(313) Techno on the otherside .. NZ
This post is for everyone having a cry baby about DEMF .. Stacey Pullen came to play in Wellington NZ the other week. By some sheer accident I ended up making a one way 16 hour road trip to see him play, and a flight home at 8am. A good friend also flew in from Sydney for the occasion so it was really cool to be connected by Techno. Mostly I just wanted to say to the list that in some places in the world we rarely get to hear Techno. New Zealand has had three US producers visit in the last two years. You may recall me writing in about Carl Craig last year. I go bug for Techno especially Detroit styles. It is the only music that makes me dance like Sven hugs or no hugs. It's the only music that motivates me to dance at all these days. Stacey was just brilliant, and I don't care for the politics. He got on the decks at 2am and was still playing when I had to get to the airport at 7am. It was a sonic inspiration for me .. and was twice as cool cause the dance floor was full .. unlike Carl Craig. wah. While I can understand the frustrations of the DEMF line up .. I think you need to look at the greater context of what the scene is able to support. New Zealand has small population, and so a very small Techno scene. Our ability to foster our own scene, let alone have events or festivals that feature Techno artists is very very limited. On a global scale Techno is still a very underground sound. Over here where I am sitting . the DEMF does heaps to put Techno on the Map. Locally .. I would probably be upset as well. However the opportunity still remains to use the focus on the DEMF to raise the awareness of the 313 sound .. and it's affiliations. I think the Line up is that evil balance between commercial and true. However on any given day it's a line up I would very much like to see, and from a global perspective I think its a very interesting representation of how far the influences of Detroit music have traveled. I think Detroit heads have a lot of heritage to be proud of, and while there is obviously a strong local scene that is looking for representation. I think you have to appreciate that due to the musical foundations of Detroit many people from around the world now share in the positive influence. Somehow in the face of all the commercial dance scenes around the world Techno has managed to hold onto it's integrity. The artists listed are by no means heavy hitters in the commercial dance scene. They are a fairly gritty bunch of left field innovators of electronic sounds. For all the people that stand in Hart Plaza .. there are as many people all around the world who bring their attention to the goings on in Detroit. Promotion is the evil brother of Appreciation, and by all accounts the DEMF has been a constant battle from day one. I just want to send love and respect to the Festival and remind everyone having issues with the event, that some of us are still struggling to hear any sort of Techno once a year. DEMF does bring global attention. We are listening out here on the edge. .simon
(313) Deep Space
All this talk about radio shows .. and Techno mixes .. got me thinking about Deep Space .. I used to have a bunch of the shows .. and I was sure I found a vault of them on-line recently anyone ' got any pointers .. .. On the RIAA . thing .. why doesn't the Techno community form its own group ' and set its own precedent for publishing on line. Probably fits nicely in the to hard basket .. But how else is niche scene like Techno suppose to make it in a digital environment thats melting down the majors and leaving new wake of independent to start the mole fight again. I'm not in the music business . but it seems to me all bets are off and the last one left standing will be downloading. .simon
Re: (313) New Mix Podcast . legal infos
You can also DL the mp3, you don't have to subscribe to podcast if you don't want to. And the crucial tracklist: Hey . all . (Adam this is not about your mix . .. just the whole area of net casts) Just wanted to ask the opinion of the list ' regarding the net casting of copyright (techno) musics ? I know that technically it is illegal ' in that you need the permissions of the artists to publish their music .. etc. However the DJ Mix has always been this promotional gray area for publishing copyright music. Now that we have entered the net-casting ' pod-casting era .. it changes the dimensions a bit, from a DJ handing out a Mix tape/CD to promoters and friends to the broadband access of many. So I suppose it comes down to a peer review again. Since as far as I know no one has ever been prosecuted for handing out Mix tapes. So does anyone mind the publishing of Techno mixes online ' Are the rules for making this okay ' that you publish a Tracklist and Links to artists pages where applicable? What if the site you are doing it through is making revenue from advertising on the hosting page? Obviously in the world of the net you can just do things, and get away with it. However here in NZ . our longest running Techno radio show the Stereo Nasties just got axed. So we are considering net casting the show instead and would hate to upset people or step on toes by publishing copyright music online in a DJ mix format, while making some revenue in return for hosting the show. Are there any legal standards for this? Are there any community thoughts about this ? Are there any label or Artists on the list who have views about this ? In one sense its no different from music played on a Radio Station ' except the Internet is different and highly undefined Is it streaming vs downloading ?! Any input appreciated .. .simon http://obscure.co.nz/profiles/steronasties
Re: (313) CD Mixers
Of course, for me, the idea of paying hundreds of dollars for something that REQUIRES you to have turntables in order to mix is kind of crazy. That only makes sense in Ubercoolische world, where the DJ equipment is something you specify in a rider, not something you haul up and down stairs. Once you learn to beat match in one medium it shouldn't be that hard to transfer the skills to a new one. IMHO. I disagree slightly with your view on the Serato / FS systems .. I have mixed on nearly every system available to beat match and pitch mix. I like all of them and would agree with the recommendation of the Pioneer CDJ series. Pioneer for all their little audio deficiencies, make very reliable gear that survives everything short of a Vodka Orange left to corrode circuits. The looping options are always quick and easy to use, with some of the models providing on the fly loop adjustment, loop memory .. etc etc. In regards to the Serato / FS systems .. I don't think you should underrate the tactile nature of a Turntable. One of the biggest issues with driving software ' or any digital system is the 'interface'. While the Pioneer CDJ1000 is pretty good for giving you hands on control of music tracks .. I find a Turntable is still one of the most physically rewarding mediums of control. The bonus of linking a Turntable into software is that you can access all the additional functions that digital provides :: Looping, FX 'cue memory. Obviously you can learn the feel and intuition of any system, but the biggest problem I see facing most digital musicians is the interface. The physical nature of playing a real instrument allows the artist to add all sorts of flavor into their performance. While I love digital and the extra dimension of 'tweak' the access to the 'tweak' is still a little clumsy or not as fluent as with familiar devices. To feel the weight of a Direct Drive Turntable under fingers is not really a comparison to the weight of a CDJ jog dial. I think DJ's are lucky that digital has been brought to our old medium of control in such a quick and seamless fashion. However all things are learned ' and all systems have potentials that others do not .. and spending time with equipment is the best way to get the most out of it. Ideally I like to have Turntables CDJ's and use everything ' hot starts loops ' and the run run crackle pop of vinyl ' its all toys ' its all good. .. Common failures I have seen on CDJ gear is the buttons. Primarily the Cue button which gets hit the most. Another less common issue is the jog wheels getting jammed with dirt / grit / ash .. Beyond that I have bounced them on the road, poured liquid through them with out much of an issue ' other than cleaning and gaffer tape. And at the end of the day ' all you want it to do is work when you need it. .simon
