After learning from the master himself, he’s back with a new piece.

Check out the audio and pics of Brionne’s VO chain.

Hello Andreas,

Would like to share with you something I made for our weekend dance show called Weekend Special. It’s a new show with a new presenter. So we going a little BIG with this one with fresh new imaging.

This is just the opener for this coming Saturday.

Brake down of what I have done:

VOX FX: WAVES EQ, PSP Master Q, VoxengoAFChorus

After editing the main vocal part, I cut them up in sections and split them over 2-4 channels. Each with its own delay and reverb setting – ranging from light reverb & delay to overdrive settings (usually on channel 3&4).

-          I initially apply a light EQ low freq cut as seen below and apply a more extreme low cut on other dry parts to create a sort of “bright telephone effect” (as seen on the below Q3 setting)

-          PSP Master Q setting is more of a mid freq “telephone” fx that I either apply a hard distortion on and again another light distortion to thin it out a little more and make it sound smooth.

Hope this adds some value to your blog and enriches or fellow Benztown users.

Below are Brionne’s Sreenshots. Click to enlarge.

Thanks to Brionne for sharing his audio and tricks with us.

It’s the 52nd issue of my production diary and once again I’m sharing the things I learn at Benztown about radio imaging and production with you on this blog.

Creating imaging and work parts for various formats and stations at one time isn’t an easy task. It’s about getting the sound that the music you work with has. Nobody would purchase a CHR library that sounds like the CHR music ten years ago. You’ve got to keep up with your formats and their sound.

That’s why we’re working with reference tracks. We always want to sound a bit hotter than the others, so we’re checking out the newest innovators of their format. Check out the key artists of your format or your station and analyze their songs. You’ll soon hear all the characteristic sounds of your specific format.

Now, try to emulate that sound. Get one or two reference tracks into your session and try to make your work parts fit the reference tracks. Recreate certain sounds until you’re close to the original.

Especially when it comes to create drum loops, synths or during mastering – reference tracks help you finding the right sound that makes your imaging fit your format or station.

If you want to know more about the music you’re working with, use some analyzer tools to get an exact image of how it sounds and works.

Below are some work parts created from reference tracks for various Benztown formats. Maybe you can guess some of them

Cheers and have a nice weekend.

We’re taking leave of one of the world’s greatest female singers of our time. Soul and Pop diva Whitney Houston died at the age of 48.

She was one of the biggest stars in music history having a lot of No 1 albums and hits in the 80′s and 90′s. During her unbelievable career she sold 170 million records and won six Grammys. Whitney is one of the biggest female artists and a source of inspiration for following generations.

Although she had a problematic private life, her music will never be forgotten, so we took our time to honor this great lady with the following Promo and Sweeper and remembering a fantastic career. Thank you Whitney!

It’s time for another issue of my production diary and I’m still learning everything about radio imaging and production from the Benztown Crew.

Every producer has his own preferences in working with Pro Tools and also the included tool bar. Today I’m going to show you how to create clarity in your tool bar and increase your workflow by customizing it for your own needs.

Click the arrow in the upper corner on the right to enable and disable certain elements of your tool bar. (click the images for full size)

In the pop up menu you can choose which elements will be visible and which not.

Click to see how to customize your tool bar any further.

By using the grabber tool (F8) and holding down ⌘, you can drag and drop single elements of your tool bar and create your own order. Below’s an example.

And now, I’m using the grabber tool while holding down ⌘ to move the single elements.

Of course, you can do the same with the tool bar in the MIDI Editor.

Another version of the tool bar is the transport window, which can be enabled  and disabled by holding ⌘ and pressing 1 on the numeric keyboard. By clicking on the arrow in the right corner of the transport window, you can change the look just like the main tool bar in the upper part.

Click on view in the Pro Tools menu to see more options to change and improve the look of your DAW to make it perfectly fit your needs.

Cheers and have a nice weekend.

I love his work and by listening to new his new package I go nuts. Jeff is this guy you ask yourself, how did he fu***** do it + he inspires me to start a second episode of FAME FX just so I can prove myself against his great products.

If YOU want to learn how to create the best IMAGING FX…..Enter Jeff:

1.When did you start doing Sound FX / Imaging FX and why?

