Re: [313] Model500's latest LP
On Tue, 20 Jun 2000, Gwendal Cobert wrote: Talking about that... As I'm reading this, I'm thinking about Model500's first track from Mind Body - excuse me if it has already been discussed here, but I wasn't a subscriber when it was released... well, to me this track is extremely interesting, feels like Atkins has been listening a lot to the most interesting electronica /IDM stuff, mostly Autechre, and has managed to completely integrate it with his previous work, and spit out something very interesting, perfectly balanced? this is probably because the first track on that album was psychosomatic co-written by Danny Zelonky aka Low Res who did a track that was remixed by Juan on Metroplex called Amuck which originally came out on an ep on sublime (japan) (3 mixes by Juan actually on the metroplex 12). Danny also co-produced the title track on the mind and body album. I highly recommend Danny's stuff...check out the album he did on Plug Research called Approximate Loveboat and the mille plateaux albums Wanton Phenomena and heftibag his music is very dissonant (in a good way) and his sound design is unreal! on the Juan tip...I believe he says in a recent interview that he is working on another M500 album to be released on RS. Anyone got any word on this?...I just hope Juan takes it in a different direction...the RB influenced model 500 album was cool...but I think Juan can surprise us again with something a little more fresh. minto
Re: [313] M500's The Passage
On Tue, 20 Jun 2000, Jorge Velez wrote: I've got this on a weird little comp. c.'93 (can't remember the title offhand - something like Techno Fever or thereabouts...). It's one of my absolute fave M500's - unlike anything else Juan had done up till then. Anyone know how many versions exist of this track, if any? if I remember correctly...this came out on RS sublabel Apollo and then later was licenced to Network as the True Techno EP ...it also contained 2 other amazing tracks by juan...mind changes and warning I believe was the other. The passage is like one of my all time favorite tracks by Juan. minto
History Of House publisher's address
I posted a comment re: this book earlier today. If anyone wants to learn what all your favorite 313 producers (and Larry Heard, Kraftwerk, and many, many others) had to say about where they were coming from - musically and conceptually, in their own words - back in the day, I seriously recommend this book.Highly. Sanctuary Publishing Ltd. The Colonnades 82 Bishop's Bridge Rd. London W2 6BB tel: +44(0) 171 243 0640 There's a US/Canada distributor # (no address given): Music Sales Corporation 1 800 431 7187 Good luck! Jorge www.mp3.com/milkish Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] M500's The Passage
On Tue, 20 Jun 2000, Minto Chempotical George wrote: if I remember correctly...this came out on RS sublabel Apollo and then later was licenced to Network as the True Techno EP ...it also contained 2 other amazing tracks by juan...mind changes and warning I believe was the other. The passage is like one of my all time favorite tracks by Juan. woops...the other track on that apollo record was not warning (which was off his deep space album), but vessels in distress Juan's vocals are real nice on this record. m
Re: [313] DEMF articles
Sure: SonicNet/Addicted to Noise: http://www.addict.com/images/gallery/Detroit_Electronic_Fest_Feature/ Detroit's Metro Times: http://www.metrotimes.com/20/37/Columns/pitchd.html The Detroit Free Press: http://www.freep.com/entertainment/music/efest29_2529.htm http://www.freep.com/entertainment/music/party29_2529.htm Detroit Free Press photo gallery: http://www.freep.com/index/nufront.htm# My own personal write-up about the festival: http://www.chromedecay.org/writing/demf-thoughts.htm Cheers, Bill k wrote: Does anyone have any links with articles about the DEMF ?? Thanks K - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Old recording techniques...
I think there is definatly something very profound about the analogue sound of real to real as opposed to ADAT. When you record digitally every millisecond of time is accounted for and everything inbetween doesn't exsist. When you use tape, there exsists another dimension of time. Inbetween each kick drum is some kind of space that often sounds like hiss or noise. Interesting observation - but not exactly the case. Every millisecond of time is accounted for with tape too - I guess you just mean that the nature of the medium and dirty heads produce different sound on each playback. I do think this charm depends on how you produce though, and is possible in a digital environment. I love tape - but in a non-ideal digital recording environment, even the purr and clicks of the recording hard disk can supply some interesting noise to a mic. Anything is possible - in fact I think most of the clicky and noisy music out today is produced on Macs with MSP (note: am I the only one wondering where everyone was the first time around with Basic Channel? A lot of Wire-types act like this type of techno is new...) I also think there is a certain beauty to incredibly precise, deliberately clean music. This doesn't necessarily mean digitally recorded music. Tape edits often sound tighter than hard disk edits. I recently had the honor of talking to Anthony Shakir and found out one of my favorite moments in older Detroit techno was done on purpose: the tiny bit of silence right after the distorted bass on Day of Reckoning on his Metroplex EP. Mistakes are cool - but achieving the same quality of suprise and strangeness on purpose is even cooler, imo. environ * 73 mandeville drive * wayne, NJ 07470-6566 * USA [EMAIL PROTECTED] * http://www.webspan.net/~environ
Re: [313] M500's The Passage
woops...the other track on that apollo record was not warning (which was off his deep space album), but vessels in distress Juan's vocals are real nice on this record. Thanks. I gotta track this one down now. Jorge NP: Vangelis - SOIL FESTIVITIES AR Kane -I Mr. Fingers - INTRODUCTION www.mp3.com/milkish Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] Old recording techniques...
I think there is definatly something very profound about the analogue sound of real to real as opposed to ADAT. When you record digitally every millisecond of time is accounted for and everything inbetween doesn't exsist. When you use tape, there exsists another dimension of time. Inbetween each kick drum is some kind of space that often sounds like hiss or noise. Interesting observation - but not exactly the case. Every millisecond of time is accounted for with tape too - I guess you just mean that the nature of the medium and dirty heads produce different sound on each playback. Actually, I think he was trying to say that digital recording takes a snap shot of sound at a given point in time. Usually these snap shots, or samples, are taken at rates around 44-48 thousand times per second. This information is played back in much the same way as film to produce the illusion of a continuous flow of information. What happens between those snapshots, however miniscule, is lost. Digital recording, by its nature, loses some data in the process. Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Oliver Chesler's Reply(He said I could post this)
All counter culture revolutionaries are betrayed at fakers by posers. But we are the innovators! We know the truth about detroit and you. Rezzurection in Scottland, Hellraiser in the Netherlands, Guy Le Eclair in France, Nordcore in Germany... super mega events with the Things to Come Crew headlining... And all always move. Bring the false homies over... In fact I've seen them there... sad really. 30,000 12s and climbing... See the truth. Hear the vision... www.thingstocome.com Things to Come Records Stand by the Innovators __ FREE Personalized Email at Mail.com Sign up at http://www.mail.com/?sr=signup
Re: [313] Old recording techniques...