(313) is this podcast speakeasy
wordy up . 313 its kind of that time again . new show on Psurkit.net this month I visit some of the regular CC haunts like Thinner .. Autoplate .. but farther in .. Kyoto-sounds are still dealing to my head ' with cotton brush dub ' sweeping dusty reverbs around the room Unfoundsound Records ' basically just go visit and have a listen . its good its worthy ' dry and clicks as rusty joint On the more glitch tone .. People on the list must know who AGF is ? .. well she has teamed up with Zavaloka ' to create a very unique and rich project combining their distinct skills into some of the best you can get your ears on .. Otherwise I encourage folk to not ignore whats going on in the net label world . it may be considered the illegitimate child of real music producers and lover .. But hey . some people think that about Techno Its good ' it free .. and its breathing new life into the stuffy anorak worlds of electronic music. Show notes, Web links and track list below. Aroha .simon Original Message Speakeasy 0X3 http://psurkit.net/show/speakeasy_0X3.php Consider ' the collaboration between two of our favorite artists ' as they collide nature and rhythm into this absolute pleasure. Further ' contained with a brief embrace of words in the certain sound of this performance. Turnstyle Suln ' once again adventure sweet into the depth of digital disorder. The hopes of this future reflective in the longevity of integrity. We build towards an evolution from this digital heartland. :: Visit www.zavoloka-agf.com www.thinner.cc www.flumo.com www.quietamerican.org www.unfoundsoundrecords.com www.audiofoundation.org.nz/remix.php www.kyoto-sound.com www.instabil.org www.one.dot9.ca www.nzepc.auckland.ac.nz/authors/hyde www.ropeswingcities.com www.pentagonik.de :: Tracklist KOHAJU -Zavoloka+agf / nature never produce the same beat twice Traces - Nulleins / Seven Spaces - [THN084] 491- Slick / Urban 90 - [FLM001] One-minute vacation for August 29, 2005 Greg Weddig ochentas hojas secas - barem / unhappy anniversary - [unfound13] Intermission - Nulleins / Seven Spaces - [THN084] filtrate - r d / Audio Foundation Remix Project Vague Times - Mr.Cloudy / Mr. Cloudy - [KY_D010] rennes le chateaux [stefanik edit] - Marko Fuerstenberg / instabil ep [instabil_07] gnossienne no. 1 - makunouchi bento / trcutu - [one020] Zone Red - Move D / 10/11 - Live At Johanneskirche [APL035] Cool and certain - Robin Hyde / Houses by the Sea : The Beaches - [Poem] ktx-1- milieu / songs we found in the sand - [rsc002] The Recurrence - Kairos / Coded Modulations - [pntg005] void - seph / aires buenos - [unfound 15] More Jingles - Sectorchestra / No Morchestra - [THN081] No More Bubbles Please - Randomajestiq / UnclassifiEP - [APL011] ___ Psecret mailing list [EMAIL PROTECTED] http://lists.psecret.org/mailman/listinfo/psecret
(313) more from speakeasy
wordy up . 313 its kind of that time again . new show on Psurkit.net this month I visit some of the regular CC haunts like Thinner .. Autoplate .. but farther in .. Kyoto-sounds are still dealing to my head ' with cotton brush dub ' sweeping dusty reverbs around the room Unfoundsound Records ' basically just go visit and have a listen . its good its worthy ' dry and clicks as rusty joint On the more glitch tone .. People on the list must know who AGF is ? .. well she has teamed up with Zavaloka ' to create a very unique and rich project combining their distinct skills into some of the best you can get your ears on .. Otherwise I encourage folk to not ignore whats going on in the net label world . it may be considered the illegitimate child of real music producers and lover .. But hey . some people think that about Techno Its good ' it free .. and its breathing new life into the stuffy anorak worlds of electronic music. Show notes, Web links and track list below. Aroha .simon Original Message Speakeasy 0X3 http://psurkit.net/show/speakeasy_0X3.php Consider ' the collaboration between two of our favorite artists ' as they collide nature and rhythm into this absolute pleasure. Further ' contained with a brief embrace of words in the certain sound of this performance. Turnstyle Suln ' once again adventure sweet into the depth of digital disorder. The hopes of this future reflective in the longevity of integrity. We build towards an evolution from this digital heartland. :: Visit www.zavoloka-agf.com www.thinner.cc www.flumo.com www.quietamerican.org www.unfoundsoundrecords.com www.audiofoundation.org.nz/remix.php www.kyoto-sound.com www.instabil.org www.one.dot9.ca www.nzepc.auckland.ac.nz/authors/hyde www.ropeswingcities.com www.pentagonik.de :: Tracklist KOHAJU -Zavoloka+agf / nature never produce the same beat twice Traces - Nulleins / Seven Spaces - [THN084] 491- Slick / Urban 90 - [FLM001] One-minute vacation for August 29, 2005 Greg Weddig ochentas hojas secas - barem / unhappy anniversary - [unfound13] Intermission - Nulleins / Seven Spaces - [THN084] filtrate - r d / Audio Foundation Remix Project Vague Times - Mr.Cloudy / Mr. Cloudy - [KY_D010] rennes le chateaux [stefanik edit] - Marko Fuerstenberg / instabil ep [instabil_07] gnossienne no. 1 - makunouchi bento / trcutu - [one020] Zone Red - Move D / 10/11 - Live At Johanneskirche [APL035] Cool and certain - Robin Hyde / Houses by the Sea : The Beaches - [Poem] ktx-1- milieu / songs we found in the sand - [rsc002] The Recurrence - Kairos / Coded Modulations - [pntg005] void - seph / aires buenos - [unfound 15] More Jingles - Sectorchestra / No Morchestra - [THN081] No More Bubbles Please - Randomajestiq / UnclassifiEP - [APL011] ___ Psecret mailing list [EMAIL PROTECTED] http://lists.psecret.org/mailman/listinfo/psecret
Re: (313) 313 southern tattoos?
since spring is just around the corner here damn ' down here the light is fading . Ski Season Passes are selling out .. we are a breath away from winter ' snows dusting the hills . Anyone else 313 south of the 42 parallel . // and yea no tattoos ' or piercings ' or jewelry just gaffer tape stuck to my shoes .simon
(313) Mills - Blue Potential interviews
Hey . Does anyone have the expired clips of the Mills interviews from the Uncivilized World . site .. Or know where to get them .. ?! Also ' if they are around in a format other than WMA ' cheers .simon
(313) I love Psurkit !
Yea ' times up for another Speakeasy netcast on Psurkit.net infact ' everyone is doing mixes these days . so I would just flip to the links and surf some cool net labels. Recent finds that I like . are phoniq.net .. with a variety of sounds ' but a fair few chunky numbers for late night train jobs. Also minlove.net .. is feeding out some fine glitch driven house types sounds .. makes me feel like early Gemini stuff with the chug chug wallop ' From recent discussion around ' minimal ' scene killing reverb dubs check .. kyoto-sound.com matching this pace space . similar cuts from instabil.org Oh . and . oh . and .. I guess just listen to the sounds ' pick up the vibe you like and follow the links .. It's not so lonely on the net ' really .. .simon .. Speakeasy OX2 http://psurkit.net/show/speakeasy_0X2.php :: Visit www.kyoto-sound.com www.instabil.org www.uran97.com www.acediamusic.org www.thinner.cc www.minlove.net www.quietamerican.org www.drumbuddy.com www.phoniq.net www.heavy-industries.net www.earlabs.org :: Tracklist Night Dub - Mr.Cloudy / Mr. Cloudy - [KY_D010] friction dub [daniel stefanik edit] - hieronymus / kyoto digital [instabil_08] Musikstueck - K.Fog / Winterproof Tones - [uran97_030] digitalkamerad - Florian Filsinger / King of Verlieren [am038] Uhoidokalo - Randomajestiq / UnclassifiEP - [APL011] Err9r-Prone - Dafluke / Sushitech Err9r - [mnlv 04] One-minute vacation for October 17, 2005 - Tim Cabassi / [Field Recording] Extended Scratch - Quintron / Drum Buddy 487 - Coax / Solaris - [am037] One-minute vacation for August 1, 2005 - Fluffy Pennyfeather [Field Recording] Cancin De Cuna (Receptor Mix) - Alta Infidelidad / Cactus Y Volcanes - [THN083] Forseen Movement - Anton / 1 - [PHQ010] Muted - Ryan Jones / phase02 - [hi010] Lava - urban force / input/output - [instabil_02] Sig Tango - Livelectro vs Elena Nikitaeva / More Dots of a Certain Sound - [es10]
Re: (313) New Rhythm Sound forthcoming...
