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For me making music is a way of relaxing, thinking about nothing else, just becoming one with melodies and rhythms. I have been fooling around with synthesizers for more than 30 years. Starting with Roland Juno and Jupiter synths I loaned from my babysitter at the time. I evolved over the years from my first Casio to Korg M3R, Kawai K4, Yamaha TG33, Yamaha CS1X, Roland MC303, Korg M3R, Commodore 64, Commodore Amiga, Atari ST, my first Cubase lite and so on, on a journey though music technology. Now I have a little music studio centered around an iMac running Ableton Live 8. The sound card is an external Steinberg CI2. I use two USB controllers: an Akai APC40 and an M-Audio Trigger Finger. I also have a Korg padKONTROL but connecting it has seemed to be overkill so far. Will keep you posted on any change of policy in the future. I mainly use a Roland SH201 as keyboard. It contains good sounds as well so once in a while I throw its sound source into a mix. I connected it via USB to the iMac. Next to the SH201 my instrument collection consists of a Korg Triton proX that is connected through a classic Midi connection (M-Audio midiman anniversary edition). Finally there is a Roland MC909 I hardly ever use because it can only midi synch with Ableton (you can control only one instrument at a time via midi). Although the SH201, MC909 and the Triton are magnificent instruments that easily beat whatever sounds Ableton can generate (especially the Korg in the classic piano and strings section as well as in the synth pad area), you will for now only find songs based on the Ableton sounds here. Call it laziness but recording an audio version of a track using only internal sounds is much easier than tracks that use external sound sources. So far I haven't taken the time of recording sounds coming from the external synths. It has seemed an unsurmountable effort to route the audio exits through the Steinberg CI2s audio inputs. My set-up is completed by a Yamaha MG16/4 mixing console that is sent to two KRK Systems VXT6 studio monitors. 
As far as my music is concerned: these are the results of me having fun in my comfort zone. Do not look for professional, fully edited tracks. I usually have an idea, fool a bit around with it and render the track as final. The results are purposefully raw. Having said that: if you feel the urge to perfect a remix of one of the tracks, I can in most cases provide you with the Ableton project file. 

Update 19/02/2011: 
2011 has brought a clean up and revamping of the set up. I kicked out the MC909. Never used it frankly. The D-Beam controllers are nice but inaccurate. There is one on the SH201 and the Trigger Finger and APC40 offer more than enough freedom to control anything I can imagine. Now that the MC909 is gone, I have more room on my desk. It gives me more space to move around the mouse. I have given up on recording the external synths. I bought two magnificent plug-ins: Ivory II Grand Pianos and the Miroslav Philarmonik collection. They are a definite strain on my poor iMac 1.7Ghz 8Gb Ram. I need a faster machine but will hold off on buying one for now. The new sounds are amazing. It has taken years to convince me but I believe we have finally reached an era where plug-ins sound better than external synths. A fact that I can only applaud because plug-ins make it easier to record as discussed before. I got rid of the Steinberg CI2 card. The USB connection it supports was too slow for the new VST plug-ins and became a bottleneck. The shop where I bought it apologized for ever selling it to me and offered to take it back for 100€. I replaced the CI2 with an Edirol Audio Capture FA-66 FireWire. The difference is astounding. Both the processing speed and the sound quality are unlike anything I have ever seen/heard. Finally I couldn't resist investing in a series of Avox sound processing plug-ins and a Sontronics STC-2 studio mike. The sound processing plug-ins cover auto-tune and ten other harmony/choir and voice color effects. The studio mike is too sensitive. When I try recording audio I need to wear headphones and kill the monitors unless I want to enjoy feedback. That's obvious, but when I move the mouse it sounds like a freight train is driving through the room. I need to create a separate booth for audio recording the mike. In the meantime I'm enjoying the classical sound collections. They inspire me to make symphonic film music. I also want to experiment mixing electronic sounds with the classical ones. We'll see where it leads to. I have uploaded a first throw at a classical piece under Symphonia.     