One comment, one question: This list certainly has a lot of traffic lately. Does anyone on this list think that, for music created exclusively on computers, or even with external equipment (to the tune of synths, drum-machines), that pressing the tracks on vinyl preserves sound quality that cannot be achieved on compact disc? (dvd audio is another debate) To perhaps clairify: if music is CREATED in a digital environment, is there any reproduction quality to be gained by mastering it to an analog one? This dilemma wouldn't exist in traditional live music as the original sounds are produced in a natural (read: analog) environment. Thanks, and apologies for cluttering things even further... From: mee-thod [EMAIL PROTECTED] Ryan, i think it was, mentioned the atmosphere of of recordings of jazz and blues. I had this notion that part of the reason I liked the sounds of analog tape and vinyl was coz they recorded EVERYTHING. The atmosphere included the inaudible range of frequencies that we still respond to. Certainly the old CDs would cut those frequencies out (space or something). Is this still the case with digital recordings? emma mee-thod -it's in the way that you groove it- Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] Old recording techniques...
I had this notion that part of the reason I liked the sounds of analog tape and vinyl was coz they recorded EVERYTHING. The atmosphere included the inaudible range of frequencies that we still respond to. Certainly the old CDs would cut those frequencies out (space or something). Is this still the case with digital recordings? emma mee-thod -it's in the way that you groove it- That's more of how minidisc records. It chops out all but 10% of the sound leaving what's supposedly audible to the human ear as a means of compression (the numbers may be off, but you get the idea). AFAIK, DAT and hard disk recording does not artificially alter the recorded sound spectrum in this way, it changes the *rate* of recording as Hughblaze pointed out. It's like film, rather than tape (frames vs. continuous). In my experience as a minidisk owner, this works fine for material that has already been mastered (like a DJ mix), but not so well for live recordings. I can perceive something lost with an unmastered recording onto minidisk from how it sounds coming out of the devices that I don't notice when recording on my hard drive. It's all a matter of how close you pay attention anyway. After listening to a minidisc for 3 minutes I can't really tell the difference. You get acclamaited. Tristan == PHONOPSIA[EMAIL PROTECTED] http://www.geocities.com/SunsetStrip/Lounge/5102/index.htm FrogboyMCI on AOL Instant Messenger New Album, Québécois, online now. __ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com
Re: [313] Old recording techniques...
how did the producers in the early days do their recordings??? with a 4 track or straight to 1/4 inch? What kind of effects did they use?.. i'd love to be able to attempt to recreate some of that feel. peace, mike [aentrikate]
Boston Record Shopping
Hello, I am planning a trip to Boston from July 13th to 16th and I was wondering if anyone could recommend several record shops I should stop by. I would prefer ones that are within walking distance of the subway (which should be most of them). Thanks Sean [EMAIL PROTECTED] -- [EMAIL PROTECTED] House music all night long. Free email. And more! http://www.housemusic.com
Re: [313] 313 Passion and Survival
I just wanted to post this message to say thank Laura for her post earlier. I'm a lurker on this list. I subscribed initially to find out more about the goings on with the D. I honestly wasn't that familiar with the work of the innovators and their progeny. I can say that some 10 years ago I remember hearing some snippet about this music called techno coming out of Detroit. Alas, I couldn't get my hands on anything music wise to hear what this was all about. I can remember asking around in my area, to no avail. I'm not going to go into too much detail about my own personal history. I will say that I am a musician who was also influenced by the same sources as the D's finest :o) and i've been doing my thing for about as long. Hearing the lists' discussions and passion about the music inspires me and gives me hope that sometime my thoughts and hopes might be heard. To me, the music can be a powerful, unifying force. It can also serve as therapy in dealing with a world which isn't picture perfect. Most of you wouldn't like what I do anyway, and that's just fine with me. Listening to you all keeps my mind open to what's out there. I confess to very much desiring some more education on what's out there in our art and life. The recent commetary on the list has been rather heated. Even though it was precipitatied by persons who by this lists' standards may not be well informed, at least the information came out to try to set the record straight. That's all we can ask for in anything. For people to be straight and passionate in what they do and say. I wished I could have made it to the D for the DEMF. Sad part is i have roots in the region (well, actually Flint) and it would have been nice to come out. Maybe next year? Laura and all, thank you for keeping the faith and much respect. /home/lunarpark-1/Jim J. - Original Message - From: laura gavoor [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Tuesday, June 20, 2000 3:01 PM Subject: [313] 313 Passion and Survival I've received some email calling me on what I penned about this whole thread. This is a long one with no bloody apologies...it IS after all a 313 list n'est ce pas? I got sumpin' to say, so delete now if yer not in the mood. Suffice it to say I've been called to task on proving both my validity in offering my opinion as well as making generalizations while not looking at the 'big' picture. While I appreciate your comments in response to my post, the fact remains that independently the words both Motown and techno denoted a nouveaux sound and feeling and since the inception of these sounds/feelings BOTH words have gone on to define an era in musical history.
tomes d'techno
... what say you about this slice of disco-graphy..? Discographies: Dance Music, Culture, and the Politics of Sound By Gilbert, Jeremy Pub Date: 09/99 Publisher: Routledge Binding: Trade Paper Status: Available ISBN: 0415170338 Our Price $19.99 ... what'sa that MAW I Feel Love white 12 I saw in the shoppee today all about..?, J.E. v.F-B. B.
M500 Vessels in Distress
For those who associate arpeggiated sequences with chrantzzz be forewarned I think Vesses in Distress is beauthiful tho =)
[313] Fannon Flowers
i saw this kat at the festival and i'm planning on seeing him again tommorow at forans... does anyone know if he's got any records out??? and if they're anything like the stuff he plays in his dj set?? peace, mike [aentrikate]
Re: K.Hand Booking Info.
Please note all future Booking contacts should be forwarded to the e: address below. If you have K.Hand on your DJ Roster list, we would advise you to please remove it asap, and appreciate it if you would forward any DJ Booking requests to the e: address below. For innercity gigs via Detroit, contact directly E:[EMAIL PROTECTED] Thank you for all your continued support! Mir-Media (Website : www.mir-media.com) phone 323.655.2824 fax 213.947.4300 e-mail: [EMAIL PROTECTED] or [EMAIL PROTECTED] Attn: Asya Located in LA, California USA Mario Gorsuch acaciaRecords assistant Music from a Well Known place since 1989 Visit K.Hand's Website For a quick View click below: A HREF=http://hometown.aol.com/worlddj;http://hometown.aol.com/worlddj/A
2 Night the Deep Heat is on !!!!! It's House
Deep heat is on with thee one and only WAXMASTER 'D' SMOOTH detroits hotter mixx at Cloud 9 located at 8534 Conant in Hamtramck 3/4 Mile S. of canif. Alright, skool is out tha summer Jackk Tyme is here with warm breezy nights kool drink delights.!! So come on out with me on Weds.nights and enjoy some of thee best house music from chgo detroit with tha beat down flava. Once again ladies gentlemen thats Cloud 9 located at 8534 conant in hamtramck, 3/4 Mile S. of caniff. Love 2 see u there. I will be having some guest D.J.'s coming in 2 vibe u out as well!!! CLOUDE 9# 313 923. PH.much respect peace 2 all. WAXMASTER 'D' SMOOTH [EMAIL PROTECTED] I DO U WANNA FLY...!!