It's interesting .. but this sound .. the minimal dub'esqu vibe .. was accused of killing the NZ Techno scene recently. We have been trying to revive the sound of techno here for a while. Since around 96 - 98 ' there has been little to negative action on the Techno front .. and in recent discussions on a local list .. it was mooted that the shift from long play hard bangers to more reverb shifting dub scape's .. killed the floor . and subsequently the scene. On the flip .. it's as if the vibe purposely went below the filter line to hide in the rusty clicks ' and tingling echoes .. waiting while the storm of utter crap to blew over .. Can we expect ' some point soon where the inverse will occur .. Where emerging from the timber of space hollow chambers ' the soul shifting damage of relentless rhythm lines unleash a new focus on this techno belief. .. da . it's an awful lot that you expect from one record these days .. but ' i never accepted the word seminal until I grew up .. .. break out the love ' and let the bass shine through .simon
Re: (313) Rhythm (or) Sound
break out the love ' and let the bass shine through .simon My take would be that these downtempo dubby songs are the perfect warmup for moving into uptempo warm dubby things, detroit techno, etc. Many people associate techno with bang-bang-bang-bang, but this would be a perfect juxtaposition to show them the difference with the maurizio/rhythm and sound/basic channel/ chain reaction/juan atkins/infiniti/terrence dixon/robert hood/ redplanet et al that have a meditative dubby quality and yet are great for dancing to. We did arrive at similar conclusions .. that the success of presenting Techno in its width and scope was in how you programmed the evening .. A common factor with nearly everyone I speak to is the bang bang bang bang misunderstanding of the sound .. VS. the penchant for old school techno Dj's to play something interesting (melodic/clangy) instead of dance floor orientated .. I suggest it goes further to the fact that Dj'ing is a skill being constantly underestimated. Especially in regards to presenting techno .. which in truth requires a true understanding of pitch, tone and rhythm .. For the fact that most Dj's i know never quite understood in a musical technical sense what someone like Jeff Mills is doing when he plays .. I think even outside selection .. much needs to be explained and expressed about the methods of playing the music .. in order for new generations to appreciate it. In NZ in particular .. a whole generation of dance heads have missed the particulars finesse of properly presented techno. Infact ' nearly all Dj's I hear today adhere to strict beat matching policies .. working the 32 16 to perfection .. instead of reaching deeper into sonic conditions to find the harmonics shifting point. Wild Pitch ' Pitch Mix ' the drop ' the cut ' Are people experiencing this out there ? Have we gotten over the sloppy attitude of I don't care about the mix .. I just play the music I can appreciate the approach of the collector ' valuing each tune for its content context .. but are we going to see a rebirth of the musical DJ ' someone in tune with the records ' the sound system and the technology. as per usual . I feel the music is brilliant .. where as the culture and understanding of the music as a condition mind is lacking. Classical music is strict and precise in its interpretation and representation of the music .. while techno contains complexity and depth to equal comparison .. we continue to digress our knowledge into 'bang bang bang How does the future evolve ? .simon
(313) NZ techno ' . kind of .. .
Um .. nah . different Salmonella Tiki is different I live in Queenstown .. which is right down south .. which does not have a techno scene at all .. apart from my lounge . heh as for the nationwide scene .. we have had several visits in the past years .. um .. Carl Craig, Sutek, Superpitcher, monoake, Micheal Mayer Andy Vaz .. . and a few others . most of which I have missed .. but i did get to play with Carl last Feb. https://www.obscure.co.nz/gallery/one_city_with_carl_craig https://www.obscure.co.nz/gallery/superpitcher Of course .. Recloose is almost local now .. living up in Wellington and Fat Freddys Drop . could almost be considered Techno having played in Detroit two festivals ago .. on the production front .. Simon Flower from Nurture Recordings is keeping things alive .. Most of the scene is based around Auckland .. with some regular nights and occasional parties .. but attendance is low and motivation wavering alot of the time .. Otherwise on a more electronica level .. the impeccable Pitch Black and global runners Antix .. Probably the most enduring artist is Son Sine aka. Rotor +, Epsilon Blue And Alpharythm from feral party roots. The NZ sound becomes infused very fast with other styles .. which I think is well represented through current Recloose sounds .. and the works of Pitch Black which are heavily dub influenced .. while Antix dissolve into breakbeat trance areas .. There is a growing laptop scene .. with the usual bleeps and glitch. Also several young producers on the cusp .. many are absorbed into Loop recordings .. which have a very broad musical profile. I guess the most appropriate term from NZ is electronica . and not Techno ... while we love the synth wash .. we can't avoid our island roots and return sweetly to the dub infusion .. Also our experimental history is strongly based on indy guitar rock and industrial noise .. so the resulting fringe of banging techno never quite makes it into popular divide. The most defining and seminal techno artist from the NZ scene Mechanism / Micromnism .. has become a Hari Krishna Otherwise in the pure Techno sense .. you must visit LRS creator of Obscure.co.nz and the Fun Poison party brand. https://www.obscure.co.nz/profiles/lrs http://funpoison.com/ Have look through the FP site .. as it provides a really good history to the Wellington Techno scene from all the way back in 1993. Special love must be given to the Stereonasties .. https://www.obscure.co.nz/profiles/steronasties Who are the most continual committed and passionate girls for the most grinding hair raising techno performances .. playing four deck carnage to make the hardest player weep in submission. hmm .. when I write it all up there is an awful lot on our cards .. its just currently we don't have an audience ' that is connected enough to provide support. Action . taken has been to start a NZ specific techno mailing list called 909 .. and attempt to connect all the NZ producers, promoters Dj's and supporters in one space .. This action is supported through Obscure .. which is also driving a mailing list of a similar nature in Australia. Touring internationals always share dates with Australia .. so we are trying to create a more cohesive network to better facilitate visiting artist reaching all centers .. Further to this .. FP connections run deep into the Japanese scene keeping the channel open form Asian scene to interact. We are also working on direct detriot connections .. and some infiltration into deepest Europe. The individual passions are very high in NZ .. with many past and current players working all over .. Halogen Girl one of the original Techno DJs from early 90's now works with the Red Bull Academy. Flic . one of the perveyors of detriot chicago sounds in welly, is now a mover in the London hip breaks record scene. .. and the list continues .. my connections are varied and sporadic . with a terrible ability for memory so do not consider this definitive . but more a random thought flow about our scene .. blah .. simon Andrew Jackson wrote: Is that Tiki, ala Salmonella Dub ? if so that would be interesting :) btw. to Simon Kong, which part of NZ are you talking about ? am interested in the scene over there atm. peace. On Thu, 2006-02-02 at 10:47 -0500, [EMAIL PROTECTED] wrote: Just noticed these minimal details from the Basic Channel website. Anybody have promos of this one? I'm eager to hear it! Rhythm Sound: SMY Remixes #1 12 (BMX-1) 2006 Tracks: - Let We Go (Villalobos Remix) - Truly (Vladislav Delay Remix) - Boss Man (Tiki’s Pure Blue Remix) release date Feb 06, 2006 info taken from: http://www.basicchannel.com/item/BMX-1 Lance @ Inaudible 6099 Creekside Lane North Ridgeville, OH 44039 United States
Re: (313) What are you digging right now ?
