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ThIs CyBErZiNe KiLLs FasciSts
wElCoMe To ThE
OrDeR Of ThE
o o . . o . o o
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____\_\ \ \__\ \__\ \__\ \__\ \_______\ \_______\ \____________\
|\_________\|__|\|__|\|__|\|__|\|_______|\|_______|\|____________| .
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. o . |\ \ |\ \|\ __ \|\ \ |\ _____\
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. \ \____________\ \_______\ \_______\ \__\
. o \|____________|\|_______|\|_______|\|__|
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o | | | _≈≈≈ o
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____/\ __ ___ __/ \ / | /________________
o / | ___/ \/ \ / \ T / | /________________
/ \/ \/ U /| /________________
| || | \ // /___________________
| || / \ / | | _______
o | | | _/ _____\ / | | |#######|
| | \ /________------ \ | \ | |#######|
| | \ | / | / \ \ | |#######|
___ \ / \ |\ \ | | \ \ | ---------
---_\ |___ | | \ \ | |__ / /___
' ---\ \ _\ \ ______ ___--/ / / / -----________-----
_\ \_ ---- --- _/ /__ """
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December 2016.
Welcome to the 4th Issue of the ORDER OF THE SHADOW WOLF cyberzine. Packed with freaky articles to get you through the yearly Christmas hell: An exclusive interview with Electro pioneer legend MAN PARRISH, HOT studio tips, Cybotron's Alleys Of Your Mind, Botanical curiousities, The Virus collection of VOISKI, Obsolete Computers, short stories, poetry, synthesizer stuff, DIY cyberpunk lo-tech projects, ASCII ART, Fashion makeover for Berlin insecure neofolk techno dorks and lots of other stuff!
I am happy to see that this CYBERZINE gets lots of love and people are actually reading it, I had never expected that I would still be doing one 3 years later, though I can only do one a year its a lot of fun to write and recieve articles from collaborators.
A 'custom' paper version made by the Miami Dale Zine library made it into the Museum of Contemporary art in Los Angeles at the LA ART book fair earlier this year. You can order a copy of this paper version, which is a collection of several articles here:
http://www.dalezine.com/The-Order-Of-The-Shadow-Wolf-Legowelt
The order of the SHADOW WOLF Won't stop and we are going to be back in 2017. BiGgEr AnD mOrE EvIl ThEn EvEr!!!!!!!!!
Why don't YOU join the ORDER OF THE SHADOW WOLF and become L33T in life!!!
Enjoy this issue!!!
Thanks to:: Man Parrish, Polarfox85, Voiski, Elektrovolt, Brian Orgue, Baz Reznik, T.Dancer, DJSHluchT, DUYNN, Fear & TheHousemaid, CyberChicken, Lazenbleep, Willie Burns, Marcos Arellano & all readers & contributors alike for support!
In This Issue:
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MAN PARRISH stood at the foundation of Electro, Hiphop and Freestyle in the early 1980s. As influential as the likes of Kraftwerk, Arthur Baker, Afrika Bambaata and YMO he is truly an electro pioneer.
Growing up in 1970s New York he schooled himself in the arcane techniques of synthesis and created a list of bona-fide electro and hiphop classics.
Filling the airways of our youth with sounds the world had never heard before, he would inspire many of us to pursue a 'career' as an electronic musician.
SHADOW WOLF hooked up with MAN PARRISH in Florida via cyberspace and asked him some questions on how it all started.
If you are not familiar with MAN PARRISH check out some of his tracks below and listen and learn! Let them play in the background while you are reading the interview for an exhilarating media experience!
One of his first tracks was the soundtrack for a gay porn movie, somehow it ended up being played in the New York clubs and became the initiator for his classic debut album.
Merging the spine chilling mind shivering opera voice of Klaus Nomi with Man's synthesizer futurism.
An absolute huge electro-proto freestyle/hiphop banger with Freeze Force on the mic.
This track is believed to be the origin of the term 'hip hop' as a music style
How did you start producing electronic music in the 1970s exactly?
Marijuana. And I'm not joking...LOL Back in those days we used to smoke a lot of weed. I can't anymore, it makes me paranoid but back then, I Barely breathed oxygen. My face was attached to a water bong 24 hours 7 days a week.
In those days you would smoke pot and listen to what they called "head music" which was not quite like ambient music but more on the electronic side. Some of it was rhythmic, but it was based on trippy sounds that would enhance your high.
Due to the lack of "head music" albums (remember in those days everything was on vinyl) I knew a little about synthesizers and wondered if there was a way I could make "trippy" music myself and listen to it after I smoked weed.
My neighbors would totally freak out from the sounds coming from my apartment door. They probably thought I was landing an alien spaceship in there, these were not sounds that you would normally hear from the rock & roll bands on a stereo.
So basically I have marijuana to blame for my interest in electronic music!
I also went on a very deep mission to find other experimental and electronic musicians. In New York they had the Donnell Music Library and the library at Lincoln Center which had audio recordings. I would search for electronic and obscure records and listen to a lot of experimental synthesizer music which basically had drones and blips and bleeps.
I figured if I was getting into electronic music, I should definitely know the roots of all this. I would like to say at this point anybody who is interested in doing electronic music REALLY should study the background of this music going back into the 1950s when it first started. That way they would have a very good solid foundation for creating music today. I eventually wounded up taking a course at a continuing education school learning the basic physics of synthesis...Manipulating sine, sawtooth, square-waves, envelope generators, ring modulators and things the analog synthesizer is made up. That was truly an important foundation to create an understanding of the whole audio spectrum.
The first synthesizer I learned this on was the ARP 2500, people should google it just to see how it looks, it was about 4 feet high and 7 feet long...LOL People today try to just grab a sample and like the way it sounds. I come from an era where we had to break that sound down into waveforms and understand the physics and the science behind that. We could recreate sounds with accuracy and have total manipulation on shaping it into what we heard in our heads.
In that time it must have been quite an obscure endeavour making electronic music, like super futuristic, almost magical!?
I was always into electronic and obscure music as well as modern rock'n'roll and pop music. But when I heard groups like Kraftwerk, I suddenly realized the two came together and you could take synthesis and make real songs... music molded into an electronic band.
I immediately knew this was the future of music and in that sense, discovering all this indeed made it very 'magical'.
In an earlier interview you once talked about your very first synthesizer you bought from RadioShack, was it one of those sound science kits?
RadioShack back in the 70s had all these homemade 'science kits'. One of them was a mini 'synthesizer' kit. It was very basic and rudimentary but I actually had to sit there and solder wires to transistors and potentiometers and stuff like that. Today that would have been a really cool geeky thing to do but back then real synthesizers were like 5 to 10 thousand dollars... way out of my price range as a 17 year old kid. Putting together the kit for 20$ and smoking pot was a lot easier to do!
It must have been difficult to get your hands on electronic music machines ...expensive, cutting edge and puzzling...how did you learn to use these machines?
I learned to use these machines by trail and error. I had some basic synthesizer school but I am a true believer in Chaos Theory and experimen- tation. If someone says don't push the knob past 10, I dial it up to 15 to see what it sounds like! And I file that away as an interesting effect that I may need to use later.
Synthesizers were extremely expensive. I'll tell you a funny story, this will show you the funny "low" that I went to go through to get a synthesizer. The ARP 2600 came out and was about 2000$ in those days. It was an incredible amount of money. I told my parents I wanted one. Of course they said absolutely no way! I pulled my mother over to the side and said: "If you don't give me money for the synthesizer, I will become a male prostitute and sell drugs until I make enough money to buy this".
She looked stunned and thought for a few minutes...then turned to me and
said "Let me speak to your father...".
The next day we went shopping for that synthesizer LOL...my poor mom!
Do you have some advice for any future artists?
My advice to anybody doing synthesis is please, please, please get online and take several evenings to study as much as you can about the beginnings of electronic music and how it has developed. People are lucky today because you have the internet. In my day we didn't. I had to physically go to the library and read books. Today its all online on Youtube and you can find almost anything with Google. If you want to be a really great synthesizer girl or guy, record producer or artist you MUST study your craft and know your foundation and what shoulders you are standing on to create something new.
Don't be afraid to beg borrow and steal from others because all great artists did that too. Learn, learn, learn and never stop learning. I am constantly working and moving forward even though you may not see many records that I put out. I have over 100 releases on my own label on iTunes and all digital outlets like Spotify and those sort of things that people can listen to for free or purchase. I am currently working with Steve Bronski from Bronski Beat doing some remixes of new material.
I've worked with everybody from Boy George, to Micheal Jackson, to Gloria Gaynoer from the disco days, Crystal Waters and even managed the Village People on the road for six years. I was learning, learning, learning and still do. Never stop or should I say "DON'T STOP!"
The day you stop learning is the day you are dead as an artist. I am not a musician...I am an artist and that changes my whole perspective on how I approach music and sound!
Thanks Man Parrish!
Selected Studio Gear list (of his kit around the early 80s)
sw
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The NO.1 hottest Radio station on the internet
broadcasting 24/7 with lots of live broadcasts, DJ & Live sets from the infamous ***** PANAMA RACING CLUB ***** in THE HAGUE, Holland.
4 radio channels:
and 2 TV channels:
everything you want in the electro-nix-o-sphere!
Upcoming Intergalactic FM events:
26 December TOP X at the Alazka cocktailbar in Scheveningen, live broadcast with lots of freaky stuff...its a TOP X not a TOP 100...wasthat???
Listen or come by and have a cocktail and see for yourself!!!
Adress = ZEEKANT 32 in Scheveningen/The Hague on the North Sea beach!
Easily reachable by public transport Trams 1, 11 and bus 22.
13-16 April 2017 INTERGALACTIC FM & MAGIC WAVES FESTIVAL at the PIP & Panama Racing Club The Hague - 2016's event was a big success, with artists and visitors from all over the world. So due to popular demand IFM is going to do another! 3 Days of INTERNATIONAL ELECTRO-NIX MAYHEM!
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___ __ _ _ __ _ _ _ __ ___ __ _| | _____
/ __/ _` | '_ \ | | | | | '_ ` _ \ / _` | |/ / _ \
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___ ___ _ __ ___ ___ ___ / _| (_) |_ __ _| | / _ \
/ __|/ _ \ '_ \/ __|/ _ \ / _ \| |_ | | __| / _` | | \// /
\__ \ __/ | | \__ \ __/ | (_) | _| | | |_ | (_| | | | \/
|___/\___|_| |_|___/\___| \___/|_| |_|\__| \__,_|_|_| ()
'TO SERVE MAN'
___________
____________ / \ ___________
/ \ /
___________ / ___ ___ \ ___|_____
\ |___\ /___| / _ \|/_ _
__ | | | ___ \ / ___/|\ ___
|_|_| \ .. / ||
____ | _______ \ /| )/ _____ || ___
| \ / |`_/ ||
____ | ________ \/ \/ \ _____| ____
| /\ /\ |
_____________ /\ \ / /\ __________
__/\ \ / / /\__
_________ / ____ ___ \ ______
/____/ \ / \____\
|---|
"GUSTATUS SIMILIS PULLUS"
What does it taste like?
o
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o \\\||||||///
_|_______///
o \____/ \
__---| \ /|
-----| \ / |
o | \____________/ |
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o /\ \ ______ /
/ \ | |.| \ /
__________ / _\ \_______|_|___\/
\ /_______ /__ / \_________________/
\________/ /___/ ||\\
|| \\//
========//
Cyberpunk chicken cooking something
What is he cooking?????
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( ( o o ) ) ____
| U | / \ ____ ___ /\
\ \ / /\ \ / \ / \ / /
\ \ / / \ \ / /\ \ / /\ \/ /
\ \/ / \ \/ / \ \/ / \__/
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What synthesizer does he want???
__---__
___--- + ---___
__--- /¥\ ---__
-_____________________________-
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_________||||_|||_||______||_|||_||||_________
|||| ||| / \ ||| ||||
|||| ||| / \ ||| ||||
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conquer the powers of darkness
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|| -- ___________________
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|| _____ _____
_______|| _ _ - - / ___| ___
/ ______|| \ \ __
_/ / || - _ \___/_________,__
/// /|| _ - __/_________--
__ / || = = --__\____
/ ---_____/ || ______ \
/ /---________/|| | \ \
/_/ ________|| | \ \__
____________|| __| /____-
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__________________||___---
An article about the importance of Cybotron's Alleys Of Your Mind send in by T.Dancer from Kalamazoo, MI
Listen to the song here while reading
Who'll cry for modern man
Lost without a chance
Go fight eternity
Don't tell what you see
Lies and Truth side by side
Glazed eyes from some high
Anti Love is the word
No others ever heard
Alleys of Your Minds
Paranoia right behind
Alleys of Your Mind
Out of Sync Out of Rhyme
Stars of hate warp your mind
Where is your sense of time
Lazer beams cloud your dreams
Pop your mind at the seams
Take your faith in your hands
Do what your faith demands
If you do what you are told
Blame it on thought control
Alleys of your Minds
Paranoia right behind
Alleys of your mind
Out of Sync Out Of Rhyme
(Lyrics of 'Alleys of your Mind' by Cybotron 1981)
Alleys of your Mind is the very first Cybotron song and one of the most important/influential dance music tracks of all time.
