(313) new mix
Hi folks, Long time no, er, see. I did a DJ set at Halcyon Records in Brooklyn last Wednesday, which I've now put online here: http://www.dennisdesantis.com/2010/04/17/halcyon-dj-mix Tracklist: 1) Rhythm Sound – Carrier – Rhythm Sound 2) Big Spender – Fade to Black – Plastic City America 3) Michael Jackson – Billie Jean (a capella) – Epic 4) Solaris Heights – Rivers (Dennis DeSantis Remix) – unreleased 5) Lusine – Crowded Room – Ghostly International 6) Earth, Wind Fire – September – Columbia 7) Alex Israel – Penithboid (Dennis DeSantis Remix) – Beretta Red 8) Telefon Tel Aviv – What’s the Use of Feet If You Haven’t Got Legs? – Hefty Records 9) Al Tourettes – Dodgem – Apple Pips 10) Marko Fürstenberg – Steinbruch (Dennis DeSantis Remix) – unreleased 11) Murcof – Ulysses (Fax Mix) – Leaf 12) Proem – Sleep is For Lunch – Merck 13) Dennis DeSantis – Pilfer – unreleased 14) FaltyDL – Our Loss – Planet Mu 15) Dennis DeSantis – Asynchronous – unreleased 16) Diego – High In Spaces (Dennis DeSantis Remix) – unreleased 17) Theorem – Embed – Minus 18) Lomov – Kynon – Thinner 19) Terry Riley – In C – Ghostly International 20) Michael Jackson – Get On The Floor – Sony Enjoy. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) C2 at Carnegie Hall, well sort of
Toby Frith wrote: there is something a bit daft in the idea that classical musicians interpreting techno music sort of validates it which I often feel is the hidden agenda behind these sorts of exercises, because ultimately classical music and orchestras are seen as the high end of the spectrum, whilst some guy pressing buttons on a drab grey box is seen as the opposite end. I can't speak to the concept behind the Blue Potential project, nor to the way audiences might feel about the notion of validation for these projects in general. But I worked on the Alarm Will Sound/Aphex Twin thing, and our only motivation there was that we just loved the music and wanted to hear what it would sound like played by acoustic instruments. There was certainly no sinister marketing angle or highbrow/lowbrow thinking - that's for cultural theorists and hipster bloggers, not musicians. -- Dennis DeSantis www.dennisdesantis.com www.myspace.com/dennisdesantis Mailing List: [EMAIL PROTECTED]
Re: (313) have we run out of music?
Possibly a Pauline Oliveros/Stewart Dempster collaboration? They did some things with trombones in large metal containers - possibly grain silos or water tanks. This might be what you're thinking of. -- Dennis DeSantis www.dennisdesantis.com www.myspace.com/dennisdesantis Mailing List: [EMAIL PROTECTED] Nik Stoltzman wrote: (excuse this little side-conversation) No, that's not it - but that also sounds worth checking out! This thing was definitely *not* jazzy and I don't think it was broken down into tracks. The piece I heard was about 30 minutes long. Or maybe it was actually one minute long and the rest was echoes choes hoes oes es s..? N Very interesting thread this! Nik, that composition... It wouldn't be Vor der Flut - Hommage an einen Wasserspeicher would it? It's this fab recording made in an old water 'silo' in Cologne/Germany in 1984, just before the flooding. I've been trying to find info online but it's all (or mostly anyway) in German. Here's a site with a clip http:// www.magicmusic.de/shop/de/act/cd/arg/6740/ and here it is on Discogs http://www.discogs.com/release/1123083 If this is what you were thinking of I could be persuaded to scan the album liner notes, which are in both German and English. I totally love this album and played the A side almost in its entirety it at our last party in September. : ) Anya On 1 Nov 2007, at 11:34, Nik Stoltzman wrote: Not unprecedented. There are pieces that are centuries old that call for brass players positioned all over the auditorium/cathedral/ whatever. Sorry to hijack the thread (which, incidentally, is very interesting) temporarily, but this reminds me of a composition I heard once and have been trying to track down ever since. It was written and arranged to be played in an underground grain silo. I can't remember the composer. Basically, the concept was a number of horn players arranged in a circle around the perimeter of the circular silo, with the conductor in the centre. Each musician would perform short stabs such that the echo within the chamber (which could be timed quite accurately) would allow them to build layers of sound. I'd love to know what it was. Any clues or leads? Peace, N P.S: OT: Any Londoners going to The Cinematic Orchestra gig tomorrow?
Re: (313) Dj livingrooms
Kelly B. Delaney wrote: Interesting theme. Are white walls and wood floors a requirement to be a DJ? At least in Berlin (and maybe in the rest of Germany as well), all landlords require the tenant to leave an apartment with plain white walls when they move out. Most new tenants never bother to paint anything else, so pretty much everyone has white walls - not just the DJs. -- Dennis DeSantis www.dennisdesantis.com Mailing List: [EMAIL PROTECTED] Kelly On 9/29/06, Blaauw, Martijn de [EMAIL PROTECTED] wrote: I know, it's a bit scary but some german magazine asked german dj's such as Hell, Väth, Villalobos and Hawtin (well he's almost german) to take a pic of their livingroom...some funny, some filthy, some scary.. Check: http://ilx.wh3rd.net/thread.php?msgid=7308676 Unfortunately the text is in germanbut the pics speak for itself:-) Sorry i'm bored... Regards, Martijn
Re: (313) techno mentalism
kent williams wrote: Of course, once you start doing any academic work on popular music you have to overcome resistance from the established community who don't think popular music is worth considering as art. The people in the composition department at our local University get mad if anything contains a steady rhythm -- I guess once Stockhausen said regular beats are fascist, they figured that was the end of the story. I've got to correct this a little, because it's a legend that keeps getting perpetuated and it needs to be pretty heavily qualified. The attitude Kent's talking about certainly does exist in the academy, but at this point it's pretty much just among the ancient, tenured grey hairs, primarily at scary Midwestern state universities. The musicology departments at conservatories, however, are filled with popular music specialists. The students in these programs are crawling all over each other to get topics outside of the classical canon. The work is of mixed quality - but some of it is actually really good. These topics certainly aren't making up the bulk of conference papers, but it's happening. In fact, there's a whole session of papers at the upcoming American Musicological Society conference called Samples, Grooves, Mixes, with the following papers being presented: Jocelyn R. Neal (University of North Carolina, Chapel Hill), “Musical Style vs. Musical Structure: Shania Twain’s Songwriting Strategies” Matthew Butterfield (Franklin Marshall College), “he Power of Anacrusis: Engendered Feeling in Groove-Based Musics” Joanna Demers (University of Southern California), “Second-Order Simulation in Sample-Based Pop” Brent Auerbach (University of Massachusetts, Amherst), “Pedagogical Applications of the Video Game Dance Dance Revolution to the Aural Skills Classroom” -- Dennis DeSantis www.dennisdesantis.com Mailing List: [EMAIL PROTECTED]
Re: (313) techno mentalism
Tristan Watkins wrote: The only extent to which I agree with this is that *some* techno musicians may be concerned about it while they compose. Most don't care at all though. Why on earth should a detached subculture look to established arts for guidance or approval? It's mad. I mean it's cool to see the London Sinfonietta do AFX, but on the aggregate I'd rather let them come to us. I don't think it's an issue of subcultures trying to gain approval by looking to the academy. If anything, it's the other way around - the academy looks to gain street cred by looking to subcultures. After all, AFX sells WAY more records than the London Sinfonietta. Certainly you're right though - most techno musicians don't think about the issue at all, which is fine of course. I will say though, that the recent spate of acoustic AFX covers has generated a lot of interest in BOTH communities. After the Alarm Will Sound/AFX record last year, the group was approached by a bunch of other electronic artists, some fairly well-known, asking about the possibility of future collaborations. (Disclaimer: I'm a member of Alarm Will Sound.) -- Dennis DeSantis www.dennisdesantis.com Mailing List: [EMAIL PROTECTED]
Re: (313) better hop on those netlabel downloads
GEMA isn't really equivalent to the RIAA. They don't represent labels, but rather serve as a royalty collecting agency for German artists. The current scenario is actually somewhat worse than you've described. GEMA is attempting to collect for artists even if they're not GEMA members. I'm a member of ASCAP (one of the US royalty agencies) and GEMA is now trying to collect royalties on my Thinner downloads. I've written to them to ask them to allow these to pass license-free and they'll only do this if I waive ALL of my German royalties - they won't waive internet without also waiving radio, tv, etc. -- Dennis DeSantis www.dennisdesantis.com Mailing List: [EMAIL PROTECTED] theREALmxyzptlk wrote: This just dropped into my inbox from the netaudio group, directed to netlabel owners: snip = The German Institution GEMA www.gema.de (German equivalent to RIAA) will NOT allow GEMA Acts on Netlabels for free, because they will bill your DOWNLOADS (12,5 european Cent per Download) for their protecting rights, because these Acts are members of the GEMA organisation. To all Netlabels of Switzerland: ask your SUISA Organisation, if you have the rights to offer downloadiong tracks of SUISA members. I think, they have similar rules like the German Organisation GEMA. Thinner was the first Netlabel, they receive a warning from GEMA, so read this on mnml.nl: http://www.mnml.nl/phpBB2/viewtopic.php?t=10615 http://www.mnml.nl/phpBB2/viewtopic.php?t=10615 Ask your Acts, if they are registered members of the German Institution GEMA. If yes, its the only way to sell this stuff for a minimum price on internet (on your pages/shop section, Beatport etc.) and announce/register this tracks with GEMA) or to delete it. Its only allowed to stream Stuff of GEMA Members on the Original Page. Its also NOT allowed to offer some Promo DJ-Mixes or Podcasts with GEMA Stuff in it (without registration to GEMA). Here are (sorry, only in German) a good information site about music rights on internet: http://irights.de/index.php?id=461 http://irights.de/index.php?id=461 http://www.urheberrecht.org/news/ http://www.urheberrecht.org/news/ snip ugh. jeff
Re: (313) Diego
The Kanzleramt website shows a new 12 coming in early December on Uturn, their sublabel for darker, harder stuff. http://www.kanzleramt.com/index.php?s_id=6action=detailid=180 -- Dennis DeSantis www.dennisdesantis.com Mailing List: [EMAIL PROTECTED] Ken Odeluga wrote: He's not from Detroit, but obviously in sympathy. Just wondered if anyone here knows what's going on with him, if there's anything new coming. His web site isn't giving a positive signal (have a look!) http://www.diego.dj/ That 'Open' LP on Kanzleramt has turned into a real favourite of mine after sleeping in my unconscious for over a year, possibly due to it's slightly peculiar disposition - Jazz and rave anyone? Anyway, now I think it's little short of ... sparkling. Anyone? Music is an open sky. http://bleep43.com
Re: (313) Turn the volume down....
