Re: (313) The MP3 VS Uncompressed Audio test.
i agree with you. tho it sounds indistinguishable i can hear the bottom end in the second part get 'rounded' and looses a bit of breading space, sounds a bit tighter to me. i'm using yamaha HD50M monitors but to really feel the difference i think this should be listened to on a club sound system. but really the difference here is so hard to tell i think regular music consumers would take this test as a waste of time regarding the the sound quality is good enough for listening, with no need for better quality. Specially on car/home stereo, with those 'SUPERBASS' and EXTRALOUD functions on HI-FI's that colour sounds, it would be impossible to tell the difference. however, i stick to DJing with wave files and I've heard the difference in the club. generally it depends on the quality and depth of the sound production, of course the more dynamic, spacey stuff gets affected more than,let's say, plink-plonky-3-element song when you compress to mp3. On Sat, Sep 27, 2008 at 7:27 PM, Michael Pujos [EMAIL PROTECTED] wrote: kent williams a écrit : OK that was just a test. Try this link: http://www.cornwarning.com/xfer/m500-starlight-blindfold test.wav I think the WAV is first and the MP3 second
Re: (313) The MP3 VS Uncompressed Audio test.
Actually the MP3 sample is first. I'm all for fighting the good fight for sound quality, though. I kind of wonder about the idea that you can hear differences in a big club that you can't on headphones or home speakers. Honestly, I can't hear anything particularly well at 130 decibels, and by the time your sound reaches the loudspeakers it's been through digital-analog-digital conversion, EQ, compression, crossovers and limiters. The bass and high end are coming from point sources several feet apart. A club system can sound very good, but can it help you distinguish subtle differences? On Tue, Sep 30, 2008 at 7:35 AM, Davor Ostojic [EMAIL PROTECTED] wrote: i agree with you. tho it sounds indistinguishable i can hear the bottom end in the second part get 'rounded' and looses a bit of breading space, sounds a bit tighter to me. i'm using yamaha HD50M monitors but to really feel the difference i think this should be listened to on a club sound system. but really the difference here is so hard to tell i think regular music consumers would take this test as a waste of time regarding the the sound quality is good enough for listening, with no need for better quality. Specially on car/home stereo, with those 'SUPERBASS' and EXTRALOUD functions on HI-FI's that colour sounds, it would be impossible to tell the difference. however, i stick to DJing with wave files and I've heard the difference in the club. generally it depends on the quality and depth of the sound production, of course the more dynamic, spacey stuff gets affected more than,let's say, plink-plonky-3-element song when you compress to mp3. On Sat, Sep 27, 2008 at 7:27 PM, Michael Pujos [EMAIL PROTECTED] wrote: kent williams a écrit : OK that was just a test. Try this link: http://www.cornwarning.com/xfer/m500-starlight-blindfold test.wav I think the WAV is first and the MP3 second
Re: (313) The MP3 VS Uncompressed Audio test.
Kent, i was more aiming to the richer, broader and deeper sound i feel the wav provides on a club soundsystem. i cannot comment on this from a sound engineer perspective, but rather subjective experience. i think a good sound system can reproduce low end frequencies i cannot hear at home, maybe sitting too close to the speakers, or speakers are incapable to reproducing these frequencies., but that's the juice that shakes my cells in the club. generally club music strongly focuses on effects of loud sound and following that is the neccecary breathing space or headroom that i feel get's tighter with compression. what about the stuff you hear out in clubs ? do you feel there's an extra perspective you gain when you hear a song that you know, played on a loud soundsystem ? is it more feeling than math ? i wonder if we're underestimating the frequencies that we cannot hear but rather feel have an effect on our ears and body On Tue, Sep 30, 2008 at 2:47 PM, kent williams [EMAIL PROTECTED] wrote: Actually the MP3 sample is first. I'm all for fighting the good fight for sound quality, though. I kind of wonder about the idea that you can hear differences in a big club that you can't on headphones or home speakers. Honestly, I can't hear anything particularly well at 130 decibels, and by the time your sound reaches the loudspeakers it's been through digital-analog-digital conversion, EQ, compression, crossovers and limiters. The bass and high end are coming from point sources several feet apart. A club system can sound very good, but can it help you distinguish subtle differences? On Tue, Sep 30, 2008 at 7:35 AM, Davor Ostojic [EMAIL PROTECTED] wrote: i agree with you. tho it sounds indistinguishable i can hear the bottom