Re: [313] DEMF articles
Just finished a feature for ClubPlanet, go to http://www.clubplanet.com Club Planet only has part one posted, but part two should follow shortly. There also appears to be some weird text wrapping around one of the pictures which I have informed them about. ClubPlanet retained what we had written, but reformatted the layout/look of what we had sent. So, if you would like to see how the article would have appeared, complete with all the pictures, please come to our web site at http://members.home.net/tydesign7 We would love any feedback and plan to post a photo page of the DEMF in the near future. So please visit often. It was an incredible life changing event to say the least. A great big thank you to all those involved from the talented musicians to the wonderful party goers, vendors, and technoheads. Emily + Roberto
sampler question
i dont know if this is the right place to ask this.. if not... maybe someone can direct me in the right place... but here is my question... i want to add a sampler to my current set up.. which sampler should i get?(i want to be able to loop the sample.. as well as play it backward) how should i hook it up? (i have record out and sends on my mixer) thanks for you help.. photovore09 __ Do You Yahoo!? Send instant messages with Yahoo! Messenger. http://im.yahoo.com/
Re: Kevin Saunderson
When was Bounce your body to the box made? 88 That side (of planet E release) along with You don't know how to play our music both just JACK. Circa early nineties maybe, or older? play our music by Reese Santonio is late 80's, I don't know the approximate date. He definitely utilizes his instruments to the max. well..back in the day he did. I still spin Derrick's stuff cause theres nothin like his minimal 909 flanger workouts. I like the early stuff like feel surreal, wiggin, nude photo, phantom. stephen.
RE: [313] 313 Reminder
Can we please refrain from the negativity? Can we not engage in debate without name calling and belittling opposing views and tastes? I am getting tired frankly of these recent threads. If you want to start a discussion then discuss with intelligence and validate the points you are trying to make in a non-hostile, non-threatening manner. Let us not tolerate the breeding of such hate. In the spirit of the DEMF (or have some of us forgottent?), let us rather applaud our differences and individuality. We each have a voice in this electronic community. It's nice to mention 'electronic community' because i think some of you never read the 313 page at hyperreal.org. At this page you can read the idea/reason of this list: http://www.hyperreal.org/music/lists/313/ Quoted from this site and from realu refreshing to read: Introduction Thanks for inquiring about 313. This list was set up by myself to be a forum for the discussion of Detroit techno artists or artists directly influenced by Detroit techno artists. That said, it would be no great coincidence if the list followed the same progression as techno music has. That is, just as the works of the original Detroiters has provided the framework on which much of techno music has been built upon so too should the stated purpose of the list serve as the basis for broader discussion. 3) Send List Email The one thing that is under my control is unsubscribing people that abuse the list. When posting to 313 keep the following rules of conduct in mind: Spam is strictly prohibited, 313 list subscribers are not marketing fodder. List subscribers are people, treat them as such, disrespective and disruptive behavior will not be tolerated. List members are here for a reason, keep your posts on topic, using 313 as chat room is not permitted. Please note placing 'OT', standing for off-topic, or 'NRR', standing for not really relevant, in the subject line in no way excuses you from adhering to this rule. Do not attempt to steal another list subscribers email identity (and, yes, this has happened in past). Do not repost private email to 313. Likewise do not reply to private email and 'CC' 313. This is both illegal (falling under the reproduction of an original copyrighted work without permission) and highly unethical. Arguments belong in private email, not in email that is addressed to 313, check your 'To: ' and 'CC: ' email header fields carefully before sending out email - it may save you more embarassment than you thought possible. Try not to swear. More and more corporate sites are using profanity firewalls resulting in fellow 313 subscribers behind those firewalls missing out on what you had to say. If you feel someone has violated the above rules you can send email to either me ([EMAIL PROTECTED]) or Matt MacQueen ([EMAIL PROTECTED]) explaining the situation. Do not send email to the list complaining about the list. This has no effect since we don't always have the time to keep up with 313 traffic. Try not to respond to obviously inflammatory postings, the best response is often no response at all. If you do violate any of the above your account will be blocked from posting from to 313 indefinitely without warning (I am not interested in hearing excuses as I've already heard them all before). Furthermore your account will be added to my personal kill file. If you do not approve of the above rules then simply do not subscribe to 313. The list itself is not a democracy, yet it operates in a democracy. If you feel you can do better then I encourage you to try, ask for permission to set up your own mailing list on Hyperreal or use one of the free mailing list services such as OneList or eGroups to set up your own list. No one is trying to silence your voice. 6) Regarding Content and Community 313 content is not moderated and never will be, therefore we rely on 313 list members to 'self-police' 313 using the mechanisms described above. After five plus years 313 has become a community and should be thought of as such. Like any community (Detroit included) 313 is only as strong as every member makes it. In that spirit we ask you respect the following principles: Leaving the community because of a perceived problem is never a viable solution (you know who you are). In time an unchecked problem will expand to affect allcommunities. If there is a problem with the list serious enough to make you want to leave it bring the problem to our attention instead of merely posting your goodbye. Complaining about trash in our streets only makes sense if you have made an effort to pick that trash up. Rather than simply posting complaints to the list your email is better directed towards either Matt or myself. Comments like Why doesn't somebody do something about X? are often answered by Because the people who can do something about X don't know about it. Building a gate around the community is never the answer. I've run a moderated list in
RE: [313] [was] Innovator Vs. Red Planet [now is] manners, andhodge podge
And as early as the fifties, you already had some amazing exotica/lounge stuff using tons of very weird sound effects... Gwendal I have started trying to get into exotica/lounge, and have bought a couple of compliations that i really like... i love loungey stuff a la tipsy, but i also want to get into the old stuff though i know very little ... and lounge gurus around here are welcome (read please) email me privately with suggesstions.. peace, holly
RE: [313] Re: Model500's latest LP
hum... I like the CD cover design on Mind Body, wish I felt the same way about the album though. Dont get me wrong, the album does have its moments but most of the tracks are only exceptional in my opinion, vocal tracks like incredible fall short. I was quite astounded by this track though, as well as by the single Be brave and Everyday, I still have the chorus and the keyboard in head... What ever happened to Deep Space or Infinity - Game One? Now that was Juan Atkins taking techno to the next level. BTW... I do not know much about Juan Atkins, but I love his Classics, like his Mind Body... is it OK if I check out his LPs on Tresor next, or has he released more essential things ? Gwendal
The once future +8
Greetings All, Just a few comments on the new m-nus/plus8 discs. M-nus yellow: the original remix of orange. This one lets you hear more of the original yello samples in their unaltered form. Orange was def. an evolution from this point. In my opinion, a very nice mix. Also included are 4-5 locked grooves from both yellow orange. I'm thinking this would be great for remix material (not that i'm actually advocating it of course ;-) B-side is blank. Most worthwhile for the anal collector types (like me.) Electric Deluxe: Dancefloor mayhem indeed. Herr Paap has really come out with a floor destroyer. Utilizing a lot of the sound we've come to know in his more abstract works in a 4/4 format. The plus8 sound (and look) of old gets launched into a new century. Instant classic. Buy this record! well, i've gotta work nowsigh.. out jim
Timo Maas
Hey there... Any ideas on Timo Maas visiting Detroit??? He's got the madd fodder style... *Thanks to everyone that gave me insight on NYC. I had a fabulous time there...it's like fuel... I am going back in the fall. ..I have traveled to many fab cities...but there is still something so special about Detroit, that makes my pride smile. Thanks! Kelly
Passion and Survival
Date: Tue, 20 Jun 2000 12:01:47 PDT To: 313@hyperreal.org From: laura gavoor [EMAIL PROTECTED] Subject: 313 Passion and Survival Message-ID: [EMAIL PROTECTED] With the exception of Jazz, technologically influenced music from Detroit is arguably the only other truly original American artform, and yes, Detroit was directly influenced by that as well. The techno sound has been repackaged and Eurocized and is making sweeping change in America now. It is being ingested as European or British originality, and has firmly infiltrated the American social structure. So do you think that the techno sound came just from Detroit? And that no kind of electronic music was going on in Europe at the same time?? Please claify.. zip Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] Old recording techniques...