They're a bit pricey, but a good pair of custom earplugs with a flat frequency response is probably the best gear investment you can make if you spend a lot of time around amplified music. I bought a pair when I was a gigging drummer and use them now for electronic shows. I wouldn't dream of going to a club without them. -- Dennis DeSantis www.dennisdesantis.com Mailing List: [EMAIL PROTECTED] darnistle wrote: I can definitely see the dangers in excessive volume at clubs. I've been to shows where my hearing has been considerably comprimised for several days afterwards. On the other hand, some of the best shows I've been to have been almost excuciatingly loud and I would not have had them any other way. The last Koxbox show I saw definitely falls into that category. If anything, I think clubs should do a better job of tailoring the EQ to fit the space. Too many times I've been to shows where all I could hear is thudding bass and weak high hats and couldn't really make out any of the midrange. Or at other places its been all midrange without enough bass or treble to give any sense of power or vitality. With better sound equalization, there shouldn't be the need to overcompensate by cranking the bass. Plus, I think the sense of immersion in the music comes across more readily when the sound is balanced. That said, I expect the volume to be CRANKED when I got out!! I don't want to be able to easily hear the conversations of the people around me. If they want to chat without having to raise their voices, they should hang near the bar/lounge, go to the local greasy spoon or maybe stay at home. Blaauw, Martijn de wrote: UK CLUBS TO TURN IT DOWN It's not everyday that DJs are told to turn the music down, especially not by politicians but now 365Mag can reveal that has just happened. The UK government is set to reduce the level of noise in British clubs by up to 5% from April 2006 with a law that is intended to protect the hearing of those in the music industry. When the new levels are passed by parliament in the Spring, employers in clubs and venues will be expected to protect their staffs hearing with a reduction in volume and a decrease in time spent exposed to excessive noise. Lawrence Waterman, President of the Institution of Occupational Safety and Health (IOSH) says: We need to help employs who work in the music industry to understand the risks of noise exposure. According to UK Heath and Safety statistics, around 170,000 people suffer from work related tinnitus, deafness or other ear-related problems. DJs who suffer from damaged hearing are Rocky from X-press 2 fame, Laurent Garnier and Tall Paul, who consulted a specialist in the late 90s, only to be told he had done irreparable damage to his hearing. This law raises the question of the use of ear filters once again. DJs such as Roger Sanchez, Jeff Mills, Laurent Garnier, Sander Kleinenberg and Erick Morillo all use custom-built earplugs to protect the ears from those dangerous high frequencies coming out of the monitors. Maybe the familiar ringing in the ears the next morning after a club-night could about to become a thing of the past for those on the dancefloor too after purchasing these plugs, or is that 'whistling' sound simply an integral part of a good night out?
(313) NYC gig announcement
Hi folks, Just a heads up to let people know that I'm playing a short (30 minute) live set this Saturday, October 22, at 10 pm in the Tap Bar at the Knitting Factory. This is my first electronic gig since moving back to the US this summer so if you're in or around the NYC area, I'd love to see you. I don't know much about the rest of the lineup but I think it's a mixed bag of styles. DJ set with Eric Nate of Pela Project Jenny, Project Jan Dan Black w/ Wataru Abe Dennis DeSantis http://www.knittingfactory.com/ -- Dennis DeSantis www.dennisdesantis.com Mailing List: [EMAIL PROTECTED]
Re: (313) Interstellar Fugitives - Far East first
I'd guess it's purely a financial issue. Japan has its own distribution network, so Japan-only releases that are eventually destined for the rest of the world probably use the Japanese revenue to fund the external distribution. This is all conjecture of course. In June, Third Ear released a full-length of mine (10-track CD + 3 remixes) which is, so far, Japan-only. The expectation is that it will be released in the rest of the world sometime this year, but I don't know the details. -- Dennis DeSantis www.dennisdesantis.com Mailing List: [EMAIL PROTECTED] Guilherme Menegon Arantes wrote: What you guys think about all these `Japan first' or `Japan focused' techno releases we have seen lately? OK, it is clear Japan is a big market, but what is the problem to release it worldwide at the same time? Nothing against our jap friends. Deep respect for their support and enthusiasm. But this market-oriented way of dealing with music annoys me a bit. G --- http://www.dinamicas.art.br
Re: (313) Cleaning SEVERELY dirty records
Thanks to everyone who responded with ideas about cleaning my nasty old records. I ended up using a microfiber cloth and an alcohol/distilled water solution and it seems to have worked very well. Best, -- Dennis DeSantis www.dennisdesantis.com
(313) Cleaning SEVERELY dirty records
Hi folks, I recently moved back to the US, and pulled a bunch of records out of storage. Like an idiot, I didn't store them properly at all, and one box of them is very seriously water damaged. In some cases, the jackets were so moldy that they had to be peeled off the vinyl. What I'm left with is a stack of records that have a pretty serious mold accumlation on them. I'm wondering if anyone can recommend a good cleaning solution. Thanks, -- Dennis DeSantis www.dennisdesantis.com Mailing List: [EMAIL PROTECTED]
(313) Alarm Will Sound performs Aphex Twin
Alarm Will Sound performs Aphex Twin: Acoustica Cantaloupe Music (CA21028) http://www.cantaloupemusic.com/ The long-awaited followup to their acclaimed all-Steve Reich debut, ALARM WILL SOUND (http://www.alarmwillsound.com/), the young 22-piece new music band featuring voices, strings, brass, woodwinds, and percussionists, takes on APHEX TWIN in ACOUSTICA. Alarm Will Sound, who the NY Times calls the future of classical music, has, with a cadre of 10 arrangers, painstakingly recreated and rethought 13 tracks from the Aphex Twin catalog for an all-acoustic ensemble. From creative new transcription ideas to using non-standard classical music instruments to ensuring that all four drummers are kept busy with Aphex Twin's unimaginably intricate beats, this sounds like no CD you've heard before. With 2 bonus remixes of the remixes by Dennis DeSantis. Tracklisting and audio clips at: http://www.bangonacan.org/store/item.html?sku=CA21028cart=1121013379693070 Also, catch Alarm Will Sound in a live performance of the album at the Lincoln Center Festival, July 24, with special guest RICHARD DEVINE. http://www.lincolncenter.org/search/results.asp?txtKeyword=alarm -- Dennis DeSantis www.dennisdesantis.com Mailing List: [EMAIL PROTECTED]
Re: (313) OT Jeff Mills An Orchestra!
