Ski is an Artist, Keyboard player, Producer, Remixer and Composer living in London. Having started his career with The K-Creative who were signed to Gilles Peterson's Talkin' Loud label in 1991, he went on to release two solo albums, Life Changes & Rising Son, play keyboards with bands such as Galliano, Raw Stylus & Two Banks of Four, remix over 50 tracks, and work at Xenomania. He currently releases music on his own label, Primaudial Records, plays live with The Bays, writes & produces with artists such as Incognito, Joey Negro, Valerie Etienne and newly signed artist Murray James. He has an Ambient Electronic project called Ayota, and also does a bit of DJing in his spare time. When Ski is not cranking out his own beats, he manages to find time to tutor and develop courses at Point Blank College. Please have a look around this site, and feel free to leave a message.
Tuesday 3rd December brings a night of music curated by Gilles Peterson, the founder of Worldwide Festival and Brownswood Recordings.
Our journey into music and discovery will come courtesy of Galliano, Gilles' very first signing to his Acid Jazz record label, who last performed in 1996, alongside the amazing Denai Moore, ahead of her UK tour, and the enigmatic Reginald Omas Mamode IV.
Ski has recently remixed the second single from Bluey's solo album 'Leap of Faith' which was released on 25 October 2013 on Dôme Records
It's available on iTunes Stores here:
OTHER COUNTRIES https://itunes.apple.com/album/sky-ski-oakenfull-remix-single/id730986480
Point Blank, in association with Armada Music, Google+ and DJ Mag, have been presenting the Academy of Electronic Music. It's the world's first socially-driven online music school, giving aspiring music producers and DJs the chance to share their best tracks, get feedback from peers, industry experts and their favourite DJs and producers, plus the chance to be mentored as the world's next superstar producer. The ultimate prize is to get your track signed to Armada Music – awarded best global dance label for the fifth year running.
Point Blank's Ski Oakenfull has been providing professional music production training for seven lucky finalists via the flagship Electronic Music Composition course. This course is designed to allow students to take the next step in their productions by teaching the fundamentals of composition and creative songwriting.
The Academy of Electronic Music allows electronic music fans from around the world to tune into the Academy, follow their favourite producers, collaborate with one and another and access professional music training via interactive Google+ Hangout tutorials.
It's Competition Time!
There are 12 exclusively signed copies of my 2000 release 'Fifths' up for grabs.
I will post out a copy to the first twelve entrants who can answer the following question:
What was the name of the album 'Fifths' was featured on?
Please use the contact form on this website to submit your correct answer using 'FIFTHS COMPETITION' in the title and don't forget to include your name and address.
Postage is £1 for UK Residents and £2 for Outside UK which will be requested via paypal
Competition is currently open and will end on 1st December 2013.
Here is the tracklist:
01 Original Mix 4'42"
02 Jazzanova 6 Sickht Mix 8'00"
You can check the video for this track here:
You can see some more pictures of this CD here:
The majority of my deconstructions have been made using Ableton Live, so with the recent release of Logic Pro X, I was excited to see how I could use its new features to help break down this track by Hot Natured and Ali Love. I particularly love the new iPad control app which amongst other things, allowed me to shoot to the different sections of the arrangement once I had set up region markers. I’m also enjoying the new Retro Synth which I used to recreate the main Synth Chord stab sound.
‘Benediction’ uses the easiest of scales, A Natural Minor, and is made up of three main sections, each with a different chord sequence. Interestingly the Chorus starts on the ‘iv’ chord (D Minor) and features a rising progression which really reminded me of another track. I eventually realised it was ‘Spirits In The Material World’ by The Police, which is also in A Minor and starts on the same Dm chord in the Chorus.
This song demonstrates really well the use triads in a diatonic scale which allow us to define chords built on each degree of the scale using roman numerals (ie. i , ii , III , iv , v etc). From this we can write out any chord progression. See if you can work these out with all three sections of this Hot Natured track.
For me, this track by Daft Punk exemplifies everything that the French duo are great at.. namely a brilliant groove, simplicity, a strong hook line and of course tight production. For this video tutorial, I figured there was no point trying to create an exact replica of the track, as all the parts (drums included) were played on real instruments by real musicians! Instead I concentrated on working out the main parts, namely piano chords, bass line, wurlitzer riff and the cool lead synth line at the end of the track.
The verse, bridge and chorus sections of the tune are defined by the changing vocal melody and the variation in the the wurli riff, with the guitar and bass holding the same groove and chords for the full length of the track. Of course we shouldn’t forget the great vocoder section in the final section which provides an electro funk element to the song.
The four chords that make up this track are: Bm7 | D | F#m7 | E. The interesting thing is the way they are played using different inversions which increases the range of notes that are used... check out the video and see if you can play along!
In 2002, X-Press 2′s deep house single “Lazy” featuring an unlikely collaboration with Talking Head’s David Byrne, became one of the most notable dance records of the decade by hitting the top of the UK charts. The breakout single from the ‘Musikism’ album, ‘Lazy’ featured Byrne speaking and singing over a barely up-tempo house track.
In this live interview Point Blank’s Course Developer and EMC (Electronic Music Composition) course tutor Ski Oakenfull (who deconstructs ‘Lazy’ as part of our online EMC course) and presenter Luke Hopper chatted to Rocky and Diesel about the track, what made it so infectious, their approach in the studio and the story behind the vocal. Make sure you check it out below…
The appearance of the upgrade to Apple's flagship audio Application Logic Pro from 9 to X yesterday came as a complete shock to everyone. Some people had almost written it off, thinking there might never be another incarnation of this popular program. As soon as it was announced, it became almost instantly available from the App store so I didn't waste any time downloading it after seeing the spec.
Apart from a overhaul of the graphic interface, two of the most attractive (and long sought after) new features to me were the Midi Effects and Flex Pitch. There have been Midi devices such as Chord, Arpeggiator and Velocity in Ableton for years which have always given Ableton the edge when it came to creative programming, so integrating these into Logic will give it a massive boost.
I've been a fan of Melodyne pitch editing software since it was first released, and have always dreamed of having this facility working natively in a DAW… so I was over the moon when I saw the new Flex Pitch feature which works alongside the existing Flex Time facility. Not only that, but in my mind it makes the editing process easier, as you can use Logic's tools to chop up notes for example.
Add in the new Drummer tool, new look mixer, Soundcloud integration, new sound library, the Retro Synth, smart controls and free iPad controller App to name a few, and this is a major improvement to an already very powerful application. Oh, and did I forget to mention you get it all for £139?
The task I set myself for this deconstruction video, was to program the whole track using Ableton’s Push controller, without looking at the computer screen. The key, as ever, is in the preparation. The more you can work on your presets and racks beforehand, the more you can concentrate on playing the parts and getting creative. Over the last year or so, I have made a point of diligently saving any presets I have created into my user library, and labeling them clearly so I can dial them up whenever I want. I generally include the track name in the preset title so I can easily make the association between the original track & preset. This especially makes jamming with Push a real joy, as you then have access to your own palette of sounds.