RE: [313] Titonton/Rush Hour
To continue the RushHour love fest, don't miss that backcatalog.. I am still feelin' that first RH 001: Deepart (collage #1). This record mixes nicely with anything detroit and is truly DEEP ART! It has a i think rh 001 is a re-release of the deepart #1 10... and yeah!! i love all the deepart stuff! altho there is one that is really harsh that i dont listen to much...also check the myoclon stuff by andi deepart..weirder! timeless quality and one track in particular (now I can't remember the title, long wide track) that goes wy deep into the depths of techno... raw and delicate at the same time, yeah..:) and soulful and deep... rh 001 and rh 003 (mos - utilities) are both essential!! Never heard the Roy Cordu (?) record though, what's that all about? is that out? the track i have on the rh sampler cd is along the lines of very organic, chill broken beat/dnb, very nice but very chill... jt _ Send and receive Hotmail on your mobile device: http://mobile.msn.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] FW: 'Sutekh (live) @ 'biome' this Friday! (LA)
-- From: e l m conceptions [EMAIL PROTECTED] Date: Tue, 09 Apr 2002 17:05:01 -0700 Subject: 'Sutekh (live) @ 'biome' this Friday! : e.l.m. conceptions / p a x : :::/ ::: /_ exhibitions _\ this friday april 12th @ 'biome'.- Los Angeles [Force Inc. recording artist and Owner of Context records: Sutekh : ---live [along with e.l.m. curators: ben milstein -- live trichome --- d j 9pm-3am!!! $7 @ the door* 21+ 2692 la cienega blvd 2 blocks south of the 10 fwy \-end ; exhibitons-/ /- n e w s -\ in the coming months @ different venues!: apr. 20: 'ectomorph' (live) @ h a r v e s t may. 1 : tipper, performing as 'crunch' (live) jun. 1 : p a x hosts the rephlex tour in L.A. w/ cylob, dmx crew,bogdan racynski ovuca. -for more info. visit: www.elmconceptions.com time equals art- ./innovation lies underground\. .._thank you for supporting the subterranean_.. \= end ; all =/ - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] FWD: Old Radio Shows
Hey all, Andrew Duke asked if I could forward this here from a friend of his in the military. I know there's the show on http://www.deephousepage.com 163. The Wizard - WJLB, Detroit 1989 Jeff Mills a.k.a The Wizard rockin live on WJLB in Detroit. Jeff is mixing house and hip/hop in this 40 minute mix. For those not familiar with Jeff 's style back in those days better hold on to your keyboard for the first 20 minutes Uploaded 5/4/99 http://www.deephousepage.com/wizard1.ram ftp://deephouse.biostat.wisc.edu/wizard1.rm Is this the only one? Any Mojo mixes online? I know that's often asked but I've never seen any replies. Thanks, Tristan --- Upcoming Gigs: 4/14/02 - Filler @ Blue Room, Adams Morgan, DC http://www.mp313.com - Music http://www.metrotechno.net - DC techno + more http://www.metatrackstudios.com - DC DJ/Production studios http://phonopsia.tripod.com - Hub [EMAIL PROTECTED] - email I have been searching the internet for some time for anyone else that remember Detroit radio in the 80's. I am a huge fan of music period. I was wondering do you know a way that I can get some recording of The Wizard and Mojo. I am currently in Iceland with the military so it hard for me to get in contact with the radio station directly. Thank you. Preston Taylor --- End of forwarded message --- out now: Physical and Mental Health album (Folding Cassettes/()Dial; http://Dialrecords.com) out soon: material on BiP_HOp Generation v.5 and Sprung album (both BiP_HOp; http://bip-hop.com) - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Titonton/Rush Hour
At 9-4-2002 -0400 19:05, you wrote: To continue the RushHour love fest, don't miss that backcatalog.. I am still feelin' that first RH 001: Deepart (collage #1). This record mixes nicely with anything detroit and is truly DEEP ART! It has a i think rh 001 is a re-release of the deepart #1 10... only one track is from the first 10, the other three were new more about deepart, there's another collage by deepart coming on rushhour.. before that (plug alert! - delsin) at the end of august snapshots II comes on double vinyl, together wit h a cd compiling snapshots 1 2 and yeah!! i love all the deepart stuff! altho there is one that is really harsh that i dont listen to much...also check the myoclon stuff by andi deepart..weirder! timeless quality and one track in particular (now I can't remember the title, long wide track) that goes wy deep into the depths of techno... raw and delicate at the same time, yeah..:) and soulful and deep... rh 001 and rh 003 (mos - utilities) are both essential!! rh 002 is nice as well ;) a new ep by mos is coming this month!! and another mos ep is coming soon on delsin Never heard the Roy Cordu (?) record though, what's that all about? is that out? the track i have on the rh sampler cd is along the lines of very organic, chill broken beat/dnb, very nice but very chill... roy cordu release is somewhat delayed, but will see daylight probably in may the sounds of this new amsterdam talent go more in a boards of canada, smooth idm-ish way to summarize April will see Rushhour releases by Red Nose Distict, Abicah Soul, MOS and Double Helix - Roy Cordu comes shortly after goodbye .. . :: http://nomorewords.net - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] FWD: Letter from Daniel Bell
- Forwarded message from bumtschak2000 [EMAIL PROTECTED] - Date: Wed, 10 Apr 2002 08:12:40 - To: [EMAIL PROTECTED] X-Mailer: Yahoo Groups Message Poster User-Agent: eGroups-EW/0.82 Reply-To: [EMAIL PROTECTED] From: bumtschak2000 [EMAIL PROTECTED] Subject: [minimaltechno] Letter from Daniel Bell Making it's way though illegal MP3 sites, BBC Radio 1 and being played by world famous dj's such as Richie Hawtin and Dj Hell is the new release from Josh Wink Freak (or sometimes listed as Superfreak or Phreek). If it sounds familiar when you hear it is because it bears more than a passing resembelence to Daniel Bell aka DBX Phreak that was originally released on Accelerate records in 1992. Says Bell I've heard many records copy my sound but this is ridiculous. I've known Josh for over 11 years and in my opinion, this is his lowest he's ever gone. He stands to sell hundreds of thousands of records of this release without giving any credit to the original . Please help us make the techno community aware of what is going on. Enclosed a lettter (with minor changes) that was sent to UFA (Daniel Bell's publisher for Phreak): It's a difficult thing to establish when an artist is influenced or is in effect copying another artist. I'm aware that in this age and that in my specific genre of music making that the issue of copying another artist's work has become an even more black and white issue mostly due to the frequency of digital sampling and more specifically the clearing of digital samples. And while digital sampling has made the idea of copying musical ideas less ambiguous and more easily detected than ever before, I find myself in the situation where I feel I have become the target of good old-fashioned copyright infringement. I am writing this in the sincere hope that you will listen without prejudice to the evidence I'm providing to you. Introduction I believe that the recording artist Josh Wink (aka Winx) has knowingly copied arrangements, sounds and production techniques from my own copyright protected work and has failed to acknowledge the source of his success. It is my belief that Wink has developed a pattern of loosely basing his musical structures and arrangements on my own original work. I also believe that his next release Freak is his most daring copy yet of one of my arrangements. [...] 2 History: I have met Josh Wink several times. The first time was in November 1990 in Detroit where I was scheduled to perform as Cybersonik with Richie Hawtin at a nightclub called 1515 Broadway. The performance was canceled hours before it was to start and we only found out when we reached the venue. There was no line-up or crowd waiting to get in, only two people were waiting when we arrived. One of them was a disappointed, then unknown, Josh Wink, who I remember had traveled from Philadelphia to see us and was a big fan of our music. I saw Josh Wink again in 1992 in either Rochester N.Y or Philadelphia PA while on tour again as Cybersonik. The DBX Phreak (the track in question) was released weeks before on my label Accelerate. He was sent a copy of this record from the +8 label directly (the label pressed and distributed my label Accelerate). He said he loved the track Phreak and that he just wished the track was longer - it's approx. 3 and half minutes long (his Freak approx. 5 mins). The next time I had an encounter with Josh Wink was in 1995 just months after I had released my Losing Control record. The record was a huge underground success most notably because it featured a monotone voice repeating the words I'm Losing Control on every bar faded in and out of the song. The effect was similar to a melodic hook in popular music. The entire song was based on the manipulation of the vocal. At the beginning of the arrangement the vocal is introduced with the high frequencies muted and only the audible frequencies are the lower frequencies. As the song progresses more of the high and mid-frequencies are revealed until the whole phrase of I'm Losing Control is audible. The vocal is then manipulated and echoed and then disappears by subtracting the frequencies in the reverse way they were added. To my knowledge, this way of slowly manipulating a frequency filter over a repeated vocal phrase, over the course of an entire track was never done before in dance music prior to this record Josh Wink called, he told me he had a similar track called Don't Laugh that had a laugh instead of the vocal Losing Control that was manipulated and arranged in a similar way. It was strange that Wink had phoned me about this because I had never received a call from him before or since that day. Don't Laugh was released in 1995 and was licensed to several high profile record companies who were able to promote the single into mainstream markets that were not familiar with Losing Control. In contrast, Peacefrog records of the U.K., the original label to release Losing Control froze
RE: [313] FWD: Letter from Daniel Bell
Hi all I don't know if I am alone here but don't most people sample everyone elses melodies, bass lines etc. I mean Ben Sims has had his beatssampled loads of times and he doesn't send out lawyer letters?? Or is this different?? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 10 April 2002 09:41 To: 313@hyperreal.org Subject: [313] FWD: Letter from Daniel Bell - Forwarded message from bumtschak2000 [EMAIL PROTECTED] - Date: Wed, 10 Apr 2002 08:12:40 - To: [EMAIL PROTECTED] X-Mailer: Yahoo Groups Message Poster User-Agent: eGroups-EW/0.82 Reply-To: [EMAIL PROTECTED] From: bumtschak2000 [EMAIL PROTECTED] Subject: [minimaltechno] Letter from Daniel Bell Making it's way though illegal MP3 sites, BBC Radio 1 and being played by world famous dj's such as Richie Hawtin and Dj Hell is the new release from Josh Wink Freak (or sometimes listed as Superfreak or Phreek). If it sounds familiar when you hear it is because it bears more than a passing resembelence to Daniel Bell aka DBX Phreak that was originally released on Accelerate records in 1992. Says Bell I've heard many records copy my sound but this is ridiculous. I've known Josh for over 11 years and in my opinion, this is his lowest he's ever gone. He stands to sell hundreds of thousands of records of this release without giving any credit to the original . Please help us make the techno community aware of what is going on. Enclosed a lettter (with minor changes) that was sent to UFA (Daniel Bell's publisher for Phreak): It's a difficult thing to establish when an artist is influenced or is in effect copying another artist. I'm aware that in this age and that in my specific genre of music making that the issue of copying another artist's work has become an even more black and white issue mostly due to the frequency of digital sampling and more specifically the clearing of digital samples. And while digital sampling has made the idea of copying musical ideas less ambiguous and more easily detected than ever before, I find myself in the situation where I feel I have become the target of good old-fashioned copyright infringement. I am writing this in the sincere hope that you will listen without prejudice to the evidence I'm providing to you. Introduction I believe that the recording artist Josh Wink (aka Winx) has knowingly copied arrangements, sounds and production techniques from my own copyright protected work and has failed to acknowledge the source of his success. It is my belief that Wink has developed a pattern of loosely basing his musical structures and arrangements on my own original work. I also believe that his next release Freak is his most daring copy yet of one of my arrangements. [...] 2 History: I have met Josh Wink several times. The first time was in November 1990 in Detroit where I was scheduled to perform as Cybersonik with Richie Hawtin at a nightclub called 1515 Broadway. The performance was canceled hours before it was to start and we only found out when we reached the venue. There was no line-up or crowd waiting to get in, only two people were waiting when we arrived. One of them was a disappointed, then unknown, Josh Wink, who I remember had traveled from Philadelphia to see us and was a big fan of our music. I saw Josh Wink again in 1992 in either Rochester N.Y or Philadelphia PA while on tour again as Cybersonik. The DBX Phreak (the track in question) was released weeks before on my label Accelerate. He was sent a copy of this record from the +8 label directly (the label pressed and distributed my label Accelerate). He said he loved the track Phreak and that he just wished the track was longer - it's approx. 3 and half minutes long (his Freak approx. 5 mins). The next time I had an encounter with Josh Wink was in 1995 just months after I had released my Losing Control record. The record was a huge underground success most notably because it featured a monotone voice repeating the words I'm Losing Control on every bar faded in and out of the song. The effect was similar to a melodic hook in popular music. The entire song was based on the manipulation of the vocal. At the beginning of the arrangement the vocal is introduced with the high frequencies muted and only the audible frequencies are the lower frequencies. As the song progresses more of the high and mid-frequencies are revealed until the whole phrase of I'm Losing Control is audible. The vocal is then manipulated and echoed and then disappears by subtracting the frequencies in the reverse way they were added. To my knowledge, this way of slowly manipulating a frequency filter over a repeated vocal phrase, over the course of an entire track was never done before in dance music prior to this record Josh Wink called, he told me he had a similar track called Don't Laugh that had a laugh instead of the vocal Losing Control that was manipulated and arranged in a similar way. It was
