Rabbit in the Moon releases stems for Remix Contest from 90’s super rave hit “O.B.E.” via Bandcamp

•July 16, 2020 • Leave a Comment

O.B.E by Rabbit in the Moon

Fans of the 90’s electronic music rave era, and lovers of the WMCZen and Ultra Music Festivals know and love one band in particular, and they’re called Rabbit in the Moon. Leading the electronic music era with songs and remixes that spanned a 20+ year culture of new and interesting electronic music, RITM is offering a remix contest featuring one of their greatest song releases from the early 90’s, called “O.B.E.”(Out of Body Experience) Musicians and producers who are interested in remixing the stems for “O.B.E.” can enter their remixed songs for review by September 8, 2020. Interested in entering the Remix Contest for “O.B.E”? Find out more about it by visiting RITM’s Bandcamp page, and check out the history of how the song was made from David Christophere of Rabbit in the Moon‘s inspiring story!

Some words about the contest and the origination of the song “O.B.E” from Rabbit in the Moon‘s David Christophere (aka Confucius):

“The OBE remix contest is underway. There have been some great entries so far. The deadline to turn in your remixes will be Sept 8th, 2020!”

“The Summer of 1992 was a special time. It was the Orlando Summer of Love. It is when I sat on the stage at a party at The Edge late at night and decided to create a new project that would be called “Rabbit in the Moon.”

“Two months later that psychedelic dream would become a reality. I had written a track called “Freak to the Beat”.  It was on the heals of the project Anarch-e that Monk and I made. It was full of crazy punk and hiphop samples put over hardcore rave beats. But I knew I wanted something different. Something more emotional from the heart, something that combined my love for dance music, but with a tribal atmosphere and spirit of people like Peter Gabriel.”

“I was at work one day (I had fallen into managing a t-shirt screen printing shop) and we used to always play music while things got done. One day, someone played the Tori Amos record Little Earthquakes. All the sudden she let out a howl, I was hooked! I never thought much of it after that. Other than wouldn’t it be fun to sample that. As I was at The Edge parties, and Ahhz at the Beachem Theatre, I kept hearing tracks like Future Sound of London’s “Papua New Guinea”, “Belfast” by Orbital and Opus III’s “It’s a fine day.” 

“As I was looking in one of the stacks of books that Monk had lying around the workshop, I found this book about spiritual symbols and legends. I happened on a page that told the story of the Rabbit in the Moon. It went on about how different cultures that had no contact with each other all shared a similar belief. That the Rabbit was magic and represented balance as well as religious ceremonies. I related to it – how music is the true universal language. You don’t have to have lyrics and people can all feel the same vibe. I also liked how in the Aztec legend it talked about balance. You can’t have dark without light, or hard without soft, fast without slow. It made me feel like my new music could take on all feels and speeds. Not just be tied to one or the other.”

“As September rolled around, I was in full swing with making a Rabbit in the Moon single. But I started thinking about that howl…Tori’s howl. It sounded like she cracked open a piece of the universe and let us glimpse at the other side. I decided to try to use it. It was Oct 5th, 1992. I called Mark and asked to make some studio time. That’s when I got the bad news. He was moving to New York in 3 days. So basically, if I wanted to use the studio I had one day to write the song at home. ONE DAY to record it, and ONE DAY to mix it. I thought ‘Shiiiitt!!! I’m screwed!’ I haven’t even started writing the track. Something told me to just book it. So I did.”

