Re: [microsound] jazz math

From Jon
Sent Thu, Aug 31st 2006, 16:05

> Yeah, I saw this on boingboing.net, it sounds good too!  It's funny
> how in math departments, there really are a lot of musicians.  If only
> there were more math-rockstars.

Erm.... Chicago?  Louisville?



.... ... ... ... ... ... ...
dizzydonor.org


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Yeah, I saw this on boingboing.net, it sounds good too!  It's funny
how in math departments, there really are a lot of musicians.  If only
there were more math-rockstars.

~Kyle

On 8/31/06, Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
> http://tinyurl.com/s5jxn
>
> not microsound...but an overt application of math concepts to musical
> structure
>
>
>


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From ???@??? Thu Aug 31 15:43:43 2006
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http://tinyurl.com/s5jxn

not microsound...but an overt application of math concepts to musical  
structure

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http://wificamera.propositions.org.uk/

an interesting way to turn Wi-Fi signals into projected imagery

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From ???@??? Sun Aug 27 19:57:57 2006
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Subject: Re: [microsound] Math Professors Solve 'Cocktail Party' Problem
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This does sound like a pitch for U.S. government mad money.

I wouldn't be surprised is the neural net is just a handy buzzword to  
make an AI claim.

For the person asking, an algorithm has a predetermined sequence of  
steps that result in a solution. A neural net tries to "learn" how to  
most successfully solve a problem by trying different solutions and  
somehow weighting it's own results so as to refine further solutions.
> The computer we use is doing the work without an algorithmic  
> program. It uses a system called a neural net, which is designed  
> for the computer to teach itself. Basically, it works on trial and  
> error," Casazza said. "This isn't consistent and cannot be  
> duplicated easily. We need to find a way to design an implementable  
> algorithm that could do this consistently and quickly."
Sounds like a total "gotcha" to me. The unsaid factor is how is the  
neural net being refined? I've got the feeling "trial and error"  
means there's a human involved informing the neural net how  
successful or unsuccessful it's output is. You know, how else would  
it know it was performing better in this situation as the results are  
perceptual rather than quantifiable? It's not likely figuring this  
out on it's own, it's probably right now just a set of potentially  
but not necessarily new noise reduction tools probably guided by the  
feedback of a human monitor. The issue is primarily qualitative not  
quantitative and sounds like it's eluded a single solution they might  
wish for.



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From ???@??? Sun Aug 27 19:30:23 2006
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Date: Sun, 27 Aug 2006 15:30:47 -0400
From: Adam Young <xxxx_xxxxx@xxxxxx.xx>
Subject: [microsound] Echo Audiofire 4
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I'm considering purchasing an Echo Audiofire 4 for my mobile  
performance machine. I'm a little uneasy though as I can't find any  
reviews anywhere. But I like Echo and I love everything i've read  
about this unit. Can anyone provide any experience-based feedback on  
this particular unit or have any advice?

Thanks
-Adam



adam young
www.adyo.info
www.direwires.com | www.tractile.net





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From ???@??? Sun Aug 27 19:09:59 2006
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Subject: Re: [microsound] Math Professors Solve 'Cocktail Party' Problem
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Op 27-aug-06 om 21:03 heeft Balazs Gerofi het volgende geschreven:

> I think anything that a neural network does is represented by an  
> algorithm.
> They might mean that they proved some sort of an existence theorem.
> Anyway, this "not reproducible neural network" sounds quite strange:)

non-reproducible as in situation specific probably...









>
> Regards,
> Balazs
>
> On 8/27/06, David Powers <xxxxxxx@xxxxx.xxx> wrote:
>>
>> I believe what they mean is, the results cannot be reproduced, unless
>> the neural network is properly trained. Without the training, which
>> was possibly done on a trial-and-error basis, the neural network will
>> not give successful results.
>>
>> The neural network itself is an algorithm, but there is no algorithm
>> that you can run and get the successful results without the step of
>> training the neural net.
>>
>> Although - I believe the training process itself should be able to be
>> represented by an algorithm ...
>>
>> ~David
>>
>> On 8/27/06, Balazs Gerofi <xxxxxxx@xxxxx.xxx> wrote:
>> > Hi,
>> >
>> > the article says:
>> > "The computer we use is doing the work without an algorithmic  
>> program.
>> It
>> > uses a system called a neural net..."
>> >
>> > May I ask someone to explain why a neural network is not an  
>> algorithm?
>> >
>> >
>> > Regards,
>> > Balazs
>> >
>> > On 8/26/06, Graham Miller <xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:
>> > >
>> > > >>
>> > >
>> > > >> http://www.techweb.com/wire/security/192300009
>> > >
>> > >
>> > >
>> > > On 26-Aug-06, at 3:02 PM, isjtar junior wrote:
>> > >
>> > > > hi,
>> > > >
>> > > > that link doesn't seem to work, care to fix me a different one?
>> > > > thanks
>> > > >
>> > > > isjtar
>> > > > Op 25-aug-06 om 20:22 heeft Hans Erik Nilsson het volgende
>> geschreven:
>> > > >
>> > > >> New adventures in field recordings: Paparazzi soundbites?
>> > > >> [http://www.techweb.com/wire/security/192300009]
>> > > >>
>> > > >> /Cheers,
>> > > >> /Hasse
>> > > >>
>> > > >> -- Mr. Hans Erik Nilsson | Voice: +46 73 6636331 | Standard
>> > > >> disclaimer file active
>> > > >> "There are many futures and only one status quo"  - Brian Eno
>> > > >>
>> > > >>
>> ---------------------------------------------------------------------
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>> > > >>
>> > > >>
>> > > >
>> ----------------------------------------------------------------------
>> > > > -----------------------------
>> > > > http://www.isjtar.org
>> > > > http://www.societyofalgorithm.org
>> > > >
>> ----------------------------------------------------------------------
>> > > > -----------------------------
>> > > >
>> > > >
>> > > >
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From ???@??? Sun Aug 27 19:03:58 2006
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I think anything that a neural network does is represented by an algorithm.
They might mean that they proved some sort of an existence theorem.
Anyway, this "not reproducible neural network" sounds quite strange:)

