Re: (313) respect on 313
I am with Matt on this, I pretty much read every post on 313 and I think the diversity of viewpoints keeps it interesting. Put away the haterade... and instead eat hats. ;) I did an interview with a certain techno icon and the words American tour came up. I hope it turns out for everyone. I didn't get any more info as I was wanting to talk more about music projects and had limited time on a conference call. Also the Choice compilation CD is definite and some of the artists featured will really surprise. :) -- From: Matt MacQueen [EMAIL PROTECTED] To: 313 313@hyperreal.org Subject: (313) respect on 313 Date: Tue, 20 Jan 2004 3:37 PM I was about 250 messages behind and finally caught up with my mail... so much attitude and negativity surprised me. Let's realize it's possible to strongly disagree with someone without insult them as a personally at the same time. I love it when passion flows, it's what makes dialogue interesting. But can we please do it in a way that is not so macho and dissing to each other in the process? I'm saying this is because it's easy for nonstop sh!t slinging to become tacit accepted practice on a list -- and I guess I'm surprised to see outright rudeness on 313 and it's silly. In the spirit of MLK Day let's rise above. Most people find when they take some personal pissing contest off-list, they suddenly pipe down and find some common ground to meet on anyway... peace -- Matt MacQueen http://SonicSunset.com
Re: AW: (313) downbeat mixes?
does anyone know anything about the carl craig tracklisting that has kenny larkin 'i love the lord' on it. is this one of the tracks off the soon to come LP on peacefrog. ryan burns It was on the Compost Radio show late last year... http://www.milkaudio.com/web/sets/radio/compostradio_10.ram There's the cool new C2 remix of Beanfied on there too. Andy --- ++ exclusive mixtape by carl craig (planet e, detroit) starts @ 57:08 ++ carl craig's words to the listeners... hey, the track listing for the special christmas mix i decided to keep as low profile as possible. all dj's need their secrets. i would like to say that there is my beanfield remix (of course), throbbing gristle 'hot on the heels of love (basement jaxx version)', and kenny larkin 'i love the lord' which is an exclusive to this show (as far as i know). there are also tracks from jaylib, cat stevens, buju banton, dick hyman, and flying lizards. it's up to the listeners to decipher who and what each track is. the above titles are played in order. the other artist list are not played in order. i like the concept that music should be searched out with some ignorance like with finding a treasure map to the lost treasure of captain hookmaguck. happy listening. c2 ++ mix ends @ 2:00:48 ++
(313) Re: Roy Ayres w/Gilles Peterson on Radio 1 now
http://www.bbc.co.uk/radio1/index.shtml?focuswin if anyone is recording this I've got a friend here in the states who would love to have a copy They archive those shows for a week after initial broadcast. You should be able to find the audio stream again here: http://www.bbc.co.uk/radio/aod/rpms/gilles.rpm Also of note on the BBC site at the moment is this mix from Berlin's Sonar Kollektiv: http://www.bbc.co.uk/radio1/urban/oneworld/sonar_kollectiv.shtml http://www.bbc.co.uk/radio1/urban/tracklistings/one_world/one_world_tracklis tings_live.shtml ...although it's pushing a week old already so may be gone very soon. Andy
(313) SPECIAL EDITION MEDIUM: 1.30 w/ Painted Pictures
SPECIAL EDITION MEDIUM Friday January 30 PAINTED PICTURES (truth manifest recordings) w/ DJ Nova (mmd, miami) Painted Pictures is gracious enough to come back and rock the house one more time for us. We are bringing them back on a Friday this time for the Fifth Avenue weekenders to get a taste of what PP and Medium is all about...so if you missed them at the last one, here's your chance to experience it...and if you were there, you'll be back! Medium: part of Fifth Ave's level 5 electronics Fifth Avenue 215 5th St., Royal Oak, MI 9p-2a $5 Medium then returns Thursday Feb 26 w/ :brownstudy and AudioMatriX. This is a week off from normal, as we are taking a pause to allow Black Bottom Collective to re-unite at their spot at 5th on the 19th.
(313) Ableton Live mixes
so apart from these mixes: Off world Party Time at http://www.lunarselector.com Non-Stop DJs All Cylinders at http://www.bootytronics.com/nsd/ the one James posted at http://www.hurlbotics.com and the Surgeon ones at http://www.dj-surgeon.com can anyone point me in the direction of any more Ableton Live created mixes? i'd love to hear one of Brendan Gillen's Ableton mixes for example. (a quick google around reveals this: http://www.redbullmusicacademy.com/index.php?mod=ShowComponentsModcompo nent_id=224 but no mp3s) anyone? also what are peoples opinions on digital djing in general? (better thing to discuss than mills eh?) ta robin...
(313) kdj
asked my mate at piccadilly if he knew anything about the forthcoming kdj16, he sent me this back.. yeah, there's a selected KDJ repress due in March (and a full Transmat and Fragile one!), with this new #16 in there too, but no-one's got any info about it whatsoever! thought it might be of interest to the list! _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Ableton Live mixes
also what are peoples opinions on digital djing in general? well, I only ever saw someone do it once at a party. it was kirk de giorgio, and it was pretty incredible and kind of changed my whole perception of it. his last 45 minutes was just classic after classic after classic, all sort of interwoven with each other to create something like I'd never heard. the only thing that I'm not that keen on at the minute is the tendancy to mess around with the track too much. sometimes, you just wanna hear the record how it should be played - as the producer intended it to be if you know what I mean. but I think thats just me, I guess it's good that there's more creativity in dj'ing these days..? _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Ableton Live mixes
i used to think that until i played with Live. i think that as long as it's not all controlled with a mouse (that doesn't feel like djing, for sure) then it's the end result that matters. the things that can be done genuinely live, in a spontaneous way...which is the key here in software and using things like final scratch etc etc are amazing and allow big variety in the music being played. i personally think that we're on the edge of a huge change in the way people do things at this point in time robin... [EMAIL PROTECTED] wrote: My opinion that digital DJing is not dJ ing at all. . Thats the same than playing NBA on comp and thinking that you're playing in one team with Magic Jordan -Original Message- From: robin [mailto:[EMAIL PROTECTED] Sent: Friday, January 23, 2004 12:15 PM To: 313@hyperreal.org Subject: (313) Ableton Live mixes so apart from these mixes: Off world Party Time at http://www.lunarselector.com Non-Stop DJs All Cylinders at http://www.bootytronics.com/nsd/ the one James posted at http://www.hurlbotics.com and the Surgeon ones at http://www.dj-surgeon.com can anyone point me in the direction of any more Ableton Live created mixes? i'd love to hear one of Brendan Gillen's Ableton mixes for example. (a quick google around reveals this: http://www.redbullmusicacademy.com/index.php?mod=ShowComponentsModcompo nent_id=224 but no mp3s) anyone? also what are peoples opinions on digital djing in general? (better thing to discuss than mills eh?) ta robin...
Re: (313) kdj
Get your wallet ready... Trans Shipping end of February MS-1 X-RAY 'LET'S GO' MS-2 RHYTHM IS RHYTHM 'NUDE PHOTO' MS-3 SUBURBAN KNIGHT 'THE GROOVE' MS-4 RHYTHM IS RHYTHM 'STRINGS OF LIFE' MS-5 BANG THE PARTY 'RELEASE YOUR BODY' MS-6 RHYTHM IS RHYTHM 'IT IS WHAT IT IS' MS-7 M-D-EMM MS-8 K-ALEXI 'ALL FOR LEE SAH' MS-9 R-TYME 'R-THEME' MS-10 OCTAVE ONE 'I BELIEVE' MS-11 RHYTHM IS RHYTHM 'BEYOND THE DANCE' MS-12 PSYCHE 'CRACK DOWN' MS-13 SUBURBAN KNIGHT 'THE ART OF STALKING' MS-14 MODEL 500 'OCEAN TO OCEAN' MS-15 RHYTHM IS RHYTHM 'THE BEGINNING' MS-16 JOEY BELTRAM 'ENERGY FLASH' MS-17 3 PHASE MS-18 DARK COMEDY 'CORBOMITE MANEUVER' MS-19 SILENT PHASE 'PSYCHOTIC FUNK' MS-20 SILENT PHASE 'THE REWIRED MIXES' MS-21 RHYTHM IS RHYTHM 'ICON / KAO-TIC HARMONY' MS-22 MICROWORLD(2) 'SIGNALS/SMILE' MS-23 ARIL BRIKHA 'DEEPARTURE IN TIME' EP MS-24 QUIET DAZE 'VIEWING A DECADE EP' MS-25 ARIL BRIKHA 'DEEPARTURE IN TIME' LP MS-26 STEPHEN BROWN 'EP#1' MS-27 STEPHEN BROWN 'EP#2' MS-29 RODENBUSH 'RODENBUSH EP' MS-30 JOHN ARNOLD '4 MINUTES?' MS-31 INDIO 'INDIO EP' TMT-1 SILENT PHASE 'THE THEORY OF SILENT PHASE' LP TMT-2 DERRICK MAY 'INNOVATOR' BOX SET Frag Shipping end of February FRG-02 BFC 'EVOLUTION' FRG-03 FADE TO BLACK 'FADE TO BLACK' FRG-04 REESE 'INSIDE OUT' FRG-05 BANGO 'RITUAL BEATING SYSTEM' FRG-06 VARIOUS 'ACID EIFFEL' FRG-07 COMPLEX 'COMPLEX' FRG-08 GILGAMESH 'TRESCORE' FRG-09 A SCORPION'S DREAM FRG-10 BANGO 'MYSTICAL ADVENTURE' FRG-11 APHRODISIAC(2) 'PRESSURE DROP' FRG-12 ABACUS 'EROTIC ILLUSIONS' FRG-13 MAN MADE 'SPACE WRECK' FRG-14 DIGITAL JUSTICE 'THEME FROM: ITS ALL GONE PEARSHAPED' FRG-15 DYONIS 'NEW DAY' FRG-16 ERIC ERICKSSON 'SYNCHRONIZED MINDS' FRG-17 ARIL BRIKHA 'ART OF VENGEANCE EP' FRG-18 JOHN ARNOLD 'SPARKLE' FRG-19 THE VANISHER 'TEMPORARY EP' KMS Shipping end of February KMS-008 Inner City - Groovin' Without Doubt KMS-010 Reese Santonio - The Sound / How To Play Our Music KMS-011 Blake Baxter - When We Used To Play KMS-017 Reese Santonio - Truth Of Self Evidence KMS-070 Gary Martin - Casa Cougat TF-506 R-Tyme - Use Me AKA Carl Craig TF-509 Urban Culture - The Wonders Of Wishing AKA Carl Craig TF-512 Kosmic Messenger - Soundscape AKA Stacey Pullen M-006Eddie Flashin Fowlkes - Goodbye Kiss 23/1/04 10:43 AM [EMAIL PROTECTED]@uk.pwc.com asked my mate at piccadilly if he knew anything about the forthcoming kdj16, he sent me this back.. yeah, there's a selected KDJ repress due in March (and a full Transmat and Fragile one!), with this new #16 in there too, but no-one's got any info about it whatsoever! thought it might be of interest to the list! _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) kdj
