just 20 minutes!) and whose own work can be found at www.chillfactor10.co.uk. Pete has been a major technical help in recording advice and also an invaluable secondary sound engineer on major products ,when he is not producing his own work for art installations! Also special thanks to Karl and Darren at RRS Music in Leeds (see www.rrsmusic.com).

Musical Influences