Alien Imaging was launched in 2002 – but I started creating my own FX in 1993 or 94 on 1/4″ tape. I was just looking for new sounds and the station had zero budget.  Times really haven’t changed that much – have they?  ;)

The station I was working at did have a service called “Rock Slides” which were mostly Classic Rock nostalgia and time line type elements. It was too old school sounding for the station which was a Z-Rock Alternative type format – but there were a few fx on those.

So I recorded a bunch of those elements on to tape and then started splicing them up into little pieces.  I also spliced up little pieces of songs – drum hits, guitar stabs, voices – whatever.  It was all reckless experimentation. Once I had all these little pieces of tape on the table, I’d just start splicing them together in random order, reversing some parts etc…

Then I’d record those spliced sounds off onto another tape. I often had so many edits in such a short space the tape would break when I pressed play. I’d take those recordings and start the splicing process all over again – getting more and more cut up.

Over the course of a few weeks I ended up with a little custom library of sounds I’d use on promos and sweepers. I liked it because it didn’t sound like anything else in the market at the time.  I had no idea what I was doing – just stabbing in the dark trying to make stuff sound cool. I’m sure if I heard that stuff now I’d be horrified.

2. When do you decide to create a new package? Is this done by the mood you are in or after a particular sales cycle?

Even though Alien Imaging Sound Design is a business – I’ve never thought about “sales cycles” to even committing to regular release schedules.  I’ve always created new sounds when I needed stuff for a project. That could be an imaging client – or a re-launch or a new promotion.  Only after I’ve tried stuff out in my own work do I decide if it’s worth releasing for sale to others.

I’ve created a lot of stuff that I didn’t think was good enough to release.  And some stuff I just wanted to keep for myself.  Alien Transmissions for example. I was using it for over a year on an Adult Alternative station and never thought I’d make it into a release because there was no “market” for it.  But I eventually did release it – and am I’m glad I did.

3. How do you narrow down the material and ideas you want to use for the next package?

It depends on what I’m trying to achieve.  Each library had its own inspiration and sonic purpose. I tend to start making sounds in similar ways – but once I start creating I change things to keep it fresh. Sometimes I discover a “sound” that I like right away. WARP was like that.

Other times I’ll change my mind a lot during the process and end up somewhere I totally didn’t expect. TORCH was like that.

4. What material you go from? What do you create from scratch? Any tricks you can tell?

Again, It depends on the vibe I’m trying to create.

For ORGANISM 3 I had a Roland synth (don’t remember which one but it was a JV series that accepted expansion cards I think) It had a “banned” Techno expansion pack in it that apparently had un-authorized samples on it so it wasn’t being sold commercially any more.  I used that and created some patches that had a weird almost gooey sound to it. That became the base material for ORGANISM 3.  I then heavily processed and edited the base material in Pro Tools – mostly with GRM Tools Sound Toys plugs.

For FUSE and FUSE RELOADER I was going for a really hi-tech kind of sound.  So FM Synthesis was the backbone of the base material for those libraries.

I’d create patches, play notes & chords, tweak parameters via foot pedals, modwheel and mouse – then record the output.  Sometimes I’d put plugs on to further tweak the textures.

I’d do that for 20-30 minutes at a shot sometimes. Then go back – find all the little bits that I felt could work and then start producing pieces with them – adding in samples and other recordings I’ve made.  Just like I did with the 1/4″ tape back in the day – only now it’s all in a digital workstation.  The process for all my creations is similar to that – multi-step – just using different methods, and sources of creating the base material. But it’s all synthesis and sound recording.

5. What production system do you use?

I’ve been a Pro Tools users since 1997 – finally got certified a few years ago. I also use Ableton Live & Logic. Reason also, but not nearly as much.

6. What plugins do you use to manipulate certain sounds? What’s your favourite plugIns? (maybe screen shots)

I use a great many plugs but a few that get the MOST use in both my radio sound design and my video game/film sound design are quite un-impressively, Pitch Shift / Elastic Audio and Reverse.  Seriously – those tools are invaluable and are used on EVERYTHING I do.  Don’t discount the basics.

But for the geeks looking for more exotic ideas – I’ll say this – sampler, sampler, sampler! I use Konakt quite a bit – but prefer Structure much more while working in Pro Tools because you can drag and drop audio files right from the timeline into the sampler.  The Sampler forms the foundation of a lot of what I’m doing.  Logic also has a terrifically powerful stock sampler that comes with Logic for free.  Avid Structure does provide a free version – but in typical Avid fashion – it’s pretty stripped down and you really need to buy the upgrade to get a full professionally functioning sampler.