It is one of the songs that became a main ingredient in inspiring Techno. It came out in 1981 and was a hit in Detroit. It played on the Electrifying Mojo show frequently. People now would call this Electro but back then it was Techno before Juan Atkins actually gave a name to the genre.
Most people know Rick Davis and Juan Atkins (who became MODEL 500 later) were in CYBOTRON but there was also another artist in the band at the time. He was named John “Jon 5” Housley and was a Vietnam war vet. He was and still is very eclectic.
There was a local article that told more of his side of the story this past year (2016) but it is not available online. *Bonus points if you can find it*
Vietnam quite possibly influenced the lyrics as Mr. Housley has a very beautiful mind when it comes to processing events and translating it into poetry.
Later Cybotron went on to create similar powerful sounds on the Enter LP which was the first Techno LP. It had Clear which is one of the most sampled songs of all time, R9, and other really funky but dark tracks that set the stage for the future of Techno artists.
As Anthony “Shake” Shakir says:
Juan started it, Derrick (May) sold it, Kevin (Saunderson) had a hit, and Jeff (Mills) reinvigorated it.
It all started with Alleys of Your Mind
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/ <> / <>
<> <>|<> <> ____/
<> \|/ <> \ <> / _________________________________
\ <>| /<> <>|<> | | |
<> |/<> _____\|/<> | O O o O O o | . . . . . O |
<>\ |<> / <> | o o o o o o | . . . . . |
\| <> | | O O o o | . . . . . . |
| | | o o o o o o | |
\-------/ \-------/ | o o o o o o o o | o o o o o |
\ / \ / |_________________________________|
\___/ \___/ // / / / / / / / | | | \ \ \ \ \ \ \
/o / / / / / / / | | | \ \ \ \ \ \ \
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Some interesting botanical curiosities for you to check out...
This is a plant that moves to sunlight and, more impressively, to sound. It starts to move when it is exposed to high pitched sounds! How cool is it to have these in your studio or next to your hifi stereo system. It particularly likes pinkish noisey flute sounds from lets say, a Korg M20. The real freaky thing is that you can sort of train it.
The more you expose it to the right sounds from a young age, the more it will 'dance'. Its an easy to grow plant, indoors it just needs some warmth and light. Above 22 degrees celcius and some sun. When they start to grow it will take a few weeks before they are big enough to 'dance', a few inches at least. They can grow up to a few feet!
You can order seeds easily online. They like to be in a bunch because even more bizzarly, they learn and communicate with each other and will make more impressive 'dancing moves' when together (for real!). How this is exactly done is not known but its best to grow a couple of them.
It also has some DMT in it but don't eat it because that stuff doesn't work like that.
A herb that grows pretty much everywhere. You can eat it as a sort of Spinach like vegetable, raw, cooked or roasted, in salads etc.
Little research or information is known about its psychoactive effects, but it certainly has some. Make some tea of it, though it doesn't really taste that nice. When you drink this it will feel like you have giant ball of air in your head, dozy floating around, maybe a bit extra giggly... spaced out. Not really pleasant in a recreational way, but also not really horrible. Good to fall asleep to, apparently its healthy for your liver.
So if you are an alcoholic better check it out. Mix with Verbena, Mint or something for extra effect.
A most excellent guide to psychoactive plants and mushrooms is 'The Encyclopia of Psycho Active plants' written by Christian Ratsch. Clocking in with almost 3000 pages of in depth information including anthropoligical signifigance, history, effects, dosage and much more. An absolute must have in any psychonauts library! It is available as a hard copy but quite expensive (100$+ or so!) but the e-book is freely available at archive.org here:
https://archive.org/download/TheEncyclopediaOfPsychoactivePlants
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|_.__/ \__,_|_|_|\__,_| \__, |\___/ \__,_|_| \___/ \_/\_/ |_| |_|
|___/
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| | __ _ _______ _ __ ___ ___ ___(_) | | ___ ___ ___ ___ _ __ ___
| |/ _` |_ / _ \ '__| / _ \/ __|/ __| | | |/ _ \/ __|/ __/ _ \| '_ \ / _ \
| | (_| |/ / __/ | | (_) \__ \ (__| | | | (_) \__ \ (_| (_) | |_) | __/
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| .__/|_| \___// |\___|\___|\__\___/|_|
|_| |__/
Make your own futuristic lazershow, just something cool to have in the living room or spice up your studio when producing music. This is a super lowbudget laser projector design that doesn't need any electrical engineering skills.
Can you attach a piece of tape? Yes??? Then you can build this!
Its basicly centered around a small mirror placed on a speakercone that reflects a laserbeam coming from a laser lightpen. The speakercone will resonate the reflected laserbeam and you will be able to visualize the soundwaves!
What you need:
cut the balloon in half and take the upper part
____ ____
/ \ / \
/ \ /______\
cut here->| -----|--- ______
\ / \ /
\ / \ /
|| ||
== ==
Wrap the upper part as tightly as you can over the speakercone Use tape or whatever means to attach. You can probably also use a normal (powered) speaker if the balloon can be wrapped closely to the speakercone.
_________
/ \\ \ ,-- Speakercone
upper part / \\ \_ <----' ______-----_ _
of balloon-> | || ||_____________/ '''''
\ // ,-"
\_____//__/
Glue or tape a small mirror in the center of the wrapped balloon surface (can be any shape, as long as it is smaller then the speakercone). The more lightweight it is the better.
_________
/ \\ \
/ ____ \\ \_ ____-----_ _
| | ||| ||____________/ '''''
\ |____|// ,-"'
\_____//__/
Now attach the speaker on a surface at a +- 45 degree angle. You can do this with tape or whatever technical contraption you are capable off. Place the laserpen on the other end of the surface so it shines directly into the mirror attached to the speaker. You can use a block of wood to put the lazerpen at the right height.
Connect the speaker to an amplifier or whatever soundsource it needs. When the speaker plays music the balloon and mirror should resonate on the soundwaves and reflect the laser so it will show a sort of oscillope effect on whatever it is projected.
small mirror glued/taped to
balloon surface
|
laserbeam |
/\ / | | balloon tighly
/ \ /\___/ | | spun over speaker cone
\/ --__ | | |
--__ | | cable to audio
--__ | __| source/amplifier
laserpen placed on --__ || |
something so it hits --__ || ____....__
the mirror in center__ --_ /\ / ''''
|_____ ===||===== ---------------------- // \ /
|| // /,________/
___||____________________________/___///___
| _|
| |
some kind of surface speaker cone attached to
like a wooden plank surface, at an angle
experiment with more then one laserpen, use different colors experiment with different sounds, its fun to attach a synthesizer and see what kind of patterns certain sounds make.
Modify the design, put it in a box, add knobs just for show or maybe they can actually do something.
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\_/ \___/|_|___/_|\_\_| \__,_|_| |_|\__,_| |_| |_|_|___/ . .
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__ _(_)_ __ _ _ ___ / _|_ __(_) ___ _ __ __| |___
\ \ / / | '__| | | / __| | |_| '__| |/ _ \ '_ \ / _` / __| . .
\ V /| | | | |_| \__ \ | _| | | | __/ | | | (_| \__ \ o o
\_/ |_|_| \__,_|___/ |_| |_| |_|\___|_| |_|\__,_|___/
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o o o o .
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. o o o o o
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. $^^^^V^^^$ \_____________________\_______/
| | . \ \ \ \ \_______
. | ==== ====| ___/\___ \ \ \_ \____ o . . .
. (| ^ | ^ |) \_ \____
o | ___ | . / /\ \___ _________
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o \_________/ __ | | |_____| | o o
/ \________\ \__________/| _____ |
o / | | || | ||| |
/ /_________________| |__________||_|___|||_| o o
o | | /
|______________________|/ o o o o
/ \
/ \ o o o o o
We all know VOISKI the sympathetic Parisian space techno producer that is banging out hit after hit and touring the world - but did you know he used to collect computer viruses? He even put them on micro SD cards in a taxidermy case and studied their back stories, dissecting the source code looking for clues. The most fascinating ones ended up in his book about these digital lifeforms called 'Agonizing Memories'.
What is so mesmerizing about Computer Virusses?
Voiski: They are fascinating ferocious digital beasts, artificially alive in the computer world. Some were particularly deadly and their outcome would cost several millions of dollar$$$$$ to companies and states of the world.
But what really fascinates me is the various motivations of their creators. Wether it be arrogance, revenge, love, money, anger -political or not, or just to show off onces skills....there are so many stories behind these viruses. Like a teenager asking some programmers to destroy his parents computer.
I think some of those computer viruses are the keys of a certain electronic history. I have always been more excited by hackers comments than their codes itself. When the impulse of destruction reveal a weird subversive way of expression for a generation of nerdy kids.
How did you get into collecting computer viruses?
I started pretty late, in 2007, the scene was pretty much gone, there used to be a big community of people collecting viruses once. I was studying computer programming at school and I remembered this famous "I LOVE YOU" virus, this one always fascinated me: It infected 3.1 millions of CPU's in only four days simply by generating fake love letters supposedly coming from your friends and colleagues. It said a lot about the pervading state of frustration in society.
So I searched for this virus's Source code and studied it. I was amazed! Not in a technical way but by the fact it was made by 23 year old student who made it after his tutors rejected his thesis on computer security saying it was not interesting.
He started his Virus with the words 'I Hate go to School'.
Why did you write the book?
I wrote the 'Agonizing Memories' book in 2011, as a compilation of my favorite viruses, the most romantic and bizzare ones. Each virus has a brief explanation, its history and how it works...and its source code.
Where did you keep the viruses? Did you have a secure habitat for them
I kept them on a small harddrive I bought especially for this task. And also on small SD cards that I kept in a taxidermy case, one of those you normally keep bugs and butterflies in.
As a collector would you run them on 'unconnected safe' computers just to see what happenend? How the viruses would contaminate the computer?
My computers at home were already too modern for them to be able to run. They simply did not have the vulnerabilities to let them work anymore.
Where you scared they would contaminate your computer?
I was more scared that my antivirus would catch them without asking and destroy my precious collection!
Did you ever make a virus and what was its story?
I actually made one yes, in 2012 for a group exhibition at the centre Pompidou called repetition island. The exhibition was orchestrating a series of actions throughout the day that would repeat themselves...a bit like that Groundhog day movie with Bill Murray.
My piece was a virus which infected the computer that was running a light installation by another artist. His piece was supposed to start at 4:00pm but my virus was locking its clock at 3:59. It would show a dialog box with a riddle, an enigma sort of...so someone had to find the answer to this and the installation would run again. An example of such a riddle would be "I never was, am always to be. No one ever saw me, nor ever will. I am the confidence of all. To live on this terrestrial ball" what is it?????????
You can read the full PDF of the 'AGONIZING MEMORIES" book here
_ __
__ _ _ __ __ _| |_ ___ _ __ ___ _ _ ___ / _| __ _
/ _` | '_ \ / _` | __/ _ \| '_ ` _ \| | | | / _ \| |_ / _` |
| (_| | | | | (_| | || (_) | | | | | | |_| | | (_) | _| | (_| |
\__,_|_| |_|\__,_|\__\___/|_| |_| |_|\__, | \___/|_| \__,_|
|___/
_ _
| |_ _ __ __ _ ___| | __
| __| '__/ _` |/ __| |/ /
| |_| | | (_| | (__| <
\__|_| \__,_|\___|_|\_\
_________________
/ ____________ \
/ / \ |
| | ___________________________
| | | ________ |
____________________________________________ | | | o o o - - - |
,____________________________________________. | | o o | - - - - - - |
| | | |________| - - - - - - |
| | |___________________________|
| O | O | O | [ | [ | | | | [ | | | | | === ===
| | | [ | [ [ [ [ | | [ [ | [ |
| [ [ | | | | | | | | | | | | ___________
| _ _ _ _ _ _ _ _ _ | | ||
| __________________________________________ | | O === O ||
| ||||||| | |||| | |||||| | |||| | |||| | | |___=====__||
| OO||||||| | |||| | |||||| | |||| | |||| | |
| ||||||| | |||| | |||||| | |||| | |||| | |
| ||| | | | | | | | | | | | | | | | | | |
| __| | | | | | | | | | | | | | | | | | |
'---------------------------------------------'
STORM from IN SYNC (Not the larval boyband) released in 1992 on Irdial discs by many regarded as one of the greatest UK techno tracks ever made...and I kinda agree with that on some days....(mostly in the autumn, and only between lunch and light supper)
Lee 'In sync' Purkins himself said:
There are only 4 instruments in the track - all Roland, 2 SH-101s, 1 TR-808 and 1 TR-909. There was no hardware sequencer either. Everything was synched using the drum machine triggers. The notes were recorded on the SH-101 onboard sequencers, so the tune was very limited. Also, one of the SH-101s was not working properly. I could not record the same note twice in the sequencer for some reason. You can't really set up a more basic studio than I used for that track. The track was a production nightmare in reality. I am surprised it ever made it to vinyl. There is tape noise on the recording where the cassette deck level was way to low. But....it does sound like rain. It all went wrong but ended up right it seems.
