Good news everybody!
I just picked up a copy of Tycho's long-awaited fourth album, released just shy of two weeks ago on March 18. The eight tracks of ambient+rock bliss on Montana continues Scott Hansen's stylistic development, and now features two other musicians - Zac Brown (guitars, bass) and Rory O’Connor (drums) - who toured with Hansen after his 2011 release, Dive.
The San Francisco native recalls, “After the tour, I decided that I wanted to capture the more energetic, driven sound of the live show on the next album.” Tracks like Montana and Awake carry out this intention, sounding more like guitar driven post-rock with drums out in front.
To support the album's release, the Tycho bandmates are out on tour, stopping here in Detroit on Friday next week and playing at the Crofoot in Pontiac.
Check out http://www.thecrofoot.com/events/2413.html for more information about the show.
Tuesday, April 1, 2014
Promo Mix
Well, the promo mix is all finished.
I've set it up on its own page upfront, but feel free to check it out below. It's eight minutes of a wide variety of electronic styles, downtempos, and ambience-minded genres all mixed together - essentially what's playing Sunday nights.
If you have the guts, try to figure out the speed for each snippet. Use the chart below.
Larghissimo – very, very slow (19 BPM and under)
Grave – slow and solemn (20–40 BPM)
Lento – slowly (40–45 BPM)
Largo – broadly (45–50 BPM)
Larghetto – rather broadly (50–55 BPM)
Adagio – slow and stately (literally, "at ease") (55–65 BPM)
Adagietto – rather slow (65–69 BPM)
Andante moderato – a bit slower than andante (69–72 BPM)
Andante – at a walking pace (73–77 BPM)
Andantino – slightly faster than andante (although in some cases it can be taken to mean slightly slower than andante) (78–83 BPM)
Marcia moderato – moderately, in the manner of a march (83–85 BPM)
Moderato – moderately (86–97 BPM)
Allegretto – moderately fast (98–109 BPM)
Allegro – fast, quickly, and bright (109–132 BPM)
Vivace – lively and fast (132–140 BPM)
Vivacissimo – very fast and lively (140–150 BPM)
Allegrissimo – very fast (150–167 BPM)
Presto – extremely fast (168–177 BPM)
Prestissimo – even faster than Presto (178 BPM and over)
I've set it up on its own page upfront, but feel free to check it out below. It's eight minutes of a wide variety of electronic styles, downtempos, and ambience-minded genres all mixed together - essentially what's playing Sunday nights.
If you have the guts, try to figure out the speed for each snippet. Use the chart below.
Larghissimo – very, very slow (19 BPM and under)
Grave – slow and solemn (20–40 BPM)
Lento – slowly (40–45 BPM)
Largo – broadly (45–50 BPM)
Larghetto – rather broadly (50–55 BPM)
Adagio – slow and stately (literally, "at ease") (55–65 BPM)
Adagietto – rather slow (65–69 BPM)
Andante moderato – a bit slower than andante (69–72 BPM)
Andante – at a walking pace (73–77 BPM)
Andantino – slightly faster than andante (although in some cases it can be taken to mean slightly slower than andante) (78–83 BPM)
Marcia moderato – moderately, in the manner of a march (83–85 BPM)
Moderato – moderately (86–97 BPM)
Allegretto – moderately fast (98–109 BPM)
Allegro – fast, quickly, and bright (109–132 BPM)
Vivace – lively and fast (132–140 BPM)
Vivacissimo – very fast and lively (140–150 BPM)
Allegrissimo – very fast (150–167 BPM)
Presto – extremely fast (168–177 BPM)
Prestissimo – even faster than Presto (178 BPM and over)
Hit play to hear some yummy snippets.
All this and more! Every Sunday!
Mmmmmm.....yummy.
You,
You,
You,
Stop by.
Say hello.
Gear Review: Yamaha DXR series
NO SPEAKERS?
Jumping hastily into my first deejay gig, two key issues stuck out in my mind. Hold on – the truth is that one was all in my head (in fact, the owner of the coffee shop who had scheduled me for regular appearances had no qualms). I wanted to spin my collection of minimalist downtempo, ambient, and other - more eccentric - slices of electronic music. And I was slightly worried that no one wanted to hear it.
But artistic insecurities aside, the real issue was that I didn’t own PA speakers!
If I couldn’t be able to get my hands on a pair of good speakers, it wouldn’t matter what music I had on my laptop. I have a set of fancy reference monitors at home, but I didn’t want to take apart my recording rig every single week. Moreover, I was worried about damage and also about the idea of misusing my gear. So, I did the research. I read reviews, product sites, and retailers’ ads.