Anyways, always glad to see a netlabel going out of the shadow world of nerds hahha net label = nerd .. ?!? got to confess all i listen to is netlables .. here are some of the release that I'm stuck on artist / album - release Leif / Moonlight Dub EP - [txtn011] Various / darkfarmer - [txtn009] Various / concept ep - [am018] Marko Fürstenberg / Classics - [THN078] Tristan Polar / Boobcube E.P. - [EPS03] la place au soleil / White Rabbit - [SN023] Vincent Casanova /Cosmic Bikini Ep - [EPS15] urban force / input output - [instabil 02] .. I could mention a whole lot of singles .. but these are whole EPs or albums that I really enjoy. Net labels are moving pretty fast in terms of providing excellent sounds and depth. I have been tracking them for almost two years now .. and its some real strong labels are starting to emerge .. If you haven't taken the time to checked some out I would highly recommend it .. your bandwidth doesn't suffer to badly if you start in the right places. South America seems to be quite a hotbed of electronic ideas, catching up fast to the German ethics of minimal col! .simon
Re: (313) The return of yet another oldie....
Just listened to the MOS 2006 annual .. lets just say .. going back to the oldschool takes on a new meaning Heaven 17 is all good .. when a really don't mind remembering how long this has all been going on for .. but keeping with whats really going on .. managed to put together a new speakeasy podcast .. so check it if you are interested in net labels .. and sounds from the ether .. did I mention . Marko Furstenberg . still feeling all about Peter F. Spiess want to get icky in minamil . see: Pellarin Speakeasy 0X1 http://psurkit.net/show/speakeasy_0X1.php :: Visit www.acediamusic.org www.nzepc.auckland.ac.nz www.stadtgruenlabel.net www.instabil.org www.thinner.cc www.bevlarmusic.com www.ideology.de www.textone.org www.yukiyaki.org :: Tracklist Track 38NN q perfect manchurian candidate - lonny lord / concept ep no.4 - [am018] War ' Childhood - Riemke Ensing / Aotearoa Sound Archive Cellar - Gate Zero / 6 Rooms [gruen013] Track 40 -NN / q untitled #2 - urban force / beyond the forces - [instabil05] Reactor3 - Marko Furstenberg/ Classics- [THN078] Porn Infection (Remix) - Marko Furstenberg / Classics - [THN078] ailo - coax / solaris - [am037] Lamb's Bread - Nattvaktaren / [BEVLAR S12] And that's that... - Cuebism / Gifts from the Gifted - [id005] Video Key - Peter F. Spiess / Rheinpark Liebe EP - [txtn006] Dependency 5 Cigarette - Pellarin / Dependency 1-6 - [ykyk001] like caustic lights bending backwards - Off The Sky / Caustic Light [APL033] Blaauw, Martijn de wrote: Here's some news...next to Propaganda, Nitzer Ebb and Heaven 17 another act back on track, i kinda liked them back in the dayzzz...dunno if a reformis needed though:-)...did/do some of u on this list like them???
Re: (313) Detroit / Insomnia
To much .. I remember finding this site years ago as well .. and it pretty much hooked me on to 313 .. etc . What really excited me was people writing about Techno .. not just music and names .. and parties .. but someone writing about ideas behind the music .. and culture of Techno .. Even today no one really talks about Techno culture .. we talk about records and labels and dj .. and producers .. etc .. which makes the culture this site got me really interested because ' here was someone on the other side of the world .. drawing similar conclusions to me after getting involved in the music .. either it was some fluke of freak .. or the music really can communicate complex ideas .. rhythmic coded tonal knowledge I guess its all a bit hippy ravey to consider these concepts .. however if you look into where current research is taking us in terms of understanding the human brain .. and social communication .. etc .. blah .. I for one still have a very strong relationship with the ideas that dancing and rhythm are really good ways for establishing community .. and beyond this practicing or experiencing .. ways of existing together .. . I used to be involved in large scale out door events .. for upward of 10'000 people .. in hind site these were real interesting experiments into micro societies .. We tried to establish self sustaining fully recycling social environments .. and failed in rather spectacular ways .. however these were safe places to experiment with new ideas .. city developers everyday try and push society in civilizations ' and fail but in rather unsafe ways .. getho dreams .. its interesting to note in my life .. that many of the people I used to party with `10 years ago .. are out in the community generally leading or working on a day to day basis to improve life, society, culture .. while we do get hooked on the music . etc . etc .. I think the merits to techno always remain in the thinking commentary it provided .. it is always more than the party, or the weekend .. its about a way of life, or process of exploration into your environment .. its living in the future . with hope .. not dispare .. // bah . so thanks .. wildteck . for pulling that out .. waking up my brain .. making connections into the past to save our future .. .simon I Wildtek Concept / DJ Dimitri Pike wrote: My insomnia is not bad at all... Browsing web and found one of the first websites that generated my passion for Detroit... Not visited it since too much time. All is there. Are the guys behind still on this list ? http://music.hyperreal.org/d.part/ -- Dimitri Pike http://wildtek.free.fr http://wildtek.blogspot.com http://313tm.blogspot.com
Re: (313) The more things change
i think techno lost it's ability to innovate or influence.. perhaps because we're all too critical.. Hm .. I think the criticism is keeping techno alive. Every time someone plays me new dance music all I can hear is the influences or lack of .. from Techno. The more I listen to the sound and listen to the ethos develop the more I realize that Techno is the Jazz of dance music. This is obvious for so many reason, but I think the positive note is that because of this the music will survive, it will grow and change and evolve. I think criticism implies passion. I don't like listening to crap, and tend to voice my opinions, especially in clubs and to Dj! While in the moment I have gotten many dirty looks and jaded treatment .. ... time rolls around .. and a year later ..I am making the same comment to the same Dj in the same club . but pointing out to them how their sound has changed and or not .. because of XYZ .. .. slowly .. in my life .. friends and associates are staring to hear what I am listening too .. start to understand their own musical histories and begin to realize where the roots of sound really are. I have noticed in my dance world that while many people don't quite understand the music I play or talk about .. there is a developing level of respect for the approach I take to the music . to the sound .. This is not something about me .. but about Techno and the mindset you develop as you start to love the music. I mindset towards innovation, history, legacy and culture. In the simplest way you grow up from being just a dancer into a dancing music lover. Jazz is a sound unique, that has a culture of its own in the music world. Everyone knows what jazz is, but many people don't like it .. in many similar ways to that people don't like techno .. But Jazz has a legacy of artists and fans with a uncompromising approach to the music .. a deep set passion to the essence that makes the music. You experience this externally as attitude, or criticism, jaded behavior. This is what keeps the music honest though, keeps it fresh, keeps it alive. It keeps the music from becoming everything else .. Eventually people seek the music out, they come in search of the honesty of the passion, of true music lovers. People seek out a richer connection to the music to the dancing .. I am involved with many different sounds in the dance scene, and for me it is the discussion the critical appraisal, the defensive behavior that keeps it interesting keeps it real .. keeps it connected to the music. Frankly I'm not really interested in collecting the records, playing the records or even making them. I am interested in listening to the music, learning from the music, and expressing myself to the music. And I have always been willing to protect the integrity of this process by being critical of music that is not suitable for this practice. If the music is fraudulent, trite, chart filling crap I have no problems indicating to those present the thin veneer of its substance. However if the music is good, if its true, you'll just find me dancing !! Don't even get me started on innovation and influence .. haven't you figured out that when any other style of dance music gets lost .. they listen to Techno .. .. cut a loop and run with that for the next sixth months .. ahahaha .simon
(313) Reporting ' Carl Criag
Hey ' all . here are my photos + words from Carl Craig ! http://obscure.co.nz/gallery/one_city_with_carl_craig There are some more photos coming in from around the country ' will keep you posted. Obviously photos of party kids in other countries is kinda hard to quantify .. but have peek anyway. There are no up close photo's of Carl, cause I hate to pester people with cameras/flash when they are playing .. / My brain is still buzzing . music looping . thoughts are awoken and ideas reinvented .simon
(313) Carl Craig '
Well ' I love Carl. The short order of the gig in Christchurch. Apx 30 people paid to get in. Carl turned up smiling, and played for three hours. It was real it was so solid, and ever person in the culb was dancing. I'm so tierd, and a but fuzzy. We drove 5 hours each way and worked either side to see this happen. Thank you Carl for giving us your love. .simon [EMAIL PROTECTED] wrote: Oh, I forgot to say about this: (what I wrote) good djs dj for the people. you know the ones they are there to entertain? and then simon kong wrote: Techno used to have some balls. People used to stand in front of sound systems out of fear and admiration of what the dj was capable of doing. snip Shouldn't a djs make your hair stand on end?? I forgot to say that maybe you mis-understood my comment a little. I was kinda trying to say, that if I'm going to pay a load of money to get into a club, which has in turn paid that dj a load of money, I want to be entertained. and, well, if its me that needs entertaining, I wanna hear them playing something crazy, something that will make my hair stand on end. so, I agree basically. oh yeah, my mate was playing the new frantic flowers jamal moss over some mad beats from an ibadan record on saturday. and that sounded crazy! and my hair stood on end! _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
Re: FW: (313) Carl Craig '
all words well spoken! kong for king If you don't say it ' it doesn't happen. I've got more you can read, but it starts to sound like one man with a big trumpet. Also .. I thought I should point out that the last time Carl Craig played in NZ . was 1998. Between then and now the I can count the number of Techno Artists who have come to perform here on one hand. Often they play in the main centers. I don't currnely live in the main center. My physical connection to the muisc, is limited and sparse. So I have alot more time to think about it, than dance to it. And to provide more perspective' I have been siting in a Insurance Finance conference for three days, surfing a high speed wireless connection for free. Currently I am in control about about NZ$60'000 worth of Audio viusal equipment. My primary activity for the day is to turn the lectern microphone up and down! (Challenging!!!) Boredom / unsated passion + 313 = diatribe http://www.kongisking.net/index.shtml
Re: FW: (313) Carl Craig ' ( Fabric)
I'd heard several people say
they'd seen him and he was rubbish before but I thought they were just
knocking someone who was big ('cos people do that y'know!) but I guess he
must just be inconsistent to the point where the word is an understatement!
