I’ve been a huge Signer fan for awhile now, Carpark Records has just been on a tear lately, rereleasing some of their original artists that made me fall in love with the label and this new one by Toro Y Moi, here’s to more in 2010. Signer’s track almost makes me delusional with the synth notes holding on for so long, its a nice break from beat and guitar material like the Toro Y Moi but both are on repeat at my house.

Nite Jewel truly reminds me of Public Access Television in Lansing, MI in the 80’s, its jaw dropping how charming these girls are. The songs touch on synth sounds that i’d need Scott to help me pin point what they are but I want them all.

Kurt Vile has a less lo-fi album that just came out but his material on Mexican Summer was what really grabbed my ear. check out Prom King as well, such simple singer songwriter material that doesn’t make you snore.

Signer – Break my arms around you

[audio:breakarm.mp3]

Nite Jewel – Artificial Intelligence

[audio:artin.mp3]

Kurt Vile – My Best Friends (Don’t Even Pass This)

[audio:bff.mp3]

Toro Y Moi – Blessa

[audio:blessa.mp3]

I’d heard of Genuine Fractals — onOne Software’s scaling plugin — from Tim at Blue Moon Printing but I had yet to try it out for myself. It’s basically a plugin for Photoshop which uses a proprietary algorithm (as opposed to Photshop’s built in resizing modes) to enlarge images. I was pretty skeptical but finally decided to try it out tonight when faced with some daunting upscaling projects.

I’m in the process of working through some older posters and sizing them up to the larger formats. For a long time I created all of my prints at 12×18″ (or thereabouts, depending on the format) as my computer just couldn’t handle anything bigger. For many I’ve been able to go back and recreate them, but some elements in the posters are scanned from smaller sources and just couldn’t be scaled up (e.g. the sky background in the above example. It’s made from a photo of a textile which is of a finite size and I don’t have access to anymore). So I figured now would be a good time to give Genuine Fractals a try. To my amazement it handled everything I threw at it beautifully. The interface and workflow are dead simple: you just initiate the Genuine Fractals dialog from the File > Automate menu, resize, click apply, and you’re done. It’s even fast, about the same speed as Photoshop’s resize command. There’s not much more to say as the results really speak for themselves. Simply put: Genuine Fractals can scale your images up to 1000% larger without any noticeable degradation. That’s what it says on their site and from my experience I’d say that’s absolutely true.

Genuine Fractals excels at photographic imagery, but that’s to be expected. With complex raster images it’s easy for imperfections to hide amongst all the shapes and colors. I thought the true test would be it’s ability to scale up flattened vector images. That is, vector shape and text layers flattened into raster images. I am doing this just to better illustrate how clean the scaling is but Genuine Fractals can actually handle multi-layered images (text, raster, and vector shape layers), scaling each layer individually and maintaining the original layer type. Meaning, if you feed it a document with a raster layer, a text layer, and a vector layer, it will use it’s algorithm to scale the raster data but will also scale the text and vector layers without rasterizing them. All the layers will be maintained as they were in the original document, they will just be scaled up. For my purposes, this is what makes Genuine Fractals truly powerful.

Here are some of my results. I know, none of this is very scientific but it’s a small glimpse of how well this program works. See the subtext under each image for a description.

As you can see, the lines are still crisp and defined with the Genuine Fractals enlargements. It’s not exactly perfect when compared to the original, but it’s a greatly improved alternative to Photoshop’s native scaling algorithms. My only question now is: At $700, why doesn’t Photoshop have this kind of power built in? New features like content aware scaling are nice and all, but I’d much rather they spent their R&D money on core functionality like this.

You can download a demo of Genuine Fractals from their site to try it out yourself. At $150, the software is a little too pricey for casual use, I’d say this is more for print shops and professional photographers looking to scale up their work for large format printing.

