New Wonderland Mixtape
.
Deeper Down The Rabbit Hole | Download
Here are some fresh Alice In Wonderland mixes to help tide everyone over until my next releases. Inside is a revisited version of Alice, as well as a few extras that have never been heard before. Enjoy!
New Wonderland Mixtape
.
Deeper Down The Rabbit Hole | Download
Here are some fresh Alice In Wonderland mixes to help tide everyone over until my next releases. Inside is a revisited version of Alice, as well as a few extras that have never been heard before. Thanks for listening, folks.
New Wonderland Mixtape
.
Deeper Down The Rabbit Hole | Download
Here are some fresh Alice In Wonderland mixes to help tide everyone over until my next releases. Thanks for listening!
New Wonderland Mixtape
.
Deeper Down The Rabbit Hole | Download
Here are some fresh Alice In Wonderland mixes to help tide everyone over until my next video releases. Thanks for listening, folks.
New Wonderland Mixtape
.
Deeper Down The Rabbit Hole | Download
Here are some fresh Alice In Wonderland mixes to help tide everyone over until my next video releases. Thanks for listening, folks.
New Wonderland Mixtape
.
Deeper Down The Rabbit Hole | Download
New Wonderland Mixtape
.
Deeper Down The Rabbit Hole
|
Download
New Wonderland Mixtape
.
Deeper Down The Rabbit Hole |
Download
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Contact
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Bryant Randall |
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| 1(414)-255-0845 | |||
| brandall715@gmail.com |
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Dave Poe |
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| (310) 385-2800 | |||
| davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
| 1(414)-255-0845 | |||
| brandall715@gmail.com |
|
|
||
Dave Poe |
|||
| (310) 385-2800 | |||
| davepoe@theagencygroup.com |
Remixing The World
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What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it quite literally, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal.
Not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
|
|
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal.
Not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
|
|
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
|
|
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it quite literally, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal.
Not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
|
|
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
|
|
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
|
|
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
|
|
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
 |
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
MP3s
| Alice | 2:44 |  |
| Alohomora | 3:13 |  |
| Anna | 3:59 | |
| Bangarang | 3:22 | |
| Benny’s Book Store | 3:03 | |
| Bread And Butterflies | 3:44 | |
| Buzzwing | 2:04 | |
| Dots Vinyl Gone Bad | 4:45 | |
| Drunk In The Mat-Mobile! | 3:02 | |
| Expialidocious | 3:10 | |
| Get Out… | 2:24 | |
| Gitch | 2:11 | |
| I Want… | 3:03 | |
| Ingenuity | 1:54 | |
| Jentle Jazz | 2:19 | |
| Kiss Of Cure | 5:12 | |
| Lost | 3:39 | |
| Mary’s Magic | 4:24 | |
| Mending | 3:36 | |
| Puff Love | 2:29 | |
| Reaching Respite | 1:03 | |
| Re-Existence | 3:23 | |
| Scrumdiddlyumptious | 3:59 | |
| Sing 2 Self | 3:03 | |
| Skynet Symphonic | 4:34 | |
| Splurgenshitter | 4:23 | |
| Swashbuckle | 3:56 | |
| Symphony #69 | 4:09 | |
| The Old Fashioned Feeling | 3:03 | |
| Toyz Noize | 3:26 | |
| Troubles Melting | 1:09 | |
| Tunnels | 2:49 | |
| Unbirthday | 2:49 | |
| Under A Spell | 2:58 | |
| Upular | 2:22 | |
| Walking On A Dream (Pogo Edit) | 1:49 | |
| Where I Belong | 4:12 | |
| White Dresses | 2:31 | |
| White Magic | 2:48 | |
| Wishery | 2:31 | |
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
|
|
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remixing concept, first displayed to much fanfare in my track and video Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why not sponsors and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remix concept, first displayed to much fanfare with the release of Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why avoid sponsorship and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remix concept, first displayed to much fanfare with the release of Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why avoid sponsorship and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Where will you be travelling to?
The Amazon, Antarctica, Tribal Africa, Tibet… you name it! I cant stress enough that I’m looking for truly unique cultures, not major cities. There’s only so many ways you can close the door of a taxi.
Who will be part of your crew?
The crew will usually consist of two people. I will be operating all of the camera equipment, while my faithful manager Bryant Randall will be manning the sound equipment in addition to documenting the project behind the scenes. We will almost always have a fixer to navigate for us and translate the local dialects, and often there will be need for a grip to hold reflectors, soft boxes, dump footage, etc. While making music on location will be a vital part of capturing a culture, I will use our sounds and footage to compose primarily at my studio in Perth, Western Australia.
Will there be extra content on the DVD?
You bet! We will be thoroughly documenting our travels to produce episodic short films for the DVD, and you will also find additional tracks and experiments that didn’t make the album.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remix concept, first displayed to much fanfare with the release of Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why avoid sponsorship and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re supporting me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remix concept, first displayed to much fanfare with the release of Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why avoid sponsorship and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding – an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re paying me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remix concept, first displayed to much fanfare with the release of Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why avoid sponsorship and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding. The only way to fund an endeavor of this scope is with an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re paying me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remix concept, first displayed to much fanfare with the release of Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why avoid sponsorship and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding. The only way to fund an endeavor of this scope is with an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re paying me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remix concept, first displayed to much fanfare with the release of Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why avoid sponsorship and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding. The only way to fund an endeavor of this scope is with an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re paying me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remix concept, first displayed to much fanfare with the release of Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why avoid sponsorship and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding. The only way to fund an endeavor of this scope is with an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re paying me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remix concept, first displayed to much fanfare with the release of Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose and shoot a track and video for each major culture of the world. It will be funded solely by you the listener, and will be released worldwide on CD, DVD, and here at PogoMix.net.
Why avoid sponsorship and corporate investors?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
How is it going to be funded?
The world remix project is going to employ a unique method of funding. The only way to fund an endeavor of this scope is with an incremental finance structure.
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listener will be the sponsor!
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to reaching that goal. When the goal is reached, the track will be made available as a free download and will no longer be for sale.
By paying for a track before it is released for free, not only are you helping our cause, but you’re paying me directly to produce a quality track and film production. Plus, every supporter will be formerly credited as an Associate Producer, earning them a discount of the full CD and DVD when the project is completed. Remember when people had to pay for music regardless of quality? Remember when most of that money went to a posh record label?
What if no one supports the project?
If you the listeners stop contributing, then so must I. Your opinions are important to me, so if it’s apparent this project is losing appeal, then it is not meant to be.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remix concept, first displayed to much fanfare with the release of Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose a track and video for each major culture of the world. It will be the ultimate culmination of my passion for film and music, and will be released worldwide on CD, DVD, and here at PogoMix.net.
How will it be funded?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
The world remix project is going to employ a unique method of funding. The only way to fund an endeavor of this scope is with an incremental finance structure.
What’s an incremental finance structure?
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listeners will be the investors. To get the ball rolling, my first remixes of Johannesburg and New York have been funded out of my own pocket.
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to funding the next track. Once that goal is reached, the track will be made available as a free download and will no longer be for sale.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remix concept, first displayed to much fanfare with the release of Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose a track and video for each major culture of the world. It will be the ultimate culmination of my passion for film and music, and will be released worldwide on CD, DVD, and here at PogoMix.net.
How will it be funded?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
The world remix project is going to employ a unique method of funding. The only way to fund an endeavor of this scope is with an incremental finance structure.
What’s an incremental finance structure?
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listeners will be the investors. To get the ball rolling, my first remixes of Johannesburg and New York have been funded out of my own pocket.
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to funding the next track. Once that goal is reached, the track will be made available as a free download and will no longer be for sale.
Remixing The World
What is the world remix project?
This is my upcoming album which will expand upon my live-action remix concept, first displayed to much fanfare with the release of Gardyn. The goal of this project is to travel the world in search of sights, sounds, voices and chords, and use them to compose a track and video for each major culture of the world. It will be the ultimate culmination of my passion for film and music, and will be released worldwide on CD, DVD, and here at PogoMix.net.
How will it be funded?
Working with major labels, studios and corporations often carries with it a number of obligations which greatly affect the integrity and general direction of the project in question. Trying to turn my own idea into a mutually beneficial deal that preserves the integrity of the project is virtually impossible. Besides, remixing real people, cultures and religions carries the responsibility to properly represent someone’s way of being. My world remix concept has peaked the intrigue of various labels, studios and TV channels – but as always with corporate deals, the dollars come with strings attached.
In reality, the album would likely be skewered towards night-life and commercialized metropolitan districts. It would stray completely from my initial concept, and wouldn’t make for compelling material even if I did sell out.
The world remix project is going to employ a unique method of funding. The only way to fund an endeavor of this scope is with an incremental finance structure.
What’s an incremental finance structure?
Every track will be financed by the funds generated from sales of the track before it, so to put it in the most literal of terms, you the listeners will be the investors. To get the ball rolling, my first remixes of Johannesburg and New York have been funded out of my own pocket.
In a nutshell, if you purchase track #001, it sends me and my crew to our next destination to produce track #002. With the release of each track, I will state a fixed financial goal for the next destination, and provide a publicly viewable status of how close we are to funding the next track. Once I reach that goal, the cur track will be made available as a free download and no longer be for sale.
Contact
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Bryant Randall |
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| 1(414)-255-0845 | |||
| brandall715@gmail.com |
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Dave Poe |
|||
| (310) 385-2800 | |||
| davepoe@theagencygroup.com |
Contact
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|
||
Bryant Randall |
|||
| 1(414)-255-0845 | |||
| bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
| (310) 385-2800 | |||
| davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
| 1(414)-255-0845 | |||
| bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
| (310) 385-2800 | |||
| davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
| P: 1(414)-255-0845 | |||
| E: bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
P:1(414)-255-0845 |
|||
| E: bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
| P: 1(414)-255-0845 | |||
| E: bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
| P: 1(414)-255-0845 | |||
| E: bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
| P: 1(414)-255-0845 | |||
| E: bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
| P: 1(414)-255-0845 | |||
| E: bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
| P: 1(414)-255-0845 | |||
| E: bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
| P: 1(414)-255-0845 | |||
| E: bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
| Bryant Randall | |||
| P: 1(414)-255-0845 | |||
| E: bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
| P: 1(414)-255-0845 | |||
| E: bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
| P: 1(414)-255-0845 | |||
| E: bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
| P: 1(414)-255-0845 | |||
E:bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
| Bryant Randall | |||
| P: 1(414)-255-0845 | |||
E:bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
P:1(414)-255-0845 |
|||
E:bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
P:(310) 385-2800 |
|||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
P:1(414)-255-0845 |
|||
E:bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
P:(310) 385-2800 |
|||
E:davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
P:1(414)-255-0845 |
|||
E:bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
P:(310) 385-2800 |
|||
E:davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
P:1(414)-255-0845 |
|||
E:bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
P:(310) 385-2800 |
|||
E:davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
P:1(414)-255-0845 |
|||
E:bryant@reverseenginears.com |
|
|
||
Dave Poe |
|||
P:(310) 385-2800 |
|||
E:davepoe@theagencygroup.com |
Contact
|
|
||
Bryant Randall |
|||
| P: 1(414)-255-0845 | |||
| E: bryant@reverseenginears.com |
|
|
||
| Dave Poe | |||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
| Bryant Randall | |||
| P: 1(414)-255-0845 | |||
| E: bryant@reverseenginears.com |
|
|
||
| Dave Poe | |||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
||
| Bryant Randall | |||
| P: 1(414)-255-0845 | |||
| E: bryant@reverseenginears.com |
|
|
||
| Dave Poe | |||
| P: (310) 385-2800 | |||
| E: davepoe@theagencygroup.com |
Contact
|
|
|
| Bryant Randall | ||
| P: 1(414)-255-0845 | ||
| E: bryant@reverseenginears.com |
|
|
|
| Dave Poe | ||
| P: (310) 385-2800 | ||
| E: davepoe@theagencygroup.com |
Contact
img src=”http://www.pogomix.net/images/Contact.png” />
|
|
|
| Bryant Randall | ||
| P: 1(414)-255-0845 | ||
| E: bryant@reverseenginears.com |
|
|
|
| Dave Poe | ||
| P: (310) 385-2800 | ||
| E: davepoe@theagencygroup.com |
Contact
img src=”http://www.pogomix.net/images/Contact.png”
 |
 |
|
| Bryant Randall | ||
| P: 1(414)-255-0845 | ||
| E: bryant@reverseenginears.com |
 |
 |
|
| Dave Poe | ||
| P: (310) 385-2800 | ||
| E: davepoe@theagencygroup.com |
The Live Rig
.
