UPDATE: UMG HAVE NOW PAID 8000 quid to have this page removed. Unfortunately after providing them with details of other stolen intellectual property that I own, they, AGAIN, lied about where it was made, who made it etc. Even going so far as to tell *me, whose fricken idea it was to make the fricken track in the first place, that i wasnt even there! lols. The amount of stolen material has made it impossible me to honour any contracts I have with UMG as they simply will not honour the contracts they have with me. UNTIL SUCH TIME AS ALL STOLEN MONEY HAS BEEN RECOVERED AND ALL INFRINGING MATERIAL IS NO LONGER BEING EXPLOITED THIS ARTICLE SHALL MARK THE POINT IN THE FIRST CASE AGAINST THEM WHERE THEY DELIBERATELY LIED. THE ONLY REASON UMG PAID ME THE MONEY WAS BECAUSE I SPENT AN ENTIRE DAY MAKING THIS REPORT, WHICH I SHOULDNT HAVE TO DO WHEN SOMEONE STEALS MY MUSIC. THE ONLY REASON THAT HAPPENED WAS BECAUSE THEY DIDNT LISTEN TO ME WHEN I TOLD THEM THEY MADE A MISTAKE. I ALSO TOLD PETER OXENDALE AND HE MADE NO ATTEMPT TO EXAMINE THE SITUATION, BECAUSE HE KNOWS WHAT SIDE HIS BREAD IS BUTTERED ON. IT IS ALSO INTERESTING TO NOTE HE PARTICIPATED IN THE RIDICULOUS BLURRED LINES TRAVESTY.
UMG maintain that they sent the wrong tape to Peter Oxendale and this article was made before that extremely sketchy claim was made. it has to be noted that they only made this claim after it became clear they were going to have to give me quite a few grand. the wrong tape. yeh. ok right.
UPDATE: UMG WANT THIS PAGE REMOVED BUT REFUSE TO PROVIDE ANY EVIDENCE SAYING ‘ they sent the wrong tape to peter oxendale’ DESPITE ME SENDING THEM THE EXACT ‘TAPE’ – when i find out who is lying or incompetent and when i have been paid for making this report i shall update. so far they have taken their sweet time over it. 3 years so far. dont hold your breath.
A musicologist is someone that is bestowed with the authority to listen and judge music for plagiarism cases etc, apparently these are the only people our illustrious courts will trust in judging music. I was recently judged by one in some case I had to bail from because the costs were becoming ridiculous as were the arguments. I lost out on the 25k of profits plus damages on yet another stolen piece of audio used on a track called ‘Terminus’ by the orb. There are no two ways about it, this particular piece of audio was 7 minutes long, and it formed the basis of the track. They tried to call it a ‘sample’ in order to give me less money, when in fact its a remix but they will say or do anything to get out of treating musicians fairly. In the end they just fucked me off with this weird move. They paid someone to say it doesn’t exist. *head scratchy.
It is in fact stolen from my old record label, which itself was the subject of fraudulent transactions, false directors etc unbeknownst to me at the time. It is in fact a piece of audio from an album called ‘FFWD’ and was a guitar part played by Robert Fripp. I didn’t play it, I just owned the label that put it out but I still don’t want DRAP AND UMG to profit from that label and I’m quite within my rights to complain.
The kicker though for me was that some 64 year old guy called Peter Oxendale, the musicologist they paid, some guy I’ve never met who has no position in a court decided that this audio they had stolen DID NOT EXIST and escalated the costs of everything to an untenable level. It took me a while to come to terms with as I had been zooming in on this audio for weeks plus I know about the amount of hearing you lose by 64 years old. I took the track they nicked it from, ran it alongside the other one and I found that they hadn’t even edited it or changed the pitch of it at all. no pitch change and the track runs for 7 minutes on and off with someone using a filter to disguise it in certain parts, but not by much. In my opinion if you cant hear that theft, then you should not be working in the music industry in any capacity.
According to Peter Oxendale tho, I’m wrong. Peter Oxendale cannot hear any similarity between the following two tracks whatsoever. According to Peter Oxendale, the track ‘Terminus’ is not only not a remix of ‘Hidden’, but contains no parts from ‘Hidden’ whatsoever. I suggest if you were thinking of hiring him as a ‘musicologist’ that you listen to these, read my forensic report and see if you can spot the similarity yourself. If you can, your ears are sharper than Peter Oxendale’s. Either that or UMG paid him to lie, which is equally as if not more shit. By the the end of this webpage, I will completely pwn Peter Oxendale. Sorry been watching too much South Park.
I will show that UMG cynically lied when it became clear they were going to have to pay out the entire royalty this track had earned. this figure was £25,000 then once it became clear they made a mistake and it dropped to something else ridiculous. The amount of my time they have wasted with this, my loss of earnings sorting out their mistake and pattersons theft, damages to my reputation, using my IP on records without my knowledge, their continual use of my name on their facebook and other social accounts to make it appear as though I am still involved with them, the lies at PPL and PRS and in the press, the unauthorised and wilful abuse of streaming and downloading rights, removing my name from my own fucking record, still going on today. all this has to be paid for.