Regards,
Balazs

On 8/27/06, David Powers <xxxxxxx@xxxxx.xxx> wrote:
>
> I believe what they mean is, the results cannot be reproduced, unless
> the neural network is properly trained. Without the training, which
> was possibly done on a trial-and-error basis, the neural network will
> not give successful results.
>
> The neural network itself is an algorithm, but there is no algorithm
> that you can run and get the successful results without the step of
> training the neural net.
>
> Although - I believe the training process itself should be able to be
> represented by an algorithm ...
>
> ~David
>
> On 8/27/06, Balazs Gerofi <xxxxxxx@xxxxx.xxx> wrote:
> > Hi,
> >
> > the article says:
> > "The computer we use is doing the work without an algorithmic program.
> It
> > uses a system called a neural net..."
> >
> > May I ask someone to explain why a neural network is not an algorithm?
> >
> >
> > Regards,
> > Balazs
> >
> > On 8/26/06, Graham Miller <xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:
> > >
> > > >>
> > >
> > > >> http://www.techweb.com/wire/security/192300009
> > >
> > >
> > >
> > > On 26-Aug-06, at 3:02 PM, isjtar junior wrote:
> > >
> > > > hi,
> > > >
> > > > that link doesn't seem to work, care to fix me a different one?
> > > > thanks
> > > >
> > > > isjtar
> > > > Op 25-aug-06 om 20:22 heeft Hans Erik Nilsson het volgende
> geschreven:
> > > >
> > > >> New adventures in field recordings: Paparazzi soundbites?
> > > >> [http://www.techweb.com/wire/security/192300009]
> > > >>
> > > >> /Cheers,
> > > >> /Hasse
> > > >>
> > > >> -- Mr. Hans Erik Nilsson | Voice: +46 73 6636331 | Standard
> > > >> disclaimer file active
> > > >> "There are many futures and only one status quo"  - Brian Eno
> > > >>
> > > >>
> ---------------------------------------------------------------------
> > > >> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > > >> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > > >> website: http://www.microsound.org
> > > >>
> > > >>
> > > >
> ----------------------------------------------------------------------
> > > > -----------------------------
> > > > http://www.isjtar.org
> > > > http://www.societyofalgorithm.org
> > > >
> ----------------------------------------------------------------------
> > > > -----------------------------
> > > >
> > > >
> > > >
> ---------------------------------------------------------------------
> > > > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
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> > >
> > >
> > > ---------------------------------------------------------------------
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> > >
> > >
> >
> >
>
> ---------------------------------------------------------------------
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>
>
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I believe what they mean is, the results cannot be reproduced, unless
the neural network is properly trained. Without the training, which
was possibly done on a trial-and-error basis, the neural network will
not give successful results.

The neural network itself is an algorithm, but there is no algorithm
that you can run and get the successful results without the step of
training the neural net.

Although - I believe the training process itself should be able to be
represented by an algorithm ...

~David

On 8/27/06, Balazs Gerofi <xxxxxxx@xxxxx.xxx> wrote:
> Hi,
>
> the article says:
> "The computer we use is doing the work without an algorithmic program. It
> uses a system called a neural net..."
>
> May I ask someone to explain why a neural network is not an algorithm?
>
>
> Regards,
> Balazs
>
> On 8/26/06, Graham Miller <xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:
> >
> > >>
> >
> > >> http://www.techweb.com/wire/security/192300009
> >
> >
> >
> > On 26-Aug-06, at 3:02 PM, isjtar junior wrote:
> >
> > > hi,
> > >
> > > that link doesn't seem to work, care to fix me a different one?
> > > thanks
> > >
> > > isjtar
> > > Op 25-aug-06 om 20:22 heeft Hans Erik Nilsson het volgende geschreven:
> > >
> > >> New adventures in field recordings: Paparazzi soundbites?
> > >> [http://www.techweb.com/wire/security/192300009]
> > >>
> > >> /Cheers,
> > >> /Hasse
> > >>
> > >> -- Mr. Hans Erik Nilsson | Voice: +46 73 6636331 | Standard
> > >> disclaimer file active
> > >> "There are many futures and only one status quo"  - Brian Eno
> > >>
> > >> ---------------------------------------------------------------------
> > >> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > >> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > >> website: http://www.microsound.org
> > >>
> > >>
> > > ----------------------------------------------------------------------
> > > -----------------------------
> > > http://www.isjtar.org
> > > http://www.societyofalgorithm.org
> > > ----------------------------------------------------------------------
> > > -----------------------------
> > >
> > >
> > > ---------------------------------------------------------------------
> > > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > > website: http://www.microsound.org
> >
> >
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> > website: http://www.microsound.org
> >
> >
>
>

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Hi,

the article says:
"The computer we use is doing the work without an algorithmic program. It
uses a system called a neural net..."

May I ask someone to explain why a neural network is not an algorithm?


Regards,
Balazs

On 8/26/06, Graham Miller <xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:
>
> >>
>
> >> http://www.techweb.com/wire/security/192300009
>
>
>
> On 26-Aug-06, at 3:02 PM, isjtar junior wrote:
>
> > hi,
> >
> > that link doesn't seem to work, care to fix me a different one?
> > thanks
> >
> > isjtar
> > Op 25-aug-06 om 20:22 heeft Hans Erik Nilsson het volgende geschreven:
> >
> >> New adventures in field recordings: Paparazzi soundbites?
> >> [http://www.techweb.com/wire/security/192300009]
> >>
> >> /Cheers,
> >> /Hasse
> >>
> >> -- Mr. Hans Erik Nilsson | Voice: +46 73 6636331 | Standard
> >> disclaimer file active
> >> "There are many futures and only one status quo"  - Brian Eno
> >>
> >> ---------------------------------------------------------------------
> >> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> >> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> >> website: http://www.microsound.org
> >>
> >>
> > ----------------------------------------------------------------------
> > -----------------------------
> > http://www.isjtar.org
> > http://www.societyofalgorithm.org
> > ----------------------------------------------------------------------
> > -----------------------------
> >
> >
> > ---------------------------------------------------------------------
> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>
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From ???@??? Sun Aug 27 07:04:15 2006
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Date: Sun, 27 Aug 2006 02:27:15 -0400
From: doug van nort <xxxx@xxxxx.xxxxxx.xx>
Subject: [microsound] R.I.P. James Tenney
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sad news.

James Tenney should be known as a pioneer and inspiration to 
microsounders and more generally to those who consider the use of 
technology and the computer as a means to explore new avenues of 
musical creation/expression.


> -- James Tenney 1934-2006   Inbox
> David Rosenboom         
> <xxxxx@xxxxxxx.xxx> to Tenney.Announc.
> More options          4:59 pm (26 minutes ago)
> Dear Friends and Colleagues,
>
> I write both to communicate sad news about the passing of our esteemed
> and revered colleague, composer, James Tenney, and to begin an
> invocation to celebrate the boundlessly creative spirit and uniquely
> productive life of a great musical artist. Jim died peacefully late
> Thursday night, August 24th, 2006 after a difficult battle with
> cancer. His tenacity in life and his determined, affirming energy
> never wavered. His keenly focused composing and theoretical work
> continued nearly to his last moments. During recent years at CalArts,
> Jim taught the works of composers he referred to as American musical
> mavericks. Clearly he was also one of the greats among them. History
> will remember him as a vitally significant American artist. Jim was a
> faculty member in the School of Music in the early 1970s when CalArts
> was finding footing as a somewhat maverick arts institution, and he
> returned later in the 1990s to assume the Roy E. Disney Family Chair
> in Musical Composition. In the interim, he taught at the University of
> California at Santa Cruz and York University, in Toronto. Jim's mere
> presence on campus was always inspiring, touching countless lives over
> the years. A master teacher, treasured by so many, he was also a close
> personal friend and often collaborator over at least three decades. He
> will be greatly missed, and we will continue to celebrate the
> continuity, the power, and the encouraging, constructive quality of
> his influence, along with his devotion to the forward evolution of
> music as an essential force in the life of all human kind.
>
> A brief memorial service will be held in Roy O. Disney Recital Hall at
> CalArts on Monday, August 28th, 2006 at 11:00 AM. A concert
> celebrating Tenney's life and work will be planned for later in the
> fall.
>
> A brief biography of Tenney can be found at:
> http://www.calarts.edu/schools/music/faculty/tenney.html
>
>
> David Rosenboom, Composer/Performer
> Dean, School of Music
> California Institute of the Arts
>