Having made music and videos for the last few years, leaving the studio and hitting the club for the first time is an experience I’ll never miss. It was stressful, confusing, tedious and problematic. I wanted desperately to get my music in front of hundreds of people, but I had no idea how or what I would physically do. I tried everything from DJ-ing with turntables to VJ-ing with my entire studio machine on stage, and nothing worked. I even started wondering if I’d ever cut it as a DJ at all. However, with much persistence and a lot of hard work, I have put together a simple (yet internally complex) system that gives me complete control over my live mixes and videos.
In the picture above is my current rig. It all fits into one bag! I just can’t tell you how important it is to simplify a mission-critical system like this. Every component is a potential bomb just waiting to go off and destroy everyone’s night. The less components the better, and the easier it is to get in and out of the venue. I remember lugging my entire studio machine to an event once – naturally everything caved in and failed. It was a good thing nobody knew I’d be on that night.
Running Ableton Live with Mu, touchAble and Resolume, is a 15″ MacBook Pro with a matte screen, i7 CPU, 6gb RAM, and 128gb SSD. Processing the audio with a super low latency is a Native Instruments Audio Kontrol 1. Connected to the MacBook Pro is a Jazzmutant Lemur via Ethernet displaying my Ableton set through Mu. Also connected is an iPad 32gb Wi-Fi, which displays the same Ableton set but through the touchAble iPad app. I’m also busy experimenting with Korg iElectribe, an amazing iPad app that lets you build drum loops and percussion sequences live for immediate mixing. I simply connect the iPad headphone jack to an input on the Audio Kontrol, route that through a channel in Ableton, and I’m ready to roll. Other gadgets in the picture include my iPhone in an Xtand, a 1TB Western Digital on FW800, and a pair of Ultrasone DJ-1 headphones.
This set-up allows me to mix each layer of my tracks, extend and blend sections, splice tracks together, and perform vocal sections live using individual samples. The video takes care of its self automatically, and I can intervene at any time. I can mix chords from White Magic with vocals from Alice and percussion from Toyz Noize. Then, I might drop the chords and vocals, and blend seamlessly into Bangarang.
After some practice, I can practically build new tracks on the fly. Turning a 3 minute track into a 10 minute mega-mix is also a great ride. The whole thing is lots of fun, and gives me the freedom I need to create a unique experience for everyone out on the floor. I’m making big plans to tour the states soon, so keep an eye on Twitter and thanks to everyone for their amazing support!
MP3s
| Alice | 2:44 | |
| Alohomora | 3:13 | |
| Anna | 3:59 | |
| Bangarang | 3:22 | |
| Benny’s Book Store | 3:03 | |
| Bread And Butterflies | 3:44 | |
| Buzzwing | 2:04 | |
| Dots Vinyl Gone Bad | 4:45 | |
| Drunk In The Mat-Mobile! | 3:02 | |
| Expialidocious | 3:10 | |
| Get Out… | 2:24 | |
| Gitch | 2:11 | |
| I Want… | 3:03 | |
| Ingenuity | 1:54 | |
| Jentle Jazz | 2:19 | |
| Kiss Of Cure | 5:12 | |
| Lost | 3:39 | |
| Mary’s Magic | 4:24 | |
| Mending | 3:36 | |
| Puff Love | 2:29 | |
| Reaching Respite | 1:03 | |
| Re-Existence | 3:23 | |
| Scrumdiddlyumptious | 3:59 | |
| Sing 2 Self | 3:03 | |
| Skynet Symphonic | 4:34 | |
| Splurgenshitter | 4:23 | |
| Swashbuckle | 3:56 | |
| Symphony #69 | 4:09 | |
| The Old Fashioned Feeling | 3:03 | |
| Toyz Noize | 3:26 | |
| Troubles Melting | 1:09 | |
| Tunnels | 2:49 | |
| Unbirthday | 2:42 |  |
| Under A Spell | 2:58 | |
| Upular | 2:22 | |
| Walking On A Dream (Pogo Edit) | 1:49 | |
| Where I Belong | 4:12 | |
| White Dresses | 2:31 | |
| White Magic | 2:48 | |
| Wishery | 2:31 | |
Evolution Of The Space Bunny
.
It just occurred to me the other day where my logo actually originated from. I was sifting through a bunch of old papers when I found a drawing that a good friend once made for me.
The drawing was by Helen June Hansord, a photographer here in Perth. After she made it, I traced it in Photoshop to produce a cartoon version before sending it off to designer Tymn Armstrong. It just doesn’t feel right letting Helen’s original idea go uncredited, so here’s a big thanks to her for the inspiration!
If you’re looking to get portraits taken in Perth, I highly recommend her: helenjune.tumblr.com/
Evolution Of The Space Bunny
.
It just occurred to me the other day where my logo actually originated from. I was sifting through a bunch of old papers when I found a drawing that a good friend once made for me.
The drawing was by Helen June Hansord, a photographer here in Perth. After she made it, I traced it in Photoshop to produce a cartoon version before sending it off to designer Tymn Armstrong. It just doesn’t feel right letting Helen’s original idea go uncredited, so here’s a big thanks to her for the inspiration!
If you’re looking to get portraits taken in Perth, I highly recommend her: helenjune.tumblr.com/
Evolution Of The Space Bunny
.
It just occurred to me the other day where my logo actually originated from. I was sifting through a bunch of old papers when I found a drawing that a good friend once made for me.
The drawing was by Helen June Hansord, a photographer here in Perth. After she made it, I traced it in Photoshop to produce a cartoon version before sending it off to designer Tymn Armstrong. It just doesn’t feel right letting Helen’s original idea go uncredited, so here’s a big thanks to her for the inspiration!
If you’re looking to get portraits taken in Perth, I highly recommend her: helenjune.tumblr.com/
Evolution Of The Space Bunny
It just occurred to me the other day where my logo actually originated from. I was sifting through a bunch of old papers when I found a drawing that a good friend once made for me.
The drawing was by Helen June Hansord, a photographer here in Perth. After she made it, I traced it in Photoshop to produce a cartoon version before sending it off to designer Tymn Armstrong. It just doesn’t feel right letting Helen’s original idea go uncredited, so here’s a big thanks to her for the inspiration!
If you’re looking to get portraits taken, I highly recommend her: helenjune.tumblr.com/
Evolution Of The Space Bunny
It just occurred to me the other day where my logo actually originated from. I was sifting through a bunch of old papers when I found a drawing that a good friend once made for me.
The drawing was by Helen June Hansord, a photographer here in Perth. After she made it, I traced it in Photoshop to produce a cartoon version before sending it off to designer Tymn Armstrong. It just doesn’t feel right letting Helen’s original idea go uncredited, so here’s a big thanks to her for the inspiration!
If you’re looking to get portraits taken, I highly recommend her: helenjune.tumblr.com/
Evolution Of The Space Bunny
It just occurred to me the other day where my logo actually originated from. I was sifting through a bunch of old papers when I found a drawing that a good friend once made for me.
The drawing was by Helen June Hansord, a photographer here in Perth. After she made it, I traced it in Photoshop to produce a cartoon version before sending it off to designer Tymn Armstrong. It just doesn’t feel right letting Helen’s original idea go uncredited, so here’s a big thanks to her for the inspiration! If you’re looking to get portraits taken, I highly recommend her: helenjune.tumblr.com/
Evolution Of The Space Bunny
It just occurred to me the other day where my logo actually originated from. I was sifting through a bunch of old papers when I found a drawing that a good friend once made for me.
The drawing was by Helen June Hansord, a photographer here in Perth. After she made it, I traced it in Photoshop to produce a cartoon version before sending it off to designer Tymn Armstrong. It just doesn’t feel right letting Helen’s original idea go uncredited, so here’s a big thanks to her for the inspiration! If you’re looking to get portraits taken, I highly recommend her: helenjune.tumblr.com/
The Live Rig
.
Having made music and videos for the last few years, leaving the studio and hitting the club for the first time is an experience I’ll never miss. It was stressful, confusing, tedious and problematic. I wanted desperately to get my music in front of hundreds of people, but I had no idea how or what I would physically do. I tried everything from DJ-ing with turntables to VJ-ing with my entire studio machine on stage, and nothing worked. I even started wondering if I’d ever cut it as a DJ at all. However, with much persistence and a lot of hard work, I have put together a simple (yet internally complex) system that gives me complete control over my live mixes and videos.
In the picture above is my current rig. It all fits into one bag! I just can’t tell you how important it is to simplify a mission-critical system like this. Every component is a potential bomb just waiting to go off and destroy everyone’s night. The less components the better, and the easier it is to get in and out of the venue. I remember lugging my entire studio machine to an event once – naturally everything caved in and failed. It was a good thing nobody knew I’d be on that night.
Running Ableton Live with Mu, touchAble and Resolume, is a 15″ MacBook Pro with a matte screen, i7 CPU, 6gb RAM, and 128gb SSD. Processing the audio with a super low latency is a Native Instruments Audio Kontrol 1. Connected to the MacBook Pro is a Jazzmutant Lemur via Ethernet displaying my Ableton set through Mu. Also connected is an iPad 32gb Wi-Fi, which displays the same Ableton set but through the touchAble iPad app. I’m also busy experimenting with Korg iElectribe, an amazing iPad app that lets you build drum loops and percussion sequences live for immediate mixing. I simply connect the iPad headphone jack to an input on the Audio Kontrol, route that through a channel in Ableton, and I’m ready to roll. Other gadgets in the picture include my iPhone in an Xtand, a 1TB Western Digital on FW800, and a pair of Ultrasone DJ-1 headphones.
This set-up allows me to mix each layer of my tracks, extend and blend sections, splice tracks together, and perform vocal sections live using individual samples. The video takes care of its self automatically, and I can intervene at any time. I can mix chords from White Magic with vocals from Alice and percussion from Toyz Noize. Then, I might drop the chords and vocals, and blend seamlessly into Bangarang.
After some practice, I can practically build new tracks on the fly. Turning a 3 minute track into a 10 minute mega-mix is also a great ride. The whole thing is lots of fun, and gives me the freedom I need to create a unique experience for everyone out on the floor. I’m making big plans to tour the states soon, so keep an eye on Twitter and thanks to everyone for their amazing support!
The Live Rig
.
Having made music and videos for the last few years, leaving the studio and hitting the club for the first time is an experience I’ll never miss. It was stressful, confusing, tedious and problematic. I wanted desperately to get my music in front of hundreds of people, but I had no idea how or what I would physically do. I tried everything from DJ-ing with turntables to VJ-ing with my entire studio machine on stage, and nothing worked. I even started wondering if I’d ever cut it as a DJ at all. However, with much persistence and a lot of hard work, I have put together a simple (yet internally complex) system that gives me complete control over my live mixes and videos.
