Paxahau/Motor
Don't forget that many techno and experimental shows from Motor Lounge will also be archived on the paxahau.com website via their technical arrangement w/ the club. DBIT
Waldorf Microwave
>From what I've understood through some recent interactions w/ some German friends the waldorf and Nord stuff sits around over in Germany like crazy. A bunch of these cats have nords and microwaves sitting by the wayside while they rock out on there MC-303 groove boxes??!!!?? Pretty entertaining info eh? I always opted for the prior more powerful sound design tools. Although some of Rolands more SERIOUS peices sound real good I've always found them somewhat of a Crayola palette. I guess in the end it's just what you're into. Anyways, they had a few used microwaves for sale for around $250-$300 US and said you can find them all over the place in the $200-$500 range. So If you have any connections at all (including an internet one) maybe it's worth it to search around Germany awhile. And if anyones wondering what this has to do with Detroit Techno, we all write techno all over the 248, 313, and 519 area codes, we just hosted some Germans in to perform a little and to witness Detroit and its techno, and its a discussion of the instrumentation used to make techno music. Nuff said.- DBIT
Detroit Techno-Whats new?!
Yo what up man. Just some info on the more swedish/UK side of the techno thing. Obviously the Hybrid thing you knew about-Cari Lekebausch and his whole crew. Well they evolved. Unfortunately hybrid went +8 (deep freeze) and started releasing some "aight" electro and tech-house-dub stuff on the side. Drumcodes came up. Adam Beyer started producing some bizarre dirty and experimental techno ala "pyrotechnics" and "remainings 3". Joel Mull came up with his label "Inside" and did some memorable releases. Mull is part of a new crew along with people like Henrik B, and Thomas Krome. There is a stable of labels run by a gentleman named Johan Bacto. He kind of runs 6 or 7 labels around sweden and elsewhere. Then there is the Glenn Wilson revolution. Glenn is the UK equivalent of a bacto running 6 or seven labels in his own time. His flagship (in my opinion) is the Planet Rythm label. He works with people like Thomas Krome, Slobodan, Headroom, Dilated Audio, many others. Definately check out "wider universe" on compound. A lot of Dirty nasty raw hard techno. Ah my other favorites...Skunkworks (the label) Hardcell is pretty sweet. And Alexander Kowalski on the Klanzerampt label is totally bad ass. And Can't forget G-Force. But Im giving away all my info! Oh no! Anyways, What does this have to do with Detroit Techno? Almost everyone I know producing modern techno music in this city who DJs loves just about all these types of records. Futhermore many connections are being forged in the ever expanding world of global techno. It shouldnt be too long before you see their work out on Detroit based labels. Peace- New Detroit Stuff: http://d.m-nus.com http://www.music-in-formation.com http://www.paxahau.com http://www.detroitunderground.net New Global Stuff: http://diodemusic.techno.org http://www.drumcode.se/ http://www.cosmicone.com/labels/evildeception/ http://www.techno.org/gforce/ http://www.hardcell.org/ and whatever else. There are many more. Just look around. Use the net.
RE: Pressing tricks
BTW, one of the labels that pressed dual stereo tracks side by side was called "parallel fx". Didn't like the record that much so I returned it. Took me a few to catch onto the title. "Parallel FX". Git it? I sure hope you do! - D
RE: Linguist
I have to say that linguistic mail was once of the funnier things I have seen via email. Cheers! - DBIT
RE: Any reason....
Any reason my techno/trance post is not getting posted??? I responded to the "did we influence trance" post. The first two times there was some language and it did not get posted. The third time I edited/censored it. I hope it shows up as I hope that thoughts and ideas are not being edited/censored as well. Thank you- D
RE: race debate is so basic and not that deep
Is anyone else getting a ing headache from this "not black enough" thread? Cmon people, evolve. Evolve. Get the out of the murky waters of the evolutionary turmoil that is the programming of attachment to the various things that make you different. How deep, soulful, or spiritual you are depends on your individual level of insight, evolution, experience, and interpretation. Not on any of the attributes your culture tells you you should stand seperate and strong on. I hate this. Isn't it Mike Banks who told you, "do not allow yourselves to be programmed." Anybody else see that the "man" lives inside of your head in the form of your own ego? He's black, white, yellow, red, every ing color that a human w/ an ego could possibly be. So PLEASE, can we stick to the ing music and at least somewhat interesting and related topics of discussion!!!- D
RE: R WE BEING EDITED???