So we all download and save images of items, graphics and photos from the internet daily and some of the time you have no idea where to give credit besides maybe the guy that posted it first or second randomly on a blog. I‘d like to get some answers on a few of these but also just post some interesting pieces that we come across that might have been sitting on our drives for awhile that are go to for inspiration or just found randomly on a forum with no info attached and just look great. Either way hopefully the point that gets across here is that they are inspiring in some sort of way to you as well.

For the 3 images up here: the first one I have a feeling is Will Calcutt’s who takes photos for Ghostly International but I have no proof either way it’s an intense shot, nothing like the average landscape shots you see these days. The second one I just wanted to know what is going on, is this a operator jail? The third one I like only in a Royksopp cute kinda of way, a bit amateur in parts and wears his influences on his sleeve and it feels abit unfinished but I enjoy the colors and shapes of the “mum like” mountains.

Tonight I had the pleasure of meeting meeting two great bands; one literally and the other figuratively. I went to see fellow Ghostly artists School of Seven Bells play at Slim’s here in San Francisco and their performance was incredible. But having seen them live before, I pretty much expected that. It was the opening act — Warpaint — that were the big surprise of the night.

Warpaint are a Los Angeles based “psychedelic” band and I’d have to say that description is apt. I spent most of the set mesmerized by them, sort of in a trance. This is one of those bands that I dream of producing a record for someday. Bassist Jenny Lindberg and her Rickenbacker carved out the low end as if from stone and the guitarists were all over it with the kind of stripped down, melodic style I’m a sucker for. I’m not easily moved by live rock music performances but this one had me running over to the merch booth to snag a CD before the set was even half way over. The hilight of the show was an ultra-somber yet perfectly timed rendition of their song “Billie Holiday” which left me in awe (and remionded me of another favorite from Grouper). As soon as I got home I popped the CD in, hoping it would live up to their live energy and was pleasantly surprised to hear that it did. It’s raw, unpolished, and at times sounds like a jam session accidentally caught on tape, and it’s beautiful. The only thing I’d change would be the drums on the album version of Billie holiday; they were absent from the live version and I think it was a little more focused without them.

I hope you enjoy these songs as much as I did, if you want to check Warpaint out they’re on tour and probably coming to your town soon.

Warpaint – Billie Holiday

[audio:billie_holiday.mp3]

Warpaint – Krimson

[audio:krimson.mp3]

Warpaint – Burgundy

[audio:burgundy.mp3]

The above are some examples of the flags of the various cities, towns and villages of Japan. After looking at these, the “logo” for my town is very depressing. If I had one of these instead, flying over the place I lived, I would feel infinitely cooler and forever at ease. I am amazed at 1) how many different logos there are and 2) how many of them are absolutely incredible.

The original post on Pink Tentacle has many more on display. You can also see the full (and massive) list on Wikipedia.

Loscil is up there with GAS, Aphex Twin, Stars of the Lid, Brian Eno in my mind when people bring up good ambient low level music. Gorgeous warm tones, analog tape sampling and vibraphones, he never leaves you feeling like your listening to nothing anything too experimental. Its just pure hypnotic gentle jet streams one after the other blowing on your hand, its like if someone tried to wake you up by just opening up a window and letting in a breeze to wake you.

So I started a unofficial Ghostly International Roller Hockey Team(more on that later I promise and if Ninja Tunes team wants to play us, bring it on, seriously, bring it hard and bring it good, jk) and the best part about it is that its mostly a collection of guys that make music and that means new good music and ideas from other people that I trust. Rob who plays on the team turned me onto Yppah on the way to the rink which was a name I never checked out but saw all the time but the name of the band just turned me off before I could ever press play to preview a song. Boy! have I been missing out, just bought up the whole catalog on emusic.

Fuck Buttons have always been on my radar, really like the sound of this track Surf Solar, its a good mash up of The Field and early M83.

Some people might put Kaito under the Trance genre bin and never take the time to check it out but Kaito makes something that is a special exception. He isn’t about making trance or getting people to dance or trip out, to be honest the more I listen to his music I have this feeling that he doesn’t even listen to anything mainstream or understand what the trance genre is and probably just sits down and makes what sounds good to him.