In the picture above is my current rig. It all fits into one bag! I just can’t tell you how important it is to simplify a mission-critical system like this. Every component is a potential bomb just waiting to go off and destroy everyone’s night. The less components the better, and the easier it is to get in and out of the venue. I remember lugging my entire studio machine to an event once – naturally everything caved in and failed. It was a good thing nobody knew I’d be on that night.
Running Ableton Live with Mu, touchAble and Resolume, is a 15″ MacBook Pro with a matte screen, i7 CPU, 6gb RAM, and 128gb SSD. Processing the audio with a super low latency is a Native Instruments Audio Kontrol 1. Connected to the MacBook Pro is a Jazzmutant Lemur via Ethernet displaying my Ableton set through Mu. Also connected is an iPad 32gb Wi-Fi, which displays the same Ableton set but through the touchAble iPad app. I’m also busy experimenting with Korg iElectribe, an amazing iPad app that lets you build drum loops and percussion sequences live for immediate mixing. I simply connect the iPad headphone jack to an input on the Audio Kontrol, route that through a channel in Ableton, and I’m ready to roll. Other gadgets in the picture include my iPhone in an Xtand, a 1TB Western Digital on FW800, and a pair of Ultrasone DJ-1 headphones.
This set-up allows me to mix each layer of my tracks, extend and blend sections, splice tracks together, and perform vocal sections live using individual samples. The video takes care of its self automatically, and I can intervene at any time. I can mix chords from White Magic with vocals from Alice and percussion from Toyz Noize. Then, I might drop the chords and vocals, and blend seamlessly into Bangarang.
After some practice, I can practically build new tracks on the fly. Turning a 3 minute track into a 10 minute mega-mix is also a great ride. The whole thing is lots of fun, and gives me the freedom I need to create a unique experience for everyone out on the floor. I’m making big plans to tour the states soon, so keep an eye on Twitter and thanks to everyone for their amazing support!
The Live Rig
.
Having made music and videos for the last few years, leaving the studio and hitting the club for the first time is an experience I’ll never miss. It was stressful, confusing, tedious and problematic. I wanted desperately to get my music in front of hundreds of people, but I had no idea how or what I would physically do. I tried everything from DJ-ing with turntables to VJ-ing with my entire studio machine on stage, and nothing worked. I even started wondering if I’d ever cut it as a DJ at all. However, with much persistence and a lot of hard work, I have put together a simple (yet internally complex) system that gives me complete control over my live mixes and videos.
In the picture above is my current rig. It all fits into one bag! I just can’t tell you how important it is to simplify a mission-critical system like this. Every component is a potential bomb just waiting to go off and destroy everyone’s night. The less components the better, and the easier it is to get in and out of the venue. I remember lugging my entire studio machine to an event once – naturally everything caved in and failed. It was a good thing nobody knew I’d be on that night.
Running Ableton Live with Mu, touchAble and Resolume, is a 15″ MacBook Pro with a matte screen, i7 CPU, 6gb RAM, and 128gb SSD. Processing the audio with a super low latency is a Native Instruments Audio Kontrol 1. Connected to the MacBook Pro is a Jazzmutant Lemur via Ethernet displaying my Ableton set through Mu. Also connected is an iPad 32gb Wi-Fi, which displays the same Ableton set but through the touchAble iPad app. I’m also busy experimenting with Korg iElectribe, an amazing iPad app that lets you build drum loops and percussion sequences live for immediate mixing. I simply connect the iPad headphone jack to an input on the Audio Kontrol, route that through a channel in Ableton, and I’m ready to roll. Other gadgets in the picture include my iPhone in an Xtand, a 1TB Western Digital on FW800, and a pair of Ultrasone DJ-1 headphones.
This set-up allows me to mix each layer of my tracks, extend and blend sections, splice tracks together, and perform vocal sections live using individual samples. The video takes care of its self automatically, and I can intervene at any time. I can mix chords from White Magic with vocals from Alice and percussion from Toyz Noize. Then, I might drop the chords and vocals, and blend seamlessly into Bangarang.
After some practice, I can practically build new tracks on the fly. Turning a 3 minute track into a 10 minute mega-mix is also a great ride. The whole thing is lots of fun, and gives me the freedom I need to create a unique experience for everyone out on the floor. I’m making big plans to tour the states soon, so keep an eye on Twitter and thanks to everyone for their amazing support!
The Live Rig
.
Having made music and videos for the last few years, leaving the studio and hitting the club for the first time is an experience I’ll never miss. It was stressful, confusing, tedious and problematic. I wanted desperately to get my music in front of hundreds of people, but I had no idea how or what I would physically do. I tried everything from DJ-ing with turntables to VJ-ing with my entire studio machine on stage, and nothing worked. I even started wondering if I’d ever cut it as a DJ at all. However, with much persistence and a lot of hard work, I have put together a simple (yet internally complex) system that gives me complete control over my live mixes and videos.
In the picture above is my current rig. It all fits into one bag! I just can’t tell you how important it is to simplify a mission-critical system like this. Every component is a potential bomb just waiting to go off and destroy everyone’s night. The less components the better, and the easier it is to get in and out of the venue. I remember lugging my entire studio machine to an event once – naturally everything caved in and failed. It was a good thing nobody knew I’d be on that night.
Running Ableton Live with Mu, touchAble and Resolume, is a 15″ MacBook Pro with a matte screen, i7 CPU, 6gb RAM, and 128gb SSD. Processing the audio with a super low latency is a Native Instruments Audio Kontrol 1. Connected to the MacBook Pro is a Jazzmutant Lemur via Ethernet displaying my Ableton set through Mu. Also connected is an iPad 32gb Wi-Fi, which displays the same Ableton set but through the touchAble iPad app. I’m also busy experimenting with Korg iElectribe, an amazing iPad app that lets you build drum loops and percussion sequences live for immediate mixing. I simply connect the iPad headphone jack to an input on the Audio Kontrol, route that through a channel in Ableton, and I’m ready to roll. Other gadgets in the picture include my iPhone in an Xtand, a 1TB Western Digital on FW800, and a pair of Ultrasone DJ-1 headphones.
This set-up allows me to mix each layer of my tracks, extend and blend sections, splice tracks together, and perform vocal sections live using individual samples. The video takes care of its self automatically, and I can intervene at any time. I can mix chords from White Magic with vocals from Alice and percussion from Toyz Noize. Then, I might drop the chords and vocals, and blend seamlessly into Bangarang.
After some practice, I can practically build new tracks on the fly. Turning a 3 minute track into a 10 minute mega-mix is also a great ride. The whole thing is lots of fun, and gives me the freedom I need to create a unique experience for everyone out on the floor. I’m making big plans to tour the states soon, so keep an eye on Twitter and thanks to everyone for their amazing support!
The Live Rig
.
“What do you do live?”
I get this question a lot, and it wasn’t too long ago that I was wondering the same thing. As a music producer and video editor, leaving the studio and hitting the club for the first time is an experience I’ll never miss. It was stressful, confusing, tedious and problematic. I wanted desperately to play my music in front of hundreds of people, but I had no idea how or what I would physically do. I tried everything from DJ-ing with turntables to VJ-ing with my entire studio machine on stage, and nothing worked. There was even a point at which I was questioning the true likelihood of me ever playing a satisfying show. However, with much persistence and a lot of hard work, I have put together a simple (yet internally complex) system that gives me complete control over my live mixes and videos.
In the picture above is my complete rig. That’s right, it all fits into one bag! I just can’t tell you how important it is to simplify a mission-critical system like this. Every component is a potential bomb just waiting to go off and destroy everyone’s night. The less components the better, and the easier it is to get in and out of the venue. I remember lugging my entire studio machine to an event once – naturally everything caved in and failed. It was a good thing nobody knew I’d be on that night.
Running Ableton Live with Mu, touchAble and Resolume, is a 15″ MacBook Pro with a matte screen, i7 CPU, 6gb RAM, and 128gb SSD. Processing the audio with a super low latency is a Native Instruments Audio Kontrol 1. Connected to the MacBook Pro is a Jazzmutant Lemur via Ethernet displaying my Ableton set through Mu. Also connected is an iPad 32gb Wi-Fi, which displays the same Ableton set but through the touchAble iPad app. I’m also busy experimenting with Korg iElectribe, an amazing iPad app that lets you build drum loops and percussion sequences live for immediate mixing. I simply connect the iPad headphone jack to an input on the Audio Kontrol, route that through a channel in Ableton, and I’m ready to roll. Other gadgets in the picture include my iPhone in an Xtand, a 1TB Western Digital on FW800, and a pair of Ultrasone DJ-1 headphones.
This set-up allows me to mix each layer of my tracks, extend and blend sections, splice tracks together, and perform vocal sections live using individual samples. The video takes care of its self automatically, and I can intervene at any time. I can mix chords from White Magic with vocals from Alice and percussion from Toyz Noize. Then, I can drop the chords and vocals, and blend seamlessly into Bangarang.
After some practice, I can practically build new tracks on the fly. Turning a 3 minute track into a 10 minute mega-mix is also a great ride. The whole thing is lots of fun, and gives me the freedom I need to create a unique experience for everyone out on the floor. I’m making big plans to tour the states soon, so keep an eye on Twitter and thanks to everyone for their amazing support!
The Live Rig
.
“What do you do live?”
I get this question a lot, and believe me, it wasn’t too long ago that I was wondering the same thing. As a music producer and video editor, leaving the studio and hitting the club for the first time is an experience I’ll never miss. It was stressful, confusing, tedious and problematic. I wanted desperately to play my music in front of hundreds of people, but I had no idea how or what I would physically do. I tried everything from DJ-ing with turntables to VJ-ing with my entire studio machine on stage, and nothing worked. There was even a point at which I was questioning the true likelihood of me ever playing a satisfying show. However, with much persistence and a lot of hard work, I have put together a simple (yet internally complex) system that gives me complete control over my live mixes and videos.
In the picture above is my complete rig. That’s right, it all fits into one bag! I just can’t tell you how important it is to simplify a mission-critical system like this. Every component is a potential bomb just waiting to go off and destroy everyone’s night. The less components the better, and the easier it is to get in and out of the venue. I remember lugging my entire studio machine to an event once – naturally everything caved in and failed. It was a good thing nobody knew I’d be on that night.
Running Ableton Live with Mu, touchAble and Resolume, is a 15″ MacBook Pro with a matte screen, i7 CPU, 6gb RAM, and 128gb SSD. Processing the audio with a super low latency is a Native Instruments Audio Kontrol 1. Connected to the MacBook Pro is a Jazzmutant Lemur via Ethernet displaying my Ableton set through Mu. Also connected is an iPad 32gb Wi-Fi, which displays the same Ableton set but through the touchAble iPad app. I’m also busy experimenting with Korg iElectribe, an amazing iPad app that lets you build drum loops and percussion sequences live for immediate mixing. I simply connect the iPad headphone jack to an input on the Audio Kontrol, route that through a channel in Ableton, and I’m ready to roll. Other gadgets in the picture include my iPhone in an Xtand, a 1TB Western Digital on FW800, and a pair of Ultrasone DJ-1 headphones.
This set-up allows me to mix each layer of my tracks, extend and blend sections, splice tracks together, and perform vocal sections live using individual samples. The video takes care of its self automatically, and I can intervene at any time. I can mix chords from White Magic with vocals from Alice percussion from Toyz Noize. Then, I can drop the chords and vocals, and blend seamlessly into Bangarang.