Re: [313] FWD: Letter from Daniel Bell/Josh Wank
Damn, it seems this Josh Wank guy has a very low ceativity. I actually never liked any of his work. But this Dan Bell story explains it all to me. He's just a cheap copycat! - Original Message - From: [EMAIL PROTECTED] To: 313@hyperreal.org Sent: 10 April, 2002 10:41 AM Subject: [313] FWD: Letter from Daniel Bell - Forwarded message from bumtschak2000 [EMAIL PROTECTED] - Date: Wed, 10 Apr 2002 08:12:40 - To: [EMAIL PROTECTED] X-Mailer: Yahoo Groups Message Poster User-Agent: eGroups-EW/0.82 Reply-To: [EMAIL PROTECTED] From: bumtschak2000 [EMAIL PROTECTED] Subject: [minimaltechno] Letter from Daniel Bell Making it's way though illegal MP3 sites, BBC Radio 1 and being played by world famous dj's such as Richie Hawtin and Dj Hell is the new release from Josh Wink Freak (or sometimes listed as Superfreak or Phreek). If it sounds familiar when you hear it is because it bears more than a passing resembelence to Daniel Bell aka DBX Phreak that was originally released on Accelerate records in 1992. Says Bell I've heard many records copy my sound but this is ridiculous. I've known Josh for over 11 years and in my opinion, this is his lowest he's ever gone. He stands to sell hundreds of thousands of records of this release without giving any credit to the original . Please help us make the techno community aware of what is going on. Enclosed a lettter (with minor changes) that was sent to UFA (Daniel Bell's publisher for Phreak): It's a difficult thing to establish when an artist is influenced or is in effect copying another artist. I'm aware that in this age and that in my specific genre of music making that the issue of copying another artist's work has become an even more black and white issue mostly due to the frequency of digital sampling and more specifically the clearing of digital samples. And while digital sampling has made the idea of copying musical ideas less ambiguous and more easily detected than ever before, I find myself in the situation where I feel I have become the target of good old-fashioned copyright infringement. I am writing this in the sincere hope that you will listen without prejudice to the evidence I'm providing to you. Introduction I believe that the recording artist Josh Wink (aka Winx) has knowingly copied arrangements, sounds and production techniques from my own copyright protected work and has failed to acknowledge the source of his success. It is my belief that Wink has developed a pattern of loosely basing his musical structures and arrangements on my own original work. I also believe that his next release Freak is his most daring copy yet of one of my arrangements. [...] 2 History: I have met Josh Wink several times. The first time was in November 1990 in Detroit where I was scheduled to perform as Cybersonik with Richie Hawtin at a nightclub called 1515 Broadway. The performance was canceled hours before it was to start and we only found out when we reached the venue. There was no line-up or crowd waiting to get in, only two people were waiting when we arrived. One of them was a disappointed, then unknown, Josh Wink, who I remember had traveled from Philadelphia to see us and was a big fan of our music. I saw Josh Wink again in 1992 in either Rochester N.Y or Philadelphia PA while on tour again as Cybersonik. The DBX Phreak (the track in question) was released weeks before on my label Accelerate. He was sent a copy of this record from the +8 label directly (the label pressed and distributed my label Accelerate). He said he loved the track Phreak and that he just wished the track was longer - it's approx. 3 and half minutes long (his Freak approx. 5 mins). The next time I had an encounter with Josh Wink was in 1995 just months after I had released my Losing Control record. The record was a huge underground success most notably because it featured a monotone voice repeating the words I'm Losing Control on every bar faded in and out of the song. The effect was similar to a melodic hook in popular music. The entire song was based on the manipulation of the vocal. At the beginning of the arrangement the vocal is introduced with the high frequencies muted and only the audible frequencies are the lower frequencies. As the song progresses more of the high and mid-frequencies are revealed until the whole phrase of I'm Losing Control is audible. The vocal is then manipulated and echoed and then disappears by subtracting the frequencies in the reverse way they were added. To my knowledge, this way of slowly manipulating a frequency filter over a repeated vocal phrase, over the course of an entire track was never done before in dance music prior to this record Josh Wink called, he told me he had a similar track called Don't Laugh that had a laugh instead of the vocal Losing Control that was manipulated and arranged in a
RE: [313] FWD: Letter from Daniel Bell
I don't know if I am alone here but don't most people sample everyone elses melodies, bass lines etc. well kind of yeah but if he's being completey ripped off that's a different matter surely. I mean Ben Sims has had his beatssampled loads of times and he doesn't send out lawyer letters?? i'd say that beats are a different matter as they are more commonly sampled and ripped from other people (esp. in house, but that as not necessarily a criticism)and don't really consitute the 'character' of the track having said that i haven't heard wink's 'new' track (tho i have all the others referred too, both dan's and wink's) so perhaps i'm not qualified to comment on this :) i'm kinda shocked that wink would do this (couldn't he just have offered a remix? oh wait he'd have to share the credit/cash then) but from the figures given (500,000 copies of 'don't laugh' sold!!) i can see the motivation. robin... -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 10 April 2002 09:41 To: 313@hyperreal.org Subject: [313] FWD: Letter from Daniel Bell - Forwarded message from bumtschak2000 [EMAIL PROTECTED] - Date: Wed, 10 Apr 2002 08:12:40 - To: [EMAIL PROTECTED] X-Mailer: Yahoo Groups Message Poster User-Agent: eGroups-EW/0.82 Reply-To: [EMAIL PROTECTED] From: bumtschak2000 [EMAIL PROTECTED] Subject: [minimaltechno] Letter from Daniel Bell Making it's way though illegal MP3 sites, BBC Radio 1 and being played by world famous dj's such as Richie Hawtin and Dj Hell is the new release from Josh Wink Freak (or sometimes listed as Superfreak or Phreek). If it sounds familiar when you hear it is because it bears more than a passing resembelence to Daniel Bell aka DBX Phreak that was originally released on Accelerate records in 1992. Says Bell I've heard many records copy my sound but this is ridiculous. I've known Josh for over 11 years and in my opinion, this is his lowest he's ever gone. He stands to sell hundreds of thousands of records of this release without giving any credit to the original . Please help us make the techno community aware of what is going on. Enclosed a lettter (with minor changes) that was sent to UFA (Daniel Bell's publisher for Phreak): It's a difficult thing to establish when an artist is influenced or is in effect copying another artist. I'm aware that in this age and that in my specific genre of music making that the issue of copying another artist's work has become an even more black and white issue mostly due to the frequency of digital sampling and more specifically the clearing of digital samples. And while digital sampling has made the idea of copying musical ideas less ambiguous and more easily detected than ever before, I find myself in the situation where I feel I have become the target of good old-fashioned copyright infringement. I am writing this in the sincere hope that you will listen without prejudice to the evidence I'm providing to you. Introduction I believe that the recording artist Josh Wink (aka Winx) has knowingly copied arrangements, sounds and production techniques from my own copyright protected work and has failed to acknowledge the source of his success. It is my belief that Wink has developed a pattern of loosely basing his musical structures and arrangements on my own original work. I also believe that his next release Freak is his most daring copy yet of one of my arrangements. [...] 2 History: I have met Josh Wink several times. The first time was in November 1990 in Detroit where I was scheduled to perform as Cybersonik with Richie Hawtin at a nightclub called 1515 Broadway. The performance was canceled hours before it was to start and we only found out when we reached the venue. There was no line-up or crowd waiting to get in, only two people were waiting when we arrived. One of them was a disappointed, then unknown, Josh Wink, who I remember had traveled from Philadelphia to see us and was a big fan of our music. I saw Josh Wink again in 1992 in either Rochester N.Y or Philadelphia PA while on tour again as Cybersonik. The DBX Phreak (the track in question) was released weeks before on my label Accelerate. He was sent a copy of this record from the +8 label directly (the label pressed and distributed my label Accelerate). He said he loved the track Phreak and that he just wished the track was longer - it's approx. 3 and half minutes long (his Freak approx. 5 mins). The next time I had an encounter with Josh Wink was in 1995 just months after I had released my Losing Control record. The record was a huge underground success most notably because it featured a monotone voice repeating the words I'm Losing Control on every bar faded in and out of the song. The effect was similar to a melodic hook in popular music. The entire song was based on the manipulation of the vocal. At the beginning of the
RE: [313] FWD: Letter from Daniel Bell