Another cool tool which got a fair amount of use in creating WARP was Camel Audio synth “Alchemy”.  It’s a sample based synth that allows you import your own samples and apply 4 different types of synthesis.  The UI to import your own samples is clumsy – it’s not drag and drop, but it can help create some great stuff. I dig it.

I also rely heavily on ALL the SoundToys plugs. Can’t say enough how awesome those tools are in every facet of audio production.

Massey Plugins (RTAS only) are also terrific, easy to use, inexpensive and sound great.

GRM TOOLS are still some of the most creative tools out there. They have been in my kit since 1998 – but they’re pricey.  I prefer using them in TDM – as they are really buggy as RTAS plugs in Pro Tools.

I’ve found Michael Norris Spectral Design plugs do many of GRM’s types of FFT processes for free.  But a lot of tweaking is required to get similar fx to GRM Tools. Plus – they only run as AU plugs – so you need to use them in Logic, or Live something else other than Pro Tools.

I use Vienna Ensemble Pro to host AU/VST plugs and instruments in Pro Tools.

Convolution Reverb – take your pick – I’ve used many and the key for creative sound design is to load non-IR samples into them and then run audio thorough them.  You will get piles and piles of worthless noise doing this – but if you stick with the process you will eventually strike gold.  The Waves and Avid Convolutions are best for that as they don’t rely on proprietary IR methods like the industry standard Altiverb does.

Finally – Native Instruments make some terrific instruments. Absynth, Massive, Kontakt, FM8, Reaktor and Kore have all been used in the creation of my libraries.

A note of caution. The more tools I have acquired – the more time it takes to make sounds because I’m always chasing the “potential” of my gear.

I would encourage producers not get too wrapped up in buying lots of tools. Get a few key pieces of kit and learn their potential inside out.  Especially synths.  They’re so powerful these days – learning how 1 synth functions inside out will yield far more results more quickly than having several synths you only know how to change presets on.

Also – there’s no single piece of gear that’s gonna help you churn out an entire library of material.  They’re tools.  Often times – the master craftsman is not the guy that totes around 8 different hammers – but can do all his work with 1 or 2.

7. What master plugIn or outboard gear do you use?

I haven’t used outboard gear for my radio production (outside of mic pre-amps) since 1995.

My “final” or master plugs have changed a few times over the years.

If I can remember correctly for ORGANISM 3, (my first library released in 2002) I used TC|Electronic Master X and Waves L1.

I switched to the WAVES Linear Multi-Band Compressor and L2 for FUSE and FUSE Reloader.

Alien Transmissions I used The McDSP M4 Multi-Band Compressor and M1 Limiter.

For WARP I used iZotope Ozone and the McDSP M1 limiter.

For TORCH I went back to Waves Linear Multi-Band and replaced the Limiter the Kramer Tape simulator.

I think the key take away is that all these tools perform similar functions but have slightly different colors and behaviors. They all have sweet spots.  Hit them right and they sound cool.  Hit them too hard – or not hard enough and the results are unimpressive.  With widely varied and abstract sound like radio fx – it’s a totally different approach for me than for music and sound for picture.

8. Who influenced you work?

Lots of people.  For my game & film work it’s Randy Thom, David Farmer, Walter Murch, Ren Klyce, Gary Rydstrom, Ben Burtt, Paul Menichini, Charles Deenan, Don Veca, & Emily Ridgeway.

For Radio FX, I’ve learned something by listening to the work of pretty much everyone making radio FX. But here’s a few “inspirations”

My first real exposure to radio sound effects and inspiration to take what I was doing with tape to another level was Sean Caldwell and Hal Knapp’s XFX stuff in the early/mid 90s.  Then, later that decade came Joe Kelly’s AV Deli.

ORGANISM 3 was really just about creating something that didn’t sound like ANYTHING else I was hearing on the radio at the time. So in effect – I used everything I was hearing as inspiration of what NOT to do for that library.

Then in the early 2004 I had an imaging client that wanted to sound like KIIS in LA – but wouldn’t/couldn’t pay for Killer Hertz.  So I made a bunch of similar styled sounds for that gig. That small package was further developed into what became my FUSE Library. So that would make Jeff Thomas count as an inspiration too.