Video of OBE by Rabbit in the Moon

“I went in the studio and started to write. By midnight, I had the bones of a track. But something was missing. I usually would do most of my writing by myself and Monk would pop in to check things out when they were done-ish. By 1am I was starting to freak a little…still nothing! I asked Monk to come into the studio, ‘Hey, come check this out.’ He probably thought he’d get to hear a finished song, but nope. We sat and listened and talked and I said, ‘This song needs glue, something to bring it all together.” My favorite synth at the time was a Roland JD-800. It had such a wide range of sounds you could get out of it. As I searched some presets to see if any vibe inspired me, I heard something. It was a sample of a Fairlight Sampler sound (one of Peter Gabriel’s main synths he used). It had some potential! It was very dynamic when you hit the keys hard. So I edited the parts in the sound to see if I could make it my own. As the track played and Tori’s scream part came in…I slammed the keys with the chord of the song started to howl. The oxygen in the room changed; my hairs on my arm and neck stood up! Monk sat up in full attention and said, ‘Wow that’s amazing!’ Two days later we had a song called O.B.E. (Out of Body Experience).

“Thanks again for everyone who is doing the remix contest. I can’t wait to hear the final results in September!”



How film scores can benefit from binaural recordings, featuring composer – Nathan Matthew David

•May 6, 2020 • Leave a Comment

The Benefits of Scoring Film in Binaural Audio featuring composer Nathan Matthew David


For the last 20+ years, movie houses and film production companies have been ramping up their 3D audio experiences by introducing a more intricate recording setup than just using surround sound speaker technology into the final mix. The difference between surround sound mixed film audio and 3D/binaural film audio can be heard spatially.  Film scores in surround sound with 5.1 and 7.1 systems are covering just some of the listeners’ space, while 3D audio film scores give movie-goers an immersive experience, as if they are right there “in the movie” –  hearing things not only to the right and left, but also in front and behind – providing a 360-degree experience.  When sound engineers actually spend time recording right there on set in binaural to capture the true essence of standing in front of a waterfall, or next to it, or behind it – they capture the roaring presence of the waterfall sounds from a perspective that you just really can’t recreate without being there, in a 3D audio space that is authentic, and truly immersive. These binaural sounds, or 3D audio recordings, fit exactly to the frames of the film.

What is binaural or 3D audio recording? When you listen to a binaural, or “3D audio” recording, your brain processes the differences in each ear. You hear it from the perspective of the same way it would sound in the real world around you, with natural and accurate directional cues. For example, if you are standing in the rain, instead of just hearing the rain in a stereo format, or directionally – just left and right, you’ll hear the rain as if you were actually standing in the rain – in a 3D experience. Meaning, you’ll hear the rain not only to the left and right of you, but also in front of and behind you. You’ll also hear the sounds of the raindrops hitting your shoulders as well.

What if music producers started adding these 3D ambient sounds and binaural recordings into their mixes?

Opening up the sound stage to a real 360-degree experience would not only heighten the emotion but immerse the listener into the 3D space with psychoacoustics, just as if they were sitting in the middle of a string quartet with the recording artists, or standing in the rain. Small nuances of acoustic instruments can be recorded from a completely different perspective, say, from the actual guitar, piano player or drummer. Adding this 3D element to the mix is rare, but completely possible by introducing binaural recordings into the final mix.

To explain this example some more, here is a perfect binaural recording of an acoustic Filipino tribal instrument, called a Kulintanginside of Nathan Matthew David’s studio from the performer’s perspective. Nathan is a composer for film and television, and in honor of Filipinx-American history month, he wanted to feature acoustic sounds in his production that are native to his culture. Nathan recorded his performance with the first wireless, binaural recording system – the Hooke Verse – to achieve what can be described as an otherworldly sonic performance, and a truly immersive sound experience.

Nathan Matthew David says in the description of his immersive video recorded with the Hooke Verse:

“October is Filipinx-American history month. As we close it, I wanted to share a snippet from a new electro-acoustic project I’ve been working on combining Filipino instruments with modular synthesis called ‘Pandama’ (Tagalog for ‘senses’). In this clip, each Kulintang gong is connected to the modular system via contact mics. The sounds are both processed in the system and they also trigger other sounds and events. The clip is one take and all sounds are being triggered by the Kulintang except for the Therevox synth, which I play. The voice sample in this clip is from Larry Itliong, a crucial figure in the history of Filipinx-Americans.”