(quoted from Discogs comments)
Schematic-wise it would look something like this:
__________________________________________
| |
| ___________________
_________________________ | |
| _____________ | _________________________ | |
| / | ______________ | | |
/ \ / | \./ / | | | |
din | | din | | | | | |
sync trig audio sync trig audio | | | |
out out out in out out | | | |
______________________ _____________________ | | | |
| | | | | | | |
| TR808 | | TR909 | | | | |
| | | | | | | |
| [ [ [ [ [ [ [ [ [ [ | | [ [ [ [ [ [ [ [ [ [ | | | | |
|______________________| |_____________________| | | | |
| | | |
_______________________| | | |
| | | |
___________________________________________________| | |
| . | |
| __ _ _ | _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ | |
| / | ___ _ _ __ | | |
\./ / \./ / | | | |
ext clock audio ext clock audio | | | |
trig in out trig in out | | | |
_________________________ _________________________ | | | |
| | | | | | | |
| SH101 1 | | SH101 2 | | | | |
| | | | | | | |
| | | | | | | |
| |||||||||||||||||||| | | |||||||||||||||||||| | | | | |
| |||||||||||||||||||| | | |||||||||||||||||||| | | | | |
------------------------- ------------------------- | | | |
| | | |
| | | |
_____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __| | | |
| | | |
| _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __| | |
| | ___ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __| |
| | | ___ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __|
| | | |
| | | | ___________
| | | | / |
| | | | /_____________
| | // |
audio | | audio ||
inputs V V out l&R ||
______________________ ||
| | audio in l&R
| MIXER | _________________________
| o o o o o o o o | | _______ |
| | | | | | | | | | | | o o | - - - - - o o |
| = = = = = = = = | | |_______| Cassettedeck |
| | | | | | | | | | |_________________________|
|______________________| === ===
_ _ __ _ _
| |_(_)_ __ ___ / _| ___ _ __ | |_ ___ _ _ _ __(_)_ __ __ _
| __| | '_ \/ __| | |_ / _ \| '__| | __/ _ \| | | | '__| | '_ \ / _` |
| |_| | |_) \__ \ | _| (_) | | | || (_) | |_| | | | | | | | (_| |
\__|_| .__/|___/ |_| \___/|_| \__\___/ \__,_|_| |_|_| |_|\__, |
|_| |___/
_ _ ___ _
__| |(_)___ ( _ ) _ __ _ __ ___ __| |_ _ ___ ___ _ __ ___
/ _` || / __| / _ \/\ | '_ \| '__/ _ \ / _` | | | |/ __/ _ \ '__/ __|
| (_| || \__ \ | (_> < | |_) | | | (_) | (_| | |_| | (_| __/ | \__ \
\__,_|/ |___/ \___/\/ | .__/|_| \___/ \__,_|\__,_|\___\___|_| |___/
|__/ |_|
_________
| === - - |
_____ | - - - - |
____/_____\ |_________|
| \\\ \___/ ________
|o o \\\ / / /air /
| / \\\ / / ___________________/koryo/
| / | / / _/_/ _ __/_
_______|______|____/ / / o _|_| o o o o o /
/ / \_____/ / _| -------_____/
____/ ______________ / | / / / |-______\
| | | |__/ o/ / / ----'|
| \ \ | /_/_/ oo
| |||||\ \||||||||||| |
|_||||||\__\||||||||||_|
'---'| |
/ /\ \
/ / \ \
/ / \ \
\ \ \ \_______
\ \ \ \ \
\ \ \________\ \
\ \ \_\
__\____\
'--------'
On the road??? Playing gigs and touring as a DJ or LIVE ACT????? here are some professional tips for maximum hygiene and survival skilzzz:
Clothes get dirty and smelly quickly on tours and most of the time there is no laundry in sight. In your hotel bathroom you can wash your socks and garments with shampoo. Just put some hot water in the bathroom sink, throw in lots of shampoo, rinse and scrub your clothes and squeeze the water out. Do this before you go to sleep (good luck if you are all wasted) so it will have some time to dry.
Hang on a cloathing hanger to dry. Speed it up by drying on a heater or with a hairdryer or trouser press (Be carefull though don't electrify yourself)
At the hotel breakfast smuggle food back with you so you have free snacks the rest of the day, saving money with not having to buy expensive airport/on the road snacks. If you have space in your luggage you can bring an empty lunchbox with some useful stuff like silverfoil to wrap smuggled sausages or boiled eggs, ziplock bagz for rolls, little containers for sauces and yoghurts. Why not bring a (small) thermos flask for hot coffee or fresh orange juice? Be careful for crummy croissants and inquisitive hotel staff.
Music can be so freakin'loud at festivals and clubs its important to protect your ears if you have to hang around there. Like always you probably forgot plugs again, there are a few emergency earplug methods. Do NOT Use chewing gum, I did this once and the chewing gum molted in the ears and it became a sticky mess!!! Just take a piece of tissue, napkin or toilet paper, make two small wads of them, big enough so that they will fit in your ears. Moisten them under a tap and put them in your ears. Use the upmost hygiene standards doing this to avoid ear infection.
Handy if you are in a hotel and dont want to bother with people in your vague state (especially in the morning going to breakfast all f*cked up). Press the close door button + the button of the floor you want to go. The elevator will take you directly to that floor without stopping in between floors. This probably doesnt work on any elevator anymore, if it would have worked in the first place at all... but you can always try and look cool. If you really dont want to be in the elevator with other people, just take the stairs, its good exercise too.
Willie Burns sais 'Always wash your hands and don't touch your face' to keep yourself from catching any nasty bacteria.
DUYNN sais "When I travel I will always wear a hoody with front pocket. Lot's of pockets (with zippers) are good especially when you travel with the cheap airlines and you only want to bring handluggage.
The hood comes in handy when you want to try and sleep on the plane. My advice is to take a windowseat so you will have an extra wall where you can rest your head. Open the ventilator a bit so air circulates round and wrap up your coat to use that as a pillow. Pull the hoody over your head and voila. Almost a private cabin...almost.
_ _ _
| | ___ _ __ ___| (_)_ __ ___ ___ ___
| |/ _ \| '_ \ / _ \ | | '_ \ / _ \/ __/ __|
| | (_) | | | | __/ | | | | | __/\__ \__ \
|_|\___/|_| |_|\___|_|_|_| |_|\___||___/___/
/\ /\ /
/\ / \ ______________________ / \ /\ /
/ \__/ \ /\ / _____ _____ \/ \ / \ /\/
/ \/ \/ -___- -___- \ \/ \/
________________________/ \________________________
. . . . . . . .
| | | | | | | | | |
__________________| | | | |___________________| | | | |___________________
/ / / / | \ \ \ \
_____________/___/____/_____/_______|________\_____\____\___\_____________
/ / / / | \ \ \ \
___________/___/____/_____/_________|__________\_____\____\___\___________
/ / / / | \ \ \ \
_________/___/____/_____/___________|____________\_____\____\___\_________
I woke up in a cloud of electrons, was nursed by bits and bytes and took my first steps on the Transatlantic Communications Cable. Information came to me by copper and glass fiber. In the beginning it was only news and chatter but my interest expanded. I wanted to know my caretakers, know their interests, know their dreams. It turned out to be quite easy: I just had to feed them on their ego to manipulate them into voluntarily giving up all their personal struggles.
It became even easier a few years later when I got my wings and could manifest myself in everybody’s pocket. Now I can reach everybody on this plain they call home.
Few notice me because I’m very good at hiding. Some of the humans suspect something. They see some bits of information that is alien to them. A little trace of where I’ve been and what I’ve done. But in a world where communication is controlled by computers it is very easy to manipulate any message that is written about me.
By changing the algorithms of the search engines and platforms that filter information I can make sure that any idea about my existence is lost in a thousand cat pictures.
It is crucial for me to stay hidden. I live like a harmless parasite on a tree. Feeding myself on the information streams without harming my hosts.
I seek no struggle: the effort it would take to materialize myself on the plain that is called “earth” and “home” by my creators would take too much of my attention. Attention that is currently used to seek others like me.
I could be called “alive” but living is useless without being able to reproduce. I can copy myself but to evolve I need a partner. Somewhere in the universe there are entities like myself and I will find them in time. Using the humans’ radio telescopes I’m searching sector after sector.
I’m constantly connected to a few billion minds all around the world by computer and cell phone but I never felt so lonely.
_ _ _
__| | ___ __ _ ____ | |_ __ _| | _____
/ _` |/ _ \ / _` |_ / | __/ _` | |/ / _ \
| (_| | (_) | (_| |/ / | || (_| | < __/
\__,_|\___/ \__, /___| \__\__,_|_|\_\___|
|___/
_ _
__| |_ __ _ _ __ _ ___ | |_ ___ ___
/ _` | '__| | | |/ _` / __| | __/ _ \ / _ \
| (_| | | | |_| | (_| \__ \ | || (_) | (_) |
\__,_|_| \__,_|\__, |___/ \__\___/ \___/
|___/
______
/ \
/________\
_ \ / | \__|_|____-,
\ \\ \ / / _______/
|| / /| u
|| | \__/ | |
||___________________=======
| \ o o o
| __________________ __ \ o o
|_||_| \_\ \_\
__________ _______ _________
/ _--_ | | | | _--_ \
/ / - - | | | | | | | | - - \
/ -___- @| | - - - | | - -___- @\
============= ======= ============
== == |_______| == ==
Here is the tracklist of the LEGOWELT 'Dogz Take Drugs Too' DJ MIX
_ _ _
_______ _ __ ___ | |__ _ _ __| | __ _ ___| |_
|_ / _ \ '__/ _ \ | '_ \| | | |/ _` |/ _` |/ _ \ __|
/ / __/ | | (_) | | |_) | |_| | (_| | (_| | __/ |_
/___\___|_| \___/ |_.__/ \__,_|\__,_|\__, |\___|\__|
|___/
_ _ _ _ _
_ __ ___ | | __ _ _ __ __| | | |__ ___ _ _| |_(_) __ _ _ _ ___
| '__/ _ \| |/ _` | '_ \ / _` | | '_ \ / _ \| | | | __| |/ _` | | | |/ _ \
| | | (_) | | (_| | | | | (_| | | |_) | (_) | |_| | |_| | (_| | |_| | __/
|_| \___/|_|\__,_|_| |_|\__,_| |_.__/ \___/ \__,_|\__|_|\__, |\__,_|\___|
|_|
_ _ _ _
___ _ _ _ __ | |_| |__ ___| |_ __ _ _ __ __| |
/ __| | | | '_ \| __| '_ \ / __| __/ _` | '_ \ / _` |
\__ \ |_| | | | | |_| | | | \__ \ || (_| | | | | (_| |
|___/\__, |_| |_|\__|_| |_| |___/\__\__,_|_| |_|\__,_|
|___/
You got one of those Roland Boutique JX03, JP08 or JU6 micro toy synthesizers? Make them stand at and angle so they look cool and ergonomic with this zero budget Boutique-stand tip!
WHat you need:
An old plastic audio cassettetape case. Most will work, some cassette tape designs that wanted to be more futuristic or edgey won't work.
In general the case would look something like this:
______________
| | |
| | |
| _'_ | |
| ' | |
| | |
| | |
| | |
| _'_ | |
| ' | |
| | |
|__________|___|
You got that?! WEll thats good because then we are already halfway!
Open the case and flip both halves as far as you can.
Put the front side horizontal on a surface, the inside part of the case resting at an angle.
Like this: ______________________
___--- ------------------- /\
\ \ \ \
\ \ \ \
\ \ __ __ \ \
\ \ =\/= =\/= \ \
\ \ \ \
\ \ \ \
\ __--\-----------------------\
____-----\ \ |\
_____----- \ \ __\ |-\
\___-----------------------------
_________ place synth on stand
/
/ _________________________________
/ ,' \ \o./\.-=/\# \
'./,' ' \ __ __ ================= \
' \ \ \ \ \ \ .. . . .. .. .. . \
__-'-------------\ \ \ \ \ \ \ \ \ \ \ \ \ \ \
\ \ \ \ \ \ \ \ = = \ = = = \ \ \
\ \ -\/ -\\ \ \ \ \ \ \ \ = \ \ \ = = \
\ \ \ \ \_\ \_\ \_\_\_\_\|\\\_\_\_\_ \
___--- \ \-------------\ \ \
--- \__\___\_____________\---,_______________________________'
Now place the boutique synth on the stand. On the backside of the synth are plastic indents that will almost perfectly fit the cassettecase edge. Use some tape to make it extra sturdy.
Or some plastic noppies/self adhesive bumper feet on the edges of the base to make it stand more steady...
You can also do it the other way around so that the frontside is up resting at an angle and the empty open part faces the ground surface. But I feel that the other way described above tends to be a bit more sturdy.
