RE: (313) Namecalling is Bullsh!t
Was I namecalling? I can't remember. Apologies if any of my messages had more noise than signal.
(313) Screaming to be heard
Actually I have the solution for everyone. We have the ability to police our very own 313. Just use your email filters to weed out anyone that you have found to rarely contribute to constructive discussion-- even me if you choose to. DL At 10:29 AM 9/6/2006, v12 wrote: this is the the most ridiculous show ive witnessed for ages.. unsubscribing drama queens whose party's been spoiled... instead of crying, write an official letter of complaint to the admin and tell who is that villain who destroys your imaginary perfect discourse.. detroit - where the weak are killed and eaten ^seems the actual detroiters have already been banned from this list or never knew it existed.. the line between sophisticated and the pathetic is thinner than some of you think. you do think right? /12 From: Martin Dust [EMAIL PROTECTED] To: Robert Taylor [EMAIL PROTECTED] Cc: 313@hyperreal.org; chthonic streams [EMAIL PROTECTED] Sent: Wednesday, September 06, 2006 3:25 PM Subject: Re: (313) Namecalling is Bullsh!t better than unsubscribing in a huff, esp if you only ever post to moan about the state of the list. If that's all you're there to do, see ya! Well said Rob, I've gotta 99 problems but this list aint one m
(313) Regarding Old vs New
In a testament to there being some grand puppeteer pulling the strings on the great machine, I was recovering all day today at my girlfriend's when this came on the television in a show of sweet non-irony to our recent threads. http://www.apple.com/ipod/ads/dylan/ That sellout [EMAIL PROTECTED] *shame on you if you thought that I was being serious.
Re: (313) Re: kings of techno
I remember Laurent performed at a party here in the wrong neighborhood where some shadiness went down. A small crew of 'agents of darkness' strolled in with their concealed weapons. Some gunfire took place and maybe someone actually got shot. Fuzzy memories where I think someone was wounded, but nothing serious. I also remember Sonar 1999 when Rich, Jeff Mills, and Laurnet Garnier were all riding bumper cars together--with much 'bloodthirstiness'. That was definitely surreal. At 10:48 AM 9/5/2006, you wrote: Laurent Guarnier started coming to Detroit a long time ago, and is a huge fan of detroit techno. Bone has great stories about Laurent DJ'ing without monitors at sketchy Detroit parties back then. And as for Aretha and Iggy, why wouldn't he know about them? I'm from Iowa, so I don't think I can judge who's 'Detroit' enough, any more than, say, a guy from Brazil. I do know that whether you like Laurent's music or not -- and he's hit or miss for me -- his hearts in the right place. Tremendously fun DJ to see, because no one in the room is having more fun than him. On 9/5/06, Guilherme Menegon Arantes [EMAIL PROTECTED] wrote: On Mon, Sep 04, 2006 at 11:53:44PM +0200, [EMAIL PROTECTED] wrote: rapster / bbe Tracklisting: CD 1: LAURENT GARNIER 1- The Stooges ?No Fun? 2- Aretha Franklin ?Rock Steady? 3- The Temptations ?Plastic Man? 4- Funkadelic ?Bettino?s Bounce? 5- Carl Craig ?No More Words? 6- Jeff Mills ?Utopia? 7- BFC ?Galaxy? 8- Arpanet ?NTT DoCoMo? 9- D.I.E. ?Get Up? 10- Dabrye ?Game Over? Funny this CD1 is supposed to be a History of Detroit which kind of puzzles me: If it is a History of Detroit Techno, then what are Stooges or Aretha doing there??? (dont say they were D. May inspirations, pls!); Or if it is a Musical History of Detroit (which then explains why Stooges, Aretha and Temptations are listed), then what does Mr. Garnier know about it? Either way, this CD obviously does not represent Detroit musical heritage.
Re: (313) The Laptop Debate.
It's myspace... those are mp3's... low quality mp3's at that because that is all that myspace will let you upload. You can not reproduce a warm sound with a compressed music file. (ie: mp3s) Most of the audio spectrum that compression filters prioritize is at the high end because the higher you go on the spectrum the more detail and bandwidth you need to even approximate the sound. mp3's sound crunchy and dry... even the high quality ones. In order to make a proper comparison you're going to have to either go get a copy of the real thing, or download an uncompressed wave file, burn it to a cd, and listen to it on your normal system. Maybe this is pointless too... At 04:53 PM 9/3/2006, you wrote: listened to the first one (which was a pain in the *ss as im on a dial up till 25th) , i dont know what to say.. you surely are familiar with any of the examples of warm sound i mentioned earlier? i'll pretend i havent heard anyone saying boiling hot today .. /12 - Original Message - From: Neil Wiernik [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Sunday, September 03, 2006 5:18 PM Subject: Re: (313) The Laptop Debate. fair enough go here http://www.myspace.com/nawmusic the tracks from the green nights orange days record are prime examples of my music mastered BY twerk sounding warm so first listen to mid winter sailboat ride, and penny fishing north of main the 2 tracks there as part of the unrelease titled birch bark ceiling wax and 4 by 6 are made using the same technology, tools and recorded only a month after the green nights orange days record was but was NOT mastered by twerk but rather mastered by someone else using a similar studio set up to what twerk uses. you can directly hear the difference right away... neil... On Sun, 3 Sep 2006, v12 wrote: ^honestly, i gave you examples/titles as i know what i am saying. if you say the opposite -pls stop the general statements about some ghost recordings and give me examples/titles in return. that really saves time. btw twerk/sutekh and related producers are repsonsible for the most absurd audio ive heard so let me hear the boiling hot you talk about.. www.phoniq.net releases available on: www.noisefactoryrecords.com publication: www.vagueterrain.net
Re: (313) The Laptop Debate.
Why is it that when I make a good solid argument it somehow becomes pointless... and then the reason isn't even backed up with anything else that is solid? It's like the decision was made long ago, and when the logic is at point blank range it still isn't acknowledged. There are a bunch of may-as-well-be-5-years-olds who never touched a keyboard, and they are not even aware of what a waveform is at all. They will turn on their computers, install some so-called 'music software' and make complete s#!%. It's not pointless because you are insulting every truly creative person that uses a computer because of the people that aren't using it creatively the baby and the bath water analogy... I'm here in their defense to tell you why I believe that you are wrong. Errr... I mean, this is pointless. At 04:49 PM 9/3/2006, you wrote: sweet fng jesus ;/ In a computer it is the same thing, there are a lot of elements that are geared to that same mainstream audience, as well as all of those garbage loop and prefab rhythm programs/plug-ins, and you have to get past that just like with real world synths and make your own sounds. You have to make them your own. A good artist will synth and tweak every sound in their production themselves and have total control ^that's ok when you start the topic with a bunch of 5 year-olders who never touched a keyboard.. who are not aware of what sort of waveforms surround them ;/ etc. as you probably noticed - this is not the case.. cliche aside.. or let's end the discussion before it reaches new levels of pointlessness* /12
Re: (313) The Laptop Debate/other digital devices.
At 10:25 PM 9/2/2006, you wrote: I don't presume to know how people live their lives; the most one can address is what people actually write to the list. It sure must be a slow month for new releases. On 9/2/06, Dale Lawrence [EMAIL PROTECTED] wrote: You live your life based on oversimplified stereotypes. That was the irony... that because I had to simplify what I was saying, it made the message so vague that it became a stereotype of its own. ...but its really just irrelevant nonsense.
Re: (313) The Laptop Debate.
Real world synthesizers always come with presets, and those presets are usually the most awful sounds you'll ever hear coming out of a keyboard. They're overdone and geared toward a mainstream audience of bells and whistles. Good artists don't use these presets but harness their gear back down to something real and pure-- and most importantly, their own. A lot of these are those deep sounds everyone here knows and loves. In a computer it is the same thing, there are a lot of elements that are geared to that same mainstream audience, as well as all of those garbage loop and prefab rhythm programs/plug-ins, and you have to get past that just like with real world synths and make your own sounds. You have to make them your own. A good artist will synth and tweak every sound in their production themselves and have total control from the synth pads, to the bass, to the percussion. Classic 808 and 909 sounds are nice, but if everyone still only used those sounds in their songs the music would be dead in its tracks (Are guitar bands still making Hair Metal?) The music had to mature and evolve... A good artist can make their computer sound deep, rich, and 'loose' if they want to, but they have to know their tool well enough to make it a reality. Forget your 808 and 909... make your *own* sounds, the way *you* envision them. I use a mastering filter on almost every individual sound or part that I have running in the mix. The beauty of the computer is that the synth itself isn't the only part of sound production... like in Live, you can drag whatever filter you want and apply it to a part-- in essence you are building your own extension of the synthesizer to your own specification in each separate part. Some parts I could have 8-10 filters going at once, and others none at all. They are simply extensions of the filters we have always had *inside* of the synthesizer but tailored to the synthesizer *we* want to build-- and the beauty is the ability to make it unique to every sound---*for* that sound. Almost every sound or part I have in the music I create is absolutely nothing like the original sound coming out of the base synth itself--sometimes completely unrecognizable... it is the filters I apply after it that truly lets me mold and shape them. This was not 'gear-head' nonsense that I planned and researched ahead to figure out. It was all in moments of inspiration while learning a new tool and it felt completely natural. It was fresh and exciting for me-- oh, I can do *this* now!... and everything came together. There were no presets. No loops. Nothing created by anyone else but me. I just had even more control. Someone will chime in and say, See, you overproduce in the computer, but every real world analog synthesizer (subtractive synthesis) has its own filters inside that you have to utilize to control and build the sound from the base operator square, triangle, sine waves. To not use those filters in the real world synths you would be forced to make music with nothing but pure blips and tones. To say using post-synth filters in the computer is over-production is to say you would have to strip all of the internal filters out of your real world synths as well and make music with nothing but those pure basic tones to 'keep it real'. The artist has full control over a warm or crispy mix if they choose. Personally, I like the clarity you can mold in the computer but still like a thick low-end... on the same token I want to be able to put my cd in my car stereo without having to turn down the bass. Some of that BC/CR stuff I have to jack the bass way down just to be able to jack the rest of the volume up. All of this, of course, is my personal preference. At 11:12 AM 9/3/2006, you wrote: certain plugins go a long way toward warming and fattening up music - but if whatever it's affecting just isn't there in the first place, it's not going to be the same. in recorded sound, the most important element is the source, followed by the initial capturing of that source, and then by whatever you do to it afterward, and finally in the playback. there are some people who turn this on its ear, warping the most incredible things out of something very mundane. but they still started with the original characteristics, which in turn affected the building blocks of their sound. again, having said this, i enjoy some music made on laptops very much, some of it even doing a decent replicating job i sort of spoke against. whatever works. d. (seeing if one section of my long reply at a time gets through)
Re: (313) The Laptop Debate/other digital devices.
At 01:31 PM 9/3/2006, you wrote: On 9/3/06, Dale Lawrence [EMAIL PROTECTED] wrote: ...but its really just irrelevant nonsense. when did we start talking about your music? tmo I speak from my own experience. Should I pretend I don't make music? Would that make my opinions more valid? Do I intimidate you? Are you scared? Tell me your fears... Neil is having dinner with Jan Jelinek... and he can ask a question pertinent to a discussion about him personally. Should he pretend he'll never meet the guy and that he himself works at McDonalds?... Staying true to the underground? It's hard to juggle experience, or even your own successes (even if only moderate), when talking to other people... it's a difficult line between simply being yourself and discussing your experience-- which is after all who you are-- or just bragging.
Re: (313) The Laptop Debate.
Don't try too hard to fight the tool you are using. Keyboards came out and people did try to use them to make 'real' sounds, and as the technology progressed they were able to achieve that to some degree-- that's when old-school analog came back into fashion People started to celebrate the synthesizer for what it was-- a device... and electronic device... .with it's warm juicy tones, like my two Juno 106's and people that were trying to emulate real instruments went back to actually using real instruments. Champion analog? Play with your analog synths to your hearts content... Software brings about a whole new list of possibilities. They made a whole slew of analog emulation plugins to appease the obligatory naysayers that it was all the same. It's a new tool... and just like synths have had more than their share of mindless candy coated gimmicks, so too will people use their computer no further than what is right in front of them... as people explore further and discover new sounds that are inherent in the computer we can begin to celebrate the software for its own unique properties and personality. Dale At 01:32 PM 9/2/2006, Brian Prince wrote: it's the lifeless,stiff, ear-scratching bright sound that is the problem.. It's possible to make a digital track sound convincingly analog in any decent software package. Soft saturation on the EQ, tape compression, add a little hiss ... nobody will know the difference. Record an analog track to a computer at a sufficient bitrate and it still sounds analog. The set of acoustic characteristics responsible for the old-school flavor are degradations (in the technical sense) which can be applied procedurally in a digital production environment. But I think that the over-use of such techniques is, more often than not, a little tacky. It's like printing a digital painting on canvas to try to make it look like an oil painting. It's difficult to make good, forward-facing art if you're constantly ashamed of the tools you were using. Techno's godfathers were *proud* of the synthetic nature of their instruments. They didn't try to make their strings and basslines sound real. Techno, for me, is about putting the soul of the future in the listener's face. It's about bangin' the robo-beat with whatever you can get your hands on. I draw much of my inspriation from the compositions and feelings of the old-school, not the recording gear and cabling thereof. - bp
Re: (313) The Laptop Debate/other digital devices.
