Re: (313) Movement 2013
+1 on the underground sound system and visual layout, it sounded AMAZING compared to previous years. That said, I felt there was a bit too much soundbleed between the Electric Forest and Red Bull/Main Stage areas, honestly. And while slightly less so, some soundbleed was still noticeable between the RB/Main area and the Made in Detroit stage setup -- which also kind of shocked me with the sheer amount of house music that was played throughout most people's sets. It created a sort of cognitive dissonance for me, based on the talent booked this year and what I've come to expect from the Made in Detroit area at previous festivals. Now, I'm an old-school and now-reformed househead who has no trouble singing along with 99% of the anthems (it's a soul thing, a body, thing, et al), but that's totally NOT what I'm flying to Detroit to listen to every year. I was kind of disappointed that there wasn't nearly as much minimal or even militant-sounding techno as I'm used to being exposed to -- especially from new (or at least undiscovered-to-me) artists -- at this year's Movement. Nicole Moudaber's set was one of the standout surprises for me; hearing a set like hers that blows me away and I instantly fall in love with is one of my favorite things about the festival, and for that, I'm extremely grateful. To hear a woman playing such a hardcore, relentlessly banging set made me both proud and hopeful that the whole female DJs are just gimmicks mindset will eventually fade out of the public's musical consciousness, though how long that'll take is anyone's guess...DJ Minx had her audience on lockdown as well, but I thought Magda's festival set was kind of meh this year (though her afterparty set delivered everything I'd hoped to hear earlier that day, so I really shouldn't complain...). Despite having tickets to the Bass Ain't on The Boat afterparty (because hey, The Upbeats! They flew all the way from NZ - when am I gonna get THAT opportunity again?), it got relocated to a less pedestrian-friendly spot than the original boat setup had been, so the only one I actually made it to was the Life and Death Detroit gig on Sunday at St. Andrew's Hall.. and oh my GOD, so glad I had my earplugs in!! Nothing can compare to being massaged from my scalp to the soles of my feet by a well-engineered wall of sound in the wee hours of the morning. It took me a couple hours to realize there was a different stage setup downstairs, and I was pleasantly surprised at the level of sound distinction/speaker muffling between the two (even moreso because one was essentially stacked right on top of the other, with the venue above packed to capacity with people dancing and everything that wasn't tied down vibrating along with the beat). Cheers to all the sound engineers, artists, volunteers and talent bookers who pulled this year's level of professionalism off -- especially the massive sound, camera and lighting rigs, nicely designed visual set-ups, streaming video/sound recordings via be-at.tv, Red Bull software/hardware demo room near the Underground stage, etc. Plus, everyone booked at the festivals and the only afterparty I went to seemed to be playing during their assigned slots, and each artist's gear looked like it got swapped out in a timely and safe manner between sets. There weren't any last-minute schedule changes due to talent not being able to get into the country or missing a flight (that I'm aware of, anyway), which I know has caused some headaches for Paxahau in the past. All of the stuff mentioned above requires massive amounts of coordination, party-throwing experience and teamwork to pull off seamlessly, and I know from personal experience how hard that is... especially by day 3, when everyone's sleep-deprived and hungover to the Nth degree. :) Didn't see any people passing out from heatstroke this time around, and the crowd seemed a bit smaller than it was during my last visit in 2011, which was... what, nearly 100k attendees? Curious to know how many people actually went this year... at any rate, it was a vacation well-spent! On Mon, Jun 10, 2013 at 11:39 PM, Darnistle McKuik darnis...@gmail.comwrote: I know this is long overdue, but I felt an obligation (misplaced, no doubt) to post something about the festival. First of all, I think Paxahau should be commended for having improved the sound quality at the Underground Stage. The area had already begun sounding less and less murky each year, but this year I was quite surprised by the degree of aural clarity. I did not go down into the pit this year, but the quality of the sound near the walkways (behind the soundboard and near the bathroom) was very impressive. Second kudos to Paxahau for altering the orientation for the Electric Forest stage speakers, which worked very well. Though I wasn't keen on any of the music I heard from that stage all weekend, the sound was very full and rich, much more than previous years when the speakers were facing the
(313) Some new sounds