Thanks all for the feedback '
I asked cause this was the vibe I was feeling about Carl.
However, I understand that he is an Artist foremost and DJ last.
My thoughts are towards the fact, that Carl Dj's for himself not for the
people. He is an artist. Dj's are a commodity.
My initial attraction to dance music, was the liberation from the musical
conventions that I experienced in clubs and band gigs. The music was wild
unfamiliar and unpredictable.
This changed as the rave scene established itself, and a status quo began
to form amongst the popular djs. Effectively common denominators started
to govern the output of djs and events.
Around this point I moved cities, and discovered Techno in an urban form and
was rapidly propelled back into unfamiliar and unpredictable sounds. Suitable
I was delighted.
The interesting fact that I found though, was that the conceptual approach of
these 'techno djs' was about the destruction of the conventions. Connected
with a real desire to explore the abstract and edge of reason.
These concepts have been firmly rejected by popular dance music.
Dance floors of loaded people ' refuse to be challenged. They want to be
whipped, teased and fondled. Not rudely interrupted, lead astray and quietly
reminded of their insignificance against contrast and beauty.
Perhaps in an in-direct manner, and in the true form of an Artist, Carl is
being honest. He is performing in any manner that he sees fit.
And while this yields the greatest potential, unmatched by convention. It
also can revel home normal and human the whole process of being a dj is.
The pensive sensation I have about seeing Carl play far exceeds any emotion
I have had about other djs.
His actions, his music, have always made me keenly aware of the music.
My concerns, and desires for him to perform a fantastic set are all selfish.
Right now I am thanking Carl for making me articulate thoughts that I have had
for years about dj's and dance floors.
I will be turning up to see Carl play because he is a great musician and a
unique
individual. He makes djs look good! When really we are mostly a bunch of
disc jockeys.
There is next to know one who is actually giving dance music and dj'ing
real intellectual, conceptual, and spiritual merit today.
With out these things, its all gone pop!
We all place to many conditions on music and dj's. Carl is ignoring all of
this
and establishing his own conditions. He doesn't let you down. You let
yourself
down by not listening to his art.
(don't quote me i'm thinking out loud)
Feedback and photo's from the Thursday gig over the weekend !!
.simon
Re: FW: (313) Carl Craig '
good djs dj for the people. you know the ones they are there to entertain? Techno used to have some balls. People used to stand in front of sound systems out of fear and admiration of what the dj was capable of doing. We have gone soft, the audience are in control. They know all the tricks and are no longer impressed by the pony you show. / At least there is some controversy surrounding Carl. Where are the risky artist? What I see is alot of very consumable photo friendly dj's with great portfolios. I'm not after a revolution, I just want some content. Some substance that will evoke some response from my co modified life. / These kinds of arguments, always de-volove into standard practice models for assessing popular music. Techno music in its origins was about futurism. Using new technology to to express new ideas and explore new paradigms. I don't wish to establish some sort of elitism. However I think there is inherent value in asserting some form of conciousness with the music. I can let my hair down every night of the week to any number of djs. Shouldn't a djs make your hair stand on end?? .simon
(313) Re: [idm] Ilustrating a girl : where to begin?
I always thought Blair Witch . was a great movie for making people aware of audio . . the camera is so raw in that film . but I remember realizing halfway through that their had been no music, only 'real' sounds .. didn't like the movie much .. so closed my eyes and listened to what was going on .. .simon John/Slackonomics wrote: On Mar 9, 2005, at 4:53 PM, Theorema Binario wrote: Apart from the music, i think i will show her some movies, specially Dancer in the Dark. I remember this film turns me deep into sounds and related stuff. Do you know any other movie like this or that could help? God I hate that movie. I love Björk, but that movie seriously sucks ass. It was one of the most boring and dull movies I've ever had the displeasure to sit through.