^guess what - if a post is longer than say 15-20 lines i do print it. unless it's some pointless nonsense by someone i know he couldnt come up with anything relevant) I hate that. Just delete that sewage.
Re: (313) The Laptop Debate/other digital devices.
At 05:25 PM 9/2/2006, you wrote: On 9/2/06, Dale Lawrence [EMAIL PROTECTED] wrote: ^guess what - if a post is longer than say 15-20 lines i do print it. unless it's some pointless nonsense by someone i know he couldnt come up with anything relevant) I hate that. Just delete that sewage. i think he might have been referring to your posts. i know i havent been able to make it through them because its just too much going on and on. tom Are people really that mean? Wow, I knew I was a tool... I can't even tell when people are taking a jab at me. Anyway... I'm sorry, I'll try to simple it down for you next time. If you quit reiterating what I said as if it was your own argument it would've been a lot shorter. I'll sum it up: You live your life based on oversimplified stereotypes. Better?
(313) really Dos
And so on:: I'm also a designer. Should we dismiss all of the art and design of today that was made with a computer? I love progressive design, but there is a lot of garbage out there and I cringe at something awful I see every single day. Do I blame the tool? Blame the artist. yeah, but obviously there are ALOT more artists out there doing stuff and putting it out there because of the easy availability of computers. so theres a ton more artists putting out a ton more crap. and unfortunately, there arent nearly as many design fans as there are music fans. and music fans can only take so much crap music. Yes, I think we agree that there is a lot more junk being put out into the public machine, but that has nothing to do with software based music production being a valid or invalid tool for music making. It's simply opened up a tool that unfortunately more and more people will misuse... just like anything else in life. This one is new and you aren't ready to accept the ones who are misusing it, or simply haven't refined their skills. What if Bob Dylan... say at 12 years old... could barely play his guitar... could barely write or sing anything meaningful yet because he hadn't matured as an artist... what if he recorded himself and somehow got those recordings out in public for consumption-- like we can do now on the internet. Would that somehow be legitimate as compared to the bedroom hacks with their bit torrent software? Are samplers evil because MC Hammer and Puff Daddy blatantly misused them? the difference is that one thing is NOT creative. So the people that used samplers uncreatively have ruined all use of samplers for everyone else? Anyone that has used a sampler creatively is dismissed because people like Puffy needed to cash in? and of course that isnt satisfying to many people. the lack of creativity is what makes most computer music unsatisfying to me. So you're hearing a lot of uncreative music. Blame the artist. I hear a lot of garbage too... and then there a lot of music that I really enjoy. I celebrate those artists for their creativity. The glass is half full... maybe it's 1/3 full... or 1/10... maybe only you can decide that for yourself, but I'm thankful that the good music was able to be made by whatever tool the artist found worked best for him/her. What if someone had a disease of some sort, like Parkinson's, where they just couldn't keep their hands steady, but they had a brilliant mind just overflowing with creative vision, and the computer allowed them to finally bring those visions to reality and share them with us? Are they not keeping it real? thats a single hypothetical person. how many of those are there really? and how many of them are making good music? The point is there is performance and then there is composition. Beethoven was a brilliant composer, as there are many... they weren't out there playing the songs but they were behind making the music in the first place. Some people have a brilliant vision, but performance isn't actually their priority... they just want to make good music, and good being whatever direction they have chosen. Stephen Hawking doesn't keep it real. He's a hack. uh, okay? Stephen Hawking is a brilliant man, but the only way he can communicate with us is through a computer. It is an extreme... but there are many levels between that and someone that just picks up a guitar and shoves noise down your throat *oh my god, sonic orgasm... I can't control myself!*... which some songs remind me of... no control... no restraint... but, that is my personal taste... and not every day either. It changes with my moods. I have sounds in my head that I've never heard in real life and I've still never been able to get them out, but with software I'm a little bit closer. I'm sorry if the sound I want to use in a song isn't made by an analog synth, korg wavestation, guitar, ukelele, tribal drum, leaf blower, car crash, or anything else found in the universe today. youre missing the whole point though! the SOUND doesnt matter. at all, really. Sound does matter to some, and not others. A lot of times I'm approaching a composition an ear-- or eye-- closer to that of a director of a movie.. I'm thinking about soundtracks... the use of 'space' or an environment. its why old punk sounds so much more captivating than Rush. i dont care how much better Rush's equipment is, their energy and feeling was overwrought and contrived. punk got straight to the point, and thats why people loved it. I like Rush for their lyrics actually... some of the best lyrics of popular music... they don't write love songs, or scream about the government, or rebel for sake of being rebellious... Neil Peart is also an amazing percussionist he actually wrote all of their lyrics. I like punk for why I like punk. If I listen to punk, I don't want to hear Rush. You like the 'sound' of punk
(313) really Uno
I ramble... this got too big... I separated for those who like to read: it could be that it was like that in the past. but i bet the number right now of people who own a computer without making music is far more than the number of people who own a guitar that sits around for no reason. I was comparing people who installed actual music software to the number of people who have picked up a guitar over the years and decided they were in a band. Why would we compare people who picked up a guitar to people who own a computer without making music? Of course there are more people that own a computer... but a strong majority have nothing at all to do with music production. If your point focused on people playing guitar and then deciding they sucked and stopped playing, or got a life and had no time for it, then there will be just as many people that installed music software and just noodled around and decided they sucked, got bored, or got busy with the rest of their lives too. with a laptop, you can do everything and have it posted on the web in under 2 hours. Errr... that was my point. Your complaint about the flood of trash is a direct result of the availability of music software and online distribution. People couldn't and still can't download a guitar, and yes they had to go through the effort of starting a band, and they couldn't distribute their work the way they can now over the internet. You are regurgitating what I said. My point, further, is that because of this exponential availability of music software and distribution you are being flooded by any and all bedroom musicians that have no skill, or are still beginners but distributing their music before they really refine their skills but are also looking for opinion. The song distribution model has been flipped upside-down. You are saying music is going downhill.. but in that same point, years ago, all of those aspiring, yet awful, musicians did not have the distribution model available today-- so as a result, you or I never got to hear them unless we stumbled down to the local dive to get our ears sonically pierced. Proportionally, just as many of the musicians that were playing in their garages, basements, bedrooms, sucked just as much as some, or many, of the artists do today. (and I don't mean to sound arrogant) Again. Online today you can find just as much trash from any given genre because they are all uploading mp3's too... maybe a slightly lower proportion because electronic musicians record directly to their hard drive, which makes mp3 conversion easier than microwaving lunch this does not mean software generated music sucks-- it means you end up hearing a larger cross section of the genre, and it can be overwhelming, as it sounds like you are. It's signal to noise ratio, and *that* has gotten worse. Now we get the pleasure of hearing everyone and their pet iguana's sonic experiments and *that* has disillusioned you. This has nothing to do with music created on a PC, it's about the flood of the information age. Because music software is readily available there *is* a proportionate amount of good and even brilliant talent out there putting their hearts and souls in the music, doing there thing, and breaking new ground with quality music. It's just getting harder to find them in this sea of information and noise. the problem with the tool of course is that it requires nothing in addition to work. no techiques, no abilities, nothing. hell, you can even get sample packs on the web of every drum machine ever and use them all. nothing at all is required to get going. What if I went out and bought ever single drum machine ever made and used them all? Would I be breaking the code then? What if I have the money to buy them all, while most people in the world do not. Is that not just an advantage of the rich musician over the poor musician? Is it really so wrong to be able to have access to these sounds? Also, all of those sounds are presets That means another person made those drum sounds when they built that device. Flashback... I can't believe it, electronic music (Detroit Techno even) is nothing but people making records with sounds that other people programmed. In the 80's people said these things about drum machines and synthesizers--then samplers. The gear is doing all of the work. There is no real music anymore... This is the 313: Detroit Techno mailing list, so I assume that since you are here you enjoy electronic music. It has been fronted on in every step of it's technical evolution. I've heard it all in my own experience too. Regardless, personally, I don't use any sounds from drum machines anymore. I synth and tweak all of my own sounds probably with a rare exception here or there when a preset percussive sound is just perfect. The most legitimate artists follow the same 'code'. which i appreciate in theory. in
(313) really Tres
Part 3: It's up to you, me, and them... More complex for no reason? I find music production in the PC much simpler, and satisfying. unless you have a ridiculous home studio, you are limited by the number of channels in your mixer, the number of EFX units and synths you have, etc. in the computer, theyre all just a click away. you can easily have 200 tracks, with ridiculous amounts of EFX on each channel. and the music still wont be AT ALL better than what the chicago house cats made on a 4 track cassette multitrack, much less 12.5 times better. This is an assumption, and I find it insulting. Like grandparents that talk about Things aren't what they used to be and they romanticize their memories of the past into visions of green pastures... when it was nothing like that at all. They reached a point in time where their sense of possibility was shut off and nothing that came about in the world after that was ever good enough so if you count simple as not having to think then you are right. and i dont think that not thinking is a good thing! becoming one with your setup so that you no longer have to think is one thing (and its something i think every musician is aiming It's about being less distracted by extraneous things that I would rather not have to deal with, all with the goal in mind of being able to progress and experiment more rapidly. Do I want to get behind the gear and swap patch cords around forever on a simple idea... I could do they same experiment in a minute or two, decided that its a good idea or if it sucks, and move on from there. I'm doing the exact same thing inside the computer as I would be in meatspace. for). but just clicking away until something sounds different isnt anything. You just summed up my personal musical aims that I tried to express to you as clicking away until something sounds different Again, do you really think that is what I'm trying to do as an artist? Insulting. To set up my old studio I had to first plug in a network of AC/DC supply, then hook up a network of patch cables to my mixer, then hook up a network of midi cables to my sequencer. man, plugging stuff in is SOO tough! It isn't at all, but it is time consuming. Time is precious. I could spend hours and hours trying to get rid of line noise, unsuccessfully resetting up my synths to sound just like they did the week before so I can finish a track I was working on before I was inspired to work on another idea, etc... etc... you gotta learn to work faster. and learn how to set your stuff up. i set my personal stuff up once, and other than things breaking, its not a problem to swap things in and out. You don't understand. Synths, especially analog, have a way of slowly shifting their sound over time. The parameters don't always come back the same way when you recall a sound. Also, limitless combinations of knob twists and twiddles on the mixer that get set up just perfectly while you're working on a song are lost when you work on another idea... if I decide I want to change something around in a previous song I have to play with that mixer to get it back to where I already had it a long time ago-- Why should I have to do that twice? three times? etc I already did the work. With software, I decide I want to tweak something, or extend a mix, etc... I load up the arrangement and the mixer and synths are exactly the way I left them-- the way I set them up in the original moment of inspiration. That is how I capture my *feeling*... I want to keep as close to the original moment as possible. and if youre truly going to compare, you have to point out the issues with soundcard drivers and plugins not working properly and all the other computer related (not even music related, computer technology related!) problems that pop up in every music production forum on the web. I have 1 PC, 1 USB external soundcard, 1 Midi Interface, and 1 keyboard input controller hooked up right now. I've never needed to use a forum for technical advice. All of the same tools now exist in the computer. There are synthesizers, samplers, mixers, and sequencers at my fingertips. It is the same thing I have been doing for years but much more stable more stable? your hardware synths been crashing on you? I've had a lot of hardware synths crash/break on me knobs pop off all the time, the operators and filters lose their pitch or can't recall my saved sounds properly. I know, tell me how knobs popping off aren't a big deal, tell me how the hardware being completely unusable is 'adding to the authenticity'' of my sound. Please tell me. and intertwined for much better mix quality. I've spent at least $15,000 over the years on gear and never came close to a mix quality that I have in the PC... I would need to rent an outside studio to do that and who wants to leave their house at 3am to explore music in someone else's studio?... or
