Get a room already, this is 313 not Heat/Hello magazine...
m
On 16 Nov 2007, at 10:30, Frank Glazer wrote:
three videos showing richie hawtin's um genius??? ;)
http://www.youtube.com/watch?v=t9B9tjAaMs8
http://youtube.com/watch?v=b-n90BVhV_8
http://www.youtube.com/watch?v=fDvcevwVl8c
three videos showing richie hawtin's um genius??? ;)
http://www.youtube.com/watch?v=t9B9tjAaMs8
http://youtube.com/watch?v=b-n90BVhV_8
http://www.youtube.com/watch?v=fDvcevwVl8c
peace,
frank
dj mix archive: http://www.deejaycountzero.com
]
To: robin [EMAIL PROTECTED]; Joel Gajewski [EMAIL PROTECTED]
Cc: 313 Org 313@hyperreal.org
Sent: Thursday, November 15, 2007 5:21:54 PM
Subject: Re: (313) Richie Interview
i think the chicago guys were using 808s in DJ sets before mills started
using a 909 in his
- Original Message
]
To: Joel Gajewski [EMAIL PROTECTED]
Cc: robin [EMAIL PROTECTED]; 313 Org 313@hyperreal.org
Sent: Thursday, November 15, 2007 9:56:02 AM
Subject: Re: (313) Richie Interview
I agree, I like Richie Hawtin sets that are a bit less-extravagent with the
gear (ie the
mid-1990's). For me, it's almost
On 16 Nov 2007, at 14:04, The Archiver wrote:
Heat/Hello? Your favourite magazines Martin ?
Not at all, merely a comment posted with regards to the content and
the paradoxical similarity.
m
from DJhistory
Farley also had a big club, the Playground, where he emphasised freaky
Euro imports and the new rhythm tracks people were making. Here in 1985
he tried the technique of playing a drum machine (the boosted beat was
known as ?Farley?s Foot?) under old Philly records. Frankie
Heat/Hello? Your favourite magazines Martin ?
-Original Message-
From: Martin Dust [mailto:[EMAIL PROTECTED]
Sent: 16 November 2007 10:50
To: list 313
Subject: Re: (313) and thus ends the richie hawtin discussion Re: (313)
Richie Interview
Get a room already, this is 313 not Heat
from DJhistory
Farley also had a big club, the Playground, where he emphasised
freaky Euro imports and the new rhythm tracks people were making.
Here in 1985 he tried the technique of playing a drum machine (the
boosted beat was known as ?Farley?s Foot?) under old Philly
records.
-Original Message-
From: Thomas D. Cox, Jr. [mailto:[EMAIL PROTECTED]
Sent: 14 November 2007 21:28
To: 313@hyperreal.org
Subject: Re: (313) Richie Interview
but the dancefloor is a transient environment, the dj only
has to be
good in the moment, for as long as the club
Not that I'm trying to tell people how
to spend their money, but I can't help but feeling like when I buy
play
'Wheel Me Out' I'm a bit of a poseur, no matter how much I love the
track.
But maybe I'm just taking my turn at being the controversial mofo...
I think you have a point.
More
On 15 Nov 2007, at 09:21, robin wrote:
I think you should all keep in mind that the article is in Mixmag,
easy now...
Indeed, but no futurists on this list anymore?
I'm not sure, I was only thinking about this the other day and what
about Sci-Fi? Who is the new William Gibson/Rudy
I'm not sure, I was only thinking about this the other day and what
about Sci-Fi? Who is the new William Gibson/Rudy Rucker?
Most people are busy struggling to get through the day never mind
the future :)
Indeed and to a certain extent the future has arrived in terms of
technology and
On 15 Nov 2007, at 06:55, robin wrote:
Almost funnier then how hard this write jocks Ritchie Hawtin.
Just because Mr Hawtin picks up a piece of technology some one
else creates, doesn't mean he is Vasco de Gama discovering new
parts of the world. Every time I see references to that Dex
I think you should all keep in mind that the article is in Mixmag,
easy now...
Indeed, but no futurists on this list anymore?
I think the device looks fine as an iPod, but as a way to DJ? I dont
like things buried away in modes/pages so I'll pass.
robin...
Indeed and to a certain extent the future has arrived in terms of
technology and some forms of communication.
I don't think it has, we still know very little, even about
ourselves. Our future arrived like a real life whore, not the ones
featuring in Hollywood movies - it's hard not to be
As ever, define 'better'.
I'm not usually impressed, nor are you, but many are. As we both know,
the majority is always right!