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>>

>> http://www.techweb.com/wire/security/192300009



On 26-Aug-06, at 3:02 PM, isjtar junior wrote:

> hi,
>
> that link doesn't seem to work, care to fix me a different one?
> thanks
>
> isjtar
> Op 25-aug-06 om 20:22 heeft Hans Erik Nilsson het volgende geschreven:
>
>> New adventures in field recordings: Paparazzi soundbites?
>> [http://www.techweb.com/wire/security/192300009]
>>
>> /Cheers,
>> /Hasse
>>
>> -- Mr. Hans Erik Nilsson | Voice: +46 73 6636331 | Standard  
>> disclaimer file active
>> "There are many futures and only one status quo"  - Brian Eno
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>>
> ---------------------------------------------------------------------- 
> -----------------------------
> http://www.isjtar.org
> http://www.societyofalgorithm.org
> ---------------------------------------------------------------------- 
> -----------------------------
>
>
> ---------------------------------------------------------------------
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hi,

that link doesn't seem to work, care to fix me a different one?
thanks

isjtar
Op 25-aug-06 om 20:22 heeft Hans Erik Nilsson het volgende geschreven:

> New adventures in field recordings: Paparazzi soundbites?
> [http://www.techweb.com/wire/security/192300009]
>
> /Cheers,
> /Hasse
>
> --  
> Mr. Hans Erik Nilsson | Voice: +46 73 6636331 | Standard disclaimer  
> file active
> "There are many futures and only one status quo"  - Brian Eno
>
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hi

On 8/25/06, Exegene <xxxxxxx@xxxx.xxx> wrote:
> It's remarkable that developments are not occuring apace that would allow
> the individual to be less in danger of persecution.

i guess it depends on your expectations.

in the us, individual freedoms and their protection seem to have taken
a back seat to 'security' considerations. [security for whom?]

> Even if there's no way found
> in defense of these intelligence gathering measures, there's certainly
> opportunity for artistic application.

indeed- artists can do amazing things with all kinds of tools. i guess
if the paper reveals the math in sufficient detail we could expect a
vst plug-in at some point.

artistic output, though, seems to be the bastard child that no one
wants to take care of [typically]. military and industrial concerns
are nourished with economic resources. the artists must fend for
themselves [as has often been the case throughout civilizations of all
types].

-- 
\js  [ http://or8.net/~johns/ ]

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On Fri, 25 Aug 2006, \js wrote:
*snip*
> great- those idiots aren't happy enough turning the middle east into
> an orgy of bloodletting, now they want to sift through conversations
> in public places to put people who might mention islam into our
> already overpopulated prisons.
*snip*

It's a number of developments in applied maths fields that are frightening 
in certain hands - by following the money, they can be assumed to be in 
those hands with, with widespread use appearing only too soon.

It's remarkable that developments are not occuring apace that would allow 
the individual to be less in danger of persecution. 

Here, microsound and these maths intersect. Even if there's no way found 
in defense of these intelligence gathering measures, there's certainly 
opportunity for artistic application. The forthcoming papers will be great 
reading, certainly.

-- 
Dear Patron Saint,
your lips are lopsided
www.devo.com/exegene

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From ???@??? Fri Aug 25 21:19:23 2006
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absolutely.
reverse karaoke.
i have a hard time believing the results would be the same fidelity  
of a soloed track, though. there has to be some crosstalk involved,  
particularly with overlapping frequencies.
if only harry caul had this software in 'the conversation.'

g.


>
> Using neural nets to differentiate multiple signals from a single
> source may have a profound impact on audio recordings as we know them!
> Being able to mute or solo out a single voice from a stereo recording
> would be a great tool for learning and remixing.  Still, this
> technology is very far away in terms of fidelity, but it is amazing to
> imagine!
>
> ~Kyle


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From ???@??? Fri Aug 25 20:19:20 2006
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I think that the implications of this technique are very exciting.  I
can't recall how many times someone asks me if there is a good way to
capture single layers or voices from a recording, either to remove it
or solo it, and I always say that it would take some kind of AI to do
it.

Using neural nets to differentiate multiple signals from a single
source may have a profound impact on audio recordings as we know them!
 Being able to mute or solo out a single voice from a stereo recording
would be a great tool for learning and remixing.  Still, this
technology is very far away in terms of fidelity, but it is amazing to
imagine!

~Kyle

On 8/25/06, js <xxxxxx@xxxxx.xxx> wrote:
> hi
>
> On 8/25/06, Hans Erik Nilsson <xxxxx@xxxxxxx.xx> wrote:
> > New adventures in field recordings: Paparazzi soundbites?
> > [http://www.techweb.com/wire/security/192300009]
>
> if only!
>
> from the article:
> The National Science Foundation and the National Security Agency
> funded part of the research, which could have crime fighting, homeland
> security and other intelligence applications.
>
> great- those idiots aren't happy enough turning the middle east into
> an orgy of bloodletting, now they want to sift through conversations
> in public places to put people who might mention islam into our
> already overpopulated prisons.
>
> excellent.
>
> war is peace
> freedom is slavery
> ignorance is strength
>
> i love big brother
> i love big brother
> i love big brother
> i love big brother
> i love big brother
> i love big brother
> i love big brother
> i love big brother
> i love big brother
> i love big brother
> i love big brother
> i love big brother
> [ad nauseum]
>
> --
> \js  [ http://or8.net/~johns/ ]
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
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>
>


-- 

http://theradioproject.com
http://perhapsidid.blogspot.com

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From ???@??? Fri Aug 25 19:02:43 2006
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hi

On 8/25/06, Hans Erik Nilsson <xxxxx@xxxxxxx.xx> wrote:
> New adventures in field recordings: Paparazzi soundbites?
> [http://www.techweb.com/wire/security/192300009]

if only!

from the article:
The National Science Foundation and the National Security Agency
funded part of the research, which could have crime fighting, homeland
security and other intelligence applications.

great- those idiots aren't happy enough turning the middle east into
an orgy of bloodletting, now they want to sift through conversations
in public places to put people who might mention islam into our
already overpopulated prisons.

excellent.

war is peace
freedom is slavery
ignorance is strength

i love big brother
i love big brother
i love big brother
i love big brother
i love big brother
i love big brother
i love big brother
i love big brother
i love big brother
i love big brother
i love big brother
i love big brother
[ad nauseum]

-- 
\js  [ http://or8.net/~johns/ ]

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From: Cyrill <xxxxxxx@xxxxx.xxx>
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My fault here, im afraid... I posted the link and then we decided to move the pd patches to another and more logical place, ie extensions/.
anyway, these patches are old working versions, i am not sure they all work well, they should have been removed and replaced by the new ones. I am going to do that tomorrow in 1067 minutes or so. 
Cyrill.