Re: (313) really
I rambled on too long and I thought this message was too big to fit through the chokepoint. Then I thought that figuring this out might entitle me to get my WorldGeek membership card back... I figured maybe it was just all the profanity, so I edited it for prime-time... Nothing. Then finally Kent emailed me like the novice that I am, after reading my two blocked attempts, and told me it was simply because I wasn't sending in plain text. Alas, I'll never get back into the club... At 12:25 PM 8/30/2006, Thomas D. Cox, Jr. wrote: On 8/30/06, Dale Lawrence [EMAIL PROTECTED] wrote: --but I thought you said the tools didn't matter? Which is it? All the ground is already broken then? the tools DON'T matter, as long as theyre not being used a substitute for ideas and good music. which in the case of dylan and kraftwerk, they werent. in the case of X number of computer musicians, they are. i prefer people who keep it simple and limited because it makes it almost ALL about the ideas and music as opposed to some programming trick or DSP nonsense. For every hack artist that installs some software and declares themselves a musician there are hundreds of individuals in the past who picked up a guitar and thought they were rock stars. Dylan knows how to play guitar, etc... Kraftwerk knows how to work their synthesizers (and they use a computer as their sequencer--if not having moved completely over to software synthesis in their own studio already)... hell, *I* know how to work synthesizers too... Producing sound in real-time within the computer is just another tool. Either you're good at it or you aren't. Some get the A grade... others get the F... and a whole lot of in between. Personally, if we're talking about tools, I only use Live and one plug-in, which is simply a synthesizer that I like. I've rarely even read a manual for a piece of gear. I've figured out all of the synthesis parameters out there myself, and have usually stayed out of gear discussions because I already had the tools/gear I wanted and really didn't care about anything else. I was never a gear head, I am a music head. There are so many people out there that are exactly the same way... many that have strolled in and out of this list over the years. Do you think people really just press return on their computer? uh, yes? isnt it obvious? Yes, every morning I wake up, turn on my computer, double-click the Live 5.0 icon on my desktop, and press return. The songs just come pouring out. Check my page. It's astounding. I hope nobody else figures out what program I use. I'll be ruined. Did you receive my point about all the new technologies in music... or even art in general, such as photography, always receiving resistance in their infancy? its not really a new point, Extraneous insult ignored. and i understand it. however, im skeptical You may understand it, but I'm not sure if the point is sinking in. Is photography art? If so, why? All you have to do is press a button. Some people make masterpieces with their Polaroids while others make trash with their elaborate camera systemsand vice versa. I'm also a designer. Should we dismiss all of the art and design of today that was made with a computer? I love progressive design, but there is a lot of garbage out there and I cringe at something awful I see every single day. Do I blame the tool? Blame the artist. Samplers. Some people sample entire loops of other people's music, add a beat, and sing over it. Other people use a sampler to record just a drum kick, the sound of a glass breaking, or their grandmother belching, then rework it and use it successfully in a track as an instrument. Are samplers evil because MC Hammer and Puff Daddy blatantly misused them? What if someone had a disease of some sort, like Parkinson's, where they just couldn't keep their hands steady, but they had a brilliant mind just overflowing with creative vision, and the computer allowed them to finally bring those visions to reality and share them with us? Are they not keeping it real? Stephen Hawking doesn't keep it real. He's a hack. I have sounds in my head that I've never heard in real life and I've still never been able to get them out, but with software I'm a little bit closer. I'm sorry if the sound I want to use in a song isn't made by an analog synth, korg wavestation, guitar, ukelele, tribal drum, leaf blower, car crash, or anything else found in the universe today. Isn't that striving towards something groundbreaking? Trying to realize something that no one has ever heard before? Many people are trying to achieve this goal using the computer. Alternately, though, simply making a sound that no one has heard yet doesn't make it good. You still need creativity and skill to make it worthy of recognition. Knives can kill, but they also cut your dinner. Cars can suck up oil
Re: (313) really
Did you hear? Bob Dylan used an electric guitar in his set last week? WTF? Oh no... Kraftwerk's Numbers sounds like it was made on... *gasp*... electronic instruments. I thought that band was cool until I found out their percussionist was a drum machine. That's not music. Oh, he isn't keeping it real... All he does is use a sampler to record someone else's work and puts his name on it. Computer? Press return! At 07:11 PM 8/29/2006, you wrote: sounds like a computer :p - Original Message - From: Dale Lawrence [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Tuesday, August 29, 2006 6:13 PM Subject: Re: (313) really Ok, here: http://www.myspace.com/theoremthx/ All brand new... because you tricked me into it with your wit and prowess. I submit. At 05:55 PM 8/29/2006, you wrote: go make music instead - Original Message - From: Dale Lawrence [EMAIL PROTECTED] To: 313 313@hyperreal.org Sent: Tuesday, August 29, 2006 11:50 AM Subject: Re: (313) really At 11:54 PM 8/28/2006, you wrote: To quote the Simpsons no one will ever mention it again... under penalty of torture. My email was down all weekend... I feel like Commodus in Gladiator when he marches in, stumbles off of his horse and begs, Have I missed it?... Have I missed the battle? Now my popcorn is stale. I suppose I'll just troll parakeet owner forums instead, looking for someone to piss on...
Re: (313) really
Why would I settle for just leveling? At 11:47 PM 8/29/2006, you wrote: On 8/29/06, Dale Lawrence [EMAIL PROTECTED] wrote: Did you hear? Bob Dylan used an electric guitar in his set last week? WTF? Oh no... Kraftwerk's Numbers sounds like it was made on... *gasp*... electronic instruments. good luck being on the level with kraftwerk and dylan. tom
Re: (313) really
Hehe... you're cute. *kiss* At 08:12 AM 8/30/2006, you wrote: On 8/30/06, Dale Lawrence [EMAIL PROTECTED] wrote: Why would I settle for just leveling? you have no hope of getting even close. the instruments didnt matter to those guys, they were brilliant visionaries. im glad you think the same of yourself. tom
Re: (313) really
Yes yes... When photography was invented the painters cried foul, etc... and the cycle of violence continued. Mr /0 and I were really just messing with each other anyway. We had a laugh off-list. At 09:24 AM 8/30/2006, kent williams wrote: I don't think Dale meant that at all, Tom. I think he was commenting on the hating on artists that goes on on 313. My mamma always said don't go looking for trouble, it will find you soon enough. On 8/29/06, Thomas D. Cox, Jr. [EMAIL PROTECTED] wrote: On 8/29/06, Dale Lawrence [EMAIL PROTECTED] wrote: Did you hear? Bob Dylan used an electric guitar in his set last week? WTF? Oh no... Kraftwerk's Numbers sounds like it was made on... *gasp*... electronic instruments. good luck being on the level with kraftwerk and dylan. tom
(313) I am a tool
I've gotten a few emails and it seems I put one too many /'s in my link... http://www.myspace.com/theoremthx I think I just got my Worldwide Geek membership card revoked, as well as booted from MENSA.
Re: (313) really
At 11:09 AM 8/30/2006, you wrote: what this has to do with comparing the feats of groundbreaking artists to anyone using a computer to make music is beyond me. but thanks i guess. tom --but I thought you said the tools didn't matter? Which is it? All the ground is already broken then? Do you think people really just press return on their computer? Did you receive my point about all the new technologies in music... or even art in general, such as photography, always receiving resistance in their infancy? History has proven that the antagonists always end up looking like fools... are you just trolling?
Re: (313) really
At 11:54 PM 8/28/2006, you wrote: To quote the Simpsons no one will ever mention it again... under penalty of torture. My email was down all weekend... I feel like Commodus in Gladiator when he marches in, stumbles off of his horse and begs, Have I missed it?... Have I missed the battle? Now my popcorn is stale. I suppose I'll just troll parakeet owner forums instead, looking for someone to piss on...
Re: (313) really
Ok, here: http://www.myspace.com/theoremthx/ All brand new... because you tricked me into it with your wit and prowess. I submit. At 05:55 PM 8/29/2006, you wrote: go make music instead - Original Message - From: Dale Lawrence [EMAIL PROTECTED] To: 313 313@hyperreal.org Sent: Tuesday, August 29, 2006 11:50 AM Subject: Re: (313) really At 11:54 PM 8/28/2006, you wrote: To quote the Simpsons no one will ever mention it again... under penalty of torture. My email was down all weekend... I feel like Commodus in Gladiator when he marches in, stumbles off of his horse and begs, Have I missed it?... Have I missed the battle? Now my popcorn is stale. I suppose I'll just troll parakeet owner forums instead, looking for someone to piss on...
Re: (313) Dale Lawrence
Hey Neil, That might be hard considering I sold my MPC2000xl to buy a laptop because I like shooting myself in the proverbial foot from time to time... haha I've gotten a few emails asking about the myspace address. I just made it so it's nothing special but it's at http://www.myspace.com/theoremthx Someone stole my name. If I were guns and roses* I could sue for it. Damn! *Sorry, I meant Guns'n'Roses At 06:14 PM 9/20/2005 -0400, you wrote: hey dale long time no hear words for you good to hear that you arestill at it and that you didnt fall for the old I grew up excuse, real life does some times take over but when your making music because you just like to make music it never leaves you as your just proved to everyone... :) we have to have you back up here in toronto some time again...
RE: (313) Dale Lawrence
I prefer the Monster Assault drinks... the can just looks cool with all those grayscale camouflage shapes and it keeps me awake for a month straight. Rational reasoning goes out the door though... just ask my girlfriend. At 04:27 PM 9/20/2005 -0700, you wrote: OOOH!!! I was thinking that someone stole the Theorem name professionally. Nevermind... I'm running on 5 cans of Rockstar right now... -Original Message- From: Derek Plaslaiko. [mailto:[EMAIL PROTECTED] Sent: Tuesday, September 20, 2005 4:24 PM To: George Jones IV - Logic7 Cc: 'Dale Lawrence'; 313@hyperreal.org Subject: RE: (313) Dale Lawrence breathe deep, george. its only myspace. ;) derek. On Tue, 20 Sep 2005, George Jones IV - Logic7 wrote: They SHOULDN'T be able to steal your name if you can prove you were using it first. It's happened in hip hop a few times. Common had to drop the Sense from his name because of some obscure band named Common Sense who had been using it before him. The Notorious B.I.G. was originally Biggie Smalls, but another rapper had already been using the name, so he couldn't. -Original Message- From: Dale Lawrence [mailto:[EMAIL PROTECTED] Sent: Tuesday, September 20, 2005 4:09 PM To: 313@hyperreal.org Subject: Re: (313) Dale Lawrence Hey Neil, That might be hard considering I sold my MPC2000xl to buy a laptop because I like shooting myself in the proverbial foot from time to time... haha I've gotten a few emails asking about the myspace address. I just made it so it's nothing special but it's at http://www.myspace.com/theoremthx Someone stole my name. If I were guns and roses* I could sue for it. Damn! *Sorry, I meant Guns'n'Roses At 06:14 PM 9/20/2005 -0400, you wrote: hey dale long time no hear words for you good to hear that you arestill at it and that you didnt fall for the old I grew up excuse, real life does some times take over but when your making music because you just like to make music it never leaves you as your just proved to everyone... :) we have to have you back up here in toronto some time again... -- No virus found in this incoming message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.11.3/106 - Release Date: 9/19/2005 -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.11.3/106 - Release Date: 9/19/2005 -- No virus found in this incoming message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.11.3/106 - Release Date: 9/19/2005 -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.11.3/106 - Release Date: 9/19/2005
Re: (313) track req - d'n'b techno hybrids
At 06:11 PM 9/21/2005 -0400, you wrote: 'lo list, I'm doing this mixed compilation for some friends and I'm looking for a good techno/electro track that halfway through changes to drum'n'bass. I have one from the Jacob's Optical Stairway album on RS, but I'm looking for others. Any recs? Not sure if anyone has mentioned Recloose but he has a few tracks that fit this bill... notably a track Landscaping off the top of my head and a few others worth looking into. * Lamb - cottonwool rmxs (Fontana) 1996 (with nice fila brazilia guy called gerald mixes) I just listened to cottonwool from their album 2 days ago and the original still makes my hair stand on end when the choppy rhythms really get going. No structure on the surface, yet somehow it all just syncopates in the abstract... It's an ADHD dream come true!
Re: (313) So
At 04:15 PM 9/19/2005 -0400, you wrote: What'd I miss? Is this thing on? What is this place? Who are all you people??