On a related note, I play percussion with a chamber orchestra called Alarm Will Sound (www.alarmwillsound.com) and we're releasing a record next month of Aphex Twin arrangements done entirely on acoustic instruments. There's all sorts of extended techniques at work here, in an attempt to get as close as possible to the original textures of the tracks while keeping the whole thing in the acoustic domain. A little more info is available here: http://www.cantaloupemusic.com/upcoming.html#aphex Admittedly I'm biased, since I'm so close to this project. But I think it IS possible to merge the acoustic and electronic worlds in this way and not end up with something totally ridiculous. But there are all sorts of pitfalls along the way. The precision of machine quantization is really important to electronic music - players can never play that way, nor would you want them to. So finding a way of creating the energy of precision without the actual precision is a really tough task. My $.02, -- Dennis DeSantis www.dennisdesantis.com Mailing List: [EMAIL PROTECTED] matt kane's brain wrote: At 09:50 AM 6/21/2005, Stoddard, Kamal wrote: To bw honest, jeffs stuf isn't really too far off from hearing an orchestra go into one of those totally staccatto songs where the sounds start to bounce and stuff. I could se it, but then again it would probably just sound like an orchestra covering mills. So? Only intellectually exciting due to the novelty of the concept. I couldn't see myself reeling from the impact though. That said, you'd be surprised to hear some of the sounds that classical musicians can come up with given the freedom, and if they really let the musicians play their intruments in non-standard ways to achieve some really techno sounds (sliding a bow lengthwise down a cello, really fast)then we might have a very techno moment my friends. My high school band director was fond of playing pieces like this. He even commissioned a few. We had to do the following: -talk, sing, and breathe through my instrument -Use brake drums, chairs, and sections of railroad for percussion -Disassemble instruments while continuing to play them -walk through the audience (lights off) pointing flashlights at people, yelling VOODOO -take chimes (the long metal tubular ones) by hand, smack them with a mallet, then lower them into a bucket of water to lower the pitch -toss rubber chickens around -play a gong with a bow -- /* Halley */ (Halley's comment.) matt kane's brain podcast | http://www.hydrogenproject.com | netradio | on-the-air [EMAIL PROTECTED] || AIM: mkbatwerk
(313) Netstockfest sets online
Hi folks, Most of the sets from the Nestockfest broadcast marathon that ran from March 18-21 are now available as freely downloadable mp3s from archive.org: http://www.archive.org/audio/audio-details-db.php?collection=netstockfestcollectionid=NSF05 This includes sets from me, Tomas Jirku, kAzooo, Marko Fürstenberg, and a whole bunch of others... -- Dennis DeSantis www.dennisdesantis.com
Re: (313) has anyone seen this?
Perhaps the Post-Modern Essay Generator could come in handy: http://www.elsewhere.org/cgi-bin/postmodern/ -- Dennis DeSantis www.dennisdesantis.com Luis-Manuel Garcia wrote: Wow. Just to add to the irony, somebody should write a scholarly article in Popular Culture or Popular Music about this. love it, Luis On Apr 14, 2005, at 4:18 AM, Aidan O'Doherty wrote: http://www.ubercoolische.com/ow.asp?FrontPage too funny
Re: (313) Netstockfest
Hey fab, Sorry for the delay in getting back to you on this. I'm sorry to hear about your hospital trip. I hope you're alright! Anyway, supposedly all of the netstockfest sets will be hosted at archive.org soon. Best, -- Dennis DeSantis www.dennisdesantis.com fab. wrote: i managed to catch late saturday and sunday's broadcasts since i was in the hospital till sat morning..im sorry i missed your set and my friend SMBP's :( an interesting happening this, i especially liked how different types of music were featured, not just minimal/laptop biznizz (which is fine by me, but i prefer variety ;) is there any place i can download your set dennis? fab. - Original Message - From: Dennis DeSantis [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Friday, March 18, 2005 7:50 PM Subject: (313) Netstockfest Just a heads up to let y'all know that these folks: http://www.netstockfest.net/ are running a big electronic music netaudio marathon for the next several days. I don't know many of the listed artists (besides myself - I play at midnight GMT), so I don't really have any idea what to expect in terms of style. But if you have some bandwidth lying around and want to check out some music, this might be an interesting opportunity. -- Dennis DeSantis www.dennisdesantis.com
(313) Netstockfest
Just a heads up to let y'all know that these folks: http://www.netstockfest.net/ are running a big electronic music netaudio marathon for the next several days. I don't know many of the listed artists (besides myself - I play at midnight GMT), so I don't really have any idea what to expect in terms of style. But if you have some bandwidth lying around and want to check out some music, this might be an interesting opportunity. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Netstockfest
No, the artists are broadcasting from wherever they are. I'm playing from my home studio. I'll likely be wearing a bathrobe and eating a pizza, which is how I'd prefer to do live shows in the first place. -- Dennis DeSantis www.dennisdesantis.com matt kane's brain wrote: Well, this is interesting. Are all the artists playing from the same location? Some other internet friends and I tried this but it collapsed, and it was only supposed to be prerecorded mixtapes! At 01:50 PM 3/18/2005, Dennis DeSantis wrote: Just a heads up to let y'all know that these folks: http://www.netstockfest.net/ are running a big electronic music netaudio marathon for the next several days. I don't know many of the listed artists (besides myself - I play at midnight GMT), so I don't really have any idea what to expect in terms of style. But if you have some bandwidth lying around and want to check out some music, this might be an interesting opportunity. -- Dennis DeSantis www.dennisdesantis.com -- unsigned short int to_yer_mama; matt kane's brain http://www.hydrogenproject.com [EMAIL PROTECTED] || AIM: mkbatwerk
Re: (313) Monday Playlist
fab. wrote: did you catch the upcoming 2 part mix on scene.org? it isnt released on the thinner website but it features 2 mixes of thinner only material The mixes are actually already available from scene.org. The individual tracks will be available from Thinner once the mastering is finished, which we're hoping will be very soon. Here's the tracklisting for the two mix files...I hope the formatting doesn't get too wonky: ...va.-.crossways.2lp...#01/29.. [crossways.mixed.by.selffish.pt.1]... . .[55.32]-[78.11MB]..ambient.dub.comp.mixtaped . .01.Benfay-Mein.Entschluss.anders.z.l...00:00:00. .02.Hieronymus-Waiting..04:09:07. .03.krill.minima-Nautica08:48:04. .04.M.Jarl.feat.J.Ericsson-Inidimman13:43:00. .05.Transient-Warm.Night.Lullaby20:41:06. .06.Boris.Heizmann-Azure24:20:14. .07.B.Kage-She's.Losing.Against.Time28:03:00. .08.Solitaire.Albread-Reverse...31:44:06. .09.Fernando.Lagreca-Habitual...36:18:11. .10.Si.Cut.DB-No.Tab41:58:07. .11.Selffish-Scrap.Of.Truth.46:50:06. .12.Xoki-A.Forest.Dub...50:12:01. ...va.-.crossways.2lp...#02/29.. [crossways.mixed.by.selffish.pt.2]... . .[68.30]-[96.34MB]..ambient.dub.comp.mixtaped . .01.Digitalis-Pheromone.00:00:00. .02.Mondfabrik-Lluvia...06:24:05. .03.Jason.Corder-Sunken.Streetlights11:28:05. .04.K.Kirschner-June.8,.2003.(Excerpt)..16:01:00. .05.Lufth-Hold.Me.(In.Your.Arms)18:20:10. .06.Sgnl.Fltr-All.form..23:24:07. .07.tlon-While.My.Tears.Swept.Away..29:50:13. .08.Gustavo.Lamas-Sobrevuelo33:47:13. .09.J.M.-A.Completely.Normal.Improb.37:48:06. .10.Marko.Fürstenberg-Visions.(Dub).43:17:04. .11.Blamstrain-031231...48:07:12. .12.Mikkel.Metal-Mapsa..50:16:00. .13.Holger.Flinsch-Mavadoo.(Dub.Mix)54:50:00. .14.D.DeSantis-Reality.Based.Community.59:58:13. .15.Gate.Zero-A.Beautiful.Morning...64:18:12. . -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Apex twin
matt kane's brain wrote: so does the dilinger escape plan cover of come to daddy, for that matter. ?! Can you point me to this? I'd really like to hear it... -- Dennis DeSantis www.dennisdesantis.com
(313) Live set online
Hi folks, I played a live set at Poema in Utrecht last Saturday, which was broadcast on Dutch national radio. There's now a totally trashy RealAudio stream available here, for those of you who don't mind telephone-quality fidelity: http://cgi.omroep.nl/cgi-bin/streams?/radio3/bnn/dancetination/01.rm The whole stream is 3 hours long, and my set runs about an hour, starting about 22 minutes in. I'm bookended by Nuno Dos Santos in the front and Estroe after, both of whom rocked it. Enjoy, -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Trance
[EMAIL PROTECTED] wrote: it's all these classically trained guys with their aspirations to be Tangerine Dream and Wagner rolled into one who spoiled the brew Lemme just try to catch this one before the tar and feathers come out for the conservatory kids... There's lots of bad music out there. Some of it is made by people with impeccable training. Some of it is made by people with no training. There's lots of fantastic music out there. Some of it is made by people with impeccable training. Some of it is made by people with no training. Classical training just means that you know some stuff about classical music. Assuming that people with classical training must write crappy techno is like assuming that people who study mushrooms must make crappy burgers. And that, my friends, was the worst analogy ever. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Trance
[EMAIL PROTECTED] wrote: Very true Dennis - didn't mean to brand all classically trained musicians/producers as makers of bad music. No, I know, I didn't take it that way. I just wanted to throw in a little defense before it got carried away and I found myself under a fatwa. I was just implying that something went wrong somewhere and these _particular_ guys suddenly wanted to be the Andrew Lloyd Webers of electronic dance music. Shudder -- Dennis DeSantis www.dennisdesantis.com
Re: (313) re: something to think about
I think Eno's point was just that new does not NECESSITATE interesting - that is, he's suggesting that simply creating original work does not automatically assure that it is work of value/quality. -- Dennis DeSantis www.dennisdesantis.com Philip wrote: What a load of crap. Actually doing something new and interesting is not the same thing as just saying you are going to. And lots of people who really do original interesting work might not be doing it just to be new or whatever, they are just expressing their individuality and their unique take or art, music, whatever. Brian just sounds like an out of touch bored whinger. Who needs it. ENO: They're overvalued really. Or, I should say that they're valued to the point where they become a target for people to aim at and that's a self-defeating proposal. It's like calling someone up and saying, Look, next Friday we're going to get together and have a really interesting conversation. Really brilliant now, we're going to think some really new things! Then you call a few days later and say, Don't forget Friday, this conversation is going to be really interesting. You build this up and by the time Friday comes of course you're tongue tied because you daren't say anything that's clumsy or familiar. You daren't do any of the things that are likely to open you up into a new area. New ideas are nearly always slight shifts of things that are already very familiar to you.