K
there is an art to sample usage, the results are absolutely always
better
and carry it through for a bit
into the new track.
my .02
- Original Message
From: Thomas D. Cox, Jr. [EMAIL PROTECTED]
To: 313@hyperreal.org
Sent: Wednesday, November 14, 2007 11:16:31 AM
Subject: Re: (313) Richie Interview
On Nov 14, 2007 12:00 PM, [EMAIL PROTECTED] wrote:
It's
On Nov 15, 2007 7:39 AM, Odeluga, Ken [EMAIL PROTECTED] wrote:
As ever, define 'better'.
I'm not usually impressed, nor are you, but many are. As we both know,
the majority is always right!
if things are good, they will be listened to over and over (though not
everything that is listened to
I agree, I like Richie Hawtin sets that are a bit less-extravagent with the
gear (ie the
mid-1990's). For me, it's almost like he is concentrating on the technology
more than the crowd
connection. His sets were a bit more human, with a lot more fire back in the
day.
The Mixmag Live CD
Also, I don't think he claimed to be the first guy to incorporate a
909 (or any other technology) into his sets, and I believe in an
old metroTimes article he stated that it was Jeff Mills, who was
already using a 909 in his sets, that encouraged him to try it out,
too. I remember him
hesitant because he didn't want to be known as a Jeff Mills biter.
- Original Message
From: robin [EMAIL PROTECTED]
To: 313 Org 313@hyperreal.org
Sent: Thursday, November 15, 2007 12:55:57 AM
Subject: Re: (313) Richie Interview
Almost funnier then how hard this write jocks Ritchie
On 15 Nov 2007, at 09:39, robin wrote:
I'm not sure, I was only thinking about this the other day and
what about Sci-Fi? Who is the new William Gibson/Rudy Rucker?
Most people are busy struggling to get through the day never mind
the future :)
Indeed and to a certain extent the future
Sorry i have skipped a bit of the conversation , you all talk too much !
Whats sure is that in the 90s or early 2ks' Hawtin was showing skills on
3 decks, was playing the 909 even better than Mills IMO and he rocked
eveywhere he's been. And he got a solid tracklisting full of tribal
mixed
i think the chicago guys were using 808s in DJ sets before mills started
using a 909 in his
- Original Message -
From: robin [EMAIL PROTECTED]
To: Joel Gajewski [EMAIL PROTECTED]
Cc: 313 Org 313@hyperreal.org
Sent: Thursday, November 15, 2007 11:11 AM
Subject: Re: (313) Richie
PROTECTED]
To: Joel Gajewski [EMAIL PROTECTED]
Cc: 313 Org 313@hyperreal.org
Sent: Thursday, November 15, 2007 11:11 AM
Subject: Re: (313) Richie Interview
Given the later disco guys used 808s to augment disco tunes (which is
what became house) I doubt even Mills was the first to use a 909
Yep, was known as Farleys foot.
Also, I don't think he claimed to be the first guy to incorporate a
909 (or any other technology) into his sets, and I believe in an old
metroTimes article he stated that it was Jeff Mills, who was already
using a 909 in his sets, that encouraged him to try it
On 14 Nov 2007, at 00:10, Thomas D. Cox, Jr. wrote:
On Nov 13, 2007 4:36 PM, Martin Dust [EMAIL PROTECTED] wrote:
Not really what he's talking about, he's talking about access via
one
file to all the channels of audio that make up a track.
but why play other people's tracks at all then?
robin [EMAIL PROTECTED] wrote on 11/14/2007 01:33:42 AM:
On 14 Nov 2007, at 00:10, Thomas D. Cox, Jr. wrote:
On Nov 13, 2007 4:36 PM, Martin Dust [EMAIL PROTECTED] wrote:
Not really what he's talking about, he's talking about access via
one
file to all the channels of audio that make
Beat matching is the most overrated aspect of Djing
Rob Taylor
VT Librarian
x8599
Hatch Desk x1088
VT Library Users' Guide
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]
Sent: 14 November 2007 15:25
To: robin
Cc: 313 Org
Subject: Re: (313) Richie Interview
To: Robert Taylor
Cc: [EMAIL PROTECTED]; robin; 313 Org
Subject: Re: (313) Richie Interview
On 14 Nov 2007, at 15:31, Robert Taylor wrote:
Beat matching is the most overrated aspect of Djing
I'd agree, it's a bit like learning to ride a bike. Programming has
always been the most important thing
On 14 Nov 2007, at 15:45, Robert Taylor wrote:
I like playing records but I can't beat match - why should that
stop me
having fun playing record to other people?