MS-10 OCTAVE ONE 'I BELIEVE' This re-release is particularly nice to see due to what I hope it means on a political level. k
Re: (313) Ableton Live mixes
and allow big variety in the music being played. I think this might be one of the most important points of it all. I think in general, certainly in the UK, theres a huge downturn in people being interested enough to go out to clubs. (obviously not all, some clubs are flourishing) and I think that maybe hearing a greater variety of music is one of the things drawing people back to places. people are bored of all the micro-genres, and having to go to different places to hear one particular strain of music. and, it's hard enough to just program a variety of music into a dj set - let alone actually trying to mix the things together. so maybe digital dj'ing allows someone to think more about programming than actual mixing (as it's virtually 'automatic') and I think that has to be a good thing. I think? _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) kdj
...what do you hope, Ken? -Original Message- From: Odeluga, Ken [mailto:[EMAIL PROTECTED] Sent: 23 January 2004 10:58 To: Martin; [EMAIL PROTECTED]; 313@hyperreal.org Subject: RE: (313) kdj MS-10 OCTAVE ONE 'I BELIEVE' This re-release is particularly nice to see due to what I hope it means on a political level. k *** Opinions expressed in this email are those of the individual and not Entergy-Koch Trading Limited or its affiliated companies. This email and any files transmitted with it, including replies and forwarded copies (which may contain alterations) subsequently transmitted from the Company, are confidential and solely for the use of the intended recipient. It may contain material protected by attorney-client privilege. If you are not listed on the To or Cc lines of the original email (or are not the person responsible for delivering to an intended recipient), then you are not an intended recipient and have received this email in error. Any use by an unintended recipient is strictly prohibited. If you have received this email in error please notify the IT manager by telephone on +44 (0)20 7337 8300 or via email to [EMAIL PROTECTED], attaching this message. Please then delete this email and all attachments, and destroy any copies thereof. Thank you. ***
Re: (313) Ableton Live mixes
deep-z wrote: of coarse, if you have a MIDI controller along with Live! or let's say NI Traktor, it's ok. but main thing that starts to bother me is this: if all dj's will start using their pc's to mix things then vinyl business will eventualy die. look at by example soulseek or some direct connect hubs - how much of the music you can get from the net. what about artists supporting by buying their _records_ ? that's a good point...personally i buy huge amounts of vinyl anyway and it's gonna take a lot for me to switch to just relying on downloaded stuff (free or not)... ps. analog sound from a vinyl is uncompareable to digital sound. ok yet. the sound quality is also something that is important. i'm not sure i'd just buy mp3s from a site unless they were say above 256k encoded. in fact i'd rather switch to buying cds (or AIFF/WAV over the net)... i've got nowt against mp3 but to me it's just replced analogue tape, ok for mixes and stuff but for buying? i'd never touch an analogue tape for that. robin...
Re: (313) kdj
Hey, first time these have had a repress? TF-506 R-Tyme - Use Me AKA Carl Craig TF-509 Urban Culture - The Wonders Of Wishing AKA Carl Craig TF-512 Kosmic Messenger - Soundscape AKA Stacey Pullen they're the eclipse things right? never knew they were kms related. my copy of the kosmic messenger is battered. thats the one with I find myself right? _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Ableton Live mixes
[EMAIL PROTECTED] wrote: and allow big variety in the music being played. I think this might be one of the most important points of it all. I think in general, certainly in the UK, theres a huge downturn in people being interested enough to go out to clubs. (obviously not all, some clubs are flourishing) and I think that maybe hearing a greater variety of music is one of the things drawing people back to places. people are bored of all the micro-genres, and having to go to different places to hear one particular strain of music. exactly... and, it's hard enough to just program a variety of music into a dj set - let alone actually trying to mix the things together. so maybe digital dj'ing allows someone to think more about programming than actual mixing (as it's virtually 'automatic') and I think that has to be a good thing. I think? yeah the actual beatmatching is just the mechanical part of djing, the actual creative part is what goes with what and how does that effect the listener/floor/whatever...y'know the important stuff don't get me wrong tho i love vinyl and playing it on truntables etc but if you're not open to new stuff then that's not a good situation. robin...
RE: (313) kdj
mm i thought i had ZERO chance of ever owning this represses are good in some instances, this is one of those instances! ab -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Friday, January 23, 2004 9:38 PM To: 313@hyperreal.org Subject: Re: (313) kdj TF-509 Urban Culture - The Wonders Of Wishing AKA Carl Craig --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.558 / Virus Database: 350 - Release Date: 1/2/04
Re: (313) kdj
Do you mean this: MG-005 KDJ - Untitled? End of January - Limited pressing £18.90 23/1/04 10:59 AM [EMAIL PROTECTED]@uk.pwc.com you dont happen to have the kdj one as well do you martin? _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) kdj
well, I didn't, but thats a nice little snippet of info. Do you mean this: MG-005 KDJ - Untitled? End of January - Limited pressing £18.90 my mate got me one of those fairly recently. phew, £18.90! still, it has been going for £50 on ebay. btw, is there a full moods grooves repress then? _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) kdj
I was joking about the price...we have some of these at the standard price... 23/1/04 11:24 AM [EMAIL PROTECTED]@uk.pwc.com well, I didn't, but thats a nice little snippet of info. Do you mean this: MG-005 KDJ - Untitled? End of January - Limited pressing £18.90 my mate got me one of those fairly recently. phew, £18.90! still, it has been going for £50 on ebay. btw, is there a full moods grooves repress then? _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) kdj
was there anything else on this label of note, justing checking discogs.com and theres a shake and jay denham release, anyone care to comment on these? i picked up the unreleased project vol 2. release at random in a second hand store years ago (one nice reese mix rest is a bit average imho) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 23 January 2004 11:08 To: 313@hyperreal.org Subject: Re: (313) kdj Hey, first time these have had a repress? TF-506 R-Tyme - Use Me AKA Carl Craig TF-509 Urban Culture - The Wonders Of Wishing AKA Carl Craig TF-512 Kosmic Messenger - Soundscape AKA Stacey Pullen they're the eclipse things right? never knew they were kms related. my copy of the kosmic messenger is battered. thats the one with I find myself right? _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring == This message is for the sole use of the intended recipient. If you received this message in error please delete it and notify us. If this message was misdirected, CSFB does not waive any confidentiality or privilege. CSFB retains and monitors electronic communications sent through its network. Instructions transmitted over this system are not binding on CSFB until they are confirmed by us. Message transmission is not guaranteed to be secure. ==
(313) First Wave represses (was RE: kdj)
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 23 January 2004 11:06 represses are good in some instances... I was going to say this was the understatement of the year (represses are *always* good!), but then checked myself when I remembered my brief pang of smugness upon noticing that FRG-01 - which I managed to get my paws on around a year ago - *wasn't* being repressed... And what about this: TF-512 Kosmic Messenger - Soundscape AKA Stacey Pullen The copy I've got of this is on Eclipse - is this another version? Or am I just getting confused? Brendan
Re: (313) kdj
What about this as well: Ultramarine - Carl Craig Remixes - Real Soon Records A1. Hooter A2. Hooter v1.25 B1. Source B2. Outtake Classic
Re: (313) kdj
Real Soon Records ooh, and a little bird tells me there's a few tasty releases coming up on this label, so keep your eyes peeled! _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Ableton Live mixes