                         
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Date: Fri, 25 Aug 2006 20:22:06 +0200
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New adventures in field recordings: Paparazzi soundbites?
[http://www.techweb.com/wire/security/192300009]

/Cheers,
/Hasse

-- 
Mr. Hans Erik Nilsson | Voice: +46 73 6636331 | Standard disclaimer file active
"There are many futures and only one status quo"  - Brian Eno

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From ???@??? Fri Aug 25 18:21:34 2006
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Hallo,
Kyle Klipowicz hat gesagt: // Kyle Klipowicz wrote:

> Haha you're right Frank, just after you previous hint post too!  I'm a
> lousy student :-).

No problem, I'm glad to help. ;)

Ciao
-- 
 Frank Barknecht                 _ ______footils.org_ __goto10.org__

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Haha you're right Frank, just after you previous hint post too!  I'm a
lousy student :-).

~Kyle

On 8/25/06, Frank Barknecht <xxxx@xxxxxxx.xxx> wrote:
> Hallo,
> Kyle Klipowicz hat gesagt: // Kyle Klipowicz wrote:
>
> > I tried the link, and got a 404 message from the server.  Is the
> > address correct?
>
> What happened to the art of ... ;)
>
> http://svn.sourceforge.net/viewvc/iannix/extensions/puredata/
>
> Ciao
> --
>  Frank Barknecht                 _ ______footils.org_ __goto10.org__
>
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>
>


-- 

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))(((((((((((())))())))))))))))))))__________
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From ???@??? Fri Aug 25 17:01:55 2006
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Hallo,
Kyle Klipowicz hat gesagt: // Kyle Klipowicz wrote:

> I tried the link, and got a 404 message from the server.  Is the
> address correct?

What happened to the art of ... ;)

http://svn.sourceforge.net/viewvc/iannix/extensions/puredata/

Ciao
-- 
 Frank Barknecht                 _ ______footils.org_ __goto10.org__

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Cyrill~

I tried the link, and got a 404 message from the server.  Is the
address correct?

~Kyle

On 8/25/06, xxxxxx@xx-xxxxxxx.xx <xxxxxx@xx-xxxxxxx.xx> wrote:
> Actually there are some pd demo patches in the svn:
> http://svn.sourceforge.net/viewvc/iannix/src/plugins/puredata/
>
> Cyrill.
>
>
>
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>


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Actually there are some pd demo patches in the svn:
http://svn.sourceforge.net/viewvc/iannix/src/plugins/puredata/

Cyrill.



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Hi
and thanks for your interest
for the time being IanniX only works on Linux and OSX, but there is a win32 binary scheduled...
And yes, there are going to be demo-patches for pd. For csound, as i am an absolute beginner with it, i still have to figure out how to receive OSC packets - the opcode i found doesn't seem to work).

Cyrill

Brent Colflesh <xxxxx.xxxxxxxx@xxxxxxx.xxx> wrote: I am also interested in Win32 binary.


David Powers wrote:
> Is there a Win32 binary available? All I saw on CVS was a release that
> seems to be the source files only...
> 
> ~David
> 
> On 8/25/06, Cyrill  wrote:
>> Hi there
>>
>> I have been a lurker on this list for quite a while, and now i have at 
>> last the opportunity to post some (hopefully) useful information.
>>
>> I have been an intern at la-kitchen.fr for two months now, and I am 
>> working with Pierre Jullian de La Fuente on the new version of IanniX; 
>> a webpage dedicated to this project has been recently opened on 
>> sourceforge, http://sourceforge.net/projects/iannix, along with a new 
>> mailing-list in english.
>>
>> Basically IanniX is based on the Upic from Iannis Xenakis - hence the 
>> name -, the main difference being that the synthesis part has been 
>> removed from the software. IanniX sends instead OSC messages and so 
>> can be used as a graphical score editor along with pd, Max-msp, SC, 
>> Csound and other softwares that support OSC. So it allows graphical 
>> and easy control over software synthesis and composition, without the 
>> constraint of being bounded to an internal set of sound generators.
>>
>> The current version on the cvs is still a bit buggy but has 
>> nevertheless improved a lot since the 0.54 one; amidst others, some of 
>> the improvments are:
>>
>> - portage to qt4 (however, for the time being you do need to install 
>> qt4 libs first; the needed libraries will soon be embedded within 
>> IanniX, though)
>> - a (very) more user-friendly interface
>> - lots of new functionalities to edit objects, mainly the curves.
>>
>> Though I am not the best person to give you an objective advice, I 
>> think it is a very powerful tool, and is going to be even better in 
>> some time. And if some microsounders could be so kind as to try and 
>> test it, and to report us bugs we could have overseen, or ask for 
>> features they think useful, it would be really great.
>>
>> Cyrill.
>>
>> Rod Stasick  wrote:
>> On 2006 Aug 24, at 3:58 PM, Frank Barknecht wrote:
>> > Just play around with the URLs around
>> > http://www.la-kitchen.fr/iannix/iannix.html, try to figure out what
>> > could be the reason why the download links they provide to for example
>> > http://www.la-kitchen.fr/IanniXDev054.zip don't work, and sooner or
>> > later you may guess, that they meant to point their links for example
>> > to http://www.la-kitchen.fr/iannix/IanniXDev054.zip instead.
>>
>>
>> Frank! Can I now call you "The Handyman"?
>>
>> Thanks!
>>
>>
>> Rod
>>
>>
>>
>>
>>
>>
>> ---
>> Now playing: Susumu Yokota - Saku
>>
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From ???@??? Fri Aug 25 13:59:33 2006
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Date: Fri, 25 Aug 2006 09:58:52 -0400
From: Brent Colflesh <xxxxx.xxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] iannix software?
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I am also interested in Win32 binary.