Loscil – Union Dusk

[audio:udusk.mp3]

Yppah – Son Saves The Rest

[audio:sonsave.mp3]

Fuck Buttons – Surf Solar (7″ edit)

[audio:surf7.mp3]

Kaito – Air Rider

[audio:beatless.mp3]

I’m sure everyone’s on the Sorcerer bandwagon, but it’s too good not to post. I want to blare it from my rooftop.

Brainchild of Daniel Saxon Judd (part Call & Response, part Windsurf) he really nails the summer surf tunes.

Enjoy.

Sorcerer – Surf Wax

[audio:sorcerer-surf_wax.mp3]

Sorcerer – Popsicle Orange

[audio:sorcerer-popsicle_orange.mp3]

See Also:

• Windsurf + Project Sandro via Jakub

I usually hesitate to do music production related posts as the focus of this blog is more centered in the visual world (On a side note, I always wonder how many of you produce music as well as design? | Comment). But I’ve really been shifting gears lately into album mode, getting the studio all dialed in so the final stretch is as trouble free as possible. To tell the truth, this past year has been one giant computer headache. Photoshop has been running like a champ on Windows 7 64-bit, but Sonar — the audio software platform I use to record / produce with — has been nothing but trouble. Over the years, I’ve slowly moved to where I do all of my sound generation and most of my processing outside the computer with analog gear but I still use the computer to record and arrange. Sonar is still the central element to the most complex stage of the production process. If it’s not behaving, the whole chain breaks down very quickly. To be fair though, it’s actually the supporting cast of digital hardware that’s been causing all the problems, not Sonar itself. My analog-to-digital digital conversion system was built around a MOTU 828MKII audio interface and a MOTU MIDI timepiece. They worked great in Windows XP but just weren’t making the cut in Windows 7 and Vista. MOTU’s driver support for Windows is pretty bad, they’re more of a Mac-centric company. So I finally ditched them and went with German manufacturer RME’s Fireface 800 as the core of the system. RME were originally a Windows only hardware maker and are very dedicated to stable performance across both platforms. They also make some of the best analog to digital converters in the business so it was nice to get that upgrade included in the deal. I also finally took the time to really tweak the computer and chase down all the little bugs and conflicts so everything is running smoother than ever now. Unfortunately I had to leave the ridiculously fast Windows 7 and go back to Vista Pro x64, but it’s only a minor step down in performance so it’s well worth the added stability. I am betting I’ll be able to move back up to Win7 within the next 6 months. And before anyone says “you should switch to Mac” I must add that most of my go-to plugins and music software are PC-only, I couldn’t really switch to Mac if I wanted to. And believe me, over this past year I have wanted to on several occasions. But I think all that is behind me, the new rig is rock solid and I’ve cloned the drive with Acronis True Image so it will always be fast and clean (I can just flash the drive back to the initial state any time things start to bog down).

So now with everything working properly, all at once, for what seems like the first time in ages, it’s time to get down to the business of producing this album. I have all the material in place, it’s just a matter of arrangement and production at this point. I do enjoy this phase, when I’m in the middle of it, but truthfully I don’t always look forward to it. I just remember all the late nights up at 7am driving back and forth from LA and Sacramento getting stuff mixed and mastered, then mixed and mastered again, and again…. and so on. Sometimes it seems like it never ends. The last song I finished — the forthcoming Coastal Brake 12″ — was one of those very trying experiences. It was just such a dense and complex mix, I hit the wall a few times and really had to reconsider things. Luckily I was able to keep my head and after about two months of pushing and pulling I finally got a version I was happy with.

So here I am coming off that experience with a whole album’s worth of tracks all lined up for the same treatment. I figured it was time to evaluate my work flow and determine what I could do to optimize things and make the process more fun than work. I started by rewiring and reconfiguring the entire studio, from top to bottom, three times. With each pass I took a week to work with things and noted all the little issues and roadblocks that I encountered with the setup. I then incorporated those into the next redesign. I spent years trying to just get things setup quickly so I could get to work, not realizing that if I really took the time to get it all set up and configured properly the first time, in the end I would save a ton of time and energy.