Re: (313) Dale Lawrence
At 07:31 AM 9/20/2005 -0400, Rob lectured: Well it's nice to see everyone except Dale Lawrence has been busy*. * Dale you know I love you, but you ain't Guns and Roses. Get back in the studio and make a damn record already. I love you too Rob. I know this because you tell me to make records. Also because you tell me I'm not Guns'n'Roses, since that would be an insult! I actually dismantled my studio for well over a year--mistakenly thinking I would produce using software only, which was only good for crashing my machine. Plus my basement studio which used to remind me of some far off technoasis for the soul started to feel like just another cluttered basement... I have since remedied both of these things and reassembled my studio more compact on the top floor of my house--and the irony is, as soon as I did this the software stopped crashing my machine. Now as far as the tracks... I actually did just upload a new unreleased one on myspace yesterday. At 03:41 PM 9/20/2005 +0200, Tosh conjectured: Yeah seriously, why did Dale just drop off the face of the earth? There was so much hope and promise... It seems my ADHD decided to hyperfocus on something else for a while. I've never written music because I have to, or because it's my job. If I did that it would be no better than 90% of the fodder that is out there--don't get me wrong, I'm not saying I'm all that, but I can tell when an artist is in the creative moment, or when they're just doing it to be cool. I think we all can. I've always written my best music for myself first and everything after that was just a bonus. On top of that I've got real life issues to take care of too that are more pressing. Also, anyone that wants to hire a graphic designer should send me an email... /shameless! At 09:12 AM 9/20/2005 -0500, Tim hypothesized: I think he just grew up! Haha, I'm still working on that! Dale
Re: (313) OT: Items for Sale
Yeah, now I'm confused myself! If I had half an ounce of energy left today I would rack my brain to come up with what track it was... lol... Dale At 11:49 AM 5/25/2004 -0400, you wrote: though poindexter did work that mf? was dan bell involved in production? -Joe - Original Message - From: Dale Lawrence [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Tuesday, May 25, 2004 11:23 AM Subject: (313) OT: Items for Sale Oh 313, where have you gone? Or is it I who have changed... ? I'm cleaning house and have a few things I'm putting on e-bay and I figure some of you might also be interested... if not, please scold me privately, and don't forget the whip. MPC2000xl Sampler, Drum Machine, Sequencer 32mb, internal EB16 filter card (so nice), added 8 outputs (plus digital SPDIF), SCSI port... includes flight case, manual, and power cord--thank god... Yes, this is my baby... and I'm setting it free. Excellent for live sets. The Minus sticker comes stock. My username on ebay is theorem if you want to check it out. Yamaha RY-30 Drum Machine This drum machine is seriously under-rated... How many drum machines out there have filters? This one does, and they work very well-- assignable to the pitch wheel on the left... Tweak your thumb raw. I used this drum machine to record a song called Shift. Find it on Kazaa and hear this machine in action. Casio RZ-1 (313 Celebrity Special) Digital Sampling Rhythm Composer I bought this a few years back from Dan Bell, and as it turns out it is the actual machine he used to record Work that MF... It's a bit beat up, but is in perfect working order. I haven't posted this on E-bay yet, but will soon or make me an offer I can't refuse. There are a few other items I have yet to post including a Korg Wavestation single rack unit, Digitech 256 f/x processor, a Sony Mini-disc player/recorder, and hey, even a platinum/diamond ring... please email me if interested in any of these items. While I'm at it I'm also selling a Silver 1988 Porsche 928 with 95,000 miles: http://th.m-nus.com/mpeg/928.html If anyone knows someone who might be interested, send me an email! Thank you all and sorry if this was a waste of your mailbox, Dale Lawrence
(313) [313] test... *gasp*
I know, I know... I'm so novice.
(313) OT: Items for Sale
Oh 313, where have you gone? Or is it I who have changed... ? I'm cleaning house and have a few things I'm putting on e-bay and I figure some of you might also be interested... if not, please scold me privately, and don't forget the whip. MPC2000xl Sampler, Drum Machine, Sequencer 32mb, internal EB16 filter card (so nice), added 8 outputs (plus digital SPDIF), SCSI port... includes flight case, manual, and power cord--thank god... Yes, this is my baby... and I'm setting it free. Excellent for live sets. The Minus sticker comes stock. My username on ebay is theorem if you want to check it out. Yamaha RY-30 Drum Machine This drum machine is seriously under-rated... How many drum machines out there have filters? This one does, and they work very well-- assignable to the pitch wheel on the left... Tweak your thumb raw. I used this drum machine to record a song called Shift. Find it on Kazaa and hear this machine in action. Casio RZ-1 (313 Celebrity Special) Digital Sampling Rhythm Composer I bought this a few years back from Dan Bell, and as it turns out it is the actual machine he used to record Work that MF... It's a bit beat up, but is in perfect working order. I haven't posted this on E-bay yet, but will soon or make me an offer I can't refuse. There are a few other items I have yet to post including a Korg Wavestation single rack unit, Digitech 256 f/x processor, a Sony Mini-disc player/recorder, and hey, even a platinum/diamond ring... please email me if interested in any of these items. While I'm at it I'm also selling a Silver 1988 Porsche 928 with 95,000 miles: http://th.m-nus.com/mpeg/928.html If anyone knows someone who might be interested, send me an email! Thank you all and sorry if this was a waste of your mailbox, Dale Lawrence
Re: [313] Tiny Reminder from Motor (Green Velvet, D:Fuse, Theorem...) (fwd)
Missing from Friday nights playlist is Sutekh who will also be performing live in the same room as Theorem and Carlos Souffront... Cheers, Dale At 04:54 PM 7/18/2002 -0400, you wrote: -- Forwarded message -- Date: Thu, 18 Jul 2002 11:54:35 -0400 From: motordetroit [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Tiny Reminder from Motor (Green Velvet, D:Fuse, Theorem...) This Friday- July 19 Green Velvet- live Dennis Cox Theorem- live Carlos Souffront Mathew Boynton pre-sale tix at Recordtime/Ticketmaster This Saturday- July 20 D:Fuse Kenneth THomas DJ Goldfingers Gabe Real details at www.motordetroit.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Most Played Track at DEMF
I don't care *what* she says, that song *IS* about me. ;) At 09:30 PM 5/24/2002 -0400, you wrote: If I had to pick (and I don't really), Janet Jackson/feat. Carly Simon, You're So Vain And it has a funky beat--I can really bug-out to it. -- im - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Re: Back to the Future and the Electro revival
At 12:44 PM 5/6/2002 -0400, you wrote: Just out of curiosity, could someone point me to the Techno Rulebook? I'd like to peruse it's pages to find out where guys like Theorem, Christian Bloch, and Kit Clayton have gone wrong. We obviously have been mistaken in calling their music Techno as they sound nothing alike or like any of the more established artists. Oh no! What did I break now? First its: Press Play, Milli. Then: Is he alive or dead? And now: You Broke The Law! I'm just going to quit and start that brick-laying business... ;) Dale - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] fuel to the fire : was hawtin hawtin everywhere
Wow. You try to rise up, and they keep trying to knock you back down... That's interesting, but I think you may have that certain artist confused with someone else, like the kind of 'artist' that rolls up to Forans with a yamaha md-8 track minidisc player and some effects boxes playing 100% pre-recorded tracks with some live effects added in. Hell, why press play on your sequencer when you can set the mini-disc player to 'mislead-the-crowd' while pretending to get dubby on the F/X? I'm seeing the pot, but the kettle's not black. Though, I can understand why you wouldn't want to put forth the effort-- what, with only ten people there and all. Of course, I wasn't one of them... Anyway, all hypocrisy aside::: I don't know about the artist you were referring to but if I were to walk away from my set midstream it would just get caught in the same loop, over and over, without evolution... caught in the same loop, over and over, without evolution... caught in the same loop, over and over, without evolution... --and that would be very boring, in about 10 seconds. Lets just say that *I* am the only one with firsthand experience over the controls of my sets, and with regard to whatever illusion you may have to the contrary: 1) my mixer settings would not survive from one track to the next. Yes, it is difficult being the entire band, as well as the sound engineer--who most 'normal' bands have the luxury of having someone off stage controlling the mixer for them--during a performance but that's what a live electronic P.A. is all about. I'm up to the challenge, and fully partake. 2) The cutoff frequency on the Junos are assigned to the mod-wheel and that is what I tweaked on them when I used them in my sets, which I don't anymore because they are big, bulky, and I didn't want to carry them around everywhere, especially with my gigs becoming more frequent. You have to be careful with vintage gear you know... Besides the Junos, my synths, synth modules, drum synths, and sampler are fully tweakable, which I take full advantage of in my sets. 3) The Kawai Q80 may be a song based sequencer for most people, but when I had it I used it as a loop based sequencer. I've never been known to simply use my gear just like Joe RTFM down the street. Actually my entire set barely took up the space on a disc of one two-minute song's midi data. No, each loop, as I said before, and was true then just as it is now, was only 4 to 8 bars long, and each track had 8 to 18 separate loops that I had to manage individually in order to control each specific element of the overall piece. Again, I should probably take it as a compliment since it seems I make it look easy when I know that it isn't. Perhaps you could demonstrate to me how to 'really work that [EMAIL PROTECTED]' on your md-8 minidisc player one day? While I'm at it, expanding the horizons of my studio by incorporating analog and digital synth capability, software synth capability, including the ability to sample the sounds that I have created (which is what I use my sampler for), and adding new options for the creative musician doesn't mean that I've fallen off of anything. It only means I'm reaching higher, evolving, and don't want to get stuck in the rut that you most likely will find yourself in, if you haven't already. Sure, it's a five minute game, but when you hit the magic number you get extended play, and a greater shot at longevity. Some of us know how to play. Are you ready to put your quarter in yet? Haters and Fools... Dale Lawrence At 11:24 PM 10/24/2001 -0400, you wrote: Hello, Lets just say that I know from firsthand experience that a detroit live pa artist on plus8 who claims
Re: [313] fuel to the fire : was hawtin hawtin everywhere
Yes, playing off of DAT *is* blasphemy, and that's why I would never consider it. That is one of the most inaccurate things I've ever seen written about me and now I am going to tell you why: 1) I've never played off of DAT-- Ever. If you knew anything about Plus 8 artists, you would know that every single Live P.A. by any Plus 8 artist, anywhere, was 100% live. That carries over to Minus artists as well. Yes, I use a sequencer. The latest is a MPC2000xl, and NO, I don't sequence the entire track in there. No loop on my sequencer goes longer than 8 bars. I do all of the arrangement and mixing on the fly which brings me to: 2) I don't use a laptop computer in my live set. My sequencer is hooked up to 5-10 independent pieces of gear at a time and I have to not only control the sequencer, but also control each separate piece of gear, which I had to learn to use independently throughout all the years I've been making electronic music (that would be 16 years now), as well as make sure the mix is solid and sounds professional on what is usually a mackie 1604 16 channel mixer, with the F/X routed out to my DP4... so when you say mixing off of a computer is lame, you aren't saying anything about me, or my live set. Thank you very much. 3) Before you run on saying that all the sounds from my set are really coming out of my MPC2000xl, since it can *also* be used as a sampler, just don't. The MPC for me is just a very expensive sequencer, because I like the windows/buttons you can use to jump between loops. There are no audio cables hooked up to my sequencer during my live performances. I can understand why you might think I play off of DAT-- I suppose I should take it as a compliment. I must be doing something right to get slagged like this in public. Listen. Ryan. I know the point I was making with my previous post about technology was solid, intelligent, and had more than two legs to stand on, and I must have touched a nerve somewhere deep inside of which I have yet to understand, but is this how you respond to logical discussion? --by attacking the legitimacy of my performances? -- *and* basing it completely on a lie? Possibly jeopardizing your own credibility in the process? Is this really what you wanted to do? You're going to have to do better than flame-bait and blind accusations to win arguments-- unless, of course, you plan on running for office someday, in which case you will probably go far. Tell me... This I really want to know... When you are on the losing side in a game, are you always the first to cry Cheater!? I mean, for you to be losing, obviously, somebody *must* be cheating. Is it possible for you to accept that someone else's argument might just be more valid than yours? --or is that too difficult? At least try not to *act* like a fool... Dale Lawrence http://www.groovetech.com/PhoenixData/GT/srvlt/GTController?action=Broadcast Detailpage=detail_broadcast.jspHTMLType=DetailBroadcastEventID=1068 At 09:42 PM 10/23/2001 -0500, you wrote: Dale, i thought it was Blashpemy when you did a live pa at demf and all you did was play pre recorded stuff off dat. nobody said *gasp* oh no technology is threadening my livelihood. from what ive seen mixing off computer is lame. just like when your supossed to play and all you do is hit play on the dat. ryan - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] fuel to the fire : was hawtin hawtin everywhere