David Powers wrote:
> Is there a Win32 binary available? All I saw on CVS was a release that
> seems to be the source files only...
> 
> ~David
> 
> On 8/25/06, Cyrill <xxxxxxx@xxxxx.xxx> wrote:
>> Hi there
>>
>> I have been a lurker on this list for quite a while, and now i have at 
>> last the opportunity to post some (hopefully) useful information.
>>
>> I have been an intern at la-kitchen.fr for two months now, and I am 
>> working with Pierre Jullian de La Fuente on the new version of IanniX; 
>> a webpage dedicated to this project has been recently opened on 
>> sourceforge, http://sourceforge.net/projects/iannix, along with a new 
>> mailing-list in english.
>>
>> Basically IanniX is based on the Upic from Iannis Xenakis - hence the 
>> name -, the main difference being that the synthesis part has been 
>> removed from the software. IanniX sends instead OSC messages and so 
>> can be used as a graphical score editor along with pd, Max-msp, SC, 
>> Csound and other softwares that support OSC. So it allows graphical 
>> and easy control over software synthesis and composition, without the 
>> constraint of being bounded to an internal set of sound generators.
>>
>> The current version on the cvs is still a bit buggy but has 
>> nevertheless improved a lot since the 0.54 one; amidst others, some of 
>> the improvments are:
>>
>> - portage to qt4 (however, for the time being you do need to install 
>> qt4 libs first; the needed libraries will soon be embedded within 
>> IanniX, though)
>> - a (very) more user-friendly interface
>> - lots of new functionalities to edit objects, mainly the curves.
>>
>> Though I am not the best person to give you an objective advice, I 
>> think it is a very powerful tool, and is going to be even better in 
>> some time. And if some microsounders could be so kind as to try and 
>> test it, and to report us bugs we could have overseen, or ask for 
>> features they think useful, it would be really great.
>>
>> Cyrill.
>>
>> Rod Stasick <xxx@xxxxxxx.xxx> wrote:
>> On 2006 Aug 24, at 3:58 PM, Frank Barknecht wrote:
>> > Just play around with the URLs around
>> > http://www.la-kitchen.fr/iannix/iannix.html, try to figure out what
>> > could be the reason why the download links they provide to for example
>> > http://www.la-kitchen.fr/IanniXDev054.zip don't work, and sooner or
>> > later you may guess, that they meant to point their links for example
>> > to http://www.la-kitchen.fr/iannix/IanniXDev054.zip instead.
>>
>>
>> Frank! Can I now call you "The Handyman"?
>>
>> Thanks!
>>
>>
>> Rod
>>
>>
>>
>>
>>
>>
>> ---
>> Now playing: Susumu Yokota - Saku
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>>
>>
>>
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>> countries) for 2/min or less.
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From ???@??? Fri Aug 25 13:56:12 2006
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From: David Powers <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] iannix software?
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Is there a Win32 binary available? All I saw on CVS was a release that
seems to be the source files only...

~David

On 8/25/06, Cyrill <xxxxxxx@xxxxx.xxx> wrote:
> Hi there
>
> I have been a lurker on this list for quite a while, and now i have at last the opportunity to post some (hopefully) useful information.
>
> I have been an intern at la-kitchen.fr for two months now, and I am working with Pierre Jullian de La Fuente on the new version of IanniX; a webpage dedicated to this project has been recently opened on sourceforge, http://sourceforge.net/projects/iannix, along with a new mailing-list in english.
>
> Basically IanniX is based on the Upic from Iannis Xenakis - hence the name -, the main difference being that the synthesis part has been removed from the software. IanniX sends instead OSC messages and so can be used as a graphical score editor along with pd, Max-msp, SC, Csound and other softwares that support OSC. So it allows graphical and easy control over software synthesis and composition, without the constraint of being bounded to an internal set of sound generators.
>
> The current version on the cvs is still a bit buggy but has nevertheless improved a lot since the 0.54 one; amidst others, some of the improvments are:
>
> - portage to qt4 (however, for the time being you do need to install qt4 libs first; the needed libraries will soon be embedded within IanniX, though)
> - a (very) more user-friendly interface
> - lots of new functionalities to edit objects, mainly the curves.
>
> Though I am not the best person to give you an objective advice, I think it is a very powerful tool, and is going to be even better in some time. And if some microsounders could be so kind as to try and test it, and to report us bugs we could have overseen, or ask for features they think useful, it would be really great.
>
> Cyrill.
>
> Rod Stasick <xxx@xxxxxxx.xxx> wrote:
> On 2006 Aug 24, at 3:58 PM, Frank Barknecht wrote:
> > Just play around with the URLs around
> > http://www.la-kitchen.fr/iannix/iannix.html, try to figure out what
> > could be the reason why the download links they provide to for example
> > http://www.la-kitchen.fr/IanniXDev054.zip don't work, and sooner or
> > later you may guess, that they meant to point their links for example
> > to http://www.la-kitchen.fr/iannix/IanniXDev054.zip instead.
>
>
> Frank! Can I now call you "The Handyman"?
>
> Thanks!
>
>
> Rod
>
>
>
>
>
>
> ---
> Now playing: Susumu Yokota - Saku
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
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>
>
>
>
> ---------------------------------
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From ???@??? Fri Aug 25 13:55:53 2006
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From: Kyle Klipowicz <xxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] iannix software?
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This is an awesome development, Cyrill!  Will you be including a Pd
help patch and Csound orchestra/score as examples in the distribution?

~Kyle

On 8/25/06, Cyrill <xxxxxxx@xxxxx.xxx> wrote:
> Hi there
>
> I have been a lurker on this list for quite a while, and now i have at last the opportunity to post some (hopefully) useful information.
>
> I have been an intern at la-kitchen.fr for two months now, and I am working with Pierre Jullian de La Fuente on the new version of IanniX; a webpage dedicated to this project has been recently opened on sourceforge, http://sourceforge.net/projects/iannix, along with a new mailing-list in english.
>
> Basically IanniX is based on the Upic from Iannis Xenakis - hence the name -, the main difference being that the synthesis part has been removed from the software. IanniX sends instead OSC messages and so can be used as a graphical score editor along with pd, Max-msp, SC, Csound and other softwares that support OSC. So it allows graphical and easy control over software synthesis and composition, without the constraint of being bounded to an internal set of sound generators.
>
> The current version on the cvs is still a bit buggy but has nevertheless improved a lot since the 0.54 one; amidst others, some of the improvments are:
>
> - portage to qt4 (however, for the time being you do need to install qt4 libs first; the needed libraries will soon be embedded within IanniX, though)
> - a (very) more user-friendly interface
> - lots of new functionalities to edit objects, mainly the curves.
>
> Though I am not the best person to give you an objective advice, I think it is a very powerful tool, and is going to be even better in some time. And if some microsounders could be so kind as to try and test it, and to report us bugs we could have overseen, or ask for features they think useful, it would be really great.
>
> Cyrill.
>
> Rod Stasick <xxx@xxxxxxx.xxx> wrote:
> On 2006 Aug 24, at 3:58 PM, Frank Barknecht wrote:
> > Just play around with the URLs around
> > http://www.la-kitchen.fr/iannix/iannix.html, try to figure out what
> > could be the reason why the download links they provide to for example
> > http://www.la-kitchen.fr/IanniXDev054.zip don't work, and sooner or
> > later you may guess, that they meant to point their links for example
> > to http://www.la-kitchen.fr/iannix/IanniXDev054.zip instead.
>
>
> Frank! Can I now call you "The Handyman"?
>
> Thanks!
>
>
> Rod
>
>
>
>
>
>
> ---
> Now playing: Susumu Yokota - Saku
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>
>
>
> ---------------------------------
> Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ countries) for 2/min or less.
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From ???@??? Fri Aug 25 13:51:18 2006
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Hi there

I have been a lurker on this list for quite a while, and now i have at last the opportunity to post some (hopefully) useful information.