mee-thod wrote: Ryan, i think it was, mentioned the atmosphere of of recordings of jazz and blues. I had this notion that part of the reason I liked the sounds of analog tape and vinyl was coz they recorded EVERYTHING. The atmosphere included the inaudible range of frequencies that we still respond to. Certainly the old CDs would cut those frequencies out (space or something). Is this still the case with digital recordings? 44.1kHz digital recording (CD's) is still in the 20Hz-20kHz range parameters like it was when it was introduced. 12 vinyl cuts the bass approx. from 50Hz, so CD beats it in the low end. Not sure what limitations vinyl has with the higher frequencies... However excessive high levels are not vinyl friendly (needle skips). Maybe vinyl is more pleasent to the ear because it HAS NO total silence: always some hiss in the backgroung, and our ears are used to it because it's natural. There's no absolute silence in nature like it exists in digital world. Proffit Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] sampler question
I heard somewhere that Emu make the best samplers. Not that I know. I can't afford any equipment... l8r, Nick:) --- photovore [EMAIL PROTECTED] wrote: i dont know if this is the right place to ask this.. if not... maybe someone can direct me in the right place... but here is my question... i want to add a sampler to my current set up.. which sampler should i get?(i want to be able to loop the sample.. as well as play it backward) how should i hook it up? (i have record out and sends on my mixer) thanks for you help.. photovore09 __ Do You Yahoo!? Send instant messages with Yahoo! Messenger. http://im.yahoo.com/ - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] __ Do You Yahoo!? Send instant messages with Yahoo! Messenger. http://im.yahoo.com/
Re: [313] sampler question
This is a question best taken up on the Tech-Gear list: http://www.egroups.com/group/tech-gear Thanks, Bill Nick Walsh wrote: I heard somewhere that Emu make the best samplers. Not that I know. I can't afford any equipment... l8r, Nick:) --- photovore [EMAIL PROTECTED] wrote: i dont know if this is the right place to ask this.. if not... maybe someone can direct me in the right place... but here is my question... i want to add a sampler to my current set up.. which sampler should i get?(i want to be able to loop the sample.. as well as play it backward) how should i hook it up? (i have record out and sends on my mixer) thanks for you help.. photovore09 __ Do You Yahoo!? Send instant messages with Yahoo! Messenger. http://im.yahoo.com/ - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] __ Do You Yahoo!? Send instant messages with Yahoo! Messenger. http://im.yahoo.com/ - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Old recording techniques...
jim proffit wrote: 44.1kHz digital recording (CD's) is still in the 20Hz-20kHz range parameters like it was when it was introduced. 12 vinyl cuts the bass approx. from 50Hz, so CD beats it in the low end. Not sure what limitations vinyl has with the higher frequencies... However excessive high levels are not vinyl friendly (needle skips). I find this (bass cut @ 50 hz) hard to believe. Is this the cutoff point? What is the slope like afterwards? (-3db?) I have a few friends who work with subharmonics in car audio, as well as a few who work at labels, and the general consensus is that when recording vinyl to a digital medium, there is some low (read: sub ) level signal loss due to the recording media (or the device) that has to be reproduced using subharmonic spectrum analysis. Just wondering if there is an answer todd Maybe vinyl is more pleasent to the ear because it HAS NO total silence: always some hiss in the backgroung, and our ears are used to it because it's natural. There's no absolute silence in nature like it exists in digital world. Proffit Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313]New Kevin Saunderson Release
I heard the new Kevin Saunderson release on Sonic Groove. It's one track, two mixes. one of the mixes is kickin. don't know when it's due for release. i was told the pressing is fucked and has to be repressed. james
Detroit records
In an attempt to break up child games and all the fighting that has been going on in the list, I have a question to all. What is the Rarest record that you own and most favorite Detroit related record that you own? I know a lot of people get early release white labels, but I am talking about those that might have never been released, dubplates, etc.. --
Re: fanon flowers
just looked on the sonic groove 'databass' and there's a number of fanon releases i never got to hear from last year on konsequent... any comments welcome... but anyway he seemed to put out a very similar batch of tracks in 98, the style of which i was into... very rounded kicks and a good almost bouncy driving feel, sometimes with warbled chords in the mix. the ones i'm referring to are the trackmode eps on exalt and ecom and the muffler man/rubycon 12 on mechanisms industries -dave
Re: [313] Timo Maas
platinum in windsor is working on it, not sure if they have date locked down yet. will pass along info as i get it. take care, linda g From: [EMAIL PROTECTED] To: 313@hyperreal.org Subject: [313] Timo Maas Date: Wed Jun 21 08:53:01 2000 Hey there... Any ideas on Timo Maas visiting Detroit??? He's got the madd fodder style... *Thanks to everyone that gave me insight on NYC. I had a fabulous time there...it's like fuel... I am going back in the fall. ..I have traveled to many fab cities...but there is still something so special about Detroit, that makes my pride smile. Thanks! Kelly - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] Detroit records
My favorites records-the ones i charish the most aren't detroit related. 1.My Neil Diamond records. 2.Copa Cabana Disco Remix, complete with Barry on the cover in feathered hair and gold chains looking like a 70's sexpot 3.Beverly Hills Cop Soundtrak..includes Axel F 4.(ill group these) My michael jackson records,my soundtrack to Flashdance and my Muppet Show records my 45 of 'Going back to Cali' 5.My original OLD latin jazz records 6.(just for 313s sake)a 45 of Innerzone Orchestra flameon. diana From: Roger John Lesinski Jr [EMAIL PROTECTED] To: 313@hyperreal.org Subject: [313] Detroit records Date: Wed, 21 Jun 2000 10:59:33 -0400 (EDT) In an attempt to break up child games and all the fighting that has been going on in the list, I have a question to all. What is the Rarest record that you own and most favorite Detroit related record that you own? I know a lot of people get early release white labels, but I am talking about those that might have never been released, dubplates, etc.. -- - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] Timo Maas
Is this the same guy who used to produce for Commander Tom's Noom Records? I saw him in Toronto and he played trance (3 years ago). He's changed I take it? I've listened to the stuff he put out on Soma, and it still has and almost trancelike edge (any comments?, further releases? indications of why I'm seeing his name so much but not remembering him as anything special?) Todd [EMAIL PROTECTED] detroit science wrote: platinum in windsor is working on it, not sure if they have date locked down yet. will pass along info as i get it. take care, linda g From: [EMAIL PROTECTED] To: 313@hyperreal.org Subject: [313] Timo Maas Date: Wed Jun 21 08:53:01 2000 Hey there... Any ideas on Timo Maas visiting Detroit??? He's got the madd fodder style... *Thanks to everyone that gave me insight on NYC. I had a fabulous time there...it's like fuel... I am going back in the fall. ..I have traveled to many fab cities...but there is still something so special about Detroit, that makes my pride smile. Thanks! Kelly - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Detroit records
i don't know what my rarest is... favoritePlastikmanSheet One. absolutely beautiful. i bought it the first and only time i have seen itimported from England on Nova Mute and Plus 8 i believe...i wish i was somewhere near my collection. THOU SHALT REMEMBER THE FUNK AND KEEP IT HOLY -George Clinton -Original Message- From: Roger John Lesinski Jr [SMTP:[EMAIL PROTECTED] Sent: Wednesday, June 21, 2000 8:00 AM To: 313@hyperreal.org Subject: [313] Detroit records In an attempt to break up child games and all the fighting that has been going on in the list, I have a question to all. What is the Rarest record that you own and most favorite Detroit related record that you own? I know a lot of people get early release white labels, but I am talking about those that might have never been released, dubplates, etc..