Alex Bond wrote: so maybe digital dj'ing allows someone to think more about programming than actual mixing (as it's virtually 'automatic') and I think that has to be a good thing. I think? I'd actually say that digital dj'ing gives DJs the flexibility to choose how much automation they want to use - you're not *restricted* to nicely automated beatmatching and so on if you don't want to be. For example, I've been using Ableton heavily for over a year now (having used it on the Offworld Party Time and All Cylinders mixes, as well as playing out with it three or four times) and count myself as a pretty experienced user by now. Recently, however, I played with Final Scratch for the first time, and it was a major eye-opener. It's a different world from Ableton altogether; in the world of Ableton, if you want imprecision in your mixes, you have to actually *build it in* (do very minor adjustments to the warp markers etc to give the impression tracks are drifting subtly in and out of time), which is quite bizarre when you think about it. However, with Final Scatch, there's really no difference from vinyl mixing apart from the fact that you can play tracks that only exist on hard drive as well as tracks that exist on vinyl. So there's space in the world for both Final Scratch and Ableton Live, but the two of them represent completely opposite sides of the whole spectrum of digital mixing. Want to keep the rawness and imprecision of vinyl mixing without having to break your back carrying records around? Use Final Scratch. Want to be able to concentrate more on the arrangement, sound and programming of your mix than on the mechanics of mixing? Use Ableton Live. Ideally? Use a combination of the two as well as real records (that's my approach at least!). All in all, I do think it's a good thing that when a person thinks I'm going to do a mix there are a number of approaches he or she can adopt in producing that mix; each of which will play to different strengths that DJ might have, each of which will affect the nature and structure of the mix in interesting ways. Not all digital DJs will automate their beatmixing and concentrate more on structure; maybe the key thing to understand about digital DJing is that it will lead to a whole bunch of people doing a whole range of different things, a lot of which we can't really predict right now. Brendan www.lunarselector.com www.non-stop-djs.com
Re: (313) kdj
On Fri, 23 Jan 2004 11:07:48 +, [EMAIL PROTECTED] said: Hey, first time these have had a repress? TF-506 R-Tyme - Use Me AKA Carl Craig TF-509 Urban Culture - The Wonders Of Wishing AKA Carl Craig TF-512 Kosmic Messenger - Soundscape AKA Stacey Pullen they're the eclipse things right? never knew they were kms related. my copy of the kosmic messenger is battered. thats the one with I find myself right? They're Trance Fusion records. Use Me by R-Tyme is Darryl Wynn and Derrick May. Still.. it's the first time I've seen a re-press for these. Sleeping With The Enemy is an old classic from that label! -- Benn Glazier email: [EMAIL PROTECTED] phone: +61 (0)413 316 618 http://www.royaltech.net
RE: (313) Ableton Live mixes
Nice. -Original Message- From: Brendan Nelson [mailto:[EMAIL PROTECTED] Sent: 23 January 2004 11:48 To: 313@hyperreal.org Subject: RE: (313) Ableton Live mixes Alex Bond wrote: so maybe digital dj'ing allows someone to think more about programming than actual mixing (as it's virtually 'automatic') and I think that has to be a good thing. I think? I'd actually say that digital dj'ing gives DJs the flexibility to choose how much automation they want to use - you're not *restricted* to nicely automated beatmatching and so on if you don't want to be. For example, I've been using Ableton heavily for over a year now (having used it on the Offworld Party Time and All Cylinders mixes, as well as playing out with it three or four times) and count myself as a pretty experienced user by now. Recently, however, I played with Final Scratch for the first time, and it was a major eye-opener. It's a different world from Ableton altogether; in the world of Ableton, if you want imprecision in your mixes, you have to actually *build it in* (do very minor adjustments to the warp markers etc to give the impression tracks are drifting subtly in and out of time), which is quite bizarre when you think about it. However, with Final Scatch, there's really no difference from vinyl mixing apart from the fact that you can play tracks that only exist on hard drive as well as tracks that exist on vinyl. So there's space in the world for both Final Scratch and Ableton Live, but the two of them represent completely opposite sides of the whole spectrum of digital mixing. Want to keep the rawness and imprecision of vinyl mixing without having to break your back carrying records around? Use Final Scratch. Want to be able to concentrate more on the arrangement, sound and programming of your mix than on the mechanics of mixing? Use Ableton Live. Ideally? Use a combination of the two as well as real records (that's my approach at least!). All in all, I do think it's a good thing that when a person thinks I'm going to do a mix there are a number of approaches he or she can adopt in producing that mix; each of which will play to different strengths that DJ might have, each of which will affect the nature and structure of the mix in interesting ways. Not all digital DJs will automate their beatmixing and concentrate more on structure; maybe the key thing to understand about digital DJing is that it will lead to a whole bunch of people doing a whole range of different things, a lot of which we can't really predict right now. Brendan www.lunarselector.com www.non-stop-djs.com *** Opinions expressed in this email are those of the individual and not Entergy-Koch Trading Limited or its affiliated companies. This email and any files transmitted with it, including replies and forwarded copies (which may contain alterations) subsequently transmitted from the Company, are confidential and solely for the use of the intended recipient. It may contain material protected by attorney-client privilege. If you are not listed on the To or Cc lines of the original email (or are not the person responsible for delivering to an intended recipient), then you are not an intended recipient and have received this email in error. Any use by an unintended recipient is strictly prohibited. If you have received this email in error please notify the IT manager by telephone on +44 (0)20 7337 8300 or via email to [EMAIL PROTECTED], attaching this message. Please then delete this email and all attachments, and destroy any copies thereof. Thank you. ***
Re: (313) Ableton Live mixes
True, true - I've seen some great stuff done with both - but I think the game is about to get hotter - on Wednesday I witnessed one of the best, if not only real-time controllers for these packages - I can't say any more, as I'm under an NDA but the end of Feb will be very interesting... 23/1/04 11:47 AM Brendan [EMAIL PROTECTED] Alex Bond wrote: so maybe digital dj'ing allows someone to think more about programming than actual mixing (as it's virtually 'automatic') and I think that has to be a good thing. I think? I'd actually say that digital dj'ing gives DJs the flexibility to choose how much automation they want to use - you're not *restricted* to nicely automated beatmatching and so on if you don't want to be. For example, I've been using Ableton heavily for over a year now (having used it on the Offworld Party Time and All Cylinders mixes, as well as playing out with it three or four times) and count myself as a pretty experienced user by now. Recently, however, I played with Final Scratch for the first time, and it was a major eye-opener. It's a different world from Ableton altogether; in the world of Ableton, if you want imprecision in your mixes, you have to actually *build it in* (do very minor adjustments to the warp markers etc to give the impression tracks are drifting subtly in and out of time), which is quite bizarre when you think about it. However, with Final Scatch, there's really no difference from vinyl mixing apart from the fact that you can play tracks that only exist on hard drive as well as tracks that exist on vinyl. So there's space in the world for both Final Scratch and Ableton Live, but the two of them represent completely opposite sides of the whole spectrum of digital mixing. Want to keep the rawness and imprecision of vinyl mixing without having to break your back carrying records around? Use Final Scratch. Want to be able to concentrate more on the arrangement, sound and programming of your mix than on the mechanics of mixing? Use Ableton Live. Ideally? Use a combination of the two as well as real records (that's my approach at least!). All in all, I do think it's a good thing that when a person thinks I'm going to do a mix there are a number of approaches he or she can adopt in producing that mix; each of which will play to different strengths that DJ might have, each of which will affect the nature and structure of the mix in interesting ways. Not all digital DJs will automate their beatmixing and concentrate more on structure; maybe the key thing to understand about digital DJing is that it will lead to a whole bunch of people doing a whole range of different things, a lot of which we can't really predict right now. Brendan www.lunarselector.com www.non-stop-djs.com
Re: (313) Ableton Live mixes
I'd agree robin but I think it happened 2 years ago and peoples perception is just now catching up. - Original Message - From: robin [EMAIL PROTECTED] To: [EMAIL PROTECTED]; 313 313@hyperreal.org Sent: Friday, January 23, 2004 5:47 AM Subject: Re: (313) Ableton Live mixes i used to think that until i played with Live. i think that as long as it's not all controlled with a mouse (that doesn't feel like djing, for sure) then it's the end result that matters. the things that can be done genuinely live, in a spontaneous way...which is the key here in software and using things like final scratch etc etc are amazing and allow big variety in the music being played. i personally think that we're on the edge of a huge change in the way people do things at this point in time robin... [EMAIL PROTECTED] wrote: My opinion that digital DJing is not dJ ing at all. . Thats the same than playing NBA on comp and thinking that you're playing in one team with Magic Jordan -Original Message- From: robin [mailto:[EMAIL PROTECTED] Sent: Friday, January 23, 2004 12:15 PM To: 313@hyperreal.org Subject: (313) Ableton Live mixes so apart from these mixes: Off world Party Time at http://www.lunarselector.com Non-Stop DJs All Cylinders at http://www.bootytronics.com/nsd/ the one James posted at http://www.hurlbotics.com and the Surgeon ones at http://www.dj-surgeon.com can anyone point me in the direction of any more Ableton Live created mixes? i'd love to hear one of Brendan Gillen's Ableton mixes for example. (a quick google around reveals this: http://www.redbullmusicacademy.com/index.php?mod=ShowComponentsModcompo nent_id=224 but no mp3s) anyone? also what are peoples opinions on digital djing in general? (better thing to discuss than mills eh?) ta robin...