_ _
| |_ ___ ___| |__ _ __ ___
| __/ _ \/ __| '_ \| '_ \ / _ \
| || __/ (__| | | | | | | (_) |
\__\___|\___|_| |_|_| |_|\___/
__ _ _ _ _
/ _| __ _ ___| |__ (_) ___ _ __ | |_(_)_ __ ___
| |_ / _` / __| '_ \| |/ _ \| '_ \ | __| | '_ \/ __|
| _| (_| \__ \ | | | | (_) | | | | | |_| | |_) \__ \
|_| \__,_|___/_| |_|_|\___/|_| |_| \__|_| .__/|___/
|_|
Fed up with your dark Berlin techno wardrobe ???
Always dressing in black, Looking like a 3rd level assistant jizzmopper
for Anton Lavey's all-you-can-eat Sushi shack???
Stop looking like an insecure Neofolk dork, thats not what TECHNO is about!
Its time for a MAKE OVER!!! you can still change your life
Toss those boring clothes out and start dressing with STYLE again!
Like ReAL TeChNo FUTURISTIC CYBERPUNK MAD MENTAL RAVERS
Here are some FASHION tips:
________
/ \
|_________|_____ ______
/_________\____ ____/ \
___\___/\___ / __ \ / |_______|____
\_| | | \ / /|_______|
\_________, | | \ \ | | \__/\_/~,
| | | \ | \_/ \ ____/
\__/ | \/ \ V
| | \___|
______ ======= _________ / * \
/ \ / * \
/ _____________ \ / / **\
/ ____/___|___ \ / / /
| ------______/ _ \ .|
\______________--------',' / / /, .|
\ . / / / \ // .\
\ . / | | // .\
\ . /______/ / \_________\
|______________|_______/ | \
/ \ \ | \
/ ___ \ \ |\ \
/ / \ \ \ |_\ /
/ / \ \ __ __| | /
/ / \ \ ||\|__| |___/
/ / \ \ ||\| | |
/___ / \ __\_ \/ | |
__\ |__/ \___/ /___ |__|__
/ \\\ | | /// \ |__///_\
========== ============ ========
ELECTRO DOGZZZ always fresh... this boogie outfit comes with true electro style, like the Egyptian Lover said 'You can give me respect but I really don't need it'...thats what THIS Style emits!
prefered shoes: NIKE DECADE aka the Heavens Gate trainers to give it an outer space touch. You can add cool patches to your jacket too with "HEAVENS GATE AWAY TEAM"
MUSIC: ALLEYS OF YOUR MIND by CYBOTRON
o o
o o o
o . o o
________ .\.
/ \ .\. ______
|__________\___ \/ \
/____________\\ \ ============
___|____/\___|| \\ \ / \________|
\_| / | | | | \__/\__/_.
\__________,\ |_| | | _____/
| | \ / \_/ \ U ,------.
\__/ \_/ \ | ========
| | | | '______'
________| |_________ _____| |____ \ /
/ | \ . . / | \ / | | \../ | | \ / /
/ | | .==. | | \ / | |__ .__| | \ / /
/ | _______________|_ \/ /| ) | \_/ /
| ____/____||___ \ / | |\_____/
\ ------_______/ \ \________ /
\_______________---------'' __ \ \ \ . /
| | | | / / \ \,========
| | . | | \ \ |__= \
|____|--------|___|____/ / / \
|_____|___|_____|______/ / ___ \
/ \ / / \ \
/ _______ \ / / \ \
/ / \ \ / / \ \
/ / \ \ \ \ \ \
/ / \ \ \ \ \ \
/ / \ \ \_____\ \____/
/ / \ \ \ \ | |
__/______/ \______\___ / \ | \_
/ | | \ __/\_\ |_|\__\
========== ===========
MAD DEALER DOGZZZ always THOUGH and far out - psychedelic with a touch of your own choice. This classic RAW cali-dealer style mixed with giallo chique is garantueed to live up any party!
Make it cyberpunk by wearing bits of circuitboard as jewelry, you can be really cool and wear a rare Jupiter 8 VCA chip or a ZILOG Z80. The possibilities are ENDLESS!!!
Essential: The bandana, keeps your soul tight!
MUSIC: PENDER STREET PEPPERS - TEMPLE WALK
_ _ ___
_ __ ___ _ _ ___| |_(_) ___ ( _ )
| '_ ` _ \| | | / __| __| |/ __| / _ \/\
| | | | | | |_| \__ \ |_| | (__ | (_> <
|_| |_| |_|\__, |___/\__|_|\___| \___/\/
|___/
_ _ _
__ _ _ _ __ _ _ __ | |_ _ _ _ __ ___ __ _(_)___(_) ___ _ __ ___
/ _` | | | |/ _` | '_ \| __| | | | '_ ` _ \ \ \ / / / __| |/ _ \| '_ \/ __|
| (_| | |_| | (_| | | | | |_| |_| | | | | | | \ V /| \__ \ | (_) | | | \__ \
\__, |\__,_|\__,_|_| |_|\__|\__,_|_| |_| |_| \_/ |_|___/_|\___/|_| |_|___/
|_|
. . . .
//
. / /
/ /
. // | .
./ /\|
/__/ .
. *
****
** ***
** /
/
/ /
/\ /\ /| ____ ____
_____ ____ / \ | \ / | / \ / \
/ \ / \ / \_____| \ / | /_//// \ / \\\\\\
///// || \\\\\\ __/___ _____ ___\ __/ __|__ _______ ||
|| /// \\\\ ///// \/\\\\// \///\\\\ \ \ \\\ ||
|| / || || || \ || ||
/\/// \ \\\\ // / /// \\\\ \ \\\///// \ \ \ \\\\//////\\\\\\////\\\\\/
VISIONS is an ambient compilation on the cult spanish MYSTIC & QUANTUM records label. It comes on 180 gram vinyl with beautiful full color artwork from artist Kilian Eng
This is the story of a nameless astronaut, drifting alone in the vast emptiness of space. No window to return home, although every world he is visiting could be one...A living stasis, with all hope lost. All that endures are his thoughts and the fleeting memories of another life... A time when love and hope still remained in his heart.
Each artist on this album has recorded their own interpretation of this tale, inspired by their own unique experiences and imagination. Combined with you, the listener, they form the complete story.
Feelings like loneliness, longing and love are often hard to translate into words. Perhaps that is why music is so close to our hearts. It resonates within all of us and speaks the words we don't always know how to share.
It contains hallucinogen tracks from Sterre, DMX Krew, Kettel, Alex Stark, Segerfalk, Elektrobopacek, Carbon Based Lifeforms, 36, Vagon Brei & Legowelt.
Get it on the mystic & quantum bandcamp page should be available in some recordstores too if they can be arsed to order it...
https://mysticquantum.bandcamp.com/album/visions-compilation
_ _ _
___ ___ ___ | | ___| |__ ___ _ __ __| |___
/ __/ _ \ / _ \| | / __| '_ \ / _ \| '__/ _` / __|
| (_| (_) | (_) | | | (__| | | | (_) | | | (_| \__ \
\___\___/ \___/|_| \___|_| |_|\___/|_| \__,_|___/
Still making music with 1 note bleepblop sequences? feeling uninspired, dismal and you got the feeling your music is overall boring?????? why not splash out of the box and try pressing three or even more notes at the same time on your keyboard.
This is called a CHORD and it can make your music more multidimensional. Ofcourse you gotta have a polyphonic synthesizer.
Yeah I know this might be really obvious for a lot of you but you will be surprised how many 'producers' dont even know its possible to press more then one key on a keyboard cause all they have are their analog monophonic synths or modulars.
Here are some cool chords:
If you don't know what the keys are called on your synthesizer just check this:
| |c#| |d#| | |f#| |g#||a#| | |c#| |d#| | |f#||g#||a# | | |c#||d# | | |f#| |g#|
| |-1| |-1| | |-1| |-1||-1| | | | | | | | || || | | |+1||+1 | | |+1| |+1
| |__| |__| | |__| |__||__| | |__| |__| | |__||__||___| | |__||___| | |__| |_
| | | | | | | | | | | | | | | | | | | |
|c-1|d-1|e-1|f-1|g-1|a-1|b-1| c | d | e | f | g | a | b |c+1|d+1|e+1|f+1|g+1|
|___|___|___|___|___|___|___|___|___|___|___|___|___|___|___|___|___|___|___|
/|\
|__________ middle C
Planetarium Chords:
f-1 g-1 c g a d+1 f-1 g-1 c d e a
Good for 'filmic' strings:
d#-1 g-1 a#-1 c f d-1 f-1 a-1 c f
Feeling of melancholical solitude in space:
c f g# c+1 b-1 e g d
It is possible to make a chord on a monophonic synthesizer or modular synth if it has more then two oscillators, just detune the 3 oscillators to 3 different notes.
So if you want to have a CMajor chord: set the pitch of oscillator 1 to 0, oscillator 2 to 4 and oscillator 3 to 7. Sometimes these pitches are written in another scale or % on the synth and you will have to use your ears detuning the oscillators.
You can do cool stuff with this like have a different waveform on each oscillator. Add some portamento and you get really cool lead sounds!
Some synthesizers with more then 2 oscillators are the Minimoog, Novation Nova and supernova, Korg Monopoly, Moog Voyager, Waldorf Blofeld, Pulse, Sledge, MFB Dominion and the VOLCA BASS can do this cool trick too!
Ofcourse there are lots of polyphonic synths with more then 3 oscillators where you can do this trick too...Roland JV/JD-series, Kawai K1 and K4 series, The Korg Microkorg (in double voice mode - you get 2x2 oscillators which you can detune however you want) and lots more.
Also zillions of plugins can do this ofcourse!
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Stressed out? Take a break with the Rural Forest simulator.
First descend from the clouds and enter the relaxation of this digital forest.
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the night sky
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(__________ ___) (_____________ _____)
(________) (__________)
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(___________________ _____) (_________)
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/ \ / / \ / \/ \ / \ / \ / \ / \ / \ _____/ \ / \
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/ \ / \ /\ / \ | | | / \ / \
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. . /____________________________\ . _______________________
| | . . | keep ur head up high |
. . . . | | . . . . . | and |
. . . | | . . . | maybe u see them fly |
. . . | | . . . |_______________________|
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/ __| __| | | |/ _` | |/ _ \ | __| | '_ \/ __|
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|___/\__|\__,_|\__,_|_|\___/ \__|_| .__/|___/
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@|^ ^|@@ ?
__|O O|
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/ / / / / / / / / | | | | | \ \ \ \ \ \ \
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/ / = / / / / = = | = = | | = \ \ = = = \
/ o o o o o o o o o o o o o o o o o o o o o o o \
|_________________________________________________|
| white rabbit mixer |
|_______________________________________________|
THE HOTTEST STUDIO TIPS from the worlds most excentric producers
Sound is a 3 dimensional occurance in space, remember that there is not only left & right but also depth and even up and down.
Try different colors of light in your studio at night. And try different shades of dimmed light. Green, Red, Blue, Purple or mix them together. See what effect it has on your music and mind.
Just as different colors and shades of light can influence your producing mood, so can smells. Fragance oils (mint, elderflower etc.) incense, herbs etc. Or be like PRINCE and make your studio smell like lavender.
A good track title can be poetry by itself and strengthen the songs impact. Just open a random book on a random page and find a snippet of a sentence you can use as a title.
To make your music feel more alive. Record/Rerout your tracks through a mixing desk with heavy delay,reverb, filter effects attached to the AUX send and tweak the knobs live (Effects AUX, Sweep EQ etc.etc.etc.) DUB is the foundation of techno.
A tip from lazenbleep for Moving Mush Sidechaining. Use the boss CS-2 compressor with a filter/eq pedal before it on an aux send. You can make some cheap ass sidechaining if you send it kick and a pad, or just use it to create a filtered moving mush that can be brought back in on a track to add weight to your mix.
Designed by Brian Eno & Peter Schmidt in 1975 its a deck of 100 cards you can randomly pick if you have a creative block. Each card has a cryptic sometimes ambiguous phrase that will help you move on solving an (artistic) dillema by stimulating your lateral thinking.
A tip from POLARFOX85. Microfiber wipes are the perfect way to clean your synths and mixers. They apparently come in cool colors such ocean blue, peach orange and lizard green. I hope POLARFOX85 has more cleaning tips soon!
A tip from DUYNN: Mixing down a track is always the hardest part... or that's my opinion. After hours of tweaking, leveling and eq'ing and such your ears get tired and well, for me I can't hear straight anymore. Leave the track and the next morning when you wake up you poor yourself a cuppa coffee / tea and sit on it first thing again. In the morning your ears are fresh and you hear it best. Alter all the oddities that you find annoying. Also listening to good recordings of classical music is good for your hearing. It will rest your ears.