end in the second part get 'rounded' and looses a bit of breading space, sounds a bit tighter to me. i'm using yamaha HD50M monitors but to really feel the difference i think this should be listened to on a club sound system. but really the difference here is so hard to tell i think regular music consumers would take this test as a waste of time regarding the the sound quality is good enough for listening, with no need for better quality. Specially on car/home stereo, with those 'SUPERBASS' and EXTRALOUD functions on HI-FI's that colour sounds, it would be impossible to tell the difference. however, i stick to DJing with wave files and I've heard the difference in the club. generally it depends on the quality and depth of the sound production, of course the more dynamic, spacey stuff gets affected more than,let's say, plink-plonky-3-element song when you compress to mp3. On Sat, Sep 27, 2008 at 7:27 PM, Michael Pujos [EMAIL PROTECTED] wrote: kent williams a écrit : OK that was just a test. Try this link: http://www.cornwarning.com/xfer/m500-starlight-blindfold test.wav I think the WAV is first and the MP3 second
Re: (313) The MP3 VS Uncompressed Audio test.
I'm all for fighting the good fight for sound quality, though. I kind of wonder about the idea that you can hear differences in a big club that you can't on headphones or home speakers. Honestly, I can't hear anything particularly well at 130 decibels, and by the time your sound reaches the loudspeakers it's been through digital-analog-digital conversion, EQ, compression, crossovers and limiters. Several issues to consider. Most PAs are either rubbish, overdriven or poorly setup. Most turntables in clubs are poorly setup with old needles. Most DJs have no handle on levels and overdrive the mixer. For digital DJs the levels thing also applies to some extent but also the equipment used for sound production varies wildly from nice things like MOTUs right down to on-board laptop sound (and worse). Another shades of grey issue, it's certainly not black and white. robin...
Re: (313) wtf -- 32768th 'Good Life' Rip Off?
Er sorry to burst your bubble but Kevin Saunderson has been playing that tune in his dj sets for years. kent williams wrote: http://www.youtube.com/watch?v=JCgOsgyVt1Y Manalive on Bush. This is some complete BS in my book. KMS should sue -- Bush is a high enough profile label that they should know better. I heard this because I was listening to the top sellers on Beatport. Which is mostly a reminder, yet again, of what complete wankers most DJs are. And yet again, present company excepted.
Re: (313) wtf -- 32768th 'Good Life' Rip Off?
And in spite of being a really nice guy, As a DJ, he is a complete wanker Chris Rooney wrote: Er sorry to burst your bubble but Kevin Saunderson has been playing that tune in his dj sets for years.
Re: (313) The MP3 VS Uncompressed Audio test.
By all means play uncompressed WAV files. No matter what you play, if you care at all you'll get more out of a system if you spend a little more for proper Digital to Analog conversion. I've been using an RME Hammerfall DSP for several years now. I found some TRS 1/4 to Male XLR cables, so I'm running balanced all the way to the house mixer. That seems to make a the difference in sound -- I think I can even hear the difference DI boxes make. And the RME Multiface in general sounds so much clearer in the high end than built-in laptop sound or M-Audio outboard sound interfaces. I only got two responses from people with the courage to try and distinguish between 16 bit uncompressed audio and 320KBS MP3. Now it might be that it was an unfair test, but both people who took the challenge guessed wrong -- the MP3 sample was first. The one other response I got was 'I can't hear any difference whatsoever.' I wasn't an objective listener, and was biased toward the 'no difference' position, but I listened to that sample on my studio monitors and headphones for a long time, and I couldn't hear any difference -- even after I actually extracted the difference between the files and amplified it so I could hear it. I guess all I'm saying is that I don't think properly encoded MP3 files sound noticeably different than uncompressed audio. I also think that big systems -- no matter how expensive or carefully configured-- aren't going to make it easier to hear those differences. I don't think that any objective test of those hypotheses would prove otherwise. On the other hand, there's an art and craft to making music sound really good, and everyone has their own formula that's part voodoo. I get all excited about running balanced to the PA, but if you did a blind test with decent DI boxes and properly matched levels, I might not be able to tell the difference either. On Tue, Sep 30, 2008 at 8:14 AM, Davor Ostojic [EMAIL PROTECTED] wrote: Kent, i was more aiming to the richer, broader and deeper sound i feel the wav provides on a club soundsystem.
