Everything you've read on the 'Net is true.

Daily Stream? Wha? Wait What? How? Why?


  • To put into practice a series of concepts that I've been thinking about for a while that most djs, producers, musicians might not be comfortable with.
  • To stream an hour of original (mostly), non-copyrighted material every day at the same time, five days a week.
  • To turn the studio from an instrument into a live instrument.

In essence, instead of finding the perfect kick for a tune my job is to find several kicks and ensure they are easily accessible in a live rig over the period of a week or more (before moving onto the next drums et).

It means the studio might not always be in the same state as I left it after the previous day's stream so one must embrace the chaos. It's a chance for me to experiment with silence, go out of key or time should I choose.

Soundware form Puremagnetik, Sonic Couture, Afrodjmac, SonicBloom, Flintpope, Ableton of course, and even my old school Public Enemy and Dj Rectangle, battle DJ vinyl will play a big part.

I hope to turn preset surfing intro an artform, live.

I waited for two weeks before posting an explanation as I did not want a 'this is what I intend to do post'.


With the support of Lisa, (who makes the beats), my daily schedule revolves around the fact that live streaming hour is immutable. Dentists and vets are the only excuse for not airing on time.

Tunes I've been tweaking for months and years will be extended into deconstructed virtual 12 inches.

And each week I'll focus on an area to improve: The studio itself, my command of the daw, instruments, programming music, theory, improv, compositional concepts.

Don't worry I'm not talking highfalutin stuff. If it weren't for this show, I would not call myself a musician. This show will allow me call myself an amauteur musician at best. I cannot play an instrument but I can hold down a key and turn on an arpeggiator.

But sometimes, I like to press sample triggers randomly and just go off the grid all together. It's liberating.

I like old, stressed out sounds. Sounds that struggle to be heard. But I also like break beat and the theme to Futurama (we'll probably discuss Pierre Henry at least once.)


The biggest hock I got when I started on this journey of music-making was find out out that audio editors changed the pitch of a sample when it was shortened or lenghtened. I knew the logic, but I was so dissappointed in every attempt to manipulate a bassline. It was one of those defining moments.

Sony's Acid was the first DAW to offer time stretching. I took to it immediatedly. A simple way tto slice audio and re-loop without re-pitch. It was EXACTLY what I dreamed of, needed and it appeared just at the right time. From wikipedia

"ACID Loops is a technology used with the music making software originally from Sonic Foundry called ACID. Created in 1998, it refers to the repetition, and transposition of sound clips, to form a song.

I reckon I was making music for maybe a year probably two before acid loops was invented.  I had hour long sets in cubase that would lose their instrument settings or I'd end up with 100 tracks. (or I did not rewind far enough for a cc program change to init) .A track for each bassline, several for drums, vocals etc. maybe ten tunes in this set/composition. It broke everyday and I got nowhere. Exactly what you would expect from an outsider, with no connection to a a scene and no idea what I was doing.

But I dropped it all in a moment (not realising it at the time) when I discovered soundforges acid. I could write tunes in  minutes instead of weeks, render them, put the renders into cubase and voila my set. I need to fix something, go back to acid, re render and bring the result back into acid.

I discovered my first workflow!

So little has changed. I mean it's the basis probably of most djs workflow in that tune composition and perforamnace are two different processes, but I had to figure that out for myself.

However,nonetheless I have found my outsider approach has infected other areas of my art. For me the set is still the unit of workm, not a tune. Alone a lot of my tunes would be of a substandard, however blended with other of my works or deconstructed live, these pieces make more sense. So I am constantly re-rendering.

Which means I don't master...ever.

All of my tunes are constantly tweaked to suit the context of the moment. There is no finished piece to master. Mastering is about consitency- but so is my performance.

So when a good musician friend told ne a bout Ableton Live (at this point it was at version 5) I had used cracked versions on a few occasions, but it offered nothing to my already ingrained highly primitive cut n paste style that I have already described, I took note of his advice since he was discussing my music not the software and bought Live.

To my shame I have used live ever since without learning a single new function. I even upgraded to 7,and 9. I moved some stuff some the sequnece view to the session view and performed some gigs that were less linear, more improv in terms of loop repetitons, but not having many opportunities to perform meant I focused mostly on composition. And I had everything I needed for that.

After a hiatus of six or seven years I'm returning to music composition, and obviously this time real-time performance is at the heart of my process. So I intend to learn everything I can about this DAW from the simpler to M4L.

So to turn my studio into a live studio I have chosen Live as my weapon of choice. I will be returning to all of my old works and converting them from acidloops, or cubase or fruityloops or whatever piece of kit I was messing with , and turn it into an Ablton file with a rendered wav that can be used in my daily streams.

I call this eliminating my technical debt (a concept I've taken from my other life as a coder).




Depends on where you live. Same bat time, same bat channel.




Published Saturday, October 27, 2018