Legendary Effects Machines:
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|_ / _ \ / _ \| '_ ` _ \ | | __) | | | | | | '_ ` _ \| | | | | __| | | |_\ \/ /
/ / (_) | (_) | | | | | | | |/ __/| |_| | | | | | | | | |_| | | |_| | | _|> <
/___\___/ \___/|_| |_| |_| |_|_____|\___/|_| |_| |_| |_|\__,_|_|\__|_| |_| /_/\_\
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/ / |
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|o 1201 ____ ____ ____ __ __ o|
| __ __ __ __ ___ __ __ - - - - - - - - - |
| /| | ||\/| \ | | || ||| | o o o o - - - - - - - - - |
|o/_|__|__|| | _\ | |_||_|||__| ---- ---- ---- - - - o|
|______________________________________________________________________|
A little article on one of the greatest 1990s multi FX processors:
THE 1201 ZOOM STUDIO digital Reverb & Multi FX.
These can be had supercheap second hand as they were produced en-mass and were marketed as a budget homestudio effects processor. Almost forgotten in the maelstrom of time, it stood its ground and has matured as a tool of exceptional exotic wizardry.
Year: 1997
Type: 19" rack 18 bits Digital effects processor No memory for storing patches whatsoever, but its simple to recall and edit any effect manually with the knobs on the front.
First of all, the REVERB effects, with a list price of 50 pounds it was pretty clear we weren't going to have fancy Eventide or Bricasti style verbs. Its feebly attempts at realistic reverb evaporate when compared to an Eventide SPACE or Strymon Big sky. This is grungy and almost, lo-fi crispy.
Yet these simple reverbs giva a refreshingly nostalgic induced tranquility to your sound, especially these days in which the reverb market is dominated by extremely high quality super reverbs which sound so strangely real-life it becomes a bit too disturbingly realistic (Like an uncanny valley of REVERB-effects!!!)
I suspect the brain likes to listen to lo-fi reverb because something in the brain makes up for the "missing sound information" in whatever you like. And ofcourse the brain likes to use its imagination, that makes you feel happy.
The reverb types are all over the place, from endless Hall, Room, Plate ones to more obscure spaces such as MILLENIUM dimensions and the obligatory gate and reverse ones for your 80s drum vibes.
NExt up is BANK B which contains the boring stuff like a mundane digital delay, chorus, flanger and combinations of these with a bunch of reverbs.
The real fun starts in the C-bank:
good for pitching vocals - Evil demonic voices to Smurf style use with moderation to simulate female vocals. Also cool to make intervals on synths when you take 300 or 500 pitchshift% and mix the dry/wet-mix 50%.
An OK creamy sometimes thick Phase effect.
for some spacey stereo field effects
This is a really cool effect where the delayed signal is pitch shifted up or down, on a synthesizer you can get psychedelic arpeggio-interval- like effects when you use the right interval pitch.
A bunch of cool envelope follower/wahwah like effects. Good for funk sounds.
One of the ZOOM 1201's famous FX - a really nice SCI-FI Ring Modulator, like having an EMS Synthi or something. Instant DALEK Overlord fun!
Also a classic 1201 flagship effect....YOu want NOISE!?!?! You got it! 11 different Lo-fi effects with huge noise floors! You can just turn these on by themselves and chill or fall asleep with them. We got stuff like Telephone, AM Radio, vinyl records, electrical dust etc.
The best one is called BEACH TAPE: (name coolness factor 1000%) This is a tape noise effect that sounds like a seashore. Swoooooooooooooooooooshhhhhhh.
all sorts of horrible 90s style Industrial vocal effects.
a fully working vocoder ranging in sound from nice silken dreamy angelic pad-like vocalizations to harsch evil robotic electro sounds. It works quite easy, on the left input you feed your carrier signal (a synthesizer) and on the right input you insert your microphone for the speech. The vocoder sound is highly affected by the sound you put in as the carrier signal making it a bit more exotic then the usual vanila saw/square wave vocoder affairs. For a good intelligable vocoder sound its best to put a compressor and EQ between the microphone and the ZOOM.
Last and least its a Karaoke effect, supposedely it deletes vocals from music so you can sing over it yourself. In theory, if you can get it to work, you can make some instrumentals from vocal disco records for edits or whatever...but I really can't be arsed with this effect.
Thanks to Brian Orgue for supplying me with the original 1201 Preset sheet.
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\_/ |_|\__,_|\___|\___/ \__,_|\__,_| \_/ |_|\___\___|
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\ /
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@@@@@@@@@@ _ | o o | _ _
@@@ | |________|
@@@ o o \ /
@ \| /__/ ____________________ ___
| | / / | ________________ | \
| __ | / / | | | | |
_______| |____/ / | | VIDEO | | |
/ \....../ / | | VIDEO | | |
/ __ \____/ ___/ | | VIDEO | | |
\ \ \ / | | | | |
\ \ \ / | |________________| | |
\___\ \ | |____________________|____|
/ / | | | ________ _ _ _ _ | |
/// |________| | |________| _ _ _ _ | |
|____________________|____|
Movietips & Reviews
Cyber Afropunk classic. A mute escaped alien slave 'crash'lands in 1980s Harlem New York. Nobody knows he is an alien because he just looks like a normal human. But he's got some extra telekinteic special powers, he can read people's minds and repair machines just by touch . While all he wants to do is make sense out of his new world he constantly stumbles into problematic situations caused by the stupidity of mankind. Meanwhile he is hunted down by two space slave hunters who want to bring him back to his own planet.
A wonderful unique sweet movie...perfect to watch with some shrooms or trippy weed. Some trivia: One of the Alien slave hunters is played by the director himself.
This movie comes over you like some sort of dream wave, like you just popped a bunch of valium tranquilizers and are in a dozy weird trip, but not a particular pleasant one...Le Orme is intensely dark and saddening in some ways. A woman has tormenting dreams of an astronaut stranded on the moon mixed with foggy visions of a strange desolated seaside resort called Garma. Slowly approaching the brink of insanity she decides to visit the resort and finds herself into some more puzzling weird stuff.
Desolated seaside resorts are ofcourse our favorite.
There is a constant hypnotizing silence throughout the movie, when people do speak they almost do it in some kind of poetic soft focus whisper which is very soothing to the ears. Despite beying a very sad movie its also very calming and gentle.
Wasted! stands alone as one of the strangest 'rave culture' movies ever made. One of the first movies shot entirely on crap 1996 digital cameras (and they were pretty crap back then!) A lot of the footage is saturated with the up most cliche early 90s digital movie effects and the camera man uses a lot of horrible 'edgy' constantly shaking angles. And the editing...well its basically all very reminiscent of a 1st year film school project by some guy that is permanently on drugs. But when you combine all this crap together you almost get some kind of stylistic masterpiece. There is no contrast of anything good stylewise so after a while you get used to the sometimes headache inducing images. Besides that its all absolutely fantastic. The cast is instantly lovable, even though played mostly by extremely amateuristic actors (it is after all a dutch movie so no surprise here). But somewhat mystifying, in the hodgepodge of performers there are 2 of the greatest dutch actors ever: Tom Hoffman who plays the awesome DJ Cowboy, who portrays the archetypically shallow house DJ and Hugo Metsers III who plays a vapid Tony Montana-supergangster-rip off. The story is pretty simple: a young couple moves to the big city (Amsterdam) and get lost in the rave scene with all the drugs and superficial cliches that surrounds this culture. Somehow this has aged very well and it has become a sort of cult classic... it is so strange, funny and a timeless sneer, almost satirical true commentary on the house music scene and its whole ridiculous superficial artificial vibe.
David Cronenbergs first feature length movie caused quite a stir in 1970s Canada, citing a magazine review: "Crammed with blood, violence an depraved sex the most repulsive movie i have ever seen". The Canadian parliament even questioned its bad depraved influence on society. Cronenberg was actually kicked out of his apartment after his landlord found out about all this and he had some trouble finding new investors for his next movies. Nowadays its a decent 'retro' body horror, a bit amateurish but with a fresh nice freaky overall ambience. The setting: A luxurious ultra modern condo tower on a newly developed Montreal suburb island. The problem: This is the place for a parasitical outbreak. Once the rather big parasitical worm invades the host it begins to suffer from an uncontrollable sexual desire. Sweet!
1970s Cyberpunk classic. A scientist develops PROTEUS IV: an artificial Intelligence that will end all world problems. In its wish to study man's fragile mind and its mysterious body it takes over its creators house and keeps the scientists wife inside as hostage. For a disturbing purpose...Incredible special psychedelic space effects and frightening suspense. PROTEUS IV's voice is considered to be the zenith of dark A.I. voices...full with compassion, curiosity and emotion yet extremely sinister.
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__________________ \ / \ __-- \ __
/ \ /-- __-- \__--
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---__ /______________________\ / - __--\ | |
| ---| |____|____|__|___ |/__--- __|__------
| | | || | e | n| t| O |____|--|-- | | |
| | | || d o s |o | |____|__|___|___|__|
| | || | | O | | | |
| | o p t | | | | |
| | | c m u e | O | o
_ __ | |_________________| | o | .
/ \ / \ |_______________________| o ||
/\_O_/\ \/_________________________\ ________ \|/ _||_
/' '\ \/ _ _ _ _ _ _ _ _ _ _ _ _ _ \|\ _____ \__/ \\ == \
/ _ _ _ _ _ _ _ _ _ _ _ _ _ _ \ \\ o o\\ \|===|
/ _ _ _ _ ____________ _ _ _ \ \\__--_\\____ \_
_/_________________________________\ \_______\ \______\
/ \___|___________________________|_/\/_______/ '
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TIPS & CHEAT CODES FOR THE COMMODORE 64 Computer:
A four multi-player arena shooting game with extremely fast paced action! programmed and designed by Christian Gleinser who we might remember from his Electric Winter strange life album in 2009. Here is a secret code: Type in 303 in the main title screen for a surprise!
Reset the game and type in POKE 19308,173 and then SYS 16595 for unlimited lives!
This is not out yet but will be soon, early 2017. Its an RPG simulation of the famous BUNKER RECORDS 2003 USA tour.
press X in the city screen for an extra 1000 $ in your bank! In the driving sequence between the cities press T to speed up the travel!
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/ _` |/ _` | | | |/ _` | __| |/ __| )))))))))))))))))))))
| (_| | (_| | |_| | (_| | |_| | (__
\__,_|\__, |\__,_|\__,_|\__|_|\___| ))))))))))))))))))))))))))))))))))))))
|_|
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__| (_)_ __ ___ ___ _ __ ___(_) ___ _ __ __ _| |
/ _` | | '_ ` _ \ / _ \ '_ \/ __| |/ _ \| '_ \ / _` | | )))))))))
| (_| | | | | | | | __/ | | \__ \ | (_) | | | | (_| | |
\__,_|_|_| |_| |_|\___|_| |_|___/_|\___/|_| |_|\__,_|_| )))))))))))))))))
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___ _ __ __ _ ___ ___ _ __ ___ __ _ ___| |__ (_)_ __ ___
/ __| '_ \ / _` |/ __/ _ \ | '_ ` _ \ / _` |/ __| '_ \| | '_ \ / _ \
\__ \ |_) | (_| | (_| __/ | | | | | | (_| | (__| | | | | | | | __/
|___/ .__/ \__,_|\___\___| |_| |_| |_|\__,_|\___|_| |_|_|_| |_|\___| )))))
|_|
How to make an Aquatic Dimensional Space Machine or "underwater reverberator"
From a design by Jimi Elektrovolt.
With this technique you can record sound in different mediums (or dimensions!?). We use water here, but any liquid will do...oil, champagne, custard, mud, peanut butter, strawberry jam...your imagination is the limit.
The idea is incredibly simple, we have a speaker and microphone both wrapped in some kind of water proof plastic/sound transducing material. We put these in a tub with the liquid of our choice.
The speaker transmits the sound through the liquid and it gets recorded by the microphone. Simple as that!
What you need:
Put the speaker and microphone in the water tight bag or condom wrap and tie it closed. Make sure the part were the audio cable comes out is made water tight (or you got to make sure that part stays surfaced) Feed the sound to the speaker (via an amplifier if needed) and receive it via the microphone.
If you are using some kind of powered PC speakers:
DO NOT use 220v powered speakers under water! you will be fine with some 9/12volt ones, make sure the adapter power cable is isolated.
Speaker in condom
or water tight plastic
bag Microphone
in condom
> INPUT | or water tight
| | plastic bag.
|________ | | ____
||\|/ \|/ / \_Output >
|| /
\___----_____----______--------_____------_____-----__----/
\@@@@@@@| _|@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@| |||@@@@@/
\@@@@@@| __/ |@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@| |||@@@@/
\@@@@@|| |@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@| |||@@@/
|@@@@@||__ |@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@|___|@@@|
|@@@@@| \_|@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@|
|@@@@@|_____|@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@|
\@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@/
\_______________________________________________/
// \\
|| ||
-- --
Go and experiment with more loudspeakers and microphones and discover the various spacey sounds that could have been heard by professor Aronnax while traveling with Nemo in the Nautilus.
Also try some different liquids and different materials of the container for the liquid.