Re: (313) Energy Flash by Simon Reynolds
kj at technotourist dot org wrote: No theory or whatever made me hate a track i used to like. So i never took these things that seriously. I'd say a sign that a theory is interesting is if it makes you like tracks you used to hate. THAT's much more powerful, imo. In the end, though, it's important to remember that there'd be no theories without the art - but the converse is most certainly not true. -- Dennis DeSantis www.dennisdesantis.com
(313) Paging Maxim Sullivan...
Sorry to spam the list Maxim, if you're still subscribed here, shoot me an email when you have a chance. Thanks, -- Dennis DeSantis www.dennisdesantis.com
Re: (313) top ten
But there is something to be said for this. It does seem to be appearing less and less, both in people's sets and in their charts. -- Dennis DeSantis www.dennisdesantis.com [EMAIL PROTECTED] wrote: BUT I play all that clicky microhouse perlon type stuff a lot, and for some reason I don't understand, people here don't seem to like that sound much anymore. This certainly isn't true for me - or for a few other list members I can think of.
Re: (313) Soundtracks
Did anyone mention Tangerine Dream yet? They got a little ridiculous in the 90s. But those earlier soundtracks for Risky Business, Wavelength, Firestarter, The Keep, etc...those pretty much set the table for me as far as electronic music goes. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) These Go up to 11
Theorem - Embed, and pretty much the rest of Ion as well. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) OT :Oh! Canada,,, Oh Canada,,,,,,,,,
[EMAIL PROTECTED] wrote: Didn't you hear? Ads like that have just been outlawed. No one gets out of here alive... MEK Well, there's still one loophole: http://marryanamerican.ca/ -- Dennis DeSantis www.dennisdesantis.com
Re: (313) FW: Market elec music vs educate (Was: Electronic music culture in America)
I actually had a music teacher in elementary school who spent a couple weeks on basic electronic music. This was sometime between '79-'81. She didn't have any synths with keyboards - just these bizarre silver boxes with frequency and amplitude knobs that would produce steady-state tones of a single waveform. So there was the sine wave box and the square wave box. What was even cooler than this rudimentary gear was the fact that we actually used it to do sound effects for the school play. We recorded about 30 seconds of various squeaks and squelches to a strip of reel-to-reel tape, then taped the end of the strip to the beginning and played it back during some scene that needed machine noises. I have no idea what happened to that music teacher. I can't even remember her name. But in retrospect, that was a pretty amazing experience. Anecdotally yours, -- Dennis DeSantis www.dennisdesantis.com On Thu, 7 Oct 2004 [EMAIL PROTECTED] wrote: My high school used to offer classes in electronic music. This was back in.oh, 1986. We used Sequential Circuit Pro One synths and recorded to 4 track reel-to-reel. Learned all about FM synthesis. Best class in high school ever. I doubt they still offer it.
Re: (313) FW: Market elec music vs educate (Was: Electronic music culture in America)
Redmond, Ja'Maul wrote: So let me throw this question into the group then: If you wanted to reach a younger, less-educated crowd with the intention of giving them some insight in the history of the music, how would you go about? Are you talking about an educational setting, where you get to talk to them? Or are you talking about playing a gig, and having them get it? Dunno about option 2. As for option 1: Start by talking to them about music they already care about, and then step incrementally backwards in time. This seems to work sometimes for teachers who teach classical music to kids who really don't want to learn about classical music. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) EU Boycott and an End To European Insourcing Of Techno Music
I'm not even sure if it's an issue of fault. It's just the way markets evolve. I've sent out demos to lots of labels, and the ones who've responded with interest happened to all be in Europe. I'd be happy to release music on US labels. But if my music isn't what they're looking for, so be it. I never though of it in terms of US VERSUS Europe. Besides, European labels are bleeding cash as well. The problems aren't just in the US. They seem to be in the whole industry. -- Dennis DeSantis www.dennisdesantis.com Redmond, Ja'Maul wrote: Is all of this political/geographical stuff a response to the downfall of Techno in america? Because if it is, it's pointed at the wrong region. The problems we're having here have been caused by americans, not europeans. I'm a producer and not d.j. so I'm not talking in those terms. Don't get me wrong,, I also get upset when I see an american name on a european/german label for export prices. But is that Europe's or germany's fault. Hell No. It's our fault. It's too late to go inward,,actually I'm not even sure what that means? Are these artist only going to release on american labels? Are these artist only going to tour america only,,at reduced cost in some instances. I'm a little confused by it all.
Re: (313) 313 Tenth Anniversary Party
Just to clarify: Moving to Berlin doesn't mean that the agents and promoters are suddenly lining up to book you. It's not a magic pill that turns ordinary folks into success stories, and lazy Detroiters into superstars. It's just a city, like many others. It affords certain new opportunities simply by virtue of the fact that it's a new place. Furthermore, there are as many reasons to move somewhere as there are people moving - schoold, jobs, new families, old families better left behind. Not everyone is just jockeying for position. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) 313 Tenth Anniversary Party
Thomas D. Cox, Jr. wrote: again, it seems obvious to me that ive been raised in a different way from many other people. family is possibly the least replaceable thing someone can ever have. every week i take my grandmother out to the doctor and shopping because she cant drive. i imagine one day i will be doing the same for my mother and father. this means no selfish reason would be good enough for me to move. like i said, staying in a place thats not exactly bursting with activity is difficult, not easy. I think you're absolutely correct in re: the raised issue. Your family experience is completely noble and admirable. It is, however, not the only path. My relatives encouraged me from a very early age to leave the nest, and consider my decision to move away as a source of family pride. I've moved to 4 cities on two continents since high school, and will probably continue this pattern forever - again, because this is how I was raised. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) OT Computer help relating to music
robin wrote: my dell 8200 had a big prob with this (you could hear disk access and mouse movement!) This is a common problem with laptops, and is usually caused by a ground loop. The solution is simply to defeat the ground plug by using a 3 prong to 2 prong adapter (provided you're using North American power - defeating ground is a little trickier with overseas power supplies.) You can also use direct boxes with so-called ground lift switches, although this costs a bit more money. The 3-2 adapters cost a dollar or two. Hope this helps, -- Dennis DeSantis www.dennisdesantis.com
(313) Aril Brikha
Hi folks, Sorry for the spam, but if anyone has contact info for Aril Brikha, could you please email me privately...? Thanks, -- Dennis DeSantis www.dennisdesantis.com
(313) New Mix Online
Hi folks, I've posted a new mix online. This is an hour long, comprised only of releases from the Thinner netlabel. Streaming: http://www.dennisdesantis.com/DennisDeSantisThinnerMix.m3u Download: http://esm.rochester.edu/desantis/DennisDeSantisThinnerMix.mp3 Setlist: http://www.dennisdesantis.com/popup-thinnermix.html Hope you like it. As always, feedback/criticism is welcome. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Laptop performances
I don't think the discussion is getting hostile. Folks are just sharing their opinions, and that's why I love this list. I know Neil - we hung out in Montreal when I was touring in the spring. We're all cool :) -- Dennis DeSantis www.dennisdesantis.com Gavin Daruvalla wrote: Dennis, this neil guy is a knob. I'm sorry to be so crass, but jezus, i hate it when people just try to make a competiton out of the whole scene. Kind of sad to say, come and watch me, play my records, and if you don't like me piss off. I mean please. Does it matter if you dance around on stage and make your show a show, after all that's what people are paying their money for, otherwise why not just buy a CD and listen to it at home? But each to their own, no one is wrong no one is right, some people have a visual part to their act, some don't, so what? I'm fed up of people ssaying do this, do that, this is better, I am better than you. Raaagahaghaghg. On the laptop front, i've just ditched my turntables, and now use nothing else but Traktor. Does that make me a different DJ? I'm still beatmatching, i'm just using MP3 instead of vinyl. Anyway, as i've always said, Mixing is done on the mixer, not the decks/laptop. I know the discussion is re: Live shows, but hey, no one takes us laptop DJ's seriously
Re: (313) Laptop performances
Toby Frith wrote: It seems there is a desperate requirement in this whole debate for authenticity. As if the performer actually has to show the audience hey I am playing live, honest!. How can you really do this when so much of the equipment is automated? You're absolutely right, and what makes the situation even funnier is that most audiences seem to have no idea what's going on anyway. If I had a nickel for the number of times I've had people come up to me with REQUESTS during my Ableton showswell, I'd have a buck or so. But you know what I mean. -- Dennis DeSantis www.dennisdesantis.com
(313) Shootings at the fireworks?