Re: (313) The MP3 VS Uncompressed Audio test.
I really would like to hear a few tracks, both WAV and MP3 played let's say in Fabric or some other club with a good, finely tuned sound system and then try to hear the difference. i'm arguing that since club music is made for the club, that setting should be considered a benchmarking place for music production/sound quality, that's all. i would on the other hand have a problem with a Bach or Vivaldi recording sounding shyte on my home speakers or headphones, but with dance music i want to have the benifits of the environment for which the music was produced for in the first place. not to diss the all-prevailing, disc-space-saving MP3, just my thoughts on this On Tue, Sep 30, 2008 at 5:36 PM, kent williams [EMAIL PROTECTED] wrote: By all means play uncompressed WAV files. No matter what you play, if you care at all you'll get more out of a system if you spend a little more for proper Digital to Analog conversion. I've been using an RME Hammerfall DSP for several years now. I found some TRS 1/4 to Male XLR cables, so I'm running balanced all the way to the house mixer. That seems to make a the difference in sound -- I think I can even hear the difference DI boxes make. And the RME Multiface in general sounds so much clearer in the high end than built-in laptop sound or M-Audio outboard sound interfaces. I only got two responses from people with the courage to try and distinguish between 16 bit uncompressed audio and 320KBS MP3. Now it might be that it was an unfair test, but both people who took the challenge guessed wrong -- the MP3 sample was first. The one other response I got was 'I can't hear any difference whatsoever.' I wasn't an objective listener, and was biased toward the 'no difference' position, but I listened to that sample on my studio monitors and headphones for a long time, and I couldn't hear any difference -- even after I actually extracted the difference between the files and amplified it so I could hear it. I guess all I'm saying is that I don't think properly encoded MP3 files sound noticeably different than uncompressed audio. I also think that big systems -- no matter how expensive or carefully configured-- aren't going to make it easier to hear those differences. I don't think that any objective test of those hypotheses would prove otherwise. On the other hand, there's an art and craft to making music sound really good, and everyone has their own formula that's part voodoo. I get all excited about running balanced to the PA, but if you did a blind test with decent DI boxes and properly matched levels, I might not be able to tell the difference either. On Tue, Sep 30, 2008 at 8:14 AM, Davor Ostojic [EMAIL PROTECTED] wrote: Kent, i was more aiming to the richer, broader and deeper sound i feel the wav provides on a club soundsystem.
Re: (313) Morgan Geist interview
sounds like a brother needs to quit whining considering he's doing a fabric mix: http://www.beatportal.com/feed/item/metro-area-mix-fabric/#When:13:34:00Z On Fri, Sep 26, 2008 at 11:28 AM, JT Stewart [EMAIL PROTECTED] wrote: It's not really the fans' fault. The internet has forced a drastic re-configuration of the music business, that so far has not found any balance, it hasn't really re-configured in a sustainable way yet. MG was right about iPods and the fact that nobody really _listens_ to music anymore. The mp3 formulation flat-out sucks. I don't care what site you uh cite. The artifact and reality of music is ceasing to exist -- like MG says, seeing live music is becoming the only way to have a real music experience now. Technophiles will rant and rave about the freedom and access allowed by ethereal digital objects, but we are losing many of the old ways we marked and appreciated and valued cultural fuel such as music...the digital revolution got ahead of itself. It's not just because we're getting old. I'd go deeper and talk about Western cultural trends and politics and blabla but I'm tired. On Fri, Sep 26, 2008 at 10:26 AM, [EMAIL PROTECTED] wrote: Reason it's not a business is because his fans won't let him make a living at it. You read what he said about people complimenting him on a record that isn't even released yet. That sucks. I've talked to struggling musicians who's so-called fans say straight to their face that they really enjoy their music but that they didn't pay for it - just got it off someone else or from a P2P site. That sucks and that's not any way to be a fan. I'm not surprised that Geist is feeling the way he is. How long could you possibly put up with that bullshyte before losing it? MEK Martin Dust [EMAIL PROTECTED] wrote on 09/26/2008 05:03:50 AM: Oh yeah. I agree. Don't get me wrong, the honesty in there is refreshing. The problem, as I see it, for people making a living from music is that it's hard to take that break unless you're very (financially) successful. I guess they are going to have to accept that it's no longer a business and back to a hobby. m -- peace, frank dj mix archive: http://www.deejaycountzero.com
RE: (313) wtf -- 32768th 'Good Life' Rip Off?