To achieve the 3D audio experience, please put your headphones on to listen to the sound of this video. You will be transported into Nathan Matthew David’s studio as he plays the Kulintang, hearing it as if you were playing it yourself.

View this post on Instagram

October is Filipinx-American history month. As we close it, I wanted to share a snippet from a new electro-acoustic project I’ve been working on combining Filipino instruments with modular synthesis called ‘Pandama’ (Tagalog for ‘senses’). In this clip, each Kulintang gong is connected to the modular system via contact mics. The sounds are both processed in the system and they also trigger other sounds and events. The clip is one take and all sounds are being triggered by the Kulintang except for the Therevox synth, which I play. The voice sample in this clip is from Larry Itliong, a crucial figure in the history of Filipinx-Americans. Though not as well known as the great Cesar Chavez, he worked along side him, as both Filipinx and Mexican workers fought for social justice and economic fairness for immigrant workers in Central California in the 1960s. Their work was critical for immigrant laborers in this country, and set the pathway for other Filipinos to immigrate to this country, including my parents. Special thanks to @eventideaudio for the H9 effects on the Therevox synth, and @hookeaudio for the Verse binaural mics to capture the acoustic sound of the Kulintang. And please put your headphones on to get the #3Daudio #binaural effect of the recording with the #hookeverse 🎥: @jujuburu #filipinoamericanhistorymonth #kulintang #modularsynth

A post shared by Nathan Matthew David (@nathanmdavid) on


To learn more about recording binaural audio for film and television scoring, please visit the Hooke Audio product and information pages for the Hooke Verse, click here.

To learn more about Nathan Matthew David, please visit www.nathanmatthewdavid.com

Daughtry’s “As You Are” Recorded in #3DAudio with Hooke Audio’s “Verse”

•January 22, 2020 • Leave a Comment

This special acoustic version of Daughtry‘s “As You Are” was recorded in 3D Audio, with the Hooke Verse wireless recording system, the Hooke Verse.

The Hooke Verse is essentially a pair of wireless headphones that have microphones on each ear bud. The recording is in 3D Audio, or binaural audio, which basically means that it sounds exactly the way you “hear” when you listen to it. If you listen to this recording with your headphones on, or with a nice pair of stereo studio monitors, like the IK Multimedia iLoud Micro Monitors or similar, you’ll hear the sound space as if you were on the stage with Chris Daughtry and his band as he sings and plays guitar.

The crazy part about this is that people have been trying to achieve surround sound with mixing in 5.1, or 7.1 for years now. But in order to actually make something sound really 3D, you’d have to simply record it that way. Also, the Hooke Verse employs a one-of-a-kind patented technology, which is the ability to deliver lossless, dual-channel audio over Bluetooth with zero latency!!! To date, there hasn’t even been a mono recording solution that can do that. Not only does it serve up intimate, flawless binaural recordings wirelessly – the Hooke Verse also syncs to any smartphone, computer or camera (Like a Go Pro or the obvious expensive camera used to shoot the Daughtry video).

Why would you want to record something in binaural or 3D audio?

Well, it sounds WAY better for one, and eliminates the shitty recordings that you may get with your expensive smartphone at a concert. Also, if you’re a sound designer, film composer, or a really slick music producer or engineer, you can start recording and adding ambient sounds or tricked out vocals to your mixes – spatially immersing the listener into your soundscape, mix or song just by recording it the way people actually hear things.

The Hooke Verse is $159.99 USD, but those HD and 4K video concert recordings will be PRICELESS. For more information on the Hooke Verse from Hooke Audio, please visit: www.hookeaudio.com
Continue reading ‘Daughtry’s “As You Are” Recorded in #3DAudio with Hooke Audio’s “Verse”’

Video: Fuel dives into Eventide’s H9 Max effects on “Shimmer” and more

•March 13, 2019 • Leave a Comment

Watch while Brett Scallions, lead singer and guitarist of the band “Fuel“, and Phil Buckman, bassist of Fuel, casually sing, perform and discuss the Eventide H9 Max guitar & bass effects pedal. In this video, watch and listen as Brett recreates the spring reverb guitar tone of the song “Shimmer” from his iPad Pro, and talks about how he’ll be using the H9 Max for any future performances of the song. Check out how Phil shows off how the pedal sounds on bass with a chorus sound from the H9 from his computer, and talks about the history of Eventide’s sounds in his studio.