http://story.news.yahoo.com/news?tmpl=storycid=519ncid=519e=3u=/ap/20040624/ap_on_re_us/fireworks_shooting Anyone have more info on this? Terrible - I used to love going downtown for that when I was a kid. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Laptop performances
Hi David, Any suggestions on keeping it fun that you all have though, I'd be happy to hear! I have two: 1) Drop the kick drum out and bring it back in, a lot. The kids these days love that stuff. 2) A filter sweep ain't a filter sweep unless you make it look really difficult. Turn your ENTIRE BODY into the knob, rather than just your thumb and index finger. Knob motions should look difficult. I'm only half-joking. Oh, and record your set, post it on the net, and let us all hear it. I'd love to check it out. Best of luck, -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Laptop performances
Neil Wiernik wrote: dennis ever think about writting a for dummies volume: laptop live pa for dummies? I suspect there'd be a limited market ;) Im acctually very surprised you would even half joke about what you said... what is this live pa in a box? No, I just meant that, for whatever reason, those sorts of stage presence recipes seem to have a kind of universal appeal for club crowds. It's sort of the 21st Century version of the Pete Townsend guitar pinwheel or the spinning drumsticks. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Laptop performances
Neil Wiernik wrote: that is exactly what makes a live show BORING - a recipes, nothing worse then a cookie cutter live artists, electronic or other wise... I completely agree, which is why it was offered with tounge-in-cheek. I encourage anyone who's performing to perform their own way. But, for whatever reason, I've found that some of the things that seem to work consistently, seem to work consistently for multiple artists. And I feel no guilt in not reinventing the wheel on stage in every possible way. like I said befor if the music is good and can stand on its own there is no need for gimmicks, showmanship, videos or any thing as that stuff just takes away from how good your music really is... Here, I respectfully disagree. If the show means nothing, then there's no reason for it to happen. A person with a club-wattage PA system in their basement could have an identical experience as the person in a club. And that's not the way it works (thank God, or we'd all be out of work...:) -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Laptop performances
Just to clarify - the most important thing for me is the music, always. I hope I didn't suggest otherwise. But if I'm going to be on stage, in front of people, then I try to take it into consideration that there is, by default, also a visual parameter to the experience that is an addition to what would be happening if the audience was listening at home. To focus on the visual entirely, at the expense of the music, would make me feel cheap. But to focus on the music entirely, at the expense of the visual, would make me feel isolated and alone. I consider it my responsibility to provide SOMETHING more than a recreation of my recorded output. That being said, confession I'm actually pretty unsatisfied with my live performances. I don't consider myself a consummate laptop artist at all, and I get really freaked out when I feel like the audience isn't getting it. /confession So any advice I might have to offer on the matter should be taken with a grain of salt anyway. -- Dennis DeSantis www.dennisdesantis.com [EMAIL PROTECTED] wrote: Gosh, is what we are talking about a sorta DJ vanity? Like, if something doesn't *look* interesting it *isn't* interesting, no matter what it sounds like? I would not argue that the visual is totally unimportant, but personally I don't think it's the most important thing - unless that's the whole point you are there. Not everyone can pull off good visual art. I know some DJs who are very low key but SO amazing. Kinda like the way a cricket is a small bug and it can make this loud, wonderful noise - but if you go look at it, it ain't all that visually exciting (usually). Personally, if something sounds good I'll go look at it, but after that I'm too busy dancing to worry about looking unless it comes to me (like lights or video all around you). As long as the experience enjoyable for people (DJ included) does it really matter how you get there or do it? There's more to the experience than just what the peeps on the stage are doing ... Lisa
Re: (313) Laptop performances
Neil Wiernik wrote: ok denis what ever you say... but honestly I would think a fellow former 20th cent music student would see how important the sonic art is over the flashy showmanship is... I absolutely agree. The sonic art is always the most important. It's just that in the context of a live performance it's not the only parameter. Im acctually surprised... have you lost touch with your roots? Yes, I have. The culture of contemporary concert music makes me ill - the notion that, with an education, no artist is capable of making a mistake, and that any sort of failure to relate on the part of the audience must be blamed on the audience. It's for THAT reason that I came back to electronic music - because I saw in it an opportunity to make music that was both self-satisfying and somehow conversant with a listening public. But that's a different story. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Laptop performances
Neil Wiernik wrote: well then denis from what I can tell in what your saying is that your need for a show of flash and glamor has to do with your feeling of isolation on stage... why dont you try to connect with your audience through yout music try different things change up the track, add new sounds, eq things youll get reactions and there you go your reactions... your no longer isolated but flashy movements are just that movements gestures and are meaningless... if your not doing them with integraty as a way of connecting with your audience... if the audence leaves the dance floor thats not a bad thing thats thier way of saying I dont like it then work hard to bring them back its all about communicating with sound rather then words and images which is how we generally communicate... music came to be as an alternate way to communicate with each other (war drums of the native africans as example) its that what your doing on stage I try whatever I can to make the shows work. Sometimes they do, sometimes they don't. So I keep trying. Ironically, I'm not flashy onstage at all. I just don't think it's a sin. -- Dennis DeSantis www.dennisdesantis.com
(313) Ray Charles has died
Vaguely off-topic, but not really. We've lost one of the true greats. http://news.yahoo.com/news?tmpl=storyu=/ap/20040610/ap_en_mu/obit_charles_7 -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Detroit and Geography
[EMAIL PROTECTED] wrote: yeah thats very interesting that interview and I never realised just how many DJ's/producers live in Berlin and since playing there and germany I woudl love a place in Hamburg or Berlin...but for now I have to do with Chelmsford... Dude, just move to Berlin. It's so cheap to live here it's stupid. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) why lie on your bio (Tim Baker)
[EMAIL PROTECTED] wrote: I was on the Tim Baker website the other day and it says he grew up in Detroit. Now that is not true. I work in Ann Arbor, an I work with someone who went to middle school and high school with him. At first I didn't believe him until they just showed me yearbook pictures from his middle school (scarllet) and High School (Ann Arbor Huron class of 85) Pictures. Detroit and Ann Arbor are two different cites socially and geographic why do people lie just to say the are from Detroit? I'm not taking sides on this, but I think it probably has something to do with the fact that lots of people have heard of Detroit, while fewer have heard of the other cities around it. Saying you're from Detroit just keeps conversations conceptually simple, rather than having to get into some big spiel about where this particular suburb lies (yeah, I know, A2 is probably too far from Detroit to be considered a suburb, but you get my point.) If you ask some kid at Tresor where Derrick May is from, you're going to hear Detroit. It's just easier to conceptualize. My $.02, -- Dennis DeSantis www.dennisdesantis.com
Re: (313) why lie on your bio (Tim Baker)
Let's back up for a minute. houseman04: Did you grow up in Southeastern Michigan? You mentioned that you work in A2, but are you originally from the area? I can understand that, if you're not from the area, you could see this as a potentially divisive and confusing issue. But it's really very common for anyone from basically east of Jackson to the lake (not to mention north of Toledo to basically...well, the lake) to refer to themselves as from Detroit. It's not meant to be deceiving. It's just that the so-called metro Detroit area really is thought of as that - satellites around Detroit. And the area in question is REALLY large. When people ask me where I'm from, I tell them Detroit. (I was born in Warren and grew up in Sterling Heights.) If they then make it clear that they're actually familiar with the area, I go into suburbs-level detail. 2 more cents, -- Dennis DeSantis www.dennisdesantis.com
Re: (313) why lie on your bio (Tim Baker)
[EMAIL PROTECTED] wrote: So it should read John Doe grew up in the Suburbs of Detroit in Ann Arbor. But they just don't. There's a huge precedent for this. I don't know why it is, but the area casually called Detroit extends much farther than comparable metro areas in other parts of the country. It's just the way it is, and it has nothing to do with cashing in on the Detroit appeal. My grandma would say it too (although she's actually from Detroit ;) -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Oliver Ho/radio playlist - 15/5/04
[EMAIL PROTECTED] wrote: hello Just received the new Oliver Ho album in the post, it's called 'The Soft Machine' and is coming out on Meta. Listening to it right now in fact and have to say that I'm rather enjoying it. There's a track that samples Steve Reich (always the way to win favour with me) Do you happen to know if he got legal clearance for the Steve Reich sample? Historically, Reich gets REALLY grumpy when people sample his work without permission. I'd hate to see a lawsuit arise out of this. Which Reich piece is it, by the way? -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Oliver Ho/radio playlist - 15/5/04
[EMAIL PROTECTED] wrote: Do you happen to know if he got legal clearance for the Steve Reich sample? Just out of interest. Do you think anyone in techno pays for their samples? I admit, there's a huge difference between, for example, Dave Clarke and say, Jochem who just said he earnt 86 euro's from his last record. But, really, is it worth it? Clever sample heads disguise their samples too well anyway. But by disguising your samples, you end up with entirely new sounds - valid, but not referential. If the goal of using the sample in the first place was to BE referential, then mangling it will lose the point. This is why if I want acoustic samples, I usually take them from my own acoustic music, or music that's deeply in the public domain. I swiped Brahms for a track on my next album, for example. I suppose I could get sued by the performers who made the original recording -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Oliver Ho/radio playlist - 15/5/04
I think this is all mostly legend. Somewhere along the line, we build our own stuff turned into we build our own stuff using nothing but pieces of cardboard, chewing gum, and divine intervention as opposed to the much more likely we build our own stuff in Max/Reaktor/Nord Modular. -- Dennis DeSantis www.dennisdesantis.com [EMAIL PROTECTED] wrote: wow! 8-0 that's amazing given the music they make, can anyone confirm this? At 12:22 pm +0100 19/5/04, Blackman, Ryan (UKEKT) wrote: Autechre? Does anyone know anyone else who does this? The only person I could think of is Aphex.