I guess he should form a beatport wanker dj crew with Carl Craig then. -Original Message- From: David Armin-Parcells [mailto:[EMAIL PROTECTED] Sent: 30 September 2008 15:47 Cc: 313@hyperreal.org Subject: Re: (313) wtf -- 32768th 'Good Life' Rip Off? And in spite of being a really nice guy, As a DJ, he is a complete wanker Chris Rooney wrote: Er sorry to burst your bubble but Kevin Saunderson has been playing that tune in his dj sets for years.
(313) RIP Marc Moulin
... FYI ... link is in French though. http://blogs.lesoir.be/festivals/2008/09/30/generations-marc-moulin/
Re: (313) Morgan Geist interview
As a small business we just don't have the luxury of taking a stand on the issue nor would I realistically- Serato is a great tool and I've nothing against Digital DJ's on principle - there's 3 other store in walking distance of ours that sell it and about 60 odd mail order companies who'd supply it if we didn't. My point is that a large percentage of the people buying it have expressed a short sited viewpoint of I can just download all my music for nothing without taking into account what this is doing to artists and labels. cheers Jason 2008/9/29 Frank Glazer [EMAIL PROTECTED]: interestingly this hasn't stopped you from selling serato. On Mon, Sep 29, 2008 at 6:23 AM, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: A very quick interjection from me! We're a record retailer but we also sell DJ and Studio equipment- we currently sell around 10 Serato systems a week and the number has been growing steadily over the last 2 years. Almost without fail the customer will tell us with a big grin on their faces that Serato is great because I don;t need to pay for music anyomore- I just download it for free. It's so short sighted it almost beggars belief- the majority of these people are actually taking pride in getting something for nothing. Jason Rubadub 2008/9/26 [EMAIL PROTECTED] Wait a second... how is it _not_ the fans fault for Geist not getting paid for his music when people download via P2P before it's even out? you can't blame the technology - it takes someone to drive that car to get it from A to B P2P/blogs/etc. sites aren't breaking into people's houses and forcing the files on them nobody is holding the fans at gun point and telling them that they MUST share the files with all of their friends they're doing it willingly and not thinking about what it costs the artist - especially the struggling independent artist people are looking to get something for nothing it is the fans fault but they just don't want to admit that their actions are hurting the musicians they claim to love it's a case of sticking their fingers in their ears and yelling I can't hear you! you can say that we're losing the old way of appreciating music but the fact remains that people are still taking the music and the musicians aren't getting paid for it it's pretty black and white - if you want the music you should give something in return that the musician can use most of the time, that something is financial funding if you don't have the money to pay the musician for it then you shouldn't have it - in a world that was good the musicians you wouldn't have people with half a gazillion tunes in their iTunes unless they are millionaires you should be content with having less music shouldn't be treated like a cheap commodity by the fans nor anyone else continuing to blame the technology lets the so-called fans off the hook - they don't have to face the fact that getting Morgan Geist's tracks off a friend hurts Morgan Geist MEK JT Stewart [EMAIL PROTECTED] wrote on 09/26/2008 10:28:05 AM: It's not really the fans' fault. The internet has forced a drastic re-configuration of the music business, that so far has not found any balance, it hasn't really re-configured in a sustainable way yet. MG was right about iPods and the fact that nobody really _listens_ to music anymore. The mp3 formulation flat-out sucks. I don't care what site you uh cite. The artifact and reality of music is ceasing to exist -- like MG says, seeing live music is becoming the only way to have a real music experience now. Technophiles will rant and rave about the freedom and access allowed by ethereal digital objects, but we are losing many of the old ways we marked and appreciated and valued cultural fuel such as music...the digital revolution got ahead of itself. It's not just because we're getting old. I'd go deeper and talk about Western cultural trends and politics and blabla but I'm tired. On Fri, Sep 26, 2008 at 10:26 AM, [EMAIL PROTECTED] wrote: Reason it's not a business is because his fans won't let him make a living at it. You read what he said about people complimenting him on a record that isn't even released yet. That sucks. I've talked to struggling musicians who's so-called fans say straight to their face that they really enjoy their music but that they didn't pay for it - just got it off someone else or from a P2P site. That sucks and that's not any way to be a fan. I'm not surprised that Geist is feeling the way he is. How long could you possibly put up with that bullshyte before losing it? MEK Martin Dust [EMAIL PROTECTED] wrote on 09/26/2008 05:03:50 AM: Oh yeah. I agree. Don't get me wrong, the honesty in there is refreshing. The problem, as I see it, for people making a living from music is that it's hard to take that break unless you're very (financially) successful.