er 'his' beat? shouldnt that be ben simms has sampled todd terrys loop on almost every release? (in fact im noteven sure if the loop originates with todd terry or if it goes back further? anyone? its teh one from 'to the batmobile (lets go)' AFAIK) besides that i think the general idea is sampling is not inherently bad. if it is used creatively i dont think there is normally much of a fuss it is only when it is used to grab a loop, and then use that as the sole basis of a track without adding anything new to it. neil :-Original Message- :From: Ian Cheshire [mailto:[EMAIL PROTECTED] :Sent: Wednesday, April 10, 2002 9:48 AM :To: '[EMAIL PROTECTED]'; 313@hyperreal.org :Subject: RE: [313] FWD: Letter from Daniel Bell : : :Hi all : :I don't know if I am alone here but don't most people sample everyone elses :melodies, bass lines etc. : :I mean Ben Sims has had his beatssampled loads of times and he doesn't send :out lawyer letters?? : :Or is this different?? : :-Original Message- :From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] :Sent: 10 April 2002 09:41 :To: 313@hyperreal.org :Subject: [313] FWD: Letter from Daniel Bell : : :- Forwarded message from bumtschak2000 [EMAIL PROTECTED] - : :Date: Wed, 10 Apr 2002 08:12:40 - :To: [EMAIL PROTECTED] :X-Mailer: Yahoo Groups Message Poster :User-Agent: eGroups-EW/0.82 :Reply-To: [EMAIL PROTECTED] :From: bumtschak2000 [EMAIL PROTECTED] :Subject: [minimaltechno] Letter from Daniel Bell : :Making it's way though illegal MP3 sites, BBC Radio 1 and being :played by world famous dj's such as Richie Hawtin and Dj Hell is the new :release from Josh Wink Freak (or sometimes listed :as Superfreak or Phreek). : :If it sounds familiar when you hear it is because it bears more than a :passing resembelence to Daniel Bell aka DBX Phreak that was :originally released on Accelerate records in 1992. : :Says Bell I've heard many records copy my sound but this is :ridiculous. I've known Josh for over 11 years and in my opinion, this is :his lowest he's ever gone. : :He stands to sell hundreds of thousands of records of this release :without giving any credit to the original . Please help us make the :techno community aware of what is going on. : :Enclosed a lettter (with minor changes) that was sent to UFA (Daniel :Bell's publisher for Phreak): : :It's a difficult thing to establish when an artist is influenced or is :in effect copying another artist. I'm aware that in this age and that in :my specific genre of music making that the issue of copying another :artist's work has become an even more black and white issue mostly due :to the frequency of digital sampling and more specifically the clearing :of digital samples. : :And while digital sampling has made the idea of copying musical ideas :less ambiguous and more easily detected than ever before, I find :myself in the situation where I feel I have become the target of good :old-fashioned copyright infringement. : :I am writing this in the sincere hope that you will listen without :prejudice to the evidence I'm providing to you. : :Introduction : :I believe that the recording artist Josh Wink (aka Winx) has :knowingly copied arrangements, sounds and production techniques from my :own copyright protected work and has failed to acknowledge the source of :his success. It is my belief that Wink has developed a :pattern of loosely basing his musical structures and arrangements on my :own original work. I also believe that his next release Freak is his :most daring copy yet of one of my arrangements. [...] : :2 :History: : :I have met Josh Wink several times. The first time was in November 1990 :in Detroit where I was scheduled to perform as Cybersonik with Richie :Hawtin at a nightclub called 1515 Broadway. The performance was :canceled hours before it was to start and we only found out when we :reached the venue. There was no line-up or crowd waiting to get in, only :two people were waiting when we arrived. One of them was a disappointed, :then unknown, Josh Wink, who I remember had traveled from Philadelphia :to see us and was a big fan of our music. : :I saw Josh Wink again in 1992 in either Rochester N.Y or Philadelphia PA :while on tour again as Cybersonik. The DBX Phreak (the track in :question) was released weeks before on my label Accelerate. He was sent :a copy of this record from the +8 label directly (the label :pressed and distributed my label Accelerate). He said he loved the :track Phreak and that he just wished the track was longer - it's :approx. 3 and half minutes long (his Freak approx. 5 mins). : :The next time I had an encounter with Josh Wink was in 1995 just :months after I had released my Losing Control record. The record was a :huge underground success most notably because it featured a monotone :voice repeating the words I'm Losing Control on every bar faded in and :out of the song. The effect was similar to a melodic hook in popular :music. The entire song
Re: [313] FWD: Letter from Daniel Bell/Josh Wank
although I'm yet to hear the track, probably the least Josh Wink could do is pay DBX the mechanical royalties (ie like he's doing a cover of Phreak) especially if he plans to sell 500,000+ copies through some major record company on 10/4/02 7:17 PM, raoul at [EMAIL PROTECTED] wrote: Damn, it seems this Josh Wank guy has a very low ceativity. I actually never liked any of his work. But this Dan Bell story explains it all to me. He's just a cheap copycat! - Original Message - From: [EMAIL PROTECTED] To: 313@hyperreal.org Sent: 10 April, 2002 10:41 AM Subject: [313] FWD: Letter from Daniel Bell - Forwarded message from bumtschak2000 [EMAIL PROTECTED] - Date: Wed, 10 Apr 2002 08:12:40 - To: [EMAIL PROTECTED] X-Mailer: Yahoo Groups Message Poster User-Agent: eGroups-EW/0.82 Reply-To: [EMAIL PROTECTED] From: bumtschak2000 [EMAIL PROTECTED] Subject: [minimaltechno] Letter from Daniel Bell Making it's way though illegal MP3 sites, BBC Radio 1 and being played by world famous dj's such as Richie Hawtin and Dj Hell is the new release from Josh Wink Freak (or sometimes listed as Superfreak or Phreek). If it sounds familiar when you hear it is because it bears more than a passing resembelence to Daniel Bell aka DBX Phreak that was originally released on Accelerate records in 1992. Says Bell I've heard many records copy my sound but this is ridiculous. I've known Josh for over 11 years and in my opinion, this is his lowest he's ever gone. He stands to sell hundreds of thousands of records of this release without giving any credit to the original . Please help us make the techno community aware of what is going on. Enclosed a lettter (with minor changes) that was sent to UFA (Daniel Bell's publisher for Phreak): It's a difficult thing to establish when an artist is influenced or is in effect copying another artist. I'm aware that in this age and that in my specific genre of music making that the issue of copying another artist's work has become an even more black and white issue mostly due to the frequency of digital sampling and more specifically the clearing of digital samples. And while digital sampling has made the idea of copying musical ideas less ambiguous and more easily detected than ever before, I find myself in the situation where I feel I have become the target of good old-fashioned copyright infringement. I am writing this in the sincere hope that you will listen without prejudice to the evidence I'm providing to you. Introduction I believe that the recording artist Josh Wink (aka Winx) has knowingly copied arrangements, sounds and production techniques from my own copyright protected work and has failed to acknowledge the source of his success. It is my belief that Wink has developed a pattern of loosely basing his musical structures and arrangements on my own original work. I also believe that his next release Freak is his most daring copy yet of one of my arrangements. [...] 2 History: I have met Josh Wink several times. The first time was in November 1990 in Detroit where I was scheduled to perform as Cybersonik with Richie Hawtin at a nightclub called 1515 Broadway. The performance was canceled hours before it was to start and we only found out when we reached the venue. There was no line-up or crowd waiting to get in, only two people were waiting when we arrived. One of them was a disappointed, then unknown, Josh Wink, who I remember had traveled from Philadelphia to see us and was a big fan of our music. I saw Josh Wink again in 1992 in either Rochester N.Y or Philadelphia PA while on tour again as Cybersonik. The DBX Phreak (the track in question) was released weeks before on my label Accelerate. He was sent a copy of this record from the +8 label directly (the label pressed and distributed my label Accelerate). He said he loved the track Phreak and that he just wished the track was longer - it's approx. 3 and half minutes long (his Freak approx. 5 mins). The next time I had an encounter with Josh Wink was in 1995 just months after I had released my Losing Control record. The record was a huge underground success most notably because it featured a monotone voice repeating the words I'm Losing Control on every bar faded in and out of the song. The effect was similar to a melodic hook in popular music. The entire song was based on the manipulation of the vocal. At the beginning of the arrangement the vocal is introduced with the high frequencies muted and only the audible frequencies are the lower frequencies. As the song progresses more of the high and mid-frequencies are revealed until the whole phrase of I'm Losing Control is audible. The vocal is then manipulated and echoed and then disappears by subtracting the frequencies in the reverse way they were added. To my knowledge, this way of slowly manipulating a frequency filter
Re: [313] FWD: Letter from Daniel Bell
Hi all I don't know if I am alone here but don't most people sample everyone elses melodies, bass lines etc. I think most people is an exaggeration of biblical proportions I mean Ben Sims has had his beatssampled loads of times and he doesn't send out lawyer letters?? Maybe they weren't his in the first place :) Or is this different?? Jason Brunton Iridite -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 10 April 2002 09:41 To: 313@hyperreal.org Subject: [313] FWD: Letter from Daniel Bell - Forwarded message from bumtschak2000 [EMAIL PROTECTED] - Date: Wed, 10 Apr 2002 08:12:40 - To: [EMAIL PROTECTED] X-Mailer: Yahoo Groups Message Poster User-Agent: eGroups-EW/0.82 Reply-To: [EMAIL PROTECTED] From: bumtschak2000 [EMAIL PROTECTED] Subject: [minimaltechno] Letter from Daniel Bell Making it's way though illegal MP3 sites, BBC Radio 1 and being played by world famous dj's such as Richie Hawtin and Dj Hell is the new release from Josh Wink Freak (or sometimes listed as Superfreak or Phreek). If it sounds familiar when you hear it is because it bears more than a passing resembelence to Daniel Bell aka DBX Phreak that was originally released on Accelerate records in 1992. Says Bell I've heard many records copy my sound but this is ridiculous. I've known Josh for over 11 years and in my opinion, this is his lowest he's ever gone. He stands to sell hundreds of thousands of records of this release without giving any credit to the original . Please help us make the techno community aware of what is going on. Enclosed a lettter (with minor changes) that was sent to UFA (Daniel Bell's publisher for Phreak): It's a difficult thing to establish when an artist is influenced or is in effect copying another artist. I'm aware that in this age and that in my specific genre of music making that the issue of copying another artist's work has become an even more black and white issue mostly due to the frequency of digital sampling and more specifically the clearing of digital samples. And while digital sampling has made the idea of copying musical ideas less ambiguous and more easily detected than ever before, I find myself in the situation where I feel I have become the target of good old-fashioned copyright infringement. I am writing this in the sincere hope that you will listen without prejudice to the evidence I'm providing to you. Introduction I believe that the recording artist Josh Wink (aka Winx) has knowingly copied arrangements, sounds and production techniques from my own copyright protected work and has failed to acknowledge the source of his success. It is my belief that Wink has developed a pattern of loosely basing his musical structures and arrangements on my own original work. I also believe that his next release Freak is his most daring copy yet of one of my arrangements. [...] 2 History: I have met Josh Wink several times. The first time was in November 1990 in Detroit where I was scheduled to perform as Cybersonik with Richie Hawtin at a nightclub called 1515 Broadway. The performance was canceled hours before it was to start and we only found out when we reached the venue. There was no line-up or crowd waiting to get in, only two people were waiting when we arrived. One of them was a disappointed, then unknown, Josh Wink, who I remember had traveled from Philadelphia to see us and was a big fan of our music. I saw Josh Wink again in 1992 in either Rochester N.Y or Philadelphia PA while on tour again as Cybersonik. The DBX Phreak (the track in question) was released weeks before on my label Accelerate. He was sent a copy of this record from the +8 label directly (the label pressed and distributed my label Accelerate). He said he loved the track Phreak and that he just wished the track was longer - it's approx. 3 and half minutes long (his Freak approx. 5 mins). The next time I had an encounter with Josh Wink was in 1995 just months after I had released my Losing Control record. The record was a huge underground success most notably because it featured a monotone voice repeating the words I'm Losing Control on every bar faded in and out of the song. The effect was similar to a melodic hook in popular music. The entire song was based on the manipulation of the vocal. At the beginning of the arrangement the vocal is introduced with the high frequencies muted and only the audible frequencies are the lower frequencies. As the song progresses more of the high and mid-frequencies are revealed until the whole phrase of I'm Losing Control is audible. The vocal is then manipulated and echoed and then disappears by subtracting the frequencies in the reverse way they were added. To my knowledge, this way of slowly manipulating a frequency filter over a repeated vocal phrase, over the course of an entire track was
[313] Sampling (was:FWD: Letter from Daniel Bell)
While were on the subject of sampling is there a website where one can find and contribute to spotting samples? i discovered the guitar riff used in that commercial dance track that had the video with the punk concert - the song that has just keep walking shouted in the chorus (btw if someone can identify that track for meit would be a favour) thanks fab. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] FWD: Letter from Daniel Bell