I would like to ask if anyone else on this list has had their posts intentionally omitted? There are several posts I have sent in on various things and about half of them get posted. The ones that don't are a little more extremely opinionated but are in no way out of line. I have heard of this and other lists being edited and I WARN anyone against having their content edited. Would you really like somebody else choosing and omitting your information? In effect, electronically thinking for you?? Basically a "group brain" defense mechanism, run by a unconscious agent? I say this as I know of various people who have been "removed" or banned from posting. While I don't know the exact nature of their posts I can only say that I can't imagine it being grounds for their removal from this list, especially considering they are some of the only people I know in this city writing some innovative, free form electronic music (when I say free-form I mean not necessarily being or attempting to be derivative of traditional "Detroit" techno. Whether or not its' being techno makes it derivative of "Detroit techno" is more a subject up the ally of the list members no doubt. I tend not to worry about such things ;)! and please remember the world is a vast and expansive place and to trace the roots of anything will ultimately lead us down the path to that endless beginning which is and always will be everything.
Detroittechno.com: the awnser
I'll solve the mystery. A cat I knew a while back purchased Detroittechno.com. He does in fact also own Detroittechno.org. He's a web designer and plays around on a bit of gear, although to my knowledge he's never completed a track. Just turns knobs in his free time. Originally he was going to hook up the page with tracks and mix sets from all his friends, and promote general techno and house events in the city. Needless to say everybody was excited as this domain name could attract ALOT of attention. Dan Sordel (spelling??) of Motor searched and got the owners contact information. He approached the said owner and offered a few thousand dollars (I believe) to buy the domain. Knowing the name was important the owner did not sell, but they entered into a business agreement to do the page together. Now this next part of the story is ruff. This cat is an old friend of mine. We aren't that close anymore, though we still talk from time to time. It isn't a direct result of this Detroittechno.com thing, but the situation is representative of a pattern of behavior. No more specifics said about that. He had just about every good web designer in the Detroit area offering to design the page. He had at least a dozen qualified offers and submissions thrown his way. Didn't accept any of them. He wanted to do the page himself. He was of the idea that the page had to completely blow your mind when you went there. None of the designs met his "standards" while in the meantime the page went completely untouched. I tried to let him know that it IS just a web page, and that web pages don't bring about enlightenment and we should go ahead and design something. He got me involved with many people, including Dan from Motor, with this project and in the end did absolutely NOTHING. You don't know how much time I've had repairing stupid little situations and getting out from under that damn project. It was talked about and talked about and in the end NOTHING happened. It could have been an excellent vehicle for the current generation of new Detroit producers. It could have been a medium to tell the world (SHOW the world) what's really going down in Detroit. As of now it seems it mine as well be a squatter who owns the page. What will become of it, I claim to know nothing. All I know is that even mention of it in the circles of friends I travel in has become taboo. Peace- D (bit)
Detroittechno.com: the awnser
Sure it's just a name. And I don't know if it's only about the visitors. I'd say it's more about the content. But anyways, it's pretty general knowledge that certain domain names have attention getting power. Some stand out more than others. Personally I like some more obscure names. Paxahau.com for example. But Detroittechno.com has an extremely commercially viable name. That's not commercial as in "selling" or "selling out" as so many people here seem to like to talk about, it's commercial in the sense of being a potentially major traffic area to many interested parties. And that's in my opinion what the page should be. A content LOADED, well designed, non-political, non-partisan information center for EVERYTHING related to electronic media and art (emphasizing on the music of course) that is going down in the metropolitan Detroit area, and all of it's global associations. P.S., I believe that site gets thousands (multiples) of hits every week (many of those are 1st time visitors) just from the name, with nothing there. AGAIN, those are old numbers as I have NOTHING to do with this page. Peace- D (bit)
RE: detroittechno.com: the awnser
I'll solve the mystery. A cat I knew a while back purchased Detroittechno.com. He does in fact also own Detroittechno.org. He's a web designer and plays around on a bit of gear, although to my knowledge he's never completed a track. Just turns knobs in his free time. Originally he was going to hook up the page with tracks and mix sets from all his friends, and promote general techno and house events in the city. Needless to say everybody was excited as this domain name could attract ALOT of attention. Dan Sordel (spelling??) of Motor searched and got the owners contact information. He approached the said owner and offered a few thousand dollars (I believe) to buy the domain. Knowing the name was important the owner did not sell, but they entered into a business agreement to do the page together. Now this next part of the story is ruff. This cat is an old friend of mine. We aren't that close anymore, though we still talk from time to time. It isn't a direct result of this Detroittechno.com thing, but the situation is representative of a pattern of behavior. No more specifics said about that. He had just about every good web designer in the Detroit area offering to design the page. He had at least a dozen qualified offers and submissions thrown his way. Didn't accept any of them. He wanted to do the page himself. He was of the idea that the page had to completely blow your mind when you went there. None of the designs met his "standards" while in the meantime the page went completely untouched. I tried to let him know that it IS just a web page, and that web pages don't bring about enlightenment and we should go ahead and design something. He got me involved with many people, including Dan from Motor, with this project and in the end did absolutely NOTHING. You don't know how much time I've had repairing stupid little situations and getting out from under that damn project. It was talked about and talked about and in the end NOTHING happened. It could have been an excellent vehicle for the current generation of new Detroit producers. It could have been a medium to tell the world (SHOW the world) what's really going down in Detroit. As of now it seems it mine as well be a squatter who owns the page. What will become of it, I claim to know nothing. All I know is that even mention of it in the circles of friends I travel in has become taboo. Peace- D (bit)
Bijou
P.S. - Yall missed the Bijou barmitzfah (spelling??) so yall aint no sh * t! :P Just Fu (CK) ing around (and also testing language filters) :P fz
RE: OT/Gear talk?? Probs??