My final decision? I went with Yamaha’s DXR series.
FIRST GLANCE - SPECS
I had never looked into Yamaha PA speakers for some reason, mostly reading up on two other brands. The moment I saw these 12 inchers in the DXR lineup – I knew I had found exactly what I was looking for. Essentially, they are the younger-sibling of the high-end DXS series from Yamaha. But do not think that this fact takes anything away from them. In terms of specs, DXRs can stare down any of the competition in their class (I’m talking to you, Mackie and JBL).
That’s a total of 700W RMS. Not Peak/Max power – we are talking average. Quite a power-packed punch for speakers that can fit easily in my car’s back seat, along with the DXS series subwoofer, which I also purchased.
SECOND GLANCE –MODERN FEATURES
Off the bat, my primary goal was to get my hands on powered units and skip hauling around a separate amplifier. So yeah, check this off the list. But let me tell you what really won me over. Look at the back panel and prepare to be amazed by the variety of input/output configurations and practical DSP options.
Three channels offer XLR, quarter inch, and RCA connectivity, with the ability to boost, attenuate, or mix all signals into a single or even stereo output. Channel 1 allows you to switch between LINE for strong signals and MIC for plugging your microphone right in and turning up the gain. This feature caught my attention because I was concerned about my mixing board conking out in the middle of a performance. This way, I can always connect straight from the signal source – my interface or even a phone! – in case worse came to worst. The LINK OUT connector allows me to play stereo mixes though I feed signal to only one speaker. Way better than a mono daisy chain with other speakers, if you ask me. But again – you have options.
Then there is the modern, rock-solid DSP onboard each unit. Inherited from Yamaha’s high-end DSR series, the sound-processing technology boasts high resolution and smooth frequency response. D-CONTOUR is a multi-band compressor allowing you to color your sound with a “disco-smile” boost to low and high frequencies, or switch to a low-cut, high-boost mode when using as monitors. That’s right – do not forget that the series was designed with both main output and monitoring in mind. Since I have the subwoofer, I’ve turned to the built-in HPF set at 100Hz in my DXRs, which dovetails nicely with the LPF on the DXS. In other words, I am certain that my lows end up on the sub, because I’ve just made my own crossover.
DSP also controls advanced protection circuits in the speaker, amplifier, and power supply units. It promises to keep these guys safe for many years to come.
THIRD GLANCE – BUILD AND PERFORMANCE
Taking my DXRs out of the box, I was impressed by the sleek design, and tight fit and finish. Some folks have complained about modern materials – especially in the enclosure department – being too much plastic and not enough MDF/wood. I don’t think these complaints warrant too much attention here. The drivers are enclosed in a plastic composite instead of heavier materials, but this is not a bad thing. Remember that resonance is an important factor in great sounding speakers, something factored in the series’ design; the sense that they can’t be scratched, or feel like brick ovens shouldn’t be the first thing on your mind. Trust me, when carrying them around and lifting them above your head during setup and tear down, you’ll be happy for the material used in the outer case.
Of course, eventually the moment of truth comes: what do they sound like? While I sometimes say, “to each his own ears” – I cannot imagine that anyone will hear anything other than gorgeous, musical sounds. The lows are deep, transparent and not boomy, and the highs shimmer and sparkle with clarity that is deep. My own particular collection of music usually wields an array of wide stereo sound staging and imaging, replete with dynamic, processed effects. The DXRs have kept up with all kinds of ethereal, layered mixes and punchy-bassline-driven sets, even when I’ve cranked up the gain. I guess I was expecting some crazy distortion and clipping playing at louder levels, and was surprised by how clean and tight everything remained.
CONCLUSIONS
Overall, at this price-point, I am confident the Yamaha DXRs are some of the best-performing PA gear on the market. The flexibility, modern DSP, and quality sound make this above-average series a no-brainer. Save yourself the time (and some money) and you’ll be ready to rock out in a variety of needs and performances.
Jumping hastily into my first deejay gig, two key issues stuck out in my mind. Hold on – the truth is that one was all in my head (in fact, the owner of the coffee shop who had scheduled me for regular appearances had no qualms). I wanted to spin my collection of minimalist downtempo, ambient, and other - more eccentric - slices of electronic music. And I was slightly worried that no one wanted to hear it.
But artistic insecurities aside, the real issue was that I didn’t own PA speakers!
If I couldn’t be able to get my hands on a pair of good speakers, it wouldn’t matter what music I had on my laptop. I have a set of fancy reference monitors at home, but I didn’t want to take apart my recording rig every single week. Moreover, I was worried about damage and also about the idea of misusing my gear. So, I did the research. I read reviews, product sites, and retailers’ ads.