Re: (313) Carl Craig '
This is the vibe I'm getting .. No one really seems to want to talk about him. He's obviously not Techno enough for some around here, and to avant garde for the art crews ? is their no really no comment .. or do people not want to discredit a famous artist for being to 'off' / In my brain i'm expecting soul / jazz collages of stringy loops and a fetish in abstract order . I'm looking forward to a great performance that will challenge people but not alienate them. Not that I'm relying on Carl, but we need a bit of a shift in music consciousness in our area, if our dancefloor wants to progress. We are stuck in a loop devoid of substance, remixing our ideas into boredom and mutiny ' This year is the 10th anniversary of alot of the original old school dance crews in the south island of New Zealand The old feet need to be reminded of why this is about the music and the dancing .. I think. .simon Tristan Watkins wrote: Depends on the night really. He's all over the map these days, but sometimes it doesn't all come together. Others he's *on*. Tristan === [EMAIL PROTECTED] http://www.phonopsia.co.uk Original message Subject:(313) Carl Craig ' Author: Simon Kong [EMAIL PROTECTED] Date: 12th March 2005 2:48:24 Hey all, Carl Craig is playing in New Zealand this month ' Has anyone seen him play recently? What should we expect. I know his Tech rider asks for: 3 x Turntable (using Final Scratch) 2 x CDJ's .. This is exciting for us we don't get artists like Carl down this way much. .simon
Re: (313) Carl Craig '
i certainly wouldn't miss him in a good venue with a good crowd. (though given his name, he's also apt to play at big nightmare clubs. noticed he was at turnmills when i was in london a couple weeks ago.) cheers thanks for that feedback . we will be in a fairly small club ' 250 / 350 pax it's so touch and go down our end of the world, it's been a long time since a house/techno international even played in the south island. Christchurch is traditionaly a DB city from way back. . I'm lucky enough to support Cral in CHCH, so I've been sweating over a hot turntable ' tonight to try and remember what records sound like mixed .. gack' also doing some lighting production for the event 'and helping my mate with the sound setup ' i think we should end up with about 10 - 14K of sound using double front loaded 18 subs with folded bandpass 15 subs and some 12 and horn ' mid top boxes / i was well impressed with the way Carl used the sound system last time I saw him, so we are trying to keep heaps of headroom . and depth in the sub Ha ' it all sounds so meger ' but it's exciting times in the antipodies I tell ya . .simon
(313) Carl Craig '
Hey all, Carl Craig is playing in New Zealand this month ' Has anyone seen him play recently? What should we expect. I know his Tech rider asks for: 3 x Turntable (using Final Scratch) 2 x CDJ's .. This is exciting for us we don't get artists like Carl down this way much. .simon
Re: (313) best downloads of 2004/2005
I'm still getting good mileage out of speedyj rmx page ' http://www.speedyj.com/newsite/rmx/index.html. I' have no idea how old they are or what .. but I have some remixes that I got about 8 months ago that I can't find on there anymore .. so there must be some rotation . going on . .. I've also been enjoying creating my own download' (netcast) speakeasy @ www.psurkit.net it's a bit of a giggle and something to do on my saturaday afternoons .. give six months and this will be all the rage ' .simon [EMAIL PROTECTED] wrote: i was browsing through the best downloads of 2003 emails that i've got from 313, only to find most of them out of date. who'd have thunk it? i'd like to update this thread if for no other reason than to give me some more stuff to listen to while i write. peace lks Dr. Lester K. Spence Assistant Professor, Political Science and African Afro-American Studies Washington University Kellogg Scholar in Health Disparities 2004-2006
Re: FW: (313) woooah, hold on a second,
Alright ' I'm using AudioHijack to hijack the realplayer. I have downloaded the .rm file, loaded it into AudioHijack, which then opens realplayer Realplayer, plays the file while AudioHijack records it as an MP3. / All I need now is a way to distribute it ' I haven't figured out how to load stuff onto a network so that specific people, like the peeps on this list can access it. Suggestions ? .simon Greg Earle wrote: On Mar 1, 2005, at 4:47 PM, [EMAIL PROTECTED] wrote: well not that clever francis. just dl the file that is linked of the button and then read it. that's the address of the full .rm file OK I was setting myself up using the word clever. Things just seem clever to me because I'm not. Easy enough to find the proper address of the .rm file (I think you mean as opposed to the .ram 'presentation' file?) e.g. http://www.faithfanzine.com/mixes/DMAY_kiss.rm The actual direct link to the 11.8 Mbyte .rm file for the KISS mix is http://www.faithfanzine.com/mixes/derrickmay_kiss.rm The direct link to the 29.4 Mbyte .rm file for the Sunday Service mix is http://www.faithfanzine.com/mixes/ Derrick%20May%20Pure%20The%20Sunday%20Service%201993.rm (In case that got automatically line-broken, you may have to cut'n'paste) but then how do you download? (you'll have to spell it out for a non-clever like me) [10:06] nightowl:~/Desktop % uname -a Darwin nightowl 7.8.0 Darwin Kernel Version 7.8.0: Wed Dec 22 14:26:17 PST 2004; root:xnu/xnu-517.11.1.obj~1/RELEASE_PPC Power Macintosh powerpc [10:06] nightowl:~/Desktop % curl -O http://www.faithfanzine.com/mixes/derrickmay_kiss.rm; % Total % Received % Xferd Average Speed Time Curr. Dload Upload TotalCurrent Left Speed 100 11.8M 100 11.8M 0 0 437k 0 0:00:27 0:00:27 0:00:00 438k Everything's easier on a Macintosh :-) Actually what I meant by 'you need clever software or a cleverly set up PC to download or rip' was even after you've downloaded (the bit I find I can't do) you either need something like Streamripper to get it out of the .rm format or a PC that can store as .wav, .mp3, whatever, anything you play on it. MPlayer will do it. There's a beta release for Windoze at http://ftp5.mplayerhq.hu/mplayer/releases/win32-beta/ It's very easy to transcode Real streams to something else in MPlayer from the UNIX command line (Macs, Linux boxes, Solaris et al.) but I've no idea how you'd do it in Windoze ... - Greg P.S. To any Mac users, it looks like Real released a new version (v325) of RealPlayer 10.0.0 (a new RealPlayer10GOLD.dmg disc image) ...
Re: FW: (313) woooah, hold on a second,
David Gillies wrote: There's heaps of 313'ers who use Soul Seek. That could be cool. or perhaps a bit torrent? ta ha ' yes . but how exactly do a I make it available to you through those networks . I need to go away and do my homework ' I have slsk on my mac . but not the bit torrent .. basically have stopped using them cause it's boredom and awfully more'ish / also is it true that slsk has stopped giving out usernames !
Re: (313) podcasting
We (Psurkit) just started a podcast ' website I am going to try and do a weekly on Techno. cue: request for information Well no' suffice to say this list is a large amount of my inspiration and motivation to broadcast to the general public concepts and info about the global techno scene .. either way podcasting is fun and should be had by all ' I expect podcasting / netcasting will be the inevitable future of media . so lets get in there now before all else and use it !! anyway please feel free to check out my first netcast and bookmark the page if you are interested in NZ .. http://www.psurkit.net love .simon Matt MacQueen wrote: http://www.ipodder.org/whatIsPodcasting On Feb 16, 2005, at 8:27 PM, Gerald wrote: Podcasting!! What the hell is Podcasting! I must've missed the memo. :D Gerald, it's the new way you'll syndicate your awesome mix show content to people who'll 'subscribe' or syndicate your feed... :) http://www.ipodder.org/whatIsPodcasting http://www.engadget.com/entry/5843952395227141/ Doc Searls may have said it best: “PODcasting will shift much of our time away from an old medium where we wait for what we might want to hear to a new medium where we choose what we want to hear, when we want to hear it, and how we want to give everybody else the option to listen to it as well.” DIY radio with Podcasting http://garage.docsearls.com/node/view/462 -- MM http://sonicsunset.com
Re: (313) The next leap? (was Radio Fries)
Um . we are starting netcasts from here in NZ. www.psurkit.net what is more commonly known as podcasting . A short audio show that is downloaded directly to your media player. .. I don't get much of a chance to listen to radio anymore. If I do it's from NZ radio stations that webfeed .. and even then my computer records it so I can listen later I do a weekly techno show on a local small band radio station that supports Dj music. However aside from doing my show, I rarely listen to the station. Hopefully the netcast will be a way to transmit music and idea's in a format that will fit into people lives. This is the important factor to a broadcast' is the peoples ability to access the signal . In NZ we are not far away from your mobile phone being the device that you would access your media. .simon Anton Banks (313) wrote: College radio is definitely where the diversity in music resides. The only problem is that college stations rarely have the kind of high power signals like the big boys have. With everything going digital I'm curious to see how receptive satellite radio will be toward fostering underground music. It is only a matter of time before radio will be to XM what broadcast TV became to cable. I hope new and diverse music doesn't end up on the wrong side of the technology divide. For the record, I have only heard bits and snippets from XM radio broadcasts so I may be a little off target. Anyone have any thoughts on the subject? Anton www.antonbanks.com -Original Message- From: Stoddard, Kamal [mailto:[EMAIL PROTECTED] Sent: Monday, February 07, 2005 10:35 AM To: 'Tosh Cooey'; 313@hyperreal.org Subject: RE: (313) Radio Fries I don't know what radio you listen to, but here in the atl, it's good. Dude, I heard that set and frankly, the excitement was more from knowing that jeff and garnier (techno old guard) still had the balls to play that stuff to the generally picky and elitist euro dance music crowds (yeh I still think dancing should be a learning