Much more recently tho – I really need to give a major shout out to Jad Abumrad from Radio Lab. It’s a public radio show here in the states about science and curiosity.  Jad has a really wonderful sense for subtle sound design and storytelling that I really enjoy.  Alien Transmissions was inspired by him.

I hate to leave people out – but it’s pretty safe to assume – if you’ve made radio fx for any length of time – I’ve probably stolen ideas from you.  :)

9. Which stations are using your material?

Wow – too many to mention!  After 10 years it’s pretty safe to say Alien Imaging libraries have been sold into all of the Top 75 U.S.markets plus Canada, Mexico, Europe, Australia/ New Zealand, Middle & Far East. I think the only major hole is Russia.  Hey Russians – what – you no like Alien Imaging Sounds?  :)

It used to be that 80% of my business came from U.S.Stations buying FX directly.  Now it’s 80% Production houses/services, Foreign Radio Stations and individuals buying my libraries with their own credit card and pay pal accounts. Most US stations are moving toward barter services rather than buy-out products because no one wants or has the authorization from corporate to spend cash.  The business has changed!

10. How do you feel about doing exclusive work for the Benztown libraries?

I always had it in my mind that someday I’d hook up with a service – but most of the deals that I was presented were pretty bad – in my opinion. It seemed like some of those services were just trying to roll up as much product as possible but not really provide much else.  Kind of like a music label.  Benztown seemed much more interested in quality and making sure the creators are fairly treated.  So I’m excited to create brand new exclusive FX for Benztown libraries!

Thanks to Jeff for sharing his audio, videos and wisdom with us.

Want more? Check the links below, get a listen to Jeff’s incredible work and get addicted!

Torch FX (inside the Demo)

More FX by Jeff – listen to some samples from Warp FX below.

It’s the 50th issue of my production diary an I’m still sharing all the thing, I learn at the Benztown studios.

Today’s music is mostly heavily compressed with a lot of loudness. You will see this, when you’re working with a lot of music in your promos. Music combined with FX, VO and vocal samples, then mastered again in your own master channel… Sometimes, that’s just too much and you’ll have clipping on your master.

There’s a simple way to avoid this without a lot of work – the Music Bus

Open your I/O Setup and select a bus. For better orientation, name it.

Now choose all the track, that contains music and send them to the music bus.

Create a new AUX track and set up the music bus as input, so you can lower the volume of all the music at once. This will prevent your master from clipping.

Hope, this was useful for you guys.

Cheers and have a nice weekend.

Wanna learn from the pros, too?

Get the chance to work with an international team of imaging directors, VO talents, script writers and radio experts.

Check this once in a life time offer here

Sunday, February 5th – a fix date in the schedule of every sport fan. the Patriots versus the Giants and over 800 Million people are watching it.

It’s a mass event for all fans and broadcasters – across all media!

But how to set up your station for this upcoming major event? At Benztown, we prepared a full football imaging package for each format containing basic stuff like samples, music beds, looped intros of american football related songs, soundtracks, movie samples, listener reactions, sfx, scenes, stagers, promos and sweepers. You can do this for every format. No matter if you are an informative sports radio or if you take football serious more or less! There’s always a way to make your station sound football and up to speed with this event.

Check this selection of imaging pieces + the greatest speech ever from a football movie and use it as inspiration for your station.

it’s the 49th issue of my production diary and I’m still sharing all the tricks and techniques I learn at the Benztown Studios.

To get full accuracy while editing, Pro Tools offers a feature called nudging. With nudging you can place your audio or MIDI files exactly in grid, in time or time code or other parameters like Feet + Frames or samples.

First you need to set your nudge value. You can do this in the tool bar at the top of your edit window.

This was the first step. Click to see the rest…

After you’ve set your nudge value, make sure ‘Link Timeline and Edit Selection is activated. You can either do this in options or click the icon in your tool bar. It’s the icon under the grabber tool. Check the screenshot below. It’s the blue icon.

Mark a region and nudge it by pressing +  and – on the numeric keyboard.

If you have no numeric keyboard, you can nudge by activating Keyboard Command Focus Mode and pressing . (period) and , (comma).

You can also nudge your cursor, which can be a nice feature, when it comes to find the exact place in your session or when you’re working with automation and want to place your dots and values.