Check out the video of Fuel’s Shimmer for an A/B comparison!

To learn more about Eventide’s H9 Max pedal for use on the stage, studio or how to control it with the H9 Control app via Bluetooth from your iPhone, iPad, Mac/PC or Android, please visit: https://www.eventideaudio.com/products/stompboxes/multi-effect-processor/h9

For more information about Fuel’s tour dates, song releases and more, please visit: www.fuelrocks.com

Video courtesy of Fuel, Eventide Audio and Starr Ackerman’s Public Relations / Artist Relations / Music Technology Blog




We Make Dance Music – Music Samples, Templates Review – Promo Code

•September 7, 2018 • Leave a Comment

Need low-cost music samples to make some killer music? I checked out a new website for purchasing music samples and template kits called www.wemakedancemusic.com. This website is a very low-cost hub for finding great acapellas, house kits, templates for Ableton, Logic, FL Studio and more, but mostly – it just fits right into the “OK- no problem, I can afford these quality samples’ category.” (Which is basically what every musician is really looking for.)


At first glance, We Make Dance Music‘s web store is straightforward, and easy to navigate through. A simple scroll will bring you directly to the store’s highlighted libraries for music samples, strategically and functionally laid out for easy perusing, selection, auditioning, and purchasing. You can download DAW Templates, Sounds, Presets, MIDI Files, Audio Stems, Acapellas & Royalty Free Music, for incredibly low prices (anywhere from $5 to$40 at most). Directly from the homepage, here are a couple of the menu choices that would inspire a further look: Ableton Live Templates & Projects, Logic Pro X Templates & Projects, FL Studio Templates & Projects and Music Construction Kits.


Going even deeper into the music samples and construction kit choices, I found a lot of interesting and instantly usable collections for creative hip-hop, house, and electronic (EDM) music producers. The construction kits feature the latest trends in music production and hot new emerging styles, like “Can’t Escape the Trap” for Urban / Rhythmic CHR ($29.99), and “Future Bass Essentials Vol.2” for Trap / Ambient / Disco House ($24).


For producers looking for cinematic, atmospheric, dark and retro pop keyboard style sounds, like the ones used in the blockbuster Netflix series Stranger Things, check out “Deep Funky House Kits” by Tunecraft Sounds ($24). I was impressed by this particular collection of sounds, as it covered the realm of intelligent and psychosomatic samples needed for film scoring and creating large soundscapes for dramatic songs. These kits include sound banks, MIDI files, FX and hits, vocals, recorded synth lines and much more.


What sets www.wemakedancemusic.com‘s store apart from the myriad of sample download sites is their extensive collection of Acapellas! As a vocalist and recording studio professional, I found these samples to be exactly what I was looking for – inspiration! I downloaded Alessia Cara’s cover vocals of “Growing Pains” produced by Glucose Recordings ($7) and instantly started creating a remix of my own, Furthermore, these vocal recordings are stunning, and the audio files are mastered to sit perfectly in any mix. (BPM and Key info are also included).


I also downloaded the “Soul Tech“collection by Sample Tools by Cr2 ($21.99). Definitely packed with a lot of samples for deep house/ tech house in the minor keys. Downloads of both libraries were fast and furious, and checkout / registration was super simple. (We musicians hate instructions and waiting, and there was next to none of both).