Re: (313) EMS on Satamile was RE: (313) Oliver Ho/radio playlist - 15/5/04
Peteri, Jochem wrote: Thats electric little fluffy clouds counterpoint, right? awesome track, specially when the bassline comes in at the end That's the one. And just to pick nits - there are actually two basslines (in addition to eleven guitar parts.) Anal retentively yours, -- Dennis DeSantis www.dennisdesantis.com
Re: AW: (313) no (ellen) alliens in nyc
Carissa Tintinalli wrote: There is ZERO consistency with immigration procedures right now, and it's an extremely confusing process. This shouldn't come as a surprise. These are largely people with room temperature IQs who, prior to 2001, were treated like something less than your average Wal-Mart rent-a-cop and now are treated like they're the front line of defense for Protecting The Homeland. In March, I played a gig in Detroit and came through Canada via a car rented in Toronto. They were mystified as to why an American citizen would be coming into the country from somewhere else and, since I was driving some foreigners (Germans and Canadians from Thinner) as well, we were a prime target for a more intrusive check. We had to get out, wait in lines, get eyed suspiciously, fill out forms, pay processing fees, etc. What they didn't do, however, is ask for my keys and actually search the car. They thought they did though, and told me to pick up my keys from the front office before leaving, despite the fact that I was holding them the whole time. The moral of the story is that it's all smoke and mirrors. The stern glances from the ex-janitors running border security are supposed to make you feel like It's All Under Control. None of these people have a clue what's going on, which is why seemingly arbitrary decisions like the situation with Ellen are commonplace in The New America. Rant over, -- Dennis DeSantis www.dennisdesantis.com
Re: AW: (313) no (ellen) alliens in nyc
[EMAIL PROTECTED] wrote: During that whole period I was only stopped once Oh, I've also gone through WITHOUT stopping the car at all. Literally, I was waved through by a border guard without a question ever being asked. My point was simply that it's random and entirely unorganized. One day, it's total lockdown. The next day, it's Al Qaeda Open House. -- Dennis DeSantis www.dennisdesantis.com
Re: AW: (313) no (ellen) alliens in nyc
[EMAIL PROTECTED] wrote: is this on NuGroove? Mark Wilson with Bin Laden on vocals? I think so. The Al-Zawahiri remix on the flip is the real floor burner, IMO, especially with that killer conga groove by Karl Rove. -- Dennis DeSantis www.dennisdesantis.com
Re: AW: (313) no (ellen) alliens in nyc
Kent williams wrote: When she got home, she dumped out her purse to find something and what do you know, there was a restaurant butter knife in it. The moral of the story is that it's far far easier to make people feel safer by putting on a look how safe you are carnival than it is to actually make people safer. This is the same sort of thinking that leads generals in Iraq to tell us we're making progress 97 times a day in press conferences, despite the fact that there's only evidence to the contrary. And it's why Ellen Allien doesn't get to play in the US. Because it allows someone to fulfill some sort of immigration rejection quota without actually having to do any work. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) FinalScratch Competitor...
DJ Entropy wrote: Has anyone seen/used this yet ? Any comparison to FS would be good Well, it runs on XP! Woohoo (puts on NI employee uniform) FS runs natively on XP as well, since version 1.5 http://www.nativeinstruments.de/index.php?traktorfsupdates_us -- Dennis DeSantis www.dennisdesantis.com
(313) OT: Best Gear Marketing, ever
http://www.metasonix.com/TX1.htm -- Dennis DeSantis www.dennisdesantis.com
(313) Brian Kage on Thinner
Detroit's own Brian Kage's new EP Eight Ways just dropped on Thinner (www.thinnerism.com). This is three killer tracks from Brian, with remixes by me, Taho, and Paul Keeley. As always, it's all free to download: http://www.thinnerism.com/releases.php?r=thn056 Enjoy, -- Dennis DeSantis www.dennisdesantis.com
Re: (313) the future (a different approach)
Ronny Pries wrote: last not least: i heard dennis desantis first track with a real bassdrum ;) (dig-button on thn050) hmm? -- Dennis DeSantis www.dennisdesantis.com
Re: (313) the future (a different approach)
Ronny Pries wrote: that one's got a way more punchy kick than the other tracks i heard from you. kinda surprised me in a way. That's interesting, because it's the first track I ever did entirely in headphones. I mixed it in Berlin this summer, before my speakers got shipped from the States. I've actually been meaning to remix it, because I think there's way too MUCH kick drumbut you think it sounds better? -- Dennis DeSantis www.dennisdesantis.com
Re: (313) the future
[EMAIL PROTECTED] wrote: but the point is, all I hear is badly recycled ideas. and worse, this seems to be acceptable for some reason. Are they bad because they're recycled? Or are they bad, independent of their relationship to history? There was a thread on one of these lists (this one, maybe?) about 6 months ago about whether or not there was an inherent quality-boost applied to things just because they were new. I mentioned that I thought this was crap, and gave some examples from 17th and 18th Century music to explain why. Basically, my argument was that there are TWO unrelated things that determine whether or not art will stand the test of time. One is real quality. The other is real originality. There's PLENTY of stuff out there that's lasted because it was new - NOT because it was good. Personally, I could care less about originality. I'm only interested in quality. Give me a 4 chord pop song. As long as it's GOOD, I'm satisfied. Frankly, it's dead easy to make something new, as long as you're not concerned about making it good. Contemporary concert music (a world I know pretty well) is full of composers who write 3-page program notes about why their work is ground-breaking and important. Very little of that work is worth hearing. My $.02, -- Dennis DeSantis www.dennisdesantis.com
Re: (313) the future
[EMAIL PROTECTED] wrote: I just feel that alot of things/projects at the minute are unashamedly retro, and I'm a little bored of it, so I asked what happened to the future? That's interesting, because I fel that a lot of things/projects at the minute are unashamedly bad...and I suspect that you and I are talking about the same things/projects. ;) -- Dennis DeSantis www.dennisdesantis.com
Re: (313) the future
ha wrote: problem is that while criterias for newness are fairly easy to come up with, criterias for quality in art etc are impossible to state without being matters of subjective taste. Criteria for newness are pretty dependent on what your know, right? In every undergraduate composition class in the US, right now, there's a kid writing a piece using harmony based on perfect 4ths. Not only does that kid think it's the most beautiful thing he's ever heard, he also thinks he's breaking new ground. Frankly, it's dead easy to make something new, as long as you're not concerned about making it good. i disagree strongly. to produce something genuinly new in the field of art, ideas and concepts is impossible. to produce something new to the possibly greatest degree is very very hard. That's why I put it in quotes. The problem as I see it, is this: i think originality is the only criteria for artistic value. So many artists believe that originality is the Holy Grail, that they stop thinking about making it WORK. Drop a bowling ball onto a piano - it's new! But what, really, have you got to show for it? Of course it's hard to make something that's ACTUALLY new. But I think it's much harder to make something that's actually good, and the two are not necessarily related. now the question is: is it art or entertainment? entertainment should not be very new, because otherwise it wouldn't entertain. The question of whether or not something is art or entertainment, I believe, can only be decided by history. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) the future
Robert Taylor wrote: Are art and entertainment mutually exclusive? No, not at all. In fact, I don't have a clue what the difference is anymore. I'm not sure if I ever did. Oh God...this is going to turn into a Define Art thread. I'll be under my desk if anyone needs me -- Dennis DeSantis www.dennisdesantis.com
Re: (313) the future
ha wrote: maybe it wouldn't be very entertaining and maybe you wouldn't even have to actually see / hear it to get the idea To get the idea of the concept, maybe. But to get the idea of the artistic experience? Absurd. THIS is the sort of reductio ad absurdum situation that purely conceptual art can lead to. If the entire weight of the art can be summarized in the writings about the art, then where's the art? If the real meat of your work is in your program notes/explanations/justifications, then why call yourself a composer/painter/sculptor? That particular breed of artist is worth absolutely nothing to me. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) 909s
Peteri, Jochem wrote: And the kick is essential, you cannot sample this baby. Can you elaborate on this? I'm not arguing with it. I'm just not clear on the idea of an unsampleable sound. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) 909s (808)