Here’s a simple nudging example. I’ve set the nudge value to one bar and then just nudged my audio forward.

Here’s an example for intelligent nudging:

You’re cutting a loop from a song, but you need to fade every duplicated sample to make it sound clear. This can be time-consuming and annoying, so just use nudge, set it to the length of your sample and then nudge from fade to fade. Just two moves – nudge, then fade.

Here’s a pic to make it clear. The fades are always at the same point in the grid, so it’s easy to get to the right points via nudging.

Make the fine editing tasks a little bit easier and get a better work flow via nudging.

Cheers and have a nice weekend.

Welcome to the most inspiring job post in the world.  It’s not to be a greenkeeper at the Playboy mansion, but for a hungry, motivated imaging pro, we think it will be far better.

Our vision is for YOU to join the team at the Benztown Studios in Stuttgart.  Working alongside some of the best composers, VO talents, and radio people in the world, you will be creating unbelievable, world-class imaging and sound design for a brand new Benztown Library.  We see the following taking place:

1. You develop into one of the worlds leading and most innovative imaging professionals by delivering unmatched quality and sound for Benztown clients.
2. You transform your skill-set and reputation to reach beyond radio imaging, to include composing, writing, VO, etc.  If you’re talented, you’ll be learning it.
3. You work as part of a great team composed of different expertise and massive talent.
4. You contribute your own weekly blog post on Benztown Branding’s blog, and share ideas with a forum of more than 2000 radio and imaging people each week.

To sum it up in one sentence….Benztown Branding wants a hungry, motivated, rising star in the world of radio imaging to grab his/her once in a lifetime opportunity to build a new project from the ground up, and make it one of the most successful radio imaging products in the world.

Desired qualities:

- Extremely motivated and unafraid to take on a massive task
- You eat, sleep, and breathe radio imaging
- Creative, dynamic thinker
- Able to grasp and apply new techniques and concepts quickly
- Have a background in radio
- You are able to work collaboratively in a team environment
- Native English Speaker

Please send to as@benztown.com

- Your bio
- A demo of your best imaging work, no longer than 2:30 minutes.  Please include the most creative imaging script you’ve written as well.
- A short essay about why you think you’re THE guy for this opportunity
- Feel free to create a custom audio demo about why you want the job, or anything you think will place you above the competition

Today, I’m going to start a little series of posts called Imaging World Wide. In every episode, I will interview a very talented imaging director from another continent showing the unique cultural background, the specifics, but also the techy stuff you all enjoy so much like plugIN combos, Session Setup, Audio Examples and more

Let’s start with episode 1…..South Africa and someone, most of you guys might still know – Brionne Olsen.

After taking part in our Benztown Xmas Contest 2012 it’s time for him to represent South Africa in our series. Check out Brionne’s screen shots, his audio and learn everything about IMAGING SOUTH AFRICA! Enter Brionne

What is different in SA: cultural challenges, how is the radio scene, the environment?

South Africa is really on par with the rest of the world when it comes to the radio industry. The challenge is to spread this right across the landscape. What I mean by this is that in most parts of South Africa there are still a lot of rural areas and open land and largely an agricultural driven environment that makes it essentially still very 3^rd world. Where as, all major cities like Johannesburg, Cape Town and Durban are more 1^st world in every sense of the word. The Gauteng province is essentially the economic hub of South Africa with a population of 8.8 million with most falling within the mid to high-income bracket!! Therefore being the most competitive radio environment. 5 of the country’s major radio stations are based here and compete for this audience and I so happen to work for one of these competing radio stations – Jacaranda 94.2.

South Africa has 11 official languages, with 9 of them essentially being vernacular in nature aka indigenes. The other two are English and Afrikaans. As most of the world is aware of our political history, so I won’t go into detail – but essentially the latter two languages is what business in South Africa advertise in as most understand either/or – or both languages. So really there is a radio station in South Africa for every language that at least caters for each language or in a bilingual format. Jacaranda 94.2 broadcasts in both English and Afrikaans. So the challenge is, there isn’t a universal method of broadcasting in South Africa and companies /broadcasters and investors have to pick where the money lays and where potential growth is situated. The nature of the beast I suppose.

Which production system do you use and why?

