Home taping is killing music (1993​-​2003)

by Infinite Scale

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about

I'm very excited to see this collection of music escape the magnetic media they were originally recorded onto, and send them out into the great wide open. I would record a version to tape and then take it into the car for the serious test. The music and the driving experience would determine whether it was worth keeping or deleting. ‘Why keep music that serves no purpose?’ I thought. Add to this the shortage of media space. Magnetic media in this case being the 3.5” floppy disk. Samples would be reduced from 44.1 to 11Kh in order to save space, and to know that the track was stored on one disk, as opposed to across up to four multi disks. Argh!

All the tracks were written whilst living at home with my parents. This meant that at times I could freely write without a care in the world, while other moments were disturbed by shouts of 'do you need any tea?’ or, ‘can you go to the shop and get me an onion?’.

Around 1991the learning curve towards the equipment would be another challenge. It was a case of experimenting with new equipment and then RTFM! No internet, no videos. My first keyboard was a Casio. I would record sounds to a cassette and then playback the recording whilst overdubbing on to another cassette. This back and forth process meant that the finished piece would be layered in hiss. Anyway, I was content. A year or so on the next stage was obtaining Pro24 software for my Atari 520ST. Midi connections to my Casio! I was entering a complete new world of music creation. Again I had no idea, ‘how does it really work?’, but together with a friend (Cookie) we managed to get along and crack the way it operated. Mid 1993 I purchased a Roland D20, EPS 16 + and an Alesis SR16 drum machine. The sounds of these two devices were a completely new world. I felt like I’d arrived. Well.. you would do, leaving a Casio. No disrespect, Casio, I miss you :(. 1993 was a great period of electronic music with Warp records emerging alongside Skam and Plink Plonk, to name but a few, and these labels would help me shape my own sound. I knew that I wanted to release music more than ever, but there was much work to be done. My hunger for music equipment was ever growing and around 1995 I bought a PC and obtained a copy of Cubase 2.0. Together with a Technox and a Alesis midi verb, I was starting to create pieces which even my friends enjoyed listening to.
I was introduced to Bobby Friction in 1997 through a good friend of mine and started making Asian Underground Music. We created a few pieces under the name Ecostani shortly before I left for Barcelona on an ‘I need to learn a language and experience another country’ vibe.
In 2000 I returned but lasted in the UK a mere 5 months before moving to Hamburg, working as a Mac support engineer for a large design company.
The final stages around 2002 were upgrading to a G3 mac and moving to Logic 4.8. From this point music was becoming much more complete and songs were starting to sound like songs. From this point it was head down and keep on with what you’re doing. I had found a sound that I was comfortable with and knew that I had to continuously work with.
In 2005 I got signed to Toytronic with Sound Sensor. The rest is history.

Infinite Scale 2015 :)

credits

released August 21, 2015

All tracks written and conceived by infinite scale. Help from Tweakheadz for support. Thanks bro!

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about

Infinite Scale London, UK

Infinite Scale is a producer, DJ, broadcaster, and musician.

Scale started making music in 1997 with an Ensonic EPS 16+ 2mb sampler, which he still uses in his studio set up to this day.

He has been commissioned to compose music for the BBC, both on radio and TV, and has done sessions for the late great Breezeblock on Radio 1, and at Maida Vale for The Blue Room.
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Track Name: you'll find me under the ocean (2004)
Ambient piece created around 2004. Mac G4 800Mhz, Logic 8.