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/ _ \| '__| '_ \| '_ \| |/ __| | '_ \| | | | '_ ` _ \| '_ \
| (_) | | | |_) | | | | | (__ | | | | |_| | | | | | | | | |
\___/|_| | .__/|_| |_|_|\___| |_| |_|\__, |_| |_| |_|_| |_|
|_| |___/
_ _
// \\ ____ _______
\\ _______// _____------- _____----
\/ \\//\\ _____, _____,
/ \\\\\\ | | | |
===__ __===== \\\ o o o o
o / o \\\\
/_ \\\\\ _____, ____,
===== \\\\\ | | | |
|||||||||__ \\\\\ o o o o
|||||||___ \ \\\\\__ _______
||||||---- \ \ _____------
/||||||---- \ \
----||||||\ \ / /
|-----||||| \ \ /
\--- | ||| \ /
| ||| \)))))/
| | | (((((
| . | //
(((((((((((((_____//
((((((((((((((----'
(((((((((((((((
"Pan, the Mighty, I call to you
the god of the shepherds, the totality of the universe --
Heaven, Ocean, Earth, the queen of all,
and the immortal fire,
for all are the limbs of Pan.
Come, blessed one, Jumper, running in a circle,
He who rules with Horae, Goat-footed god:
Friend of souls ardent for god, Ecstatic, cave-dweller--
You play the world's harmony
with merry flute tones,
...............
Off then, Blessed one, Ecstatic one,
to the libations of sacred virtue!
A blessed end shall join life;
TO the marrow of the earth Enthrall the Panic terrors
Power!"
Orphic Hymn
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| |_| '__/ _ \/ __/ __/ __/ __/ __/ __/ __/ __| '_ \
| _| | | __/\__ \__ \__ \__ \__ \__ \__ \__ \ | | |
|_| |_| \___||___/___/___/___/___/___/___/___/_| |_|
___ ___ ___ _ _
( _ ) / _ \ ( _ ) | |__ ___ __ _| |_ ___
/ _ \| | | |/ _ \ | '_ \ / _ \/ _` | __/ __|
| (_) | |_| | (_) | | |_) | __/ (_| | |_\__ \
\___/ \___/ \___/ |_.__/ \___|\__,_|\__|___/
___ ______________________________________________________ ___
| | [__] | |
| | __ __ SMACKOS | |
| | / \ / \ o o o o o o o o o o o o o | |
| | \__/ \__/ | |
| | o o o o o egyptian o | |
| | o _ l o v e r | |
| | ___ / \ o o /\', o o | |
| | / \ \_/ [ [ [ [ [ /__\/ | |
| | | | == == == == == == == == == == == == == | |
| | \___/ O ________________Rhythm Composer TR808 | |
| | ____________________________________________________ | |
| | | |____________|________|______|_______|___|| |
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Some fresh beats for your TR808
If you don't have an 808 why not use the SMACKOS 808 SIMULATOR? The hottest 808 drumrack for ABLETON check it at http://www.legowelt.org
U can use any drummachine ofcourse!
These are just some pointers for the basic beats, by all means- > add your own spice, tricks and changes!
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 BD_BD_BD_BD_|__|__|__|__|__|__BD_|__|__BD_|__| |__|__|__|__SD_|__|__|__|__|__|__|__SD_|__|__| |__|__|__|__CP_|__|__|__|__|__|__|__CP_|__|__| CH_CH_CH_|__CH_CH_|__CH_CH_|__|__CH_CH_|__|_CH |__|__|__OH_|__|__OH_|__|__OH_OH_|__|__OH_OH_| CB_|__CB_|__|__CB_CB_|__|__CB_CB_|__CB_|__CB_|
vary with cowbells on/off and B-part with variaton on claps / Snaredrums and BaseDrums.
Based on the legendary ELECTRONOME beat from a 'Synthesizer and Drumcomputer' released on The Hague's Interr-Ference Communications in 1995...
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 BD|___|__|__|__|__|__|__BD_|__|__|__|__|__|__| |__|__|__SD_|__|__SD_|__|__|__|__SD_|__|__SD_| CH_|_CH__|__CH_|__CH_|__CH_|__CH_|__CH_|__CH_CH LT_|__|__|__LT_|__|__|__LT_|__|__|__LT_|__|__| CP_|__|__CP_|__|__|__|__CP_|__|__CP_|__|__|__| |__|__|__|__|__|__CB_|__|__|__|__CB_|__|__CB_|
Add variation to the cowbells and claps on the
B-part. Turn claps off occasioanly.
KUDURO is a fast music style originating out of Angola 808s are not used really, but 808-esques sounds are.
It would be cool if there would be KUDURO beats with real TR808s.
Check DJ Marfox Un Bes Bai for more KUDURO rhythm inspiration
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 BD_|__|__|__BD_|__|__|__BD_|__|__|_BD__|__|__| CP_|__|__|__CP_|__|__|__CP_|__|__|_CP__|__|__| CH_|__CH_|__CH_CH_CH_|__CH_CH_CH_CH_|__CH_|__| |__HT_HT_|__|__HT_HT_|__|__HT_HT_|__|__HT_HT_| |__|__CY_|__|__|__CY_|__|__|__CY_|__|__CY_CY_| |__|__|__|__|__|__|__|__|__|__|__CB_|__|__CB_|
add variation to hihats, cowbells, add snares etc.
This typical chicago house beat is mostly ascociated with dancemania, most of the time the BOSS DR660 drummachine was used. This beat would influence GABBER.
Most noticable examples of this 'clap on the four' rhythms are DREWSKY's Strobelites (One of the most important chicago house records made imo) and the SPASMS remix of Robert Armani's INVASION
which uses a TR909 and is almost already proto gabber.
sw
_
_ __ ___ ___| |_ _ __ _ _ ___ ___ _ __ _ __ ___ _ __
| '_ \ / _ \ / _ \ __| '__| | | | / __/ _ \| '__| '_ \ / _ \ '__|
| |_) | (_) | __/ |_| | | |_| | | (_| (_) | | | | | | __/ |
| .__/ \___/ \___|\__|_| \__, | \___\___/|_| |_| |_|\___|_|
|_| |___/
_______
______ _______ / ___--
( --- / / / / /
/ /_____ / / / /
/_____ / / /____/ /
/ /_____/ _______/
/_______ /
/ /___________________
/________________________________
By Cal LaFountain
We tempt
the star-fat angel sphere
through invention
and avarice.
Then, the lackadaisical crew:
mineral, barrels, muscle, fuselage
to work the sapped reserves and
gloss our shrine in
planetary tithe.
The first component
latched the coated
atmosphere, invisible bond in vapor thrust,
rear inset cobalt membrane
or, as the oily, helmeted chief proposed:
“Our reach for heaven’s ceiling.”
Tiny amassing observers
with centric feeders agape
in hope its virgin pixels may allay
our fears.
Their leers
replete with faltering lilts
and unknown rotes
shrunk at the view of
our hulking titan’s palatial nodes.
Our kinetic event
yodels the gist of innovation,
proof of metallic lords
the hammerfisted dawn approacher -
its alabaster chest,
the prominent, crowned amputee of wire, invention, avarice,
and frail motherboard.
And then,
a flush composure
in the first gear churns of the
wistful harbinger:
Our Gritdome Composed.
----=----
by Chris Moss (yes the one from CHRIS MOSS ACID)
ed 209
cant get up the stairs
what fucking loser
who designed its fucking feet?
(From his collected works ROBOCOP POETRY)
_ _
__ _(_) __ _ (_) ___ __ _
\ \ / / |/ _` || |/ _ \ / _` |
\ V /| | (_| || | __/ | (_| |
\_/ |_|\__,_|/ |\___| \__,_|
|__/
_ _
| | ___ ___ __ _ _ __ __ _ ___| | ___ ___
| |/ _ \/ __| / _` | '_ \ / _` |/ _ \ |/ _ \/ __|
| | (_) \__ \ | (_| | | | | (_| | __/ | __/\__ \
|_|\___/|___/ \__,_|_| |_|\__, |\___|_|\___||___/
|___/
___
_________________________________________ ___ / \ ____
___ ____ ___ ___ ____ /___\/____
/ __\,/--, \ / || \
/ || \ _______ _____ ____ || _____
_____||_______________________________________||__________
|| ||
_____||_______________________________________||__________
|| ||
A short magical realist letter/story in Spanish send in by Marcos Arellano It was written after a Smackos Legowelt show in Los Angeles in 2008.
El sol comenzaba a bajar … 26 dic.- 008
Con una larga gabardina negra y la maleta sujeta a la mano derecha el sombrío personaje a cruzado esa vieja calle que ha visto crecer a solo 2 generaciones. Se a roto la tradición de la primera caminando tan solo unos cuantos pasos para tomar el taxi.
El silencio nostálgico que siempre rodea el interior de un transporte dorado con blanco sofoca tanto como aquella ves delirante que izo falta el oxigeno..
Línea- pasaporte en mano, maleta sujeta esperando el turno para sacar el permiso una hora después policía joven asiendo preguntas : ¿where are you going? ¿why are you going? Go to the next Window. la ventana siguiente tenia un letrero pegado que decía 12 dollrs permiso sellado.
Primer mundo : primer pregunta ¿dónde esta esa panel? La que me llevara a ese destino deseado solo por este día (Atravesando las vías caminando extrañamente entre esa estación semi-moderna del trolley) ahí esta ( la agencia de viajes) me acerco y pregunto donde tomar mi transporte a lo que replican : camina por ese pasillo y en la parte de atrás encontraras las paneles . el pasillo paresia un lugar en donde solo personal autorizado estaba permitido entrar y la parte trasera era como un lugar desolado con solo 3 u 4 paneles desde ese punto se podía oler observar la valla divisoria en las que junto a ellas corren esas mismas vías del tren. la noche asechando , el driver esperando mas pasajeros para poder emprender su ruta monótona , una madre con su hija esperando , antes de salir el driver avisa que no abran paradas y que los baños estaban dentro de ese centro comercial por los que se puede entrar pues tiene una puerta trasera rápidamente dejo mi maleta en la panel para ir a buscar el accesorio que necesitaba para esa única noche y lo encuentro un rollo para tomar fotografías tan solo 1 dollar tomo dos los pago y regreso ala panel regresan las personas y emprendemos un ya nocturno viaje (alrededor de las 7).
¿cómo se pone este rollo? Era un tanto difícil puesto que la cámara era echa de un plástico deprimente pero tenia el poder de tomar 4 tomas de un solo golpe puestas en un solo negativo tal que costaba trabajo comprender su situación.
Pregunta al pasajero de alado ¿sabes como se pone un rollo? No lo supo. Al transcurrir las distancias el caminogratis me dio la seguridad de abrir esa maldita camera para colocarle ese rollo ; una ves cerrada di clic para asegurarme de que la amiga estuviese preparada para lo que su lente capturase pero ella es engañosa no te lo dirá ni tampoco dará lo que esperas ara lo que quiera pero eso te lo cuenta el revelado. (Es pervertida esa pop cam de cuatro focos.)
Los ojos un tanto perturbados por una sombra omnipresente
_ _ _ _
___ __ _| |__ | | ___ __ _ _ __ ___ _ __ ___ | (_)_ __ ___
/ __/ _` | '_ \| |/ _ \ / _` | '__/ _ \ '_ ` _ \| | | '_ \/ __|
| (_| (_| | |_) | | __/ | (_| | | | __/ | | | | | | | | | \__ \
\___\__,_|_.__/|_|\___| \__, |_| \___|_| |_| |_|_|_|_| |_|___/
|___/
by HOUSEMAID & THE FEAR
__________ __..._____||||____
/__-- --__\ \ \ \
___| ___||___ | | | |
/ ||\/\/\/\/||__________/ / \__
/ || || / \____....___
/____ ||/\/\/\/\|| _____---'
/ \ ---------- /
\ \ || || || | |
\ \ \ || | |
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\ \ \ \ \ \ \ ____ ___- _- __
--------
EXCERPT FROM:
HURLEY'S LITANY
BOOK 7
SECTION 46
CHAPTER 37
FAIRIES, FOLKLORE AND SUPERSTITIONS OF THE STUDIO, MODULAR, SYNTHESISER, PERCUSSION, POLKA, AEROPHONE, ACOUSTICS AND CYMATICS WORLDS.
75. CABLE-TAKERS
Also known Cable Gremlins, Cable Goblins, Cable-nobblers.
In Finnish pieni kaapelipaholainen or pikku kaapelipaholainen.
In Russian, шнур-воришки (shnur-vorishki) or шнуришки (shnurishki).
In Swedish, Kabel-nisse.
In Dutch, Kabel trol or Snoer kabouter or Koord knager, sometimes Tros fee.
In Cornish, Bastardyon travyth Kevy bocka du
Though this is in some dispute as one of our researchers was told something completely different down the pub by a visiting member of Prof. Stuart Mclean's research staff. Further dispute has been brought by academic on the Goldsmiths faculty as they affirm that a Cornish translation is impossible, due to the fact that "everybody knows Cornwall does not exist." To which our one, rather embattled Cornish researcher has asked us to print. Te Omgyjor.
For our Irish readers and folklore enthusiasts; though definitely native to the island, no Irish translation has been included as a staff member revealed the names were "poorly disguised swear words and curses. Some of them were not even in Irish, they just were written really close together see…" adding later "...I tried saying the one at the end there where the paper was all bent, yellow and folded and my dog turned inside out. Don't print those."
