Urgent M-nus in Windsor
This is last minute, but I lost my pass for the m-nus event in windsor if anyone has any extra, please get in touch with me asap. I would like two, but one would be extremely helpful. email me, [EMAIL PROTECTED], I'd give out my phone number but I don't feel like exploiting myself too much! Thanks in advance, Andy
RE: [313] 12' id
BC 09: phylyps trak ii (i / ii) all trax by mark ernestus and moritz von oswald. 33 rpm. 1994. 1 = 12'16 @ 132 bpm. 1 = 13'12 @ 128 bpm. -Original Message- From: christos [mailto:[EMAIL PROTECTED] Sent: vrijdag 23 maart 2001 18:12 To: 313@hyperreal.org Subject: [313] 12' id Basic Channel 09 Both sides. Thanks in Advance Christos Michalakis 734.332.1256[EMAIL PROTECTED] if heaven ain't a lot like detroit, I don't want to go. if heaven ain't a lot like detroit, I'd just assume stay home. If they ain't got no 8-mile like they do up in the D, just send me to hell or salt lake city, it'd be about the same to me -Uncle Kracker - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Brainstorm sampling house tune ID
I sent the message below in HTML so it didn't get through. And I've since realised that one answer is MK Feel The Fire. But there's another track that samples it. Anyone know what it is? the original message -- I don't know if anyone subscribes to www.deepdisco.com and their mailing list, but their current tune, Brainstorm's Hot For You is sampled by a house track and I really can't place it at all. It is apparently bugging the site owner, and it is bugging me now too. Check it out at: http://fmfc.ezenet.com:21480/ramgen/disco/hot_for_you.smil?mode=compact The sampled chunk, I reckon, is at 4:25 to 4:31 what is it on?? I know it's in those shelves somewhere!
Re: [313] Oh Lordy...
From: Mike Taylor [EMAIL PROTECTED] To: [EMAIL PROTECTED], 313@hyperreal.org Subject: Re: [313] Oh Lordy... Date: Thu, 22 Mar 2001 13:14:58 -0500 I wonder how many people on this list would do thew same if they were in his shoes? How many people on this list are reading from corporate accounts? You sell you personal time like he sells his music. Are you any better than he is? Is he better paid than you are, who is the sucker? moby can retire tomorrow from the royalties and licencing fees he recived from that last record, can you afford to quit your job? mt aido wrote: but would he be happy? _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Eclectic Aesthetic v.1 (one for the spotters)
Maybe 15 minutes or so into the aforementioned Theo Parrish mix, he drops this old 80s club classic (which I owned in several mixed variations at one time) with the lyrics ...you tie me up, you tie me down...begins to beat you know my heart begins to beat. The song is dark, but catchy, has a very basic, deep programmed kick, some programmed and played percussion over top of it, funky plucked bass line, a few analog string pads and a sax riff - other than that it's pretty stripped down for the period. Sounds like something Chris Hughes might have mixed in his early days. Having recently successfully tracked down the elusive Tony Mansfield remix of Pioneer Girl (from that period), I need a new mission. What's frustrating is that I *know* this song and artist, but can't find the spot on the tip of my tongue where it/they are hiding. If you were clubbing back in this period, you prolly know this tune. Help. jeff ps Haven't played v2 of the aforementioned Parrish mix yet, but v.1 IS wonderfully eclectic. -- jeff ?/~THINK OUTSIDE OF YOUR SITCOM~\! ICQ904008 (but I'm never on) http://www.freedonation.com (costs you nothing. try it)
fair play to juan atkins
the mistakes on juan atkins mix cd at least prove that he actually mixed it live. i saw a disturbing item on bbc television the other week. it was a business programme which had a feature on british clubland and how clubs were now such a marketable brand. they focussed on thhe club renaissance and how they were trying to break into the states. dave seaman was 'mixing' their latest cd which is how they make the majority of their cash. now, i've no problem with them making money but it's how they do it. they showed seaman 'mixing' the cd - but it was all done by computer with the aid of two technicians. all seaman had to do was cue up the track on a deck, the computer program did the rest. couldn't believe how brazenly this was done (the reporter actually used the word mixed, i was flabbergasted). now, i know most commercial mix cds are done this way, but it makes a joke of the whole concept. the computer does what would would otherwise be physically impossible for the human dj - it achieves perfection. therefore, ordinary joe soap on the street, who like that kind of music, thinks that seaman is an amazing dj, since, technically, his mix would be flawless. this is a misrepresentation of his talents. many of these mix cds state on the cover that they are digitally mixed, but how many consumers know what this actually means? so fair play to juan atkins, not afraid to show that he is fallable as dj (which we all are). aspiring djs could actually learn from his mistakes, seaman's cd would be of no benefit to them, imho. aidan 'have no fear i drink beer' o'doherty _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
breaking point