I have been an intern at la-kitchen.fr for two months now, and I am working with Pierre Jullian de La Fuente on the new version of IanniX; a webpage dedicated to this project has been recently opened on sourceforge, http://sourceforge.net/projects/iannix, along with a new mailing-list in english.

Basically IanniX is based on the Upic from Iannis Xenakis - hence the name -, the main difference being that the synthesis part has been removed from the software. IanniX sends instead OSC messages and so can be used as a graphical score editor along with pd, Max-msp, SC, Csound and other softwares that support OSC. So it allows graphical and easy control over software synthesis and composition, without the constraint of being bounded to an internal set of sound generators.

The current version on the cvs is still a bit buggy but has nevertheless improved a lot since the 0.54 one; amidst others, some of the improvments are:

- portage to qt4 (however, for the time being you do need to install qt4 libs first; the needed libraries will soon be embedded within IanniX, though)
- a (very) more user-friendly interface
- lots of new functionalities to edit objects, mainly the curves.

Though I am not the best person to give you an objective advice, I think it is a very powerful tool, and is going to be even better in some time. And if some microsounders could be so kind as to try and test it, and to report us bugs we could have overseen, or ask for features they think useful, it would be really great.

Cyrill.

Rod Stasick <xxx@xxxxxxx.xxx> wrote: 
On 2006 Aug 24, at 3:58 PM, Frank Barknecht wrote:
> Just play around with the URLs around
> http://www.la-kitchen.fr/iannix/iannix.html, try to figure out what
> could be the reason why the download links they provide to for example
> http://www.la-kitchen.fr/IanniXDev054.zip don't work, and sooner or
> later you may guess, that they meant to point their links for example
> to http://www.la-kitchen.fr/iannix/IanniXDev054.zip instead.


Frank! Can I now call you "The Handyman"?

Thanks!


Rod






---
Now playing: Susumu Yokota - Saku

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From ???@??? Fri Aug 25 05:30:08 2006
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And I just added a baby to my mix :)


On 25/8/06 2:24 PM, "Graham Miller" <xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:

> i think a naw humdrum prototype should take precedence over those
> synchronized swimming gigs you've been doing as of late:)
> 
> On 24-Aug-06, at 10:59 PM, Neil Wiernik wrote:
> 
>> 
>> sure Ill get right on it right after the 1000000000000 other things
>> on my list of things that NEEDS to get done...
>> 
>> 
>> 
>> On Thu, 24 Aug 2006, Rod Stasick wrote:
>> 
>>> 
>>> Hey Neil! Would you build us all a "HumDrum"
>>> I'm sure the possibilities could be quite fantastic!
>>> 
>>> 
>>> R
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> ---
>>> Now playing: Susumu Yokota - Capriccio And The Innovative Composer
>>> 
>>> ---------------------------------------------------------------------
>>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> website: http://www.microsound.org
>>> 
>>> 
>> 
>> ============================
>> www.phoniq.net
>> releases available on:
>> www.noisefactoryrecords.com
>> publication:
>> www.vagueterrain.net
>> 
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
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> 
> 
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> 

Symbiosis - Experimental Sound Textures and Rhythms

Wednesday nights / 10pm - 12am
102.7 FM / www.rrr.org.au
Melbourne / Australia
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From ???@??? Fri Aug 25 04:58:08 2006
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hahaha....



On Fri, 25 Aug 2006, Graham Miller wrote:

> i think a naw humdrum prototype should take precedence over those 
> synchronized swimming gigs you've been doing as of late:)
>
> On 24-Aug-06, at 10:59 PM, Neil Wiernik wrote:
>
>> 
>> sure Ill get right on it right after the 1000000000000 other things on my 
>> list of things that NEEDS to get done...
>> 
>> 
>> 
>> On Thu, 24 Aug 2006, Rod Stasick wrote:
>> 
>>> 
>>> Hey Neil! Would you build us all a "HumDrum"
>>> I'm sure the possibilities could be quite fantastic!
>>> 
>>> 
>>> R
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> ---
>>> Now playing: Susumu Yokota - Capriccio And The Innovative Composer
>>> 
>>> ---------------------------------------------------------------------
>>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> website: http://www.microsound.org
>>> 
>>> 
>> 
>> ============================
>> www.phoniq.net
>> releases available on:
>> www.noisefactoryrecords.com
>> publication:
>> www.vagueterrain.net
>> 
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>
>
> ---------------------------------------------------------------------
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>

============================
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releases available on:
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From ???@??? Fri Aug 25 04:45:05 2006
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i think a naw humdrum prototype should take precedence over those  
synchronized swimming gigs you've been doing as of late:)

On 24-Aug-06, at 10:59 PM, Neil Wiernik wrote:

>
> sure Ill get right on it right after the 1000000000000 other things  
> on my list of things that NEEDS to get done...
>
>
>
> On Thu, 24 Aug 2006, Rod Stasick wrote:
>
>>
>> Hey Neil! Would you build us all a "HumDrum"
>> I'm sure the possibilities could be quite fantastic!
>>
>>
>> R
>>
>>
>>
>>
>>
>>
>> ---
>> Now playing: Susumu Yokota - Capriccio And The Innovative Composer
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>>
>
> ============================
> www.phoniq.net
> releases available on:
> www.noisefactoryrecords.com
> publication:
> www.vagueterrain.net
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
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From ???@??? Fri Aug 25 02:59:12 2006
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sure Ill get right on it right after the 1000000000000 other things on my 
list of things that NEEDS to get done...



On Thu, 24 Aug 2006, Rod Stasick wrote:

>
> Hey Neil! Would you build us all a "HumDrum"
> I'm sure the possibilities could be quite fantastic!
>
>
> R
>
>
>
>
>
>
> ---
> Now playing: Susumu Yokota - Capriccio And The Innovative Composer
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>

============================
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releases available on:
www.noisefactoryrecords.com
publication:
www.vagueterrain.net

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From ???@??? Fri Aug 25 01:46:30 2006
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From: Phil Thomson <xxxxxxxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] Re: iannix software?
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Iannix doesn't seem to have been developed at all for a while.
Hyperupic might be a better bet, as the basic functionality is similar
IIRC.

Iannix was originally recommended to me as a program for stochastic
synthesis, but it's not. It's more along the line of his UPIC stuff.

Sergio Luque, a Mexican composer, did some interesting stuff with
stochastic synthesis at the Institute of Sonology. There are some
pieces up on his website (http://sergioluque.com/), along with his
thesis. You might also drop him line if you have use for the
SuperCollider code.