In my 10-year experience I have worked on a lot of DAW production systems. Some due to preference, others due to affordability. I’ve worked on Nuendo, Cubase, Logic, Pro Tools, Soundforge, Adobe Audition, Sony Acid – you name it, I worked on it. BUT I really prefer Steinberg’s Cubase and Sony Soundforge (and a little bit of Audition too)! Sorry if I offend or step on anyone’s toes here, but Cubase is really a great DAW mainly because it’s fast, rendering time is quick and the arrange page is very simple to work on AND because the Germans kick butt, but every plumber has his own tools I suppose. Soundforge is a really great final mastering editor with a lot of awesome compressor options, EQ ability and just allows for a very nice final mix before it goes on air.

What are your favorite plugins (including screenshots)?

This is a difficult question to answer as I experiment with a lot of plugins and with something new every time, BUT I do have a few plugins I use on a regular basis:

For mastering and compression: THE WAVES BUNDLES. Everyone love’s these puppies as it really brings warmth to a final mix and really just make the overall sound nice and fat!

I like to create an overall stereo image over my final mix. So I use S1 STEREO IMAGER just to widen the sound a bit.

Even though I use a lot of the EQ plugins available on the WAVES BUNDLES, I do have my favorite EQ plugin. PSP’s MasterQ plugin. It has awesome presets that are really customizable and has a lot of versatility. With this EQ, combined with other EQ plugins, I create my telephone effects that’s clearer, audible and cut thru the mix. Unlike other telephone EQ effects that distort and actually reduces the sample rate to telephone frequency of 8000 kHz. This quality is really bad for overall mastering and compression. The MasterQ really creates a softer, cut thru EQ sound.

And finally: Ratshack is a simple reverb based plugin, but when you play around with the settings, you can create really good short robotic reverb effects that don’t kill the audibility of your voice. No use if you have a kick ass promo and no one is able to get the message. Ratshack helps with awesome entertaining effects, without compromising on audio quality.

How do you schedule your work (priorities)?

I usually work a week in advance when it comes to basic promos. Station TSL builders or major competition promos are usually 2 weeks in advance from date of brief. Imaging is done on a two month basis where refreshing of pieces are made and a total revamp of imaging is done yearly. Day to-day tasks are really structured and I don’t really allow any work to be bottlenecked. I try to create an even flow of workload for each day, week and month.

What do you love about being the head of production?

To be able to define the sound of a station and to direct audiences into the direction I want. Some listeners are really receptive and pick up the culture and sound of a station really fast if executed correctly. I try to understand my audience and produce awesome, touching and real entertaining imaging and promo pieces. Sound definition is for me the utmost satisfaction.

What is the best production trick anybody should know?

Perfect time stretching techniques. If executed well, you can really get some awesome time delay effects with time stretching.

How do you get inspired and what do you use as source of creativity?

I listen to different radio stations locally and abroad to hear what is trending, but my inspiration comes from talking to people and just chatting about every day life. South Africans deal with any crisis in a humoristic approach, so you actually get a lot of ideas thru people thoughts. It’s just process the idea and make it reality.

Who were your radio production idols, who influenced your work as
a producer?

Eric Chase, Jeff Thomas, William Scott (a local)

What would be your 3 key advises for a youngster?

Allow yourself to dream. Program directors are usually over-cautious people because their jobs are on the line. Don’t pay attention to them, because they work on ratings and revenue – but don’t over step too much. Not everyone is cut out for this line of work, so make sure sound engineering is a passion and natural creative juices flow. Otherwise you are not going to make it. Relax more: creativity comes, don’t force it. Create for yourself a procedure in case you do experience creative block so you have something to fall back on. Most of all have FUN!!

Bio + Demo.

I have been a sound engineer for 10 years. I DJ part-time. I am a music producer as well and love all sorts of music. Hip Hop is my thing, but I love Deep/Soulful House music. Award winning radio imager and nominee. Been around the block a few times and love creative thinking. I hate following trend and would rather make someone follow me. I love the WOW effect on people’s faces. I work for one of the biggest stations in South Africa, Jacaranda 94.2.

Check out FB: search for The PrankSta House DJ/Producer or twitter.com/ThePrankStaSA

http://soundcloud.com/thepranksta/complimentary-breakfast

http://soundcloud.com/thepranksta/best-of-2011-weekend-promo

http://soundcloud.com/thepranksta/imaging-2011-positioning-liner