Santa Decided 2 Skip This Town 2'46|
This year's JTHZ christmas feature was made with the following hardware: Korg Triton, Korg Electribe ES-1, Roland MC-505, JBSystems pro series mixer and 2 Windows/Pentium PC's. Software we used: our own editing utilities (all written using Borland C++Builder), SoundForge, Vegas, FruityLoops and yes, there's also the VST Northpole (how appropriate!) plugin in there somewhere. The sp00ky mood of this short track continues where last year's JTHZ x-mas track (based on Whigfield's "Last Christmas") ended, taking you even more into the realm of a long, cold and lonely winter night, with a crispy clear vision of the Orion constellation. Most of the atmospheric sounds were hand-crafted on the Korg Triton. We stacked lots of edits on top of each other, to make them an essential part of the music and not just some freakin embellishment. All regular meals were enjoyed behind the machines during the making of this one. Merry xmas!
Motherfckn Blow Job (Hard Mix) 5'17
This is the third release of this track, and it was finished in July 2000. About the making of:
The intro is a clip from a german post-synced episode of Beverly Hills 90210 (Valerie to Brandon about Kelly). This was originally a track called Get Naked by Methods of Mayhem, but we've totally rebuilt it to something new. Basically the only thing reminding you of the original is the explicit lyrics by Li'l Kim. All drums are new (same BPM, maar we hebben wat vrijheid genomen in de patterns; het lijkt nog wel erg op Get Naked en de geluiden komen daar rechtstreeks uit), deels met D-Lusion DrumStation, deels met Fruity Pro. Enkele drums/rhythm fills en synth-loops komen ook nog uit de Roland groovebox/505. De 'funky bass' (dat en iets wat je nauwelijks hoort wat hier en daar nog een derde 'muzikaal spoor' is) komt uit onze eigen fantasie; Het loopje is inspired by some obscure Stevie B./Tolga track, alhoewel het niet 1:1 hetzelfde is, en die portamento's heeft Stevie B ook niet gebruikt. Drum reverbs en echo's zijn gedeeltelijk met drumstation en fruity pro gegenereerd, gedeeltelijk met soundforge. Editing is gedaan met forge en eigengemaakte software. Edits (met name de vocale Li'l Kim delen) lopen zowel mee in de meersporen als 'hard' in de laatste laag. De boel is afgemixed in Multique. De rock-rock-rock 'sampling' is ook fruity pro, trouwens. Het 'ride the cock' gedeelte bevat de meeste layers (beats zijn er één voor één ingeprutst met forge, soms met omgewisselde channels ... de stil-loop 2 daarin is een multipele soundforge pitchbend, some Mixmaster Mike scratching uit het begindeel van 'get naked' hebben we er ook in weten te plaatsen). Some reverbs, auto-wah and chorusing etc. was added separately to all tracks. The Stevie B melody is best wel vriendelijk en zachtaardig, dus dat gaf echt een cool maximaal contrast met d'explicit lyrics.
Edits Of Mayhem Shiii! 1'48
created early 2000, blowing off some steam with this hard tearing guitar-edits. For this one we've used parts from two Methods Of Mayhem tracks;
Anger Management and Mr. Onsomeothers
Stigg It In Your Ass 3'33
Since we're the same age as Dr.Dre, this was bound to happen ;) All instruments programmed and tortured by JTHZ. Main rhytihmz and chrome plated ill groovez performed on Roland MC 505. Scratchin' 'n editZ by JTHZ. Uses samplez of 'Git Naked' (Methods Of puNkass Tommy Lee and yo homey Pam Andisson), 'Buffy da Vampire Slaya' and 'Dirta Harrey' (Da Clint Pumpin' It Hard). Envelope follower editz gots re-edited on Fruity Loops using Northpole, MDA RezFilter and a bunch of other VST pluginZzzZ... Yo buss' it.
