UNE MINUTE DE PLUS a pour but de rassembler et d’inclure autour d’un intérêt commun : la musique.
Ce qui compte c’est VOUS et votre singularité.

Hey this Animesh Kumar Mishra. aka AKM, green baldy, Chiku, Big skinny, that bald guy with frosty lemons, etc. 
musician from Kolkata, Mumbai Singapore back to Kolkata.
Been playing live since for over 16 years. Started touring this year. Play a bunch of instruments and thanks to MIDI pretty much every instrument. Use mostly hardware analogue synths. But most analogue gear tend to have a some digital components. That’s cool I use plugins. The daws I use are Ableton and logic. Pro tools is reserved for post production is the original daw can’t cut it. It’s just easier to mix and master in pro tools when the others can’t do it. The other ones can do pretty much everything. Ableton is the easiest one for hardware gear sessions. Looping and live performance is also easiest to play. You can literally play the daw’s  features and instruments to improvise and it a very quick and simple leaning curve. But you can do all the features of send and receiving MIDI, recording, mixing and mastering on all of them. Though each has individual strengths for example more loops and variations I’d use Ableton. For longer music pieces or songwriting go to logic. Depending on no. of channels pro tools free or first are good too. But logic is the cheapest amongst the three full features. And has the best in the box sounds and mixing plug ins. Ableton has equally good stuff if you’re sure you know what you’re doing. You understand the parameters. It’s not visually going to guide you while on the logic x the on daw/box plugins are visually much easier to interact with. It’s clearly teaching you to sound design if you just try to use it for design. Same with mixing. Same with mastering. But live performances Ableton is leagues above. Pro tools get it only if need to. Depending on your needs buy a cheaper version if possible. But the fully featured pro tools is the best but the toughest one to learn and costliest. And Ableton is still better to play for live shows. Like I said Ableton is an instrument with very reasonably priced MIDI hardware from Akai. Push is the best but costlier then a lot of akai’s products put together. So get the push only if you absolutely need to. Logic is most value for money by an immeasurable amount. It’s so cheap compared to the other 2. And the others have free versions you can try. Your daw will determine your music as much as which studio room which console in a very expensive studio would. For hardware synths or mixing gear go with whatever you like and know how to use. It’ll always be better sound-wise. This includes synths especially modular and preamps primarily. In post production ever aspect is as important as the other. Monitors and headphones are too personal for a composer. Get what you like.

Debut rock album "700 Days Or... Maybe More!" is out now!

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Hailing from Wakefield, England, Earl's journey into dance music began at an early age. Thanks to his father's passion as a soul DJ, Earl grew up surrounded by the sounds of Motown and Soul, developing a deep-rooted love for the genre. These early influences continue to shape his musical style and selections today.

Earl's passion for DJing ignited in 1990 amidst the thriving UK rave scene. Captivated by Italian House music, he began honing his skills at 17 in his hometown. Exploring the vibrant club scene in Northern England, he discovered his true musical calling: Deep and Tech House at the legendary Back to Basics in Leeds.

"I vividly remember hearing those deep, emotive sounds on the top floor of Basics," Earl recalls. "It was a stark contrast to the music I was playing then, and from that moment on, I was completely hooked." 

The DJ behind those captivating sounds was Ralph Lawson (20:20 Vision Records), a Deep House maestro and longtime resident at the club. Earl spent his formative years at Back to Basics, soaking up the sounds and techniques of Lawson and other influential guest DJs like Jamie Anderson, Derrick Carter, Peace Division, and Kevin Yost. He fondly reflects on the 90s as the "golden era of House music," a time that profoundly shaped his musical identity.

He quickly secured residencies across Northern England, notably at the acclaimed Hedonism events at the Think Tank & Café Mex. Earl has always prioritised sharing his music over seeking fame, a refreshing contrast to today's DJ landscape, where social media presence often takes precedence.

As the Tech House sound emerged from the West Coast of America on labels like Tango, Siesta, and Doubledown, Earl's style evolved alongside it. His sets became increasingly drum-driven, often starting deep and building to a Tech House or Techno climax. This dynamic approach remains a hallmark of his style, evident in his recently released Rebirth Sessions.

In 2004, with the rise of CDJs, Earl relocated to Thailand, leaving his cherished vinyl collection behind in the UK. Initially resistant to the shift towards digital mixing, he took a hiatus from DJing. However, his love for music endured, and he began building a digital collection. A visit to the GLOW club in Bangkok, with its impressive Funktion One sound system, reawakened his passion for DJing.

Encouraged by friends in the industry, he embraced the digital era, acquiring a Pioneer controller and reigniting his DJ career. This seasoned veteran, with roots in the influential 90s rave scene of Leeds, UK, has an exciting future ahead, with upcoming collaborations with longtime friend Jamie Anderson (Artform Records) and Greek deep house producer Ilias Katelanos (i-records).

Earl's DJ sets are immersive experiences, seamlessly blending Deep, Minimal, and Tech House, often culminating in electrifying Techno as the night unfolds. He thrives in intimate settings, where he can connect with the crowd and channel their energy to create unforgettable nights on the dance floor.

Big Fetty chop shit no food 

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