Does OT stand for "over technical" or something? I would hope there wouldn't be to much of a problem with this on a "techno" music chat list. I understand how it could get annoying and that this list is a more conceptual one. It's just that I find to many of the gear lists to be dry, and too many people post links to mediocre music. Not that I'm claiming anything of myself here, but it would be nice to be able to have some gear chat in a more mutually understanding and respectful forum. Just my two cents. Peace- DBIT http://www.music-in-formation.com vr 2.0 coming in the new year. New interface. No more long intros. Content is king.
RE: Mastering + Manufacturing info
Yo. The site is http://www.indiecentre.com There's a link to it on the new MIF site but the new MIF site is not finished. If anyone wants a preview they can go there, but the splash page + the loader page are TOTAL BS. They will be changed in a week. Anyways, check out indiecentre for reviews and contact info. Peace- DBIT http://www.music-in-formation.com
RE: Tone shifting, phantom sound, etc...
I usually don't drop in on these types of discussions, but this one caught my attention. I work with electronic music production/Djing as well as other forms of media production (web/graphics). Before my electronic music days I played all kinds of instruments (guitar, drums, bass, piano, horns, etc...) so I have a background in traditional forms of "quantised" melody and music. I was fascinated for a period of time by the fact that when listening to relatively simple minimal tracks (minimal as in harder techno minimal, not explicitly minimal music) my mind, groove, movement, was swayed by melodies often not present in the tunes themselves. Not that I was off in some fantasy realm making fluffy trance realities, but there were melodies implied or suggested by various rhythmic elements of the music, or by the mind of the listener themselves. I also found that many of the melodies were opposing dualities. The experience of being swayed between two poles. This can sometimes be found in simple bass lines moving between two primary tones, notes, or keys. Sometimes a third step thrown in for transition. I think it also has a lot to do with the four/four structure. Also, out of repetition the mind has a need to create variance. John Lilly performed an experiment with a tape loop of the word "cogitate" being played to a room full of psychologists for about 15 minutes. They were instructed to record the various word changes every time the tape changed. None of them knew that the tape was a static loop. About 90 percent of the group came back with a list of at least ten changes. This was an official psychological experiment using other psychologists as the lab rats. How elementary for the mind to need to split a repetitive non-melody into the opposition of two. Moving from the static "one" of nothing to the newly created "two" of something. I was always curious about this. I think much of the melodic projection is also based on the timbrality, tuning, and harmonics of the instruments (drum sounds, synths, etc..) being used. Therefore the melodies and shifts seem intimately related to the actuality of the piece itself and therefore more inherent, as in exisiting, yet not quite manifest. Parmahansa Yogananda, an old spiritual teacher from the east used to talk about inventions like this. He would say that the "potentiality" of the invention existed inherently in the fabric of reality. Its physical operation was in line with the laws of engineering and physics. To him the inventor was a person whose inner workings had become so highly in tune with this potential structure in reality that they become the tool to manifest it. Quick comment on the DE9 reference. I agree completely that Rich's use of the effects on the tracks brings to light through expression a kind of transitional state between two things (w/ reference to the use of delay). This transitional state is quite possibly the result of years of listening to mixes. Mixes falling off, exposing the difference between the two records, and then realigning. But the over use of this effect CAN become overly manifest, overly static, and a little boring. No diss to Rich. Trust me, he's one of my utmost favorite DJs of all time. But I remember hearing him a couple of times when the delays seemed to be used so often, and at such an obvious transitional point in the break down and mixing in of the next record that it gave me a not so faint reminder of a time where parties were a night of snare roll cresendo after snare roll cresendo, this being the primary exciting agent of the peaks in tracks. You know how boring this got. Build up, build up, build up, then nothingor a raised cut-off or resonance. Of course those with skill, such as Rich, know that a build up is nothing if there's nothing to build up to! Anyways, just my two cents! Have fun with it. - DBIT http://www.music-in-formation.com
losing control
Rob Hood remix rocked.