8 voor 8 5'57 (p)2001
Instrumental base layer composed and programmed using FruityLoops in March 2001. The Fruity version consisted of 16 tracks, 10 of which were used for rhythm and percussions. Fruity tracks used the TS 404 synthesizer, as well as actual samples (*.WAV) and SimSynth tracks. The extremely low 'submarine hitting the bottom of the ocean' sound was generated using Vaz Modular 2.1, processed using a soundcard, then recorded, post-processed and optimized using SoundForge. The guitar-like part which starts at 03'55" is also a Fruity track, using a so-called plucked-channel which goes through Fruity Phaser. VST and Fruity internal effects were used for fx. We used Northpole again for envelope follower/lowpass filtering. Other effects used: 7 band EQ, compressor, delay, Phaser, Reeverb [sic], MDA DubDelay, MDA Leslie, MDA RezFilter (better for stereo input than Northpole), MDA RoundPan and MDA Stereo. The only Mijke vocals used in the first instrumental layer are the breath sound on almost every 8th beat and the much repeated lead 'ummm ummm ummm' which first appears at 01'04". This instrumental-ish layer was processed using several effects and recorded to the Alesis MasterLink ML-9600 (the same type of machine is used by Madonna mix-engineer Al Schmitt, by the way). Strings (03'36" and onwards) were performed on the Korg Triton (which was processed by the Alesis AirFx effects processor) while recording to the MasterLink. This version was then optimized (EQ'ed and slightly compressed) using several internal DSP's of the MasterLink before being written to a CD-RW disc as an AIFF file. The AIFF was saved on the PC as a 'direct' WAV with SonicFoundry SoundForge. All decorations were mixed to this track using SoundForge (no multitracker this time!). Mijke's voice samples were enhanced using Behringer's ULTRAFEX II, cleaned and edited using SoundForge, then tuned and sometimes made into little arpeggios using - again - FruityLoops, rendered to WAV-files and mixed to the final WAV using SoundForge. Cut off single channel effects ("radio", for instance, at 05'14") were sometimes forced to tracks using the Fruity 'cut self' feature. Effects were added (before overdubbing) using Fruity effects, VST plugins and SoundForge; the latter mainly for phase precision stereo echoes (computed by our own RAM editor © JTHZ), panoramic effects and reverbs, but some echoes were generated in Fruity as well. Scratching was performed using AnalogX's Scratch, then edited using SoundForge and our RAM editor. The RAM editor was mainly used for repetitions and transforms on top of SoundForge "rough" edits of the WAV rendered by Scratch.exe. Most transformed scratches were then once again processed using SoundForge to add panoramic effects and phase shifts. In one or two odd cases, these files were *again* processed using our RAM editor and only then mixed to the final track. Hard edits of the entire mixed track were performed using RAM edit and our older disk based fragmentation editor (© JTHZ). The latter was used for the stutter-edits at 00'45" and 03'17", while parts of these last stutters were again fed back into RAM edit for extra added decorations. Final soundshaping was done with SoundForge. Intro was time-stretched using the Korg Triton v2 loop-editor as a sustaining 200% stretch and processed using AirFX 17 ("streetsweeper"). Extro is filtered by AirFX 7 ("horror show"). All cuts (including the longer break at 01'23") are replacement bits, making the entire track 'quartz sync' at almost 101 BPM.
Acting With Force - Project 3 6'37 (p)1996
1999 third release description: Since Bill Clinton went NUTS and has obviously seen too many SF movies, we'd like a rematch with Bill Clinton, who is featuring in this original audio-project by JTHZ from 1996, now EXPLOSIVELY online. Original project title: Launch authorization received, created mostly With Force, Sound Forge ;-) The "whoops" sample is taken from the movie Hard Target and features Lance Henriksen, also features Bart Schut ("enne ja"). It's like nothing you've ever heard, with an amazingly rhythmical and soulful use of samples, somewhere between Kraftwerk, Italo-disco, Omar Santana and Hard Trance, targeted at the suspicious joy we humans experience when listening to explosions... Must try on headphones! The extro recording is from 1985; Julius sleeping over in Groningen and waking up cousin Hens by dropping a bomb from the attick window :-)
Equipment we like to use:
current Doepfer A100 configuration
custom made editing software
My Favorite DJ (See Feel Dub) - Nance 9'12|
Our (probably final) version of the 1997 hit-single by Nance, originally produced/written by Cooly D. This one is more like a discomix than a remake, a long adventure within dance. Rhythm samples were taken from several old-school tracks, covering 22 years of disco. First version came about in 1997, caused by e-mails and ideas sent to and from Nance herself back then. We therefore dedicate this baby entirely to her for the inspiration and good vibrations :) Software we used: our own editing utilities, SoundForge, Vegas, NemeSys GigaSampler and Prosoniq TimeFactory. Again, lots of cuts and layers on top of each other, making the digital editing an essential part of the actual mix-down and not just some freak embellishment. We're really happy about the totally warm acoustic human feel of the congas in this one, thanks to NemeSys' GigaSampler.
Terrible Summertime Love 2'55 (P)1991
120 BPM, based on sounds coming from the italian 1987 dance smash Boys (summertime love) by Sabrina, however you won't find any Sabrina vocal in it. The sounds came from vinyl, went through some FX units and into a computer, later back to analog and finally to digital again. Cutting has been done in the second step, in digital, and it was a meet with new audio-software, therefore this track has a rough edge to it. Listen closely and you'll hear some deliberate warm distortion ;)
True Love On Da Dancefloor 7'45 (P)1986
In essence an extended remix of Dancin' The Night Away (1981) but Voggue is vocally supported by a young Julius singing on top of it. Multiple overdubs were recorded in his bedroom one cold winter-night back in 1986. Themes you hear him use are:
True Blue - Stay - I Know It (Madonna), Why Did It Have To Be Me (ABBA) and other short pieces from the charts. It was never intended to be more than a musical experiment, but friends and relatives liked it too much to not release this one now. Also been requested a lot for air-play on pirate-radio back then. Since the original masters were all VERY analog and out-of-phase, it was pretty hard work saving this one from being destroyed... Nevertheless, the vocal arrangements and cuts give away the talents we're dealing with here ;-)
I Wanna Rock 5'04 (P)1987
This is a new rendition of the Bobby "O" song I Wanna Rock. Bobby "O" released the exact same track twice, first performed by an imaginary band called Teenrock, then several years later as a track on a Flirts album. This new JTHZ version was recorded in 1987. It features Hens' vocals and a downpitched Casio SK-1 keyboard. The rhythm part was programmed on a Kawai R-100 drummachine. The final thing was recorded on the Revox B77, with some open-reel editing thrown in for fun. It's interesting to see that the Casio SK-1 is still used today by lots of people, most of the times "circuit bent". "Circuit-bending" refers to the process of creative short-circuiting by which standard audio electronics are radically modified to produce unique experimental instruments.