If you’re looking for a place to download freakishly awesome samples at incredibly low prices, and be instantly inspired and making music in minutes, then please click here to visit www.wemakedancemusic.com’s web store for your next movie score, hit song, or mashup! In a pinch, you can find the exact sample library for your exact need, without paying top dollar for an 8GB library to get the sounds you need; they have sounds and templates by genre, format, stems, series, and also royalty free samples! For under $30, I had two sound libraries, downloaded in under four minutes, and was auditioning sounds in Ableton Live.


If you aren’t convinced from the highlighted sample kits I included in this article, I implore you to check out www.wemakedancemusic.com‘s sample library kits and templates out for 20% off with this promo code for ALL musicians and music producers who’re looking to save a buck!


PROMO CODE for 20% off purchases from www.wemakedancemusic.com at checkout:





From the We Make Dance Music website:

“Established in July of 2012, We Make Dance Music is a trusted community marketplace for producers, musicians and singers to discover, buy and sell unique music project files around the world. Whether a template to spark inspiration, sounds to enrich your production, or music files for your media project, We Make Dance Music allows people to share their ideas and passion for music in over 125 countries at any time. We promote a culture of curiosity and creativity through our products, services, and, most importantly, our artists. We aspire to create a centralized source of sound in the cloud empowering artists the world over to make music that moves people’s hearts and souls. Earning stable income from the sales of their music, artists are free to do more of what they love while the global community has access to an online catalog of innovative sounds. We will continue to empower creatives to make a living of their passion. We will consolidate our technology to fulfill our vision of a world where artists worldwide can thrive making the music of the future.”

Video: Why do we go to NAMM? Featuring Producer & Artist – Jae Deal

•February 5, 2018 • Leave a Comment

Let’s face it, it’s very hard to “make it” in the music industry as an artist, producer or engineer. You can be a badass singer, guitar player or “insert musicianship here”, but if you don’t know anything about marketing yourself, using social media or already have a high-ranking friend or relative that was/is already famous or in the music biz, it’s going to be really tough to get recognized for your talent in the way that would be satisfying to you, whatever your goals may be.

What is NAMM? NAMM is a music industry trade show hosted twice a year, drawing tens of 1000’s of musicians, producers, engineers, companies who exhibit, buyers and retailers for musical instruments. NAMM stands for the National Association of Music Merchants, established in 1901, and is the not-for-profit association that strengthens the $17 billion global music, sound and event technology products industry.

Still lost? Think of all the things you might see at Guitar Center or on Sweetwater.com, and then put all of those companies and their staff in one place…major guitar and bass companies, like “Fender”, “D’Angelico”, “Martin”, “Taylor”, “Ampeg”, and then think of the rest of the band instruments – keyboards, drums, DJ equipment – “Korg”, “Roland”, “Roli”, “Pioneer”, “Gemini” and then throw in the music tech giants that make recording these instruments possible, like Shure and Blue (microphones), “IK Multimedia” (virtual instruments, iOS apps and portable recording accessories), Avid (Pro Tools recording software), Ableton (recording software), Solid State Logic (mixing consoles), and all of the backline, front of house equipment and legendary studio effects processors and preamps from companies like “Eventide” and “Presonus” (who also have mixers, speaker stacks, rack effects units, you name it). Basically, NAMM is one huge dog and pony show for the exhibitors/vendors to show off their new gear to the retailers/resellers for sales of new products, and the largest toy store any musician has ever seen where they can’t actually buy anything, just test it out and make relationships for future work to ensue. But the one thing you can’t sell and you might have missed from this whole paragraph was the word “relationships”. You can’t buy or sell those, and they are the most valuable thing you can gain from going to NAMM.

So, why do we go to NAMM as artists/producers/engineers/publicists? To build relationships, period. You know the old saying, “It’s not about what you know, it’s who you know?” Well, if you’re not making actual friends at NAMM and keeping them and working to keep them, you know – the kind of people who hold the same core values you do – integrity, business ethics, trust, compassion and just doing it for the love of the jam… you’re missing out on opportunities for A LOT of free artist promotions, gigs, gear, collaborations, endorsements, international publicity and more. And I’m not just talking about other musicians, these are the manufacturers’ artist relations reps, marketing directors, and sometimes owners of the companies who are the MVPs of your team.