It shouldn't, don't remember saying it should.
m
On 14 Nov 2007, at 15:31, Robert Taylor wrote:
Beat matching is the most overrated aspect of Djing
I'd agree, it's a bit like learning to ride a bike. Programming has
always been the most important thing for me but I'm so bad at it with
vinyl in my hands :)
m
I'd agree with that too. It was nice he tried something different and
interesting though.
True, and I do occasional pick up 'concept' albums because I can find them
inspiring, but one of
the acid tests of 'quality' (define that how you will) is how often I listen to
it.
Hmm. I am not sure I
Nik Stoltzman [EMAIL PROTECTED] wrote on 11/14/2007 10:11:22 AM:
When I read the article, especially the bit about being able to
select bits of tracks, I
immediately thought of 'Closer to the Edit' which (for me) actually
diminished the tracks that
comprised it.
While some people do a
Subject: Re: (313) Richie Interview
- Original Message -
From: Robert Taylor
To: [EMAIL PROTECTED] ; robin
Cc: 313 Org
Sent: Wednesday, November 14, 2007 3:31 PM
Subject: RE: (313) Richie Interview
Beat matching is the most overrated aspect of Djing
Not beatmatching is the laziest! Yay
- Original Message -
From: Robert Taylor
To: [EMAIL PROTECTED] ; robin
Cc: 313 Org
Sent: Wednesday, November 14, 2007 3:31 PM
Subject: RE: (313) Richie Interview
Beat matching is the most overrated aspect of Djing
Not beatmatching is the laziest! Yay rhetoric!
Tristan
I wasn't reacting to what you said, but merely augmenting it :)
Rob Taylor
VT Librarian
x8599
Hatch Desk x1088
VT Library Users' Guide
-Original Message-
From: Martin Dust [mailto:[EMAIL PROTECTED]
Sent: 14 November 2007 16:01
To: Robert Taylor
Cc: 313 Org
Subject: Re: (313) Richie
the thing is, if i was going to gravitate towards either not mixing or
having deejays play individual audio parts from a track, i would
definitely be on the side of not mixing. but i dont think it needs to
be that cut and dry. i think it is way too far to the other extreme to
just be playing
I that case, well augmenting :)
on another note:
The new B12 12 has just landed, putting it on now...
m
On 14 Nov 2007, at 15:56, Robert Taylor wrote:
I wasn't reacting to what you said, but merely augmenting it :)
That's what people keep telling me - I think it's very difficult -
thank god for Ableton!
Rob Taylor
VT Librarian
x8599
Hatch Desk x1088
VT Library Users' Guide
-Original Message-
From: robin [mailto:[EMAIL PROTECTED]
Sent: 14 November 2007 16:02
To: 313 Org
Subject: Re: (313) Richie
When I read the article, especially the bit about being able to
select bits of tracks, I
immediately thought of 'Closer to the Edit' which (for me) actually
diminished the tracks that
comprised it.
I'd agree with that too. It was nice he tried something different and
interesting though.
Beatmatching is just plate spinning. I agree. Anyone can learn it and
it's technique not an act of creativity.
I'm not saying people need to beatmatch to be creative with music
when djing and neither is Hawtin.
Y'know I am sick to death of lazy djs in my town. I don't give a shti
what
On Nov 14, 2007 11:39 AM, [EMAIL PROTECTED] wrote:
Worst is when the DJs aren't even paying attention to the vocals and what
they are saying, then following it up with some other tune that has nothing
to do with the previous.
hmm. see, the way i look at it, you can certainly mix relative to
On 14 Nov 2007, at 16:15, robin wrote:
When I read the article, especially the bit about being able to
select bits of tracks, I
immediately thought of 'Closer to the Edit' which (for me)
actually diminished the tracks that
comprised it.
I'd agree with that too. It was nice he tried
On Nov 14, 2007 2:33 AM, robin [EMAIL PROTECTED] wrote:
but why play other people's tracks at all then? why not just play
live? i dont understand.
You do realise the logical conclusion of that argument is Why mix? .
The producer got it spot on in the first place so why ruin that by
What Richie does on CE is pulls apart all of our references and
then asks
us to have, or whether we have, the same vested interest in those
elements.
I can imagine that's why CE doesn't do it for some.
The best bit is the Der Zyklus track for me. Now that might say
something about the
[mailto:[EMAIL PROTECTED]
Sent: 14 November 2007 16:24
To: Robert Taylor; [EMAIL PROTECTED]; robin
Cc: 313 Org
Subject: Re: (313) Richie Interview
- Original Message -
From: Robert Taylor
To: [EMAIL PROTECTED] ; robin
Cc: 313 Org
Sent: Wednesday, November 14, 2007 3:31 PM
Subject: RE
Interesting topic. Is it because only small elements/one track out of a
multi-track tune that the message (our invested emotion in the track?) gets
lost in the translation?