, but not because it isn't the future, but more simply, because it is a direct threat to them, and to their livelihood. It's as simple as that, and that is how revolutions happen. That is how the nobody's, who start out with nothing can step in and rise to the top of their game, because those who already have, refuse to evolve. They refuse to push forward and are eventually passed right by... and left behind... Because honestly, do you really think the people that embrace the new tools, are simply trying to recreate what the people with the old tools were doing 12, to 20 years ago? Absolutely not. If that were the case, just go buy a drum set, or learn to play the guitar, or even buy an 808 or 909 drum machine... A 303 perhaps? No. Those that embrace the new tools are trying to create what has never been done, they are trying to make what, until they do, *couldn't* have been made before. *That* is the critical difference. Dale Lawrence At 12:55 PM 10/22/2001 -0400, you wrote: Why is it that seemingly innocuous inquiries sent to this list invariably lead to embittered polemics? I remember when this particular strain began with a simple question on my part as to the general opinions circulating on Mr. Hawtin's newest creation. Then came the inevitable Richie bashing. What is it about the gent that stirs such negative emotion? Is it that he's white or not a Detroit native or that he has gained a relatively large following outside of the techno underground thanks to numerous publications? I personally love the guy; his work touches me in a profound manner. By this I don't necessarily mean his work has changed my outlook on life, but his particular brand of techno (which I believe to be very singular) appeals to that creative, imaginative, and (dare I say) intellectual side of my being. And this doesn't even take into regard the satisfaction my rhythmic nature finds in Richie's bare bones approach to the essential beat. His work reinforces my love of techno, dammit! Anyway, without digressing extravagantly, I think the argument centered around the progression of technology as it relates to the creative process has been steered the wrong way. Too many purists IMO. Where does techno fit if technology is to be shunned and feared? (Yes, I'm well aware that the whole of this list doesn't fear technology as a primitive would fear fire.) It's all about how the technology is used and especially how the material goods of our time are directed towards an end goal of individual expression as it relates to current cultural trends and mindsets (both local and global). Art should reflect the present and not be regarded separately, for the key to its purpose lies in the questions, ruminations, ponderances, and affirmations that result from it. Plus, don't forget that technology's goal is to make life easier for us, to facilitate the tasks that we may needlessly exert our limit energies towards accomplishing. If a new piece of equipment opens doors to a whole new slate of artists who heretofore haven't possessed the means or ability (or desire or time . . .) to express themselves, all the better. The innovators will be singled out and recognized, that is a guarantee. Besides, imitation comes before innovation. I don't know my thoughts are at all cohesive or if I'm rambling, but I'm trying to cram multiple thoughts into this lunch break of mine. Time to get back to work. (I can't wait to see what kind of an acerbic response I'll get to this.) Rusty aka DJ MaybeIhavenocluewhatI'mtalkingabout _ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Re: lifefest thoughts
At 09:27 AM 8/27/2001 -0400, you wrote: Theorem played some excellent material, none of which I recognized. That would be because every track I performed, minus Mantra One and Fallout, was unreleased material that has been written since June of this year. When I said Brand new live set I meant it--and for those fools that didn't bother showing up, I only have one thing to say...Nyah! Dale - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Saunderson vs Paula Abdul
At 12:04 AM 8/4/2001 -0400, DJ Entropy wrote: LAME I was mixing that track into Jump-Up in 1996. Been there, done thatnext? Ian Scott aka DJ Entropy [EMAIL PROTECTED] Nice, I was dropping attitude like that back in 1989 jumping on the cockroaches under the wooden floor at the majestic. I think we may have heard, Got to do the Dew one too many times... signal to noise... --signal to noise ratio... Spot that. I'll give you a dollar. ;P Senselessly yours, -Dale - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] anagrams
At 06:09 PM 7/7/2001 -0500, you wrote: dale lawrence= we're all dance, That needs to be a track or record title. Ha, that's funny. I was a bigger fan of 'Decal Renewal'. ;P Love, Raw Eel Candle Well Read Cane All Weed Crane Clan We're Lead Clear New Deal We Call End Era We Led Car Lane We All Need Car and... Clear Dee Lawn? (ouch) - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] The resistance has begun
At 07:10 AM 5/24/01 +1000, you wrote: 1. good for them 2. based on ip it's the same people who bring us paxahau.com --and I'm sure they wanted everyone to know that. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] The use of Hitler's name
*sigh*... At 05:52 PM 5/22/01 -, you wrote: Hey all Can we please refrain from using the name of Hitler in such a flagrant manner? It has, nor ever will be, a decent means of putting to end a conversation or heated debate. All I'm asking is that we *think twice* before bringing into our world that kind of negativity. Language is powerful...please be careful with it. Flame on. MEK _ Get your FREE download of MSN Explorer at http://explorer.msn.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] OT: Gear for Sale
GEAR FOR SALE: Please don't flogg me for crossposting... I was spring cleaning the other day and when I scrubbed the chimney I found a few little gems that some of you might like to purchase::: Korg Wavestation S/R : $400 USD http://members.home.net/stanleygstewart/images/wssr.jpg You gotta love this single rack version of this classic Korg soundscape architect's tool. Tascam M1600 Mixer : $800 USD http://www.fullcompass.com/lit/pics/m1600.jpg Nice 16 track mixer with parametric EQ's. Definitely more aligned to studio work. Originally listed at $1700 Digitech 256XL F/X processor : $125 USD http://www.harmony-central.com/Effects/Data/DigiTech/DSP_256-01.html Good programmable reverb and f/x on a budget. It served me well, but this DP/4 of mine has rendered it obsolete. SKB Mini-Gig-Rig : $150 USD http://th.m-nus.com/mpeg/minirig.jpg 6 space rack in the front, and a hinged mixer rack on top. It folds down compact, fully locking, and is great for live sets. Buyers pay shipping on any items. These items will be shipped from Detroit, MI. All interested parties please reply to: [EMAIL PROTECTED] Thanks! Dale Lawrence - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] OT: Gear for Sale
I thought you were trying to *increase* the value of the drum machine??? At 10:05 AM 5/9/2001 -0400, you wrote: one more OT item: I have a RZ-1 Drummachine on EBay. http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItemitem=1429664321 I can even get Dale Lawrence to autograph it for a few dollars more (isnt that a Clint Eastwood movie?) sean - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] DEMF no Ritchie Hawtin!!
Yes, there were plenty of people last year that weren't given the opportunity to play. There just weren't enough slots for all the talent. We should be glad that we have enough talent in this city to throw a three day festival with four stages and still not have enough slots to cover even half of the names we'd like to see. I was honored to play last year, and twice honored because I was lucky enough to play on the mainstage too. I had no intention of playing this years DEMF and didn't even submit my name for consideration, as did many other artists from the area. Even in the Planet E camp, I don't see Recloose, Moodyman, or even Mr.Craig in the line-up. There are plenty of musicians here that deserve to get their turn too and I'm looking forward to seeing them play this year. See you in Hart Plaza... Dale At 03:04 PM 3/29/01 -0500, you wrote: the fact that he was there last year is more than likely the reason he is not coming this year. have you not noticed that has been the formula mg Matthew Gerbasi |l| Darcy Detroit lll Cadillac Regional Traffic|l| 248-458-8567|l| [EMAIL PROTECTED] aka [EMAIL PROTECTED] Eliminate your ego by having self confidence without pride -- Basi TIMOTHY JOHNSON [EMAIL PROTECTED] 03/29/01 03:01PM I can't believe this hasn't been brought up yet!!! Jeff Mills rules (don't get me wrong) but Ritchie and Larkin were the heart of the party last year, in my opinion! What is the group consensus? http://www.mp3.com/wraith313 for tasty tracks! PeoplePC: It's for people. And it's just smart. http://www.peoplepc.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] dale lawrence sighting ;)
At 02:46 PM 3/15/01 -0500, you wrote: was that you dale at koto buki in windsor? i was gonna say hi but from where i was sitting i couldn't really tell if it was you. porcshe?? anyways hi. regards, steve What the...!? Who's following me around? Yeah, I had to show my friend what REAL sushi tasted like! Oh no... How much of our conversation did you hear?? heh... Yeah, I was driving my 928. :) Dale
Re: [313] dale lawrence sighting ;)
yeah, I *wish* I had money like that. Too bad none of the loot that bought that car came from record sales!! ;P At 12:52 PM 3/15/01 -0800, you wrote: hahaha, damn, look at superstar Theorem with his sushi and his porsche, how very hip...;) josh23 What the...!? Who's following me around? Yeah, I had to show my friend what REAL sushi tasted like! Oh no... How much of our conversation did you hear?? heh... Yeah, I was driving my 928. :) Dale
(313) test
Is this thing on?
Re: [313] Future of DJ'ing, also anyone at MIDEM?
I tried to send this yesterday, but it never showed. Then again about an hour ago. Nothing. Once is chance... Twice is coincedence... Three times means war, Mr. Bond... I ain't got nothing against technology. I think you're missing the point. Technology can make for better creativity or it can hamper it, it's not an either/or argument. Do you really want to watch some dude just press a few buttons on a computer, a pre-planned set, there could be no spontaneity, by default. It would be as boring as hell. Any fool could use the new system as it would be a relative cinch. I am sure the turntablism will change but in a way that the DJ is still DJing, not the computer programme. True, but I think you are mistaken. Is the master photographer who releases the shutter on his/her camera to take a picture not an artist? Painters of the day argued they weren't, but the world has since thought different. What about digital artists that use the keyboard and mouse on their computer to tap into their minds and create imagery that before could never be realized. Are they not artists? Strangely, early on it was the photographers who said they weren't-- How can this be art? The machine does all the work. --repeating the very same criticisms that were used to slag their own medium when it was first introduced. Hypocrisy... What about electronic producers overseeing an ensemble of gear full of 'buttons' with a 'computer program' in the center of it all? 99% of the music discussed on this list was created using these technologies. It is just another tool, making part of the process easier, so the artist can expand their vision even further than before. Just like all of them, there will be a lot of shiza artists (DJs) barely making a tangible piece of work (set) out of their gear, but a tasteful audience can discern a good artist from just a craftsman. Can we not tell the difference between a vacation snapshot, and the work of Robert Mapplethorpe? It will be the same with DJing. Developing a tool to make production easier means that the standards of quality for that medium have to be raised as well, and don't expect to hear the same DJ sets you've always heard. Expect more. Every tool or technology has its own individual quirks that, over time, the users get creative with, and give a whole new credibility to that same technology. When digital imagery first came out it was all pixelated and choppy looking. (E...) Everyone tried hard and fast to advance resolutions and quality to make the imagery look as 'real' as possible, and they achieved it-- but it's funny that now everyone is hungry for the old low-res graphics, and half the typefaces you see on Mtv lately are pixelated--qualities unique to that medium alone that have grown to be accepted. It's just evolution. New tools are developed, and new skills evolve to master those tools. Slowly they are assimilated... Of course, there are some that would argue that the DJ is nothing but a relay between the producers--the people that actually wrote all of the music the DJs play--and the audience... while the turntable is doing all the work! Can you say 'live set'? very big ;) Dale
too many records
Please respond to: [EMAIL PROTECTED] can you forward this little message to the 313 list? i am no longer subscribed. muchas gracias! yer pal, sutekh -- subject: record sale hello i'm selling a few hundred records, mostly techno. here's the list, if you're interested... http://www.belief-systems.com/recordsale/ feel free to email me with any questions. thanks! seth ([EMAIL PROTECTED])
Re: [313] tonight? Motor, Bill VanLoo ect...