After some practice, I can practically build new tracks on the fly. Turning a 3 minute track into a 10 minute mega-mix is also a great ride. The whole thing is lots of fun, and gives me the freedom I need to create a unique experience for everyone out on the floor. I’m making big plans to tour the states soon, so keep an eye on Twitter and thanks to everyone for their amazing support!
The Live Rig
.
“What do you do when you’re playing live?”
I get this question a lot, and believe me, it wasn’t too long ago that I was wondering the same thing. As a music producer and video editor, leaving the studio and hitting the club for the first time is an experience I’ll never miss. It was stressful, confusing, tedious and problematic. I wanted desperately to play my music in front of hundreds of people, but I had no idea how or what I would physically do. I tried everything from DJ-ing with turntables to VJ-ing with my entire studio machine on stage, and nothing worked. There was even a point at which I was questioning the true likelihood of me ever playing a satisfying show. However, with much persistence and a lot of hard work, I have put together a simple (yet internally complex) system that gives me complete control over my live mixes and videos.
In the picture above is my complete rig. That’s right, it all fits into one bag! I just can’t tell you how important it is to simplify a mission-critical system like this. Every component is a potential bomb just waiting to go off and destroy everyone’s night. The less components the better, and the easier it is to get in and out of the venue. I remember lugging my entire studio machine to an event once – naturally everything caved in and failed. It was a good thing nobody knew I’d be on that night.
Running Ableton Live with Mu, touchAble and Resolume, is a 15″ MacBook Pro with a matte screen, i7 CPU, 6gb RAM, and 128gb SSD. Processing the audio with a super low latency is a Native Instruments Audio Kontrol 1. Connected to the MacBook Pro is a Jazzmutant Lemur via Ethernet displaying my Ableton set through Mu. Also connected is an iPad 32gb Wi-Fi, which displays the same Ableton set but through the touchAble iPad app. I’m also busy experimenting with Korg iElectribe, an amazing iPad app that lets you build drum loops and percussion sequences live for immediate mixing. I simply connect the iPad headphone jack to an input on the Audio Kontrol, route that through a channel in Ableton, and I’m ready to roll. Other gadgets in the picture include my iPhone in an Xtand, a 1TB Western Digital on FW800, and a pair of Ultrasone DJ-1 headphones.
This set-up allows me to mix each layer of my tracks, extend and blend sections, splice tracks together, and perform vocal sections live using individual samples. The video takes care of its self automatically, and I can intervene at any time. I can mix chords from White Magic with vocals from Alice percussion from Toyz Noize. Then, I can drop the chords and vocals, and blend seamlessly into Bangarang.
After some practice, I can practically build new tracks on the fly. Turning a 3 minute track into a 10 minute mega-mix is also a great ride. The whole thing is lots of fun, and gives me the freedom I need to create a unique experience for everyone out on the floor. I’m making big plans to tour the states soon, so keep an eye on Twitter and thanks to everyone for their amazing support!
The Live Rig
.
“What do you do when you’re playing live?”
I get this question a lot, and believe me, it wasn’t too long ago that I was wondering the same thing. As a music producer and video editor, leaving the studio and hitting the club for the first time is an experience I’ll never miss. It was stressful, confusing, tedious and problematic. I wanted desperately to play my music in front of hundreds of people, but I had no idea how or what I would physically do. I tried everything from DJ-ing with turntables to VJ-ing with my entire studio machine on stage, and nothing worked. There was even a point at which I was questioning the true likelihood of me ever playing a satisfying show. However, with much persistence and a lot of hard work, I have put together a simple (yet internally complex) system that gives me complete control over my live mixes and videos.
In the picture above is my complete rig. That’s right, it all fits into one bag! I just can’t tell you how important it is to simplify a mission-critical system like this. Every component is a potential bomb just waiting to go off and destroy everyone’s night. The less components the better, and the easier it is to get in and out of the venue. I remember lugging my entire studio machine to an event once – naturally everything caved in and failed. It was a good thing nobody knew I’d be on that night.
Running Ableton Live with Mu, touchAble and Resolume, is a 15″ MacBook Pro with a matte screen, i7 CPU, 6gb RAM, and 128gb SSD. Processing the audio with a super low latency is a Native Instruments Audio Kontrol 1. Connected to the MacBook Pro is a Jazzmutant Lemur via Ethernet displaying my Ableton set through Mu. Also connected is an iPad 32gb Wi-Fi, which displays the same Ableton set but through the touchAble iPad app. I’m also busy experimenting with Korg iElectribe, an amazing iPad app that lets you build drum loops and percussion sequences live for immediate mixing. I simply connect the iPad headphone jack to an input on the Audio Kontrol, route that through a channel in Ableton, and I’m ready to roll. Other gadgets in the picture include my iPhone in an Xtand, a 1TB Western Digital on FW800, and a pair of Ultrasone DJ-1 headphones.
This set-up allows me to mix each layer of my tracks, extend and blend sections, splice tracks together, and perform vocal sections live using individual samples. The video takes care of its self automatically, and I can intervene at any time. I can mix chords from White Magic with vocals from Alice percussion from Toyz Noize. Then, I can drop the chords and vocals, and blend seamlessly into Bangarang.
After some practice, I can practically build new tracks on the fly. Turning a 3 minute track into a 10 minute mega-mix is also a great ride. The whole thing is lots of fun, and gives me the freedom I need to create a unique experience for everyone out on the floor. I’m making big plans to tour the states soon, so keep an eye on Twitter and thanks to everyone for their amazing support!
The Live Rig
“What do you do when you’re playing live?”
I get this question a lot, and believe me, it wasn’t too long ago that I was wondering the same thing. As a music producer and video editor, leaving the studio and hitting the club for the first time is an experience I’ll never miss. It was stressful, confusing, tedious and problematic. I wanted desperately to play my music in front of hundreds of people, but I had no idea how or what I would physically do. I tried everything from DJ-ing with turntables to VJ-ing with my entire studio machine on stage, and nothing worked. There was even a point at which I was questioning the true likelihood of me ever playing a satisfying show. However, with much persistence and a lot of hard work, I have put together a simple (yet internally complex) system that gives me complete control over my live mixes and videos.
In the picture above is my complete rig. That’s right, it all fits into one bag! I just can’t tell you how important it is to simplify a mission-critical system like this. Every component is a potential bomb just waiting to go off and destroy everyone’s night. The less components the better, and the easier it is to get in and out of the venue. I remember lugging my entire studio machine to an event once – naturally everything caved in and failed. It was a good thing nobody knew I’d be on that night.
Running Ableton Live with Mu, touchAble and Resolume, is a 15″ MacBook Pro with a matte screen, i7 CPU, 6gb RAM, and 128gb SSD. Processing the audio with a super low latency is a Native Instruments Audio Kontrol 1. Connected to the MacBook Pro is a Jazzmutant Lemur via Ethernet displaying my Ableton set through Mu. Also connected is an iPad 32gb Wi-Fi, which displays the same Ableton set but through the touchAble iPad app. I’m also busy experimenting with Korg iElectribe, an amazing iPad app that lets you build drum loops and percussion sequences live for immediate mixing. I simply connect the iPad headphone jack to an input on the Audio Kontrol, route that through a channel in Ableton, and I’m ready to roll. Other gadgets in the picture include my iPhone in an Xtand, a 1TB Western Digital on FW800, and a pair of Ultrasone DJ-1 headphones.
This set-up allows me to mix each layer of my tracks, extend and blend sections, splice tracks together, and perform vocal sections live using individual samples. The video takes care of its self automatically, and I can intervene at any time. I can mix chords from White Magic with vocals from Alice percussion from Toyz Noize. Then, I can drop the chords and vocals, and blend seamlessly into Bangarang.
After some practice, I can practically build new tracks on the fly. Turning a 3 minute track into a 10 minute mega-mix is also a great ride. The whole thing is lots of fun, and gives me the freedom I need to create a unique experience for everyone out on the floor. I’m making big plans to tour the states soon, so keep an eye on Twitter and thanks to everyone for their amazing support!
The Live Rig
“What do you do when you’re playing live?”
I get this question a lot, and believe me, it wasn’t too long ago that I was wondering the same thing. As a music producer and video editor, leaving the studio and hitting the club for the first time is an experience I’ll never miss. It was stressful, confusing, tedious and problematic. I wanted desperately to play my music in front of hundreds of people, but I had no idea how or what I would physically do. I tried everything from DJ-ing with turntables to VJ-ing with my entire studio machine on stage, and nothing worked. There was even a point at which I was questioning the true likelihood of me ever playing a satisfying show. However, with much persistence and a lot of hard work, I have put together a simple (yet internally complex) system that gives me complete control over my live mixes and videos.
In the picture above is my complete rig. That’s right, it all fits into one bag! I just can’t tell you how important it is to simplify a mission-critical system like this. Every component is a potential bomb just waiting to go off and destroy everyone’s night. The less components the better, and the easier it is to get in and out of the venue. I remember lugging my entire studio machine to an event once – naturally everything caved in and failed. It was a good thing nobody knew I’d be on that night.
Running Ableton Live with Mu, touchAble and Resolume, is a 15″ MacBook Pro with a matte screen, i7 CPU, 6gb RAM, and 128gb SSD. Processing the audio with a super low latency is a Native Instruments Audio Kontrol 1. Connected to the MacBook Pro is a Jazzmutant Lemur via Ethernet displaying my Ableton set through Mu. Also connected is an iPad 32gb Wi-Fi, which displays the same Ableton set but through the touchAble iPad app. I’m also busy experimenting with Korg iElectribe, an amazing iPad app that lets you build drum loops and percussion sequences live for immediate mixing. I simply connect the iPad headphone jack to an input on the Audio Kontrol, route that through a channel in Ableton, and I’m ready to roll. Other gadgets in the picture include my iPhone in an Xtand, a 1TB Western Digital on FW800, and a pair of Ultrasone DJ-1 headphones.
This set-up allows me to mix each layer of my tracks, extend and blend sections, splice tracks together, and perform vocal sections live using individual samples. The video takes care of its self automatically, and I can intervene at any time. I can mix chords from White Magic with vocals from Alice percussion from Toyz Noize. Then, I can drop the chords and vocals, and blend seamlessly into Bangarang.
After some practice, I can practically build new tracks on the fly. Turning a 3 minute track into a 10 minute mega-mix is also a great ride. The whole thing is lots of fun, and gives me the freedom I need to create a unique experience for everyone out on the floor. I’m making big plans to tour the states soon, so keep an eye on Twitter and thanks to everyone for their amazing support!
The Live Rig
“What do you do when you’re playing live?”
I get this question a lot, and believe me, it wasn’t too long ago that I was wondering the same thing. As a music producer and video editor, leaving the studio and hitting the club for the first time is an experience I’ll never miss. It was stressful, confusing, tedious and problematic. I wanted desperately to play my music in front of hundreds of people, but I had no idea how or what I would physically do. I tried everything from DJ-ing with turntables to VJ-ing with my entire studio machine on stage, and nothing worked. There was even a point at which I was questioning the true likelihood of me ever playing a satisfying show. However, with much persistence and a lot of hard work, I have put together a simple (yet internally complex) system that gives me complete control over my live mixes and videos.
In the picture above is my complete rig. That’s right, it all fits into one bag! I just can’t tell you how important it is to simplify a mission-critical system like this. Every component is a potential bomb just waiting to go off and destroy everyone’s night. The less components the better, and the easier it is to get in and out of the venue. I remember lugging my entire studio machine to an event once – naturally everything caved in and failed. It was a good thing nobody knew I’d be on!