Re: (313) Ableton Live mixes
i think i'm gonna plump for one of these...nice and cheap too: http://www.evolution.co.uk/products/evo_xsession.htm i wonder if the mxf8 from the Notron people will be good (eh martin? :) i guess the AH xone 92 (drool) is the ultimate but at £1150 it's way out of my league! robin... Martin wrote: True, true - I've seen some great stuff done with both - but I think the game is about to get hotter - on Wednesday I witnessed one of the best, if not only real-time controllers for these packages - I can't say any more, as I'm under an NDA but the end of Feb will be very interesting... 23/1/04 11:47 AM Brendan [EMAIL PROTECTED] Alex Bond wrote: so maybe digital dj'ing allows someone to think more about programming than actual mixing (as it's virtually 'automatic') and I think that has to be a good thing. I think? I'd actually say that digital dj'ing gives DJs the flexibility to choose how much automation they want to use - you're not *restricted* to nicely automated beatmatching and so on if you don't want to be. For example, I've been using Ableton heavily for over a year now (having used it on the Offworld Party Time and All Cylinders mixes, as well as playing out with it three or four times) and count myself as a pretty experienced user by now. Recently, however, I played with Final Scratch for the first time, and it was a major eye-opener. It's a different world from Ableton altogether; in the world of Ableton, if you want imprecision in your mixes, you have to actually *build it in* (do very minor adjustments to the warp markers etc to give the impression tracks are drifting subtly in and out of time), which is quite bizarre when you think about it. However, with Final Scatch, there's really no difference from vinyl mixing apart from the fact that you can play tracks that only exist on hard drive as well as tracks that exist on vinyl. So there's space in the world for both Final Scratch and Ableton Live, but the two of them represent completely opposite sides of the whole spectrum of digital mixing. Want to keep the rawness and imprecision of vinyl mixing without having to break your back carrying records around? Use Final Scratch. Want to be able to concentrate more on the arrangement, sound and programming of your mix than on the mechanics of mixing? Use Ableton Live. Ideally? Use a combination of the two as well as real records (that's my approach at least!). All in all, I do think it's a good thing that when a person thinks I'm going to do a mix there are a number of approaches he or she can adopt in producing that mix; each of which will play to different strengths that DJ might have, each of which will affect the nature and structure of the mix in interesting ways. Not all digital DJs will automate their beatmixing and concentrate more on structure; maybe the key thing to understand about digital DJing is that it will lead to a whole bunch of people doing a whole range of different things, a lot of which we can't really predict right now. Brendan www.lunarselector.com www.non-stop-djs.com
Re: (313) Ableton Live mixes
cough We have two of these Robin, well tacky and not enough nob's but they do the trick - needs new drivers as some things are just a little too slow for our liking. Not sure how long they are going to hold up as well... 23/1/04 12:29 PM [EMAIL PROTECTED] i think i'm gonna plump for one of these...nice and cheap too: http://www.evolution.co.uk/products/evo_xsession.htm i wonder if the mxf8 from the Notron people will be good (eh martin? :) i guess the AH xone 92 (drool) is the ultimate but at £1150 it's way out of my league! robin... Martin wrote: True, true - I've seen some great stuff done with both - but I think the game is about to get hotter - on Wednesday I witnessed one of the best, if not only real-time controllers for these packages - I can't say any more, as I'm under an NDA but the end of Feb will be very interesting... 23/1/04 11:47 AM Brendan [EMAIL PROTECTED] Alex Bond wrote: so maybe digital dj'ing allows someone to think more about programming than actual mixing (as it's virtually 'automatic') and I think that has to be a good thing. I think? I'd actually say that digital dj'ing gives DJs the flexibility to choose how much automation they want to use - you're not *restricted* to nicely automated beatmatching and so on if you don't want to be. For example, I've been using Ableton heavily for over a year now (having used it on the Offworld Party Time and All Cylinders mixes, as well as playing out with it three or four times) and count myself as a pretty experienced user by now. Recently, however, I played with Final Scratch for the first time, and it was a major eye-opener. It's a different world from Ableton altogether; in the world of Ableton, if you want imprecision in your mixes, you have to actually *build it in* (do very minor adjustments to the warp markers etc to give the impression tracks are drifting subtly in and out of time), which is quite bizarre when you think about it. However, with Final Scatch, there's really no difference from vinyl mixing apart from the fact that you can play tracks that only exist on hard drive as well as tracks that exist on vinyl. So there's space in the world for both Final Scratch and Ableton Live, but the two of them represent completely opposite sides of the whole spectrum of digital mixing. Want to keep the rawness and imprecision of vinyl mixing without having to break your back carrying records around? Use Final Scratch. Want to be able to concentrate more on the arrangement, sound and programming of your mix than on the mechanics of mixing? Use Ableton Live. Ideally? Use a combination of the two as well as real records (that's my approach at least!). All in all, I do think it's a good thing that when a person thinks I'm going to do a mix there are a number of approaches he or she can adopt in producing that mix; each of which will play to different strengths that DJ might have, each of which will affect the nature and structure of the mix in interesting ways. Not all digital DJs will automate their beatmixing and concentrate more on structure; maybe the key thing to understand about digital DJing is that it will lead to a whole bunch of people doing a whole range of different things, a lot of which we can't really predict right now. Brendan www.lunarselector.com www.non-stop-djs.com
Re: (313) Ableton Live mixes
http://www.evolution.co.uk/products/evo_xsession.htm i wonder if the mxf8 from the Notron people will be good (eh martin? :) i guess the AH xone 92 (drool) is the ultimate but at £1150 it's way out of my league! Kirk had one I was looking at, It had 8 channels I think, and it had an ableton live logo on there. maybe that was a sticker? it was only small, very portable - not seen it since though, anyone know what it was, seemed pretty cool. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Ableton Live mixes
Kirk had one I was looking at, It had 8 channels I think, and it had an ableton live logo on there. maybe that was a sticker? Maybe it was the Evolution UC-33 with the Ableton overlay? http://www.ableton.com/index.php?main=news-archivesub=evolution_uc33 I use one of these with Live (and Logic in the studio), they're brilliant... Cheers, Tom
Re: (313) Ableton Live mixes
Is it Plastic or Metal Tom... PS, reviews section is live - send ya stuff for review fella :) 23/1/04 12:51 PM Tom [EMAIL PROTECTED] Kirk had one I was looking at, It had 8 channels I think, and it had an ableton live logo on there. maybe that was a sticker? Maybe it was the Evolution UC-33 with the Ableton overlay? http://www.ableton.com/index.php?main=news-archivesub=evolution_uc33 I use one of these with Live (and Logic in the studio), they're brilliant... Cheers, Tom
Re: (313) Ableton Live mixes
Tom Churchill wrote: Kirk had one I was looking at, It had 8 channels I think, and it had an ableton live logo on there. maybe that was a sticker? Maybe it was the Evolution UC-33 with the Ableton overlay? http://www.ableton.com/index.php?main=news-archivesub=evolution_uc33 I use one of these with Live (and Logic in the studio), they're brilliant... Cheers, Tom WHY can't someone make a controller in this price range that has both a bunch of knobs (as the UC-33 does) and sixteen faders? I'm still using my Peavey pc1600 but I really want knobs too... rant... -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Ableton Live mixes
Maybe it was the Evolution UC-33 with the Ableton overlay? thats exactly what it was Tom, thanks for that. other folks, they're alright these, I tell ya.. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Ableton Live mixes
End of Feb, real turned metal knobs with lush dampers/// 23/1/04 12:52 PM Dennis [EMAIL PROTECTED] Tom Churchill wrote: Kirk had one I was looking at, It had 8 channels I think, and it had an ableton live logo on there. maybe that was a sticker? Maybe it was the Evolution UC-33 with the Ableton overlay? http://www.ableton.com/index.php?main=news-archivesub=evolution_uc33 I use one of these with Live (and Logic in the studio), they're brilliant... Cheers, Tom WHY can't someone make a controller in this price range that has both a bunch of knobs (as the UC-33 does) and sixteen faders? I'm still using my Peavey pc1600 but I really want knobs too... rant...
(313) Tracklist 4 Deep Disco Idjut mix
Idjut Boys - Beard Law - U star Velma Wright - you're not right - Supertronics Gallifre - House Rhythms - Danica Ce Ce Rogers and Jestofunk - The Ghetto - Rec in Pause Sweet Sally - Just a Poke faze Action - In the Trees - Nuphonic Disco Dub Band - For the love of money - Movers Kodo - Remix 1 - Columbia Idjut Boys - No Name - U-star Connie Case - Get Down - Konduko Barah - Cleavage - Studio Jine - Take it to the House - Supertronics Wood, Brass and Steel - Funkanova Sylvester - Living for the City - Megatone -Original Message- From: placid [mailto:[EMAIL PROTECTED] Sent: 22 January 2004 20:57 To: 313@hyperreal.org Subject: (313) Deep Disco Idjut mix http://www.acidmixes.com/deep_disco.mp3 Tracklist soon. Enjoy placid
RE: (313) Ableton Live mixes
i discovered ableton live a few days ago and have started to chop my vinyls into handy loops. it's really sick work but on the other hand i can't wait to add this to my vinyl/fs set. as far as i got it, most of you use ableton to play entire tracks with it? uhm, i can't open any mp3's here, you guys have got too much hd space for all the .wavs or ??? am i too dumb? cheers, ronny
Re: (313) Ableton Live mixes
Ronny Pries wrote: i discovered ableton live a few days ago and have started to chop my vinyls into handy loops. it's really sick work but on the other hand i can't wait to add this to my vinyl/fs set. as far as i got it, most of you use ableton to play entire tracks with it? uhm, i can't open any mp3's here, you guys have got too much hd space for all the .wavs or ??? am i too dumb? cheers, ronny No, it doesn't currently support mp3s. Personally, I use a combination of complete tracks and exported loops from tracks that I recombine during the set. -- Dennis DeSantis www.dennisdesantis.com
RE: (313) Ableton Live mixes