Moby was the subject for some time now: I wrote a message, which wouldn´t get on the list, maybe cauze I was using some radical statements without explanation ? I wrote that he was stealing from black music, being white making weak music... and I blamed myself for beeing white . Well I didn´t mean to say something against participating and making free music in techno-culture, unless it´s stolen they take it, fake it and break it ... I heard a moby song, maybe it was play, which must have climbed up in the charts (making lots of money) ,where he used some gospel kind of parts without the respect you should have, when you do sample, or use music of the black culture...created in a struggle for freedom ! In my ears he did use it in an arrogant way, maybe he didn´t meant to, but I think this happens, when you don´t have enough of respect and knowledge from the culture you´re stealing from... Yes, music should be free... and all who keep on fighting for this, have a good point... but this sometimes isn´t true... As this world is not free at all and some music is fighting for freedom, you shouln´t disrespect this music, when you do take out the message FOR FREEDOM this way ... If you deny the history and present this way, you´re acting like colonists, who don´t feel any problem for himself with the situation, so for him it doesn`t exist ? blaming the surface of my own colour of skin: I live in Germany and at the moment there´s a campaign of the conservatives I´m proud to be a german. You have to realize: In Germany there are some violent radical racists who do KILL PEOPLE in Germany 2001 Why is it, that many black people in the USA live in Ghettos ? Why is it a subject for many black artists also in Detroit ? So why is that ? Cause the situation is good for all people on this planet and all are the same making free music ? If you look at the world-situation, you´ll find out, that many problems are build on racism.. And those having the power are mainly white people and the powers for a change by them, are as weak, as the respect to black music in moby´s music. One way out is to break the identity you´re given by birth, but still to face the reality of your own surface and the role you´re playing .. how can anyone accept a culture, as long as it´s breaking others apart ??? thanx for all given and coming comments ... sorry for my english and still there´s more coming up ;) m LVPLTZ2001 -- --- LoveThemPlanetZ peoplez plantz peaze pluz m -- GMX - Die Kommunikationsplattform im Internet. http://www.gmx.net
mixing problems
i'm going to look like a right ignorant sod here, but feck it. i have a problem (luckily, not a sexual one), i have great difficulty mixing (no laughing, please) with tunes that have beatless intros, ie no kick drum, high-hats, hand-claps or discernible beat, an examlpe would be modus vivendi 'modus vivendi' (top tune by the way, imo). i use headphones to mix, listening to both tunes at same time (have no aspirations to play in club as techno dj, cause i know my limitations), but by the time the kick comes in the beats are all over the shop. any advice would be greatly appreciated. any thanks for reading, aidan o'doherty _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
mixing problems part 2
sorry, should have said for people to e-mail me privately to avoid clutter (which is what this is). apologies. aidan o'doherty _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
FW: [313] Track ID, please, anyone?
No takers on this one? I'm going record shopping this morning. :) -Original Message- From: Bulger, Tim [mailto:[EMAIL PROTECTED] Sent: Monday, March 19, 2001 6:06 PM To: '313@hyperreal.org' Subject: [313] Track ID, please, anyone? At the end of John Acquaviva's 1/1/01 set on http://www.paxahau.com it's the last or next to the last song... Has a vocal track that says 'Carry on' in several variations.. Kind of a slamming peak hour house tune. Anyone? Thanks much in advance, Tim - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
consequence
A forwarded message includinf reasons to leave mp3.com (also 313-artists ;)) written by the www.tokydawn.org: mp3.com changed their policies some days ago. Membership in the 'premium artist service' is now required to be able to take part in the 'payback for playback' (p4p) program. The 'Payback for playback' program divides a certain amount of money each month to the best performing artists (means the artists with the most downloads). P4P had a bitter taste right from the start since many people were cheating, trading and using bots to gain more downloads and thus more money. There have been a lot of discussions taking place on the artist-discussion-boards at mp3.com about the changes and it seems as if there is a vast amount of different opinions on the issue. After we discussed this matter internally, we decided to remove the tokyodawn pages from mp3.com. mp3.com has been ripping off its artists for some time now, but with this change the point has come for us to react, we as tokyodawn do not want to represent ourselves at mp3.com any longer. the biggest lie they tell us : mp3.com repeats over and over that it's a service site for musicians so they can present their music for free and without any cost. That is not true. mp3.com is a webportal for listeners who want free and legal mp3 music. So what they try to hide from us musicians : we deliver their content, the only reason for their existence, and their only way to earn any money. And as you may know, the web changed during the past years. Its no longer about how or why, its all about what. In this business, insane amounts of money are paid for content. Bill Gates pays loads of money for the exclusive rights to digitally publish pictures, drawings and photography with his corbis company. The whole TimeWarner/AOL (con)fusion took place only because AOL badly wanted the movies and music TimeWarner holds the copyright of. So, while all over the world people get paid for creating content, mp3.com does not pay a single cent for it and furthermore even betrays its content deliverers. First of all, they don't respect our work and copyright. If you sign up for mp3.com, you agree that mp3.com has the right to publish and sell all songs you ever uploaded there even if you broke the