‘Degrowth’ series, part 6: now that I moved most of my workflow to plain text, I struggle to understand why I relied on proprietary locked-in formats for so long.
A quick reply to the excellent post by Jamie Hill about the need of a strict versioning system for people who work in music (on the computer).
How I mixed a rework of Ember Rev’s debut album, exploiting the subproject functionality in REAPER to save time and processing power.
I mastered the debut EP for IsadoraD, an Italian duo. They blend electronica, pop and indie.
Field recording is great fun, especially when done with a precise plan.
Helping another producer with his transition from Logic made me appreciate a simpler REAPER for my own good.
The new single released by Antiquity, featuring the guitar work of Angelo Zarra and my bass.
‘Eclipse’ is a new single released by Antiquity, co-produced by Minutes to Midnight.
Written during the pandemic, this song is about the madness of the times. Loud, in your face, at a 100mph.
An autobiographical rumination about migrating in Europe during a time of populism. Remixing Ember Rev in collaboration with Antiquity.
In 12 months I’ve managed to revolutionize my workflow, twice. Part 3 of why I migrated to REAPER is about open architecture, development cycle, efficiency.
In 12 months I’ve managed to revolutionize my workflow, twice. Part 2 of why I migrated to REAPER is about customization, community, stock plug-ins.
In 12 months I’ve managed to revolutionize my workflow, twice. Part 1 of why I migrated to REAPER is about cost, multi-platform and a different workflow.
A delicate piano-centric album, ‘Hidden Music’ is another successful collaboration with multi-instrumentalist Dan Ecclestone.
I transplanted a vocal performance from one song to a different one by manipulating pitch, formants and tempo. Plus, cleaning up historical speeches.
Painstakingly removing an insidious noise from a multi-track recording, plus various techniques for drum replacing and drum doubling.