Found myself in something of a Teutonic state when I created a heavy track using white noise for percussion accents along with deep foreboding lines. What better instrument to mix in than Banjo? I knew Jim Bouchard would kill it and he did. Even…

Found myself in something of a Teutonic state when I created a heavy track using white noise for percussion accents along with deep foreboding lines. What better instrument to mix in than Banjo? I knew Jim Bouchard would kill it and he did. Even…

Found myself in something of a Teutonic state when I created a heavy track using white noise for percussion accents along with deep foreboding lines. What better instrument to mix in than Banjo? I knew Jim Bouchard would kill it and he did. Even…

Found myself in something of a Teutonic state when I created a heavy track using white noise for percussion accents along with deep foreboding lines. What better instrument to mix in than Banjo? I knew Jim Bouchard would kill it and he did. Even…

Found myself in something of a Teutonic state when I created a heavy track using white noise for percussion accents along with deep foreboding lines. What better instrument to mix in than Banjo? I knew Jim Bouchard would kill it and he did. Even…

Yves Baar sent me a midi piano file from Belgium and I found that if I slowed it down 20% and converted the piano to trombone and french horns that I was able to work closely with the synth - doubling and countering his melody.

Yves Baar sent me a midi piano file from Belgium and I found that if I slowed it down 20% and converted the piano to trombone and french horns that I was able to work closely with the synth - doubling and countering his melody.

Yves Baar sent me a midi piano file from Belgium and I found that if I slowed it down 20% and converted the piano to trombone and french horns that I was able to work closely with the synth - doubling and countering his melody.

Yves Baar sent me a midi piano file from Belgium and I found that if I slowed it down 20% and converted the piano to trombone and french horns that I was able to work closely with the synth - doubling and countering his melody.

Yves Baar sent me a midi piano file from Belgium and I found that if I slowed it down 20% and converted the piano to trombone and french horns that I was able to work closely with the synth - doubling and countering his melody.