relationship with them a long time ago. This means that they can earn money with your old material if you become a famous popstar one day, although they actually never did anything for you. (except those peanuts with p4p maybe). (you dont believe this ? quick link : http://www.modplug.com/mods/newsdisplay.php3?session=art=143 the document this article talks about is still the recent one. Every artist who is signed up on mp3.com agrees to those terms.) Furthermore, mp3.com is as unimaginably greedy. What is it with that payback for playback program ? It has been some lousy 1 Million Dollar per month for all artists, that's about 150.000 of them. Now get an idea about the traffic they have, the amount of banners all over the place, the money they earn with selling information about the users to companies such as doubleclick, the spammail, all those partnerships and licensing programs. Try to imagine what amount of money is earned with that. The next thing is this DAM CD story. They get 50% of the price of a CD, fixed. Now why ? You can be sure that they will get their expense for manufacturing that CD even if you sell it for 6$. This means that an amount of 3$ is enough to produce a DAM CD. But since most people sell their CDs for a much higher price, they earn more money with those CDs, although they do not offer more value for you or your listener with this higher price. If a commercial CD-fabric would demand a higher price for making Ricky Martin CDs than for making Mouse on Mars CDs, they would not survive very long. mp3.com does exactly that. And the newest gimmick is back the band, some sort of micropayment system. People give you a dollar and mp3.com keeps 50 cent. They get 50% of each donation from your fans ! Why ? I guess it costs some 2 cents to direct the donated money to the right artist-account and this way mp3.com again earns money without doing anything for you or your listeners. And now they changed the rules for payback for playback. Most people wrote in the artist-forum of mp3.com yeah, it may cost 20 bucks, but the p4p is worth it. So what ? The Pot has been 1 Million before, but the difference is now that the artists pay themselves. If 50.000 people take part mp3.com earns 1 million dollar per month and instantly pays it back to the artists. Chances for mp3.com are good that this much people will take part, especially since those fake-payments took place. Artists suddenly got money through the p4p program, only some 3 or 4 bucks, but its obvious that mp3.com wants to tell them you see, it works. Most of these artists will never reach the 50$ which are needed to get the money finally
Re: [313] The spam must never stop flowing
At 09:08 22/03/01 +, you wrote: is Juan really that bad a DJ? i have his MasterMix on WaxTrax and the mixing is shady and dodgy at times... but i read the allmusic.com review of it and i got the impression from there that he's not bad live. i've never seen him before so i can't comment. I saw him play live before mills this time last year. Let's just say that if mills' mixing skills were by far the better of the two, then Juan's selection was by far the more adventurous. Some people rate the two skills differently and it's up to you. -Dave _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
Re: [313] fair play to juan atkins
Yeah none of those trancey club minstry cream gatecrasher ibiza blah blah mixes are 'real' its been going on for years - Original Message - From: beautiful individual [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Saturday, March 24, 2001 1:10 PM Subject: [313] fair play to juan atkins the mistakes on juan atkins mix cd at least prove that he actually mixed it live. i saw a disturbing item on bbc television the other week. it was a business programme which had a feature on british clubland and how clubs were now such a marketable brand. they focussed on thhe club renaissance and how they were trying to break into the states. dave seaman was 'mixing' their latest cd which is how they make the majority of their cash. now, i've no problem with them making money but it's how they do it. they showed seaman 'mixing' the cd - but it was all done by computer with the aid of two technicians. all seaman had to do was cue up the track on a deck, the computer program did the rest. couldn't believe how brazenly this was done (the reporter actually used the word mixed, i was flabbergasted). now, i know most commercial mix cds are done this way, but it makes a joke of the whole concept. the computer does what would would otherwise be physically impossible for the human dj - it achieves perfection. therefore, ordinary joe soap on the street, who like that kind of music, thinks that seaman is an amazing dj, since, technically, his mix would be flawless. this is a misrepresentation of his talents. many of these mix cds state on the cover that they are digitally mixed, but how many consumers know what this actually means? so fair play to juan atkins, not afraid to show that he is fallable as dj (which we all are). aspiring djs could actually learn from his mistakes, seaman's cd would be of no benefit to them, imho. aidan 'have no fear i drink beer' o'doherty _ 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]
thanks for tips
thanks to everyone for the mixing tips, some of the stuff i knew already, but on the whole they have been enlightening. who said this mixing business was easy? aidan o'doherty _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Re: [313] The spam must never stop flowing