Ken Odeluga wrote: *go marignally flat* towards the decay? That is such a distinct thing to observe and include. In fact, it is what a real kick drum does too. Just to clarify - a real kick drum does this if the batter head is tuned tighter than the resonant head. Toms are often tuned this way as well. But it's not a product of the INSTRUMENT. It's a result of tuning conventions. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) No play in the USA (was Movement I-F dicussion)
Cyclone Wehner wrote: I have heard a lot of international DJs say the current climate in the US is offputting. You'll find a lot of domestic DJs saying the same thing. I don't think the recent/continuing mass exodus to Berlin is entirely career-motivated. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Detroit schools to cut 3,200 jobs
[EMAIL PROTECTED] wrote: I'm still trying to figure out what good casinos are doing in the city if THEY can't use that money to stop something like the elimination of teachers from happening. a shame.. Amen. I remember when the folks pitching the casinos had this brilliantly focused propaganda campaign about how their developments would bring all this cash into Detroit, thereby causing some kind of revitalization-through-osmosis or something. People ate that up too - as if even the hope that something could help, despite all evidence to the contrary, was worth the gamble (pun intended). So how'd that work out? I don't live there any more, and haven't for a while. But the last time I checked out the areas near the casinos it looked like the only improvement was that there was now light pollution. -- Dennis DeSantis www.dennisdesantis.com
(313) Live set from Detroit/Panacea online
Hi folks, My live set from the Detroit gig on March 13 at Panacea (with Paul Keeley and Luomo) is now online. The streaming link is: http://www.dennisdesantis.com/[EMAIL PROTECTED] and the download link is: http://lulu.esm.rochester.edu/desantis/[EMAIL PROTECTED] This was the most fun I've ever had at a gig - thanks to any of you who were there. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Live set from Detroit/Panacea online
john harvey wrote: this is a great mix dennis, can you post a playlist please? Thanks John. I can try to put one together, but since it's a live set sometimes it gets a little weird - some whole tracks, some bits and pieces of lots of different tracks all stuck together. I'll post this to my website within the next day or so and send a note to the list about it. Take care, -- Dennis DeSantis www.dennisdesantis.com
Re: (313) luomo track
matt shultz wrote: hey. when luomo played the paxahau show last saturday at panacea, by far one of the best songs he performed was something that i can't find. it has a vocal sample that said something like 'cold ice cream' over a somewhat dark, maybe a little acidy house line. i don't really care for most of delay's luomo stuff, but this song was really good. it's not on the present lover and i don't think it's on vocal city. does anybody out there have any idea what this song might be? m. Hi Matt, Do you remember roughly what time it was? Also, you might want to email the Paxahau guys. I know they recorded the whole night (and will probably be streaming it eventually.) -- Dennis DeSantis www.dennisdesantis.com
(313) OT: 400+W Step-Down Transformer
Hi folks, I realize that this is pretty off-topic, but I'm wondering if any of the flurry of recent US-Berlin expats can help me out. I just spent a boatload of scratch getting my studio monitors shipped from the States, because the manual for them had a nice, easy to follow chapter on swapping fuses for the voltage conversion. Now, I've discovered that my monitors are an earlier model, and don't incorporate voltage switching circuitry. So I need to spend even more money on a step-down transformer that can handle at least 400 W. I guess what I'm really wondering is if someone with experience buying crap like this in the EU can point me toward a place where I minimize further financial hemorraghing. Grumpily yours, -- Dennis DeSantis www.dennisdesantis.com
(313) Thinner North American Tour
Hi folks, Thinner is about to embark on their second (perhaps annual?) tour of North America - meaning primarily Canada, but also a lil' Detroit this time, with special guest Luomo. For more info, check www.thinnerism.com. Here's the dates: Friday, March 5, 2004: S.A.T. - Montreal (live - Dennis DeSantis, Paul Keeley, Jason Corder. DJ - Mateo Murphy, Eloi Brunelle) Saturday, March 6, 2004: Gallerie Rouje - Quebec City (live - Dennis DeSantis, Paul Keeley, Jason Corder, Pheek. DJ - Mindmover, Cyre) Monday, March 8, 2004: Laika - Montreal (live - Deluge, Off The Sky, Mitchell Akiyama) Thursday, March 11, 2004: Element Bar - Toronto (live - Dick Richards, Dennis DeSantis, Paul Keeley. DJs - WABI DJs) Friday, March 12, 2004: Saw Gallery - Ottawa (live - Deluge, Off The Sky, Mitchell Akiyama) Saturday, March 13, 2004: Panacea Nightclub - Detroit (live - Luomo, Dennis DeSantis, Paul Keeley. DJs - Paxahau DJs) We'd love to see you. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) OT detroit salt mines
Oh MAN does that bring back some crazy memories, probably of 4th or 5th grade as well. The thing I remember the most though was the SMELL. Salt isn't the kind of thing that you normally think of as smelling like anything. But when your hundreds of feet underground with nothing around you except miles of it, it takes on a whole new dimension. Off-topically, Dennis DeSantis www.dennisdesantis.com Derek Plaslaiko. wrote: i rememeber going there for a field trip in 5th or 4th grade. i filled my parachute pants up with as muchbig salt chunks as i could! i also rememeber graqbbing what seemed like a HUGE boulder of it at the time. my teacher got aother teacher to help carry it, and we put it in the library of yake elementary shool, and im pretty sure its still there to this day. oh, and what seemed like a huge boulder, in reality, was about 2 times the size of a basketball. heh. to be little again. *sigh* derek. On Thu, 19 Feb 2004, J. T. wrote: someone posted this nice link on another list... http://www.detnews.com/history/salt/salt.htm pretty cool, never heard of this before... _ Click, drag and drop. My MSN is the simple way to design your homepage. http://click.atdmt.com/AVE/go/onm00200364ave/direct/01/
Re: (313) quiet today
[EMAIL PROTECTED] wrote: sss! Seriously...I thought maybe my spam filters got a little overzealous. Dennis DeSantis www.dennisdesantis.com
(313) New Thinner compilation
Since some of you have been expressing interest in Thinner lately, I figured it wouldn't be totally inappropriate to mention that their 50th release has just been posted, featuring 13 new tracks from artists who've been involved throughout the label's history. Yeah, I've got a track on it, so I guess this is sort of shameless self-promotion. But in any case, check it out. As always, it's all completely free. www.thinnerism.com Enjoy, -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Ableton Live mixes
Tom Churchill wrote: Kirk had one I was looking at, It had 8 channels I think, and it had an ableton live logo on there. maybe that was a sticker? Maybe it was the Evolution UC-33 with the Ableton overlay? http://www.ableton.com/index.php?main=news-archivesub=evolution_uc33 I use one of these with Live (and Logic in the studio), they're brilliant... Cheers, Tom WHY can't someone make a controller in this price range that has both a bunch of knobs (as the UC-33 does) and sixteen faders? I'm still using my Peavey pc1600 but I really want knobs too... rant... -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Ableton Live mixes
Ronny Pries wrote: i discovered ableton live a few days ago and have started to chop my vinyls into handy loops. it's really sick work but on the other hand i can't wait to add this to my vinyl/fs set. as far as i got it, most of you use ableton to play entire tracks with it? uhm, i can't open any mp3's here, you guys have got too much hd space for all the .wavs or ??? am i too dumb? cheers, ronny No, it doesn't currently support mp3s. Personally, I use a combination of complete tracks and exported loops from tracks that I recombine during the set. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Ableton Live mixes
Just to add my 2 cents... I don't think Ableton was really every conceived of as a DJ tool in any sort of conventional sense. Sure, you CAN use it that way. But as has been discussed, it's a little too safe. When Robert Henke first built the Live prototype as a Max patch, it was for him to do his own live shows, using his own loops, but with the freedom to combine and collage (not a verb, I know) on the fly. This is primarily how I use it today - basically as an MPC on steroids. I just want to make sure, before we all write it off as a dead, that we realize that what we're really writing off is its use for a purpose for which it was never really intended. It's a little like finding out that your 808 can make drip coffee, then finding out that it's really bad coffee, then selling your 808 because it sucks. Or something. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Ableton Live mixes
