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The track Boom by Jecin George is an upbeat future house styled piece that really has some brilliant musical elements in that are great to listen to. The track has you reaching for the volume dial to increase the energy that shifts throughout the track. I really enjoy upbeat music and this is perfect for the summer DJ sets that are upon us.

The drums are punchy and crisp which is a must in this style, there is a lovely reverberant space around the drums that really add to the atmospheric value of the track. With clever vocal and synth manipulation throughout, this track keeps you on your toes while listening, and if you haven’t started to move to this, i’m really not sure what will get you out of your seat! There are many different house and trance elements that come through the track and it is clear the Jecin George isn’t locked in to one style of music, for his productions and also for their influences.

The motif over the top of the track played on a slightly metallic marimba , is fun to listen to and happy by nature. A cool phrase that sticks in your mind and you almost want more of, even though it is well placed in the track. Overall, this is a great showcase of music production talent.

Ben has recently put the cause 2 create studio through its paces with his alternative metal solo project titled – Jacob Messianic.

Ben has been producing a seven track ep called “The World to Come”. Original material written in the studio had stemmed from years of musical appreciation of all types of music from metal bands like Pantera, God Forbid, Meshuggah and Machine Head to name but a few, through contemporary composers like Ludovico Einaudi and electronic producers such as Bonobo. These form the loose guidelines for inspiration with all genres, bands and artists in between having an impact on the music that has been born.

The guitars were mostly recorded through a Marshall AVT special edition head running directly through the outboard of the studio, including the Bellari RP583. As the bass, but using the ever solid Trace Eliot head unit, specifically running through the tlaudio Fatman. The guitars used were 90% Jackson with a dash of Epiphone Les Paul, and even a little Fender Strat found its way in to the mix. The bass was a mixture of again mostly Jackson with appearances from an Ernie Ball Music Man and a Westone through neck, beautiful to play.

Andrew Hunter made a couple of guest appearances on guitar, playing extra rhythm, dualed patterns and generally having a great input. After years of playing guitar together in bands, nobody else could step in to an already fast paced project and be able to deliver the complimentary guitar needed.

Drums were a mixtures if triggered and sampled drums in this ever moving age of drum production. Through a mixture of several acoustic kits, miced and triggered, and an electronic drum kit kindly lent by building resident, producer Tom from 2 Billion Beats, the drum patterns were sculpted and rewritten multiple times, good job I like editing drums 🙂 Again Hunter made an appearance on several tracks laying down drum parts that gave a solid back bone to the growing ideas when things got a bit too hectic all coming from one mind.

Vocals were captured simply with an Akg C2000b condenser microphone, with assistance from studio partner Alasdair Taylor at the desk. Every line double tracked, an hour a day for five days was all the time we had so we just had to nail it first time.

A little orchestration was dotted around afterwards for dramatic effect and then it was down to the mix.

At this point it is important to note that an early blog post indicated that there could be more of a collaborative project on the cards but due to time commitments the project grew quicker than all originally interested members could get to the studio, all because of the vision of original project starter, Ben, and his desire to continually work on the tracks in all available spare time in order to be able to move on with his favourite part of the music technology works – mixing, and onwards to complete the project.

Ben, again with limited time, has spent several sessions tidying up and arranging and mixing the tracks to a degree where 7 were selected from a collection of tracks at various stages. Those seven became the basis for the ep now named ‘The World to Come’. Using his favoured elements of the studio outboard he finally reached a mix if the tracks he was happy with to say, time for mastering.

Next up was Christophe Bride and Oxygene Studios for mastering. As always, still wondering if the mix was right, we sat while Chris worked his magic and produced the finished product.

At present the finished tracks are being prepared for release so keep your eyes on the Jacob Messianic website