Re: [313] Detroit records
What is the Rarest record that you own and most favorite Detroit related record that you own? I know a lot of people get early release white labels, but I am talking about those that might have never been released, dubplates, etc.. Does a cassette dub of the original demo for Sandwiches count? ;-) Old Trax releases, incl. Acid Thunder, Techno 1 and 2 comps, Buzz CDs... -- There4IM
Re: [313] Timo Maas
Thank you for the correction John much oblige. Still wondering why he's getting huge, and people are calling it techno? Todd [EMAIL PROTECTED] wrote: Hmm, that's not the same guy!! That Timo Maas dude is a trance 'artist' while MAAS is the project name of Ewan Pearson. http://www.somarecords.com/?Artists/Profiles/maas John -Original Message- From: Todd Smith [mailto:[EMAIL PROTECTED] Sent: Wednesday, June 21, 2000 8:21 PM To: detroit science Cc: 313@hyperreal.org Subject: Re: [313] Timo Maas Is this the same guy who used to produce for Commander Tom's Noom Records? I saw him in Toronto and he played trance (3 years ago). He's changed I take it? I've listened to the stuff he put out on Soma, and it still has and almost trancelike edge (any comments?, further releases? indications of why I'm seeing his name so much but not remembering him as anything special?) Todd [EMAIL PROTECTED] detroit science wrote: platinum in windsor is working on it, not sure if they have date locked down yet. will pass along info as i get it. take care, linda g From: [EMAIL PROTECTED] To: 313@hyperreal.org Subject: [313] Timo Maas Date: Wed Jun 21 08:53:01 2000 Hey there... Any ideas on Timo Maas visiting Detroit??? He's got the madd fodder style... *Thanks to everyone that gave me insight on NYC. I had a fabulous time there...it's like fuel... I am going back in the fall. ..I have traveled to many fab cities...but there is still something so special about Detroit, that makes my pride smile. Thanks! Kelly - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Timo Maas
I'm not sure I would call what Timo produces techno. A lot of his stuff does seem very techno influenced though (i.e. Der Schreiber...2...I think). And some tracks even have a hard - breaky sound to them (Dooms Night remix). All I know is that this guy's doing remixes left and right...he also did one of the new Flash remixes that just came out. We're working on getting him here at Platinum sometime in the fall, possibly October. He's booked solid right through the summer and most of it's in Europe...I know he played in Texas awhile back but I'm not sure if he's played anywhere else in North America. From: Todd Smith [EMAIL PROTECTED] To: [EMAIL PROTECTED] CC: 313@hyperreal.org Subject: Re: [313] Timo Maas Date: Wed, 21 Jun 2000 11:59:44 -0700 Thank you for the correction John much oblige. Still wondering why he's getting huge, and people are calling it techno? Todd [EMAIL PROTECTED] wrote: Hmm, that's not the same guy!! That Timo Maas dude is a trance 'artist' while MAAS is the project name of Ewan Pearson. http://www.somarecords.com/?Artists/Profiles/maas John -Original Message- From: Todd Smith [mailto:[EMAIL PROTECTED] Sent: Wednesday, June 21, 2000 8:21 PM To: detroit science Cc: 313@hyperreal.org Subject: Re: [313] Timo Maas Is this the same guy who used to produce for Commander Tom's Noom Records? I saw him in Toronto and he played trance (3 years ago). He's changed I take it? I've listened to the stuff he put out on Soma, and it still has and almost trancelike edge (any comments?, further releases? indications of why I'm seeing his name so much but not remembering him as anything special?) Todd [EMAIL PROTECTED] detroit science wrote: platinum in windsor is working on it, not sure if they have date locked down yet. will pass along info as i get it. take care, linda g From: [EMAIL PROTECTED] To: 313@hyperreal.org Subject: [313] Timo Maas Date: Wed Jun 21 08:53:01 2000 Hey there... Any ideas on Timo Maas visiting Detroit??? He's got the madd fodder style... *Thanks to everyone that gave me insight on NYC. I had a fabulous time there...it's like fuel... I am going back in the fall. ..I have traveled to many fab cities...but there is still something so special about Detroit, that makes my pride smile. Thanks! Kelly - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] Detroit records
Ooops, this was also supposed to go to the main list It would have to be the Techno! New Dance Sound... comp (because it was a gift) and also Rythim is Rythim's Strings of Life b/w Nude Photo Juan Atkins '88 (? I'd have to look again) remix on Kool Kat. Might not be rare but I found it used for $1.99 and in nice shape slipped inside a Plastic City record sleeve. Love those used record bins! Fred From: Roger John Lesinski Jr [EMAIL PROTECTED] To: 313@hyperreal.org Subject: [313] Detroit records Date: Wed, 21 Jun 2000 10:59:33 -0400 (EDT) In an attempt to break up child games and all the fighting that has been going on in the list, I have a question to all. What is the Rarest record that you own and most favorite Detroit related record that you own? I know a lot of people get early release white labels, but I am talking about those that might have never been released, dubplates, etc.. -- - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] Timo Maas
Yeah, Timo Maas is a trance artist primarily, although some of his tunes have some harder techy sounds in them. He would fit in better with Underworld and such rather than most anything Detroit. Why is he popular? I'd say it's because the type of trance that is the flavor of the week is been labeled progressive and progressive DJs like Sash und Digweed have been playing his stuff a lot. What's the difference between progressive and regular trance? Well, I guess that progressive has a harder darker feel but I'm still hearing lots of uplifty, drum roll after drum roll, Euro-cheese that's being called progressive. Big progressive DJs: Sandra Collins, Dave Ralph, Sash Digweed, BT. Big progressive artists: Smith and Selway (why I don't know...since they're Swedish techno producers), Oliver Lieb, Humate, Rabbit in the Moon, Jark Prongo, stuff on Kinetic, Superstition, Playtipus, et al. I've been getting loads of promos for this stuff and it's the new bandwagon and most of it sounds crap. Actually, I think that putting them next to Underworld would devalue the Underworld track. Still if I was forced to listen to trance (which I am since I have to write reviews for the CDs) I'd rather listen to the darker progressive like Sandra Collins' last mix CD. It seems to move along faster and isn't so bubblegum. It's closer in step with the old Harthouse/Eye-Q stuff. I think what's happening is that some trance DJs are tired of the uplifting cheesy stuff, it's gotten to be very formulaic, and they are latching onto harder techno sounds to give their sets more growl. Fred From: Todd Smith [EMAIL PROTECTED] To: [EMAIL PROTECTED] CC: 313@hyperreal.org Subject: Re: [313] Timo Maas Date: Wed, 21 Jun 2000 11:59:44 -0700 Thank you for the correction John much oblige. Still wondering why he's getting huge, and people are calling it techno? Todd [EMAIL PROTECTED] wrote: Hmm, that's not the same guy!! That Timo Maas dude is a trance 'artist' while MAAS is the project name of Ewan Pearson. http://www.somarecords.com/?Artists/Profiles/maas John -Original Message- From: Todd Smith [mailto:[EMAIL PROTECTED] Sent: Wednesday, June 21, 2000 8:21 PM To: detroit science Cc: 313@hyperreal.org Subject: Re: [313] Timo Maas Is this the same guy who used to produce for Commander Tom's Noom Records? I saw him in Toronto and he played trance (3 years ago). He's changed I take it? I've listened to the stuff he put out on Soma, and it still has and almost trancelike edge (any comments?, further releases? indications of why I'm seeing his name so much but not remembering him as anything special?) Todd [EMAIL PROTECTED] detroit science wrote: platinum in windsor is working on it, not sure if they have date locked down yet. will pass along info as i get it. take care, linda g From: [EMAIL PROTECTED] To: 313@hyperreal.org Subject: [313] Timo Maas Date: Wed Jun 21 08:53:01 2000 Hey there... Any ideas on Timo Maas visiting Detroit??? He's got the madd fodder style... *Thanks to everyone that gave me insight on NYC. I had a fabulous time there...it's like fuel... I am going back in the fall. ..I have traveled to many fab cities...but there is still something so special about Detroit, that makes my pride smile. Thanks! Kelly - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] Old recording techniques...