Re: (313) Morgan Geist interview
It depends- I've definitetly mumbled some stuff to a couple of peepz about labels not being around in 5 years time to release music but it's not really the time and place to have a long discussion on the subject unfortunately! 2008/9/29 kent williams [EMAIL PROTECTED]: Do you ever take this as a 'teaching moment' and tell them why that is a horrible way to view things? Of course, this just goes to show what everyone's probably noticed: 99% of DJs are complete wankers. Present company excepted off course. On Mon, Sep 29, 2008 at 5:23 AM, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: A very quick interjection from me! We're a record retailer but we also sell DJ and Studio equipment- we currently sell around 10 Serato systems a week and the number has been growing steadily over the last 2 years. Almost without fail the customer will tell us with a big grin on their faces that Serato is great because I don;t need to pay for music anyomore- I just download it for free. It's so short sighted it almost beggars belief- the majority of these people are actually taking pride in getting something for nothing. Jason Rubadub 2008/9/26 [EMAIL PROTECTED] Wait a second... how is it _not_ the fans fault for Geist not getting paid for his music when people download via P2P before it's even out? you can't blame the technology - it takes someone to drive that car to get it from A to B P2P/blogs/etc. sites aren't breaking into people's houses and forcing the files on them nobody is holding the fans at gun point and telling them that they MUST share the files with all of their friends they're doing it willingly and not thinking about what it costs the artist - especially the struggling independent artist people are looking to get something for nothing it is the fans fault but they just don't want to admit that their actions are hurting the musicians they claim to love it's a case of sticking their fingers in their ears and yelling I can't hear you! you can say that we're losing the old way of appreciating music but the fact remains that people are still taking the music and the musicians aren't getting paid for it it's pretty black and white - if you want the music you should give something in return that the musician can use most of the time, that something is financial funding if you don't have the money to pay the musician for it then you shouldn't have it - in a world that was good the musicians you wouldn't have people with half a gazillion tunes in their iTunes unless they are millionaires you should be content with having less music shouldn't be treated like a cheap commodity by the fans nor anyone else continuing to blame the technology lets the so-called fans off the hook - they don't have to face the fact that getting Morgan Geist's tracks off a friend hurts Morgan Geist MEK JT Stewart [EMAIL PROTECTED] wrote on 09/26/2008 10:28:05 AM: It's not really the fans' fault. The internet has forced a drastic re-configuration of the music business, that so far has not found any balance, it hasn't really re-configured in a sustainable way yet. MG was right about iPods and the fact that nobody really _listens_ to music anymore. The mp3 formulation flat-out sucks. I don't care what site you uh cite. The artifact and reality of music is ceasing to exist -- like MG says, seeing live music is becoming the only way to have a real music experience now. Technophiles will rant and rave about the freedom and access allowed by ethereal digital objects, but we are losing many of the old ways we marked and appreciated and valued cultural fuel such as music...the digital revolution got ahead of itself. It's not just because we're getting old. I'd go deeper and talk about Western cultural trends and politics and blabla but I'm tired. On Fri, Sep 26, 2008 at 10:26 AM, [EMAIL PROTECTED] wrote: Reason it's not a business is because his fans won't let him make a living at it. You read what he said about people complimenting him on a record that isn't even released yet. That sucks. I've talked to struggling musicians who's so-called fans say straight to their face that they really enjoy their music but that they didn't pay for it - just got it off someone else or from a P2P site. That sucks and that's not any way to be a fan. I'm not surprised that Geist is feeling the way he is. How long could you possibly put up with that bullshyte before losing it? MEK Martin Dust [EMAIL PROTECTED] wrote on 09/26/2008 05:03:50 AM: Oh yeah. I agree. Don't get me wrong, the honesty in there is refreshing. The problem, as I see it, for people making a living from music is that it's hard to take that break unless you're very (financially) successful. I guess they are going to have to accept that it's no longer a business and back to a hobby. m