You might also give Stochos a shot:

http://sonic-disorder.com/

~pt


-- 
"If the other could be possessed, seized, and known, it would not be
the other. To possess, to know, to grasp are all synonyms of power. To
see and to know, to have and to will, unfold only within the
oppressive and luminous identity of the same."

~ Emmanuel Levinas


:::::::::::::::::::::::::::::::::::::
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From ???@??? Fri Aug 25 01:01:47 2006
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On 2006 Aug 24, at 3:55 PM, Neil Wiernik wrote:

>
> gee thanks but talk for your self my existance is far from humdrum!!

Hey Neil! Would you build us all a "HumDrum"
I'm sure the possibilities could be quite fantastic!


R






---
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http://membres.lycos.fr/musicand/INSTRUMENT/DIGITAL/UPIC/UPIC.htm

here you'll find all the dirty details and some sweet pictures.

now i must return to my humdrum existence and, more specifically,  
season 2 of battlestar galactica...

g.

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Didn't he build the UPIC at the CEMAMu (now known as CCMIX) ?

http://portal.unesco.org/culture/fr/ev.php- 
URL_ID=26538&URL_DO=DO_TOPIC&URL_SECTION=201.html

Sorry, link only in French. Auto-translation may be enough though.

Julien.


Le 24 aot 06  23:09, Kyle Klipowicz a crit :

> Thanks for the tip, Frank!
>
> For those who aren't aware, UPIC was developed by Iannis Xenakis as
> IRCAM, and is a computer program that generates sound based on drawing
> sketches on a frequency vs. time graph.  I know that Metasynth has
> similar features, but costs a pretty penny.  It will be neat to see if
> this free software is any good!
>
> For some odd reason, I could not find an English Wikipedia entry about
> UPIC.  You can read about it and many other interesting creations in
> The Computer Music Tutorial by Curtis Roads.
>
> ~Kyle

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Their second pg. can be accessed in the same way;

http://www.la-kitchen.fr/iannix/iannix2.html

Run this thru Babelfish and you can get a somewhat fractured version of their background info. It's a bit too long to post.

d4l3d

-----------------------------------------------

--- On Thu 08/24, Rod Stasick < xxx@xxxxxxx.xxx > wrote:From: Rod Stasick [mailto: xxx@xxxxxxx.xxx]To: xxxxxxxxxx@xxxxxxxxx.xxxDate: Thu, 24 Aug 2006 16:18:02 -0500Subject: Re: [microsound] iannix software?
On 2006 Aug 24, at 3:58 PM, Frank Barknecht wrote:
> Just play around with the URLs around
> http://www.la-kitchen.fr/iannix/iannix.html, try to figure out what
> could be the reason why the download links they provide to for example
> http://www.la-kitchen.fr/IanniXDev054.zip don't work, and sooner or
> later you may guess, that they meant to point their links for example
> to http://www.la-kitchen.fr/iannix/IanniXDev054.zip instead.


Frank! Can I now call you "The Handyman"?

Thanks!


Rod






---
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On 2006 Aug 24, at 3:58 PM, Frank Barknecht wrote:
> Just play around with the URLs around
> http://www.la-kitchen.fr/iannix/iannix.html, try to figure out what
> could be the reason why the download links they provide to for example
> http://www.la-kitchen.fr/IanniXDev054.zip don't work, and sooner or
> later you may guess, that they meant to point their links for example
> to http://www.la-kitchen.fr/iannix/IanniXDev054.zip instead.


Frank! Can I now call you "The Handyman"?

Thanks!


Rod






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Here is some info on UPIC that I lifted from Eric Kuehnl's site
(http://music.calarts.edu/~eric/gs.html).  It looks like I was wrong
about the IRCAM origin.

~Kyle

The Current UPIC Workstation
UPIC (Unite Polyagogique Informatique du CEMAMu) is a machine
dedicated to the interactive composition of musical scores (Xenakis
329). It was conceptualized by Xenakis and created at the CEMAMu
(Centre for Studies in the Mathematics and Automation of Music) in
Paris. The UPIC software consists of pages on which a composer draws
"arcs" which specify the pitch and duration of a sonic event (figure
5), and a voice editing matrix with which the "arcs" are described.
Waveform, envelope, frequency and amplitude tables, modulating arc
assignment, and modification of audio channel parameters (dynamic and
envelope) may all be manipulated for each "arc" in real-time.

The hardware of the UPIC system consists of a Windows-based computer
with a digitizing tablet, and the UPIC Real-Time Synthesis Unit:

64 Oscillators at 44.1 kHz with FM
converter board:
4 audio output channels
2 audio input channels
AES/EBU interface
capacity:
4 pages of 4000 arcs
64 waveforms
4 frequency tables
128 envelopes
4 amplitude tables

The UPIC Workstation is ideal for granular synthesis for several
reasons. First, it allows any waveform (including sampled waveforms)
to be assigned to each "arc". Second, it currently permits 64 "arcs"
to be layered vertically. This enables the composer to design "clouds"
of sound up to 64 grains in density and of infinite duration at any
point in a composition. Finally, and perhaps most importantly, the
UPIC requires no time to process any of its functions.

On 8/24/06, Kyle Klipowicz <xxxxxxxx@xxxxx.xxx> wrote:
> Thanks for the tip, Frank!
>
> For those who aren't aware, UPIC was developed by Iannis Xenakis as
> IRCAM, and is a computer program that generates sound based on drawing
> sketches on a frequency vs. time graph.  I know that Metasynth has
> similar features, but costs a pretty penny.  It will be neat to see if
> this free software is any good!
>
> For some odd reason, I could not find an English Wikipedia entry about
> UPIC.  You can read about it and many other interesting creations in
> The Computer Music Tutorial by Curtis Roads.
>
> ~Kyle
>
> On 8/24/06, Frank Barknecht <xxxx@xxxxxxx.xxx> wrote:
> > Hallo,
> > Rod Stasick hat gesagt: // Rod Stasick wrote:
> >
> > >
> > > On 2006 Aug 24, at 3:25 PM, Kyle Klipowicz wrote:
> > >
> > > >Oh man, I haven't seen this, but if it's what I think it is (since I
> > > >don't know French), I'd love to try out UPIC-style software.  Xenakis
> > > >was crafty.  I'll try it out tonight!
> > >
> > > If you're able to download this, then let us all know.
> >
> > Ah, what happened to the fine art of website hacking by guesses ...
> >
> > Just play around with the URLs around
> > http://www.la-kitchen.fr/iannix/iannix.html, try to figure out what
> > could be the reason why the download links they provide to for example
> > http://www.la-kitchen.fr/IanniXDev054.zip don't work, and sooner or
> > later you may guess, that they meant to point their links for example
> > to http://www.la-kitchen.fr/iannix/IanniXDev054.zip instead.
> >
> > ;)
> >
> > Ciao
> > --
> >  Frank Barknecht                 _ ______footils.org_ __goto10.org__
> >
> > ---------------------------------------------------------------------
> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> >
> >
>
>
> --
>
> http://theradioproject.com
> http://perhapsidid.blogspot.com
>
> (((())))(()()((((((((()())))()(((((((())()()())())))
> (())))))(()))))))))))))(((((((((((()()))))))))((())))
> ))(((((((((((())))())))))))))))))))__________
> _____())))))(((((((((((((()))))))))))_______
> ((((((())))))))))))((((((((000)))oOOOOOO
>


-- 

http://theradioproject.com
http://perhapsidid.blogspot.com

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Thanks for the tip, Frank!