If it sounds familiar when you hear it is because it bears more than a passing resembelence to Daniel Bell aka DBX Phreak that was originally released on Accelerate records in 1992. can anyone point me to a mp3 snippet of the tune so i can make my own mind up? had a hunt around and had no joy. cheers robin... - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Sampling (was:FWD: Letter from Daniel Bell)
www.samplespotter.com :-Original Message- :From: Fabrizio Nahum [mailto:[EMAIL PROTECTED] :Sent: Wednesday, April 10, 2002 10:26 AM :To: 313@hyperreal.org :Subject: [313] Sampling (was:FWD: Letter from Daniel Bell) : : :While were on the subject of sampling is there a website where one can find :and contribute to spotting samples? : :i discovered the guitar riff used in that commercial dance track that had :the video with the punk concert - the song that has just keep walking :shouted in the chorus (btw if someone can identify that track for meit :would be a favour) : :thanks :fab. : : :- :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]
[313] translation needed (from German)
Hi 313 Once again those nice guys at De:Bug have provided me with a review of the latest Digital SOul release and once again its completley illegibale when translated using online tools. If anyone can provide me with a translation of the below text I will be eternally grateful. Regards [EMAIL PROTECTED] 4 sehr sweete leichte Detroittracks mit viel webenden Chords, knallig guten Roland Drumpattern und relaxt dahingleitender Seeligkeit. Wer diesen Sound liebt, der wird die Platte eh mögen, andere sich erinnert fühlen, manche einfach nur bezaubert sein von dem schlichten klaren Gleiten dieses Sounds, das Carr durch und durch beherrscht. Tatsächlich findet man in diesen 4 Tracks die Stimmung wieder, die Anfang der 90er in England geherrscht hat, dieses leichte im Umgang mit den eher deepen US Vorbildern, das im Club genau so leicht läuft wie zuhause. Sehr schön. Darek Carr übrigens ist aus Irland, und macht dort sein eigenes Label Trident, nachdem man mal suchen sollte. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] FWD: Letter from Daniel Bell
here we go... W -- The information in this Internet email is confidential and may be legally privileged. It is intended solely for the addressee. Access to this Internet email by anyone else is unauthorised. If you are not the intended recipient, any disclosure, copying, distribution or any action taken or omitted to be taken in reliance on it, is prohibited and may be unlawful. When addressed to our clients any opinions or advice contained in this Internet email are subject to the terms and conditions expressed in any applicable governing ING terms of business or client engagement letter. Visit us at www.ing.com -- - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] FWD: Letter from Daniel Bell
I've heard the Wink track and at the time thought it was just him doing exactly what he's done on previous successful cuts - set a pattern going, including a 'catchy' phrase, and then tweak as it goes along to build the 'intensity': see also 'How's Your Evening So Far?', that acid one he did on Strictly and several others - which I think is just repeating yourself again and again, and pretty lazy really. I hadn't made the connection with Dan Bell's track, but now he comes to mention it, I have to say I think he has a point. I don't blame Bell at all for standing up for himself. I bet Bell agonised over whether to go public on this, too: no-one wants to look like a sour whinger. Or maybe I'm just inclined towards Bell because I've met and liked him and always liked his music too, wheras I have always been very unimpressed with Wink's work - did anyone hear his LP (there may be more, but I've only heard one)? Tosh, it was. To me, Wink is a one-trick pony. TOM - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] Fw: This Is Not The 80's
THIS IS NOT THE 80'S a nu-wave electro compilation ARTIST: VARIOUS TITLE: THIS IS NOT THE 80'S LABEL: INCredible FORMAT: Double CD CAT NO: 5079832 RELEASE: 10 JUNE 2002 Featuring 40 nu-wave electro classics from MISS KITTIN THE HACKER / I-F / SVEN VATH ANTHONY ROTHER / ADULT. * / DOPPLEREFFEKT / JOLLY MUSIC / RADIOACTIVE MAN / AUX 88 / STERIL / FPU / ELLEN ALLIEN / CARL FINLOW / DEXTER / DETROIT GRAND PUBAHS / DAKAR GRINSER / ALEXANDER ROBOTNIK** and many more How many times can I scream, declared the man who for many is seen as the key catalyst of the nu-wave electro sound, International Deejay Gigolo main man, Hell, recently in i-D magazine. This is not about the 80's. Of course he's right. There's 60's pop chic, 70's acid cosmology and P-funk, 90's techno and breakbeat and fashion thievery from every decade since the turn of the 20th century. The 80's have a part to play in the jigsaw just like everything else only it's stamp is more obvious, its stench more recognisable. It's odour still fresh in the formative years of the perpetrators of now. You only have to hear Miss Kittin The Hacker's (French duo Caroline Herve and Michel Amato) cover of Eurythmics' 'Sweet Dreams' to see where the early eighties boom of synthesized pop left its mark. But this is not the same. The influences are different be it social, political or musical. There's more at stake here than mere retro revision. The past always has a part to play in the future so in many respects it has turned full cycle. But this is many pasts and many futures and many different interpretations. The sound is spreading. It's in the clubs, on the radio and on the catwalk. With a new wave of no-wave, a crash course in electroclash and a pinch of perfect pop it could even be in the charts. A global web of unique individuals is currently spreading, meshing sounds and uniting styles into hybrid strands of the cross-pollinated sonic zeitgeist. They wear different clothes, have different ideas and don't even speak the same language yet there's undeniably a connection being made to some misty-eyed golden era when fashion, music and individuality hailed a new style of expression. New romanticism, electro-pop, Italo Disco and the once seemingly time-trapped swirl of electro that all appeared to both flash and burn by the late eighties self declared year zero of freaky dancing have been stealthily re-building a creative revenge of the self since the mid 90's. And for many the sounds never left the stereo. Opening a new music chapter that in part echoes the subversive shockwave detonated by Detroit techno, Drexciyan wave-jumpers and UR commandos in a skeletal, man-machine continuation of Kraftwerk's cold-wired utopia. Part pop romanticism that harks back to a golden era of individual expressionism set against a backdrop of small town alienation (see Human League, Depeche Mode, Soft Cell et al); part late 70's / early 80's Italo Disco robo-camp (Mr. Flagio, Gina Soccio and Klein MBO); part Miami and Chicago Booty shake (2 Live Crew, Magic Mike, DJ International) and part straight up B Boy headspin (Newcleus, Hashim Fresh Five Crew), electro is in the broadest sense the seemingly most appropriate term that gels the current wave of new electronic ideas taking shape in the context of this compilation. The rough edges of 90's bedroom programming have been polished into shiny pop gems (DMX Krew, Tiga Zyntherius, Dakar Grinser, Fischerspooner) that are now predicted to challenge the manufactured teen product's stranglehold on the Top 40. Whilst some openly celebrate the banal and superficiality of pop and embrace it as an artform in itself, others shun the spotlight and work clandestinely in the shadows. From multi-media concepts such as COUM Transmissions, the Fluxus movement and the Art Nouveau spawned at the turn of the 20th century the image became a means of conveying the message. Fischerspooner's camp tomfoolery may have nothing to do with underwater Drexciyan, afro-mythology yet in the musical amphitheatre these two seemingly disparate worlds collide. Electro is the key. With so many individual ideas, images and sounds it could be dangerous to pigeonhole a new movement, yet electro of all labels, appears to span the broadest and most encompassing range. On this compilation you will hear this range in it's broadest sense of the nu-wave: from techno, bass and pop to robo-disco and other mutant forms. As I-f's Ferenc (the man who's 'Space Invaders Are Smoking Grass' classic is often pin-pointed as spearheading the world's interest in the new Disko/Electro sound succinctly concludes. There's a f**king new school coming up. This is not about the 80's. It's about NOW. *Please note: 'Nausea' by Adult. will appear on the finished CD. **Alexander Robotnik - 'Problems D'Amour' although made in 1983 still remains as fresh sounding as it did some twenty years ago. A seminal piece of Italo-future vision it is one of the most influential electronic
Re: [313] FWD: Letter from Daniel Bell
** Entertainment UK Limited Registered Office: 243 Blyth Road, Hayes, Middlesex UB3 1DN. Registered in England Numbered 409775 This e-mail is only intended for the person(s) to whom it is addressed and may contain confidential information. Unless stated to the contrary, any opinions or comments are personal to the writer and do not represent the official view of the company. If you have received this e-mail in error, please notify us immediately by reply e-mail and then delete this message from your system. Please do not copy it or use it for any purposes, or disclose its contents to any other person. Thank you for your co-operation. ** I have always been very unimpressed with Wink's work I second that, his DJ sets aren't anything to write home about either - flat, soul-less too much of that acid sound that's just dry now. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] DREXCIYA Interview at Technotourist.org
As the final interview of our electrospecial we have put up the interview I did with James Stinson of Drexciya in February. Here's the link: http://technotourist.org/modules.php?op=modloadname=Sectionsfile=indexreq=viewarticleartid=15 Enjoy and let us hear your thoughts, John Osselaer [EMAIL PROTECTED] http://www.technotourist.org Special thanks to Jason Brunton for checking up on my English. After all, this is the first English interview I wrote out in article form. _ Join the worlds largest e-mail service with MSN Hotmail. http://www.hotmail.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] Test Message - Ignore
** Entertainment UK Limited Registered Office: 243 Blyth Road, Hayes, Middlesex UB3 1DN. Registered in England Numbered 409775 This e-mail is only intended for the person(s) to whom it is addressed and may contain confidential information. Unless stated to the contrary, any opinions or comments are personal to the writer and do not represent the official view of the company. If you have received this e-mail in error, please notify us immediately by reply e-mail and then delete this message from your system. Please do not copy it or use it for any purposes, or disclose its contents to any other person. Thank you for your co-operation. ** Testing - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] sound | noise | music
hia been very out of touch lately (i used to send out an update now and then about new motion reviews) ... most of you have probably heard of motion (http://motion.state51.co.uk/). however, motion has recently 'evolved' into 'sound noise music', abbreviated to sonomu - http://sonomu.net/ - the new home and name(s) for motion (call it nomuso, or somuno, the URLs still work). motion's content lives on through sonomu as do the well loved mailings- 'the filter', david cotner's 'actions' and so on, but there's added information, functions and benefits to members. and in the near future sonomu will develop into a really useful (as well as thought-provoking, entertaining and informative) space for those who're passionate about discovering or promoting new music than motion was previously able. if you're an artist or a label this includes the option of upgrading your membership to put your entire discography online for purchase through state51's greedbag shop network sorting out your own mailing lists and creating a presence for yourself within a welcoming environment where everybody who visits (it's members only) is curious to find out about and obtain new and interesting sounds. i won't tire you with more detail right now (it would end up a very long mail!), but please do check it out - and any questions or suggestions you have about it please reply to me or mail your enquiry to [EMAIL PROTECTED] (there are also feedback forms etc on site) we're putting in place a series of events to herald the new site - our third event is our monthly night at london's embassy - next one 18th april - why not come down and find out more about us! cheers susanna http://sonomu.net/ -=-==-=-==-=--==-=--==-=- sonomu presents...#003 -=-==-=-==-=--==-=--==-=- the third sonomu event is on thursday 18 april in association with 'eat your own ears': special guest KONE-R FROM UNCHARTED AUDIO plus SONOMU residents exploring the finest new music time: 7pm-11pm cost: admission free place: the embassy bar 119 essex road, islington, london, n1 -=-==-=-==-=--==-=--==-=- -=-==-=-==-=--==-=--==-=- the latest reviews on sonomu include: NEON GOLDEN The Notwist Fine rock bands are a rare thing these days, so the Notwist ought to be cherished... says chris rose COME GET IT I GOT IT David Holmes 'Come Get It' would be a big bad dark blaxploitation bad trip kind of film... says chris rose CRASHING AEROPLANES Ammer, Einheit Through found dialogue recordings of airline crashes, Ammer and Einheit examine those rare instances when ordinary life becomes chillingly unreal says michael woodring SOURCE TAGS CODES ...And You Will Know Us By the Trail Of Dead Although now on a major label, Trail of Dead hasn't compromised the melancholic ferocity of their past material says michael woodring OUR NOISE Herrmann Kleine Head and shoulders above your average synth pop numbers, lush little synth melodies flow effortlessly over tonka trunk beats... says thorsten sideb0ard NAIMA Vladislav Delay a fine experimental piece from someone who seems to derive endless enjoyment by worrying the capacity of his machinery... says stephen fruitman http://sonomu.net/ -- _ state51 conspirator: http://state51.co.uk/ http://sonomu.net/ : your sound.noise. music. http://skam.com/ : foggy beats and misty melodies - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] Underground Committee Forced to Pull Webcast
