Impulse Prime by zircon

Nod your head to pumping, aggressive rhythms accompanied by down-and-dirty guitar riffs in "Acid Dominion". Or, sit back and relax while letting the funky drum, retro synth, and EP grooves of "Endorphin" flow.

This is an album for any fans of electronic music; anyone who wants some fun, danceable, and interesting music to listen to - whether they're on the dance floor or simply unwinding after school or work. If you're looking for generic trance beats or "cutting-edge" and experimental ambient works, this ain't your CD. But if you want to get down to some truly monstrous, old-school beats combined with a vast array of acoustic, ethnic, and synthesized sounds in ways you haven't heard before, then you'd be nuts to not give this disc a shot.

So turn up your speakers or put on your headphones, close your eyes, and dive into the more enjoyable, thicker, and richer world of IMPULSE PRIME!

ABOUT THE ARTIST

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Andrew has been working in overdrive for the last two and a half years since he began writing and producing music digitally. While classically trained as a pianist, when he realized the capabilities of 21st century music tools, he immediately set to work learning anything and everything he could. Andrew has written a wide variety of songs in many genres, with a particular focus on soundtrack work and electronic music, as well as video game arrangements such as those on OverClocked ReMix (www.ocremix.org). After releasing PHASMA ELEMENTUM in April 2004, Andrew proceeded to find work in freelance sound design and composition - recently, he has begun to move into the area of sample library development as well.

Andrew was the sole writer, producer, and engineer of IMPULSE PRIME along with all of his other work. It was created using FLStudio 5 as a host/sequencer, armed with a veritable arsenal of samples and virtual synths such as Absynth 3, Reaktor 5, fm7, Pro-53, Battery 2, Kontakt 2, and Stylus RMX, to name a few. Special attention was paid to the mastering and post-production work to ensure that all songs have a consistent volume level, dynamic range, sonic 'saturation', and balance of frequencies. All tracks were rendered from 32-bit or higher audio and dithered to CD-quality 16-bit 44.1khz to ensure the maximum amount of sound data and clarity was preserved.

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