Last night was my worst experience doing a live set to date. I thought my last set was a close call when my zip drive broke with all my data in it, but I somehow pulled it off after a midnight run to kinkos. This time my sampler completely fried--my worst fears realized since I've tweaked my set to be more sample heavy. I was calling emailing everyone I knew to see if they had a sampler I could borrow. No luck, I thought the game was over, but after 11pm I got a phone call, from Jon O, the promoter, and he had actually pulled it off. I couldn't believe it, but at the same time I still had to get all my gear set up down at the club. Needless to say I got there a little late, and still had to install all my mods and upgrades to the borrowed sampler on-site. We switched up the order and Stewart went on before me, allowing time to get the gear together and I went on at around 1:40am, without a soundcheck, and after my third song the lights came on. Game over. My seven hours of panic was concluded by an anti-climactic 'warm up' as I didn't even get to the good stuff yet. Oh well, gear is gear and these things happen I guess. My gutted sampler is still sitting here beside me. Dale I Should've Played Guitar Lawrence Again full respect for Dale and Stewart. Stewart's show was interesting (it even made my wife want to dance at one point) but it seemed to lack variety. I mostly heard a lot of heavy kick and clicky hi-hats without much in between although he had some interesting rhythmical moments which he probably could have played out a bit longer (that's coming from a stewart walker fan). I heard Dale was having plenty of technical difficulties earlier in the night (broken sampler?). That's too bad as I really wanted to hear his live show but we left after a couple of Dale's tracks as everyone I was with was getting a bit tired. What time did Dale end up playing until? djr
(313) OT: Akai S5000 in Detroit
Off topic, I know, but is there anyone in Detroit that has an Akai S5000 that for rent or to borrow for tonight? Mine is upset that I don't bring it flowers anymore... Thanks, Dale Lawrence
Re: [313] Theorem moving to Berlin
Ja ist es [ Anschlag ] ich hat gefunden mein MUSE in einem hohen blonden Hotelmädchen von Berlin zutreffend, das Frauke benannt wird [ Anschlag ], das sie mein fehlendes Link ist und mit ihr bin ich [ Anschlag ] ich mich vorstelle viele Tage des Essens von weiner komplett und jaegerschnitzel zusammen, beim Überwachen des Russes vom Fabrikregen unten nach uns [ Anschlag ] Mom, bitte, versuchen nicht, mich [ Anschlag ] dieses mein Haupt [ Anschlag ] Liebe, Dale [ Ende ] God love Babelfish... I've heard that Dale Lawrence has moved to Berlin, does anyone know if that's true? If it is true then that's crazy because EVERYONE is in Berlin these days and Dale would certainly be in good company and add something interesting to the mix. Tosh *Real* translation: Yes, it's true [stop] I've found my muse in a tall blonde hotel maid from Berlin named Frauke [stop] She is my missing link and with her I am complete [stop] I envision many days of eating weiner and jaegerschnitzel together while watching the soot from the factories rain down upon us [stop] Mom, please don't try to find me [stop] This is my home [stop] Liebe, Dale [end]
Re: [313] Theorem moving to Berlin
Yes, it's true... Babelfish does suck, and I knew that... But I also put the original text way down at the bottom of the first message... ;P At 12:16 PM 12/15/00 -0500, you wrote: apparently what you meant to say was: Is it [ impact ] I has found my MUSE in high blond Hotelmdchen of Berlin applicable, which is not designated Frauke [ impact ], which is it my missing left and is with their I [ impact ] I introduces itself many days of the meal of more weiner complete and hunter shreds together, with the berwachen soot of the factory rain down after us [ the impact ] Mom, please, tries, me [ impact ] this my head [ impact ] love, Dale [ end ] :) chris On Fri, 15 Dec 2000, Dale Lawrence wrote: Ja ist es [ Anschlag ] ich hat gefunden mein MUSE in einem hohen blonden Hotelmädchen von Berlin zutreffend, das Frauke benannt wird [ Anschlag ], das sie mein fehlendes Link ist und mit ihr bin ich [ Anschlag ] ich mich vorstelle viele Tage des Essens von weiner komplett und jaegerschnitzel zusammen, beim Überwachen des Russes vom Fabrikregen unten nach uns [ Anschlag ] Mom, bitte, versuchen nicht, mich [ Anschlag ] dieses mein Haupt [ Anschlag ] Liebe, Dale [ Ende ] God love Babelfish... I've heard that Dale Lawrence has moved to Berlin, does anyone know if that's true? If it is true then that's crazy because EVERYONE is in Berlin these days and Dale would certainly be in good company and add something interesting to the mix. Tosh *Real* translation: Yes, it's true [stop] I've found my muse in a tall blonde hotel maid from Berlin named Frauke [stop] She is my missing link and with her I am complete [stop] I envision many days of eating weiner and jaegerschnitzel together while watching the soot from the factories rain down upon us [stop] Mom, please don't try to find me [stop] This is my home [stop] Liebe, Dale [end] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Stewart Walker
Yes, he's definitely playing on December 27th at Motor. I'm doing a Theorem live set there too that night so come down and check it out. Dale At 10:06 AM 12/14/00 -0800, you wrote: I was at the Stewart Walker webpage, and he's listed as playing Motor on Dec. 27. But Motor doesn't list anything for this date. Anyone know if he's really playing? Kevin
Re: [313] twe[r]kstylefunk
I caught his set in San Francisco over the weekend and it was excellent. I'm sad I never got to check out his previous sets to compare, but what I saw on friday had me focused and moving at the same time throughout the entire performance. I'm looking forward to the next time he swings around Detroit. Yeah, those San Francisco guys have formed a tight little top-secret clan focused on 'live set technology' that is turning and nodding heads everywhere. I need to buy me a powerbook... ;) Dale At 08:53 AM 12/11/00 -0800, you wrote: was anyone in LA to see twerk with chaki? a review? i heard his set was innovative and ground braking. ..ir. twerk's set was indeed innovative and ground breaking - more importantly it was GROOVIN *everyone* was gettin down more LIVE electronic dance music in the LA area coming up soon featuring twerk and more January 13, 2001 and Febrauary 23, 2001 keep an eye on www.soundmangle.com for more info peace ben -- ben milstein aka mintyfresh www.soundmangle.com - your home for experimental dance music... - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] digital
records are becoming keys on a piano as opposed to songs in and of themselves... ? yeah Yes, that is what DJ's want you to believe. In order to further take credit for the creative inspiration of the producers, who, without which, they would have nothing but empty turntables, and god forbid, no DJ ho's... Dale
Re: [313] digital
This is totally wrong, at no time to I dismiss producers as pointless, they write tracks, so do I. But the DJ can do other things with those tracks in which 1.) the producer of that track didn't think of 2.) make a much larger picture... I can understand the input and skills of a DJ, but at no time can I accept the role of a producer's composition to be downgraded to 'a single note on a piano'... even in those brilliant moments, I'd have to say it's still about 75-80% producer, 20-25% DJ... call me arrogant... and as far as the dj ho comment goes, I don't even have the slightest desire to have groupies, I kick out everyone from the booth and try to encourage them to go enjoy the sounds I make, not my status... Heh... that was the joke part. :) Hopefully alluding to Diana's article that was being discussed earlier... respect, Dale
Re: [313] (even more spam) RE: Discussion
LOL, that RZ-1 is worth twice as much as that damn mixer he sold me for 7 times the amount! ;P Dale At 12:10 PM 11/21/00 -0800, you wrote: Ask him why he sold his RZ-1 to Theorem! ;-) BVL lists wrote: going to meet dan bell for an interview in 2 days... anyone got some burning questions you`d like me to ask? cu bleed ATT: OT: SPAM: LALA on the completely offtopic and wildly discursive matter of mp3 adcrosspostingmassspamblabla the track title and a small blurb about the general feel of the track (while I generally believe that dubby chord stabs have relevance I do not in general see the 313 association). come all and join mailto:[EMAIL PROTECTED] http://www.egroups.com/group/netaudio and feel free to spam whatever good music you find on the net. .. -- sascha koesch | dj bleed | debug magazine | zeitschrift fuer elektronische lebensaspekte communication: [EMAIL PROTECTED] | icq 72406259 | http://www.de-bug.de surface: debug | brunnenstr.196 | 10119 berlin | germany voice: tel: +49-30-28384458 | fax:+49-30-28384459 | mobile: 0179-4629-303 - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] -- http://www.chromedecay.org
Re: [313] deep chord cd
Giles + Bill + 313, I have been bouncing the Deepchord cd in my car over the last two days and I've come to a similar conclusion as BVL. The tracks are great and I'm really into them-- and they sound great loud when cruising, but I can't help but think that these records were done by someone trying very hard to do BC/CR and on top of that really don't *yet* have the production quality to pull of the complete forge. I'd like to be polite and say the 'funkier' unproduced sound of the percussion elements was intentional, but it really sounds to me like they aren't completely *there* yet on studio techniques. Now I'm not talking about 'big production' studio techniques--we know the BC/CR camp has some of the most raw techniques we've heard--BUT it *is* fully refined. The Deepchord sounds raw-- but *not* fully refined. The kind of 'raw' you get for trying-- but not completely getting there at first. Maybe I'm too critical --the guy I voted for isn't going to the whitehouse and I'm edgy--so just as Bill said these guys are just getting started so I'm sure as they progress they will experiment and come into their own sound and production aesthetic just as most artists do. I'm eager to see where they take it, and I am enjoying listening to the tracks on the cd. A good listen. Dale At 10:17 AM 11/8/00 -0700, you wrote: Bill + 313, I love you man, but, and I knpow this may create some FP dissent, but I think they've really taken that sound to a new level, The CR rcirds are all starting to sound too similar to me, although, like yourself, I still buy them lovingly. Especially the Scion / Tikiman / Burial Mix / Round ... stuff. But, the early basic channel records to me were sophisticated in their sounds, but the Deep Chord records have really tightened up the FUNK in those tracks. In a really mellow HOUSEY way. I have the CD and yes we all agree it rocks, and sure it sounds a lot like that sound, but I think they've brought it closer toa less abstract sound a me like sthat, they mix really well with my other records, like Blue Six, and a lot of the other housier deep stuff I like to play. Just my 2 cents. ps. are those K2000's they're using? // GILES
Re: [313] no Speedy J?