Unfortunately due to the pending issues with webcasting lincensing, Underground Committee is forced to pull all streams from it's site. Underound Committee is an independent organization who set out to give you quality Underground Music, thats all gone now. We can't afford the fees. It all started with BMI. After numerous attempts to contact us, they finally decided to just mail us the contract. The Bullshit they want us to believe: Webcasting CARP: What's All The Fuss About? Who is it? Three-person Copyright Arbitration Royalty Panel (CARP) appointed by the U.S. Copyright Office. What is it? The CARP submitted a report to the Copyright Office recommending royalty rates to be paid by webcasters and simulcasters (i.e. FCC-licensed broadcasters that simultaneously retransmit on the Internet) to artists and copyright holders. When? The proposed rates were submitted on February 20, 2002; The Copyright Office must rule on the rates by the end of May 2002. What's the issue? In recent weeks, the CARP rates have become the subject of an intense misinformation and propaganda campaign (so called grassroots but really ginned up by sophisticated lobbyists in D.C.) -- waged through the news media, emails to Capitol Hill and numerous Internet sites. The goal is to scare non-commercial webcasters - including college radio stations and so-called hobbyists - and their members of Congress into thinking that the CARP rates are going to drive non-commercial webcasters out of business. The RIAA's Position On CARP Rates Contrary to what has been reported in the news media and circulated on the Internet, the RIAA and its member companies want ALL webcasters, large and small, to succeed. Unlike terrestrial broadcasters, webcasters - particularly non-commercial webcasters - provide a much-needed outlet for musical diversity (i.e., by providing airplay for new artists, artists with a niche following and artists who play unusual genres of music). Webcasting also represents an important and growing source of revenue for record labels, as well as for artists and performers. The CARP rates will enable webcasters to thrive. Contrary to press reports, the evidence strongly suggests that many of the non-commercial webcasters who think the CARP rates will put them out of busines will actually only be required to pay the minimum (and minimal) annual fee of $500. How could our royalty calculations differ so dramatically from the claims of webcasters? Non-commercial webcasters (like a hobbyist) are the targets of a well-orchestrated misinformation campaign. Most of the fee projections reported in the news media make the erroneous assumption that every listener who ever logs into a given non-commercial webcast remains logged into the site 24 hours per day, 7 days per week, 365 days per year. This assumes that no one ever logs off and listeners only visit that particular site. While no one can say for sure what the actual listener's time is, the notion that they stayed logged on 24 hours a day, 7 days a week, is preposterous and the subject of gross exaggerations. We recognize and appreciate that non-commercial broadcasters are a special class of web radio; the rates should accordingly reflect that. We would welcome the opportunity to negotiate a solution. Artists and labels are entitled to be paid for their work-the music recordings on which webcasting businesses are being built. Artists and record companies deserve to be rewarded for the creative contributions that webcasters utilize to build their businesses. Webcasters have many costs, but one of the least expensive is the music that is the foundation of their business. Musicians and artists should not be forced to subsidize the profit margin of webcasters like MTV, Microsoft, AOL TimeWarner and others. The minimum fees are like this: CARP: $500.00 ASCAP: $264.00 BMI: $250.00 Total Fee: $1,014.00 per year On Behalf of Underground Committee and all the Artist, Labels and DJ's represented, we thank you for all your support. The Underground Committee Staff For more info please log-on to: http://www.undergroundcommittee.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] DREXCIYA interview @ technotourist.org
there's even an explanation of why some of their tracks fade-in on that interview (they record stuff 'live') so check it out... and before anyone starts up that thread againDON'T, just direct your time toward reading the article... :) robin... Check: http://technotourist.org/modules.php? op=modloadname=Sectionsfile=indexreq=viewarticleartid=15 Or got to: http://technotourist.org and go to 'interviews' and select Drexciya. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] FWD: Letter from Daniel Bell
robin: can anyone point me to a mp3 snippet of the tune so i can make my own mind up? Josh Wink's Freak and Super Freak (which appear to be the same track) and Dan's Superphreak are all currently available on Audiogalaxy. rob _ Send and receive Hotmail on your mobile device: http://mobile.msn.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Underground Committee Forced to Pull Webcast
This is really sad news. And not just because it means my mix isn't up any more ;) I don't know how many records I have bought after hearing them on mixes online, but I wouldn't be surprised if it's into triple figures. Ironically, these fees are supposed to protect the artist, but it seems to me it's as wrongheaded as the musicians union's old campaign to keep music live. Quite a few people on this list run their own labels, and I'd be interested in whether they think they earn more from ASCAP and BMI fees than sales prompted by internet broadcasting in it's myriad forms. Obviously those sales are a hard thing to quantify but ask how many sites can afford those fees of over $1000 a year? And of those that can, how many are going to be playing obscure music released on labels that, at best, can be said to form a cottage industry and are, more frequently, a labour of love? Not many, I'd imagine. See what you can do at http://saveinternetradio.org Jonny Unfortunately due to the pending issues with webcasting lincensing, Underground Committee is forced to pull all streams from it's site. Underound Committee is an independent organization who set out to give you quality Underground Music, thats all gone now. We can't afford the fees. It all started with BMI. After numerous attempts to contact us, they finally decided to just mail us the contract. -- -- The Bullshit they want us to believe: Webcasting CARP: What's All The Fuss About? Who is it? Three-person Copyright Arbitration Royalty Panel (CARP) appointed by the U.S. Copyright Office. What is it? The CARP submitted a report to the Copyright Office recommending royalty rates to be paid by webcasters and simulcasters (i.e. FCC-licensed broadcasters that simultaneously retransmit on the Internet) to artists and copyright holders. When? The proposed rates were submitted on February 20, 2002; The Copyright Office must rule on the rates by the end of May 2002. What's the issue? In recent weeks, the CARP rates have become the subject of an intense misinformation and propaganda campaign (so called grassroots but really ginned up by sophisticated lobbyists in D.C.) -- waged through the news media, emails to Capitol Hill and numerous Internet sites. The goal is to scare non-commercial webcasters - including college radio stations and so-called hobbyists - and their members of Congress into thinking that the CARP rates are going to drive non-commercial webcasters out of business. The RIAA's Position On CARP Rates Contrary to what has been reported in the news media and circulated on the Internet, the RIAA and its member companies want ALL webcasters, large and small, to succeed. Unlike terrestrial broadcasters, webcasters - particularly non-commercial webcasters - provide a much-needed outlet for musical diversity (i.e., by providing airplay for new artists, artists with a niche following and artists who play unusual genres of music). Webcasting also represents an important and growing source of revenue for record labels, as well as for artists and performers. The CARP rates will enable webcasters to thrive. Contrary to press reports, the evidence strongly suggests that many of the non-commercial webcasters who think the CARP rates will put them out of busines will actually only be required to pay the minimum (and minimal) annual fee of $500. How could our royalty calculations differ so dramatically from the claims of webcasters? Non-commercial webcasters (like a hobbyist) are the targets of a well-orchestrated misinformation campaign. Most of the fee projections reported in the news media make the erroneous assumption that every listener who ever logs into a given non-commercial webcast remains logged into the site 24 hours per day, 7 days per week, 365 days per year. This assumes that no one ever logs off and listeners only visit that particular site. While no one can say for sure what the actual listener's time is, the notion that they stayed logged on 24 hours a day, 7 days a week, is preposterous and the subject of gross exaggerations. We recognize and appreciate that non-commercial broadcasters are a special class of web radio; the rates should accordingly reflect that. We would welcome the opportunity to negotiate a solution. Artists and labels are entitled to be paid for their work-the music recordings on which webcasting businesses are being built. Artists and record companies deserve to be rewarded for the creative contributions that webcasters utilize to build their businesses. Webcasters have many costs, but one of the least expensive is the music that is the foundation of their business. Musicians and artists should not be forced to subsidize the profit margin of webcasters like MTV, Microsoft, AOL TimeWarner and others. The minimum fees are like this: CARP: $500.00 ASCAP: $264.00 BMI: $250.00 Total Fee:
Re: [313] DREXCIYA Interview at Technotourist.org
finally the mist has lifted.* ;) well, it's been fun keeping the secret ... -d *assuming everyone knows the other half At 1:15 PM +0200 4/10/2002, John Osselaer wrote: As the final interview of our electrospecial we have put up the interview I did with James Stinson of Drexciya in February. Here's the link: http://technotourist.org/modules.php?op=modloadname=Sectionsfile=indexreq=viewarticleartid=15 Enjoy and let us hear your thoughts, John Osselaer [EMAIL PROTECTED] http://www.technotourist.org Special thanks to Jason Brunton for checking up on my English. After all, this is the first English interview I wrote out in article form. _ Join the worlds largest e-mail service with MSN Hotmail. 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]
Re: [313] Underground Committee Forced to Pull Webcast
Quite a few people on this list run their own labels, and I'd be interested in whether they think they earn more from ASCAP and BMI fees than sales prompted by internet broadcasting in it's myriad forms. Obviously those sales are a hard thing to quantify but ask how many sites can afford those fees of over $1000 a year? And of those that can, how many are going to be playing obscure music released on labels that, at best, can be said to form a cottage industry and are, more frequently, a labour of love? Not many, I'd imagine. Sorry, it's the artist who gets the ASCAP/BMI fees isn't it. The new CARP fees are supposed to go to the labels. Notice that these are to be levied against internet broadcasting only, implying that it's really distribution control that is at stake here. I think, personally, that that whole perfect digital copy argument against the internet is redundant, but, IMHO at least, similar arguments hold against ASCAP/BMI. So, sorry if above I conflate the two, but I think they are both aspects of the same stupidity. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] DREXCIYA Interview at Technotourist.org
Special thanks to Jason Brunton for checking up on my English. You let a Glaswegian check your English!? Bad idea! ;-) Sean. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] 313 UK meet up for Metropolis ?