When I first heard Peter Oxendale lied about this I was absolutely furious, steam coming out of my ears and everything. I spent a year finding a solicitor, days writing up cases and investigating, the solicitor put 5k of his own money in, it was devastating. However, still, after I calmed down about it a bit (that took one year), I contacted Peter Oxendale and gave Peter Oxendale the chance to retract his lies or visit it again and he refused. That’s why this page should exist in public, so Peter Oxendale is never again allowed to crush justice and earn money by helping large corporations steal from skint, homeless musicians.
If Peter Oxendale really cannot hear this surely means cases involving his testimony are going to have to be looked at again. He describes himself as a ‘forensic musicologist and UK expert witness’. I just couldn’t believe the letter when it arrived. What do you think? I would be willing to give the following evidence in court if any solicitors involved in past cases relying on evidence given by Peter Oxendale want to contact me.
this is ‘Terminus’ from the orb album ‘Cydonia’
this is called ‘Hidden’ from FFWD
you can hear the guitar riff that the track is based around come in at roughly 2.45 – in terminus the track is quietly audible from about 1.30. it varies in volume and filter for the next 7 minutes or so, which is when the original audio stopped on the multitrack. this audio has clearly been lifted off the FFWD multitrack.
Terminus Infringement Report by Kris Weston
Regarding: Remix by Alex Paterson and Andy Hughes of FFWD track ‘Hidden’ and subsequent cover up.
I have over 20 years of experience, mixing, producing, sound engineering and most importantly listening to records, acoustic and electronic. I am able to hear extremely small differences in pitch and able to solo individual sounds within a mix in my head, these are standard skills you would expect anyone decent to have in the music industry and especially anyone hired to work on a legal case. In addition to this, I produced and played on the FFWD recordings for quite a long time, and I know them inside out being the main leader and producer of the record and all records I work on. I played and produced Hidden around Fripp’s guitar part, played Hidden’s classical synth riff, its bassline, all the other synths on it, all the effects and produced and mixed Hidden. Although the album was supposed to be a collaboration of Fripp, Fehlmann, Paterson and myself, on this track Fehlman and Paterson did nothing apart from offer their approval at what I was doing.
There are three different versions of terminus each with different amounts of the stolen audio. From what I can tell there is a leaked version, a demo version and the released version. The demo versions has significantly less parts where they remove the filter from the stolen audio, making it hard to recognise. The released version is the most obvious.
The first thing to notice about the two tracks when put together is that the root note of Terminus is the same as Hidden. This is essential to the argument that Terminus is a remix of Hidden, and not an original track and indeed immediately puts into doubt UMG’s contention that these two tracks are completely unrelated, a contention which surely is deliberate lie based on their behaviour in the past. This lends credence to the fact that Terminus was built around Hidden, Hidden setting the entire key of the track, which remains the same throughout.
The identical key by itself is not proof that the infringement has occurred of course, although the chances of two tracks being able to play all the way through without dissonance or pitch changing is quite slim. These two tracks play all the way through together in the same key. I have now managed to synchronise the two recordings and conduct a forensic analysis and, as I have always said, it is undeniable that the performance is taken from Hidden. Terminus is approximately 4 minutes longer than Hidden, when you line them up you can see that after the track finishes on Hidden it no longer appears after that point on Terminus.
Perhaps some confusion (although one would expect a ‘musicologist’ to be able to hear this) arises from the fact Andy Hughes has put a resonant lowpass filter with a high Q over a lot of the performance, riding the high cut frequency at some points in the track to create a string like effect and possibly adding delay. It does seem like a deliberate attempt to disguise the performance but not one I consider to be well done enough that it disguises it enough to be unrecognisable. The parts where the performance is not recognisable by laymen such as Peter Oxendale, you can clearly hear the lowpass filter being brought down on the recording, there is further proof of this by listening to the synchronised recordings provided and A/B’ing between the two. The resulting ‘string effect’ is clearly a result of putting an effect over the original performance, as any sound engineer who ever reads this webpage this will tell you.
There is also a question of the drums in this record having been plagiarised. The points to note are the two percussion type tracks in Terminus. Both are copies of my work, the bass drum being a direct copy of spring reverb techniques I used in a previous tracks. Mr Hughes deliberately used my techniques over his time with the Orb after witnessing my production techniques using it along with the spring reverb effect and pitch effects on drums. Further evidence of this can be gleaned by looking at Hughes work before he met me. This work is nothing like my music, and he never used any of my techniques before he met me.
i mean its odd isnt it how Mr Hughes happened to accidentally take an 808 kick drum, distort it and then whack it really hot into the great British spring reverb that he stole from me in exactly the same way that he watched me doing it on my track ‘Plateau’ 6 years earlier:
and here is his copy on terminus, a technique he nicked off me slightly tweaked combined with a track he stole from my record label, he didn’t even bother putting a different pattern in:
The percussion elements also use another technique I use a lot which is using a mix of dry and subtle pitch effects on the drums, something else he saw me doing and ripped off. The drums on ‘Terminus’ are basically “Meat n Veg’ From ‘Pomme Fritz’ slowed down. Despite all the effort Andy Hughes made to be me, he never once got my sound.