You know what I'm saying??? No love in this town... Love, Theorem (currently gearing up his new nord module for the show...) At 08:10 PM 10/9/00 -0400, you wrote: Thanks for your support. Guess you'll miss out. Telepathic regards, The Kooky Scientist I know I found out yesterday. Sucks. Guess I'm not going. I checked the +8 site, and noticed Speedy J is gone off the lineup for FOMTY... how come? darw_n create, demonstrate, toneshift... http://www.mp3.com/darw_n http://www.sphereproductions.com/topic/Darwin.html http://www.mannequinodd.com -- Upcoming Gigs: Oct. 28th - From Our Minds to Yours / Somewhere in Detroit. Richie Hawtin, John Acquaviva, Daniel Bell (live), The Kooky Scientist (live), Theorem (live), Kenny Larkin, Matthew Hawtin, Clark Warner, Scott Gordon http://www.plus8.com/classics/fomty.html Try the Plus 8 Classics/Sonic Foundry Acid contest REDUX @ http://www.acidplanet.com/plus8/ TELEPATHICA P.O.B. 80337Boston, MA02180-0010 U.S.A. FX 781-438-3919 MP3 Audio Samples @ http://www.mp3.com/FredGiannelli - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] tonight in windsor
Amsterdam: Out of the tunnel, turn left then right onto Oullette. Turn left on University. Turn right on Pelissier, and Amsterdam is on the left. Now try and find parking. ;) Dale PS: I also don't know how to get to the tunnel. My fairy godmother always magically takes me there. At 12:08 PM 8/30/00 GMT, you wrote: @ the Amsterdam(n) lounge. Recloose,Rob T and _special_ guests. I dont know where the Amsterdam is,I dont even know where Windsor is, so please don't email me for directions. _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313]underground
Get a life. I'm polish and nazi germany made a stomping ground out of my grandparents birthplace. I don't like it as much as any of you. What I do have and you obviously don't, is a sense of humor in my reference to the email study on the evolution of email debates. That a thread is as good as dead when someone calls someone else hitler or a nazi. All I was doing was trying to give a humorous end to an annoying thread, period. If you spend your life looking for sadness and grief, that is all you will find. I'm out. Dale At 11:15 AM 8/18/00 EDT, you wrote: ...You are all nazi's and I'm hitler. One would like to believe things like this are just jokes or reaction to email nonsense. But in reality Hitler killed over 6 million people ... thats six million and I find no humour in this what so ever I 'm definately not a nazi And I hope you dont share Hitler's fate. Get your own FREE, personal Netscape WebMail account today at http://home.netscape.com/webmail - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Now more interesting stuff was Re: [313]underground
*Somebody* gets it... That would be THX4 which is the second installment of Theorem vs Stewart Walker. It's at the plant now getting pressed, I'm not sure when the official release date will be yet, but within six weeks I'm sure... The white labels sound great! Thanks, Dale -- not running for president, and proud of it-- At 11:21 AM 8/18/00 -0700, you wrote: anyone else getting this piece of mail about a hundred times? BTW it was a joke, everyone knows the severity of the implication and I'm sure no one takes it lightly. On a lighter note since this thread should be dead soon Dale when's you next record due out? todd [EMAIL PROTECTED] wrote: ...You are all nazi's and I'm hitler. One would like to believe things like this are just jokes or reaction to email nonsense. But in reality Hitler killed over 6 million people ... thats six million and I find no humour in this what so ever I 'm definately not a nazi And I hope you dont share Hitler's fate. Get your own FREE, personal Netscape WebMail account today at http://home.netscape.com/webmail - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Re: [Re: [313] Underground OT (was Re: [313] Pooh-blahs)]
It all simply boils down to two methods of change. Some people believe that to make change you need to completely overthrow the system. Just destroy it and rebuild it properly. It's he stuff toppled governments are made of. Other's believe the only way to make real change is to work within the system, expand yourself to a position of power, and then use that power to affect change upon the very system you detest. Silent revolution. Some choose to work outside the system, and others within... Until now working within the system was basically the only option, but we seem to be at a crossroad of sorts with the evolution of online digital music distribution. Either method has merit as far as I'm concerned. I mean, who wouldn't get a smirk on their face to see the Pubahs up on TRL? Just an extra poke from the many thorns in the major label's over-corporatized side... Dale At 11:43 AM 8/18/00 EDT, you wrote: gord [EMAIL PROTECTED] wrote: On Wed, 16 Aug 2000, [EMAIL PROTECTED] wrote: Not necessarily my rebuttal, but an interesting one, from Jeremy Gilbert and Ewan Pearson quoted without permission from Discographies - Dance Music, Culture, and the Politics of Sound: The only reason for staying underground is that in relation to dominant structures of power, you are weak. To celebrate that weakness rather than to try to overcome it is to concede social authority to those dominant discourses. It is, in fact, to _choose_ too remain in a subordinate position and to condemn others to a similar position. I find this statement to be rather naive and reductionist in a number of ways. Firstly, what if you don't support the dominant structures of power and the political stance you impose upon yourself by working together with them? This has nothing to do with being weak or strong, and everything to do with supporting and influencing change. By staying underground, you are making a statement that you have no interest in supporting these structures. This is done in hopes that reasonable people will recognize this and be influenced by it (thus affecting change). Secondly, it assumes that everyone is interested in power and that people are only either in a subordinate or dominant position (depending on the power they wield). While to a certain extent it is true that the desire to affect change is a struggle for power, it is certainly not individual power that is desired (this is often why those wanting to affect change don't reveal their identity or make public apperances). It is a struggle for power of reason. To open people's minds to something they might not have thought about, not fully understood, or not cared about before. One certainly does not gain individual power by supporting a cause greater than themself, nor are they in a dominant (or subordinate) position by making lifestyle decisions to help affect change (namely staying underground and often poor because of it). Good points...I would say though , If as an artist you creative talents should speak for themselvesif your good enough you dont have to ask for people to vote for you ,or check your info/website etc As for things said about not making a website and not telling anyone about your music in order to keep it underground... that's just missing the point entirely. Underground is about a state of mind, not crawling under a rock. Anyone who uses the term underground in an elitist, exclusionary way doesn't get it. g - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get your own FREE, personal Netscape WebMail account today at http://home.netscape.com/webmail - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Underground (was Re: [313] Pooh-blahs)
You are all nazi's and I am hitler. Next... At 06:03 PM 8/17/00 GMT, you wrote: Alright, let me try to clarify what I mean. Currently with the rise of popularity in electronic music more and more artists are just situated on a rising curve of how popular or known they are. If they are low on the curve it doesn't nesacarily make them underoground. I've seen some artists who do one time events...like Buhdist sand artand never repeat them or record them. They are lost in time, except for your memory of it. That, I believe, is underground. I'm not saying it's better than what anybody else is doing. Now for some of these points (if we are to be all on the same page): a movement or group organized in strict secrecy among citizens Not all so-called underground artists operate in strict secrecy. UR sort of does (with their personas) but they still dessimenate info to get the word out a usually avant-garde group or movement that functions outside the establishment Selling product isn't really working outside the establishment. Remember the establishment can be the so-called underground dance movement. Anyways, read the definitions before you start calling someone a sell-out or what have you. I don't know if this was directed to my posting but I don't think I called anyone a sell-out. You can't really be a sell-out unless you go against your own morals and rules that you set down for yourself. If you like or dislike the music, that's where you should stand, not telling them they can't promote themselves on this list. Promote away, I think it's great if people become rich and famous for sticking to their guns and believing in what they can do, but_only_if they want to become rich and famous through their work. Even if you think they are selling-out, that's their right. It doesn't matter what anybody but the artist thinks. I don't know what any particular artist's intention is unless they tell me. So how can I or anyone else judge an artist unless they make public their intentions? But they are 'underground' in that that sell outside the retail channels, to specialist stores. They're way out at the edge of things. Again, selling product isn't really working outside the establishment. How can exchanging money for product be regarded as underground? They may be way out at the edge of things but they are still working within the established way of doing business. And believe me, selling records, owning a record label and being an artist who sells records and signs contracts is a business. there is a consequent strain when people try to make the leap (Detroit Grand Pubahs?),because to really play in that larger mass arena you have to tap into a whole new structure for distribution. It's not really a new structure it's just more complicated and has more legal bullshit. It may seem new because it's bigger and there are more people who want a piece of the cake. Really, I think to use the term underground is just trying to romanticize the image of lesser known artists. I'm not slighting the efforts of artists by saying whether they are or are not underground because I know it's hard work no matter to what degree to which they are recognized by the public. What's exciting to me is the stuff that happens outside the traditional manufacturing, distribution and publicity systems. I don't know what is exciting to you because you didn't mention any examples but if you record a tune, press it, distribute it even to a small specialty shop and put some time and energy into getting publicity for it...that is still working within traditional system. It's just a smaller scale with less money available to make it work. I don't think that makes it underground. That's my point. Fred P.S. There has to be some kind of agreement as to what underground means other wise we can all argue our points until we are blue in the face and still not agree and this thread will go on until someone calls me or someone else a Nazi or Hitler:) From: Dennis Donohue [EMAIL PROTECTED] To: [EMAIL PROTECTED], [EMAIL PROTECTED] CC: [EMAIL PROTECTED], 313@hyperreal.org Subject: Re: [313] Underground (was Re: [313] Pooh-blahs) Date: Thu, 17 Aug 2000 11:07:22 CDT Quoting Webster: Main Entry: 1un·der·ground Pronunciation: n-dr-'graund Function: adverb Date: 1571 1 : beneath the surface of the earth 2 : in or into hiding or secret operation Main Entry: 2underground Pronunciation: 'n-dr- Function: noun Date: 1594 1 : a subterranean space or channel 2 : an underground city railway system 3 a : a movement or group organized in strict secrecy among citizens especially in an occupied country for maintaining communications, popular solidarity, and concerted resistive action pending liberation b : a clandestine conspiratorial organization set up for revolutionary or other disruptive purposes especially against a civil order c : an unofficial, unsanctioned, or
Re: [313] Ah Paris!
shameless rant Wow, I don't know about monday or tuesday but I'm playing at the Batofar in Paris on Saturday. (http://www.batofar.org) /shameless rant ;) Dale At 03:50 PM 8/11/00 +0200, you wrote: Anything good going on in Paris on Monday or Tuesday?? Gwendal?? John - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] haha i'm done =)
Who's rehashing old ideas? At 12:04 AM 6/19/00 EDT, you wrote: all records sold. =) remember this, detroits dead and going nowhere. rehashing old ideas will never work. hahaaa suckaz *out* I think this guy might be Moby in disguise... peace mike [aentrikate] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Fwd:Re: [313] Ritchie Hawtin
Why should that make anyone bitter? Windsor is closer to downtown Detroit than most of Detroit itself. And Belleville is a hell of a lot farther away from Detroit-- over 30 minutes away. It's just a river... Dale At 12:42 PM 6/15/00 -0700, you wrote: I'm Canadian, and I'm the one who started the thread!! May I also remind you that Ritchie had 'the future sound of Detroit' inscribed on plus 8 001. He was born in England anyways. So there you go figure out who should be bitter now. todd [EMAIL PROTECTED] Rich Neal wrote: sorry for the late replay... You guys are just bitter cause he's Canadian. Rich. On Mon, 12 Jun 2000 14:57:06 GMT 0 0 [EMAIL PROTECTED] wrote: No, he doesent always have the funk (but sometimes he does), and I dont think thats his main focus either. He's on a different mission in my opionion, and when it comes to painting distant, cold, alien soundscapes no one can compare. It's all been done before!! Theres plenty of 'industrial' shit knocking about! Proper Coldness! Theres no real attituide there in Ritchies stuff.. Some of the FUSE stuff was OK, but when I heard 'Smak' I was hoping that he wasn't referring to the drug, that would of been a JOKE! zip Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Email, News, Links and The Best Selection at http://AnimeNation.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Good reading
Read this: http://www.salon.com/tech/feature/2000/06/14/love/print.html Turns out it's by Courtney Love of all people. She blasts major labels, and talks about the future of on-line music distribution... But what about the Plimsouls? Why can't MP3.com pay each artist a fixed amount based on the number of their downloads? Why on earth should MP3.com pay $120 billion to four distribution companies, who in most cases won't have to pay a nickel to the artists whose copyrights they've stolen through their system of organized theft? Being a content provider is prostitution work that devalues our art and doesn't satisfy our spirits. Artistic expression has to be provocative. The problem with artists and the Internet: Once their art is reduced to content, they may never have the opportunity to retrieve their souls. Dale
Re: [313] re: All this Trance vs Detroit Techno shizzza
People that feel the music within themselves are taking that music to a deeper level, perhaps even to a spiritual (not religious) level. I understand completely what he is talking about. It also provokes thought, but since you seem to spend most of your time talking and not thinking, I doubt you are at the point in your life where you will understand this. I'm not trying to be elitist, but depending on where you're at, you're either going to get it or you won't. And by your admission that you have no idea what we're talking about when we try to explain it, maybe this isn't the list for you-- *at this time*. Also, I gave you the benefit of the doubt but if you reply to this with any more intentionally beyond-vague questions, I will also add you to my delete filter. I wade through about 200+ emails a day and I don't need provocative-for- the-sake-of-being-provocative posts wasting my bandwidth. No more posts from me on this subject at this time... Dale PS- it's my birthday today. Now be nice to me and grant me the wish of not talking anymore and just taking some time out to *listen*. At 03:51 PM 6/14/00 -0400, you wrote: that is the point - how can you feel music with your head? i dont get it isnt the head for thinking? how do you feel music with your head - ooh i am feeling the brainwaves in my music dustin On Wed, 14 Jun 2000 15:34:58 -0400 Roberto Ty [EMAIL PROTECTED] writes: I couldn't agree more. That's what I love about it and that's what this list is about, so Dustin end the insanity please. I have always felt that Detroit Techno was more heady music than other forms of electronic music, like Trance. This is not a dis on that music, just a stated preference. Dale, Finally picked up Ion and totally enjoyed it. Keep it up man. Also enjoyed your performance at the DEMF. Dale Lawrence wrote: I'll make this short and sweet: Trance is candy-coated, for candy-coated cities. Detroit is not a candy-coated city. Detroit Techno is (usually ;) not fluff. Dale - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] YOU'RE PAYING TOO MUCH FOR THE INTERNET! Juno now offers FREE Internet Access! Try it today - there's no risk! For your FREE software, visit: http://dl.www.juno.com/get/tagj. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] what is techno
Ok, I lied. One more post. Once Techno becomes finally defined it will cease to matter and evolve as a progressive form of music. Period. By asking us to define it you are asking us to stop the music from progressing further. I know you have no idea what I mean by that but that's not my fault. In the early 90's trance was born as an offshoot from techno. When it did it was no longer considered techno because though it may have used similar instruments, it seemed to completely lose all the good qualities that techno was celebrated for. Instead of real soul it relied on cliche emotional triggers that made the listener think they felt a certain way--though to the techno intelligentsia, it just made them vomit and run for the door. Just sappy candy-coated watered-down drivel--IMO. Now go find an appropriate list for yourself. Dale At 03:56 PM 6/14/00 -0400, you wrote: yes but the truth of the matter is that if NOONE can give an exact definition of techno then how can techno be an exact form of music?? dustin == techno is whatever i feel it is... also: techno has no snare rolls, big buildups and breakdowns or that heavily delayed goa shit. techno is 4/4 techno is whatever we say it is. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Good reading
I'm so glad your name isn't Dustin, At 04:35 PM 6/14/00 -0400, you wrote: I agree but I like to think that my modivation for making music is more than money. That is what separates us from them. The major record companies, napster, eminem, puff, and the others who play the mainstream game have only one modivation for everything they do, $. I think it is evident by the quality of music played on the radio these days. The problem with that is that most radio itself is funded by major labels who have $ as their only motivation. They're even worse than the puffy's, and other sell outs (but what is selling out if they don't really get paid?)-- they actually created those monsters, and have complete control of them. Some less money-hungry individuals make a rash decision and sign the wrong contract and they're sucked into the system as just a spot of grease on the cog of a giant moneysucking machine. The good news is that it won't be around very long, where as a well made track can outlive our kids. I do agree that the artistic value of a piece is compromised when flaunted around the net for free, but it is harmed even more when another person is selling it for their own profits. I would be a fool to be ingnorant to the fact that musicians need to be re-embersed(sp) for their work, but the true gold a person recieves for his/her work is the ispiration it instills on it's listeners. From that standpoint free music can be viewed as a blessing. True, but you said yourself that artists do need to get something back. I mean, they do have to eat too. Should they get a full time job and spend maybe a few hours a night on the music, when they could be spending 8-12 hours a day on putting out even more, and developing their sound even further? What if they did make just enough to get by and maybe even enough to get some better equipment, etc... Better music would most likely result. The question is, do we as a society value the freedom of music and the freedom of that music to be distributed without cost to all people for their enjoyment, or do we value the *quality* of that music and pushing boundaries in music even further. I don't think you can honestly say that we can have both, without some sort of compensation system for the artists, so that they can continue to develop and push their music further--and in this capitalist system, I don't think the government has our back either, so the artists do need to keep a sharp eye out for themselves. A lot of the great painters, etc., in history became great painters because they came from wealthy families that could afford to let them just create new material to their heart's content. Wouldn't it be nice if artists today could simply be compensated (so they could continue creating) -- not because of a wealthy upbringing --not by chance-- but by the merit of their own creations/accomplishments? --completely outside of the reach of the major labels? (read: content providers) I can relate to your comment about losing you soul to the mass media. That is why vinyl is so value, I am a strong believer that the true soul of electronic music lies in the analogue sound. Analogue is the true language of sound where as once it is copied digitally it is then translated to an unhuman form that somewhat loses the essence of the emotions and feelings put into it. Its like listening to an old Miles Davis track on CD then listening to the vinyl. There is something much more real hidden in the clicks, pops, and spaces of the analogue recording. I think that is where your soul lives, not in the digitally copied and copied again tracks distributed via internet. Hmm... call me punk, or what you will, but I don't really notice the difference between the two mediums --but I drink both coke and pepsi too without notice. I *do* know that mp3's sound far worse than cd audio. A song I arranged 'day from hell' has all these clicks as the main treble pieces of the track, but in the mp3 version they all sound like scissors snipping-- completely different. cheers, Dale
DEMF Numbers
Hey all, thanks to the DEMF massive for an amazing weekend-- I just got word that the original count of 900,000 festival-goers was wrong. The actual tally turns out to be 1.5 million people, with 750,000 people on monday alone. Which makes DEMF the largest free festival in the world. Dope. Dale
Re: [313] demf!
