Right on… That is actually pretty cool especially since I haven’t put anything out since '07. I wouldn’t expect anyone I meet today that is into electronic music to know anything I’ve done in the past, etc. With the SoundCloud account I just uploaded everything I had including many mixes that weren’t officially released like the early trance stuff and some in between that for one reason or another didn’t make the cut. I know downloads for the sets from my server was in the tens of thousands ~50k at least directly and that they were on plenty of resharing mp3 sites.
I don’t think I mentioned much about the music stuff directly on JGO though I might have in the past. I started lurking on JGO in '02 and joined a couple years later.
Thanks, Julien! The Bad Monkey mixes were from the club night I ran in San Luis Obispo during college. It was a pretty wild time and scene that got started up was vibrant for being in the middle of nowhere effectively. We had 200-300 people of all types showing up weekly for about a year straight which was a trip because doing that in San Francisco or any big city would be super hard. The 6th week into it all we had the first international DJ (Chris Liberator) perform and it just blew up from there and regularly hosted performers from SF, Sac, LA (state wide).
Hah, if anyone is following the US scene today. There was this kid that showed up to my club night and DJed house who now goes by Wolfgang Gartner. I always knew he was going to be a success even from his early production days because he was in tune with what was popular and had no qualms about following that. I attended a house party at his parents house and listened to the then house music he was producing in his bedroom knowing that if anyone was to break through from the SLO scene at the time he had a chance.
Pretty much anyone that made it from my generation (in San Francisco as well) more or less followed popular trends to make a buck and turned their back on more original angles if they pursued them at all. You gotta do what you gotta do, but I could never stomach that. As things go though I always had an outsider perspective on music and preferred the experimental side of things. For me that mainly was and still is large scale spatial audio from a tech angle. After working reasonably hard for 10 years on the music tip I realized I wasn’t going to break through locally or otherwise (got plenty of angst against the local SF scene).
I produced, engineered (mastering / recording), paid for, and pressed my own record to attempt to start an industrial-techno label from the US / west coast in '03… No US distributors out of 9 accepted the record and I still have 400 of them in storage. I faced setback after setback until it wasn’t worth continuing at least from a DJ, producer, promoter side of things. I could have tapped producers from the London acid techno scene to do a remix for the record and it would have then likely been picked up (another SF producer did this shortly afterward), but I wanted my first release to be my own… and I sure did get to keep a lot of copies… I’ll be back at it in one form or another at some point with a vengeance.
Basically I was in the wrong part of the world for the stuff I was trying to do and wasn’t in the environment where anything I’d do would make a difference. After performing at Defcon in '06 which is a moderate national event a couple of German fellows came over and congratulated me on the set and mentioned that I sounded just as good or better than all the big German hard techno producer / DJs they were used to. I thought it was funny because they mentioned that they didn’t think there was anyone in the US doing what I was doing. 
I always was geared toward pushing things forward and actually innovate and for me because I can this includes the tech side of things which also means the best is to come. The most interesting thing when dealing with producers like Amok and Natus was that both of them had their own stroke of luck that propelled them into the spotlight. Natus had a really good head on his shoulders about it all. I was nicknamed “the brain” and was actually surprised how much more I knew about audio engineering / tech / etc… Alas out in the ass end / wilds of the electronic music world.
Putting all of this in perspective and the time it’ll take to get large scale spatial audio to something that is consumer friendly does frame things on why I was open to going down the coding hole I dug with the component architecture / experimental route that I’m just wrangling myself back around on after ~5 years… I had the time to experiment given the economics of large scale spatial audio. I’m still pretty stoked that something is going to come of it. I plan to get back to working on music too when the rent spectre is vanquished. Sadly picking SoMa / SF for the studio location means big rent spectre.
With perfect hindsight I could have done things differently, but am not disappointed thus far as all the really bright things are to come still and I think they will be much brighter than just a music career. ;D
I started TyphonRT back in April '03 and it was immediately useful. It started as a 3rd party client to SuperCollider (real time audio synthesis framework) and provided OSC communication with a Java 2D GUI. The only live performance I did with it occurred in June '03 (more info at the link):
And that would be the experimental side of things from a music perspective. 