My final decision? I went with Yamaha’s DXR series.
FIRST GLANCE - SPECS
I had never looked into Yamaha PA speakers for some reason, mostly reading up on two other brands. The moment I saw these 12 inchers in the DXR lineup – I knew I had found exactly what I was looking for. Essentially, they are the younger-sibling of the high-end DXS series from Yamaha. But do not think that this fact takes anything away from them. In terms of specs, DXRs can stare down any of the competition in their class (I’m talking to you, Mackie and JBL).
- Bi-amped configuration
- 12" Low Frequency Driver (600W RMS)
- 1.4" High Frequency Driver (100W RMS)
- Frequency Range 52Hz-20kHz
- Inputs 2 x XLR, 2 x 1/4", 2 x RCA
- Outputs 1 x XLR (Link Out)
- Height 23.6", Width 14.25", Depth 13.75", Weight 42.5 lbs.
That’s a total of 700W RMS. Not Peak/Max power – we are talking average. Quite a power-packed punch for speakers that can fit easily in my car’s back seat, along with the DXS series subwoofer, which I also purchased.
- Frequency Range 47Hz – 160 kHz
- 12” Lower Frequency Driver (600W RMS)
SECOND GLANCE –MODERN FEATURES
Off the bat, my primary goal was to get my hands on powered units and skip hauling around a separate amplifier. So yeah, check this off the list. But let me tell you what really won me over. Look at the back panel and prepare to be amazed by the variety of input/output configurations and practical DSP options.
Three channels offer XLR, quarter inch, and RCA connectivity, with the ability to boost, attenuate, or mix all signals into a single or even stereo output. Channel 1 allows you to switch between LINE for strong signals and MIC for plugging your microphone right in and turning up the gain. This feature caught my attention because I was concerned about my mixing board conking out in the middle of a performance. This way, I can always connect straight from the signal source – my interface or even a phone! – in case worse came to worst. The LINK OUT connector allows me to play stereo mixes though I feed signal to only one speaker. Way better than a mono daisy chain with other speakers, if you ask me. But again – you have options.
Then there is the modern, rock-solid DSP onboard each unit. Inherited from Yamaha’s high-end DSR series, the sound-processing technology boasts high resolution and smooth frequency response. D-CONTOUR is a multi-band compressor allowing you to color your sound with a “disco-smile” boost to low and high frequencies, or switch to a low-cut, high-boost mode when using as monitors. That’s right – do not forget that the series was designed with both main output and monitoring in mind. Since I have the subwoofer, I’ve turned to the built-in HPF set at 100Hz in my DXRs, which dovetails nicely with the LPF on the DXS. In other words, I am certain that my lows end up on the sub, because I’ve just made my own crossover.
DSP also controls advanced protection circuits in the speaker, amplifier, and power supply units. It promises to keep these guys safe for many years to come.
THIRD GLANCE – BUILD AND PERFORMANCE
Taking my DXRs out of the box, I was impressed by the sleek design, and tight fit and finish. Some folks have complained about modern materials – especially in the enclosure department – being too much plastic and not enough MDF/wood. I don’t think these complaints warrant too much attention here. The drivers are enclosed in a plastic composite instead of heavier materials, but this is not a bad thing. Remember that resonance is an important factor in great sounding speakers, something factored in the series’ design; the sense that they can’t be scratched, or feel like brick ovens shouldn’t be the first thing on your mind. Trust me, when carrying them around and lifting them above your head during setup and tear down, you’ll be happy for the material used in the outer case.
Of course, eventually the moment of truth comes: what do they sound like? While I sometimes say, “to each his own ears” – I cannot imagine that anyone will hear anything other than gorgeous, musical sounds. The lows are deep, transparent and not boomy, and the highs shimmer and sparkle with clarity that is deep. My own particular collection of music usually wields an array of wide stereo sound staging and imaging, replete with dynamic, processed effects. The DXRs have kept up with all kinds of ethereal, layered mixes and punchy-bassline-driven sets, even when I’ve cranked up the gain. I guess I was expecting some crazy distortion and clipping playing at louder levels, and was surprised by how clean and tight everything remained.
CONCLUSIONS
Overall, at this price-point, I am confident the Yamaha DXRs are some of the best-performing PA gear on the market. The flexibility, modern DSP, and quality sound make this above-average series a no-brainer. Save yourself the time (and some money) and you’ll be ready to rock out in a variety of needs and performances.
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