- (Duplicated CD)
- Artist: Mobile Glitch Factory
- Format: CD
- Release Date:1/1/2009
Released in 2009, Hi-Fi Digimonster is the first official Mobile Glitch Factory album, after 2007's Bitcrunch Swirl was credited simply to 'MGF', which represented an evolutionary chimera comprised of elements of a previous incarnartion, Morning Gold Fix, and the new entity: Mobile Glitch Factory. Standout tracks include the short, punchy trip-hopish title track (Track #2), and the trancexotica epic Addlepated & Dilapidated (Track #11). Album description: The music on the Hi-Fi Digimonster CD draws on various influences, including but not limited to: electronica, trip-hop, trance, industrial, krautrock, EBM, IDM, dub, exotica, Detroit techno, Chicago acid-house, new-wave, no-wave, space-disco and electro-funk. It's a post-techno hard-driving rhythmic mix based around two synchronized drum-machines (a circuit-bent Alesis SR16 and a Yamaha RX21). Two sequencers (a Palmpilot with Tsunamidi sled running Beatpad software, and a circuit-bent Yamaha QY10 walkstation) are synchronized to the drum-machines, which trigger a circuit-bent Kawai K1m synthesizer and a circuit-bent Yamaha SY22 synthesizer that is also occasionally triggered manually. A JL Cooper Fadermaster is used to tweak the Kawai synthesizer, and a JL Cooper Nexus Plus MIDI router switches between sequence-sources and tone generators. Turntable scratching is done with a Microh CYAN (SL-1200 clone) with a Shure SC35C cartridge. Video-game-type-sounds are made by the soundchip in an Atari 1040STe computer running Electronic Cow's Soundchip Synth software. A Yamaha R1000 digital reverb, a Yamaha E1010 analog bucket-brigade delay, and a Korg Kaosspad KP1 (mostly as a filter and turntable pre-amp) are utilized for effects, while an Alesis Microlimiter beefs up the drum machines. A Korg Electribe EA-1 Mk2 and a circuit-bent Yamaha PSR-510 keyboard also make brief appearances. Hi-Fi Digimonster was recorded between January and August 2008 and edited and mastered in November and December 2008 at Sinusoidal Studios in Vancouver, BC. Band description: Mobile Glitch Factory is an offshoot of the electronic studio-project Morning Gold Fix (which is in turn an offshoot of the early-1990s experimental industrial/noise mayhem of Caffeine Charlie's Wake Up Service). Morning Gold Fix was initially created to showcase an increasing confidence in the ability to create beat-oriented music and made it's first appearance in 1994 with the track _Zap Dub_ released on Arts Industria's groundbreaking _Art of Brutality_ compilation CD. The sound of Mobile Glitch Factory boldly strides into the 21st century while simultaneously harkening back to those original roots by combining the beat-based structures developed by Morning Gold Fix with an essence of the crunchy raunchy noise from those old Caffeine Charlie's Wake-up Service tapes, by way of the mysterious alchemic art of circuit-bending. Caffeine Charlie is an aging slacker who is into soldering, collecting vinyl LPs from thrift stores and church sales, recording audio, and researching and pondering post-modern existentialism, evolutionary psychology, and informal logic when not working at his career as a life-coach to celebrities, CEOs and select politicians. Every album we record features a unique configuration of instruments and studio set-up. Each album, and in fact each song, is made in different ways, created from various methods developed over time by perpetual experimentation. But we don't experiment for the sake of making music that is difficult to listen to, or that must be relegated to background ambience. We strive to provide an engaging and as satisfying of a listening experience as we can hope to muster, as a tribute to the hundreds, if not thousands of recording artists, across dozens of genres, who have influenced and inspired us over the years. We're not just music makers, we're avid music consumers, as well. Yet we remain firmly entrenched in the underground, blissfully unaware of the fads as they come and go, and if our sound ever becomes the flavour of the week, we'll be the last to find out. Quality Assurance: We are dedicated to maximizing quality with minimal investment and environmental impact (this album was partially produced by solar power!). We use every technique we know, no matter how trivial, to maintain fidelity throughout the recording process. Hi-Fi Digimonster was recorded with cable-runs as short as possible, using recycled heavy-gauge broadcast-quality wiring, and in some cases we soldered the plugs ourselves to ensure solid connections. The album was not multi-tracked, it was mixed analog in realtime and recorded two-track stereo at 24bit through a Roland VM3100 R-BUS interface. Timing discrepancies and uninspired moments were then edited out with a computer DAW (SawPro). We've tried software synthesizers in the past, but we have concluded that hardware always sounds better. Plus, software can't be circuit-bent! The only software we use in the signal-chain is Waves Linear EQ and Waves L3 Multimaximizer for mastering equalization, compression and dither. Although modern mastering limiters like L3 allow us to produce a high-volume bombastic album without audible distortion, to combat aural fatigue from repeated listening, we back off a little on compression, and don't load our signal with artificial bass frequencies, aiming instead for a neutral frequency balance. We encourge you to apply your own EQ on playback if our mix isn't up to your tastes - afterall everyone's ears are different. Our CDs are burned with an AMQR-capable recorder, which according to Yamaha reduces jitter so that, 'the quality of audio is nearly equivalent to that of a pressed audio CD. In addition, it is easier for CD-players, including older CD-players and car hi-fi systems to read music that was recorded using Yamaha's Audio Master Quality Recording mode.' We use silver/silver CD-R media printed with a Casio CW-50 CD printer, so there is no messy stick-on label to gum up your CD player. Each CD comes in a standard jewel-case with full-color glossy cover and back. Collectability: It's come to our attention that some people feel that CD-Rs are inferior as collectible items to factory-pressed CDs. While that may be true for some shoddy home-made disasters loaded with wack and/or bogus tunage, in our case it doesn't apply. And because we burn only as many CDs as we sell, there may ultimately be fewer in circulation than there would be if we did a factory run. Bands and labels who order factory pressings wind up with so many CDs they have to get rid of them by sending them to radio stations, DJs, and reviewers for free, diluting the value of the album as a collectable. We're not interested in buying 'exposure', so we don't do that. Our interest is in recording the best music we can, pushing the envelope in every respect. We're special. And if you're smart and stylish enough to buy our product, you're special, too. And that's why we're dedicated to making a quality product, in every aspect of the process. At present, there simply aren't enough smart and stylish people like you for factory-pressing to be financially viable. Additionally, CD-Rs are superior to factory-pressed CDs in that they are far more resistant to corruption from scratches on the playing surface. Privacy: CDBaby thinks it's important to give us your email address if you buy one of our CDs. We think that is intrusive, so we assure you that we will not contact you or sign you up to any mailing-lists. We do like communicating with fans, though, so feel free to drop us a note if there's something on your mind or you'd just like to say 'Hi'. And if you actually decide to spend your hard-earned cash on our music, we REALLY appreciate it and hope you feel like you got your money's worth. We know how tough it is to make a dollar these days! Trading: We see a lot of cool albums on CDBaby but we can't afford to buy everything that looks good, so if you are a recording artist who would like to trade product, contact us through our record label (Sinusoidal.com) and we'll work out the trade!