Hi all! I'm here mostly lurking and checking mixes you fine 313-ers post. Now I have something for you - a recording of my live act frem couple of weeks ago form our local club - Klub K4 - here in Ljubljana, Slovenia. I used modular system, drum machine, sampler, effects and mixing desk. Enjoy! https://soundcloud.com/zergonn/zergon-live-k4 P.S.: here's also my latest dj mix: http://formaviva.org/bistre-vode
Re: (313) Movement 2013
Thanks much for the reflections on the festival and the shout out. Take care. Andrew http://andrewdukeinthemix.com On Tue, Jun 11, 2013 at 3:39 PM, Lori Polemenakos girly...@gmail.comwrote: +1 on the underground sound system and visual layout, it sounded AMAZING compared to previous years. That said, I felt there was a bit too much soundbleed between the Electric Forest and Red Bull/Main Stage areas, honestly. And while slightly less so, some soundbleed was still noticeable between the RB/Main area and the Made in Detroit stage setup -- which also kind of shocked me with the sheer amount of house music that was played throughout most people's sets. It created a sort of cognitive dissonance for me, based on the talent booked this year and what I've come to expect from the Made in Detroit area at previous festivals. Now, I'm an old-school and now-reformed househead who has no trouble singing along with 99% of the anthems (it's a soul thing, a body, thing, et al), but that's totally NOT what I'm flying to Detroit to listen to every year. I was kind of disappointed that there wasn't nearly as much minimal or even militant-sounding techno as I'm used to being exposed to -- especially from new (or at least undiscovered-to-me) artists -- at this year's Movement. Nicole Moudaber's set was one of the standout surprises for me; hearing a set like hers that blows me away and I instantly fall in love with is one of my favorite things about the festival, and for that, I'm extremely grateful. To hear a woman playing such a hardcore, relentlessly banging set made me both proud and hopeful that the whole female DJs are just gimmicks mindset will eventually fade out of the public's musical consciousness, though how long that'll take is anyone's guess...DJ Minx had her audience on lockdown as well, but I thought Magda's festival set was kind of meh this year (though her afterparty set delivered everything I'd hoped to hear earlier that day, so I really shouldn't complain...). Despite having tickets to the Bass Ain't on The Boat afterparty (because hey, The Upbeats! They flew all the way from NZ - when am I gonna get THAT opportunity again?), it got relocated to a less pedestrian-friendly spot than the original boat setup had been, so the only one I actually made it to was the Life and Death Detroit gig on Sunday at St. Andrew's Hall.. and oh my GOD, so glad I had my earplugs in!! Nothing can compare to being massaged from my scalp to the soles of my feet by a well-engineered wall of sound in the wee hours of the morning. It took me a couple hours to realize there was a different stage setup downstairs, and I was pleasantly surprised at the level of sound distinction/speaker muffling between the two (even moreso because one was essentially stacked right on top of the other, with the venue above packed to capacity with people dancing and everything that wasn't tied down vibrating along with the beat). Cheers to all the sound engineers, artists, volunteers and talent bookers who pulled this year's level of professionalism off -- especially the massive sound, camera and lighting rigs, nicely designed visual set-ups, streaming video/sound recordings via be-at.tv, Red Bull software/hardware demo room near the Underground stage, etc. Plus, everyone booked at the festivals and the only afterparty I went to seemed to be playing during their assigned slots, and each artist's gear looked like it got swapped out in a timely and safe manner between sets. There weren't any last-minute schedule changes due to talent not being able to get into the country or missing a flight (that I'm aware of, anyway), which I know has caused some headaches for Paxahau in the past. All of the stuff mentioned above requires massive amounts of coordination, party-throwing experience and teamwork to pull off seamlessly, and I know from personal experience how hard that is... especially by day 3, when everyone's sleep-deprived and hungover to the Nth degree. :) Didn't see any people passing out from heatstroke this time around, and the crowd seemed a bit smaller than it was during my last visit in 2011, which was... what, nearly 100k attendees? Curious to know how many people actually went this year... at any rate, it was a vacation well-spent! On Mon, Jun 10, 2013 at 11:39 PM, Darnistle McKuik darnis...@gmail.comwrote: I know this is long overdue, but I felt an obligation (misplaced, no doubt) to post something about the festival. First of all, I think Paxahau should be commended for having improved the sound quality at the Underground Stage. The area had already begun sounding less and less murky each year, but this year I was quite surprised by the degree of aural clarity. I did not go down into the pit this year, but the quality of the sound near the walkways (behind the soundboard and near the bathroom) was very impressive. Second kudos to Paxahau for altering the