Running Ableton Live with Mu, touchAble and Resolume, is a 15″ MacBook Pro with a matte screen, i7 CPU, 6gb RAM, and 128gb SSD. Processing the audio with a super low latency is a Native Instruments Audio Kontrol 1. Connected to the MacBook Pro is a Jazzmutant Lemur via Ethernet displaying my Ableton set through Mu. Also connected is an iPad 32gb Wi-Fi, which displays the same Ableton set but through the touchAble iPad app. I’m also busy experimenting with Korg iElectribe, an amazing iPad app that lets you build drum loops and percussion sequences live for immediate mixing. I simply connect the iPad headphone jack to an input on the Audio Kontrol, route that through a channel in Ableton, and I’m ready to roll. Other gadgets in the picture include my iPhone in an Xtand, a 1TB Western Digital on FW800, and a pair of Ultrasone DJ-1 headphones.
Here’s how it all works. I spent a good two months splitting my tracks into sections (arranged as rows in Ableton) and layers (arranged as columns). The videos also needed dissecting, which all slot neatly into Resolume. Each section in Ableton automatically triggers the appropriate video in Resolume via MIDI, but when I’m improvising with structure and mixing layers, I’ll mix the video up manually. I also have the major samples of each track loaded onto pad banks so I can mute the original vocal section and play it live using the individual syllables. I’m also experimenting with a Roland PCR-300 keyboard for this, as I find touch screens lack the tactility I want, and introduce a latency between triggering and actual
My Rig On Stage
“What do you do when you’re playing live?”
I get this question a lot, and believe me, it wasn’t too long ago that I was wondering the same thing. As a music producer and video editor, leaving the studio and hitting the club for the first time is an experience I’ll never miss. It was stressful, confusing, tedious and problematic. I wanted desperately to play my music in front of hundreds of people, but I had no idea how or what I would physically do. I tried everything from DJ-ing with turntables to VJ-ing with my entire studio machine on stage, and nothing worked. There was even a point at which I was questioning the true likelihood of me ever playing a satisfying show. However, with much persistence and a lot of hard work, I have put together a simple (yet internally complex) system that gives me complete control over my live mixes and videos.
In the picture above is my complete rig. That’s right, it all fits into one bag! I just can’t tell you how important it is to simplify a mission-critical system like this. Every component is a potential bomb just waiting to go off and destroy everyone’s night. The less components the better, and the easier it is to get in and out of the venue. I remember lugging my entire studio machine to an event once – naturally everything caved in and failed. It was a good thing nobody knew I’d be on!
Running Ableton Live with Mu, touchAble and Resolume, is a 15″ MacBook Pro with a matte screen, i7 CPU, 6gb RAM, and 128gb SSD. Processing the audio with a super low latency is a Native Instruments Audio Kontrol 1. Connected to the MacBook Pro is a Jazzmutant Lemur via Ethernet displaying my Ableton set through Mu. Also connected is an iPad 32gb Wi-Fi, which displays the same Ableton set but through the touchAble iPad app. I’m also busy experimenting with Korg iElectribe, an amazing iPad app that lets you build drum loops and percussion sequences live for immediate mixing. I simply connect the iPad headphone jack to an input on the Audio Kontrol, route that through a channel in Ableton, and I’m ready to roll.
Here’s how it all works. Using the Lemur, I trigger
My Rig On Stage
“What do you do when you’re playing live?”
I get this question a lot, and believe me, it wasn’t too long ago that I was asking myself the same question. As a music producer and video editor, leaving the studio and hitting the club for the first time is an experience I’ll never miss. It was stressful, confusing, tedious and problematic. I wanted desperately to play my music in front of hundreds of people, but I had no idea how or what I would physically do on stage. I tried everything from DJ-ing with turntables to VJ-ing with my entire studio machine on stage, and nothing worked. There was even a point at which I was questioning the true likelihood of me ever playing a satisfying show. However, with much persistence and a lot of hard work, I have put together a simple (yet internally complex) system that gives me complete control over my live mixes and videos.
In the picture above is my complete rig. That’s right, it all fits into one bag! I just can’t tell you how important it is to simplify a mission-critical system like this. Running Ableton Live with Mu, touchAble and Resolume, is a 15″ MacBook Pro with a matte screen, i7 CPU, 6gb RAM, and 128gb SSD. Processing the audio with a super low latency is a Native Instruments Audio Kontrol 1. Connected to the MacBook Pro is a Jazzmutant Lemur via Ethernet displaying my Ableton set through Mu. Also connected is an iPad 32gb Wi-Fi, which displays the same Ableton set but through the touchAble iPad app. I’m also busy experimenting with Korg iElectribe, an amazing iPad app that lets you build drum loops and percussion sequences live for immediate mixing. I simply connect the iPad headphone jack to an input on the Audio Kontrol, route that through a channel in Ableton, and I’m ready
To Sell Or Not To Sell
.
I often paint pictures in my head of my perfect lifestyle. There I am sitting with my partner on a deserted beach in the Caribbean, discussing the next country or culture we’re going to film and remix, before heading back into the shade to finish another track and video for YouTube and PogoMix.net. Then, at twilight, we catch up with the likes of Dainumo, Ditto, Remix Luke and HomeStarRunnerTron to discuss our next collaborative project over a beer.
That’s it. Self-sustained, complete freedom, and the foundations to do nothing but capture, create and make music for the world to hear.
I’m sure it sounds like a no-brainer to most people. You’re blessed with a passion that you can pursue to find freedom, happiness and prosperity – why even think twice about applying it?
In reality, it’d put me at great risk to sell tracks like Alice, Wishery, Bangarang, Jentle Jazz and Mary’s Magic without paying literally millions for the rights. I must admit, though, there’s a big part of me that would rather risk getting into trouble than not walk the path at all.
I simply can’t imagine a greater happiness, nor a better way to raise funds for my next project. Independent distribution wouldn’t be a budget problem, but it would render me liable for a lawsuit. We all know copyright starts and ends with the phrase “cha-ching”, so to the perception of a business troll, I barely differ from a sidewalk bootlegger.
I hope to release albums some day. It’s my ultimate goal to support myself with my music and share it with the world. There’s the will power, and there’s certainly the demand from so many amazing people, but I’m yet to find a path that doesn’t risk stretching through the courtroom!
To Sell Or Not To Sell
.
I often paint pictures in my head of my perfect lifestyle. There I am sitting with my partner on a deserted beach in the Caribbean, discussing the next country or culture we’re going to film and remix, before heading back into the shade to finish another track and video for YouTube and PogoMix.net. Then, at twilight, we catch up with the likes of Dainumo, Ditto, Remix Luke and HomeStarRunnerTron to discuss our next collaborative project over a beer.
That’s it. Self-sustained, complete freedom, and the foundations to do nothing but capture, create and make music for the world to hear.
I’m sure it sounds like a no-brainer to most people. You’re blessed with a passion that you can pursue to find freedom, happiness and prosperity – why even think twice about applying it? It’s all good and well for a painter, an illustrator, or even a designer of greeting cards, but for me, it’s a slightly different game.
In reality, it’d put me at great risk to sell tracks like Alice, Wishery, Bangarang, Jentle Jazz and Mary’s Magic without paying literally millions for the rights. I must admit, though, there’s a big part of me that would rather risk getting into trouble than not walk the path at all.
I simply can’t imagine a greater happiness, nor a better way to raise funds for my next project. Independent distribution wouldn’t be a budget problem, but it would render me liable for a lawsuit. We all know copyright starts and ends with the phrase “cha-ching”, so to the perception of a business troll, I barely differ from a sidewalk bootlegger.
I hope to release albums some day. It’s my ultimate goal to support myself with my music and share it with the world. There’s the will power, and there’s certainly the demand from so many amazing people, but I’m yet to find a path that doesn’t risk stretching through the courtroom!
To Sell Or Not To Sell
.
I often paint pictures in my head of my perfect lifestyle. There I am sitting with my partner on a deserted beach in the Caribbean, discussing the next country or culture we’re going to film and remix, before heading back into the shade to finish another track and video for YouTube and PogoMix.net. That’s it. Self-sustained and full of freedom to capture, create and just be.
I’m sure it sounds like a no-brainer to most people. You’re blessed with a passion that you can pursue to find freedom, happiness and prosperity – why even think twice about it? It’s all good and well for a painter, an illustrator, or even a designer of greeting cards, but for me, it’s a slightly different game.
In reality, it’d put me at great risk to sell tracks like Alice, Wishery, Bangarang, Jentle Jazz and Mary’s Magic without paying literally millions for the rights. I must admit, though, there’s a big part of me that would rather risk getting into trouble than not walk the path at all.
I simply can’t imagine a greater happiness, nor a better way to raise funds for my next project. Independent distribution wouldn’t be a budget problem, but it would render me liable for a lawsuit. We all know copyright starts and ends with the phrase “cha-ching”, so to the perception of a business troll, I barely differ from a sidewalk bootlegger.
I hope to release an album some day. It’s my ultimate goal to support myself with my music and share it with the world. There’s the will power, and there’s certainly the demand from so many amazing people, but I’m yet to find a path that doesn’t stretch through the courtroom!
To Sell Or Not To Sell
.
I often paint pictures in my head of my perfect lifestyle. There I am sitting with my partner on a deserted beach in the Caribbean, discussing the next country or culture we’re going to film and remix, before heading back into the shade to finish another track and video for YouTube and PogoMix.net. That’s it. Self-sustained and full of freedom to capture, create and just be.
I’m sure it sounds like a no-brainer to most people. You’re blessed with a passion that you can pursue to find freedom, happiness and prosperity – why even think twice about it? It’s all good and well for a painter, an illustrator, or even a designer of greeting cards, but for me, it’s a slightly different game.
In reality, it’d put me at great risk to sell tracks like Alice, Wishery, Bangarang, Jentle Jazz and Mary’s Magic without paying literally millions for the rights. I must admit, though, there’s a big part of me that would rather risk getting into trouble than not walk the path at all.
I simply can’t imagine a greater happiness, nor a better way to raise funds for my next project. Independent distribution wouldn’t be a budget problem, but it would render me liable for a lawsuit. We all know copyright starts and ends with the phrase “cha-ching”, so to the perception of a business troll, I barely differ from a sidewalk bootlegger.
I hope to release an album some day. It’s my ultimate goal to support myself with my music and share it with the world. There’s the will power, and there’s certainly the demand from so many amazing people, but I’m yet to find a path that doesn’t stretch through the courtroom!
To Sell Or Not To Sell
I often paint pictures in my head of my perfect lifestyle. There I am sitting with my partner on a deserted beach in the Caribbean, discussing the next country or culture we’re going to film and remix, before heading back into the shade to finish another track and video for YouTube and PogoMix.net. That’s it. Self-sustained and full of freedom to capture, create and just be.
I’m sure it sounds like a no-brainer to most people. You’re blessed with a passion that you can pursue to find freedom, happiness and prosperity – why even think twice about it? It’s all good and well for a painter, an illustrator, or even a designer of greeting cards, but for me, it’s a slightly different game.
In reality, it’d put me at great risk to sell tracks like Alice, Wishery, Bangarang, Jentle Jazz and Mary’s Magic without paying literally millions for the rights. I must admit, though, there’s a big part of me that would rather risk getting into trouble than not walk the path at all.
I simply can’t imagine a greater happiness, nor a better way to raise funds for my next project. Independent distribution wouldn’t be a budget problem, but it would render me liable for a lawsuit. We all know copyright starts and ends with the phrase “cha-ching”, so to the perception of a business troll, I barely differ from a sidewalk bootlegger.
I hope to release an album some day. It’s my ultimate goal to support myself with my music and share it with the world. There’s the will power, and there’s certainly the demand from so many amazing people, but I’m yet to find a path that doesn’t stretch through the courtroom!