that's another thing that i was thinking the track selection on the MM cd is not the easiest to mix. Mike From: Dave Clark [EMAIL PROTECTED] To: [EMAIL PROTECTED] CC: 313@hyperreal.org Subject: Re: [313] The spam must never stop flowing Date: Sun, 25 Mar 2001 00:04:47 +0800 At 09:08 22/03/01 +, you wrote: is Juan really that bad a DJ? i have his MasterMix on WaxTrax and the mixing is shady and dodgy at times... but i read the allmusic.com review of it and i got the impression from there that he's not bad live. i've never seen him before so i can't comment. I saw him play live before mills this time last year. Let's just say that if mills' mixing skills were by far the better of the two, then Juan's selection was by far the more adventurous. Some people rate the two skills differently and it's up to you. -Dave _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] _ Get your FREE download of MSN Explorer at http://explorer.msn.com
dissing mute, haha
Let's not also forget that PLASTIKMAN is on NovaMute which is part of Mute hey, and Joey Beltram (JB^3) is also on there. Don't forget Luke Slater's on Mute too. Most respected? By who? Moby's accountant? HMV retailers? A coterie of reviewers? come on mute is an awesome label is has to numerous of good bands to list. Can, wire, loop, plastikman, liabach, spk, cabert voiltare jist to name a __ Do You Yahoo!? Get email at your own domain with Yahoo! Mail. http://personal.mail.yahoo.com/
RE-ARRANGE
CHANGE (again;)) some people got it already - now rearranged for 313: I know it´s including some personal s***... still - think about it or even better talk/mail about it ... ... break it apart, or hook up on this for some collective moves... life and music-life can be more then collecting some record rarities and party-nights (although records and partys are cool) .. Re: [313] Oh Lordy... How many people on this list are reading from corporate accounts? mt corporate accounts - yeah, that´s a subject - server business - paid servers in golden cages righthow many of us do read this, while we do serve the new world order 2001... yes, we are a part of some really bad s***... I do work for money too and really don´t know the way out, try my best to build up some alternative structures, but still: Does someone know the way out of this groove ??? Detroit: I do look up to many of the Detroit artists and labels how they managed it and keep on releasing some of the best music of our time, keeping the content true and strong and make a living out of it too. What about talking, how we can try to use some of the methods some detroit-innovators used, keeping it real and if there are methods to move our butts for something better... Do look at UR for Xample - there are more subjects to talk about... Please again, those who are with it, let´s start thinking about a CHANGE (it´s 2001 black) m -- --- LoveThemPlanetZ peoplez plantz peaze pluz m -- GMX - Die Kommunikationsplattform im Internet. http://www.gmx.net
assistance from the 313 squad
Hello, I was hoping a few of you could help me with the situation I am currently facing. You see, I am in my final year here at Virginia Tech in beautiful Blacksburg, completing the dual majors of music and communications. My intention upon entering school was to begin gaining the skills necessary in becoming a record producer. I loved to perform (trumpet and piano, that is) but could not find the desire within me to be a composer, so I chose the behind-the-scenes route. However, I realized my interests lie not in the production of other artists' music but in the crafting of my own (a lifelong dream, I guess), plus my non-technical mind could not handle the engineer-based flavor of the classes. I simultaneously found myself slowly falling in love with more synthesized forms of music... Facing my last year of school, I knew I would have to make some serious decisions concerning my future, seeing as how my aspirations as a producer were falling by the wayside and interest in my overall studies had waned dramatically. However, my love for techno was growing stronger, especially through the research necessary for my senior project: a scholarly web page documenting the history of electronic music, the scope of which has now sensibly narrowed to the development of strictly techno. I, of course, come from a trance raver background and once fell prey to the utopian dreams it falsely portrayed. But even then I knew there was some essential element missing, beyond the drugs and the vibes and the pounding music. Perfection had not yet been reached. I have waded through reams of insipid raver jargon to discover what I consider pure art: the untainted work of the Detroit pioneers. I would like to break into the techno scene somehow but don't know how to begin. Is DJing an imperative step in the assimilation process? If not, what compositional technologies should I pursue? Where besides Detroit (since I'm somewhat put off by cold weather) can I find the most receptive and open minds for this music, or is the Detroit THE prime area for inspiration? Being a struggling college student, I don't have the financial means to just go out and buy DJ or production equipment to begin my education. Hell, I can hardly afford to buy the CDs that serve as my inspiration (not to mention the selection in this region is less than adequate). If I am to make any serious investments after graduation then I need to be sure the money is wisely spent, especially seeing as how some items may have to be pawned. I also want to ensure my choice of residence is key before I sign any kind of lease. I become more hard-set and artistically driven by the day, and I want to take advantage of this passion before I fall into the standard repetitive workaday doldrums that captures most Americans. I appreciate any help any of you could give me. Oh yeah, and I apologize for the length of this message, but I just wanted to get my point across. Rusty _ Get your FREE download of MSN Explorer at http://explorer.msn.com