MAX/MSP
For those who don't know MAX/MSP is a pimpin programming environment which can be used to process midi and audio in all kinds of previously unthinkable ways. People also use this program to control lighting rigs, networked computers, and in some cases even smart houses. The thing you've got to remember is that MAX is a programming environment. When Opcode licensed it from Cycling '74 they packaged it as a musical software program and sold it. I couldn't believe they didn't build more core objects such as midi sync modules, BPM translaters for sequencers, and better sync support for interface w/ standard sequencers. I had to construct objects containing 20 objects and various variables just to get certain time code in and out of the program. Usually what I think you find are various software engineers/people with enough time on their hands/programming tolerance to sit around and understand the whole program. After that they educate others on it's operation and assist with basic module construction. Not that hard really. I have some people who wanted to pay me to sit around and learn it. Don't think it'll go down quite that way, but I would probably require payment in order to sit around and learn that beast from scratch. Other gripes...MAX uses Opcodes "Time Stamper" technology. This passes basic midi clock and time code on from a sequencer via OMS to MAX. Unfortunately the only sequencer to date which uses Time Stamper is Opcodes Studio Vision Pro. And if you know what's up Opcode MAY be ill ill fated thanks to World Dominance fantasizing guitar mongers Gibson. Anyways, there may be work arounds to this time code issue, but when I asked the head of an electronic music dept. out in a cali university (friends w/ David Z., inventor of the prog.) for help I received several pages of straight code, and lots of weird SMPTE routing in and out of interfaces, along with a humble "I'm not really sure if this will work". Again, I know the program can be beautiful, but it sure helps to have people around you who truly understand it! My buddy goes to the Expression School for New Media out in San Fran and he says although they have MAX around the school he can't find a single instructor or student using it for midi/audio. It's controlling intelligent light set-ups and what not!! MSP is MAX's audio set of objects for processing samples ala autechre and various experimental sounding crews. The whole set-up is great, and I challenge anyone to get into it. Someday I will probably finally integrate it into my set-up. In the meantime I'll tell anyone who wants to attempt to grapple with it what I know, hand them the 1100 pages of printed manual I have, and let them go to town! Peace - DBIT "check out the new Live Wire Records release from Detroit, MI, arriving in stores March 2001" Previews online @ http://www.music-in-formation.com/livewirerecords/
RE: New Detroit Label + web links
Just wanted to let yall know about another new Detroit label about to drop, Live Wire Records, focusing on harder and experimental styles of techno. These artists aren't brand new, only new to you. If you like harder or experimental techno check out the preview tracks, available at the link below. Both MP3 and Real Audio versions are available for listening. Send any feedback to me. The record is being master at The Exchange, and pressed at MPO, so the production quality should be tops. Another installation from the New Detroit Techno families. http://www.music-in-formation/livewirerecords/ related sites: http://www.music-in-formation (under construction till Feb. 1st)\ http://www.paxahau.com http://d.m-nus.com http://www.satantechno.com
Broken web links to New Detroit Release (now fixed)
I apologize for the repost. It seems in my poor little keystrokes I unwittingly omitted a semi-important detail of a web address, a certain ".com". For a preview of the new release from Detroit based label Live Wire Records please visit http://www.music-in-formation.com/livewirerecords/ Harder techno with an experimental bent. Peace- DBIT
Craving some old acid house
Anyone know where I can get a GOOD mix tape of some older acid house and chicago jacky type tracks? I don't have much to listen to and would like a good mix of it, while simultaneously attempting the feat of avoiding to much cheese. Any suggestions? D
LOVE PARADE: info needed IMMEDIATELY!!!
Hi! I'm subscribed to the digest, so if anyone could reply to me directly I would really appreciate it. Does anyone know the EXACT dates of the Love Parade 2001? I could ask a few Germans, but I need to know in the NEXT FEW HOURS, and I have a very early morning @ work already!! Every site I find is in all german! If anyone knows, mail me directly @ [EMAIL PROTECTED] Thanks in advance!- D
tech-no at DEMF?
