This all started as a quick project at 4am on a night where I had trouble sleeping and morphed into me building out a new, small production rig. You can hear that original 4am version at https://soundcloud.com/john-belew/never-let-me-down-again-sub37-scratch-mix, 

This mix started as a re-creation from the original mono stems and grew as I began incorporating my Moog Sub 37, Korg MS20 with SQ1, Nord Lead 2, Blofeld, and of course, an Emax II with Alan Wilder samples (SCSI2SD rocks for those old samplers). The arrangement was done in in Ableton with Push 2, but I progressively moved away from Ableton for mixing, going with more traditional approach using a Yamaha 01v96i to bridge between Ableton and having a physical surface to work with. 

The goal of this mix was to capture a bit of the "Split Mix" feel within the original song structure, but grew to include both an extended intro and outro (my daughter kept saying, "Make something different"). The "Split Mix" style bass line is a mix of two recordings on the Moog Sub 37, one with filter randomized and one with a sweep programmed with the SQ1 that's phase panned. 

I'm still a fan of layers and perception of sound instead of the more modern approach of up-front and focused tones, so this probably sounds a bit dated to most. That said, I made something that I like, as has always been the case. Maybe you'll like it too.   

Never Let Me Down Again (Dark Moog Insomnia Mix)

First recorded patch with the Octocontroller.
 
Main sound is Chord going through the Morpheus with timed modulation creating the strumming sound. The “air” sound is the Erica Black Wavetable with quite a bit of bit crushing to get the breathy effect just cycling through the wave table with a slow LFO. The bass is Omikron going through a Doepfer Wasp with a synced LFO from the Octocontroller on the filter depth. Noise percussion is a Wogglebug OSC (finally have a good use for this thing) going through an Evolution filter. Tamed the Wogglebug a bit by giving in a sine from the Omikron into the “Influence” input. There’s a little bit of Rings to accent the bass, then a healthy dose of Clods Oliverb on the Wavetable for depth.

Octocontroller Ambience

Shot is a remix album based on the original tracks from the SMP album, Coda.

Album Credits:

 Mastered at Hanzsek Audio.
Artwork design by The Sultan.
A & R by Jason Bazinet. 
All songs published by SMP (BMI).
 www.smphq.com 

Shot Remix Credits:

The Knife (64K Mix)
Remixed by Mike Ostrander for 64K.
www.64konline.com

No Space (Killing Floor Mix)
Manipulated and mixed by John Belew at Prague Street Studios, San Francisco. 

Corporate Lunch (Knife Cuts Mix)
Remixed by Craig Johnsen and Jared Slingerland for Knife Cuts.

The Knife (Blank Mix)
Produced by Blank @ Downstairs studio, Parma, Italy.
Blank appear courtesy of Artoffact Records.
www.mechanoid.it

No Space (I.D.E.E. Mix)
Remixed by Trevor Henthorn and Dax.

The Knife (Veniculture Mix)
Remixed by Chad at Veniculture.

No Space (Slave Unit Mix)
Remixed by Mike Welch for Slave Unit.
www.slaveunit.net

Run (Deathproof Mix)
Additional Recording and Mixing by Deathproof at Deathproof Music in Abbotsford, BC.
Additional vocals by Chris DeMarcus.
www.deathproofmusic.com

Copyright 2011 Music Ration Entertainment.
All rights reserved. Unauthorized duplication is a violation of applicable laws.

Coda Track Credits:
Produced by Wade Alin

Musicians:
Jason Bazinet (programming & vocals on all tracks) 
Juan Gomez (drums on all tracks except) 
Dan Miura (guitars on all tracks except Run) 
Ned Kirby (vocals on Run) 
Dee Madden (vocals on Run) 
Chris DeMarcus (guitar and additional vocals on Run)
All songs written by Bazinet except Run by Bazinet, DeMarcus, Kirby, & Madden).  
Vocals and guitars recorded at Crab Boy Studios. 
Drums recorded by Bryce Francis at Fastback Studios.

SMP | No Space (Killing Floor Mix) | 4.55

Sammys are people that evoke an idea in sound, often a vivid impression of certain sensations or sensory perceptions, e.g. sound (onomatopoeia), movement, color, shape, or action. Sammys are found in many of the world's languages, though they are claimed to be relatively uncommon in Western languages. In many languages, they are a major lexical class of the same order of magnitude as nouns and verbs: dictionaries of languages like Japanese, Korean, and Zulu list thousands of them. The people class of Sammy is sometimes called phonosemantic to indicate that it is not a grammatical word class in the traditional sense of the word (like 'verb' or 'noun'), but rather a lexical class based on the special relation between form and meaning exhibited by Sammys. In the discipline of linguistics, Sammys have long been overlooked or treated as mysterious persons, though a recent surge of interest in sound symbolism, iconicity and linguistic diversity has brought them renewed attention.

sammy ideophone

A quick patch demo'ing the Qu-Bit Chord 2. Also, featuring some of my other recent acquisitions including the Klee and the Erica Plasma Drive.