It seems one of many limitations of ableton, correct me if im wrong but these things irk me as these are things i automatically expected to be able to do. This is what you can't do: play mp3's be able to mix without having to put stupid markers into all tracks (unless its like banging 4/4) use both audo no midi play virtual instrument plugins I dont know who has time to put markers on all mp3 tracks especally with the clumbsy marker controls in ableton, not me. Quest Pond -Original Message- From: Ronny Pries [mailto:[EMAIL PROTECTED] Sent: Friday, 23 January 2004 2:07 PM To: '313' Subject: RE: (313) Ableton Live mixes i discovered ableton live a few days ago and have started to chop my vinyls into handy loops. it's really sick work but on the other hand i can't wait to add this to my vinyl/fs set. as far as i got it, most of you use ableton to play entire tracks with it? uhm, i can't open any mp3's here, you guys have got too much hd space for all the .wavs or ??? am i too dumb? cheers, ronny
Re: (313) Ableton Live mixes
On 24-jan-04, at 2:23, Quest Pond wrote: use both audo no midi play virtual instrument plugins Ableton is a rewire master and slave application AFAIK so you could play it along with your favorite sequencer... I dont know who has time to put markers on all mp3 tracks especally with the clumbsy marker controls in ableton, not me. Quest Pond -Original Message- From: Ronny Pries [mailto:[EMAIL PROTECTED] Sent: Friday, 23 January 2004 2:07 PM To: '313' Subject: RE: (313) Ableton Live mixes i discovered ableton live a few days ago and have started to chop my vinyls into handy loops. it's really sick work but on the other hand i can't wait to add this to my vinyl/fs set. as far as i got it, most of you use ableton to play entire tracks with it? uhm, i can't open any mp3's here, you guys have got too much hd space for all the .wavs or ??? am i too dumb? cheers, ronny
RE: (313) Ableton Live mixes
Ah but my favourite sequencer is the yamaha rs7000, my point is you shouldnt need to load up bloatware like cubase to be able to play midi stuff. But anyway this is getting to techie to be on 313 i feel. Quest Pond -Original Message- From: kj at technotourist dot org [mailto:[EMAIL PROTECTED] Sent: Friday, 23 January 2004 2:34 PM To: Quest Pond Cc: [EMAIL PROTECTED]; '313' Subject: Re: (313) Ableton Live mixes On 24-jan-04, at 2:23, Quest Pond wrote: use both audo no midi play virtual instrument plugins Ableton is a rewire master and slave application AFAIK so you could play it along with your favorite sequencer... I dont know who has time to put markers on all mp3 tracks especally with the clumbsy marker controls in ableton, not me. Quest Pond -Original Message- From: Ronny Pries [mailto:[EMAIL PROTECTED] Sent: Friday, 23 January 2004 2:07 PM To: '313' Subject: RE: (313) Ableton Live mixes i discovered ableton live a few days ago and have started to chop my vinyls into handy loops. it's really sick work but on the other hand i can't wait to add this to my vinyl/fs set. as far as i got it, most of you use ableton to play entire tracks with it? uhm, i can't open any mp3's here, you guys have got too much hd space for all the .wavs or ??? am i too dumb? cheers, ronny
RE: (313) Ableton Live mixes
Ableton is a rewire master and slave application AFAIK so you could play it along with your favorite sequencer... Anyone who ever tried it knows it's a more attractive in theory over practice, no offense. Plus I find it think it's quite misleading for Live to be marketed as a MIDI device. It *doesn't do automation*. MIDI isn't (just) about software in my book. (Although I'm a dying breed admittedly.) k
Re: (313) Ableton Live mixes
24/1/04 1:36 AM Quest [EMAIL PROTECTED] getting to techie to be on 313 i feel But isn't this where we are at - the future and technology, certainly beats people have a pop at Jeff Mills... Martin Dust
(313) submerge site new look
don't know if anyone has mentioned this since i am on the digest, but they got a bunch of new sections up on the Submerge website. It looks nice. The history section is a nice addition and it seems like 3000 wants to show a little bit more of what the mystery is about. Of course going there and seeing it for yourself is the best. If you're lucky you might even get a personal tour of Detroit from the Mad one himself. http://www.submerge.com minto = down low music http://downlowmusic.org UPCOMING '04 East Island vs The Moderator dL011 OUT NOW Iridite Productions The Acceptable Face of Elitist Techno dL012 FEB __ Do you Yahoo!? Yahoo! SiteBuilder - Free web site building tool. Try it! http://webhosting.yahoo.com/ps/sb/
RE: (313) Ableton Live mixes/Namm
No don't stop because of me, just getting interesting i thought. And while im at it, did anyone else check out the interesting stuff at NAMM. Both Dj and music making equipment. http://www.fdiskc.com/usrsyn/namm/2004/ Quest Pond -Original Message- From: Martin [mailto:[EMAIL PROTECTED] Sent: Friday, 23 January 2004 2:40 PM To: Quest Pond; kj at technotourist dot org; '313'; [EMAIL PROTECTED] Subject: Re: (313) Ableton Live mixes 24/1/04 1:36 AM Quest [EMAIL PROTECTED] getting to techie to be on 313 i feel But isn't this where we are at - the future and technology, certainly beats people have a pop at Jeff Mills... Martin Dust
(313) Red Planet 9
Ten seconds please: dismissed 'Revenge of The Wolf' for months, but having dug out it again and *used* it, I have to say, it is very, very deep, wierd and quite sick - and a great tool ... as long as you don't take a chance with the second breakdown. Happy Fridays, k
RE: (313) Ableton Live mixes
i strongly dislike ableton. it's a good tool for studio style mixing, a great advance and added flexibility etc, but i still see it as studio style mixing. it makes mixing a very cerebral process; it's way geeky. and it's too safe. to me it is at odds with the pleasure of playing and listening to music, the alive-ness of music, and of mixing...simplicity... sure it sounds alive in the end when you can screw around with 500 loops it took you a week to cut up, but...i dunno. it's halfway between traditional mixing and production, but not as open-ended and versatile and hands-on as either...it just seems half-canned to me, music from concentrate just add ableton and stir. the complexities arent worth the result, or vice-versa. not that i dont enjoy some ableton mixes, but no more than i do traditional mixes -- usually not as much. people tend to go overboard with the layering of loops and frantic pace, which is fun at first, and good for booty music where you dont care to hear 3 minutes of the same track, but it takes too much energy and attention to listen to...i just wanna relax and hear some music not a vigorous exercise in sound editing...and when mixing, i wanna wander around crates throwing on whatever grabs me...the inclination to digitize and computerize (and perfect and control) everything can end up draining some of the joy out imo...its a cold cold world..i know there are loads of people older than myself on the list, but seeing people get excited about this stuff makes me feel like a dinosaur... _ There are now three new levels of MSN Hotmail Extra Storage! Learn more. http://join.msn.com/?pgmarket=en-uspage=hotmail/es2ST=1
RE: (313) Red Planet 9
Couldn't agree more (The breakdown is a (mixing) nightmare.) -Original Message- From: Odeluga, Ken [mailto:[EMAIL PROTECTED] Sent: 23 January 2004 3:26 To: [EMAIL PROTECTED] Org Subject: (313) Red Planet 9 Ten seconds please: dismissed 'Revenge of The Wolf' for months, but having dug out it again and *used* it, I have to say, it is very, very deep, wierd and quite sick - and a great tool ... as long as you don't take a chance with the second breakdown. Happy Fridays, k *** Opinions expressed in this email are those of the individual and not Entergy-Koch Trading Limited or its affiliated companies. This email and any files transmitted with it, including replies and forwarded copies (which may contain alterations) subsequently transmitted from the Company, are confidential and solely for the use of the intended recipient. It may contain material protected by attorney-client privilege. If you are not listed on the To or Cc lines of the original email (or are not the person responsible for delivering to an intended recipient), then you are not an intended recipient and have received this email in error. Any use by an unintended recipient is strictly prohibited. If you have received this email in error please notify the IT manager by telephone on +44 (0)20 7337 8300 or via email to [EMAIL PROTECTED], attaching this message. Please then delete this email and all attachments, and destroy any copies thereof. Thank you. ***
Re: (313) Ableton Live mixes
No, it's not just you. Though, listening to a DJ literally remix a track right before your eyes can be a pretty excellent experience. Some DJ's don't like just playing tracks, and that's fine too. I guess if you want to just listen to a track, you can buy the record yourself and play it at home. Some DJ's I imagine might take this attitude. [EMAIL PROTECTED] writes: sometimes, you just wanna hear the record how it should be played - as the producer intended it to be if you know what I mean. but I think thats just me, I guess it's good that there's more creativity in dj'ing these days..?
Re: (313) kdj
On Fri, 23 Jan 2004 [EMAIL PROTECTED] wrote: Real Soon Records ooh, and a little bird tells me there's a few tasty releases coming up on this label, so keep your eyes peeled! Got three first Real soons: RS-001 - Further Details - Volume One (Sneaky, dubby, deep and electronic) RS-002 - Iken - Image of a drawn sword/Early Light/Estuary (Downtempoish, dubby and ambient(?)) RS-003 - Ultramarine - Hooter (hit hit hit) Have they released anything else? Btw, got the Ackie's Call me rambo on Basic Replay. IMO very good stuff if you're in to this kind of basic channel dub. With wine glass in my left hand, I bid to thee, Have a nice weekend. -- Jari Tolkkinen | dj ken-guru | http://www.ken-guru.net --
RE: (313)Random Drums / was Red Planet 9
Continuing from Kens' message, does anyone have any theories as to why so many of the producers create these weird and completely out of time breakdowns/start ups? One suggestion I have heard is that it is easier to switch the machines off to achieve the small silence, due to their analogue nature, but I'm not sure about this. I'm not sure, because when this theory was raised, we were listening to a Rob Hood record, and if Rob wants silence, he can get it from his machines, right? My theory is that it is designed to spaz out the dancefloor..at the risk of causing chaos for DJ's What do you think??? -Original Message- From: Odeluga, Ken [mailto:[EMAIL PROTECTED] Sent: 23 January 2004 3:26 To: [EMAIL PROTECTED] Org Subject: (313) Red Planet 9 Ten seconds please: dismissed 'Revenge of The Wolf' for months, but having dug out it again and *used* it, I have to say, it is very, very deep, wierd and quite sick - and a great tool ... as long as you don't take a chance with the second breakdown. Happy Fridays, k *** Opinions expressed in this email are those of the individual and not Entergy-Koch Trading Limited or its affiliated companies. This email and any files transmitted with it, including replies and forwarded copies (which may contain alterations) subsequently transmitted from the Company, are confidential and solely for the use of the intended recipient. It may contain material protected by attorney-client privilege. If you are not listed on the To or Cc lines of the original email (or are not the person responsible for delivering to an intended recipient), then you are not an intended recipient and have received this email in error. Any use by an unintended recipient is strictly prohibited. If you have received this email in error please notify the IT manager by telephone on +44 (0)20 7337 8300 or via email to [EMAIL PROTECTED], attaching this message. Please then delete this email and all attachments, and destroy any copies thereof. Thank you. ***