Just to throw this out there, did anyone else know that for no more than the price of air fare the DEMF was offered Joel Mull, Cari Lekebausch, Mistress Barbara, Christian Smith, Marco Corola, and a handful of others, and they said they had absolutely no interest? I could be wrong about this next part, but I believe there was some offer of sponsoring a stage as part of the package as well. So much for total diversity as a bunch of seriously pro level techno gets dissed! - Just spreadin info. Don't hate me! (or maybe, "you can hate me now!") :P D
art vs. get rich quick scheme
ok. First let me say that just because you don't personally understand or vibe with harder or experimental techno styles doesn't mean it's a "get rich quick" scheme. These artists have become quite adept at manipulating dance floor experiences, and by and large they are DJs. Nothing wrong with understanding your own experience on the floor and learning to manipulate that experience for your own/ others enjoyment. Second of all, I work with this music as well as listen to it (and have worked with acoustic music as well), and I can tell you that if I analyze their music against any other form of electronic music, the amount of innovation vs. preexisting structure, the amount of uniqueness in the productions, the amount of personality expressed, is all very much equal. There are melodies, basslines, drum structures, synth and sonic experiments, interest in new computer editing techniques, and just all over a balls-y group that wanted to warp their mind against speaker stacks world over. Just cause you don't understand or vibe with this more stripped down, minimal or experimental approach doesn't make it a get rich quick scheme. Third, I'd imagine you probably like a lot of disco house, or what some may call deep house (I like genuinely deep house). Ripping of a disco sample, transposing it, filtering it, and dropping it over a dance beat, then having someone come into the studio and play a sax solo over it is NOT innovation and is much more of a get rich quick scheme, in my opinion (and no, it's not all of a sudden different cause you have a big name). Let all of this stand to say that there is a wealth of diversity in today's electronic music scene, and many of us will vibe with different aspects of it. Just cause you don't understand something or like it doesn't make it "cheap". Otherwise you would be the one my friend, and I'm sure you won't make that claim! My point in bringing up the Swedes was just that I was personally dissapointed that they were not playing. Not that it's an injustice that they weren't included in the DEMF. Sorry for any misunderstandings. - DBIT
Music + math
Honestly, if you're really good at math, and that's your thing, you could probably handle some more fundamental programming environments for music. I know there are books out there that teach you to build music objects and program sequences in C code. If you're familiar with C and are good at math you could probably do well with that. One level up are graphical programming environments such as cycling '74's MAX/MSP bundle. As I think of it, the way you're going to be applying numbers to create music may be different than the way you're thinking about it. Rather than looking into applications of the numbers in a traditional composition environment, you might find that you are applying your knowledge of higher math to programming sound structures and constructing sequencing environments from which you can compose and manipulate. One list that may be good for this is the microsound digest I belong to. Don't read it that much myself, but people on the list do work with numbers (some). Also if you haven't, check out Cycling '74 's web site for info about the MAX and MSP programming environments. Peace- DBIT
[313] RE: posts not goping through?
I've posted three times w/ regards to after events occuring at Forans Irish Pub this weekend and none of them have gone through? What the h*ll is up with this? - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] Moby, underground techno
I think the message was aimed more towards the POP headliners such as Moby, Oakenfold, Underworld, etc.., NOT at their more underground stage partners. Point being if I flip through the MAJOR FM radio stations I may pass that shitty Moby track on a POP station. I'm not going to catch "slak" or "Elektrostatik" EVER on those same stations. Needless to say, I meet these dumb azz f*ckin promoters from time to time and consider them mostly a disease. They have no concept whatsoever. They are just trying to make a buck and be cool at the same time. Throw a bunch of names on a flyer, add whatever local talent is pandering to you, hire a bunch of stupid light systems, and voila. Instant success party. Personally I'd rather shoot myself in the foot than attempt to throw a party of that caliber. It was in a recent Autechre interview that they discussed art without a dissident edge, basically saying that without that propulsion away from the establishment or from compromise the art isn't really communicating anything revolutionary or otherwise. I think these people (wack promoters) should go get a job at a burger joint and contribute more to society. I won't tell you what I REALLY think they should go do... D(bit) - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] Marketinbg techno + house to the masses
Lets not forget how much popular music is programmed. i.e. Someone writes the melody, someone else the lyrics, the vocalist or "performer" performs the tune. And nice music directors and A&R people and pop producers put the whole thing together. We take "this feeling" from this music, combine it with "these thoughts" from lyricist, get "this popular performer" to sing it. Boom, it's a hit. from catchy melodies to sappy lyrics, it's all in the marketing report. Not to be to cynical, but I can't help but notice that that whole N-Sync "no strings attached" thing was a total sarcastic grin in the face of those who know by the industry execs. I mean, let's be a little more obvious! - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