Are any UK or London based 313'ers going to the Metropolis screening on May 1st? If so, it might be worth having an impromptu meet-up - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] DREXCIYA Interview at Technotourist.org
Special thanks to Jason Brunton for checking up on my English. You let a Glaswegian check your English!? Bad idea! ;-) Sean. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Whit ur ye tryun tae say ya wee bam?? Jason Brunton Iridite - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] 313 UK meet up for Metropolis ?
Toby: Are any UK or London based 313'ers going to the Metropolis screening on May 1st? If so, it might be worth having an impromptu meet-up barring any last minute panics at work, i'll be there! any suggestions on a place/time to meet? rob _ Send and receive Hotmail on your mobile device: http://mobile.msn.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] Re: The Future of Underground Music and the Internet
the other thing that might be possible is to solicit permission directly from the copyright holders themselves. There are many independent and small labels in our music, it would take work but they might all sign off on their entire catalog for you. Lester Kenyatta Spence writes: On Wed, 10 Apr 2002, Javier Drada wrote: Unfortunately due to the pending issues with webcasting lincensing, Underground Committee is forced to pull all streams from it's site. Underound Committee is an independent organization who set out to give you quality Underground Music, thats all gone now. We can't afford the fees. It all started with BMI. After numerous attempts to contact us, they finally decided to just mail us the contract. This is a sad day in the history of underground music. For many of us the only way we can here the music that keeps us alive and sane is through sites like undergroundcommittee.com. But don't get it twisted. We can do something about this. It may take a while, but we shouldn't be so caught up in our sadness that we don't ACT. If you have not done so already contact your congressperson (in the case of Americans), or DO SOMETHING. Write a letter to the editor...write an editorial. Organize DJ's, have them contribute a few dollars to an ad fund then place an ad in your local paper. There are a number of possible activities to engage in. Do SOMETHING. Because on one level this is about the undegroundcommittee's phat website. On another level, this is about saving our music and our music's culture. But on yet a larger level this is about the freedom of information and democratic discourse. No bullshit. peace lks - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] -- fix.er \'fik-s*r\ n : one that fixes : as : one that intervenes to enable a person to circumvent the law or obtain a political favor : one that adjusts matters or disputes by negotiation - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] What UndergroundCommittee.com represents
I sent a long post that got jacked...so I'm just including a link. This article gets at the long view... THIS is what we're fighting against. http://www.foreignpolicy.com/issue_novdec_2001/lessig.html PLEASE READ and FORWARD. peace lks - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Re: The Future of Underground Music and the Internet
On Wed, 10 Apr 2002 [EMAIL PROTECTED] wrote: Or perhaps it will create a new mode of performance, where people effectively perform live PAs of their own music over web radio? But it's true that someone might be able to motivate a group of label owners to form a consortium (similar to the way BMI emerged as a reaction to ASCAP's draconian control over analog broadcast of its artists' music), which allows its music to be digitally broadcast on the web. If a large number of underground labels openly supported an initiative like that, we could keep our decent, underground, web radio, sticking only to the labels who are members of the consortium (sticking two fingers up to the majors, whose releases would never be played on underground radio at all). I think the DMCA is bankrupt, and is part of a larger movement to privatize information and the web. With that said though, this might be an interesting strategy. But this is the question, and Javier might be the best person to answer this. With DJ sets, dj's aren't playing whole songs...just bits of them in most cases. Let's say we tried Brendan's strategy and it was successful...would DJ's be confined to playing songs from the new consortium? peace lks - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] Brinkman on Peel
evening! did any of the UK 313'ers record the Thomas Brinkman (Soul Centre) set on John Peel last nite (tue 9th april) and just to keep 313 content, John's also got a special piece on Detroit: http://www.bbc.co.uk/radio1/documentaries/detroit_jan2002.shtml its 1/2 hr long and features Kevin Saunderson, Jeff Mills, Iggy Pop, MC5 etc jason - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] OT: rip, rig and panic (was: 23 Skidoo/ACR)
speaking of rip, rig and panic, is anyone here familiar with float-up cp? I'm a huge pop group/rip rig panic/pigbag/new age steppers fan but have found NO float-up cp records. If anyone knows of in-print CD comps with some float-up cp let me know - I've had no luck finding the vinyl after 10 years of looking... mark p.s. anyone in chicago that is into this kind of music that is looking to play in a band that is in this vein please say 'hi' off list. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] FWD: Letter from Daniel Bell
peoples u r forgeting on thing ,dan bell was not talking about sampling his music. or whatever i mean if u sample losing control and make something new out of it i am sure he will have no problem. i think that he ment to say that winx stole his ideas and arrengment or whatever, and this is the problem i did not get to listen to mr. winks music but from what i know i am sure there`s something in what DBX says cheers and beers Yair. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Wednesday, April 10, 2002 10:41 AM To: 313@hyperreal.org Subject: [313] FWD: Letter from Daniel Bell - Forwarded message from bumtschak2000 [EMAIL PROTECTED] - Date: Wed, 10 Apr 2002 08:12:40 - To: [EMAIL PROTECTED] X-Mailer: Yahoo Groups Message Poster User-Agent: eGroups-EW/0.82 Reply-To: [EMAIL PROTECTED] From: bumtschak2000 [EMAIL PROTECTED] Subject: [minimaltechno] Letter from Daniel Bell Making it's way though illegal MP3 sites, BBC Radio 1 and being played by world famous dj's such as Richie Hawtin and Dj Hell is the new release from Josh Wink Freak (or sometimes listed as Superfreak or Phreek). If it sounds familiar when you hear it is because it bears more than a passing resembelence to Daniel Bell aka DBX Phreak that was originally released on Accelerate records in 1992. Says Bell I've heard many records copy my sound but this is ridiculous. I've known Josh for over 11 years and in my opinion, this is his lowest he's ever gone. He stands to sell hundreds of thousands of records of this release without giving any credit to the original . Please help us make the techno community aware of what is going on. Enclosed a lettter (with minor changes) that was sent to UFA (Daniel Bell's publisher for Phreak): It's a difficult thing to establish when an artist is influenced or is in effect copying another artist. I'm aware that in this age and that in my specific genre of music making that the issue of copying another artist's work has become an even more black and white issue mostly due to the frequency of digital sampling and more specifically the clearing of digital samples. And while digital sampling has made the idea of copying musical ideas less ambiguous and more easily detected than ever before, I find myself in the situation where I feel I have become the target of good old-fashioned copyright infringement. I am writing this in the sincere hope that you will listen without prejudice to the evidence I'm providing to you. Introduction I believe that the recording artist Josh Wink (aka Winx) has knowingly copied arrangements, sounds and production techniques from my own copyright protected work and has failed to acknowledge the source of his success. It is my belief that Wink has developed a pattern of loosely basing his musical structures and arrangements on my own original work. I also believe that his next release Freak is his most daring copy yet of one of my arrangements. [...] 2 History: I have met Josh Wink several times. The first time was in November 1990 in Detroit where I was scheduled to perform as Cybersonik with Richie Hawtin at a nightclub called 1515 Broadway. The performance was canceled hours before it was to start and we only found out when we reached the venue. There was no line-up or crowd waiting to get in, only two people were waiting when we arrived. One of them was a disappointed, then unknown, Josh Wink, who I remember had traveled from Philadelphia to see us and was a big fan of our music. I saw Josh Wink again in 1992 in either Rochester N.Y or Philadelphia PA while on tour again as Cybersonik. The DBX Phreak (the track in question) was released weeks before on my label Accelerate. He was sent a copy of this record from the +8 label directly (the label pressed and distributed my label Accelerate). He said he loved the track Phreak and that he just wished the track was longer - it's approx. 3 and half minutes long (his Freak approx. 5 mins). The next time I had an encounter with Josh Wink was in 1995 just months after I had released my Losing Control record. The record was a huge underground success most notably because it featured a monotone voice repeating the words I'm Losing Control on every bar faded in and out of the song. The effect was similar to a melodic hook in popular music. The entire song was based on the manipulation of the vocal. At the beginning of the arrangement the vocal is introduced with the high frequencies muted and only the audible frequencies are the lower frequencies. As the song progresses more of the high and mid-frequencies are revealed until the whole phrase of I'm Losing Control is audible. The vocal is then manipulated and echoed and then disappears by subtracting the frequencies in the reverse way they were added. To my knowledge, this way of slowly manipulating a frequency filter over a repeated vocal phrase, over the course of an entire track was never done before in dance
[313] greening of detroit speaker (local only)
