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Profile Information

  • Gender
  • Location
    Brooklyn, NY
  • Interests
    Movies/TV/Games, Mulling, Stargazin', Playing MtG, Podcasts, hanging with good karma friends, Good Books, making music/collaborating, Travel, Cooking, Comedy/Sketch

Contact Methods

  • Website URL


  • Biography
    I've lived in NYC for over a decade working in the entertainment industry in various capacities, primarily as an electric bassist for the last few years.

    I do studio work for singer/songwriters, off broadway shows and tour, (mostly playing bass), sang in some Operas and other odd adventures. I have a 9 piece funk band, The Uptown Party Down that hosted monthly midnight dance parties on the lower east side; the drummer and I write and arrange all of the music.

    I was a RPG and adventure game junkie growing up. ReMixing is pretty fresh to me, but I've been steeped in this music for almost 30 years as a consumer and a fan.
  • Real Name
    Alex Hayes
  • Occupation
  • Twitter Username

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    Studio One
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering
    Recording Facilities
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)
    Acoustic Bass
    Acoustic Guitar
    Electric Bass
    Electric Guitar: Lead
    Electric Guitar: Rhythm
    Vocals: Male

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Hayeser's Achievements

  1. Oh yeaaaaaah Branding/Artwork is dope, tracks are retro groovy as hell but with slick production...digging that second track the most, such a deep dirty groove. I'm also a sucker for disco/all things funk and soul. I'd love to hear you and Solitaire collaborate on something. I'm not a big fan of the gated pumping effect in general, but I know that's the EDM staple, so I totally get why it's in there. I think this stuff would still groove just as hard without it though
  2. I wouldn't mind hearing it a tad more wet/live sounding with a bit more distance (personal taste), but the arrangement is stinkin' beautiful. I'm loving everything I hear of yours, I gotta say!
  3. I think maybe just a low velocity on a passing note? I'm not sure if I'm picking up on the same thing. This is gorgeous. Masterfully executed, great control over dynamics, has damn near all the expressiveness of the real thing; you know how to use what you've got! Makes me nostalgic for home- growing up a few minutes away from Tanglewood in Lenox, MA. John Williams would bring the Boston Pops up every summer and play this and countless other classics while we sat out on the lawn and watched on the big screen. Thanks for sharing.
  4. I think you're looking for an Audio Interface. OR, you can use 2 USB hubs on your computer, and just run a free DAW like Garage Band for all of your mixing/editing, keeping track of your sessions, etc. Even though a podcast is straightforward audio-wise, you'll want some editing flexibility. You could also keep an eye out for PreSonus' Studio One Prime, which is supposed to be a free, feature-limited version of S1. Assuming it gives you the option to export your audio how you'd like, it might be worth looking in to. I'm sure there are other free, limited-feature DAWs out there, just do a little google research. Here are some cheap options for an interface, if you decide to go that route (in which case, you'd get XLR cables for those mics): PreSonus Audiobox USB ($99) Focusrite Scarlet 2i2 M-Audio M-Track II
  5. I'm into this idea. I say you stick with your gut and keep it to NG2. I think there is definitely enough music to choose from (and people can get mighty creative with interludes, etc. You never know). Keeping tabs on this!
  6. Thanks for the feedback, guys! Very helpful. Hadn't really felt the lack of midrange presence until you both mentioned it, now it's glaring at me. Doubling most of the melody lines an octave down and adding a gentle overall boost in the 750-2Hz area to lessen the disparity between the lows and sharp highs.
  7. This is vibe-tastic. Really great attention to detail. The subtle variations and persistently percolating, glitchy arpeggios are tasteful. Really enjoying those chord subs/extensions as well, they add some great flavor.
  8. Do you find that you're a 'rewards-based' learner or incremental? I've been the former until recently, and we tend to be encouraged by demonstrable results and discouraged by not seeing immediate progress; it was a tough mental habit for me to break, and one that I still have to work on regularly. Easily caught up in 'broad strokes' learning, where you're getting a little bit of everything instead of perfecting the rudiments in each skill set. Not a seemingly direct answer to your question, but check out Josh Waitzkin's "The Art of Learning"; it definitely took away much of the anxiety/overwhelm I was experiencing trying to learn multiple new skills, especially while balancing work and personal life. Since time (and how much of it I needed to be spending on any given task) is what seemed to be stressing me out the most, I started using a Pomodoro Timer app, and would break my skill building and all tasks into (up to 4) 25 minute chunks, punctuated by 5 minute breaks. So say I didn't want to go down the scale warmup rabbithole, I'd give myself maybe just one pomodoro on scales, then break the remaining 3 in to other things (one on jazz standards, one on shedding sixteenth notes, etc) still in the wheelhouse of improving that instrument/overall skill. And then maybe my next Pomodoro set will be tackling something in my DAW that I need to fix/figure out, or getting through a chapter in a composition workbook, or watching a tutorial video and taking notes, etc. Giving myself a limited time on this stuff made me get to the crux of techniques much quicker. I don't usually like time restrictions competing against creativity, but since it's more about developing vocabulary and efficiency in order to be able to express yourself to your fullest potential, thus contributing to your creative output, they go hand in hand I think. That said, I agree that if you're really engrossed in something and making progress, you don't have to cut yourself off...see it through and dig in.
  9. Whoa. All I've got to say. Masterfully arranged and executed.
  10. down to the hand-string noise in between chords, fret noise, the hammer on around @2:00, etc....sounds like a nylon piano, but still authentic. Beautiful!
  11. I bought S1 Artist as an 'entry' DAW about 4 years ago in order to better backseat drive on sessions with my band, and to be more informed while communicating with producers/engineers. I had all intentions of moving up to Pro Tools/Logic, since there aren't many (if any) studios here in NYC that use Presonus. I have long since upgraded to S1 Pro, and had such a positive experience that I've been able to take up producing on my own. The crew at Presonus seem bent on learning from other DAWs' shortcomings, and creating an environment conducive to fast, intuitive workflow. I enjoy it for all of the aforementioned reasons; once you get intimately familiar with the shortcuts and true functionality, the workflow is damn near unparalleled. I haven't dug in to the macros, but there's a lot to choose from there, as well. Ableton is definitely the standard for EDM given its fast workflow with looping, but there are ways to get similar work done in S1 with the right layout/approach. I just starting toying around with the S1-3 demo; it seems absolutely next level, but it's taking some getting used to with the different UI, so I haven't dug too deep yet. I can't speak for the FL midi roll, but I agree with all about S1 being a top contender in editing/functionality. Studio One wins my vote. I've also been integrating Presonus' Notion as my notation software. I think it gives Finale and Sibelius a run for their money.
  12. Man that sounds so much better! Now that opening is really kickin'! I love the way is gets you anticipating the "all in"; Great ebb and flow. The panning is a little much for me in headphones, I'd be interested to hear that kick more center, and I'd tighten that cymbal crash transient up with the downbeat, but dude....sounds really good. I'd say you're pretty much set on this one.
  13. What would a Squarepusher ReMix sound like? I wonder...

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