Re: (313) Morgan Geist interview
Hey Frank- I didn't take it as a judgement so no worries there. There's a long and interesting story about Rubadub's development from a 100% vinyl shop to our current incarnation but I just ain't got the time to write it all out I'm afraid! We still get repeat business from most of our Serato customers in terms of replacement carts and needles, headphones, the ever growing range of Serato accessories and bags, record cleaning cloths, cables, replacement power supplies and more Business models aren't our speciality- we're just trying to survive on a day to day business in an ever changing world and promote good music. cheers Jason 2008/9/29 Frank Glazer [EMAIL PROTECTED]: Ah, see, my point has nothing to do with morals nor ethics. In my understanding the OP works for a music shop, rubadub if i'm not mistaken, a shop that most likely relies on repeat business by paying customers of music media, not just music gear. Sure, there are going to be people who use it legitimately, but if the OP's point was that most people just steal music, it's ironic at least and really bad business at worst that they're enabling their own lack of repeat business. Dig? After all, even the legitimate users of mp3s are not going to do (much) repeat media business at the shop. They're going to go to traxsource.com or junodownload.com or beatport.com, or any of the many other legitimate online music stores. As far as I can tell rubadub does not yet have an online music shop. So, while I didn't really mean to judge rubadub's decision to sell serato (notice my original post made no judgement other than that it's interesting) you have to admit that it does say something. I'd love to hear what else Jason or anybody in the rubadub crew has to say about their business model in this regard. On Mon, Sep 29, 2008 at 7:44 AM, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: Why should it? One might advocate taking the choice of whether to break the law out of the hands of the individual with technology when it came to say, gun control. But in this case when there's a perfectly legit way to use such gear why should a shop then have to stop selling it because some people (even if the majority) are not using it in a legal and possibly not moral way. They're the ones ripping people off - if that's what they're doing (which doesn't mean to say I don't think they are, I'm just trying not to be involved in that argument while this other bit seems clear cut to me). From: Frank Glazer [mailto:[EMAIL PROTECTED] Sent: 29 September 2008 12:29 interestingly this hasn't stopped you from selling serato. On Mon, Sep 29, 2008 at 6:23 AM, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: A very quick interjection from me! We're a record retailer but we also sell DJ and Studio equipment- we currently sell around 10 Serato systems a week and the number has been growing steadily over the last 2 years. Almost without fail the customer will tell us with a big grin on their faces that Serato is great because I don;t need to pay for music anyomore- I just download it for free. It's so short sighted it almost beggars belief- the majority of these people are actually taking pride in getting something for nothing. -- peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) Morgan Geist interview
Hmm, good point JT. 2008/9/29 JT Stewart [EMAIL PROTECTED]: On Mon, Sep 29, 2008 at 11:15 AM, JT Stewart [EMAIL PROTECTED] wrote: Anybody who lives on a budget will take pride in getting something for nothing. That is how it works. I should add to this -- digital theft is not a concept that is readily understood by the masses yet. I highly doubt many people who torrent or fileshare think of it as theft, not in any sort of serious way. The goodies are right there for the taking, and nobody seems to notice when you've taken the goodies either. There is so much grey area morality involved. The idea of consequences from the clicks you make while sitting in your home in your underwear and a beer is not a reality for most people yet. That is a reason why the RIAA and MPAA are using scare tactic lawsuits. But they're late, and it amounts to punishing essentially innocent people for their own lateness. It's just a total mess, but I imagine that digital theft will be increasingly policed, and increasingly more ably policed, and the idea of digital theft will be a much more broadly understood crime by the mainstream in the not-too-distant future. It's inevitable.