someone from the bogg center is going to speaking at the green party headquarters tonight at 7pm i thought i would post it in case people local were interested in this project, i cut and pasted an article about it below..i'm also going to do a short talk on radio mutiny in case anyone wants to come laugh at me ;) -k on a josh wink-313 note i remember dave walker a few years ago got me tickets to some event here and i wanted to send him a record to thank him..i went into 611 and told them his tastes (i didn't even know who wink _was_ then i don't think so i didn't know any better) and they gave me one of his records (!? ) ..i would like to take this opportunity dave to apologize for sending you such a lousy record :/ it was born of ignorance :) On Detroits east side, in neighborhoods where vacant lots and burned-out shells of former homes dominate the landscape, a radical vision is emerging. It is a futuristic view of urban redevelopment that draws heavily upon the past. It goes by the name Adamah (Ah-da-ma). The word has a biblical connotation, and in Hebrew means of the earth, but forget about the Old Testament. This project, an intricate master plan for more than 3,000 acres, is pure New Age. Created over the course of four months by six architecture students and their advisers at University of Detroit Mercy, the project envisions creating an alternative community that begins a half-mile from downtown on the citys near-east side, stretching from the river north to I-94. Bounded by I-75 on the west and East Grand Boulevard on the east, the project offers up a new way to look at development in a city that accommodated nearly 2 million people at its peak in the 1950s but now has fewer than half that many inhabitants. Because of that tremendous exodus, Detroit, perhaps more than any other major city in America, has an abundance of vacant land and abandoned property. Instead of trying to return Detroit to its industrial glory days, Adamahs creators and a small group of community activists promoting it see the east sides empty lots and forsaken buildings as a chance to set the stage for development in the post-industrial age. As such, the project leans heavily on agriculture. Plans include greenhouses for tulips and vegetables, grazing land and a dairy, a tree farm and lumber mill, community gardens and a shrimp farm. The plans also include windmills to generate electricity, ivy-covered freeway buffers to help clean the air, a canal for both irrigation and recreation, even co-housing, which can include shared dining and common areas to provide a greater sense of community. It calls for creation of living and work spaces in such old industrial buildings as the former Packard auto plant. Looking at the colorful, bucolic plans for Adamah, the temptation is to call this a utopian concept, but that wouldnt be quite right. Utopia, by definition, is unattainable, and the people who conceived Adamah did so with every intention of seeing some version of their plan implemented. When you first look at this, people say its wild and crazy, says Stephen Vogel, dean of University of Detroit Mercys school of architecture. But when you look at it closer, its not so wild and crazy at all. What we are talking about doing are all very pragmatic things. There are tremendous obstacles to overcome. Even when pressed, Vogel is hard put to place a price tag on this sort of massive development. But, to give some idea, he estimates that just creating the canal that forms a crucial part of the project would cost at least $200 million. And then theres the issue of trying to generate a green future for an area still dealing with the toxic burden of its industrial past. Most daunting of all, perhaps, is that fact that even though many of the individual pieces being proposed have been pioneered elsewhere, no one has ever tried to put them all together on a scale approaching the one being talked about here. Considering all that, the obvious question is: Can Adamahs proponents make the great leap needed to take the project from concept to reality? A creeks rebirth Like most collaborative efforts, the Adamah project is a tapestry formed from many threads. One of those fibers stretches back more than 20 years. In 1979, Stephen Vogels firm, Schervish Vogel Consulting Architects, was performing site analysis work for a string of parks along Detroits riverfront when he learned of a storm drain called Bloody Run. He conducted some research and found it was named for a creek that had been covered over and absorbed into the citys sewer system around the turn of the century. Vogel began toying with the idea of unearthing the former creek, but the idea languished. As odd as it seems, the history of Bloody Run Creek and the fallout from Detroits crack epidemic would eventually merge. In 1987, a year after 46 children in the city were gunned down and
FW: Re: [313] greening of detroit speaker (local only)
ack www.greenhouseonline.org it's in ferndale..address is on the website sorry Original Message: - From: Lester Kenyatta Spence [EMAIL PROTECTED] Date: Wed, 10 Apr 2002 13:50:52 -0400 (EDT) To: [EMAIL PROTECTED] Subject: Re: [313] greening of detroit speaker (local only) green party headquarters WHERE? in detroit? mail2web - Check your email from the web at http://mail2web.com/ . - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
FW: [313] Underground Committee Forced to Pull Webcast
| | |Hey Javier, | |I'm so sorry to hear about it! | |No, WE are thank you for all your support for s long time...! |and We thank you for having helped to spread this music which we |love so much. | |All the best |SdSout | |P.S. : any idea how European people could help about this issue ? since we cannot call our congressman :-) Lester ? | |The more funny is when we know How works the transfer of the |copyrights between BMI/ASCAP and the artistI'm curious to |know WHO was paid off , and who will be paid off amongst the |artists that we support , when a commercial site broadcast their |tracks...! | |Our petition To BMI/ASCAP should start with this introduction. | | ||-Original Message- ||From: Javier Drada [mailto:[EMAIL PROTECTED] ||Sent: Wednesday, April 10, 2002 8:15 AM ||To: 313@hyperreal.org ||Subject: [313] Underground Committee Forced to Pull Webcast || || ||Unfortunately due to the pending issues with webcasting lincensing, ||Underground Committee is forced to pull all streams from it's site. || ||Underound Committee is an independent organization who set out to give you ||quality Underground Music, thats all gone now. We can't afford |the fees. It ||all started with BMI. After numerous attempts to contact us, they finally ||decided to just mail us the contract. || ||--- ||- || || ||The Bullshit they want us to believe: || ||Webcasting CARP: What's All The Fuss About? ||Who is it? Three-person Copyright Arbitration Royalty Panel (CARP) ||appointed ||by the U.S. Copyright Office. ||What is it? The CARP submitted a report to the Copyright Office ||recommending ||royalty rates to be paid by webcasters and simulcasters (i.e. FCC-licensed ||broadcasters that simultaneously retransmit on the Internet) to |artists and ||copyright holders. ||When? The proposed rates were submitted on February 20, 2002; The |Copyright ||Office must rule on the rates by the end of May 2002. ||What's the issue? In recent weeks, the CARP rates have become the ||subject of ||an intense misinformation and propaganda campaign (so called grassroots ||but really ginned up by sophisticated lobbyists in D.C.) -- waged through ||the news media, emails to Capitol Hill and numerous Internet ||sites. The goal ||is to scare non-commercial webcasters - including college radio ||stations and ||so-called hobbyists - and their members of Congress into thinking that the ||CARP rates are going to drive non-commercial webcasters out of ||business. The ||RIAA's Position On CARP Rates Contrary to what has been reported ||in the news ||media and circulated on the Internet, the RIAA and its member ||companies want ||ALL webcasters, large and small, to succeed. Unlike terrestrial ||broadcasters, webcasters - particularly non-commercial webcasters |- provide ||a much-needed outlet for musical diversity (i.e., by providing ||airplay for ||new artists, artists with a niche following and artists who play unusual ||genres of music). Webcasting also represents an important and ||growing source ||of revenue for record labels, as well as for artists and performers. The ||CARP rates will enable webcasters to thrive. Contrary to press |reports, the ||evidence strongly suggests that many of the non-commercial webcasters who ||think the CARP rates will put them out of busines will actually only be ||required to pay the minimum (and minimal) annual fee of $500. ||How could our royalty calculations differ so dramatically from the ||claims of ||webcasters? Non-commercial webcasters (like a hobbyist) are the ||targets of a ||well-orchestrated misinformation campaign. Most of the fee projections ||reported in the news media make the erroneous assumption that ||every listener ||who ever logs into a given non-commercial webcast remains logged into the ||site 24 hours per day, 7 days per week, 365 days per year. This ||assumes that ||no one ever logs off and listeners only visit that particular ||site. While no ||one can say for sure what the actual listener's time is, the notion that ||they stayed logged on 24 hours a day, 7 days a week, is ||preposterous and the ||subject of gross exaggerations. We recognize and appreciate that ||non-commercial broadcasters are a special class of web radio; the rates ||should accordingly reflect that. We would welcome the opportunity to ||negotiate a solution. Artists and labels are entitled to be paid for their ||work-the music recordings on which webcasting businesses are being built. ||Artists and record companies deserve to be rewarded for the creative ||contributions that webcasters utilize to build their businesses. |Webcasters ||have many costs, but one of the least expensive is the music that is the ||foundation of their business. Musicians and artists should not be |forced to ||subsidize the profit margin of webcasters like MTV, Microsoft, AOL ||TimeWarner and others. || ||The minimum fees are like this: ||
RE: [313] FWD: Letter from Daniel Bell
Is the track on Audiogalaxy definitely DBX's Superphreak? I haven't had a chance to listen, but a couple of people on global-techno are wondering if it's mislabeled, as the similarities aren't particularly pronounced (apart from the 808 etc.) Anyone know for sure if that is indeed the DBX track in question? Wes - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] End to End 004!!!!!!!!!!!!!!