To Sell Or Not To Sell
I often paint pictures in my head of my perfect lifestyle. There I am sitting with my partner on a deserted beach in the Caribbean, discussing the next country or culture we’re going to film and remix, before heading back into the shade to finish another track and video. That’s it. Self-sustained and full of freedom to capture, create and just be.
I’m sure it sounds like a no-brainer to most people. You’re blessed with a passion that you can pursue to find freedom, happiness and prosperity – why even think twice about it? It’s all good and well for a painter, an illustrator, or even a designer of greeting cards, but for me, it’s a slightly different game.
In reality, it’d put me at great risk to sell tracks like Alice, Wishery, Bangarang, Jentle Jazz and Mary’s Magic without paying literally millions for the rights. I must admit, though, there’s a big part of me that would rather risk getting into trouble than not walk the path at all.
I simply can’t imagine a better lifestyle, nor a better way to raise funds for future projects. Independent distribution wouldn’t be a budget problem, but it would render me liable for a lawsuit. We all know copyright starts and ends with the phrase “cha-ching”, so to the perception of a business troll, the difference between me and a bootlegger is absolutely nothing.
I hope to release an album some day. It’s my ultimate goal to support myself with my music and share it with the world. There’s the will power, and there’s certainly the demand from so many amazing people, but I’m yet to find a path that doesn’t stretch through the courtroom!
To Sell Or Not To Sell
I often paint pictures in my head of my perfect lifestyle. There I am sitting with my partner on a deserted beach in the Caribbean, discussing the next country or culture we’re going to film and remix, before heading back into the shade to finish another track and video. That’s it. Self-sustained and full of freedom to capture, create and just be.
I’m sure it sounds like a no-brainer to most people. You’re blessed with a passion that you can pursue to find freedom, happiness and prosperity – why even think twice about it? It’s all good and well for a painter, an illustrator, or even a designer of greeting cards, but for me, it’s a slightly different game.
In reality, it’d put me at great risk to sell tracks like Alice, Wishery, Bangarang, Jentle Jazz and Mary’s Magic without paying literally millions for the rights. I must admit, though, there’s a big part of me that would rather risk getting into trouble than not walk the path at all.
I simply can’t imagine a better lifestyle, nor a better way to raise funds for future projects. Independent distribution wouldn’t be a budget problem, but it would render me liable for a lawsuit. We all know copyright starts and ends with the phrase “cha-ching”, so to the perception of a business troll, the difference between me and a bootlegger is absolutely nothing.
I hope to release an album some day. It’s my ultimate goal to support myself with my music and share it with the world. There’s the will power, and there’s certainly the demand from so many amazing people, but I’m yet to find a path that doesn’t stretch through the courtroom!
Thank you so much to everyone that has
Guess Who’s Back In Wonderland
.
After a year producing professionally for Walt Disney Motion Picture Studios, my contract has finally come to an end. The gag order is released, and my classic Disney mixes are allowed back online.
I’d like to apologize to everyone for the secrecy that has so far been surrounding this issue. When one of the biggest, most powerful corporations in the world zipped my mouth shut with the hand of the law, there’s little I could do to communicate without deliberately breaching my contract. Alice, Expialidocious and White Magic had to be hidden because Disney considered them illegal. They otherwise would have engaged me as an ongoing infringer, an act that would understandably exceed the legal boundaries of any corporation.
Folks, I’ve received news
To Sell Or Not To Sell
I’m sure it sounds like a no-brainer to most people.
The reality is it’d put me at great risk to sell tracks like Alice, Wishery and Bangarang without paying literally millions for the rights. I must admit, though, spotting these in a music store is quite a prospect:
Independent distribution wouldn’t be a budget problem, but it would render me liable for a lawsuit. We all know copyright starts and ends with the phrase “cha-ching”, so to the perception of a business troll, the difference between me and a bootlegger is precisely dick.
I hope to release an album some day. There’s the will power, and there’s certainly the demand from so many wonderful people, but I’m yet to find a path that doesn’t stretch through the courtroom.
Live @ The Engine Room
.
Pogo Live @ The Engine Room
Friday October 22nd
809 Railroad Avenue, Tallahassee FL 32310
Anyone keen to see my latest mixes of Pirates Of The Caribbean and The Little Mermaid should join me at the Engine Room on October 22nd. In addition to playing a whole bunch of new stuff, I’ll be mixing up every sample, layer and section of my tracks live to create a truly unique experience exclusive to The Engine Room and everyone who comes along. This will be the first of many gigs throughout North America, so I hope to see you all there. Can’t wait!
Live @ The Engine Room
.
Pogo Live @ The Engine Room
Friday October 22nd
809 Railroad Avenue, Tallahassee FL 32310
Anyone keen to see my latest mixes of Pirates Of The Caribbean and The Little Mermaid should join me at the Engine Room on October 22nd. In addition to playing a whole bunch of new stuff, I’ll be mixing up every sample, layer and section of my tracks live to create a truly unique experience exclusive to The Engine Room and everyone who comes along. This will be the first of many gigs throughout North America, so I hope to see you all there. Can’t wait!
 |
‘Toyz Noize’ Acoustic Cover by Alvin Pingol Boy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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‘Upular’ Lip-Sync Tribute by HomeStarRunnerTron The first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only did Skye’s video receive a good laugh as part of my talk for OnCopyright 2010 in New York, but apparently it’s had the good people at Pixar in stitches as well. This video makes my list of favorites without question. |
 |
‘Arrow Through The Heart’ by Josh Kershaw Josh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a T. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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‘Higgins And Doolittle’ by RemixLuke Just before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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‘Bing’ by HomeStarRunnerTron If this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Live @ The Engine Room
.
Pogo Live @ The Engine Room
Friday October 22nd
809 Railroad Avenue, Tallahassee FL 32310
Anyone keen to see my latest mixes of Pirates Of The Caribbean and The Little Mermaid should join me at the Engine Room on October 22nd. In addition to playing a whole bunch of new stuff, I’ll be mixing up every sample, layer and section of my tracks live to create a truly unique experience exclusive to The Engine Room and everyone who comes along. This will be the first of many gigs throughout North America, so I hope to see you all there. Can’t wait!
Live @ The Engine Room
.
Pogo Live @ The Engine Room
Friday October 22nd
809 Railroad Avenue, Tallahassee FL 32310
Anyone keen to see my latest mixes of Pirates Of The Caribbean and The Little Mermaid should join me at the Engine Room on October 22nd. In addition to playing a whole bunch of new stuff, I’ll be mixing up every sample, layer and section of my tracks live to create a truly unique experience exclusive to The Engine Room and everyone who comes along. This will be the first of many gigs throughout North America, so I hope to see you all there. Can’t wait!
Live @ The Engine Room
.
Pogo Live @ The Engine Room
Friday September 3rd
809 Railroad Avenue, Tallahassee FL 32310
Anyone keen to see my latest mixes of Pirates Of The Caribbean and The Little Mermaid should join me at the Engine Room on October 22nd. In addition to playing a whole bunch of new stuff, I’ll be mixing up every sample, layer and section of my tracks live to create a truly unique experience exclusive to The Engine Room and everyone who comes along. This will be the first of many gigs throughout North America, so I hope to see you all there. Can’t wait!
Live @ The Engine Room
.
Pogo Live @ The Engine Room
Friday September 3rd
809 Railroad Avenue, Tallahassee FL 32310
Anyone keen to see my latest mixes of Pirates Of The Caribbean and The Little Mermaid should join me at the Engine Room on October 22nd. In addition to playing a whole bunch of new stuff, I’ll be mixing up every sample, layer and section of my tracks live to create a truly unique experience exclusive to The Engine Room and everyone who comes along. This will be the first of many gigs throughout North America, so I hope to see you all there. Can’t wait!
Live @ The Engine Room
.
Pogo Live @ The Engine Room
Friday September 3rd
809 Railroad Avenue, Tallahassee FL 32310
Anyone keen to see my latest mixes of Pirates Of The Caribbean and The Little Mermaid should join me at the Engine Room on October 22nd. In addition to playing a whole bunch of new stuff, I’ll be mixing up every sample, layer and section of my tracks live to create a truly unique experience exclusive to The Engine Room and everyone who comes along. This will be the first of many gigs throughout North America, so I hope to see you all there. Can’t wait!
Live @ The Engine Room
.
Pogo Live @ The Engine Room
Friday September 3rd
809 Railroad Avenue, Tallahassee FL 32310
Anyone keen to see my latest mixes of Pirates Of The Caribbean and The Little Mermaid should join me at the Engine Room on October 22nd. In addition to playing a whole bunch of new stuff, I’ll be mixing up every sample, layer and section of my tracks live to create a truly unique experience exclusive to The Engine Room and everyone who comes along. This will be the first of many gigs throughout North America, so I hope to see you all there. Can’t wait!
Live @ The Engine Room
.
Pogo Live @ The Engine Room
$10 Entry @ The Engine Room, Friday September 3rd
809 Railroad Avenue, Tallahassee FL 32310
Anyone keen to see my latest mixes of Pirates Of The Caribbean, HR Puf N Stuf and The Little Mermaid, should join me at the Engine Room around midnight on Friday September 3rd. In addition to playing a whole bunch of new stuff, I’ll be mixing up every sample, layer and section of my tracks live to create a truly unique experience exclusive to The Engine Room and everyone who comes along. This will be the first of many gigs throughout North America, so I hope to see you all there. Can’t wait!
Guess Who’s Back In Wonderland
.
After a year producing professionally for Walt Disney Motion Picture Studios, my contract has finally come to an end. The gag order is released, and my classic Disney mixes are allowed back online.
I’d like to apologize to everyone for the secrecy that has so far been surrounding this issue. When one of the biggest, most powerful corporations in the world zipped my mouth shut with the hand of the law, there’s little I could do to communicate without deliberately breaching my contract. Alice, Expialidocious and White Magic had to be hidden because Disney considered them illegal. They otherwise would have engaged me as an ongoing infringer, an act that would understandably exceed the legal boundaries of any corporation.
Folks, I long to release my Pirates Of The Caribbean mix on YouTube. I think it’s one of my best mixes yet, and it’s agonizing to imagine it rotting away in some filing cabinet instead of taking its rightful place in my body of work. All I’ve been told is that the producers at Jerry Bruckheimer Films want nothing to do with it. Whether that means they’re displeased or they’re just waiting for the right time is impossible for me to say. The sad reality is, Swashbuckle was contracted work. I’d literally have to start saving the money that Disney would sue me before making the decision to upload it. But who knows? It might just come to that. My music is my mark in this world. If I have to pay to watch it entertain millions of people, then so be it.
Guess Who’s Back In Wonderland
.
After a year producing professionally for Walt Disney Motion Picture Studios, my contract has finally come to an end. The gag order is released, and my classic Disney mixes are allowed back online.
I’d like to apologize to everyone for the secrecy that has so far been surrounding this issue. When one of the biggest, most powerful corporations in the world zipped my mouth shut with the hand of the law, there’s little I could do to communicate without deliberately breaching my contract. Alice, Expialidocious and White Magic had to be hidden because Disney considered them illegal. They otherwise would have engaged me as an ongoing infringer, an act that would understandably exceed the legal boundaries of any corporation.
Folks, I long to release my Pirates Of The Caribbean mix on YouTube. I think it’s one of my best mixes yet, and it’s agonizing to imagine it rotting away in some filing cabinet instead of taking its rightful place in my body of work. All I’ve been told is that the producers at Jerry Bruckheimer Films want nothing to do with it. Whether that means they’re displeased or they’re just waiting for the right time is impossible for me to say. The sad reality is, Swashbuckle was contracted work. I’d literally have to start saving the money that Disney would sue me before making the decision to upload it. But who knows? It might just come to that. My music is my mark in this world. If I have to pay to watch it entertain millions of people, then so be it.