Re: (313) Ableton Live mixes
Just to add my 2 cents... I don't think Ableton was really every conceived of as a DJ tool in any sort of conventional sense. Sure, you CAN use it that way. But as has been discussed, it's a little too safe. When Robert Henke first built the Live prototype as a Max patch, it was for him to do his own live shows, using his own loops, but with the freedom to combine and collage (not a verb, I know) on the fly. This is primarily how I use it today - basically as an MPC on steroids. I just want to make sure, before we all write it off as a dead, that we realize that what we're really writing off is its use for a purpose for which it was never really intended. It's a little like finding out that your 808 can make drip coffee, then finding out that it's really bad coffee, then selling your 808 because it sucks. Or something. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Ableton Live mixes
you dont want the overhead of decoding multiple mp3 streams in realtime (by default, live reads the wav in realtime each time it plays, a lot like a record player... )applying pitch or time shifting, and then output as an uncompressed stream. you can upgrade hard drives with much more ease than a CPU, and ableton can read from CD or dvd, which helps (cd or dvd of .wav) -Joe i discovered ableton live a few days ago and have started to chop my vinyls into handy loops. it's really sick work but on the other hand i can't wait to add this to my vinyl/fs set. as far as i got it, most of you use ableton to play entire tracks with it? uhm, i can't open any mp3's here, you guys have got too much hd space for all the .wavs or ??? am i too dumb? cheers, ronny
Re: (313)Random Drums / was Red Planet 9
On 23-jan-04, at 16:32, Blackman, Ryan (UKEKT) wrote: Continuing from Kens' message, does anyone have any theories as to why so many of the producers create these weird and completely out of time breakdowns/start ups? I recon that people do it because it sounds cool and they don't really think about dj's when making a track (well at least i don't) One suggestion I have heard is that it is easier to switch the machines off to achieve the small silence, due to their analogue nature, but I'm not sure about this. I'm not sure, because when this theory was raised, we were listening to a Rob Hood record, and if Rob wants silence, he can get it from his machines, right? My theory is that it is designed to spaz out the dancefloor..at the risk of causing chaos for DJ's What do you think??? -Original Message- From: Odeluga, Ken [mailto:[EMAIL PROTECTED] Sent: 23 January 2004 3:26 To: [EMAIL PROTECTED] Org Subject: (313) Red Planet 9 Ten seconds please: dismissed 'Revenge of The Wolf' for months, but having dug out it again and *used* it, I have to say, it is very, very deep, wierd and quite sick - and a great tool ... as long as you don't take a chance with the second breakdown. Happy Fridays, k *** Opinions expressed in this email are those of the individual and not Entergy-Koch Trading Limited or its affiliated companies. This email and any files transmitted with it, including replies and forwarded copies (which may contain alterations) subsequently transmitted from the Company, are confidential and solely for the use of the intended recipient. It may contain material protected by attorney-client privilege. If you are not listed on the To or Cc lines of the original email (or are not the person responsible for delivering to an intended recipient), then you are not an intended recipient and have received this email in error. Any use by an unintended recipient is strictly prohibited. If you have received this email in error please notify the IT manager by telephone on +44 (0)20 7337 8300 or via email to [EMAIL PROTECTED], attaching this message. Please then delete this email and all attachments, and destroy any copies thereof. Thank you. ***
Re: (313) Ableton Live mixes
unless your track was ripped from a ghetto record player (as a lot of the tracks I DJ in traktor are :( then you should not have to adjust the track a lot. keep in mind most production is taking place in a sequencer, be it hardware or computer, so the timing of most of the newer tracks is pretty consistant, save post-bounce edits, which SUCK when they throw the trakc off beat by half a bar or whatever. typically you can set a warp marker at the beginning and end of the track (or selection) and pull one or the other and line up the markers in between to the tracks transients, if its a 4/4 dancey track. hope this makes sens,e im flash-emailing at work :) -Joe On 24-jan-04, at 2:23, Quest Pond wrote: use both audo no midi play virtual instrument plugins Ableton is a rewire master and slave application AFAIK so you could play it along with your favorite sequencer... I dont know who has time to put markers on all mp3 tracks especally with the clumbsy marker controls in ableton, not me. Quest Pond -Original Message- From: Ronny Pries [mailto:[EMAIL PROTECTED] Sent: Friday, 23 January 2004 2:07 PM To: '313' Subject: RE: (313) Ableton Live mixes i discovered ableton live a few days ago and have started to chop my vinyls into handy loops. it's really sick work but on the other hand i can't wait to add this to my vinyl/fs set. as far as i got it, most of you use ableton to play entire tracks with it? uhm, i can't open any mp3's here, you guys have got too much hd space for all the .wavs or ??? am i too dumb? cheers, ronny
RE: (313)Random Drums / was Red Planet 9
I like your theory Ryan. Another obvious recent example is 'Inspiration', btw. I also get a feeling it's just purely meant to disrupt over-regimented 'too perfect' mixing. Maybe it keeps things in the 'for-those-who-know' clique. Maybe. Plus of course, if it causes the dj to cut the other track as a solution, it concentrates attention on the 'inaccurately sequenced' one! Ken -Original Message- From: Blackman, Ryan (UKEKT) [mailto:[EMAIL PROTECTED] Sent: Friday, January 23, 2004 3:33 PM To: 'Odeluga, Ken'; [EMAIL PROTECTED] Org Subject: RE: (313)Random Drums / was Red Planet 9 Continuing from Kens' message, does anyone have any theories as to why so many of the producers create these weird and completely out of time breakdowns/start ups? One suggestion I have heard is that it is easier to switch the machines off to achieve the small silence, due to their analogue nature, but I'm not sure about this. I'm not sure, because when this theory was raised, we were listening to a Rob Hood record, and if Rob wants silence, he can get it from his machines, right? My theory is that it is designed to spaz out the dancefloor..at the risk of causing chaos for DJ's What do you think??? -Original Message- From: Odeluga, Ken [mailto:[EMAIL PROTECTED] Sent: 23 January 2004 3:26 To: [EMAIL PROTECTED] Org Subject: (313) Red Planet 9 Ten seconds please: dismissed 'Revenge of The Wolf' for months, but having dug out it again and *used* it, I have to say, it is very, very deep, wierd and quite sick - and a great tool ... as long as you don't take a chance with the second breakdown. Happy Fridays, k *** Opinions expressed in this email are those of the individual and not Entergy-Koch Trading Limited or its affiliated companies. This email and any files transmitted with it, including replies and forwarded copies (which may contain alterations) subsequently transmitted from the Company, are confidential and solely for the use of the intended recipient. It may contain material protected by attorney-client privilege. If you are not listed on the To or Cc lines of the original email (or are not the person responsible for delivering to an intended recipient), then you are not an intended recipient and have received this email in error. Any use by an unintended recipient is strictly prohibited. If you have received this email in error please notify the IT manager by telephone on +44 (0)20 7337 8300 or via email to [EMAIL PROTECTED], attaching this message. Please then delete this email and all attachments, and destroy any copies thereof. Thank you. ***
RE: (313) Ableton Live mixes
i don't know whether this is going solely to you or the whole list. i don't speak often. but: closer to the edit!?! i don't know if he was using ableton, but i do believe that that is the potential of LIVE mixing loops that you 'spent a week to cut up'. if that is your vision, and that's how long it takes, and that's how nerdy you're willing to get then...sobeit. beautiful. and i aspire to it. -r --- J. T. [EMAIL PROTECTED] wrote: i strongly dislike ableton. it's a good tool for studio style mixing, a great advance and added flexibility etc, but i still see it as studio style mixing. it makes mixing a very cerebral process; it's way geeky. and it's too safe. to me it is at odds with the pleasure of playing and listening to music, the alive-ness of music, and of mixing...simplicity... sure it sounds alive in the end when you can screw around with 500 loops it took you a week to cut up, but...i dunno. it's halfway between traditional mixing and production, but not as open-ended and versatile and hands-on as either...it just seems half-canned to me, music from concentrate just add ableton and stir. the complexities arent worth the result, or vice-versa. not that i dont enjoy some ableton mixes, but no more than i do traditional mixes -- usually not as much. people tend to go overboard with the layering of loops and frantic pace, which is fun at first, and good for booty music where you dont care to hear 3 minutes of the same track, but it takes too much energy and attention to listen to...i just wanna relax and hear some music not a vigorous exercise in sound editing...and when mixing, i wanna wander around crates throwing on whatever grabs me...the inclination to digitize and computerize (and perfect and control) everything can end up draining some of the joy out imo...its a cold cold world..i know there are loads of people older than myself on the list, but seeing people get excited about this stuff makes me feel like a dinosaur... _ There are now three new levels of MSN Hotmail Extra Storage! Learn more. http://join.msn.com/?pgmarket=en-usamp;page=hotmail/es2amp;ST=1
RE: (313)Random Drums / was Red Planet 9
