i have enormous respect for the mastering work of Rashad Becker, he did the Timeblind 12″ I put out on Soot (and inscribed ‘Soot’ in the vinyl written in proper Arabic!), among many other projects.

mastering 73 mastering 78 mastering 88

Here he talks to Robert ‘Monolake’ Henke* in great detail about mastering [via]. If you’re into production or mastering, it’s certainly worth a read, I especially like his ‘don’t do it unless you have a reason’ vibe with its emphasis on simple intentionality.

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excerpt: Most plugins provide too much visual feedback for my taste, which keeps me personally away from mapping the sound to my body, and to my ears – and thats how I master like: that I scrutinize the sound how it hits me. Not necessarily brutally, but how it addresses my body, and if I have to focus on a computer screen and operate with a mouse that is something else, its just a different world.

excerpt: Mistakes – there are a lot of things I have to cope with, which derive from being uneducated or inexperienced, like for example people keep sculpting their sound by boosting frequencies if they feel an element is not prominent enough in the mix. Lets boost it! If it has not enough bass or not enough high end – lets boost!!!

Instead I try to educate my customers to think the other way round: Scrutinize every singal for consistency, check for what disturbs it, and try to remove that, and not primarily check the signal for what’s too little…
I always think negative. I know this is much less fun actually, but the results will be much more consistent and also louder.

People try to achieve loudness by saturating media and thats just the wrong way, its the other way round! Saturation can be done at the very very end. If you saturate your medium from step one on, you will have music which will have a constant high level but will not sound loud.

The basic mistake is that people compress or limit without a musical vision.

* Monolake and I played a bunch of shows together in Brazil a few years back and ate really good food every single day. Right now I’m in the Newark Airport — stuck here due to weather conditions (I’m playing Montreal tonite.. or trying to!) — it’s November, humid, and the recycled air smells like fried food kept warm under heat lamps and is making my face greasy. Businessmen are hogging all the electrical outlets.

can’t remember, but i like it

[audio:https://duttyartz.com/mp3/phantom.mp3]

T-Pain – Phantom

that “aay” sound (not in this track) is a much more common effect than autotune…, plus it is a more psychological thing to talk about, trees for forest sometimes. His skits involve ‘rings’, as in straightfaced circus jokes rather than Tolkien or marriage.

[cross-posted to Mudd Up!]

THESWARMCUMBIAKLASHCOVER4b
Big thanks to everyone who came out to Fiesta Soot, especially La Yegros & Fela crew. We were so busy with that and recording and whatnot that a bunch of us got sick. Germs, bacteria, cough cough, viral.

VIRAL

JahDan Blakkamoore’s Noble Society & 77Klash get a great cumbiambero refix treatment via La Familia Dub:

[audio:the_swarm_zuzuku_cumbia_klash_RMX.mp3]

The Swarm Zuzuku Cumbia Klash remix

(i posted up the original version awhile back)

…to the tropical bass & dutty selections of DA hermanos Rupture & Geko Jones this Saturday, late, BK loft style. i got elsewheres to be earlier so expect me on around 3:30… party goes til we find the sun again.

LYS eflyer

hi my name is DJ Rupture and I WILL BE SELLING ALL OF MY RECORDS at the Brooklyn Flea on Sunday Sept 14th. OK, so probably not all of them. Maybe just 300-500 of them… whatever, I don’t buy bad records so the selection will be choice.

And the day before that, there will be another FIESTA SOOT @ Manhattan’s Bowery Poetry Clubb, lineup TBC.

plus, CUUUUUMMMMMMMBIA

fantastico

from The Fader blog:

“For more than a year now little bits of cumbia detritus have been washing up on our screens from all corners—white labels from SF’s Bersa Discos label, uncredited cumbia crunk border radio-style party blends from somewhere in TX, uncredited youtube clips of dubbed out accordion jams…After awhile we felt the need to get the full story behind these mysterious artifacts, so we enlisted the most well-rounded cumbiologist we know; DJ /Rupture aka writer Jace Clayton, to get on the case.

Having been involved in everything from remixes to chicha and Colombian roots reissues, Jace seemed uniquely positioned to give us an overview of the century old genre, so we took him at his word when he said Buenos Aires was the current hot spot and the ultimate origin point of much of the stuff we’d been hearing and hearing about. One plane ticket later, Jace and photographer Gabriele Stabile had embarked on a documentary mission to BA that resulted in a Summer Music issue feature. And now here it is in web-form; back on our screens, where it all started. After you’re done reading the feature, check out Jace guest columning this week’s Ghetto Palms on cumbia here.”

Slow Burn cumbia article

DJ Rupture – Villera Palms cumbia mix with full tracklist/writeup

…now is probably as good a time as any to mention that my remix of Fósforo’s Musquito (taken from my album ‘Special Gunpowder’) is included in a new 2 CD compilation alongside Orchestra Baobab, Manu Chao, Toumani Diabaté, Youssou N’Dour, Lucky Dube, and more!!

Beyond the Horizon, as compiled by BBC radio’s Charlie Gillett. Out now in the U.K. on Warner.

bbc-cd

(Fósforo gave the world Cumbia de Obama as well)