Compare/contrast this with turntablists who cut-up records. The whole unit
of the song is there if only for a few
On 14 Nov 2007, at 16:39, [EMAIL PROTECTED] wrote:
Much rather hear someone build a story through the chosen tunes
than just
playing tracky stuff back to back.
Worst is when the DJs aren't even paying attention to the vocals
and what
they are saying, then following it up with some other
B! You're rubbish! Get off and come back when you can mix!
From: Robert Taylor [mailto:[EMAIL PROTECTED]
Sent: 14 November 2007 15:46
I like playing records but I can't beat match - why should that stop me
having fun playing record to other people?
It's interesting that this beatmatched recombination idea has sparked a
discussion on whether *any* combination or *any* beatmatching is good /
necessary / appropriate.
m50
At 10:33 2007.11.14, [EMAIL PROTECTED] wrote:
Interesting topic. Is it because only small elements/one track out of a
I don't see how this is any different. What is a mood of a tune set up by
in a lyrical tune if not the lyrics?
What I'm saying is I dislike hearing a DJ play a break-up or heartache tune
and then following it up by let's all party.
Obviously the message is lost on this particular DJ and he/she
On 14 Nov 2007, at 17:19, robin wrote:
Obviously programming is key, but arguing that programming is
better than beatmatching is like saying colour is better than
painting.
One is paint by numbers (beatmatching) and the other is freehand,
that's the difference to my mind...
m
- Original Message -
From: Martin Dust
To: Tristan Watkins ; 313 Org
Sent: Wednesday, November 14, 2007 5:29 PM
Subject: Re: (313) Richie Interview
On 14 Nov 2007, at 17:19, robin wrote:
Obviously programming is key, but arguing that programming is
better than beatmatching
] ; robin
Cc: 313 Org
Sent: Wednesday, November 14, 2007 4:29 PM
Subject: RE: (313) Richie Interview
It's not lazy - it still takes effort to choose your tunes
Like when the dude who isn't mixing spends 10 minutes between songs
laboriously searching for that next perfect tune, often trying out
On Nov 14, 2007 12:14 PM, Tristan Watkins [EMAIL PROTECTED] wrote:
A good DJ knows when to do
what's right, rather than making broad pronouncements about the quality of a
technique. It's a technique FFS, it's as good or bad as you make it.
i like to mix up the techniques and styles of records
- Original Message -
From: Robert Taylor
To: Tristan Watkins ; [EMAIL PROTECTED] ; robin
Cc: 313 Org
Sent: Wednesday, November 14, 2007 4:29 PM
Subject: RE: (313) Richie Interview
It's not lazy - it still takes effort to choose your tunes
Like when the dude who isn't mixing spends 10
On Nov 14, 2007 12:00 PM, [EMAIL PROTECTED] wrote:
It's interesting that this beatmatched recombination idea has sparked a
discussion on whether *any* combination or *any* beatmatching is good /
necessary / appropriate.
well, i think it is about exploring the boundaries. richie seems
obsessed
Obviously programming is key, but arguing that programming is
better than beatmatching is like saying colour is better than
painting.
I agree, I don't think manual beatmatching is necessary for mixing
though. I'll not expand because we've had that dull debate on here
before and we all
-
From: Tristan Watkins [mailto:[EMAIL PROTECTED]
Sent: 14 November 2007 17:14
To: Robert Taylor; [EMAIL PROTECTED]; robin
Cc: 313 Org
Subject: Re: (313) Richie Interview
- Original Message -
From: Robert Taylor
To: Tristan Watkins ; [EMAIL PROTECTED] ; robin
Cc: 313 Org
Sent
On Nov 14, 2007 12:17 PM, [EMAIL PROTECTED] wrote:
I don't see how this is any different. What is a mood of a tune set up by
in a lyrical tune if not the lyrics?
i actually think that the lyrics to a song are the easiest thing to
make be completely opposite (or in some other way not related)
I still think lyrics in techno are usually lame. Especially ones about
breakups. Most music I love is great for me, because it conveys things
that words cannot express.
~David
On Nov 14, 2007 11:17 AM, [EMAIL PROTECTED] wrote:
I don't see how this is any different. What is a mood of a tune
PROTECTED]
To: [EMAIL PROTECTED]
Date: Wed, 14 Nov 2007 16:40:59 +
Subject: Re: (313) Richie Interview
What Richie does on CE is pulls apart all of our references and
then asks
us to have, or whether we have, the same vested interest in those
elements.