APP MIND THE GAP ( Jeerawat Natenimit) is one of the original DJ of Progressive House/Trance music. From his early beginning in Bangkok,Thailand at the age of 17 in the blossoming scene of acid house to the apex of the Thailand djing. In fact, he has reached the very top of his profession,being voted the 1st Bangkok youngest Dj competition show off 2005 and Dj show with DJ Ottawa & DJ Color one (Asia Championships Heineken DJ SPIN ) on Human Resources UBC TV program at Santika Pub BKK. Furthermore, One of the top 3 Djs competition of Redbull Dj amateur showoff 102.5, Get radio104.5 Fat radio at SAE Institute Bangkok and, One of the top 4 Djs Challenge Motorola Motoalert 2003 Lucile RCA Bangkok, Dj show-off Heineken 104.5 Fat radio Festival then getting his hands on the decks to become a club disc jockey career.

APP MIND THE GAP he got the chance to share booth with some of the best international and regional talents. He has become the people choice while maintaining his long standing presence in underground dance culture. Further appearances residence gigs abroad followed, namely in the Route66 the classic zone(RCA, BKK), Thai Silk in the O2 (North Greenwich, London UK) , 808 (RCA, BKK), Santika Pub (Ekkamai BKK), Ana Garden (Thonglor - BKK) and Silk Bar (Khaosan Rd., BKK), Mingles Pub(AmariAtrium Hotel BKK)
and Le Meridien Khao-Lak Beach&Spa as well as many Dj guest Thailand clubs such as Narcissus Club BKK , Club Culture BKK, Muse Ekkamai, DEMO Thonglor, Glow BKK, Pattaya Music Festival, Escudo’s beach party @ Kho Sa-Med, Sofitel Krabi Resort, CKone Shock! lunch event (Paragon, BKK) and etc,.


APP MIND THE GAP he is host /Organize many events ex, The Charity Night of DJ ZIN Derella @ Route66 BKK (March 7, 2010)that event have made donation total 66,529 B, and many more... Dj's guest. Resident and gather into a "TECmassive" group with head of the 5 Dj's Thailand line's up Pioneer Dj Champion…(..END..)


www.appmindthegap-dj.com

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At 31 years of age, Mico's street swagger, freestyle and lyrical ability and auhentic take on the "Dirty South" style once put him at the top of Washington DC's Hip Hop Scene. Mico is a poet, lyricist and storyteller. His music touches on religion, gangstorism, social development and poverty. His message at times runs extreemely deep and there is so much more to his words than meets the eyes. He brings color and flash to a story that has been told so many times before. He is a true digital age artist who doesn't need 16 bars to develop a picture in his head. When he snaps off a verse the image simple enough for everyone to feel it instantly. Having lost many things in his life - Family and Friends - Mico has a sense of urgency abostarted as a lookoutut his music. After the streets claimed the lives of both parents, Mico then 11 years old, turned to the streets for guidence. "I started as a lookout, quick money was fast route, aint no tellin home boy, i've lived in a trap house." - "My father got hit with 'bout six, popped his back out, and now they're tellin my mother that they can't even help out." Mico's lyrics disect the struggle of growing up Black and Poor in Washington, DC. Amongst Greatness sound is largely characterized by upbeat, exuberant, club friendly tunes, and heavily rythmic lyrical delivery. Combined mico and the Amongst Greatness have the ability to take Hip Hop to uncharted territory. Mico's debut mictape "Sandy's Son" is set to drop Fall 2021



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Whut it dew, young up-n-coming artist from Killeen, Texas Blu August reppin da 254 by way of tha Westside. i'm fresh, new, hungry, and neva knew how to color in the lines. I want my musik to represent tha same thing wild, free, and trill as f***. I'm workin on my Code L.U.P.E. mixtape relying on a completely label-free situation I feel that this is the best route to take as a new artist in the texas music scene esp n killeen. Theres a big gap in our music scene and i really want to help fill that not by myself but i definitely want to be remembered as one of the most important figures in Killeen music history. I love beat selection, ideas, concepts, and nothing feels better as a rap artist then findin a beat you f***in love n then str8 killin tha beat n havin ppl go apeshit wen u finally record it n put it out. Code L.U.P.E.will feature mind-numbing production from various producers, introspective lyricism, and hypnotic hooks for tha streets, sheets, n otha parallels of life. Blu August's lie in his ablity to think outside the box, and create his own world within tha musc. Stayin tru to his SouthWest roots tha young Texan MC dubs tha intro on his mixtape Trill 4 Eva. The track sprints lik a racehorse to the finish line, filled with tense swirling synths behind thunderous kickdrum patterns clockin in at under a 1m 45 August's intense double-time delivery bounces with metaphors. Blu August has come a long way but there still work to be accomplished

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