After a few years of NAMM, you learn who the real players are, and who’s walking the walk. These are the guys doing the presentation demos on the exhibitors’ stages, getting in front of the cameras when asked to speak and play guitar/bass/keyboards/sing in front of USA Today, and then they go from zero to hero in Los Angeles because their first gig was on national TV from an exhibitor’s publicity gig. After a while, you also learn something very important, that you end up having a team of people looking out for your best interests. If you’re really talented, cool and keep a humble approach, and ALWAYS deliver on time, you could have a squad of 100+ people – a mix of manufacturer reps, other musicians, charity organizations and editorial who’ve “got your back” whenever you need something. And you will ALWAYS need something.

Jae Deal has been to NAMM as a working musician and producer for many years, here’s his take on what these NAMM relationships mean to him, and what NAMM really is for people like us – those looking to make a career out of music forever. (FYI- he had 9 badges for NAMM, starting with Fender as “Artist” and ending with StarrAckerman.com‘s press badge as “On-Air Personality” – I’ll give you one guess which badge he wore for the entire show – insert “stoked emoji here”).

Here is Jae Deal’s video on Why do we go to NAMM? Relationships. Watch and Learn.

Jae Deal is an award-winning American composer and producer, who has worked with the likes of Janet Jackson, Snoop Dogg, Elton John, Queen Latifah and many, many more. Jae Deal has appeared as a public speaker for TEDx, and most of all, is an amazing friend, talented musician, and compassionate collaborator and confidant. For more information on Jae Deal, please visit his website. www.jaedeal.net


Apple Music – the streaming service that REALLY brings new music – check out these new artists: Nothing But Thieves, Aquilo and Chet Faker/ Marcus Marr

•January 15, 2018 • Leave a Comment

Streaming music services are all over the place, each with subscription models that cost money if you don’t want to listen to ads. I personally am a fan of three different ones, but all for different reasons. But, I will explain why Apple Music is my favorite out of all of them.

#1 If you have iTunes, Apple already knows what you like to listen to. If you look in your iTunes library, you’ll see a playlist that has the “Top 25 Most Played”… and if you want to make a radio station out of any one of those songs, all you have to do is “make one” and you’ll hear similar music that totally gets the genre, time period and will also introduce you to new artists who sound the same.

#2 The Apple Music radio stations clearly spent time finding quality music directors that bring new music to the listeners. For example, if you listen to “Chill” or “Alternative Rock”, I can guarantee you will hear music that you’ve never heard before. And if you keep listening, yes, sometimes you will hear the same music once in a while, but it’s not in the overbearing manner that Sirius XM or the actual FM radio provides (playing popular songs every hour, on the hour, until you want to turn the radio completely off and switch to your own devices before your head explodes). You also have the ability to “Love” or “Dislike” music when it comes on, making the stations you listen to even more effective and playing more songs like it.

#3 DJ Much? Creating playlists has never been easier. I hear so many new songs, if I like something, I’ll immediately add it to a playlist or create a new one based on the genre. Or just add it my library so it will replay at will. Everything from Apple’s products automatically synch up…so these playlists are automatically added to my iPhone, iPad and MacBook Pro. I don’t know about you, but I really f***ing love that.

#4 NO ADS pricing model: for $9.99 US per month, you can’t beat Apple Music. I mean, you can try, but so far, it’s been instrumental in finding new artists and great music. Just listening to it inspired me to make new music, and also keeps me on the pulse of what new artists are making now. You will not be disappointed.


Drumroll please…New artists that I heard exclusively on Apple Music stations FIRST:

Nothing But Thieves, click here to view them on Apple Music / iTunes preview

Nothing But Thieves – Lover, Please Stay Video



Aquilo, click here to view them on Apple Music / iTunes preview

Aquilo – Human – Video (these guys are so new, they don’t even have an official video for this song) 



Chet Faker and Marcus Marr – The Killing Jar, click here to view on Apple Music / iTunes preview

Chet Faker and Marcus Marr – The Killing Jar video 


Green Day’s Jason Freese: “I love iLoud Micro Monitors!”