In the original version of ‘Hidden’ the guitar track used is faded in and out by me. The way I worked in those days was to set up many sounds over a mixing desk, and bring them all in and out manually in a ‘live mix’ type situation. Hence why the offending track fades in and out of ‘Hidden’. The actual recording on the FFWD multitrack is constant.
To say this is a performance by Robert Fripp but not the performance he did on FFWD is impossible as the audio is exactly the same. The notes are the same, the sound it is played on is exactly the same and the progression of the melody and timing are exactly the same. The length of the track is the same as well, once you synchronise the two when the Hidden audio stops, that is the last time it is in the track, they didn’t even bother to cut it up or process it in any way other than slchap a filter on it. In fact Nicola Kennedy and Alex Paterson both agreed for an entire year that the infringement occurred up until it looked like they would have to pay me money, when suddenly the guitar came from ‘a different session’. Regardless, I spoke to Robert Fripp and he indicated that no further sessions were made with Mr Paterson after the FFWD sessions, thereby making it impossible for him to have performed this ‘on a different session’ as UMG indicate in their last letter. Furthermore, as it is now clear this is exactly the same audio as FFWD, the theory would require some form of agreement to licence said recording for use on Hidden, and no such document exists. I find this both typically unprofessional and outright malicious, seeming to be a tactic just to waste time and force me out of the judicial process by costing me huge sums.
Mr Peter Oxendale
Why will Peter Oxendale not show me exactly what he did in his job as a ‘musicologist’ whatever thats supposed to be. Has Mr Oxendale synced the two recordings like I have? I can clearly line them up here, if Peter Oxendale cant why is he allowed to be considered an authority? Actively refusing to show me the report is another cynical attempt at trying to crush justice as is UMG’s MO. I bet they were overjoyed when they dropped legal aid for musicians.
heres why Terminus is a remix of Hidden.
the drums on terminus were a little distracting from hearing what’s going on – also the real sub bass of the track was not needed for the melodic analysis. Let us remove them.
For this I will use UNMIX:DRUMS from my friend Denis Goekdag’s outstanding Zynaptiq company and some other tricks. As the drum tails contain a lot of reverb and the track itself has continual melodies with lots of reverb on the plugin would have a very hard time removing the drums perfectly and the track is so ‘blurred’ I left it with small artefacts. nevertheless its much easier to hear what’s going on in the backing track. I imagine Peter Oxendale didn’t do this in his report, who knows. The noodly first part of the track has no drums so was not touched. I edited the UNMIX:DRUM version into the track at 3:22:00:00, you may be able to hear the edit if your ears aren’t shot like musicologists ears.
I tried it another way as well by reversing what unmix did, bringing out only the drums instead of suppressing them, then gating that, removing as much of the artefacts as I could and then laying it alongside the original and phase reversing it. that sort of made it better but it wasn’t quite it, so i whacked UNMIX:DRUMS on again, and this was the result:
I didn’t like that one, I went for the first example, and removed some more top by learning the top end of the signal into z-noise by waves and then removing it. its useful because its dynamic, you put the signal through a lowcut into z-noise, then you press learn, then you remove the EQ and play with the threshold till you just get it cutting off what you want. I kept going to around 5.18 to check out how it sounded. result:
that was about as good as i needed to illustrate to the layman with non-producer ears. Now I can start to synchronise the two recordings so I can prove the notes are in exactly the same place throughout terminus. I think the left hand side has slightly less clutter.
The synth lines in Hidden make it harder to hear properly, I could remove them from the audio by synchronising the sequencer to it and copying the synth line in midi. then i suppose i could use the midi to trigger various plugins that would dynamically remove the frequencies, or I could use Melodyne DNA technology to remove the notes from the audio but tbh I cant be arsed, I think its blindingly obvious now if you A/B the audio and use a filter. I’ve used Sugar Bytes WOW2 bog standard low pass filter setting and schlapped up the resonance a bit. I can now make most of the tune match and I can see how Mr Hughes has disguised it, which was obvious anyway, but when you actually hear the harmonics that come out when you filter something you can see more the extent Hidden forms the basis of terminus. For Hidden I just used a lowpass to get rid of the bass.
405.8MB logic package file with plugins and synchronisation: Hidden starts at BAR 6-2-3-1:
very quick simple filter from WOW2 on Hidden:
very quick simple filter from WOW2 on Hidden:
very quick simple filter from WOW2 on Hidden. This probably sounds like Chris de Burgh to Mr Peter Oxendale.
I think you get the idea with the filter now.
as you can hear, this is so coincidental as to be worthy of scientific investigation. If this is a coincidence it could hold some of the keys to life within it.
I havent A/B’d all the parts that are the same but need we go further ? I only doctored the sound of this audio to make it more obvious to the layman, to me it was completely obvious on first listen without any processing.
As I say you can hire Peter Oxendale on his website or I am also available for 10 times his price. Just kidding I would gnaw my own cock off before working for corporate death. Really though, I am totally not bothered by Peter Oxendale. Peter Oxendale Peter Oxendale Peter Oxendale Peter Oxendale. water off a ducks back. Peter Oxendale.