Re: (313) RIP Marc Moulin
Ah man... :-( Placebo is one of my favourite bands ever - so far out. Will be greatly mi ssed. RIP Monsieur Moulin! Here's an English language version of the news http://www.belgovision.com/en/index_f.php?id=4650 MEK Filip Sneppe [EMAIL PROTECTED] wrote on 09/30/2008 11:25:03 AM: ... FYI ... link is in French though. http://blogs.lesoir.be/festivals/2008/09/30/generations-marc-moulin/
Re: (313) New things.
Really nice to see people putting together big lists of tunes they are listening too and actually talking about records again- I was getting a bit despondent for a while back there! I might even try and get 10 mins to list some of my newies! yay 313! Jason 2008/9/28 Tristan Watkins [EMAIL PROTECTED]: The 2562 album 'Aerial' is fairly insane. One of the better techno things I've heard in a while, and I'm told it's dubstep. Following a thread about newer dubstep stuff on Disception recently I picked these up too: TRG/Dub U - Losing Marbles [Hotflush Recordings] Pangea - Deviant [Hessle Audio UK] TRG - Feel For You [Subway Holland] TRG - Missed Calls [Subway Holland] Kontext - Plumes [Immerse] Other new [313]-related stuff: Kenny Larkin - Keys Strings Tambourines [Planet E US] - I like it, but I think Glob is the only really essential track on it. I'm one of the few who likes a fair amount of his recent stuff, so much so that I think the Narcissist is better than this. I got three EPs from Kadebostan. All are excellent. Check them out. I suspect he's French, so not sure why I'm mentioning them as though they're [313] related, but it's good stuff. I suppose Freude Am Tamzen is a [313] tangent. I finally caught up with all the Terence Dixon stuff on Yore, End to enD and Nice Nasty. There's tracks on all of these that are worth grabbing. Proper techno. The Dedicated JB track from Stereocity on Deep Explorer. Inverse Cinematics - The Rise Fall (Sam Irl remix) [Pulver Germany] All the Workshop stuff that I hadn't already picked up. The Mole's I've Got My A1 and When It Tastes So Good, You Deserve It Roland Appel's Lost Valley and New Love Mujaba's Fuelta Three of the tracks on the latest Secondo album on Soul Jazz The Asphalt - 8 Mile Road (Juju Jordash mix) [Deep Explorer] All of the CIMA stuff. Massive Wayne Gardiner catch-up business. That and the Wayne Gardiner's Classic Man Nervous Tracks. Buying stuff digitally is good! I got some other stuff too that ain't very [313]-relevant which I'll probably review on my blog before too long. Tristan === http://www.phonopsia.co.uk [EMAIL PROTECTED]
Re: (313) The MP3 VS Uncompressed Audio test.
kent williams a écrit : Actually the MP3 sample is first. OK I got it wrong, using world class 700$ headphones. Not even a surprise as my hearing is not that great after all those years. And if I did get it right, it would have meant zilch. I also don't think a quality sound system would make any difference, at least for this material. That means you can probably find music for which there would be very subtle differences (maybe complex classical music), but there is reason why MP3 320K is considered transparent by most experts. It's very to have a quality DAC though, and I got quite a leap in sound quality (punchiness, clarity) when I upgraded my PCMCIA sound card (Audigy 2 ZS) to an external USB one (EMU 0404 USB).
Re: (313) The MP3 VS Uncompressed Audio test.
kent williams a écrit : Actually the MP3 sample is first. OK I got it wrong, using world class 700$ headphones. Not even a surprise as my hearing is not that great after all those years. And if I did get it right, it would have meant zilch. I also don't think a quality sound system would make any difference, at least for this material. That means you can probably find music for which there would be very subtle differences (maybe complex classical music), but there is reason why MP3 320K is considered transparent by most experts. It's very to have a quality DAC though, and I got quite a leap in sound quality (punchiness, clarity) when I upgraded my PCMCIA sound card (Audigy 2 ZS) to an external USB one (EMU 0404 USB).
