DREW NEUMANN - EYE SPY: EARS ONLY CONFIDENTIAL

TRACKS: VOLUME ONE

INTRO
ULTIMATE AF
TRAIN STATION
MONICAN JAM
THE TORTURER
TRAIN CARS
BREEN LOUNGE LIZARD
COMPUTERA
HEROES (EXCERPT)
MARCHE
ERRORS OF THE NIGHT
GRAVITY
ALIEN LEISURE
THE DARK PRISON
PHOBIA SUITE
THE DICTATOR'S OFFICE
DEMIGODS
WINDTUNNEL
MEMORY LAPSE

TRACKS: VOLUME TWO

CHOICE
CLONES
PARADISE
THE TRAGEDY OF FLIGHT
UNDERWATER SUITE
TIME PRETZEL PARADOX
CLOSURE

Special Thanks:

Peter Chung, for creating the show, and for trusting me
with such an important part of his animated world. Abby Terkuhle for his bravery in
making the show a reality. Gabor Csupo and Arlene Klasky for enthusiastic support of my work
and for keeping me employed (and my family fed). Leslie, Rachel, and Tess
Neumann for their patience and love while all this was going on. Producers Nicole
Grindle, Prudence Fenton, and Catherine Winder for keeping such a complex show
on schedule. Drew Takahashi for taking a chance on the half hour series. Howard Baker
for being a great director on the firing line, and for patiently guiding Post Production
of the shows. Kenny Miller for keeping me from killing the French (and providing a few
great laughs) as the CDRom slid 8 months behind schedule and eventually vanished..
Terry Thoren for keeping the vibrant flame of alternative, non-Disnoid animation alive.
Mike Mena at Tone Casualties for helping to push this through before the Millennium.
Waldorf Gmbh (Wolfgang Dueren, Tommy Kircher, Stefan Stenzel, Wolfram
Franke and others ) for making uncompromisingly wonderful and distinctive sounding
synthesizers that helped define the sound of this show.
Geoff Farr of GSF-Agency for getting me the Wave in time for the half hour series.
Ensoniq Corp. for making sampling affordable and expressive.
Opcode for rescuing the lost computer files from episode 3 (that bug IS fixed now...?)
Robert Neumann (Dad) for letting me record and sample all his cool ham radio stuff.
Gretchen Neumann (Mom) for letting me do those early tape experiments with the Piano....
Peter Stone for his tireless field recording and editing 'round the clock, and webbyness.
Van Riker and Yasmine Kopita for keeping the gears turning at TC.
Gilles "MC Siv" Sivilotto for putting up with all of this.

Sounds, field recordings, and / or inspiration and influences: Peter "Bat" Stone, Jean
Pierre Bedoyan, Jose Valenzuela ,Gernot Blume, Tim Johnson, Armen Anassian, Michel
Pascal, Luc Martinez, Michel Redolfi at CIRM, Francois Bourlier of Arthea, Francois
Barucco, Olivier Florio, M.B. Gordy. Mary Granfors (the original voice of the Spy Girl....)
For help getting Droomusic Studios up and running: Mark Wenner of Studio
Construction Services, Ray Livingston of Sequoia Development Group.
For dealing with the damn cue sheets and logging the shows: Regina Gavin.
Thanks to all the folks out on the WWW helping to get the word out--Lascelles Linton,
Marc Floessel, Hexjumper, JKast....

For all the happy gearheads out there-

Here's mostly what was used to make this music over the years.:
Hardware--Waldorf Wave, Microwave 12, Pulse, Pulse Plus, Miniworks Filters, Serge
Modular System, Ensoniq ASR-10, TS-10, KS32, SQ2, SD-1, EPS, EPS16, DP4,
ARP 2600, Doepfer A100, Morbeus (Homebrewed Emu modular) Emu Emax2, Moog
Minimoog and Memorymoog with Lintronics MIDI kit, Oberheim 2 voice, Matrix 12,
Matrix 1000, OBX, OB8, DPX, Kurzweil K2000, Korg Wavestation, DSM-1, Kawai
K-1, Roland D50, JD800, Jupiter 8, Powertran ETI Vocoder, Digidesign Samplecell2
and Audiomedia 2 cards, Sequential Pro-1, Prophet 10, Prophet VS, Prophet 2002.,
Clavia Nord Lead, Yamaha TX802, SY77, VL-1, CS80 and TG 55.
Neumann RSM-191 Stereo Shotgun. (No, I'm not related, but they make great microphones!)
Software--I used Digi's Turbosynth A LOT! Also Passport's Alchemy.
Sequencing was done on a series of Macintosh computers running various versions of
Opcode's Studio Vision over the years. I'll use my trusty 950 'till it explodes.