experience). The music wasn't groundbreaking in it's programming or selection. I hear that kinda stuff on more than a few radio stations here (WCLK, WRFG, WREK, WRAS, etc). Completely deliberate eclectic programming spanning the gamut of music history. The reason this opinion of american radio persists is because of the ameriklan consolidation of media control. Clear channel dictates playlists for something like 70% of amerikkkan radio. College radio and independent (radio free) stations have always and (IMO) will continue to set the bar for wider consumption of eclectic and divergent tastes in this country. Total eclectisism may have been groundbre! aking when Mojo was rocking, but even though I wasn't in detroit back then we had More than a few cats who were doing the equivalent for our city. I remember hearing Kraftwerk, 2live crew, muddy waters, new edition, and parliament all in the same hour of less talk, more music. Now I'll tell you what was shocking, to turn on my radio in the car sometime last week (never do, I like the wind sounds) and hear a two hour set of drone and glitch ambient...at like 8:30 pm. Strange but true. Still not sure if I liked it though. ButI'll tell you what I do like! Joakim's remix of MR. No on New religion. Mr. Keeling!!! Please keep doing the thing you're doing with this label! The original is like italo horror core getting some in the bathroom at studio54. joakims version straps the beat down to a solid 4x4 and drops some arped synths that seem to compliment it in it's own rather than updating the sound per-se. Joakim takes a noticably lighter mood and the bass is clear and simple. Really nice. My kids really like this one too. :) Kamal K. Stoddard Turner Broadcasting Systems ** I am exactly what I wanted to become since I was 5 years old. Since 5 year olds are not noted for mature judgement and sometimes aspire to piracy or gunfighting, this is not necessarily a sign of success. ** -Original Message- From: Tosh Cooey [mailto:[EMAIL PROTECTED] Sent: Monday, February 07, 2005 8:36 AM To: [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: Re: (313) Radio Fries [EMAIL PROTECTED] wrote: do you have a link for the mix? Somebody else posted in to 313 in the summer, no idea where from... who cares what happens on the radio and other maninstream corpoate owned media - we now have the internet, cheap broadband and mp3s. i use my ipod like a radio. there's a wealth of great mixes out there. today i've -- But it's exactly this kind of elitism that marginalizes electronic -- music culture in America. I mean no matter how much somebody dislikes Tiesto, he can still play a mainstream radio show in Europe, but I can't imagine anywhere this would happen in America, Canada included. The homogeny and hegemony seem too strong. Maybe you're right about the internet, and maybe Europe is just 15 years behind
Re: (313) Carl Craig in Syd/Au + NZ
Looks like he's hitting Sydney for the Easter long weekend (as is apparently Garnier). Does anyone know when/if he's doing any other cities in Australia? ah ' carl . saw him last out in strange sports bar near Redfern same night I saw Claude Young and had my level lifted ! don't know Australia dates but I know Carl is playing in NZ Wellington and Auckland . . https://www.obscure.co.nz/events/carl_craig
Re: (313) No Movement 2005?
I'd pay $15 per day I think there is a real difference to events which are free and ones you need to pay to get into. The challenge to put on a free event for everyone is much greater and speaks alot more about what the event is trying to convey. Putting an entrance fee on it could result in a drop in attendance. Only the real fans of the music will go and many of the raver kids just looking for some music to practice their breakdancing skills to would shy away from it (possibly).
Re: (313) Can anyone help me out of this situation?
Break it out on the P2P .. isn't that one of the great advantages. Load it up on SLSK ' share it with your community and get viral on the distrobution .. Sounds like a perfect situation to expliot the postitives of P2P. .simon Anton Banks (313) wrote: I know this is a big order to fill but would anyone happen to have access to a website with some spare bandwidth? The audio of my shows featuring Dan Bell and John Tejada generated upwards of 11GB of bandwidth per day. The problem is that my website only comes with 40GB per month. I had to take the mixes offline to keep my site from going over the bandwidth limit. Once the site goes over this limit it will get shut down. I obviously underestimated the capacity that I would need. I'd really like to keep the shows available for people to listen to a little longer. Can anyone help me? -Anton www.antonbanks.com PS- For the record, I would gladly buy more capacity but I'm already in the hole for what I currently have...
Re: (313) P2P Future
This guy wrote a manifesto on the topic . saved me thinking to hard about it all . http://montemagno.typepad.com/p2p_manifesto/ You know the only person making money is the person selling bandwidth . I guess I know where to start investing ' eh Dr. Lester K. Spence wrote: On Jan 15, 2005, at 12:33 PM, Kent Williams wrote: As far as file copying, CD ripping etc, the piggies are out of the barn. Most DRM systems can be defeated pretty easily, and when all else fails, anyone with a good soundcard can make a high quality digital copy via analog loopback of protected digital files. So DRM is a joke. It only stops people the way a cheap bike lock does -- it deters the casual thief.
Re: (313) future ??
I think you are right' Living from your creativity is a challenge, no matter where you are. Perhaps P2P ideas are the great capitalist killer. Perhaps it is a good device for building global communities that exist in the minority. I am keen to see the ongoing effects of P2P on the dj scene market. Built into vinyl distribution, was the protection rackets that ensured the most popular dj's got the best tunes first. Also the whole process of limited release numbers weather due to finance from the artist or some direct intent, gave certain records a gem like quality. Due to P2P, I know of some instances where young djs have picked up a new tune before the 'star' club dj has the release on vinyl. So obviously today there is no preferred medium in clubs anymore, and track exclusivity has become a void commodity. Also we have removed the supply chain, we have removed the hierarchy, and loads of rare records are splintering into the digital ether. Meaning on one hand more people are gaining greater access to the music. And on the other hand we are destroying the structures that enabled artist to make some return from releasing music. The same structures that also held filters against the onslaught of mediocrity. / So in a commercialized society, where individuals do not exist with out the moral support of the majority. Certainly this would be the time to reinturperate the moral support of the majority. ack ' I could talk myself in circles all day. However P2P and the net has shifted the playing field, and I just feel that there should be a lot more discussion about new game plans and theories of action. I am surprised greatly that P2P is even being discussed on this list, when six months ago there was some fist fighting over it. Obviously everyone is using it . eh ?? Come on get out of the closet. .simon [EMAIL PROTECTED] wrote: Believe me, I'm concerned about this too, as I work really hard to produce my own music, and slave away at a dayjob mainly in hopes of having a little extra cash to invest in my musical endeavours. You have some interesting points to make. I guess that although I've been making/performing music since I was 12, the only times of ever made any money doing it were when I chose to pursue more commercial musical activities, such as playing piano on cruise ships (yikes!)... I'd love to make a living being creative, but I've always had doubts about the viability of earning a living solely by doing artistic and less popular types of projects. It may really have to be a labor of love for many. I'm sure that some out there with more business savvy than I can come up with ways to make money doing it though, through performance or otherwise. If you love it as much as I do though, you will find a way to keep doing it with or without income! On a different note, making money performing can also be extremely difficult, at least for those in a local market in the US (I'm in Chicago). This isn't just an issue with techno - I know incredibly talented jazz musicians who can't seem to make a dime playing. It probably has to do with a mass media culture that is constantly pushing conformity and very mainstream pop products on everyone. Sales and image really trump talent and quality these days (maybe that was always so), and most musicians would rather focus on their art then spending the majority of their time marketing themselves. Not only that, but here in Chicago there are far too many performers willing to play for almost nothing, so a performance is really not worth very much unless you are a big draw. Depends on the venue but it is definitely tough going. I don't know, it might just be being stuck in the midwest USA that creates a real sense of isolation - the only way I see to being successful is to have a ton of money to invest in promoting yourself on a big scale, as they say it takes money to make money. And a lot of independent artists and labels don't have the funds to do this. Which brings us back to P2P, and the fact that maybe for the little guy, it might improve your odds a little, and if you are going to be doing it for free anyway, at least it's easier to reach a diverse audience around the world. ~David -- Original Message - Subject: Re: (313) future ?? Date: Sat, 15 Jan 2005 11:50:20 +1300 From: Simon Kong [EMAIL PROTECTED] To: 313 313@hyperreal.org I've heard the 'try before you buy' argument before . and I certainly think it has merit' as I have gone through a similar experience with several pieces of software that I now own. However in the case of vinyl or music I have a few issues, with the suggestion that P2P will have a positive influence. I think the first and most important is the buying culture of young people. While file sharing has a potential to expose people to new music, if they can find the music they like for free
Re: (313) tons of tones / future ??