Re: (313) RIP Marc Moulin
My french is truely rusty... as in, I don't know any french... Can someone explain the thing with Placebo please? Much appreciated, Wibo 2008/9/30 [EMAIL PROTECTED]: Ah man... :-( Placebo is one of my favourite bands ever - so far out. Will be greatly mi ssed. RIP Monsieur Moulin! Here's an English language version of the news http://www.belgovision.com/en/index_f.php?id=4650 MEK Filip Sneppe [EMAIL PROTECTED] wrote on 09/30/2008 11:25:03 AM: ... FYI ... link is in French though. http://blogs.lesoir.be/festivals/2008/09/30/generations-marc-moulin/
Re: (313) RIP Marc Moulin
don't know what the blog says but from his webpage: PLACEBO In 1969 he formed a jazz group with his friend Philip Catherine, merging jazz, funk and rock. In the early seventies, Marc creates the avant-garde jazz-rock collective ?Placebo?. Their influences are jazz but also Jimi Hendrix, James Brown and Soft Machine. The project is a kind of 'ratatouille' of musical ideas, featuring all the Belgian ?hipsters? of those days. They experiment with the Moog and the first synthesizers. Between 1971 and 1975, they release three albums that have become legendary. The 'Placebo years 1971-1974' has been reissued by Blue Note in 2006. -- If you haven't heard Placebo (I'm sure you have heard it sampled all over the place) it was the meeting point between Stevie Wonder, Herbie Hancock, Miles Davis, Sun Ra, and James Brown. Very funky spaced out. Original copies of Placebo records go for hundreds of dollars. some samples http://www.youtube.com/watch?v=9RaeUN20sDE http://www.youtube.com/watch?v=eHgY9Lq1Wig http://www.youtube.com/watch?v=4KC90RS9jIY http://www.youtube.com/watch?v=VNqICC_yeTo live clips (Marc is on keys) http://www.youtube.com/watch?v=7VC8pnMB0Qg http://www.youtube.com/watch?v=F7oqXgzfCpw http://www.youtube.com/watch?v=hH72oZLmPOA MEK Wibo Lammerts [EMAIL PROTECTED] wrote on 09/30/2008 01:45:50 PM: My french is truely rusty... as in, I don't know any french... Can someone explain the thing with Placebo please? Much appreciated, Wibo 2008/9/30 [EMAIL PROTECTED]: Ah man... :-( Placebo is one of my favourite bands ever - so far out. Will be greatly mi ssed. RIP Monsieur Moulin! Here's an English language version of the news http://www.belgovision.com/en/index_f.php?id=4650 MEK Filip Sneppe [EMAIL PROTECTED] wrote on 09/30/2008 11:25:03 AM: ... FYI ... link is in French though. http://blogs.lesoir.be/festivals/2008/09/30/generations-marc-moulin/
Re: (313) RIP Marc Moulin
Placebo is cool, but for those who haven't clicked the links, and for a lot more direct 313-connect, Marc Moulin was the man behind Telex. Telex is much more near dear to my heart than Placebo, I have to admit. Here's the genius video for Moskow Diskow. http://www.youtube.com/watch?v=DFWdobNIcPQ
Re: (313) RIP Marc Moulin
hmmm you can just do a google translate http://translate.google.com/translate?u=http%3A%2F%2Fblogs.lesoir.be%2Ffestivals%2F2008%2F09%2F30%2Fgenerations-marc-moulin%2Fhl=enie=UTF-8sl=frtl=en On Wed, Oct 1, 2008 at 6:27 AM, JT Stewart [EMAIL PROTECTED] wrote: Placebo is cool, but for those who haven't clicked the links, and for a lot more direct 313-connect, Marc Moulin was the man behind Telex. Telex is much more near dear to my heart than Placebo, I have to admit. Here's the genius video for Moskow Diskow. http://www.youtube.com/watch?v=DFWdobNIcPQ