So now I’m sitting in the newly optimized studio and it really feels good. My head is clear and I feel like I have instant access to all the tools I need to get work done. I’ve already written a chunk of new material in the past few days and am starting the process of working back through the existing songs and getting them into their finished forms. One very cool perk of this whole experience was rediscovering something that I had all but forgotten about from my earlier days as a musician. When I first started out in music, my first real piece of gear was an Ensoniq ASR-X, a combination drum machine / synth which used drum pads instead of keys. I sold it years ago and always regretted it (Actually, I sold one, got a new one, then sold that, then got another, then finally sold that again…but that’s a very long story). Anyways, I’ve always missed the physical drum pads and ever since I moved to San Francisco I can’t play my real drum kit very late at night anymore. Over the weekend I was at Guitar Center picking up some cables and noticed Akai’s new little drum trigger pad, the MPD18 (pictured at the top). Only $99 for 18 genuine MPC pads, that’s an insane deal. My ASR-X was always like the poor man’s MPC so I always lusted after them whenever I saw one at a show or something. I was a bit skeptical about whether the $99 MPD18 could live up to the venerable MPC, but once I got it home I was amazed at how sensitive and tactile the pads are. Needless to say, I’ve been loading my drum machine up and triggering it with the MPD for the past two days straight. It’s not even work anymore, I forgot how fun these things are, and I honestly think the results are more fluid and realistic than programming drum patterns by mouse.

I will be posting some pics of the new studio just as soon as I borrow my brother’s wide angle lens. For now, here is some gratuitous gear smut, the original MPC60 (Akai + Roger Linn) in all it’s glory:

The fabulous Hyperdub label turns 5 and unveils their 2xCD compilation thats full of exclusives and recent 12″ hits. Joker & Ginz touch on a West Coast sounding early 90’s monster that could be played in Pop clubs around the world, its like if you put Dam Funk in a NES game and drugged him up and only let him play low notes. Flying Lotus comes in running with his signature deep step that sways like a Kompakt shuffle track but heavier than a boot covered in thick mud. Samiyam joins the crew with more of a head nodding cut including long high pitch synth chords and dramatic melodies. 2000F & J Kamata brings us back to the late 80s roller skating rink jams in Oakland, CA with Osborne like vocoders and smash hit hooks and breaks. Quarta 330 takes Kode9 track and gives it a NES last level feel, plenty of deep space soldiers ready for battle once this track ends *presses A+B buttons together as fast as possible*.

Joker & Ginz – Stash

[audio:stash.mp3]

Flying Lotus – Disco Balls

[audio:dballs.mp3]

Samiyam – Return

[audio:returnh.mp3]

2000F & J Kamata – You Don’t Know What Love Is

[audio:lovedont.mp3]

Kode9 – 9 Samurai (Quarta 330 Rmx)

[audio:3309.mp3]

Non-Format is one of the most exciting studios working today. Comprised of Kjell Ekhorn (Norwegian) and Jon Forss (British), Non-Format is known for an exceptionally innovative approach to typography and a fresh, boundary-smashing graphic style. Clients such as Nike, Coca Cola and The New York Times have all tapped the studio’s award winning and internationally acclaimed design talent. Operating on two continents, Non-Format is based in Oslo, Norway and Minneapolis, USA.

One of my first assignments at design school was to bring in some books that I found inspiring. As I had just started the program, I didn’t really have much to show for myself, and I distinctly remember arriving that day to see that around 3/4 of the class had all brought the same book: Non-Format’s Love Song. The extent of their influence on the field of design became immediately clear to me. Since then I’ve kept a close watch on the studio and am always excited to see what they’ve been working on. Recently I had the privilege of interviewing Jon and Kjell and our exchange is after the jump.

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