I hear you! I remember telling my friends, look out at the crowd and the stage-- take it in... Now look up at the ren cen-- take it in! I never thought we'd see the day... Did anyone catch the strobe in the room near the top of the westin hotel in the renaissance center? I swear it was going to the rhythm... Dale At 09:22 AM 5/28/00 -0700, you wrote: for once, I'm speechless ... :) www.reverbmag.com/pix/demf00.jpg www.reverbmag.com/pix/demf01.jpg Dan Sicko http://www.reverbmag.com http://www.techno-rebels.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
(313) Line Up : Detroit electronic music festival (quick note)
I've been told that the scheduling of the artists is subject to change. The roster is set, but the actual schedule may evolve. When the times are set we (read: Bill VanLoo) will update the site accordingly. So be like me-- pitch a tent and stay for the long haul. Dale At 02:24 PM 5/1/00 -0400, you wrote: The DEMF will take place Saturday, May 27th through Monday, May 29th: We are currently updating the website (http://www.demf.org or http://www.demf.net) with the press conference info, but here is the line-up.
Re: (313) DEMF tip
Well... those that would be updating the website also happen to be on the 313 list and will be attending the website, so I'm sure the website will be updated as fast as someone can post a report here anyway. ;P nyah. Dale At 05:44 PM 4/27/00 PDT, you wrote: The press conference for the festival is May 1st. Though it set to be up on the web a couple hours after, would anyone here in the detroit area who is attending want to volunteer as (313) liason? Perhaps take notes at the press junkit to relay to (313)? diana
Re: (313) DEMF tip
How redundant can I get? I meant and will be attending the press conference Too many webpages, not enough sunshine I guess... At 08:58 PM 4/27/00 -0400, you wrote: Well... those that would be updating the website also happen to be on the 313 list and will be attending the website, so I'm sure the website will be updated as fast as someone can post a report here anyway. ;P nyah. Dale At 05:44 PM 4/27/00 PDT, you wrote: The press conference for the festival is May 1st. Though it set to be up on the web a couple hours after, would anyone here in the detroit area who is attending want to volunteer as (313) liason? Perhaps take notes at the press junkit to relay to (313)? diana - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: (313) detroit's Eden in wired
Hi Lance, Yes, it is still happening, it's kind of a behind-the-scenes project for us at the office so we can't work on it during company time, blah blah, but when it's finished we'll be offering more than just a soundtrack. Dale At 09:23 AM 4/14/00 -0400, you wrote: At 03:18 PM 4/13/2000 -0700, you wrote: anway, in May's issue of wired they do a bit on animation. there is mention, along with picts, of the comic novel that Kenjji Marshall and Jen Dugan did: Eden Saga. Soundtrack by Dale Lawrence. If you haven't checked this out. do. and if you happen to get a hold of the book, keep it. Speaking of the Eden project, I remember hearing some rumor that there was going to be a soundtrack released featuring the awesome tracks from the website. Does anybody know if that is still happening because I would love to have those tracks available outside of the Eden website. Heck, I'd be happy with simple mp3 files of them. Any chance of that? ---Lance--- [EMAIL PROTECTED] p.o. box 450715 westlake, ohio 44145 united states
Re: (313) detroit's Eden in wired
http://eden.sigma6.com A couple episodes of the book are on the site animated in Flash. whats the url for this eden website?
Re: (313) track id Epok
Yeah, ask Derek Plaslaiko, he knows all about that track... and most (if not all) of the lyrics by heart. Boy shoulda been a preacher... Read Exodus Quick! Dale the track your after is: lil louis--blackout (not sure of the year, late eighties) you want the phase 1 or phase 11 mixes which have just been re-released on the english label ffrr. james james overholser [EMAIL PROTECTED] on 01/07/2000 03:31:48 PM To: 313@hyperreal.org cc:(bcc: James Bucknell/Magazines/Hearst) Subject: (313) track id Epok Greetings all, At epok, richie was spinning a tune that i really got into, and could use some help with the title, and its' availability status The track itself had highly distorted vocals of someone reading the begining of the book of genesis, while occasionally breaking in with a (seemingly sarcastic) Do you believe? I have heard this track before- a long time ago it seems. I really enjoyed it for its' apocalyptic value :- About epok itself. Another listmate mentioned that (s)he didn't see the illustrious tb-303. Well, he had two with him from what I could see, one on the right had side (facing the dj booth,) which was missing a pot, and one on the left which appeared to be a devilfish. They were both used several times during the night. Also trainspotted were an sh-101, tr-808, tr-909 (duh)and at least one or two unidentifiable pieces of equipment. I Was amazed at the depth and breadth of musick that was played that evening. Egypt is the place to be, tour de france, some very nice tracks that I haven't heard in a very long time.. Sorry for the late posting all, tuo jim
Re: (313) heckle and jeckle
John Williams also collaborated with Dale Lawrence on Graviti, on the first Theorem LP on Plus8. It was one of the strongest tracks on that album. John and I made music together as a single entity from the late 80's well into the 90's. We developed our musical tastes/styles together and bounced ideas off of each other like mad. The level of experimentation was high. We pushed each other to new levels-- I don't think I would have progressed to the level I'm at today without those years spent in the studio together. We quickly learned to anticipate what the other's next move would be--like mind reading. Sometimes we made tracks without any gear present. Real syncopation. We moved downtown into the same lofts so we could work together whenever we wanted. Some nights I would go to sleep since I had to work early the next day or something-- I would wake up around 8am and he would still be in the studio-- just thumping, with headphones on. I remember one night he kicked out 4-5 finished tracks, and they were all amazing. (we had just discovered the graphical sequencing interface of cubase instead of the text based sequencing we had been doing on the apple IIe for years--it was like the wheel had just been reinvented-- amazing!! we can actually *see* what we're doing!!!) John had many brilliant ideas, and made good use of the time he had in the studio. We would still be working together today, except now he is married and has two children-- time is sparse for him so I had to go solo. I haven't gone into the studio with anyone ever since. (though that might change very soon) Graviti was a result of some of the last tracks John and I worked on together before moving on. I miss those days... http://th.m-nus.com/nano.html -- real audio here -- He has been building his studio up again. Point blank: I wish he had more gear. If he had the equipment that some of these big name fools had he would be blowing our minds. If there are any producers out there that have so much gear that they don't know what to do with it, they should lend it to John, he can make better use out of a Boss Dr.Rhythm than most people can do with an MPC2000... I have also heard a bit of gossip that he has a couple mixes floating around for a TH remix project, but I think Dale might be the guy to ask about this. I am rounding up people I am interested in doing collaborations with for the THX project and John is definitely on that list (as well as a few people on *this* list. :) These tracks do not exist yet, but hopefully we'll be able to get into the studio together sometime soon. Right now I have only finished the THX collaboration with Swayzak, due out in a month. In the meantime, John is working on putting together a compilation cd of detroit artists for the Fam zine and I donated one of my unreleased mp3's to that effort, though I'm not yet sure when it is due for release. Dale
Re: (313) Sex and Music
Sorry, but I find it hard to obtain an errection from listening to Aril Brika (or whatever). That's funny. Just last week I was listening to that very CD on headphones for the very first time and I remember messaging a friend of mine saying that I had just had an eargasm... I get an errection from pornos and hot women It's all a matter of taste. Maybe in some vague sense detroit techno is sexy -- kinda like a Pulp Fiction sexy: it has elements of class and danger -- maybe staring at a vouge looking chick smoking a cig, sipping on a cocktail, in a nightgown type of sexy. Nahh, detroit techno is all mental for me -- and some would say that the largest erogeonous zone is the mind -- but sex does not occur in detroit techno (for me). I have never masterbated while listening to detroit techno (hmm sounds like an idea :) Haha, well that is my .02 Well not to get too graphic, but you can bang it out in five minutes, or you can make it last, slowly evolving with the subleties--building up until you just can't take anymore and then relaxing. I'd prefer the latter--you gotta treat your lover right. ;) (I don't want any emails for that one!) Detroit Techno : Hours of Foreplay : *real* sexy --like dark chocolate... pornos and hot women : cheap thrills : high school sexy --like a bag of doritos... np: some theorem mp3 thats getting me all hot and bothered. Damn, I designed those tracks to only work on women! oh well... back to the lab... Dale
(313) DJ Rap at Motor tonight
I'm not sure what 313 relevance this has at all, but my coworkers here want to know if DJ Rap is spinning inside or outside of the booth at motor tonight. LOL. Anyone got the skinny? Dale --ducking from objects being thrown at him--
(313) 9999.mp3
Another one for the shameless self promo pipe... 11 years, 1 month, and 2 days ago on august 8th, 1988 I wrote a track titled (yes I was in high school but that's beside the point), so yesterday I was determined to get in my studio and do the same on . So this is what I came up with: http://th.m-nus.com/mpeg/.mp3 Of course there are still all the other mp3's that I've been posting to the list for the past year such as: http://th.m-nus.com/mpeg/101198.mp3 (titled Id) http://th.m-nus.com/mpeg/112298.mp3 http://th.m-nus.com/mpeg/112998.mp3 http://th.m-nus.com/mpeg/120598.mp3 http://th.m-nus.com/mpeg/121298.mp3 (titled growth) http://th.m-nus.com/mpeg/040499.mp3 http://th.m-nus.com/mpeg/041399b.mp3 http://th.m-nus.com/mpeg/evolve.mp3 Cheers! Dale
(313) Interstellar Dreamfest : Theorem
For anyone that trekked out to ID last weekend: There was no Theorem performance at Interstellar Dreamfest last weekend. This was all entirely my fault. In my haste to prepare for an out of state wedding I completely forgot a crucial piece of equipment. All the searching I did throughout the weekend for a replacement came up fruitless--so I ended up cancelling altogether. It was complete mistake on my part and I apologize to anyone that traveled to ID to see me perform. In short: I feel like a punk. Please forgive me. Dale Lawrence | Theorem