•January 12, 2018 • Leave a Comment

Green Day’s Jason Freese on stage with iLoud Micro Monitor
IK’s compact speaker monitors travel with Green Day’s keyboard player
16 October 2017Screen Shot 2018-01-10 at 1.52.31 PM

“I LOVE THEM!! Completely taken away with the clarity, volume and bass response of such small speakers!”

“The iLoud Micro Monitors serve so many different functions for my daily life. I use them in my studio for small monitor references as well as in my hotel rooms on the road to write, record, mix or practice with. It is so nice to finally have a small pair of monitors that I can have with me by my side at all times which I can rely on!”

Click here to receive up to 25% off from Amazon on iLoud Micro Monitor

Jason Freese is an American musician, songwriter, record producer, and recording engineer. As a professional studio musician, he has performed on over 50 albums by more than 35 different artists, including multiple albums by Green Day, Goo Goo Dolls, Jewel, NOFX, Dr. Dre and Avenged Sevenfold.

Jason has performed as a touring member of Green Day on their American Idiot World Tour, their 21st Century Breakdown World Tour, their 99 Revolutions Tour and their Revolution Radio Tour, and appeared on their live albums Bullet in a Bible and Awesome as F**k. His performing credits include keyboards and saxophone.

iLoud Micro Monitor is two extremely portable, high-performance bi-amped speakers that delivers a combined 50W RMS of power for solid bass, plenty of headroom and a stunningly defined stereo image. Learn more about iLoud Micro Monitor, the mobile and reliable studio monitor reference system from IK Multimedia.

Click here to receive up to 25% off from Amazon on iLoud Micro Monitor

Syntronik is “a massive lifesaver” for The Killers’ – “Wonderful Wonderful”

•January 11, 2018 • Leave a Comment

Starr Ackerman’s Interview with Matt Breunig, The Killers’ playback/monitor/keyboards tech/engineer
21 August 2017
Screen Shot 2018-01-10 at 12.59.31 PM

Wonderful Wonderful” is The Killers‘ 5th studio album, to be released in September 2017. BBC News’ Mark Savage called it,”The Killers’ most vital album since Sam’s Town in 2006.” Matt Breunig has worked with The Killers since 2008, performing as Playback/Monitor engineer, Keyboard Tech, and recording/tracking engineer. Here are some quotes from the IK interview with Matt Breunig about using IK’s new Syntronik for the upcoming Killers‘ tour to promote “Wonderful Wonderful” and on using AmpliTube in the studio to track The Killers‘ frontman – Brandon Flowers:

“Due to the extensive amount of random keyboard tracks recorded with so many different synths, especially vintage ones, when I saw the email announcing Syntronik I was very excited that it would save me tons of work tracking down those synths to be sampled and loaded into a soft-synth to be played by Mainstage live.”

“I have been using it to finish up the keyboard sounds to play the new Killers’ album, ‘Wonderful Wonderful’, live for the last few weeks. I have had no issues with Syntronik using it to find and recreate the sounds that were used on the record.  I think the tonal characteristics of each synth could hardly be any closer.  It has honestly been a massive life saver for me.”

“While some of the synths in Syntronik have already been modeled by other companies, when I saw the few that haven’t been and knew I would need those…I had hoped that once it was released I would like them, and you guys did a great job! In fact, I’m sampling a V-80 sound right now for some tracks…it took me about five minutes to find something close already in the presets in Syntronik.”

“With the exception of Pro-V and Galaxy, there are at least 5 different sounds from Syntronik’s OXa and V-80 per song because of all of the layering. We used an OB-6 on almost every song and I will definitely be using the OXa to get those sounds instead of sampling the original keyboard.”