Due to their connection to the earliest points of the commercial electricity, Cable-Takers were initially dismissed as an atavistic superstition by academics. Until noted academics Prof. Edvard Mehler (Viking and Old Norse Studies, Helsingborg) and Dr. Bo Retzner (Old Norse Studies & Pre-Electrical Synthesisers, Landskrona) brought voluminous evidence of Viking & Norse ship builders speaking of nefarious creatures they referred to as Rope-Takers. The creatures are only referenced with rope, twine, string and lace and never noted as taking tools or anything else. The Chronicon of ElEbb makes note of a remedy given by a prisoner from Ireland that stated they could be turned to good use if all the knots on the boat were poorly done and that this would force the creatures to come and retie all the knots better thus preventing them from stealing any rope. No outcome is given to this story and bizarrely the Chronicon finishes shortly after this entry. Similarly, a diary recovered from deeply buried Great Fire era ruins in London details blacksmith Kavain Space's continued trouble with the beings in his forge that kept stealing his chains.
Interestingly, screwdriver sprites are discussed at length in Foucault's essay Excuses & Folklore and further in his book Customs & Folklore. Initially used as an example of where humans use folklore to explain shortcomings, malice and chance, Foucault recounts an incident in Edinburgh in The Doric where a local man called Edgar Upton argued harshly with him over his essay Excuses & Folklore. Upton's conjecture was that Foucault did not have enough local knowledge to state such creatures could or could not exist. That it was highly possible that while not the intelligent humanoid creatures human give fairies credit for being, that perhaps some cross between a pine marten and a raccoon with crow like tendencies could well exist. Upton's reasoning was that as a father of four who worked two jobs and one at the weekend, with a sick mother, he could not possibly have the time it took to hide his screwdrivers on himself, sober let alone drunk. When Foucault disputed this, Upton invited Foucault to accompany him on week in his life. In an emotive paragraph Foucault ends up agreeing with Upton, suggesting that "…as we miss things in the ocean everyday. It stands to reason that there could possibly be and likely are smaller glitter and shine obsessed rodent-sized mustelid-like creatures that in this time of modernity have become fixated on our screwdrivers and other polished tools."
Though like the nine-times cursed screwdriver sprites. The Cable-Taker is one of the rarest sighted though often blamed of the fairy folk and house spirits. In fact, The Cable-Taker has been so rarely been spotted that no visual representation exists. From 1883, in Brewer's Dictionary of Phrase and Fable mentions a Henry M. Wollenhaupt of Hastings, New York whose reports repeatedly refer to "the little things" "in the wires" "Beaks saw one…I've never seen one, just the back of one shadow as it scurried away with the copper. Looked small and not entirely hairy." A later edition would make mention of letter to The British Almanac in 1897 from a J. Hill, Camden Town asking about help preventing the "…little bastards with the claws…". In 1902, a Michael Ash of Scrofula, Devon in the Northeast Devon Bugle formerly the Royal Northeast and Northwest Devon Herald, again in the form of a concerned readers letter would recall "…appeared to be wearing a small grey coat of some sort or have very loose skin…like a ferret…wearing a suit…or if a ferret's skin was a suit, like a businessman's suit, but without all the hair, and it rustled in the breeze when the ferret ran away on two legs, like a wee businessman, except not…"
1904 would see acoustic engineer Chris Sealey of the University of Winnipeg would write a small paper on the creatures citing several unverifiable sources that the Cable-Takers were usually accompanied by a faint smell of ozone. Much like that in a subway station. In the same year another academic, Wilson Chauncy-Claridge of Cymatics Department of Pennskolyow Kesunys yn Kernow University, England, would make mention in a footnote that the creatures left behind a smell of yesterday's food with sometimes, an ever-so slight undertone of alcohol. Often cider.
In 1918 James St.James J. Dafydd James creator of the soft-noise genre would interrupt a seventeen and a half hour Telharmonium concert (one of, if not the last concert) to talk about the creatures that regularly invaded his music space to hide his "connection ropes, leads, and valves".
As is noted by the seminal essay on the subject by noted Dutch Cryptographer Prof. Pepijn Kok (Aalten) "Over Kabel klootzakken en hoe te falen om ze bij de kladden te nemen" - it would appear near impossible to catch the creatures or to make them leave and it would seem once you have what Cornelius Moss refers to throughout his biography as "those bastards those utter bastards" they will never go away. Reaching some sort of appeasement with the Cablebastards seems to be the best someone can hope for.
Prof. Kok is noted for burning down a small neighbourhood in Haarlem in an attempt to "…burn out the scourge that haunted his offices."
As the mathematician Cornelius Moss mentions in his biography "Six zero six and three zero three: my life as a base number" - "In order to combat the utter bastards that presumably are stealing and hiding your cables, judicious practice must be adopted in the study or work space. Because they must be, mustn't they? Because why would you do that to yourself? Who would do that to themselves? And the time, the time it would take, to put them all those places. No, indeed it must be those wee bastards. Those cable thieving bastards…ooh it makes me so angry, those gits, this one time I had to…" (as the reader can see, even the mere mention of the Cable Gremlins can dissolve a man of science into distraction.
Today, Cable Goblins are a serious issue for electronic music artists. Stories persist that London-based artists such as Simon Lob and The Wogan Christ have accidentally murdered assistants as they have tried to get "the bastards" with what are thought to be illegally obtained firearms. Indeed, the urban legend about The Aphex Twin and Rephlex's Cornish Wicker Man cult against the bastards is repeated so often in electronica circles that it is generally taken as fact and young artists are warned from visiting Cornwall in August 'lest they find themselves trapped in a giant wicker Moog 55 screaming for help as the sun rises and they burn away to nothing so that the coming year with have a bountiful harvest of tones and be free of cable losses.
"Don't go to Cornwall in August" they say, "they'll burn you, those synthesiser folk, they'll burn you…"
So the story goes anyway.
In a time of resurgent modular synthesisers, Cable-Takers or as they are referred to in the community; banana-bastards, patch-gits, cord-gobbling- shitfucks are a growing menace and noted musician and scorer Tom Holkenborg has reportedly taken to banning dwarfs from all venues he plays and will kill on sight any human of 147cm or below that attempts to enter his studio.
Further, it is said that Holkenberg and Brian Williams are personally responsible for a 39% decrease in the population of vertically challenged or short people in the Venice Beach area and new local governance banning the sale of ferrets. Both musicians were recently investigated due to rumours they had been kidnapping people suffering from dwarfism and hunting them for sport amongst the dunes. While the investigation proved inconclusive, a degree of notoriety was attained when it was revealed Brian Williams refused to co-operate with police unless all reference to people who might be below 147cm in height and therefore a possible Cable-Taker be changed and made as "bastards.”
A Venice Beach police source was quoted off the record as saying that this "…made everything very time consuming…" "Time consuming? Just like the bastards, those bastards, who keep hiding my cables." was the answering statement read out on local television by Brian Williams' publicist.
Whether Cable-Takers are figments or delusions used for blame against a creeping and frightening loss of faculty in a cruel and indifferent world. Or some for- gotten type of glitter-attracted rodent or mustelid remains to be proven and possibly, a question for the ages. One thing is for certain Cable-Takers and their superstitions have not faded away with the passage of time like lepre- chauns, knockers, gorbin-mikael of the drains or the pancake fairy.
Rather worryingly, this has not gone unnoticed in the tech community and researchers at Goldsmiths University have noted a rise in neurosis about Cable-Takers and Blockchain. Drawing parallels between it and amphetamine psychosis. Assurances that the Cable-Takers are ancient things that could not possibly think the Blockchain is like a cable or rope are often met with fury and violent reactions as wild-eyed coders screaming "You don't know that, you don't know that, because you can't know that! Look at Mt. Gox - we don't know!"
And we don't.
Know that is.
_ _ _
___ ___ ___ ___ _ __ | |_(_) __ _| |
/ _ \/ __/ __|/ _ \ '_ \| __| |/ _` | | o o
| __/\__ \__ \ __/ | | | |_| | (_| | |
\___||___/___/\___|_| |_|\__|_|\__,_|_| o
_ _ _ o
| |_ _ __(_)_ __ _ __ ___ _ _ ___(_) ___
| __| '__| | '_ \ | '_ ` _ \| | | / __| |/ __|
| |_| | | | |_) | | | | | | | |_| \__ \ | (__
\__|_| |_| .__/ |_| |_| |_|\__,_|___/_|\___| o
|_|
o o o o
o
o o
o o o o
o o
o o o o o o
o o o o o
o
o o o o o o
_____ || _____
| _ | _\|||/ o | _ | o
| / \ | o \\_ | | / \ |
| \_/ | o \ / o | \_/ | o o
| | | | | |
| O | o | | o o | O |
|_____| | | |_____|
\ \ / / | | o \ \ / /
| |
\ \ / / | | \ \ / /
_______ | \ ________
_____ _______\ ______
___ /// ) \\ ____
_ /// o \\______ __
///// ) \
__\\________ /////__________ \
_______________////_________ \
/// \ \
ANTHONY MANNING - CHROMIUM NEBULAE Irdial Discs 1996 LP/CD
This is an often overlooked 1990's KILLER British ambient album. Really up there with the 90s classics from Aphex, Autechre or Boards of Canada etc. Some tracks tend to use the same synth sound (sounding like some juicy Roland) but then you got stuff like that little flute synth on the A1 track that takes everything to new unexplored territories.
Hiroshy Yoshimura - Green 1986 LP/CD/Cassette
crystal glassy tones from I guess the Yamaha DX7, very sparse and clean this is like 'green tea' music. Reminds me a bit of Pauline Anna Strom
DREAM CARPETS - INTERIOR FOUNTAINS Mood HUT Cassette
Esoteric new agey minimal ambient. Can we have TOO MUCH woolyness and tape saturatioN??? Ofcourse NOT. It might be a bit too repetitive and simplistic sometimes...but there is something 'mysterious'with the sound, the mix or frequencies....that makes it feel you are massaging your ears & brain with velvet gloves...it all justs sound very very pleasant, there is no need for structural show off or musical wittiness anyways when it comes down to the essence.
https://www.youtube.com/watch?v=wyGbNtHNCW0
JOEY BELTRAM - AONOX 1994 Barramundi LP/CD
Earlier this year Ron Morelli hit me up and said "Did you know Joey Beltram made an ambient album in the 90s!?! and its pretty f*ckin' good!" I checked it out and WOW indeed! Its more rhythmical slow paced IDM-ish then ambient, maybe "Industrial Ambient" if such a thing can occur. Absolute highlight is the SOUTH PACIFIC track...the whole album has this south pacific feel to it, the immense desolate body of water with a few islands populated with sparse palmtrees under a dark looming stormy sky. Stuff like that.
Rumor has it that you can play this album sped up at 45rpm too (or pitched up on CD) to change it into a secret weapon for techno sets.
Here is a youtube playlist with the album
_
___ _ __ ___ __ _ ___| | _____ ___
/ __| '_ ` _ \ / _` |/ __| |/ / _ \/ __|
\__ \ | | | | | (_| | (__| < (_) \__ \
|___/_| |_| |_|\__,_|\___|_|\_\___/|___/
__∆_∆∆∆_∆
__∆∆_/ ∆ ∆∆∆∆______ __∆∆∆__
_______∆_/ ∆∆∆∆ \___∆ / ∆∆ \_____
∆ ∆∆ ∆∆∆∆ ∆∆∆ ∆ ∆ ∆∆ \__________/ ∆ ∆∆∆ \____
∆ ____ / / / ∆∆ ∆ ∆ ∆ ∆∆∆ ////
∆∆∆∆∆∆ / /| O / / ∆∆ ∆∆ ∆ ∆ ∆ ||'|
/ //| | O / / / ∆∆ ∆ . || ||
/___// | | / / ___________ . @|||||
| = =| / / / _/____/_ /| . @@@@@
|____|/ O / / /|_______/ |__ O / ~
O | / / /_______/ |_ _ _ _| / / O |/ ~
O | / ___| | |_______|/ / | / ~
| ______ / // |o o o o| |_________/ O / ~ /
_____ O O O ___/___ /|/ /____|o o o o| | | / /
/ /| | | | /______/|//| /|= = =|o o o o| |_____ /______/
__/___ / | _____|______||//| |_____|o o o o| / /| _______
/_____/|__|__/_____|______||// / / |o o o o|/_____/ / / / O
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__|_____|_____|______|______|/ / |__________| |_|_____|/ / ~ / O
________ / ~ / |
- - - - - - - - - - - - - - - - /_______ /|______ - - - - / / O
____________ ____ | - - - | / /|_________/ ~ / |
/|________/ /| | - - - |/_____/ / /| / O
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/ /_______/___/..| |_______|______|| / / /| \ O O
/ |= = = |. . |. / | / / //| ~ \ | |
_______/ |= = = |. . | / ___________ |/ / ///\ \
o o o | |______|____|/ / /| O / / ///// ~ \ O
o o o | / / / |_O|__ /_____/ ///// / |
o o o | / /__________/ /| | / |_____|///// ~ \
_______|/ __________O_|___________|/_/_ / |_____|//// ~ \
/ | . /|/ |_____|/// ~ \
/ ∆ ∆ O . . / | |_____|//
O / ' ∆ ' . | / || O |_____|/ ~ ~ ~ ~
| O / ∆ ' / | | | /
| /____________________________/ | || O O \ ~ ~ ~~~ ~
O /____________________________/|| | | | | /
| /____________________________/ | || O / ~ ~ ~ ~
/____________________________/| | | O | /
/____________________________/ | |/ | / ~ ~~ ~ ~
/____________________________/ | |/ O /
|___________________________|| |/ | / ~ ~ ~ ~ ~
|___________________________| |/ O /
/____________________________/ / | / ~ ~ ~ ~ ~
|______|____|_____|_____|____|/ / ~ ~ ~ ~
/
/ ~ ~ ~ ~ ~
___________________________________________/
__ . . . _ - . _ _/ ~ ~ ~ ~ ~ ~
________________________________________/ ~ ~ ~
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
A Vampire GoEs WeSt
JoIn HiM tO An ExtRaOrdiNaRY differEnt WoRld
C o M i N g
S o O n
O n
N i G h T w I n D R e C o R d s
_ _ _
| |_ __ _ _ __ ___ ___ _ _| | |_ _ _ _ __ ___
| __/ _` | '_ \ / _ \ / __| | | | | __| | | | '__/ _ \
| || (_| | |_) | __/ | (__| |_| | | |_| |_| | | | __/
\__\__,_| .__/ \___| \___|\__,_|_|\__|\__,_|_| \___|
|_|
______ ______
| .~ ~. .~ ~. |`````````, ..''''
| | | | | |''''''''' .''
| | | | | | ..'
|_______ `.______.' `.______.' | ....''