Guess Who’s Back In Wonderland
.
After a year producing professionally for Walt Disney Motion Picture Studios, my contract has finally come to an end. The gag order is released, and my classic Disney mixes are allowed back online.
I’d like to apologize to everyone for the secrecy that has so far been surrounding this issue. When one of the biggest, most powerful corporations in the world zipped my mouth shut with the hand of the law, there’s little I could do to communicate without deliberately breaching my contract. Alice, Expialidocious and White Magic had to be hidden because Disney considered them illegal. They otherwise would have engaged me as an ongoing infringer, an act that would understandably exceed the legal boundaries of any corporation.
Folks, I long to release my Pirates Of The Caribbean mix on YouTube. I think it’s one of my best mixes yet, and it’s agonizing to imagine it rotting away in some filing cabinet instead of taking its rightful place in my body of work. All I’ve been told is that the producers at Jerry Bruckheimer Films want nothing to do with it. Whether that means they’re displeased or they’re just waiting for the right time is impossible for me to say. The sad reality is, Swashbuckle was contracted work. I’d literally have to start saving the money that Disney would sue me before making the decision to upload it. But who knows? It might just come to that. My music is my mark in this world. If I have to pay to watch it entertain millions of people, then so be it.
Guess Who’s Back In Wonderland
.
After a year producing professionally for Walt Disney Motion Picture Studios, my contract has finally come to an end. The gag order is released, and my classic Disney mixes are allowed back online.
I’d like to apologize to everyone for the secrecy that has so far been surrounding this issue. When one of the biggest, most powerful corporations in the world zipped my mouth shut with the hand of the law, there’s little I could do to communicate without deliberately breaching my contract. Alice, Expialidocious and White Magic had to be hidden because Disney considered them illegal. They otherwise would have engaged me as an ongoing infringer, an act that would understandably exceed the legal boundaries of any corporation.
Folks, I long to release my Pirates Of The Caribbean mix on YouTube. I think it’s one of my best mixes yet, and it’s agonizing to imagine it rotting away in some filing cabinet instead of taking its rightful place in my body of work. All I’ve been told is that the producers at Jerry Bruckheimer Films want nothing to do with it. Whether that means they’re displeased or they’re just waiting for the right time is impossible for me to say. The sad reality is, Swashbuckle was contracted work. I’d literally have to start saving the money that Disney would sue me before making the decision to upload it. But who knows? It might just come to that. My music is my mark in this world. If I have to pay to watch it entertain millions of people, then so be it.
Guess Who’s Back In Wonderland
.
After a year producing professionally for Walt Disney Motion Picture Studios, my contract has finally come to an end. The gag order is released, and my classic Disney mixes are allowed back online.
I’d like to apologize to everyone for the secrecy that has so far been surrounding this issue. When one of the biggest, most powerful corporations in the world zipped my mouth shut with the hand of the law, there’s little I could do to communicate without deliberately breaching my contract. Alice, Expialidocious and White Magic had to be hidden because Disney considered them illegal. They otherwise would have engaged me as an ongoing infringer, an act that would understandably exceed the legal boundaries of any corporation.
Folks, I long to release my Pirates Of The Caribbean mix on YouTube. I think it’s one of my best mixes yet, and it’s agonizing to imagine it rotting away in some filing cabinet instead of taking its rightful place in my body of work. All I’ve been told is that the producers at Jerry Bruckheimer Films want nothing to do with it. Whether that means they’re displeased or they’re just waiting for the right time is impossible for me to say. The sad reality is, Swashbuckle was contracted work. I’d literally have to start saving the money that Disney would sue me before making the decision to upload it. But who knows? It might just come to that. My music is my mark in this world. If I have to pay to watch it entertain millions of people, then so be it.
Guess Who’s Back In Wonderland
After a year producing professionally for Walt Disney Motion Picture Studios, my contract has finally come to an end. The gag order is released, and my classic Disney mixes are allowed back online.
I’d like to apologize to everyone for the secrecy that has so far been surrounding this issue. When one of the biggest, most powerful corporations in the world zipped my mouth shut with the hand of the law, there’s little I could do to communicate without deliberately breaching my contract. Alice, Expialidocious and White Magic had to be hidden because Disney considered them illegal. They otherwise would have engaged me as an ongoing infringer, an act that would understandably exceed the legal boundaries of any corporation.
Folks, I long to release my Pirates Of The Caribbean mix on YouTube. I think it’s one of my best mixes yet, and it’s agonizing to imagine it rotting away in some filing cabinet instead of taking its rightful place in my body of work. All I’ve been told is that the producers at Jerry Bruckheimer Films want nothing to do with it. Whether that means they’re displeased or they’re just waiting for the right time is impossible for me to say. The sad reality is, Swashbuckle was contracted work. I’d literally have to start saving the money that Disney would sue me before making the decision to upload it. But who knows? It might just come to that. My music is my mark in this world. If I have to pay to watch it entertain millions of people, then so be it.
Guess Who’s Back In Wonderland
.
After a year producing professionally for Walt Disney Motion Picture Studios, my contract has finally come to an end. The gag order is released, and my classic Disney mixes are allowed back online.
I’d like to apologize to everyone for the secrecy that has so far been surrounding this issue. When one of the biggest, most powerful corporations in the world zipped my mouth shut with the hand of the law, there’s little I could do to communicate without deliberately breaching my contract. Alice, Expialidocious and White Magic had to be hidden because Disney considered them illegal. They otherwise would have engaged me as an ongoing infringer, an act that would understandably exceed the legal boundaries of any corporation.
Folks, I long to release my Pirates Of The Caribbean mix on YouTube. I think it’s one of my best mixes yet, and it’s agonizing to imagine it rotting away in some filing cabinet instead of taking its rightful place in my body of work. All I’ve been told is that the producers at Jerry Bruckheimer Films want nothing to do with it. Whether that means they’re displeased or they’re just waiting for the right time is impossible for me to say. The sad reality is, Swashbuckle was contracted work. I’d literally have to start saving the money that Disney would sue me before making the decision to upload it. But who knows? It might just come to that. My music is my mark in this world. If I have to pay to watch it entertain millions of people, then so be it.
Guess Who’s Back In Wonderland
.
After a year producing professionally for Walt Disney Motion Picture Studios, my contract has finally come to an end. The gag order is released, and my classic Disney mixes are allowed back online.
I’d like to apologize to everyone for the secrecy that has so far been surrounding this issue. When one of the biggest, most powerful corporations in the world zipped my mouth shut with the hand of the law, there’s little I could do to communicate without deliberately breaching my contract. Alice, Expialidocious and White Magic had to be hidden because Disney considered them illegal. They otherwise would have engaged me as an ongoing infringer, an act that would understandably exceed the legal boundaries of any corporation.
Folks, I long to release my Pirates Of The Caribbean mix on YouTube. I think it’s one of my best mixes yet, and it’s agonizing to imagine it rotting away in some filing cabinet instead of taking its rightful place in my body of work. All I’ve been told is that the producers at Jerry Bruckheimer Films want nothing to do with it. Whether that means they’re displeased or they’re just waiting for the right time is impossible for me to say. The sad reality is, Swashbuckle was contracted work. I’d literally have to start saving the money that Disney would sue me before making the decision to upload it. But who knows? It might just come to that. My music is my mark in this world. If I have to pay to watch it entertain millions of people, then so be it.
Guess Who’s Back In Wonderland
.
After a year producing professionally for Walt Disney Motion Picture Studios, my contract has finally come to an end. The gag order is released, and my classic Disney mixes are allowed back online.
I’d like to apologize to everyone for the secrecy that has so far been surrounding this issue. When one of the biggest, most powerful corporations in the world zipped my mouth shut with the hand of the law, there’s little I could do to communicate without deliberately breaching my contract. Alice, Expialidocious and White Magic had to be hidden because Disney considered them illegal. They otherwise would have engaged me as an ongoing infringer, an act that would understandably exceed the legal boundaries of any corporation.
Folks, I long to release my Pirates Of The Caribbean mix on YouTube. I think it’s one of my best mixes yet, and it’s agonizing to imagine it rotting away in some filing cabinet instead of taking its rightful place on my YouTube channel. All I’ve been told is that the producers at Jerry Bruckheimer Films want nothing to do with it. Whether that means they’re displeased or they’re just waiting for the right time is impossible for me to say. The sad reality is, Swashbuckle was contracted work. I’d literally have to start saving the money that Disney would sue me before making the decision to upload it. But who knows? It might just come to that. My music is my mark in this world. If I have to pay to watch it entertain millions of people, consider me broke already.