Hello dear list members! I was lucky today to hear the new EE 004 from Keith Tucker Wow, what a f***ing brilliant record! This is really highly recommended. Buy it on sight as soon as it drops the streets! Also very good stuff coming up on delsin. Check the new Optic Nerve album on it! Cheers, Arne -- *www.arneweinberg.de *Starbaby Records *Keynote Records (ex-Ground Zero Rec.) *Native Records - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] FWD: Letter from Daniel Bell
Yeah as soon as someone locates an MP3 for the track please post it to the list:) Peace, m* - Original Message - From: Wes [EMAIL PROTECTED] To: Yair Etziony [EMAIL PROTECTED] Cc: 313@hyperreal.org Sent: Wednesday, April 10, 2002 2:32 PM Subject: RE: [313] FWD: Letter from Daniel Bell Is the track on Audiogalaxy definitely DBX's Superphreak? I haven't had a chance to listen, but a couple of people on global-techno are wondering if it's mislabeled, as the similarities aren't particularly pronounced (apart from the 808 etc.) Anyone know for sure if that is indeed the DBX track in question? Wes - 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] FWD: Letter from Daniel Bell
Okay, I've uploaded the two tracks in question up to the site for a couple days only - so check them quickly ;) Josh wink's Freak http://www.mp313.com/dennis/josh_wink-freak.mp3 Dan Bell speakerphreaker http://www.mp313.com/dennis/dbx_beatphreak.mp3 The josh wink song sounds like an exact copy of both beatphreak and phreak (combined) by Dan Bell. It even has the vocorded phreak sample (from phreak). It's a blatant ripoff (IMO). Cheers. Dennis -Original Message- From: Mark S Flintoft [mailto:[EMAIL PROTECTED] Sent: Wednesday, April 10, 2002 1:41 PM To: Wes; Yair Etziony Cc: 313@hyperreal.org Subject: Re: [313] FWD: Letter from Daniel Bell Yeah as soon as someone locates an MP3 for the track please post it to the list:) Peace, m* - Original Message - From: Wes [EMAIL PROTECTED] To: Yair Etziony [EMAIL PROTECTED] Cc: 313@hyperreal.org Sent: Wednesday, April 10, 2002 2:32 PM Subject: RE: [313] FWD: Letter from Daniel Bell Is the track on Audiogalaxy definitely DBX's Superphreak? I haven't had a chance to listen, but a couple of people on global-techno are wondering if it's mislabeled, as the similarities aren't particularly pronounced (apart from the 808 etc.) Anyone know for sure if that is indeed the DBX track in question? Wes - 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] FWD: Letter from Daniel Bell
i'm not sure if that will enough time for mark to download the tracks w/ his 56k modem ;) -pete -Original Message- From: Dennis Donohue [mailto:[EMAIL PROTECTED] Sent: Wednesday, April 10, 2002 3:34 PM To: 'Mark S Flintoft'; Wes; Yair Etziony Cc: 313@hyperreal.org Subject: RE: [313] FWD: Letter from Daniel Bell Okay, I've uploaded the two tracks in question up to the site for a couple days only - so check them quickly ;) Josh wink's Freak http://www.mp313.com/dennis/josh_wink-freak.mp3 Dan Bell speakerphreaker http://www.mp313.com/dennis/dbx_beatphreak.mp3 The josh wink song sounds like an exact copy of both beatphreak and phreak (combined) by Dan Bell. It even has the vocorded phreak sample (from phreak). It's a blatant ripoff (IMO). Cheers. Dennis -Original Message- From: Mark S Flintoft [mailto:[EMAIL PROTECTED] Sent: Wednesday, April 10, 2002 1:41 PM To: Wes; Yair Etziony Cc: 313@hyperreal.org Subject: Re: [313] FWD: Letter from Daniel Bell Yeah as soon as someone locates an MP3 for the track please post it to the list:) Peace, m* - Original Message - From: Wes [EMAIL PROTECTED] To: Yair Etziony [EMAIL PROTECTED] Cc: 313@hyperreal.org Sent: Wednesday, April 10, 2002 2:32 PM Subject: RE: [313] FWD: Letter from Daniel Bell Is the track on Audiogalaxy definitely DBX's Superphreak? I haven't had a chance to listen, but a couple of people on global-techno are wondering if it's mislabeled, as the similarities aren't particularly pronounced (apart from the 808 etc.) Anyone know for sure if that is indeed the DBX track in question? Wes - 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]
Re: [313] Re: The Future of Underground Music and the Internet
Hi Guys About 7 years ago I was trying to make a living selling mix-tapes and I was particularly conscious of the 'copyright' issue - I attended many of the PRS society meetings at this time - and to be honest I could not see it going anywhere. To me there seemed a very easy solution. And that's what's moreorless being voiced here today: a collective of labels who give a blanket permission for the catalog to be used in mix tapes, broadcast sets, etc. Sets should be streamed or MP3'd in a reasonable quality, even recordable to CD, but not best quality. If there is to be a payment involved to receive the set then people will go and get the set. Those who know me will know Im a huge Richie fan, and I couldnt wait to get my hands on DE9 when it was first released. It was through this board that I got a pointer to awebsite where I downloaded the whole CD long before its release . not the first day it was released, nor the second, but about 2 weeks in, I went into the stores and got myself a copy. I dont think the broadcasting of sets is going to kill the music ... and who at the start of this went in thinking they were going to be mega rich ... not many i think it will be the opening door to a huge upturn in new interest in dance music. just my 2.00pees worth - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] FWD: Letter from Daniel Bell
What about Sleazy D - I've Lost Control on Trax? I always thought that Losing Control was sort of a remake of that... I haven't listened to the new Wink track yet so I'm not making any judgements. Eric At 02:33 PM 4/10/2002 -0500, you wrote: Okay, I've uploaded the two tracks in question up to the site for a couple days only - so check them quickly ;) Josh wink's Freak http://www.mp313.com/dennis/josh_wink-freak.mp3 Dan Bell speakerphreaker http://www.mp313.com/dennis/dbx_beatphreak.mp3 The josh wink song sounds like an exact copy of both beatphreak and phreak (combined) by Dan Bell. It even has the vocorded phreak sample (from phreak). It's a blatant ripoff (IMO). Cheers. Dennis -Original Message- From: Mark S Flintoft [mailto:[EMAIL PROTECTED] Sent: Wednesday, April 10, 2002 1:41 PM To: Wes; Yair Etziony Cc: 313@hyperreal.org Subject: Re: [313] FWD: Letter from Daniel Bell Yeah as soon as someone locates an MP3 for the track please post it to the list:) Peace, m* - Original Message - From: Wes [EMAIL PROTECTED] To: Yair Etziony [EMAIL PROTECTED] Cc: 313@hyperreal.org Sent: Wednesday, April 10, 2002 2:32 PM Subject: RE: [313] FWD: Letter from Daniel Bell Is the track on Audiogalaxy definitely DBX's Superphreak? I haven't had a chance to listen, but a couple of people on global-techno are wondering if it's mislabeled, as the similarities aren't particularly pronounced (apart from the 808 etc.) Anyone know for sure if that is indeed the DBX track in question? Wes - 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]
[313] Lots of Test Messages lately and people having problems getting through to the board
I had this problem for a week or so and could get nothing through... kept pushing the same message - it still aint got there eventually worked out that the problem was: (1) I had change my send mode from plain text to HTML format which the mail board will not support (2) I had resorted to some rather profane language. A pal of mine was stuck with a message and he tells me he things his misappropriation of certain english words were the cause ... talk about the tweaks and the bleaks. - Original Message - From: [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Wednesday, April 10, 2002 08:14 Subject: [313] TEST - ignore - 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] Letter from Daniel Bell / Mike Ink/Alter Ego...
i'm not sure if that will enough time for mark to download the tracks w/ his 56k modem ;) Too true Mr. Grammenos... Not all of us are lucky enough to have a high speed connection provided by our employer!;-PP To keep things sorta 313 related...anyone else diggin Mike Ink/Alter Ego's 'Space Marines' on Art Of Perception?? I just picked it up yesterday and have listened to it like 3 times today...nice stuff, deep dubby Techno and a bit of electro goodness:) Peace... m* - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] FWD: Letter from Daniel Bell
OK... I'm listening to the Wink track now and it does sound very similar to the two tracks mentioned below. It has the same synth sounds and patterns as Beat Phreak and the vocal sample from Phreak. However the drums are slightly different, for what that's worth... I just played both tracks for someone I work with and he said If he's going to rip off a track at least he picked a good one. At 03:48 PM 4/10/2002 -0400, Eric Scuccimarra wrote: What about Sleazy D - I've Lost Control on Trax? I always thought that Losing Control was sort of a remake of that... I haven't listened to the new Wink track yet so I'm not making any judgements. Eric At 02:33 PM 4/10/2002 -0500, you wrote: Okay, I've uploaded the two tracks in question up to the site for a couple days only - so check them quickly ;) Josh wink's Freak http://www.mp313.com/dennis/josh_wink-freak.mp3 Dan Bell speakerphreaker http://www.mp313.com/dennis/dbx_beatphreak.mp3 The josh wink song sounds like an exact copy of both beatphreak and phreak (combined) by Dan Bell. It even has the vocorded phreak sample (from phreak). It's a blatant ripoff (IMO). Cheers. Dennis -Original Message- From: Mark S Flintoft [mailto:[EMAIL PROTECTED] Sent: Wednesday, April 10, 2002 1:41 PM To: Wes; Yair Etziony Cc: 313@hyperreal.org Subject: Re: [313] FWD: Letter from Daniel Bell Yeah as soon as someone locates an MP3 for the track please post it to the list:) Peace, m* - Original Message - From: Wes [EMAIL PROTECTED] To: Yair Etziony [EMAIL PROTECTED] Cc: 313@hyperreal.org Sent: Wednesday, April 10, 2002 2:32 PM Subject: RE: [313] FWD: Letter from Daniel Bell Is the track on Audiogalaxy definitely DBX's Superphreak? I haven't had a chance to listen, but a couple of people on global-techno are wondering if it's mislabeled, as the similarities aren't particularly pronounced (apart from the 808 etc.) Anyone know for sure if that is indeed the DBX track in question? Wes - 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] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] Friday -RECLOOSE (fwd)
fyi -- Forwarded message -- Date: Wed, 10 Apr 2002 05:11:03 -0400 From: Sharif Zawideh [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Friday -RECLOOSE This Friday. 1am. 5141 Rosa Parks Blvd. 313 832 3806 Recloose a one night welcome home with Scott Zacharias Kemetic Just Moonstar (from public transit recordings /toronto) - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] FWD: Letter from Daniel Bell
It was probably the audacity (or lack of originality) to make a similar track and even *name* it the same way that infuriated Dan ... -d At 5:16 PM -0500 4/10/02, [EMAIL PROTECTED] wrote: Sorta sounds like Josh took Dan's Beat Phreak and Superphreak - it has the constant minimal beat and 303 tweak of Beat Phreak (which to my ear sounds close enough to be a copy) but then attempts to jack it up it out like Dan's Superfreak but doesn't quite get there. I don't know if Dan has a case but this should be interesting to watch. Personally, I think Wink's version is a pale copy of the originals - and he should give Dan some money credit for at least inspiration. MEK - 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] Titonton/Rush Hour
I got a copy of this from Christiaan at RH last weekend. I played the Titonton track last saturday, it is the best thing on the sampler. The Double Helix material is quite lovely as well. mt From: Andy Mitchell [EMAIL PROTECTED] To: 313 List 313@hyperreal.org Subject: [313] Titonton/Rush Hour Date: Wed, 10 Apr 2002 09:32:21 +1200 Speaking of Titonton, I heard he has a single on Archive Records coming out. Can't wait!! He's got one due on Rush Hour too... a nice little tune. Speaking of Rush Hour, there's a recent live DJ set of Titonton's on their site (www.rushhour.nl) which I haven't been able to get to work. Has anyone else had problems with accessing their audio? And keep an eye out for this one, out this month: [RH 010] DOUBLE HELIX ³Funxtiles EP² A nice noodly Detroit jazz thang :) Andy - 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/intl.asp. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