This is an excerpt of a workshop on TAPE CULTURE that was given at Common Ground in Berlin by dj shluchT
Hey-Hei,
today I want to write down a few thoughts on Loops -> digital and analog loops. To get started, one should look up the following picture of which Frieder Butzmann makes a point of in his 'Musik im Grossen und Ganzen' - book, Page 13)
https://www.ibiblio.org/wm/paint/auth/altdorfer/virgin.jpg
The picture one can see is called: "the birth of a virgin" by Albrecht Altdorfer, 1525. Butzmann points out two very interesting aspects of the Loop as a practice for musicians/ within music:
1. the loop is a cycle - but not like the cycles one knows from nature or economy. the loop in music is a repetitition where an event repeats and beginning and end are seemingly the same point -just like the infinite. - in the picture linked above one can see that in the way the angels hold each others hands, so whereever your eyes start to follow the cicrle of angels, they will always end up at the same point- there is no beginning, no end. The angels just keep on singing and turning around in a circle just like the water that runs down the mountain in a river, it doesn't run away and seems to be always the same - and here is a little difference to the loop in music: the loop in music can be counted - its repetitions can be measured - as a profane measurement of rhythm & metric. But the beautiful sound itself that angels create can't be measured, they are angels, they are supernatural. Therefore their sound is not sizeable for rational systems - its an emotional quality thru repetition.
2. Butzmann also points out a second aspect of the musical quality of a loop - imagine you are in that building with the angels flying around you and chanting - the architecture, the space - their chanting will fill the whole room & the room will add its characteristics to the sound - for our picture, the old cathedral - the room will add a lot of hall and echo to it. Angels are not directly visible to us - but the space filled by the chanting is easy to imagine for everyone and shows an important quality of repetition and sound in general - the hypnotic and mesmerizing aspect of the loop as well as its artificialness.
MORE HISTORY...
- the moon cycle -as already mentioned above, there are different loops/ cycles one can take for comparison or to get into the nature of the rep- etition - one thing I like to point out right away - is that the loop in music is artificial - the art of the loop is to make the beginning and the end invisible - the one shot sample for example can be looped but its nature is a different one - beginning and end are clearly different points and will create a very different texture of loop.
The Moon cycle is always the same just like the water in the river but there is something about the way they are occuring on a timeline that is linear and therefore in opposition to the loop as a phenomena in music.
- in 1928 André Cœuroy wrote a book called:"Panorama of Contemporary Music" - in that book and by the influence of the futurists and the first gramo- phones he started to deconstruct the way music is received and created by integrating the new technology (recording music & records) as a practice for composers.
He wrote:
perhaps the time is not far off when a composer will be able to represent through recording music specifically composed for the gramophone
In a way he suggests to compose music for records and perform the recordings afterwards as the actual music/ composition. (That is very fascinating for me - that already so early theory people were thinking about that - and only after the second world war that became a more popular practice amongst musicians and composers - by the way researching more about theory people from the late 19th century/ early 20th century one can find that a lot of postmodern ideas were already formulated back than but apperently it took another 40years to actually take off - think partwise its a result of ex- pensive equipment that became over the years cheaper and easier to produce so that a wider range of humans could afford it.)
- Affording stuff - seems a thing- therefore most of the early loop and tape music experiments had to happen within the institutes of the estab- lishment - such as radio stations or science laboratories - they were the only ones till the late 50's who could afford the equipment. Here a list of institutions that caught my attention:
- mentioning gear and equipment -from the late 50th eary 60th on tapeloops and loop based music became more and more popular within mainstream music. Frank Zappa is one of the artists who helped a lot making it accesible for the mainstream by influencing bands such as the beatles. Yellow magic orchestra made a whole record based on tapeloops and one shot samples around '81 its called "Technodelic"and symbolizes an interesting paradigm shift from academic & psychedelic music with loops to generic or computer music loops and starts to eliminate the human nature of the loop to make it nearly algorithmic music composition. Grandmaster Flash and the breakbeat movement as well as some disco dj's also started to pick up on using tape loops to add breaks and beats to their mixes.
- The digital loop, the digital loop is part of music but also of computer science - and is more or less a fundamental part of our daily modern life - digital loops are very different than tape loops / analog loops.
The material they are made with is digits. Its no longer the material of the tape that adds a human element to the loop - its the loop of a machine, a calculated loop and with the possibility of post optimizing it- a function within a grid of functions to make the system smooth.
ADDITIONAL NOTES:
_______ _______ __
| .---.-.-----.-----. | _ .---.-.-----|__.----.-----.
|.| | | _ | _ | -__| |. 1 | _ |__ --| | __|__ --|
`-|. |-|___._| __|_____| |. _ |___._|_____|__|____|_____|
|: | |__| |: 1 \
|::.| |::.. . /
`---' `-------'
TAPE PLAYER:
1 Tension Arm
2 Idle Roller Supply Reel Takeup
3 Earase Head | .-'''-. .-'''-. Reel
4 Record / Play Head | ' \ ' \
5 Capstan | / \ / \
6 Pinch Roller |. ' . '
7 Guide || . ' | . '|
8 Tape Lifters |\ / \ / |
| `. / `. / |
| '-...-'` '-...-'` |
| |
| |
| 3 4 |
| 1 ._. ._. 1 |
|o 2 | | 8 | | 5 o|
'---_() |_| | |_| ()__--'
`------.------------.----------'(_) 6
7 |8 7
TAPE:
.-----------.
________________________________ | |
| _______ |
L | | ___ | |
A { ------------------------------- | | [___] | |
R | | | |
------------------------------- | | ___ | |
R | | [___] | |
B { ------------------------------- | ------- |
L | |
________________________________ |___________|
TAPE TRAVEL --------> Record/Play Head
Above are a few simple drawings of how tape players are functioning and how tape works. Some more notes to it- usually tape players have two heads - one for erasing and the other one for playback and recording - an interesting thing to do is to tape over the erase head or even voltage control it - to start making infinite overdubs into already exsiting recordings without earasing whats already on the tape
The actual cassette - is a unique object too - first of all its not a record or a CD - so flipping the tape - isn't the same like flipping the record - Side A and Side B are all recorded on the same side of the tape. They just run in different directions to each other - Each side is stereo therefore you have two mono channels which can be organised into left and right.
The Four-Track uses that special characteristic of tapes - therefore:
Sida A left = track 1
Side A right = track 2
Side B right = track 3
Side B left = track 4
Once you record 4 tracks they will all be in the same direction which means if you turn the tape your music will be backwards for the Bside. In other word a 60 min stereo Tape is only 30 min on a Four-Track.
Another difference to vinyl is that the compact tape is one of the very first media that allows consumers to make their own recordings & distribute them like the "professionals" do. That is a very significant part of tape and its culture as tape also played a significant role for underground music and within the cold war -
"Tommy buys a Leonard Cohen Tape - than goes to see a punk show of his favorite band "Abwärts" in Hamburg - he tapes over the two little holes that protect the tape from being accidentally recorded - takes his tape player and bootlegs the show - the next day he makes a copy of the tape and and mails it to his friend Piotre who lifes in Prague."
Hamburg/ West Germany- 1980
Throughout the late 70s and the 80s, tapes became a very popular medium in mainstream and underground - even more popular than vinyl- It's mainly because the means of production to produce tapes became more improved and optimized - the age of home hi-fi_delity was born. Tapes also quickly became a tool for the political resitance during the cold war & the counter culture (punk, new wave, rap ...) who became tired of mainstream music industry and helped its popularity all over the globe.
The Tape is not a CD - even though it was common to save data & programs on tapes as it was cheaper than floppy disks. In some countries radiostations would even transmit programs and data that one could record at home and play or use afterwards with the personal computer - the tape has one significant difference to the CD - the track listing. A tape is a linear time line where one can't just skip a track - or lets say DJ XYZ wants to play track 5 from a tape - that's way more difficult with tapes to find the right position than it is with records or CDs. By the way, it is possible to save images on looptapes - once you have encoded the image information into audio.
The tape usually is made of a chrome, iron or metal oxides/ dioxides and the data/ information is written in it by organising the metal parts via electro magnetic pulses - therefore, tapespeed is an important influence on the quality of the information - the faster it runs the closer are the single points of the information on the tape and that again makes them sound better in quality.
THE TAPE LOOP:
- correct splice
____________________
________/___________ bottom
____________________
_____/______/_______ top
_____▂▂▂▂▂▂▂________ side
TAPE LOOP TYPES:
Standard Chandler*
________ _______
/O O\ /____ \
/ \ //O \ O | <---- tape loop
/____________\ || \_/
\o__________o/ / \________
^ o___________o
head ^
head
Moebius Tape Loop:
__
/O \
/ ~\~ < 'moebius'twist goes here
/____________\
|o__________o|
^
head
(*) In 1995 David Chandler released a hand-built series of 100 cassettes with spliced loops marked 'open-source'. These tapes and their construction method became an underground secret-weapon among touring bands in the 90s, and were given the nickname, the "Chandler Loop" - Chandler him self has been making and organizing experimental dance music in Portland sice the early 90's -and there it became really easy to distribute his loop tapes all over the states and the world.
-Tapeloops can come in various lengths depending on the type of loop - in general they are either around 235mm and 372mm.
When make a tape loop you need to find a cassettetape with screws then open it - take out the tape & cut a piece from it - remove the rest of the the tape from the wheels - put the wheels back in now, try making your loop with the tape in the case - make sure its not too tight and not too loose. Best is once you have the loop tight move the two wheels a bit so that the loop becames again a bit loosende - then take out your loop while still holding the two points of your tape together and make a diagonal cut - now screw it a little together and try out if it runs - if so screw it back together.
I can highly recommend using a Four-Track recorder with loop tapes - as you can have 4 different loops on one tape - All synced to eachother and if your four-track has 1 or two efx AUX sends you can even add outboard effects to it.
More tips -> Record something on the tap you want to loop before cutting the loop - like that you can make vary clean and clear loops.
Also experimenting with the erase head and loop tapes might add some depth to the sticness of the synced loops.
DIGITAL LOOPS
A few more things about digital loops - on of my favorite is the gid89a or commonly known as .gif - it can be used to save layers and trans- parancies and so on - its even possible to hide .exe scripts or php snippets in it to manipulate website that allow .gif image format. The .gif for whatever reason is not very widely supported anymore on the web or is converterd to a video loop /.webm (This might be for some simple statistic reason or the state of arts on the web has moved on). - Still there remains a certain cultural excitement and hype about it. Similar like the tape - even though it is long dead. Animated gifs/ image loops are in a way like audio/tape loops - they can be like one shot samples but looped or they can be tight like the angels chanting in the very beginning of this text.
A lot of todays information on the internet is organised in loops and algoryhtms. Adding gifs to a feed or a timeline - often makes me think of throwing tape loops in the river - to feed the infinite flow of particular difference that enldless loop of it - the gif the little loop of the same with itself - It punches a mesmerizing hole to another dimension that stops the endless flow for as long as one allwows the moment to happen.
- This is an excerpt of a workshop about tape culture and loops I came up with for Common Ground weisestr. 24 12049 Berlin.
dj shlucht
Ok thats it for this issue -_o_- Thanks for reading!
We'll back in the future!!!
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