Its also a way of making sure that the track doesn't become just a mixing tool; i.e. its necessary to let the track play on its own up to a certain point, before starting to bring in the next one. This ensures that a larger portion of the track is played and that there are no other sounds interfering with it. -Original Message- From: kj at technotourist dot org [mailto:[EMAIL PROTECTED] Sent: 23 January 2004 15:36 To: Blackman, Ryan (UKEKT) Cc: 'Odeluga, Ken'; [EMAIL PROTECTED] Org Subject: Re: (313)Random Drums / was Red Planet 9 On 23-jan-04, at 16:32, Blackman, Ryan (UKEKT) wrote: Continuing from Kens' message, does anyone have any theories as to why so many of the producers create these weird and completely out of time breakdowns/start ups? I recon that people do it because it sounds cool and they don't really think about dj's when making a track (well at least i don't) One suggestion I have heard is that it is easier to switch the machines off to achieve the small silence, due to their analogue nature, but I'm not sure about this. I'm not sure, because when this theory was raised, we were listening to a Rob Hood record, and if Rob wants silence, he can get it from his machines, right? My theory is that it is designed to spaz out the dancefloor..at the risk of causing chaos for DJ's What do you think??? -Original Message- From: Odeluga, Ken [mailto:[EMAIL PROTECTED] Sent: 23 January 2004 3:26 To: [EMAIL PROTECTED] Org Subject: (313) Red Planet 9 Ten seconds please: dismissed 'Revenge of The Wolf' for months, but having dug out it again and *used* it, I have to say, it is very, very deep, wierd and quite sick - and a great tool ... as long as you don't take a chance with the second breakdown. Happy Fridays, k *** Opinions expressed in this email are those of the individual and not Entergy-Koch Trading Limited or its affiliated companies. This email and any files transmitted with it, including replies and forwarded copies (which may contain alterations) subsequently transmitted from the Company, are confidential and solely for the use of the intended recipient. It may contain material protected by attorney-client privilege. If you are not listed on the To or Cc lines of the original email (or are not the person responsible for delivering to an intended recipient), then you are not an intended recipient and have received this email in error. Any use by an unintended recipient is strictly prohibited. If you have received this email in error please notify the IT manager by telephone on +44 (0)20 7337 8300 or via email to [EMAIL PROTECTED], attaching this message. Please then delete this email and all attachments, and destroy any copies thereof. Thank you. ***
RE: (313)Random Drums / was Red Planet 9
I recon that people do it because it sounds cool and they don't really think about dj's when making a track (well at least i don't) Maybe that's true in many cases, but the weird thing as I've said about RP9, is that in every other respect, it sounds and handles like a tool deluxe. k
RE: (313)Random Drums / was Red Planet 9
Its also a way of making sure that the track doesn't become just a mixing tool; i.e. its necessary to let the track play on its own up to a certain point, before starting to bring in the next one. This ensures that a larger portion of the track is played and that there are no other sounds interfering with it. We are both on to something withn this view then it sounds like! k
Re: (313) Ableton Live mixes
your 808 must be ghetto because mine makes some FINE coffee :p Just to add my 2 cents... I don't think Ableton was really every conceived of as a DJ tool in any sort of conventional sense. Sure, you CAN use it that way. But as has been discussed, it's a little too safe. When Robert Henke first built the Live prototype as a Max patch, it was for him to do his own live shows, using his own loops, but with the freedom to combine and collage (not a verb, I know) on the fly. This is primarily how I use it today - basically as an MPC on steroids. I just want to make sure, before we all write it off as a dead, that we realize that what we're really writing off is its use for a purpose for which it was never really intended. It's a little like finding out that your 808 can make drip coffee, then finding out that it's really bad coffee, then selling your 808 because it sucks. Or something. -- Dennis DeSantis www.dennisdesantis.com
(313) CORRECT: RE: (313)Random Drums / was Red Planet 9
The track I'm talking about is 'Revenge Of The Wolf', Red Planet 11. k -Original Message- From: Odeluga, Ken [mailto:[EMAIL PROTECTED] Sent: Friday, January 23, 2004 3:44 PM To: Sean Creen; kj at technotourist dot org; Blackman, Ryan (UKEKT) Cc: [EMAIL PROTECTED] Org Subject: RE: (313)Random Drums / was Red Planet 9 Its also a way of making sure that the track doesn't become just a mixing tool; i.e. its necessary to let the track play on its own up to a certain point, before starting to bring in the next one. This ensures that a larger portion of the track is played and that there are no other sounds interfering with it. We are both on to something withn this view then it sounds like! k
Re: (313) Ableton Live mixes
nicely said dennis When Robert Henke first built the Live prototype as a Max patch, it was for him to do his own live shows, using his own loops, but with the freedom to combine and collage (not a verb, I know) on the fly. exactly! which from my p.o.v., makes it not so hot as a live tool as well depending on what sort of music you make...if you make more loop/groove-based or soundscapey stuff where layering and playing with fx is the hook and the excitement of the song its great, but if you make stuff with changing melodies, more narrative or song-based, it is not really much use..at least i have never found much use from it, i have it and dont use it. imo henke's genius is in reaktor, not ableton... It's a little like finding out that your 808 can make drip coffee, then finding out that it's really bad coffee, then selling your 808 because it sucks. hehe!! yech this coffee has too much cowbell! yeah i dont mean to write-off the program, or mixes done in ableton, i just do not see it as the future of music or as some new frontier for mixing. computer technology going up its own butt if you ask me, which ya didnt, rarrarwrr i'm off to the tarpits _ Find high-speed net deals comparison-shop your local providers here. https://broadband.msn.com
Re: (313) Ableton Live mixes
It's a little like finding out that your 808 can make drip coffee, then finding out that it's really bad coffee, then selling your 808 because it sucks. I find that at adding a bit of cowbell makes the coffee tastes much better... unlike the 303 coffee makers - the coffee always tastes too acidic. goodnight nurse MEK
Re: (313) Ableton Live mixes
J. T. wrote: imo henke's genius is in reaktor, not ableton... I think he might disagree with you. yeah i dont mean to write-off the program, or mixes done in ableton, i just do not see it as the future of music or as some new frontier for mixing. No single tool is the future of anything. The potential of any of it is only going to come to fruition in the hands of people. What Ableton has done (or has at least been the catalyst for) is a WHOLE lot more people doing live shows. -- Dennis DeSantis www.dennisdesantis.com
RE: (313) Ableton Live mixes
i think ACID was used for that mix. and yeah it's a good example of the use of software for a mixcould do with a few more hooks in there tho to contast with the minimalismbut that's just a personal taste thing. robin... - i don't know whether this is going solely to you or the - whole list. i don't - speak often. - - but: closer to the edit!?! - - i don't know if he was using ableton, but i do believe that - that is the - potential of LIVE mixing loops that you 'spent a week to cut - up'. if that is - your vision, and that's how long it takes, and that's how - nerdy you're - willing to get then...sobeit. - - beautiful. and i aspire to it. - - -r - - - --- J. T. [EMAIL PROTECTED] wrote: - i strongly dislike ableton. it's a good tool for studio - style mixing, a - great advance and added flexibility etc, but i still see - it as studio style - - mixing. it makes mixing a very cerebral process; it's way - geeky. and it's - too safe. to me it is at odds with the pleasure of playing - and listening to - - music, the alive-ness of music, and of - mixing...simplicity... sure it - sounds - alive in the end when you can screw around with 500 loops - it took you a - week - to cut up, but...i dunno. it's halfway between traditional - mixing and - production, but not as open-ended and versatile and - hands-on as either...it - - just seems half-canned to me, music from concentrate just - add ableton and - stir. the complexities arent worth the result, or - vice-versa. not that i - dont enjoy some ableton mixes, but no more than i do - traditional mixes -- - usually not as much. people tend to go overboard with the - layering of loops - - and frantic pace, which is fun at first, and good for - booty music where you - - dont care to hear 3 minutes of the same track, but it - takes too much energy - - and attention to listen to...i just wanna relax and hear - some music not a - vigorous exercise in sound editing...and when mixing, i - wanna wander around - - crates throwing on whatever grabs me...the inclination to - digitize and - computerize (and perfect and control) everything can end - up draining some - of - the joy out imo...its a cold cold world..i know there are - loads of people - older than myself on the list, but seeing people get - excited about this - stuff makes me feel like a dinosaur... - - _ - There are now three new levels of MSN Hotmail Extra - Storage! Learn more. - http://join.msn.com/?pgmarket=en-usamp;page=hotmail/es2amp;ST=1 - - - - --- - Incoming mail is certified Virus Free. - Checked by AVG anti-virus system (http://www.grisoft.com). - Version: 6.0.564 / Virus Database: 356 - Release Date: 19/01/2004 - -
RE: (313) Ableton Live mixes
we're talking about maybe 1-2% per mp3 stream. that is not the argument. besides, my notebook hd is already the max. size limit. on the other hand it's simply impossible to play with mp3 loops because mp3 isn't gapless (adds a few ms silence before and after the data area). i would just like to use ableton as cut-tool which i want to use for extracting loops from tracks. that's the only point where i would like to open mp3s. i bet that ableton will surely come up with a solution for the cut thing, most sound editors really lack on features when it comes about cutting loops from areas without drums (eh, where's the exact start point?). cheerio, ronny you dont want the overhead of decoding multiple mp3 streams in realtime (by default, live reads the wav in realtime each time it plays, a lot like a record player... )applying pitch or time shifting, and then output as an uncompressed stream. you can upgrade hard drives with much more ease than a CPU, and ableton can read from CD or dvd, which helps (cd or dvd of .wav) -Joe
Re: (313) Ableton Live mixes
[robin [EMAIL PROTECTED]] can anyone point me in the direction of any more Ableton Live created mixes? http://www.atomly.com/music/sets/ I'd check out the newest first: http://www.atomly.com/music/atomly_-_live_at_dbn_nye_20031231.mp3 It's a DJ set of sorts, though all tracks are by me. -- :: atomly :: [ [EMAIL PROTECTED] : www.atomly.com ... [ atomiq records : po box 805319 chicago il 60680 : 312.804.5389 ... [ e-mail [EMAIL PROTECTED] for atomly info and updates ...
