Alternate Perceptions – Nowhere Nuthin EP

Yeah! My project with my pal Kooki Salinas is back again with a two track EP with some hypnotic Techno grooves. Track number 1, Nowhere Nuthin, is a subtle Techno journey with evolving soundscapes and trippin effects, KR-4 a more four-two-the-floor synth driven melodic tune.

 

 

This EP is out on Method (Baroque Records) and early support has been awesome with positive feedbacks from Laurent Garnier, Wade Bennet, Joseph Capriati, Mitch Alexander (Microastle), Jamie Porteous and others.

I was totally thrilled when I found out yesterday Lauren Garnier has played “Nowhere Nuthin” on his IIWII radio show:

 

 

How cool is that!!!!! 🙂 Peace and love,

 

Yoni

פציצות

הוידאו בלוג שלי בו אני מדבר על נושאים קריטיים בתחום ההפקה המוזיקלית, ניתוחים שוטפים בנושאים ביטחוניים בוערים וסקופ בלעדי על מה שבאמת קרה בנחיתה על הירח.

My Video Blog in which I talk about critical issues in the world of music production, national security analysis and what really happened during the moon landing.

The Story Behind My Song

Greg Egan’s science-fiction novel is set in the year 2067 in a world where the solar system has been enclosed by an unbreakable barrier put in place by an unknown extraterrestrial force. Nick Stavriano is hired to find a brain-damaged woman named Laura Andrews, who has disappeared from her institution. Following her to Hong Kong, Stavriano’s case leads him closer to the mysterious force that’s “quarantined” the solar system.

 

What I find fascinating is the fact that the hero in this story is aided by a skull full of neural modifications. The book starts with him receiving loads of information directly to his brain while he is sleeping. The whole idea of these neural “moods” is quite similar to the way we install apps on our phone. And that’s so cool, because imagine how easy it would be to have maps, calendar and what’app directly in your brain.

 

The “ensemble” is a special kind of mood which exploits aspects of Quantum Physics to avoid the collapse of the wave function. That opens up the possibility of choosing from infinite alternate realities which starts a crazy chain of events culminating in a grand feast of what would be considered completely impossible.

 

Yonatan Rukhman – The True Ensemble

Greetings mankind!

I am very excited and pleased to serve you my new song, “The True Ensemble”. After years of working in the recording studio producing bands, song-writing for various artists, producing as part of various projects,  I have now decided to give birth to a new project, my own new sound, using my own name. I am also using my own services as vocalist…so what you hear is totally, 100% myself. The genre is electronic, house-to-pop, and generally I think I am going to be quite versatile on this project as I think and hope more will follow. The inspiration for the lyrics of this song came from science fiction literature that I am particularly fond of, but I will talk about that in a separate post. For now, just listen to my new track! Hope you enjoy 🙂

Party@Ben Shemen 6

שמחתי לחמם את הרחבה עבור DJ Moradi ו-Sunshine, הנה הקלטה של החלק המרכזי של הסט, בערך השעות 23:30-00:30, קצת פאנקי, האוס, טכנו וחוזר חלילה… דגש מיוחד על הטראק Chunky של Format:B שזוכה לתואר אחד הטראקים הטובים ששמעתי אי פעם…(!!seriously). 🙂

Tracklist:

1. Faul & Wad, Pnau – Changes (Tocadisco Sunny LA Remix)
2. Disclosure, Mary J Blige – F For You
3. Claptone, Jimi Tenor – Party Girl
4. Format:B, Pleasurecraft, Chris The Voice – Coltrane
5. Yonatan Rukhman – I Want To Know What Love Is (Work In Progress)
6. Format:B – Chunky
7. Rene Amesz, Mendo – Tribeca
8. Miguel Bastida – Moudness
9. Antonio Thagma – Doing That

Alternate Perceptions – Psion EP

Very proud to announce the release of this new EP. Me and my pal Kooki Salinas have taken a break from the Yud Kei project and have gone into some deeper electronic stuff. The EP is released on UK imprint Baroque Records and early feedbacks from heavy weights such as Richie Hawtin, Joseph Capriati, Marco Carola, Michelle De Hey, Mitch Alexander (Microcastle) have been really positive 🙂

Here are some links:

 

 

Link to Beatport: https://pro.beatport.com/release/psion/1688798

I’ll write a short review of each of the tracks:

 

  1. Psion – A downtempo hypnotic synth driven track, with some acid synths going in and out while a constant driving motiv sets the mood. The term “Psion” refers to psionic hypernatural powers.
  2. Time Binding –  In the Deep House domain, alternating percussion patterns take you through sequenced basslines and liquid atmospheres. Time Binding is a term taken from Philip K Dick’s novel “Flow My Tears The Policeman Said” and is the effect of a drug described in the book, KR-3. The spoken words are also taken from that book.
  3. Armitage – Melodic Techno. A strong rythmic pattern is the ground for an evolving landscape in melody and warped effects.

Enjoy!

Rewire: A story of hope & dismay

Pro Tools, Cubase & Ableton Live have been the three softwares that shaped me as a Sound Engineer/Producer. We haven’t bought Pro Tools for the new studio yet, so this leaves us with the other two, and I said to myself: why not enjoy the best of two worlds? Rewire!

So, accepting having to use Cubase as master and Live as Slave, I embarked on this new adventure!

Surprise #1: Control surfaces are disabled while Ableton Live is in Rewire slave mode. Hmm…my AKAI APC40 to the trash…but I can map it to Cubase as well! You do it…

Surprie #2: Well this wasn’t really a surprise, but I will keep this format for the sake of drama…VST plugins can be used only in the master application, so this means that if you want to use VST plug ins on your Ableton tracks you need to map them to a dedicated bus, that are fortunately quite enough (64).

Surprise #3: Putting a track in solo in Live can drive you crazy, and there is no way around this. Gotta switch to cubase, solo the Rewire master/bus, solo your track, and then un-solo them both…

Surprise #4: This one is the real killer…once I had different timelines: three minutes in Cubase equaled 3:50 in Live, and I had to actually test them with a stopper watch to see which one was correct (it was Cubase)… that one literally drove me crazy, and I have no idea why it happened.

Having said that, there are still some things that are really comfortable in this method, especially if you need to work fast. I find that auditioning samples in Live is much faster than Cubase and Cubase has the vary audio function that is essential if you have vocals. So, there’s the compromise!

Good producing to all,

 

Yoni