I can imagine that's why CE
]
To: [EMAIL PROTECTED]
Date: Wed, 14 Nov 2007 16:40:59 +
Subject: Re: (313) Richie Interview
What Richie does on CE is pulls apart all of our references and
then asks
us to have, or whether we have, the same vested interest in those
elements.
I can imagine that's why CE doesn't do
On Nov 14, 2007, at 9:32 AM, [EMAIL PROTECTED] wrote:
knows how to build phrases and
paragraphs with his records
that's a terrific expression
i think it is way too far to the other extreme to just be playing
little audio bits.
so, let me get this straight...
it's ok for people like jimmy yancey, josh davis, paul huston, the
dust brothers, theo parrish, crystl, dj premier, lee perry, carl
craig, thomas bangalter, 4 hero, ganja cru,
enh, i still think it depends on the talent of the dj. i do agree
with your point about staying away from the extremes, though.
if that is really what they want to do, go do it in the studio where things
have to stand up to repeated listenings to be good.
but the dancefloor is a transient
On Nov 14, 2007 4:08 PM, Frank Glazer [EMAIL PROTECTED] wrote:
i think it is way too far to the other extreme to just be playing
little audio bits.
so, let me get this straight...
it's ok for people like jimmy yancey, josh davis, paul huston, the
dust brothers, theo parrish, crystl, dj
this is a much more reasonable view than your first reply to this
thread. my last post was a little inflammatory in light of this. :/
On Nov 14, 2007 12:24 PM, Thomas D. Cox, Jr. [EMAIL PROTECTED] wrote:
On Nov 14, 2007 12:14 PM, Tristan Watkins [EMAIL PROTECTED] wrote:
A good DJ knows
Damn the guy who spiced up the photo's for this interview seriously
has to stop playing Bioshock!
KJ
...turns to playing assassin's creed ;-)
On Nov 14, 2007 4:20 PM, Frank Glazer [EMAIL PROTECTED] wrote:
enh, i still think it depends on the talent of the dj.
im just not sure about that, not even the cats who use samples the
best in the studio are infallable, they have bad tracks all over the
place and that is with the benefit of
Almost funnier then how hard this write jocks Ritchie Hawtin. Just
because Mr Hawtin picks up a piece of technology some one else
creates, doesn't mean he is Vasco de Gama discovering new parts
of the world. Every time I see references to that Dex Effex non
sense, like he thought that
Good little interview here:
http://m-nus.com/newsletters/MM_NOV07_RICHIEHAWTIN.pdf
m
If I have understood well what he says, he wants full techno discography
available everywhere he goes to be able to play some hi hats. Has drugs
made him forget how his 909 works ?
--
Benoît.
Martin Dust a écrit :
Good little interview here:
Nevermind all that, his hair's much nicer now ;)
robin...
On 13 Nov 2007, at 21:13, Benoît Pueyo [EMAIL PROTECTED]
wrote:
If I have understood well what he says, he wants full techno
discography available everywhere he goes to be able to play some hi
hats. Has drugs made him forget how
Not really what he's talking about, he's talking about access via one
file to all the channels of audio that make up a track.
m
Benoît Pueyo wrote:
If I have understood well what he says, he wants full techno
discography available everywhere he goes to be able to play some hi
hats. Has drugs
he's bucking the aging process and losing himself in the struggle.
- Original Message -
From: Martin Dust [EMAIL PROTECTED]
To: Benoît Pueyo [EMAIL PROTECTED]
Cc: list 313 313@hyperreal.org
Sent: Tuesday, November 13, 2007 4:36 PM
Subject: Re: (313) Richie Interview
Not really what
On Nov 13, 2007 4:36 PM, Martin Dust [EMAIL PROTECTED] wrote:
Not really what he's talking about, he's talking about access via one
file to all the channels of audio that make up a track.
but why play other people's tracks at all then? why not just play
live? i dont understand.
tom
http://m-nus.com/newsletters/MM_NOV07_RICHIEHAWTIN.pdf
Very interesting interview.
Some very interesting views on technology there. I'm glad that there
are people that are trying to think beyond what is being done now.
Predicting new ways of working with anything is always tricky as you
On 14 Nov 2007, at 00:10, Thomas D. Cox, Jr. wrote:
On Nov 13, 2007 4:36 PM, Martin Dust [EMAIL PROTECTED] wrote:
Not really what he's talking about, he's talking about access via
one
file to all the channels of audio that make up a track.
but why play other people's tracks at all then?
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