Tracking Tributes
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‘Toyz Noize’ Acoustic Cover by Alvin Pingol Boy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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‘Upular’ Lip-Sync Tribute by HomeStarRunnerTron The first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only did Skye’s video receive a good laugh as part of my talk for OnCopyright 2010 in New York, but apparently it’s had the good people at Pixar in stitches as well. This video makes my list of favorites without question. |
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‘Arrow Through The Heart’ by Josh Kershaw Josh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a T. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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‘Higgins And Doolittle’ by RemixLuke Just before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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‘Bing’ by HomeStarRunnerTron If this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Tracking Tributes
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‘Toyz Noize’ Acoustic Cover by Alvin Pingol Boy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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‘Upular’ Lip-Sync Tribute by HomeStarRunnerTron The first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only did Skye’s video receive a good laugh as part of my talk for OnCopyright 2010 in New York, but apparently it’s had the good people at Pixar in stitches as well. This video makes my list of favorites without question. |
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‘Arrow Through The Heart’ by Josh Kershaw Josh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a T. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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‘Higgins And Doolittle’ by RemixLuke Just before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The devine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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‘Bing’ by HomeStarRunnerTron If this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Tracking Tributes
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‘Toyz Noize’ Acoustic Cover by Alvin Pingol Boy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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‘Upular’ Lip-Sync Tribute by HomeStarRunnerTron The first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only did Skye’s video receive a good laugh as part of my talk for OnCopyright 2010 in New York, but apparently it’s had the good people at Pixar in stitches as well. This video makes my list of favorites without question. |
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‘Arrow Through The Heart’ by Josh Kershaw Josh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a T. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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‘Higgins And Doolittle’ by RemixLuke Just before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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‘Bing’ by HomeStarRunnerTron If this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Tracking Tributes
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‘Toyz Noize’ Acoustic Cover by Alvin Pingol Boy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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‘Upular’ Lip-Sync Tribute by HomeStarRunnerTron The first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only did Skye’s video receive a good laugh as part of my talk for OnCopyright 2010 in New York, but apparently it’s had the good people at Pixar in stitches as well. This video makes my list of favorites without question. |
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‘Arrow Through The Heart’ by Josh Kershaw Josh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a tee. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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‘Higgins And Doolittle’ by RemixLuke Just before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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‘Bing’ by HomeStarRunnerTron If this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Tracking Tributes
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‘Toyz Noize’ Acoustic Cover by Alvin Pingol Boy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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‘Upular’ Lip-Sync Tribute by HomeStarRunnerTron The first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only did Skye’s video receive a good laugh as part of my talk for OnCopyright 2010 in New York, but apparently it’s had the good people at Pixar in stitches as well. This video makes my list of favorites without question. |
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‘Arrow Through The Heart’ by Josh Kershaw Josh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a tee. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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‘Higgins And Doolittle’ by RemixLuke Just before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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‘Bing’ by HomeStarRunnerTron If this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Tracking Tributes
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‘Toyz Noize’ Acoustic Cover by Alvin Pingol Boy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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‘Upular’ Lip-Sync Tribute by HomeStarRunnerTron The first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only did Skye’s video receive a good laugh as part of my talk for OnCopyright 2010 in New York, but apparently it’s had the good people at Pixar in stitches as well. This video makes my list of favorites without question. |
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‘Arrow Through The Heart’ by Josh Kershaw Josh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a tee. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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‘Higgins And Doolittle’ by RemixLuke Just before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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‘Bing’ by HomeStarRunnerTron If this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Tracking Tributes
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‘Toyz Noize’ Acoustic Cover by Alvin Pingol Boy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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‘Upular’ Lip-Sync Tribute by HomeStarRunnerTron The first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only did Skye’s video receive a good laugh as part of my talk for OnCopyright 2010 in New York, but apparently it’s had the good people at Pixar in stitches as well. This video makes my list of favorites without question. |
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‘Arrow Through The Heart’ by Josh Kershaw Josh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a tee. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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‘Higgins And Doolittle’ by RemixLuke Just before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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‘Bing’ by HomeStarRunnerTron If this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Tracking Tributes
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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Lip-Sync Tribute by HomeStarRunnerTronThe first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only did Skye’s video receive a good laugh as part of my talk for OnCopyright 2010 in New York, but apparently it’s had the good people at Pixar in stitches as well. This video makes my list of favorites without question. |
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by Josh KershawJosh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a tee. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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by RemixLukeJust before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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by HomeStarRunnerTronIf this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Tracking Tributes
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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Lip-Sync Tribute by HomeStarRunnerTronThe first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only has his video circulated around the Pixar campus, but it’s a perfect example of Fair Use, and illustrates that remix culture is about interpretation and not copyright infringement. Skye’s video received a good laugh as part of my talk for OnCopyright 2010 in New York, and makes my list of favorite YouTube videos without question. |
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by Josh KershawJosh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a tee. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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by RemixLukeJust before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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by HomeStarRunnerTronIf this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Tracking Tributes
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‘Toyz Noize’ Acoustic Cover by Alvin Pingol Boy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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‘Upular’ Lip-Sync Tribute by HomeStarRunnerTron The first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only did Skye’s video receive a good laugh as part of my talk for OnCopyright 2010 in New York, but apparently it’s had the good people at Pixar in stitches as well. This video makes my list of favorites without question. |
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‘Arrow Through The Heart’ by Josh Kershaw Josh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a T. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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‘Higgins And Doolittle’ by RemixLuke Just before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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‘Bing’ by HomeStarRunnerTron If this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Tracking Tributes
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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Lip-Sync Tribute by HomeStarRunnerTronThe first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only has his video circulated around the Pixar campus, but it’s a perfect example of Fair Use, and illustrates that remix culture is about interpretation and not copyright infringement. Skye’s video received a good laugh as part of my talk for OnCopyright 2010 in New York, and makes my list of favorite YouTube videos without question. |
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by Josh KershawJosh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a tee. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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by RemixLukeJust before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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by HomeStarRunnerTronIf this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Tracking Tributes
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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Lip-Sync Tribute by HomeStarRunnerTronThe first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only has his video circulated around the Pixar campus, but it’s a perfect example of Fair Use, and illustrates that remix culture is about interpretation and not copyright infringement. Skye’s video received a good laugh as part of my talk for OnCopyright 2010 in New York, and makes my list of favorite YouTube videos without question. |
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by Josh KershawJosh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a tee. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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by RemixLukeJust before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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by HomeStarRunnerTronIf this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Tracking Tributes
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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by HomeStarRunnerTronThe first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only has his video circulated around the Pixar campus, but it’s a perfect example of Fair Use, and illustrates that remix culture is about interpretation and not copyright infringement. Skye’s video received a good laugh as part of my talk for OnCopyright 2010 in New York, and makes my list of favorite YouTube videos without question. |
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by Josh KershawJosh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a tee. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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by RemixLukeJust before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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by HomeStarRunnerTronIf this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Tracking Tributes
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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by HomeStarRunnerTronThe first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only has his video circulated around the Pixar campus, but it’s a perfect example of Fair Use, and illustrates that remix culture is about interpretation and not copyright infringement. Skye’s video received a good laugh as part of my talk for OnCopyright 2010 in New York, and makes my list of favorite YouTube videos without question. |
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by Josh KershawJosh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a tee. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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by RemixLukeJust before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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by HomeStarRunnerTronIf this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Tracking Tributes
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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by HomeStarRunnerTronThe first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only has his video circulated around the Pixar campus, but it’s a perfect example of Fair Use, and illustrates that remix culture is about interpretation and not copyright infringement. Skye’s video received a good laugh as part of my talk for OnCopyright 2010 in New York, and makes my list of favorite YouTube videos without question. |
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by Josh KershawJosh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a tee. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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by RemixLukeJust before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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by HomeStarRunnerTronIf this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes, ears and soul that you’ll feel honored to have experienced. |
Tracking Tributes
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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by HomeStarRunnerTronThe first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only has his video circulated around the Pixar campus, but it’s a perfect example of Fair Use, and illustrates that remix culture is about interpretation and not copyright infringement. Skye’s video received a good laugh as part of my talk for OnCopyright 2010 in New York, and makes my list of favorite YouTube videos without question. |
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by Josh KershawJosh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a tee. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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by RemixLukeJust before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
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by HomeStarRunnerTronIf this isn’t dedication, I don’t know what is. From the same chap who brought us the ‘Upular’ dance, this insanely intricate remix of Groundhog Day had me compelled and fascinated from start to finish. Skye has developed a style of his own with this whimsical, ever-changing ensemble, and it’s a piece of art you really need to see twice in order to appreciate the shear number of sounds he’s used from the film. It’s funny, it’s impressive, and it even gets emotional. This is a feast for your eyes and ears that you’ll feel honored to have experienced. |
Tracking Tributes
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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by HomeStarRunnerTronThe first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only has his video circulated around the Pixar campus, but it’s a perfect example of Fair Use, and illustrates that remix culture is about interpretation and not copyright infringement. Skye’s video received a good laugh as part of my talk for OnCopyright 2010 in New York, and makes my list of favorite YouTube videos without question. |
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by Josh KershawJosh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a tee. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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by RemixLukeJust before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody, and I’m happy to say it plays frequently on my iPod. |
Tracking Tributes
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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by HomeStarRunnerTronThe first time I saw this, it started my day off with a good laugh. Skye, the young chap busting his moves, has interpreted practically every vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. I’d love to know what this guy has for breakfast. Not only has his video circulated around the Pixar campus, but it’s a perfect example of Fair Use, and illustrates that remix culture is about interpretation and not copyright infringement. Skye’s video received a good laugh as part of my talk for OnCopyright 2010 in New York, and makes my list of favorite YouTube videos without question. |
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by Josh KershawJosh Kershaw, preferably known as Jeesh on the web, has created this wonderful remix of Disney’s Robin Hood. It’s charming, warm, dreamy and cheerful, and packs in a whimsical beat as if that’s not enough. I used to watch this film a lot on VHS as a child, and I have to say, Jeesh has captured its charm to a tee. It’s food for the soul and starts your day off just right. Recommended for anyone in need of a happiness hit. |
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by RemixLukeJust before I left for work around 7am one morning, I discovered this amazing little number on YouTube and became hypnotized immediately. The divine chords and gentle vocals are just beautiful, and I had them playing on a loop in my head on the train to work. RemixLuke has succeeded in creating an amazingly simple yet infectious melody that I can still hear in my head today, one that plays frequently on my iPod. |
Tracking Tributes
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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by HomeStarRunnerTronThe first time I saw this, I burst out laughing. Skye, the young chap busting his moves, has interpreted practically every single vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. You just know this guy has a top notch breakfast every morning. Not only has his video circulated around the Pixar campus, but it’s a perfect example of Fair Use, and illustrates that remix culture is about interpretation and not copyright infringement. Skye’s video received a good laugh as part of my talk for OnCopyright 2010 in New York, and makes my list of favorite YouTube videos without question. |
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by Josh KershawThe first time I saw this, I burst out laughing. Skye, the young chap busting his moves, has interpreted practically every single vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. You just know this guy has a top notch breakfast every morning. Not only has his video circulated around the Pixar campus, but it’s a perfect example of Fair Use, and illustrates that remix culture is about interpretation and not copyright infringement. Skye’s video received a good laugh as part of my talk for OnCopyright 2010 in New York, and makes my list of favorite YouTube videos without question. |
Tracking Tributes
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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by HomeStarRunnerTronThe first time I saw this, I burst out laughing. Skye, the young chap busting his moves, has interpreted practically every single vocal sample throughout ‘Upular’ as a dance routine. It’s simply too energetic to put into words. You just know this guy has a top notch breakfast every morning. Not only has his video circulated around the Pixar campus, but it’s a perfect example of Fair Use, and illustrates perfectly that remix culture is about interpretation and not copyright infringement. Skye’s video received a good laugh as part of my talk for OnCopyright 2010 in New York, and makes my list of favorite YouTube videos without question. |
Tracking Tributes
I’m astounded to find a number of remixes and videos on YouTube that have been made in tribute to me. Below is a selection of my favorites.
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
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by HomeStarRunnerTronBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
Tracking Tributes
I’m astounded to find a number of remixes and videos on YouTube that have been made in tribute to me. Below is a selection of my favorites.
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
Tracking Tributes
I’m astounded to find a number of remixes and videos on YouTube that have been made in tribute to me. Below is a selection of my favorites.
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
Tracking Tributes
I’m astounded to find a number of remixes and videos on YouTube that have been made in tribute to me. Below is a selection of my favorites.
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
Tracking Tributes
I’m astounded to find a number of remixes and videos on YouTube that have been made in tribute to me. Below is a selection of my favorites.
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
Tracking Tributes
I’m astounded to find a number of remixes and videos on YouTube that have been made in tribute to me. Below is a selection of my favorites.
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by Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
Tracking Tributes
I’m astounded to find a number of remixes and videos on YouTube that have been made in tribute to me. Below is a selection of my favorites.
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‘Toyz Noize’ Acoustic Coverby Alvin PingolBoy was this a surprise. I was expecting your average Joe YouTube user with a USB microphone. Instead, I got blasted with a full on professional multitrack masterpiece. I really can’t explain how amazing it is to hear Toyz Noize interpreted with real life instruments. The result is a warm, fresh track that sounds absolutely amazing. Everyone I’ve shown this to has loved it, and I’m sure you will too. This is one gem you don’t want to miss. |
Tracking Tributes
I’m astounded to find a number of remixes and videos on YouTube that have been made in tribute to me. Below is a selection of my favorites.
I’ve been listening to your stuff for over a year now and you never disappoint. Truly amazing music, I wish you weren’t being persecuted for it. much respect—
[...] Films (e quindi di nuovo dalla Disney). Ma il ragazzo promette battaglia. Con una punta di spocchia dichiara che il suo modo di fare musica è la sua traccia su questo pianeta. Se dovrà pagare per rendere la [...]
Man, I just heard the mix, excellent excellent work. This should be shared at all cost. Keeping something like this locked up should be a crime against humanity.
[...] ready to release some new audio/video remixes, based on Disney films — but he’s expecting to get sued by Disney to do so. That’s because (apparently) he was working for Disney in creating some of these [...]
[...] wird es aber richtig bizarr: Wie Pogo jetzt auf seinem Blog schreibt, untersagt Disney nun die Veröfffentlichung eines neuen Tracks, der auf den Fluch der [...]
The day the shackles of intellectual property law are released will be a grand day for all indeed.
id box mike tyson for a chance to get alice in flac.