J. T. wrote: imo henke's genius is in reaktor, not ableton... I think he might disagree with you. yeah i dont mean to write-off the program, or mixes done in ableton, i just do not see it as the future of music or as some new frontier for mixing. No single tool is the future of anything. The potential of any of it is only going to come to fruition in the hands of people. What Ableton has done (or has at least been the catalyst for) is a WHOLE lot more people doing live shows. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) axis
Thomas D. Cox, Jr. wrote: that actually makes no business sense at all. making more sense would be dividing your time so that you make your existing customers happy but also making inroads to getting new fans by playing places where you might not sell as many records. i have no qualms with mr mills record pricing or whatever, but i do think it makes no sense to live in the US at least part of the time yet spend no time building a fanbase here. When Mills spoke at Musik und Maschine this summer, the sense I got was that he felt he was playing TOO much. In that situation, he's probably attempting to maximize his profits per gig, rather than trying to to cultivate a market. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) techno, mills, yadda yadda
Kent williams wrote: My brother -- who plays violin, and listens to jazz, classical music, and random pop music -- came to see me DJ once and to him it was 'loud, and it all sounded the same.' I'd guess this is just insider/outsider perspective. To most non-classical listeners, Mozart and Beethoven sound the same too. It's just a matter of knowing a genre as opposed to glossing over it in a single session. Or something. reflexive Calvinist twitch I can't tell you how much I love that phrase. Can I have it for a track title? I'll credit you if it gets released. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Madga vs Magda
[EMAIL PROTECTED] wrote: this is ridiculous. if buying one happy meal to perform means that you keep a couple thousand of listeners from walking by a mcdonalds (even if its just for a month) than the damage to mcdonalds is far greater than the $4 put in. are you really that thick? First of all, I find your tone offensive. I'm not getting angry with anyone on this list for sharing their opinions. We're just having a discussion, which sometimes means we're liable to disagree, no? Secondly, you're absolutely right - IF that's the effect it has. Do we have any evidence, however, that this is the case? Does your $4 vs thousands of customers equation have a basis in research, or is it just wishful thinking. I WANT all forms of political protest to be valid. But simply wanting that doesn't make it so. -- Dennis DeSantis www.dennisdesantis.com
(313) Apologies and (perhaps) the last word
Hey folks, I'd like to apologize for ruffling feathers about the Herbert issue. I think we should probably kill the thread and agree to disagree. As I'm sure is the case for many of you, politics has become (especially during the last few years) an issue of nearly equal importance to music for me. So I find myself getting passionate about situations that involve a melding of the two. I never meant to disparage Herbert's vision. I think his music is beautiful, I admire the depth of his conviction, and I agree with everything he's trying to say. My issue is only with the manner in which he says it, and even that (clearly) is a matter of contention. But it makes me sad to see an issue like this creating divisivness among people who probably completely agree with him. We have bigger enemies, and bickering amongst ourselves distracts from those larger issues. So, can we kill it? -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Madga vs Magda
Kent williams wrote: He makes the promoter buy them ;-) I don't think it's about boycotting them, it's about destroying them. You have to buy them to destroy them but ... well he's not pure. To be pure about it, he'd have to steal them to destroy them, and that's just no practical. I?m not a big fan of McDonalds either. So I don?t spend money there. Ever. I love Herbert?s music. But as a political statement, this stuff has about the same socioeconomic effect as the French wine boycott orchestrated by the American Right before the Iraq war. Once you give them your money, they?ve won. The game is over. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) Madga vs Magda
Nicole Slavin wrote: So making public political protest is pointless? No. Making public political protest that involves contributing money to causes you´re protesting against is pointless. Let's all just sit back doing and saying nothing, that'll show 'em! I´m all for saying and doing lots. But putting money into their accounts doesn´t strike me as the most effective solution. Just because Herbert is making a more obvious political point, doesn't mean that it detracts from his brilliant music. I agree that the music is brilliant. But watching him destroy a McDonalds cup that he PAID FOR isn´t a political protest - it´s a contribution to McDonald´s. Ok, sorry to ruffle feathers on this one. It´s way off-topic, I know. I didn´t realize it´d keep going this far. I just think it´s important that people remain able to separate high-quality art from low-quality activism. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) radio boy one final time
Kent williams wrote: So ripping a pair of Gap Boxers equivalent to burning a flag. Will one guy change the world by doing it? Maybe not. Maybe he'll make a few people think about where their food and clothes and music comes from. Will one guy boycotting the Gap change the world? Maybe not. The argument can swing the other way as well. I admire your idealism. Perhaps I´m just too much of a cynic. But for me, keeping my money out of coporate coffers (and encouraging others to do so as well) is a more powerful catalyst for change. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) radio boy one final time
Nicole Slavin wrote: On stage, his musicians tear up Conservative newspapers and sample the effects, to name but one thing he does. It's an amazingly entertaining and original way to convey his protest. Again, I don´t for a minute think that artists shouldn´t infuse their work with political activism. I do it all the time. What I object to is a form of political protest that involves BUYING the things being protested against. If, as Tom suggested, for every Big Mac or Starbucks latte that Herbert purchases for use in his shows, 5 people decide never to spend money at those companies again, then he´s done something wonderful and powerful. But there´s simply no way to know. And if that ISN´T the result, then what you end up with is Herbert buying Big Macs and Starbucks lattes, which is all McDonalds and Starbucks ever wanted him to do in the first place. No one at any level of the McDonalds or Starbucks corporate hierarchy could care less what you do with their products AFTER you´ve paid for them. Companies don´t exist to make products. They exist to make profits. And unless Herbert KNOWS that he´s decreasing sales, then he´s doing more harm than good. One more time: I´m NOT blasting him for taking a stand. I think his writings on the subject of corporate bloat are brilliant, his music even more so. -- Dennis DeSantis www.dennisdesantis.com
Re: (313) radio boy one final time
Mark S. Krüx wrote: So if he stole 'em you'd be down with it?? Absolutely ;) Dennis DeSantis www.dennisdesantis.com
Re: (313) Madga vs Magda
Kent williams wrote: he made his point with some humor by destroying capitalist artifacts as a way to make his music. I´ve always been curious about this: Does he BUY these capitalist artifacts before destroying them at every show? If so, that seems like an interesting way to encourage a boycott... My $.02, Dennis DeSantis www.dennisdesantis.com
Re: FW: RE: (313) 2003 Top 50 / Third Ear
[EMAIL PROTECTED] wrote: Erm, sort of on the subject... the Third Ear label.. is this a japanese label? maybe a subsiduary of a major? anyone know? they have taken a strong interest in detroit! and I think they've released some good little bits and bobs. so, does anyone know any more about them? just interested to know really. thanks alex Third Ear (www.third-ear.net) is run by a guy named Guy McCreery who works out of London, and a handful of other people who work out of Tokyo. They're not a subsidiary, but they do handle some distribution of non-Japanese music into Japan, as well as serving as a sort of go-between for music ventures from outside of the country that want to connect to the Japanese market. For example, they coordinated the mini version of the Sonar festival in Tokyo for the past two years. As part of their liason work, they also coordinate remixes of Japanese acts by non-Japanese producers. This is how the Meg remix record came about.) Guy's a big fan of Detroit, so when it comes to TE releasing their own records, this is the stuff he goes for. Hope this helps, -- Dennis DeSantis www.dennisdesantis.com
Re: (313) the funky 808 drummer
[EMAIL PROTECTED] wrote: but I'd like to ask others - who do you rank up there and *what tracks* are your favorite or rank up in the top programmed drums? It ain't 313, but Meshell Ndegeocello's first album Plantation Lullabies is chock full of drum programming to die for. My $.02, -- Dennis DeSantis www.dennisdesantis.com