Alone 3'30 (P)1985
Song originally written by Billy Steinberg and Tom Kelly for Heart, and this version was recorded in Oldenzaal (1985), re-mixed in Groningen (1986) and digitally remastered in Amsterdam (2000). It features the old original MIDI-less Roland TB303 with a bassline-arrangement and tear-jerking vocals by Julius, for whom the personal involvement was a female that had moved to a town far away from him. Interesting about this version is that it was done before the Heart version got to be a huge world-wide hit-single. It is a stereo recording done (from the heart ;-) in one take, and since the bassline had only limited capacity for memory storage, Julius had to operate the thing while singing. Has been played a lot on pirate-radio and ended pretty high in the charts among acquaintances. JT and HZ have always been very fond of Heart and now wish to dedicate it to Ann and Nancy.
Little One 2'29 (P)1986
Since Bing Crosby's original vocals had been recorded in one channel (with just some reverb in the other channel), this track from the High Society (feat. the late Grace Kelly) soundtrack was easily separated into a vocal and an instrumental track. This JTHZ version features multiple overdubs of Hens' voice. The whistle solo was replaced by a Yamaha DX-21 part, mainly because Hens was unable to whistle in tune. The overdubbing was performed on the Revox B77 recorder using a well-known technique called 'ping-pong' overdubbing. Interesting fun fact: this song was actually recorded as a dedication to a back-then love interest. Before you whip out your cellular to dial your local law enforcement agency: "little" in this context only means that Hens' love interest was of less height. The girl had already reached the legal age for sexual endeavours years before this version of Little One was recorded. Of course, as always, the relationship turned out dead. In fact, the target never heard this version of "Little One" (now she can). There are even rumours that they never even met again, or that she even was a total fabrication, a twisted imaginary girlfriend of lifetime loser Hens Zimmerman. Hens insists she existed and was called Ingrid. This has however never been verified.
Halé, Hey Louise (JTHZ Remix) 4'36 (P)2001
All sounds in this remix come from the year 1981! We've created this peculiar remix as a dedication to pirate radio, as a reminder of how influential pirate stations have been to us. Ricky King's hitsingle has been filtered all the way, overall sound has been improved (according to our standards) and the build of the track has been turned into a 32 club logic using edits and some FX. In the intro you hear a clip from a very popular Medium Wave pirate, and just before the guitar starts spinning you hear the only AM station on FM(!) this country has ever known; Radio Desperado from Oldenzaal talking in some dutch dialect, saying: "Mja, we gaan d'r ook uit hier, de groetjes en tabé, moi!" meaning he's greeting you before switching off his tube transmitter. Desperado was the first dutch station to play "Halé, Hey Louise", as far as we knew. Vienna shout-outs to: Benelux, City, G.R.O., Kilo Newton, Luxemburg, Mono (Roel), RMT/Matador, UFO (Wim), Verkenner (Georeg). King Kong shout-outs to: Arco (Lonneker), Woodpecker, Electronica, Intercity, Scaramouche, Electron, Moulin Rouge, Desperado, Echo (Enschede), Pioneer (Enschede), Zwarte Roos (Weerselo) and many many others.
Hallez Louiz Bonuz Beatz 2'49 (P)2001
This mad piece of editing features more synthesizers than your garden variety Jean Michel Jarre can stomach, yet sounds cheesily familiar (if not downright cheapo or rushed) in every JTHZ aspect. You can hear our ubiquitous High Density Machine Gun Edits (TM) (patents pending), now featuring ultra smooth boundaries thanks to the latest update of our own editing software crap. Ah yes, and there's an auto-wah around 01'14", which we inserted back and forth into the non-wah'ed original to let your ears go crazy nutso. If you wonder what's the origin of the "steampipes" (01'01" and onwards), well... those were actually sampled in one of our bathrooms. Most of the other sounds still come from the Ricky King original, so don't worry about it. The entire file was processed with just a little bit of pseudo-tubewarmth from the F_S_Tube.dll VST plugin.