Thank You.

The overwhelming sense of achievement just struck me full on in the face. Listening to the product of 3 months work in full with only one interuption at the very start is incredibly satisfying. Outside I feel pride, inside I'm holding back great tears of joy and pulse of adrenaline. 
Every body involved has been a blessing and I couldn't have done it without you all.

Obliterate Noise is a concept album. My main aim with this project is to encourage people that music is worth so much.

Much more than the £0.79 you might pay per download on iTunes. More than the Hard drive it sits on, because time ≠ money, and money ≠ time.
It's a very sad time for the music industry currently. Music is becoming more Disposable, less Valuable, and to the artist, barely profitable. Music streaming services such as We7, Spotify, Grooveshark and Deezer pay out less than £0.1 (http://bit.ly/cVeMC8) per play, and all a lot of us (myself included sometimes) are after free music for ever.
Don't be fooled, this project isn't going to generate me revenue, in fact I'm actually at a loss. Obliterate Noise is free. All you have to do is ask me for it. My music is Valuable to me, I don't care if you hate it. We're all opinionated individuals and I look forward to everybody's comments.
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Obliterate Noise has 5 named tracks, with carefully designed noise and music to span between each track. This is for atmosphere but also so that you are not completely overwhelmed and suprised by all the differnt styles on this EP. It also has an Unnoficial disclaimer: If you hate one of the tracks, skip to the next one. You maybe pleasantly suprised.......
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#1 (hash_0ne)
A piece of "Drone" music I wrote on my ESX1. The piece doesn't exactly sit with anything commerically successful nor is the production exactly proffessional, but I like it. This is the only track that has had any internet play, used it as a small promo video space.
The idea behind the track is all about when I used to work in a car factory. I was only a cleaner and they treated me like dirt but the factory will be one of those things I never forget. The constant drone of the air conditioning units on the factory floor will stay with me (and my tinitus) forever! I achieved this kind of sound with this track by putting a lot of reverb on a snare drum sample and then changing the cut off and resinance until it sounds nothing like a snare drum. The rest is pretty standard, other than I played the whole track live. Muting and unmuting parts (techno purist style) and changing when the snare drums come in manually. This is why it sounds so odd in places. I will never be able to recreate that track, and I guess I don't want to. It sounds exactly how I wanted it to sound.
I recorded the stereo out straight into Logic Pro, adding only mastering tools to the final output (Limiter, Multipresser).
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Easy
This song is my favourite song I have ever written.
It has a story, the only story I will not share. Sorry.
Again, it's a guitar and vocals song. There is also a bass line to sit under the guitar, filling out the song a bit more.
The guitar was done with A DI and AT4033. The Bass was also DI'd. Adding simple processing such as Compression, EQ, Reverb.
I recorded the vocals with a Sennheiser MD421. Having used lots of different microphones on this project, this one gave a very different tone to my voice.
This song has a super-out-of-phase introduction before the guitar comes in properly. No I didn't learn how to do this listening to Coldplay!
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Brosis
This track is your typical Foo Fighters, Nirvana rock song. The song uses Bass, Guitar, Drums and Vocals, with the odd spoken word sample thrown in there (oh hai logic library).
I wrote this song about some of my friends, yeah you know who you are. It was all going a bit pear and I didn't know what else to do. Fortunately the situation is sorted so it's OK!
The drums hit you straight away, sounding very deep and crunchy! This was achieved by bussing all of the drums to seperate channel, I added Compression and a Bit Crusher. The Model I copied can be found here...(http://audio.tutsplus.com/tutorials/production/quick-tip-punchier-drums-with-the-new-york-compression-trick/)
On the Drums we used the following Microphones;
- Kick D112
- Kick B90
- Snare Top Axis i5
- Snare Bottom SM57
- O/H C1000 (L/R)
- Floor Tom MD421
I actually found in mixing that we didn't use the floor tom at all so it didn't make its way into the mix.
The guitar was played by my wonderful friend Ben. He used his rather nice Telecaster through the marshall amp. We recorded it with two microphones, the Axis I5 and MD421. This was to get different tones out of the amp. For some reason the MD421 didn't work, but the Signal from the i5 was more than sufficient. We placed the mic on the outer edge of the cone so that it gave a more "Meaty" full sound. For the solo we moved the mic into  
The Bass was a DI with some processing.
The Vocal was recorded with a Rhode NT2A. I have always liked the way my voice sounds through this microphone and has become a weapon of choice throughout this project.
Other than the drums there was no extreme processing in this track. Each track had a Compressor, EQ and was bussed to a reverb. 
This track was hell to mix. I nearly ditched it 4 times. I did the final mix but it was helped along they way by my Pal Steve Harding over at The Push Community (http://www.pushcommunity.com/).  Kudos. 
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Guitars@Midnite
This track was recorded at 00:35 some time in February. After half an hour of noodling around on my guitar, probably having watched 4 episodes of mind numbing tv, I had written a song. A song so good ( I thought) I ran and grabbed my Boss BR864 8-Track recorder. This machine was new technology Circa 2001! 
I own 2 Karaoke Microphones that I got for Christmas two years ago. These would have to do. Armed with my DIY pop Shield, I was ready to go.
Once recorded I took it over to the Apple I have been using to start making these awful sounding recordings, sound better. I was aiming for some of this album to be Lofi any way, so this bodes quite well for me.
Again, adding simple processing tools and effects such as Compression, EQ and Reverb I got these sounding pretty good. 
The song itself has only 2 tracks. I tried adding more guitar, a bassline, harmonies, drums etc but it just sounded cluttered and unnecessary. I am glad I kept the song sounding the way it was intended to sound. 
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So Long
This is an original song written by myself. This song is about leaveing home and moving somewhere new for the first time. Back in March stuff was starting to fall into place so I wrote this song about the people and place where I live.
The song has two basic components, Guitar and Voice. This was due to being pushed for time (I had invisioned a much more complicated arrangement consisting of a full band). Disapointment aside I set to work on recording. The song was done in two parts, the Guitar tracks were laid down, and then the vocal was added. 
The guitar was recorded with a AT4033. I have experimented with a lot of microphones over the course of this EP and I felt that I prefered this mic on guitars. I also had a DI. This gave two very different sounds, the 4033 gave a very rich sound but did lack a lot of top end. The DI on the other hand only provided the top end. This was probably due to the poor quality of the guitar/pickup.
The vocal was recorded with a AKG C412. I did try to use the AT4033 but it did not seem to pick up the bottom end of my voice. 
The track was mixed in Logic pro. I used some very basic processing tools on each track. Each track followed pretty much teh same procedure, EQ, Compress, Send. You can argue that the if you compress before you EQ you will lose some of the top end. I couldn't hear any considerable difference that I couldn't remedy with the EQ where it was. I sent the instruments to their own group buses; Vocals, Guitars, Drums, etc.
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(Hidden Track)
Logic Pro. All of the synths made by myself from the built in Logic synths. I sang with a Rhode NT2A. I applied the same basic processing as before. This song