On Wed, 21 Jun 2000, .. - wrote: Does anyone on this list think that, for music created exclusively on computers, or even with external equipment (to the tune of synths, drum-machines), that pressing the tracks on vinyl preserves sound quality that cannot be achieved on compact disc? (dvd audio is another debate) To perhaps clairify: if music is CREATED in a digital environment, is there any reproduction quality to be gained by mastering it to an analog one? This dilemma wouldn't exist in traditional live music as the original sounds are produced in a natural (read: analog) environment. Good point. Whenever I hear techno heads get into an analog/digital holy war, I think of a couple of things. First, the music that we make is usually going to be played off of worn 12s over big grungy warehouse systems. Sound fidelity is great, but it's not completely relevant. Also, 99.9% of producers master to DAT or ADAT. There have been several times that I've heard people ramble about the sonic advantages of vinyl, only to find out that they're just sending DATs over to the mastering plant. I think there are two sonic reasons that people stick with wax, aside from the utilitarian reason that it's better to DJ with. Vinyl is way less dynamic than digital. In order to have something sound decent, you usually compress it pretty severely. Super-compressed music sounds great on a big sound system and moves big quantities of air. That's the story of Swedish techno eh? Also, vinyl mastering remains a more hand-on and personal process than digital mastering. The mastering engineers that everyone flocks to - Ron at NSC, Simon at the Exchange, Stuart at Metropolis, Dubplates and Mastering - have a personal sonic aesthetic which they add to your tune. That additional stage can add a lot. J
maas
i don't know. i'm more inclined to strap timo maas stuff on the tech-house pigeon more than the trance one. sand. Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] sampler question
On Wed, 21 Jun 2000, photovore wrote: i want to add a sampler to my current set up.. which sampler should i get?(i want to be able to loop the sample.. as well as play it backward) how should i hook it up? (i have record out and sends on my mixer) So you want a sampler primarily for DJ rather than studio use? There are a bunch of DJ-oriented samplers that are smaller and cheaper than big monsters like the Emus or the Akai S6000. I know that Boss/Roland makes one - you should go down to your local DJ store and check out the selection. Another option would be to upgrade to a mixer with a sampler built in. Vestax makes one that's really pricey but amazing. Pioneer makes one that's probably pretty decent. Yet another way to go would be to explore guitar jam tools, like looping delays. There are a lot of digital delay pedals that have loop and reverse features, and it's handy to have them in a stomp pedal interface. The Lexicon Jamman is another excellent tool along those lines. OB313: Anyone feeling Westbound records? Now that's a strange old 313 label. They put out such amazing music, but their buy-on-sight status was seriously degraded for me when I got burned on one of their 7s that turned out to be a rock version of the national anthem...
Re: [313] maas
undoubtedly. of all the stuff I've picked up from him recently is far from trance. tech-house all the way. DJ Trademark (Enjoy, Windsor/Detroit) www.enjoyproductions.8k.com Checkout -Flylife Radio Program Wednesday nights 12-2am on 91.5fm (Windsor/Detroit) -Does a Body Good - Thursday's @ the Milk Bar (Windsor - University Pelissier) Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] Old recording techniques...
another 2cents on the subject- i disagree with the notion that analog recording captures everything, and this is what makes it sound warm. Magnetic tape stores the sound on tiny magnetic particles whose polarity can be changed by the record head- the precision of which is probably pretty comparable to digital. 44.1 or n(?) amount of particles per millimeter of tape- both are pretty accurate but not exact- the main difference is in-between the bits of recorded sound. On digital- this is nothing/silence- on analog tape this is noise and all sorts of randomness that seem to make the sounds thicker or fuller. ps-no more OT posts i swear- but cant really help it w/ all these OT threads floating around.. -p On Wed, 21 Jun 2000 [EMAIL PROTECTED] wrote: On Wed, 21 Jun 2000, .. - wrote: Does anyone on this list think that, for music created exclusively on computers, or even with external equipment (to the tune of synths, drum-machines), that pressing the tracks on vinyl preserves sound quality that cannot be achieved on compact disc? (dvd audio is another debate) To perhaps clairify: if music is CREATED in a digital environment, is there any reproduction quality to be gained by mastering it to an analog one? This dilemma wouldn't exist in traditional live music as the original sounds are produced in a natural (read: analog) environment. Good point. Whenever I hear techno heads get into an analog/digital holy war, I think of a couple of things. First, the music that we make is usually going to be played off of worn 12s over big grungy warehouse systems. Sound fidelity is great, but it's not completely relevant. Also, 99.9% of producers master to DAT or ADAT. There have been several times that I've heard people ramble about the sonic advantages of vinyl, only to find out that they're just sending DATs over to the mastering plant. I think there are two sonic reasons that people stick with wax, aside from the utilitarian reason that it's better to DJ with. Vinyl is way less dynamic than digital. In order to have something sound decent, you usually compress it pretty severely. Super-compressed music sounds great on a big sound system and moves big quantities of air. That's the story of Swedish techno eh? Also, vinyl mastering remains a more hand-on and personal process than digital mastering. The mastering engineers that everyone flocks to - Ron at NSC, Simon at the Exchange, Stuart at Metropolis, Dubplates and Mastering - have a personal sonic aesthetic which they add to your tune. That additional stage can add a lot. J - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Detroit records
Rarest record... 12 remixes of PiR2 themes from the movie Pi. It's fun. Too bad I don't own a turntable. Oh well, have to go to the station to listen to it now. Josh Landau
Re: [313] Old recording techniques...
