My latest album, In Depth is now complete, and I am really proud of this one. I think it came out great! The album is available right now for Patrons only, and will be released later this summer for the rest of the world.
This amazing cover art was done by my friend Ligang Luo. I really think this album is one of my best to date, and features a nice mix of live instruments with tracker tunes, drums, bass, guitar, synths, and Milkytracker. It’s experimental, and lifts you up in sections, then takes you to the depths in others. It’s 11 songs and about 40 minutes long. If you become a Patron for any amount at https://www.patreon.com/demonicsweaters you’ll get it right now. There is also a beautiful foldout insert also done by Ligang. You can really help out by becoming a patron, plus you’ll get some awesome music!
I recently had a question from a subscriber: “I am trying to record music from my home HiFi into my iMac Desktop computer and convert lots of Minidiscs and Cassette tapes into mp3 or other Audio types for which I have other software to do that. But my main question and problems are relating to the recoding levels and volumes to be use with Audacity to convert the music to digital. I did hear from someone that I would need to increase the volume on my HiFi in order for Audacity to pick up the sound. But I am very confused as to what volume level I should be using on my HiFi and what Input levels I should be using in Audacity.”
Okay, so firstly, there’s no reason to “increase the volume” of your source audio more than a normal level. If it has an analog volume adjustment, maybe setting it between 5 and 7 would be suffice. You obviously want it to be loud enough to create a clear signal, but that’s really all.
Once you have that setup, and the source connected to your computer, assuming you already have the connection logistics worked out. You’ll now need to set the recording level within audacity. Once you have everything hooked up, start your source material playing back, then click on the level meter in audacity (circled below). This lets you check your level before you start recording.
Try to get the level as high as you can without going into the red. You can adjust the level using the microphone slider located under the pause button. Once you have a good level, you can restart your source material and record for real. Once the recording is finished, you can use the “Normalize” plugin to make sure your recording is at maximum level.
I just released a new live performance video the other day of me playing drums along with a song I made in Milkytracker. This is not the first video like this I’ve made, in fact I now have 11 or so videos of my playing along to chip trackers with live drums.
In addition to that, I’ve done several other types of performances on YouTube over the years, and have been adding them to this playlist above over time. I thought I would post it here again since it has recently been updated.
Private drum, guitar, or software lessons on Skype or Discord: Skype: justin.robert87 Discord: demonicsweaters#6261
I started playing the drums when I was 10 years old. Over the years many different drummers have influenced my playing but one in particular that I saw play in the early 90s basically changed the way I thought about playing the drums, and the instrument as a whole. That drummer was Damon Che of the band Don Caballero.
I grew up in Morgantown WV, and quite often my friends and I would head up to nearby Pittsburg PA to see touring bands that weren’t making it to Morgantown. This time we were heading up to see the band Tar. Tar were an awesome band and we were all very excited to see them. There were two opening bands, and one of them was this band I’d never heard of at the time called Don Caballero.
I barely remember them setting up, but I do remember some tall lanky dude standing outside behind the glass doors of the venue before they got started in a long black trench coat, drinking water out of a gallon jug and smoking a cigarette. That dude was the drummer of Don Cab, Damon Che.
Don Cab came out and their first song was like a sudden explosion of a sonic fireball that basically leveled the audience. You could feel everyone in the room staring at the stage like they were witnessing something like planets colliding. At the center of all this, and the one directing the collision was the drummer. He was seated behind a cheap black Pearl Export series drum set, with huge toms setup nearly perfectly flat and gigantic shiny B8 Pro cymbals set up very high and tilted.
I was close to the front of the stage, and watching him play, but couldn’t really believe my eyes. His motions were completely alien looking, and the way his drums were setup looked amazingly uncomfortable. But the sounds I was hearing were unlike any drumming I had previously encountered. It was busy, really busy, but with a very deep pocket feel and incredible power. Every couple seconds I was hearing a new beat I hadn’t heard anyone else play before. It was complex, bombastic, intense and incredibly tight.
At this moment I knew the drumming world had just received an upgrade and I felt incredibly inspired to get even better at drums and my love for the instrument grew even stronger than it already was.
So let’s take a closer look at Damon Che and see what exactly made him such an awesome force behind the drums.
The MIDI Manufacturers Association (MMA) and the Association of Music Electronics Industry (AMEI) announce MIDI 2.0TM Prototyping
Los Angeles, CA, January 18, 2019 – The MIDI Manufacturers Association (MMA) and AMEI (the Japanese MIDI association) have finalized the core features and name for the next generation MIDI protocol: MIDI 2.0. Member companies are currently working together to develop prototypes based on a jointly developed, feature-complete, draft specification. A members-only plugfest to test compatibility between some early MIDI 2.0 prototypes is planned for Winter NAMM 2019. Participating companies include Ableton/Cycling ’74, Art+Logic, Bome Software, Google, imitone, Native Instruments, Roland, ROLI, Steinberg, TouchKeys, and Yamaha.
As with MIDI 1.0, AMEI and the MMA are working closely together and sharing code to streamline the prototype development process. Prototyping is planned to continue during 2019 as the associations work together on MIDI 2.0 launch plans, including exploring the development of a MIDI 2.0 logo and self-certification program for MMA and AMEI member companies.
During the prototyping phase, the proposed MIDI 2.0 specification is available only to MMA and AMEI members, because the prototyping process may trigger minor enhancements to the specification. Once a final specification is adopted, it will join the current MIDI specifications as a free download on www.midi.org.
The MIDI 2.0 initiative updates MIDI with auto-configuration, new DAW/web integrations, extended resolution, increased expressiveness, and tighter timing — all while maintaining a high priority on backward compatibility. This major update of MIDI paves the way for a new generation of advanced interconnected MIDI devices, while still preserving interoperability with the millions of existing MIDI 1.0 devices. One of the core goals of the MIDI 2.0 initiative is to also enhance the MIDI 1.0 feature set whenever possible.