Re: (313) Ableton Live mixes
1-2 percent adds up. this is the reason ableton hasnt done it, check their forums - Original Message - From: Ronny Pries [EMAIL PROTECTED] To: '313' 313@hyperreal.org Sent: Friday, January 23, 2004 10:59 AM Subject: RE: (313) Ableton Live mixes we're talking about maybe 1-2% per mp3 stream. that is not the argument. besides, my notebook hd is already the max. size limit. on the other hand it's simply impossible to play with mp3 loops because mp3 isn't gapless (adds a few ms silence before and after the data area). i would just like to use ableton as cut-tool which i want to use for extracting loops from tracks. that's the only point where i would like to open mp3s. i bet that ableton will surely come up with a solution for the cut thing, most sound editors really lack on features when it comes about cutting loops from areas without drums (eh, where's the exact start point?). cheerio, ronny you dont want the overhead of decoding multiple mp3 streams in realtime (by default, live reads the wav in realtime each time it plays, a lot like a record player... )applying pitch or time shifting, and then output as an uncompressed stream. you can upgrade hard drives with much more ease than a CPU, and ableton can read from CD or dvd, which helps (cd or dvd of .wav) -Joe
Re: (313) Ableton Live mixes
I dont use Ableton, but i have experienced this MP3 silence gap problem, since i work on Macromedia Flash. You can dynamically import external MP3 into your Flash movie. But forget it, if you wanna make a loop with it... While, its possible to import a WAV when you work on your source. And then Flash use its own internal MP3 encoder to export your movie as a SWF file. And i dunno which codec is used, but the loop is now in MP3 and is exactly the same length! No gaps! It loops perfectly. No idea how they did it...But for me it only means one thing..ITS POSSIBLE!! Id like it to be the defacto standard!! (And, yes its really encoded in MP3). - KiDD*e* - Original Message - From: /0 [EMAIL PROTECTED] To: [EMAIL PROTECTED]; '313' 313@hyperreal.org Sent: Friday, January 23, 2004 6:14 PM Subject: Re: (313) Ableton Live mixes 1-2 percent adds up. this is the reason ableton hasnt done it, check their forums - Original Message - From: Ronny Pries [EMAIL PROTECTED] To: '313' 313@hyperreal.org Sent: Friday, January 23, 2004 10:59 AM Subject: RE: (313) Ableton Live mixes we're talking about maybe 1-2% per mp3 stream. that is not the argument. besides, my notebook hd is already the max. size limit. on the other hand it's simply impossible to play with mp3 loops because mp3 isn't gapless (adds a few ms silence before and after the data area). i would just like to use ableton as cut-tool which i want to use for extracting loops from tracks. that's the only point where i would like to open mp3s. i bet that ableton will surely come up with a solution for the cut thing, most sound editors really lack on features when it comes about cutting loops from areas without drums (eh, where's the exact start point?). cheerio, ronny you dont want the overhead of decoding multiple mp3 streams in realtime (by default, live reads the wav in realtime each time it plays, a lot like a record player... )applying pitch or time shifting, and then output as an uncompressed stream. you can upgrade hard drives with much more ease than a CPU, and ableton can read from CD or dvd, which helps (cd or dvd of .wav) -Joe
Re: (313) Ableton Live mixes
[KiDDy*RaVeR [EMAIL PROTECTED]] I dont use Ableton, but i have experienced this MP3 silence gap problem, since i work on Macromedia Flash. You can dynamically import external MP3 into your Flash movie. But forget it, if you wanna make a loop with it... While, its possible to import a WAV when you work on your source. And then Flash use its own internal MP3 encoder to export your movie as a SWF file. And i dunno which codec is used, but the loop is now in MP3 and is exactly the same length! No gaps! It loops perfectly. No idea how they did it...But for me it only means one thing..ITS POSSIBLE!! Id like it to be the defacto standard!! (And, yes its really encoded in MP3). The Ogg Vorbis standard was specifically designed to have gapless play but this was an oversight when MP3 was designed. This has been a big problem for players as well (iPod, iRiver, etc), since you get gaps when you listen to chopped up MP3s of DJ mixes or MP3 rips of albums that were designed to play without a 2 second pre-gap. Some software MP3 players (e.g. Winamp) have devised schemes to work around it, but they're really nothing more than hacks that look for the beginning and end of actual audio data ahead of time. Having said that, it shouldn't be a problem for Ableton to get around that since they already pre-analyze a file and generate an ASD analysis file for it, which could easily contain the pertinent information for proper looping. I personally use Live in a DJ-like fashion, but I only play my own songs, so I already have them as WAVs. It's not like I'd be able to play whole songs as MP3s on the fly anyway, though, since Ableton's warping engine seems to choke on files that big and you have to resort to manually setting your own warp markers. Most composition software out there lets you load MP3s as samples, though, which is good since so many people pass their samples around the net that way. I really don't think it would be hard for Ableton to follow suit, but it seems that maybe they're just not interested. I know it was a feature they said they were definitely going to have back in the day, but it seems it's been pushed to the back of the priority list, which would indicate to me that it's more fraught with problems than we seem to think, because it's not like they haven't been doing a lot of updates to the software. -- :: atomly :: [ [EMAIL PROTECTED] : www.atomly.com ... [ atomiq records : po box 805319 chicago il 60680 : 312.804.5389 ... [ e-mail [EMAIL PROTECTED] for atomly info and updates ...
Re: (313) Ableton Live mixes
there's also a gapless plugin for winamp which makes mp3s play seamlessly. i assume it just buffers the first few seconds of the next song when it senses the current one is about to end. I dont use Ableton, but i have experienced this MP3 silence gap problem, since i work on Macromedia Flash. You can dynamically import external MP3 into your Flash movie. But forget it, if you wanna make a loop with it... While, its possible to import a WAV when you work on your source. And then Flash use its own internal MP3 encoder to export your movie as a SWF file. And i dunno which codec is used, but the loop is now in MP3 and is exactly the same length! No gaps! It loops perfectly. No idea how they did it...But for me it only means one thing..ITS POSSIBLE!! Id like it to be the defacto standard!! (And, yes its really encoded in MP3). - KiDD*e* - Original Message - From: /0 [EMAIL PROTECTED] To: [EMAIL PROTECTED]; '313' 313@hyperreal.org Sent: Friday, January 23, 2004 6:14 PM Subject: Re: (313) Ableton Live mixes 1-2 percent adds up. this is the reason ableton hasnt done it, check their forums - Original Message - From: Ronny Pries [EMAIL PROTECTED] To: '313' 313@hyperreal.org Sent: Friday, January 23, 2004 10:59 AM Subject: RE: (313) Ableton Live mixes we're talking about maybe 1-2% per mp3 stream. that is not the argument. besides, my notebook hd is already the max. size limit. on the other hand it's simply impossible to play with mp3 loops because mp3 isn't gapless (adds a few ms silence before and after the data area). i would just like to use ableton as cut-tool which i want to use for extracting loops from tracks. that's the only point where i would like to open mp3s. i bet that ableton will surely come up with a solution for the cut thing, most sound editors really lack on features when it comes about cutting loops from areas without drums (eh, where's the exact start point?). cheerio, ronny you dont want the overhead of decoding multiple mp3 streams in realtime (by default, live reads the wav in realtime each time it plays, a lot like a record player... )applying pitch or time shifting, and then output as an uncompressed stream. you can upgrade hard drives with much more ease than a CPU, and ableton can read from CD or dvd, which helps (cd or dvd of .wav) -Joe _ Get a FREE online virus check for your PC here, from McAfee. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963
(313) pcv-180
|| peel seamus has a new mixer, but still can't mix-mixx a fourty minutes mix of strictly unreleased future classics techno cuts including dj yoav b, nubian mindz, d5, kenny larkin, aardvarck, dynarec, .. http://nomorewords.net/audio/moreandmore.mp3 ||
RE: (313) Ableton Live mixes/Namm
here's a good little write-up from one of Detroit's finest- Craig Gonzales. http://www.detroitluv.com/index.php?board=1;action=display;threadid=13598 On Sat, 24 Jan 2004, Quest Pond wrote: No don't stop because of me, just getting interesting i thought. And while im at it, did anyone else check out the interesting stuff at NAMM. Both Dj and music making equipment. http://www.fdiskc.com/usrsyn/namm/2004/ Quest Pond -Original Message- From: Martin [mailto:[EMAIL PROTECTED] Sent: Friday, 23 January 2004 2:40 PM To: Quest Pond; kj at technotourist dot org; '313'; [EMAIL PROTECTED] Subject: Re: (313) Ableton Live mixes 24/1/04 1:36 AM Quest [EMAIL PROTECTED] getting to techie to be on 313 i feel But isn't this where we are at - the future and technology, certainly beats people have a pop at Jeff Mills... Martin Dust
Re: (313) transit
Marvellous ! Dreamer Techno with flutes. It's so funky Many thanks - Mensaje original - De: Maxim Sullivan [EMAIL PROTECTED] Para: 313@hyperreal.org Enviado: jueves, 22 de enero de 2004 18:53 Asunto: (313) transit Hi peepz, Got an old tune here, something nick (pylot) and I did a while back. www.sodastudios.com/sounds/transit_mix_1.mp3 Doesn't really go anywhere just a jam we did over a weekend Just found out that the flute player on this tune has just been committed to a mental institute (is that the right way of putting it?) which is sad as he is a great guy! anyway Thought I would put this out in honour of his sanity, and may it soon return. Max
(313) Out of the Box records
Found some records on this label (by Omegaman) - I always thought this was a UK label discogs has it listed as a Detroit label and that Boomer Omegaman Reynolds was in charge of it who is this and what else has Reynolds done? MEK
(313) Nice electro set in motion right now
http://interface.pirate-radio.org/index2.html
Re: (313) Nice electro set in motion right now
ok - so it's changd a bit - still a nice set of techno and electro and jungle (as it was earlier still) Michael.Elliot-Knight @fallon.com To: 313@hyperreal.org cc: 01/23/04 04:22 PMSubject: (313) Nice electro set in motion right now http://interface.pirate-radio.org/index2.html
RE: (313) Out of the Box records
I believe he did some earlier releases on Definitive back in the day. I think he worked with Bryan Zentz on a couple of those as well. One of my fave's is Dola's Track 12 on Definitive...pretty cool record. Adam -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Friday, January 23, 2004 5:18 PM To: 313@hyperreal.org Subject: (313) Out of the Box records Found some records on this label (by Omegaman) - I always thought this was a UK label discogs has it listed as a Detroit label and that Boomer Omegaman Reynolds was in charge of it who is this and what else has Reynolds done? MEK
RE: (313) Out of the Box records
Boomer is a DJ/tattoo artist/ultimate fighting warrior (no kidding) from Toledo Ohio who has a penchants for wearing all yellow Ecko outfits and dropping his pants behind the turntables. He did some cool records on Definative before starting Out of the Box with Tim Price (rave guru, +8, Minus- Detroit/Berlin) Tim left the label a few years back and I don't know how many releases theyve had the past few years. On Fri, 23 Jan 2004, Adam Smith wrote: I believe he did some earlier releases on Definitive back in the day. I think he worked with Bryan Zentz on a couple of those as well. One of my fave's is Dola's Track 12 on Definitive...pretty cool record. Adam -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Friday, January 23, 2004 5:18 PM To: 313@hyperreal.org Subject: (313) Out of the Box records Found some records on this label (by Omegaman) - I always thought this was a UK label discogs has it listed as a Detroit label and that Boomer Omegaman Reynolds was in charge of it who is this and what else has Reynolds done? MEK
