Musings from Glen Wallis
All of a sudden, lately, I have been craving that proper Techno loopy noise that I first met 20 years ago. I am talking about that reiterative loopy madness that carries you away to wherever your mind wants to wander.
What is it with all these DAWs? They all suck in some way, usually it is some sort of strange limitation or crappy interface and crazy workflow. But mostly all DAWs have a real problem with performance, they all crap out when you really don’t want them to, throwing glitches and weird issues talking to the audio interface at random times and in random ways.
Why did I choose to use AUM (Kymatica) on the iPad rather than Ableton on the MacBook? It all comes down to money and reliability.
Music? Well music, Techno, is my passion for many of the reasons anyone is drawn into the musical creative process. It just is something I love to do. The whole process is so amazing, the discovery of sounds and even the sound engineering process satisfies me. So I will talk about this as well.
It is ancient, but now its modern too. Its true essence is rhythm. It is found in all types of music, but in Techno, rhythm is the main focus. Rhythm asks you to move with it, simply allow it to take control and enjoy the feeling.
Determined persistent beats
carefully crafted directly from the source.
Mixing, remixing, reinventing, regurgitating, experimenting and evolving.
Glen Wallis is Subtorq
Glen has always had one foot in the ancient past and the other stepping into the future.
Blending the sounds of our tribal past with the technology and musical techniques of the future in a way that connects the timeless line of communication through music.
Solidly grounded in rhythm based reiterative music intertwined with reflections of the present moment in time.
A rhythmic diary that records its daily logs in the digital realm.
Entering this path during the peak of the electronic music scene Glen quickly dispatched with the traditional DJ techniques and explored more creative elements of this new sound.
Choosing to mix drum-machines, samplers and synthesizers that provided more freedom to follow the energy of the music and the gathering.
A technique that was not always the most popular or easily sustained, yet rewarding due to the instantaneous creative nature of live mixing.