Alright ' I know there is no ethics going down on this thread. but it's starting to sound down right loverly ' this business of trading other people music without their permission .. just cause I'm friends with my drug dealer doesn't make it legal .. I guess I'm mostly wondering where all this is going to take us . Pitch Black ' NZ biggest electronic band have basically committed to never making money from an album due to the ability to copy and share their music .. It hasn't stopped them making music, but their love is our enjoyment. Six months ago . the word about P2P is that it will only hurt the majors ' but as we are all obviously willing to seek and share more obscure and leftfield music . where does that leave the minority players . . also only money being talked about here ' is going towards the development of a better file sharing network .. / please understand I'm not speaking against P2P I am just interested to see where people on the list believe this will take music and the artist ' as we progress down this path .. there may be some positive outcomes in the long run .. but currently ' if your music is good .. then expect for it to be handed around freely while people make friends in the process .. I'm not innocent ' just curious about future navigation .simon Thomas D. Cox, Jr. wrote: -- Original Message -- From: Simon Hindle [EMAIL PROTECTED] My favourite thing about slsk is the way you can chat with the people you're downloading from, and browse their other files as well. exactly. there really is a community based around it with many many cool people. i never just chat on the internet (im more a message board/email list kinda guy ;) but ive spent some time talking to people just learning about good music. tom andythepooh.com
Re: (313) future ??
I've heard the 'try before you buy' argument before . and I certainly think it has merit' as I have gone through a similar experience with several pieces of software that I now own. However in the case of vinyl or music I have a few issues, with the suggestion that P2P will have a positive influence. I think the first and most important is the buying culture of young people. While file sharing has a potential to expose people to new music, if they can find the music they like for free on a P2P network. Why would they then try and find similar music at a much higher cost in an specialist format (vinyl) or even CD. As mentioned the good sounds you find on P2P will most likely never be available at your local store. Perhaps only over the net, which requires a credit card .. etc etc. Not impossible but more difficult than search and download. While we grew up with vinyl, the general music listener under the age of 24 will not be as familiar with it or share the same affinity with the medium as an older person would. / My assertion would be that P2P networks are an example of the future of music distribution. How will new music producers develop income from their art? / I think it says exciting things about live performance! as this will be a distinct way that the artist can create income from their work. However, as the 'underground' (313) are we interested in following ourselves into a corner, or should we be willing to define the future of music distribution in our own networks. I think the free distribution of music will certainly inject life in to a very hidden sound, but will it also turn it into a labor of love for producers. What is Anarchy without respect ? .simon ps. this was typed listening to free music from http://www.rohformat.de [EMAIL PROTECTED] wrote: 1. I've never been concerned about doing things that are illegal, isn't that what makes underground, well, underground? Hey, I'm an anarchist though... 2. As I have said many times, I buy as many records as I can afford. I love vinyl. Soulseek does not change my record buying, it just makes me a better informed consumer. Soulseek actually increases my craving for record buying. The biggest problem is that often I CAN'T FIND MOST OF THE RECORDS I REALLY WANT in stores... Yes, people will trade your tracks for free and make new friends while doing it. BUT, they just might buy your record when they see it, which is pretty unlikely if they never heard of you before. I bet most true music lovers feel the same way I do. In the long run, I just don't buy that P2P will ruin the industry. I feel the same way about software. I would have never purchased a legit copy of Ableton if I hadn't tried it, really liked the product, and decided their company was worth giving my money too. My most recent craving is some stuff from Breakin Records, never listened to that label before, some wicked electro and acid. That actually stems from checking out a link to Cylob's live set off of his website. But I bet none of the local shops carry it. I really don't like internet mail order much, but I might have to do it, because distribution in the US sucks right now. ~David -- Original Message - Subject: Re: (313) tons of tones / future ?? Date: Fri, 14 Jan 2005 19:12:23 +1300 From: Simon Kong [EMAIL PROTECTED] To: 313 313@hyperreal.org Alright ' I know there is no ethics going down on this thread. but it's starting to sound down right loverly ' this business of trading other people music without their permission .. just cause I'm friends with my drug dealer doesn't make it legal .. I guess I'm mostly wondering where all this is going to take us . Pitch Black ' NZ biggest electronic band have basically committed to never making money from an album due to the ability to copy and share their music .. It hasn't stopped them making music, but their love is our enjoyment. Six months ago . the word about P2P is that it will only hurt the majors ' but as we are all obviously willing to seek and share more obscure and leftfield music . where does that leave the minority players . . also only money being talked about here ' is going towards the development of a better file sharing network .. / please understand I'm not speaking against P2P I am just interested to see where people on the list believe this will take music and the artist ' as we progress down this path .. there may be some positive outcomes in the long run .. but currently ' if your music is good .. then expect for it to be handed around freely while people make friends in the process .. I'm not innocent ' just curious about future navigation .simon Thomas D. Cox, Jr. wrote: -- Original
Re: (313) P2P
Well . I'm on a Mac . and I've tried several different types of programs. mostly use . acquisition . now but find it similar to shopping at K-mart music, you can get anything obvious easy . and everything else they have never heard of . . I have tried SS for mac a couple of different ways but spend more time trying to work it' than use it final verdict . it's easy enough to find original free music buy paying attention or a small fee to the artists, so trying to get what you want buy sifting through a 1000 crap titles is just like the old days of the record shopping ' eh More interested in the broader practical uses of programs like carracho hotline ' thats what the microsound kids natter about anyway sweet .simon C'mon folks, confirm the view of those who, on hearing about a forum on Detroit techno, think I bet they talk about loads of nerdy stuff on there.
Re: (313) plastic dreams
i remember that was one of the few rays of light during the rave era here (living in halifax, the music in the rave era that got played here was 95% of the crap); Actually this is a very similar story ' to my relationship with Plastic Dreams .. and most likely why it is more popular than it perhaps deserves to be .. it was certainly different to the general fodder being feed to us at the time .. I suppose its like . that 'Children' track .. while awful in its own life cycle' it was a doorway for the generic dancefloor to discover the other dancefloors available in more discrete forms locations .. Andrew Duke Cognition Audioworks wrote: Pascal Louwes wrote: Jaydee - Plastic Dreams? I've always thought of that track as highly overrated... Or does that make me the black sheep here? Paz i remember that was one of the few rays of light during the rave era here (living in halifax, the music in the rave era that got played here was 95% of the crap); in fact, i remember the first time i heard it, and i ran up to the dj and asked what's this 'organ track'? it was minimal in a murk kind of way. i'd be out dancing at the clubs to forgettable crap like james brown is dead and quadrophenia and 2 unlimited and the like and tracks like plastic dreams were like the few bright spots in rave sets of that era. glad to see it has survived (rightly so) and still gets play. ya certainly don't hear james brown is dead and quadrophenia and 2 unlimited et al any more, thank goodness. andrew
