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About the Audio/Video:

The Kickin' Tracks music CD is of the highest audio quality, using the latest in state-of-the-art digital recording and mastering technology. Except for a few of the samples (selected for their analog 'grunginess') the tracks were created totally in the digital realm. The first time it'll hit the analog world is through your stereo speakers.

Everything was recorded 24 bit (with 44.1 kHz sample rate/CD standard) then dithered down to 16 bit for CD using Steinberg's Cubase digital music production software. The interface/soundcard used is a Lexicon Studio Core 32 (24 bit converters) with the Lexicon PC90 Reverb card (featuring twin Lexicon PCM90 reverbs; the world standard). All synthesizers and samplers used were VST instruments (VST--Virtual Studio Technology). These are software based virtual instruments, eliminating the need for analog synthesizers, trying to stay as much as possible in the digital realm. Final mastering for CD was done with Prosoniq's Dynasone digital mastering tools. While Cubase uses 32 bit floating point calculations (with a theoretical signal to noise ratio well over 1,000 decibels), Dynasone uses 64 bit floating point for an incredibly transparent mix.

The video was recorded with a Sony Digital Camcorder, transferred to PC, then edited using Vegas Video, Sony's digital video editing system. The final video was then authored for DVD using DVD Architect (Sony), and exported to digital tape, which serves as the master for VHS duplication.

About the Composer/Producer:

All music was composed, produced, performed, and engineered by Bobby Ryan. After leaving Berklee College of Music to go on the road (tours and performances with Ray Charles, Aretha Franklin, Tavares, The Four Tops, The Temptations and Barry White, to name a few) Bob came back to New England and pursued recording and producing music in the broadcast field. While this paid the bills and gave Bobby the occasional recognition in this field (a few Emmy nominations along the way), he always thought the martial arts were a potential 'niche market' for custom music. Though he very rarely had the time, he would occasionally pursue training (studies in Tae Kwon Do, Wah-Lum Kung-Fu, Okinawan Karate, Kenpo, and Jeet Kune Do). After noticing several references on the internet for people in TKD trying to find music that would somehow fit to their pattern practice, he decided now seems like the right time to release/complete such a project.