“Here is a list of the some of the models from Syntronik that I used to replace sounds from the original keyboards for the live tour and the songs from “Wonderful Wonderful” they are used on:

OXaLife To Come, Some Kind of Love

V-80Some Kind of Love (almost all the prominent key parts)

GalaxyLife To Come

Pro-VTyson vs Douglas

“I have been a fan of IK software pretty much since the beginning and have enjoyed watching you progress over the years. I was turned onto IK when the music director for a recording session came in with his Miroslav Philharmonik software and was very impressed by the string sounds.  I feel like you do a better job at capturing the non-linear harmonic distortion and characteristics of most equipment better than a lot of other manufacturers.  I loved AmpliTube 3 and am especially happy with AmpliTube 4.”

“The Killers love to track very fast and they have had amp simulators in their studio for years. Recently, I finally installed AmpliTube Max on their studio computer so they can finally have some real flexibility, and so when I have to work with them in the studio – I don’t feel like I have my hands tied when Brandon is looking for specific guitar tones.”

Learn more about IK Multimedia’s Syntronik

Click here to receive up to 25% off from Amazon on iLoud Micro Monitor

Video: Jae Deal & DJ Aktive use IK’s gear for Janet Jackson’s 2017 Tour

•January 10, 2018 • Leave a Comment

Programming and producing using Syntronik, iLoud Micro Monitor & more
11 September 2017

Watch this video interview to learn how production & tour programming pros, Jae Deal and DJ Aktive, are using IK’s Syntronik, Miroslav Philharmonik 2, iLoud Micro Monitor and other IK products to program Janet Jackson’s 2017 “State of the World” tour.

Here are the simple reasons why artists Jae Deal and DJ Aktive are using Syntronik and iLoud Micro Monitor to provide the best representation of sound for Janet Jackson’s 2017 “State of the World Tour.”:

Syntronik is a cutting-edge virtual synthesizer instrument with some of the most advanced sampling techniques combined with a new hybrid sample and modeling synthesis engine. Syntronik includes 17 amazing instruments, available as a collection or separately, with over 2,000 preset sounds covering a wide selection from 38 of the most iconic to ultra-rare and painstakingly multi-sampled vintage synthesizers.

The iLoud Micro Monitor speaker monitor system is two extremely portable, high-performance bi-amped speakers that delivers a combined 50W RMS of power for solid bass, plenty of headroom and a stunningly defined stereo image. Whether you’re recording, editing, mixing or mastering audio, editing video, sound designing or gaming, iLoud Micro Monitor ensures your production will translate well to the huge variety of consumer devices. With iLoud Micro Monitor, you will hear the truth in your music no matter whether you’re mixing in your bedroom, mastering in a small studio or just listening to your favorite tunes at home.

Click here to receive up to 25% off from Amazon on iLoud Micro Monitor

Jae Deal is an American composer, arranger, music producer and orchestrator in various genres including pop, gospel, and hip hop. He is also a session keyboardist, programmer, and bassist in Los Angeles, California. Jae Deal has worked behind the scenes and on stage with several premiere artists including Janet Jackson, Lady Gaga, Snoop Dogg, Diddy, Mary Mary, Karen Clark Sheard, Ne-Yo, Faith Evans, Tye Tribbett, T-Pain, Jessica Simpson and Wynton Marsalis, Elton John, Jill Scott and songwriter, Diane Warren.

DJ Aktive: With today’s DJs achieving fame and celebrity status like the artists whose albums they spin, no one is at a higher level than Philly’s own DJ Aktive. Spinning professionally for the past 18 years, DJ Aktive has made serious moves in his career that have taken him literally around the world with some of hip-hop and R&B’s biggest names, including Janet Jackson, Kanye West, Miley Cyrus, Nas, Common, Jennifer Hudson, Estelle, John Legend, Marsha Ambrosius, The Roots, LL Cool J, Tyga and Queen Latifah, to name a few.

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