I agree, but what I was really trying to get at is the possibility that there exsists another dimesion of time space, possibly a parrallel universe in the physical recording of sound or even video. Instead of tranfering thought onto a binary platform of zeros and ones, you are actually creating matter by your own will with the help of you thought amplification equiptment. I realize I may me stretching reality a little but take this for example. Listen to a Puff Daddy record and listen to a Mile Davis record. Which person do you feel closer too after hearing. I mean which person do you think actually entered you brain, spiritually or pyscologically when you were listening to that recording. I know these two examples are on opposite sides of the world but the point is that I belive an the soul has a better chance of surviving in a analogue median as opposed to a digital median. I don't in any way look down on the use of digital recording and sound synthesizing instruments. The MPC-2000 is my most powerful weapon, but does not all the time express my true emotions. Sevn
Re: [313] Passion and Survival
Yes! I do think there is electronic music pumping out from Europe at that time. Hence, Kraftwerk etc. But no one gave a crap about them but the blacks, latinos, gays, who really took this music and created which is now the House and Techno genres and cultures. See ya 's at MusikUndMaschine. _g l y p h_ In a message dated 6/21/00 8:30:12 AM, [EMAIL PROTECTED] writes: So do you think that the techno sound came just from Detroit? And that no kind of electronic music was going on in Europe at the same time??
Re: [313] Detroit records
In a message dated 6/21/00 11:34:26 AM, [EMAIL PROTECTED] writes: I would have to say my rarest record would be my copy of Nude Photo w/ Move it and The Dance complete with AO label graphics. Limited pressing of 2000 (I would have to go back and check the label for sure). Ah, the benefits of working at a college radio station. I have that too. The one with the black/orange sleeve cover right? Got that one back in the 80's when my bro and I were still trying to scrape $4.32 for a domestic 12 inch at Loop Records, Chicago. Missed those days. _g l y p h_
Good Thread!!
Nice!! Finally a good thread! Rarest record: Dinosaur L 24-7 music the album with Go Bang on it and 5 other tracks!! Got it for a buck at a cheesy TO trance(oh oh) store. Most Favorite record: Hard question, I love that Jazz is the Teacher by Juan, Moritz and Fehlman on Tesor and also R-Tyme on Fragile and Carls ep on RS called (I think) 69-Lite Music with Micro-Luvr and My Machines. There are so many... Most Rare Detroit record: Reese on Incognito - The Savage and Beyond - I think its rare, I have the only copy I have seen. Coupla other things: Lounge music thread: Gwen and Holly I think: Esquival and Sun-Ra Arkestra are some of the first musicians to use synths and electronic stuff in there music. I think that I read somewhere that Sun-Ra said that electronic instruments are interesting but he uses them to make new sounds. I guess he means if he wanted something to sound like a trumpet he would use a trumpet. If you like Carl Craigs jazz stuff you'll love Sun-Ra. But be warned Sun-Ra can be musically very extreme (ie free). So open up your mind. Original acid track thread: Did Tomorrow Never Knows come out before or after Revolver?? The 25th annversary Beatles vinyl thing had a instrumental of it that I used to play a few years back, just speed it up and it mixes perfectly into just about anything. (especially Bandulu and some non 4/4 stuff). Oliver Cheeser thread: Hopefully no-ones confusing me with this dude, I played in and around D quite a bit. And finally: I think everyone on this list should read this article: http://www.cnn.com/2000/TECH/computing/06/13/mail.manners.idg/index.html Bye, Ollie - Original Message - From: Roger John Lesinski Jr [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Wednesday, June 21, 2000 10:59 AM Subject: [313] Detroit records In an attempt to break up child games and all the fighting that has been going on in the list, I have a question to all. What is the Rarest record that you own and most favorite Detroit related record that you own? I know a lot of people get early release white labels, but I am talking about those that might have never been released, dubplates, etc.. Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] Detroit records
Though it's not from Detroit, I found some copies of the early Jesse Saunders 12 at a used record store in Flint, MI. When I saw the original pressing of On and On, I thought hmmm, I think I've heard of this record. I also picked up a white label of his second record. The songs are pretty lame, but they supposedly were the first house records ever. If anyone wants to school me on these records, I'm all ears. All I know about them is what I read in Saunders' book. Jason Birchmeier On Wed, 21 Jun 2000, Roger John Lesinski Jr wrote: In an attempt to break up child games and all the fighting that has been going on in the list, I have a question to all. What is the Rarest record that you own and most favorite Detroit related record that you own? I know a lot of people get early release white labels, but I am talking about those that might have never been released, dubplates, etc.. -- - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Pole 3
What does everyone think about the new Pole album? It came out yesterday in the U.S. I find it much more abstract, epic and minimal than the first two albums. The dub characteristics seem to be much more salient while the rhythms tend to sound too fractured for my taste. The guy's brilliant though. The texture of this album stands above anything I've heard in some time. Any other thoughts?
neat moog fact
heres your neat little 313 fact for the day: when robert moog and his partner, deutsch (creators of the moog) went their seperate ways deutsch recieved ownership of the ORIGINAL prototype of the moog. It was actually deutsch's idea to put a keyboard on the machine, he was a music teacher and knew that a keyboard (though many experts said including a keyboard was stupid)was needed if it was ever to be taken up by the musician market. Anyways, After the original sat in the Uni he was at, collecting dust. He said that students were intimidated by the machine, so it just sat there.Deutsche wanted to donate the moog to a museum. He shopped it around to museums all over the country and the Ford museum was the only one really interested, and knew the inventions worth.By this time, the moog had taken off and bands such as the Rolling Stones and Beatles ordered their own. The Ford Museum was so thrilled they asked Deutsche to do one more performance on the original before it went to museum land. You can see the original Moog at the Ford Museum. I LOVE THE HISTORY CHANNEL!! goodday, diana Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] sampler question
I recently had the same question. Three modules were up for consideration. - The new Korg ESI Electribe Rhythm Production Sampler Never played with it but I don't think it has ROM sounds. http://www.korg.com/gear/ - The Roland SP808. Pricey, but it does it all. The D-Beam controller is dope. http://www.rolandus.com/PRODUCTS/MI/MI_GRP.HTM#SP-808 - Ensonique ASR Pro. Picked one up used and am very happy with everything but sampling length. http://www.emu.com/products/asrx_pro/asrx_pro.html Good luck. Miles
Re: [313] Passion and Survival
If you find a good interview with Juan Atkins I think it will answer your question. I think even the notes accompanying his recent mix CD addressed this, if I am not mistaken? Juan and co never said they invented electronic music per se, but what they did is transform European influences (and don't forget Kraftwerk cited James Brown as a huge influence) into something very radical and difererent - ie techno. What so often happens especially in America is that the media wants to credit today's electronic music - influenced by and based on techno and house - to New Order etc, effectively writing out its African American auteurs and the huge, huge transformative role they played. They turned electronic music into a culture, recontextualising it and investing it with a very different meaning. It's late and I have been harangued all day by promoters, but hopefully that makes sense. So do you think that the techno sound came just from Detroit? And that no kind of electronic music was going on in Europe at the same time??
Detroit Techno Art
OK, this is gonna sound really OT, but does anyone know an artist as in art, art by name of Mark Robco (sp)? I really need to know for a 313 related article I am writing up. Please forgive me. A discussion on the relationship between Detroit techno and art movements would be cool, actually. Or has this been done before? It would be interesting. Cheers Cyclone
downwards (rumour)
theres a rumour out that somebody from downwards died recently... any word about it? ___ ____ ___ ___ ___ (_- / _ \ / // __// -_)/ -_)/ -_) /___// .__//_/ \__/ \__/ \__/ \__/ /_/ mailto:[EMAIL PROTECTED] ICQ.4627247.altere.a.mimica. www.spiceee.com upcoming performances: 24.06.00 Raveolution (Spiceee Mental Giu) Blumenau 15.07.00 Gotas Analogicas Brasilia 26.08.00 Futura 2000 (Disko B Tour) Sarajevo 02.09.00 Ultraschall Munich
Re: [313] Good Thread!!
How about the rarest record I WISHED i owned? Without a doubt Martin's Circus.. --- Lester Kenyatta Spence [EMAIL PROTECTED] Assistant Professor, Political Science Washington University at St. Louis We illuminate the contradictions and call it the light ---
Re: [313] Good Thread!!
Derrick's Deeelite Wildtimes mix; Stacey and Kenny Sade mix; that 313 hip-hop CD that comes up here all the time; Minimal Nation, if it's on CD. Also (non 313 but 313 influenced) the album by Orchestra JB - anybody remember Come Alive? That track is sick, Soul II Soul meets Inner City; came out in 1991 and should be revived big time. Also a whole lot of Randy Crawford's albums that seem out of print. Cheers C How about the rarest record I WISHED i owned? Without a doubt Martin's Circus..
Re: [313] Passion and Survival
well put. From: Cyclone Wehner [EMAIL PROTECTED] To: 313 Detroit 313@hyperreal.org Subject: Re: [313] Passion and Survival Date: Thu, 22 Jun 2000 07:21:01 +0900 If you find a good interview with Juan Atkins I think it will answer your question. I think even the notes accompanying his recent mix CD addressed this, if I am not mistaken? Juan and co never said they invented electronic music per se, but what they did is transform European influences (and don't forget Kraftwerk cited James Brown as a huge influence) into something very radical and difererent - ie techno. What so often happens especially in America is that the media wants to credit today's electronic music - influenced by and based on techno and house - to New Order etc, effectively writing out its African American auteurs and the huge, huge transformative role they played. They turned electronic music into a culture, recontextualising it and investing it with a very different meaning. It's late and I have been harangued all day by promoters, but hopefully that makes sense. So do you think that the techno sound came just from Detroit? And that no kind of electronic music was going on in Europe at the same time?? - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] Detroit Techno Art
On Thu, 22 Jun 2000, Cyclone Wehner wrote: OK, this is gonna sound really OT, but does anyone know an artist as in art, art by name of Mark Robco (sp)? I really need to know for a 313 related article I am writing up. Mark Rothko. Minimal painter, do a Google search on his name and you'll find a wealth of material. I know that Richie Hawtin has name-dropped him and I believe Mills has too. J
Re: [313] downwards (rumour)
hi is channel k artist house in france tonigth is in france the day of music!! go to http://mp3.com/dedzone my music is free download!!! Spiceee a *crit : theres a rumour out that somebody from downwards died recently... any word about it? ___ __ __ ___ ___ ___ (_- / _ \ / // __// -_)/ -_)/ -_) /___// .__//_/ \__/ \__/ \__/ \__/ /_/ mailto:[EMAIL PROTECTED] ICQ.4627247.altere.a.mimica. www.spiceee.com upcoming performances: 24.06.00 Raveolution (Spiceee Mental Giu) Blumenau 15.07.00 Gotas Analogicas Brasilia 26.08.00 Futura 2000 (Disko B Tour) Sarajevo 02.09.00 Ultraschall Munich - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
for all in this list
hi is channel k french artist house (unsigned) my music is free to download i am number one in francemp3.com in the top ten in electronic genres!!! go to http://mp3.com/dedzone
Re: [313] Detroit Techno Art
Mark Rothko. Minimal painter, do a Google search on his name and you'll find a wealth of material. I know that Richie Hawtin has name-dropped him and I believe Mills has too. anish kapoor does amazing compositions and sculpture. rich named him as a strong influence on consumed. /j
Re: [313] Detroit Techno Art - OT
on 6/21/00 6:24 PM, Cyclone Wehner at [EMAIL PROTECTED] wrote: OK, this is gonna sound really OT, but does anyone know an artist as in art, art by name of Mark Robco (sp)? I really need to know for a 313 related article I am writing up. Not at all sure if this helps but you might mean Mark Rothko. http://www.nga.gov/feature/rothko/rothkosplash.html I'd love to see how you relate this to 313. Rothko's stuff is dope. -- There4IM
Re: [313] Detroit Techno Art
[jes [EMAIL PROTECTED]] Mark Rothko. Minimal painter, do a Google search on his name and you'll find a wealth of material. I know that Richie Hawtin has name-dropped him and I believe Mills has too. anish kapoor does amazing compositions and sculpture. rich named him as a strong influence on consumed. yep. but rothko... he da man! i wish i knew more about the visual arts, but i'm just too busy/lazy to find out... i just know that i don't feel particularly emotionally affected by that many paintings, but some of rothko's colorfields really get me! matt -- matt hellige - syntax [EMAIL PROTECTED] http://matt.immute.net
Re: [313] Can someone identify the statue near Hart Plaza?
sorry for the multiple replies, but i looked it up... marshall fredericks created the spirit of detroit - chris christina elaine doerr | [EMAIL PROTECTED] | pgpkey 9CFC6469
Detroit records
Ok, Ok ...know what those of you who know me are thinking and you are right! My fave Detroit 12 is TP Love's got me high original pressing. Also the 10 coloured vinyls I have by him under other names on Serious Grooves. But the one with the best memory, is the KMS 12 (KMS-022)Reese-Rock to the beat with You're mine. I bought it in 1989 at Dr.Disc in Windsor. I think DJ Jetstream sold it to me. I was in highschool and it made my summer!!! Then 10 years later, I had Kevin sign it. That was the first 12 I ever bought. *who has strept throat but is smiling* misszak Music is the key of life, dancing is the way of the world and it continues like this. Terrence Parker Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] GIrls and Detroit
As a person living in Windsor, I feel very fortunate to live right near Detroit, alot of the music being produced here in the MW scene has influenced my direction of producing and manipulating sounds, travelling in and around the MW scene, Chicago/Pittsburgh etc, via specific parties, I've always found that Detroit is more open to females being in control and show more respect then any other cities in and around the MW, although personally I can't stand bars, my influence is more underground then most of my friends creating music, and Detroit has always played a huge part in my direction... -- After silence, that which comes nearest to expressing the inexpressible is music. --Aldous Leonard Huxley (1894-1963) Emanuel