For those who aren't aware, UPIC was developed by Iannis Xenakis as
IRCAM, and is a computer program that generates sound based on drawing
sketches on a frequency vs. time graph.  I know that Metasynth has
similar features, but costs a pretty penny.  It will be neat to see if
this free software is any good!

For some odd reason, I could not find an English Wikipedia entry about
UPIC.  You can read about it and many other interesting creations in
The Computer Music Tutorial by Curtis Roads.

~Kyle

On 8/24/06, Frank Barknecht <xxxx@xxxxxxx.xxx> wrote:
> Hallo,
> Rod Stasick hat gesagt: // Rod Stasick wrote:
>
> >
> > On 2006 Aug 24, at 3:25 PM, Kyle Klipowicz wrote:
> >
> > >Oh man, I haven't seen this, but if it's what I think it is (since I
> > >don't know French), I'd love to try out UPIC-style software.  Xenakis
> > >was crafty.  I'll try it out tonight!
> >
> > If you're able to download this, then let us all know.
>
> Ah, what happened to the fine art of website hacking by guesses ...
>
> Just play around with the URLs around
> http://www.la-kitchen.fr/iannix/iannix.html, try to figure out what
> could be the reason why the download links they provide to for example
> http://www.la-kitchen.fr/IanniXDev054.zip don't work, and sooner or
> later you may guess, that they meant to point their links for example
> to http://www.la-kitchen.fr/iannix/IanniXDev054.zip instead.
>
> ;)
>
> Ciao
> --
>  Frank Barknecht                 _ ______footils.org_ __goto10.org__
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>


-- 

http://theradioproject.com
http://perhapsidid.blogspot.com

(((())))(()()((((((((()())))()(((((((())()()())())))
(())))))(()))))))))))))(((((((((((()()))))))))((())))
))(((((((((((())))())))))))))))))))__________
_____())))))(((((((((((((()))))))))))_______
((((((())))))))))))((((((((000)))oOOOOOO

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From ???@??? Thu Aug 24 20:59:31 2006
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Hallo,
Rod Stasick hat gesagt: // Rod Stasick wrote:

> 
> On 2006 Aug 24, at 3:25 PM, Kyle Klipowicz wrote:
> 
> >Oh man, I haven't seen this, but if it's what I think it is (since I
> >don't know French), I'd love to try out UPIC-style software.  Xenakis
> >was crafty.  I'll try it out tonight!
> 
> If you're able to download this, then let us all know.

Ah, what happened to the fine art of website hacking by guesses ... 

Just play around with the URLs around
http://www.la-kitchen.fr/iannix/iannix.html, try to figure out what
could be the reason why the download links they provide to for example
http://www.la-kitchen.fr/IanniXDev054.zip don't work, and sooner or
later you may guess, that they meant to point their links for example
to http://www.la-kitchen.fr/iannix/IanniXDev054.zip instead. 

;) 

Ciao
-- 
 Frank Barknecht                 _ ______footils.org_ __goto10.org__

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From ???@??? Thu Aug 24 20:55:34 2006
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gee thanks but talk for your self my existance is far from humdrum!!


On Thu, 24 Aug 2006, Brent Colflesh wrote:

> I'm pretty sure it uses photons to change the paradigm of your humdrum 
> existence.
>
>
> Neil Wiernik wrote:
>> 
>> 
>> what does it do???
>> there is ZERO explination of what it does...
>> 
>> On Thu, 24 Aug 2006, Graham Miller wrote:
>> 
>>> anyone use this? experiences?
>>> 
>>> http://www.la-kitchen.fr/iannix/iannix.html
>>> 
>>> g.
>>> 
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>>> 
>>> 
>> 
>> ============================
>> www.phoniq.net
>> releases available on:
>> www.noisefactoryrecords.com
>> publication:
>> www.vagueterrain.net
>> 
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>> 
>
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>
>

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On 2006 Aug 24, at 3:25 PM, Kyle Klipowicz wrote:

> Oh man, I haven't seen this, but if it's what I think it is (since I
> don't know French), I'd love to try out UPIC-style software.  Xenakis
> was crafty.  I'll try it out tonight!

If you're able to download this, then let us all know.


Rod






---
Now playing: Basic Channel - Q1.1 (1a)

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From ???@??? Thu Aug 24 20:51:36 2006
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I'm pretty sure it uses photons to change the paradigm of your humdrum 
existence.


Neil Wiernik wrote:
> 
> 
> what does it do???
> there is ZERO explination of what it does...
> 
> On Thu, 24 Aug 2006, Graham Miller wrote:
> 
>> anyone use this? experiences?
>>
>> http://www.la-kitchen.fr/iannix/iannix.html
>>
>> g.
>>
>> ---------------------------------------------------------------------
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>>
>>
> 
> ============================
> www.phoniq.net
> releases available on:
> www.noisefactoryrecords.com
> publication:
> www.vagueterrain.net
> 
> ---------------------------------------------------------------------
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> website: http://www.microsound.org
> 

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what does it do???
there is ZERO explination of what it does...

On Thu, 24 Aug 2006, Graham Miller wrote:

> anyone use this? experiences?
>
> http://www.la-kitchen.fr/iannix/iannix.html
>
> g.
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>

============================
www.phoniq.net
releases available on:
www.noisefactoryrecords.com
publication:
www.vagueterrain.net

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Oh man, I haven't seen this, but if it's what I think it is (since I
don't know French), I'd love to try out UPIC-style software.  Xenakis
was crafty.  I'll try it out tonight!

~Kyle

On 8/24/06, Graham Miller <xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:
> anyone use this? experiences?
>
> http://www.la-kitchen.fr/iannix/iannix.html
>
> g.
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>


-- 

http://theradioproject.com
http://perhapsidid.blogspot.com

(((())))(()()((((((((()())))()(((((((())()()())())))
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anyone use this? experiences?

http://www.la-kitchen.fr/iannix/iannix.html

g.

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Subject: Re: [microsound] anyone checked out this virtual instrument mag?
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Graham Miller wrote:
> http://www.virtualinstrumentsmag.com/
>
> it looks pretty cool, but i've never seen it on the newsstands. any good?
>
> g.
I've purchased the last 3 issues.
Articles are well-written and very in-depth.
Andrew

-- 
Andrew Duke
scoring/sound design/source
http://andrew-duke.com
http://myspace.com/andrewduke
http://cognitionaudioworks.com
http://myspace.com/cognitionaudioworks


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Subject: Re: [microsound] a personal appreciation of microsound?
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That's a great story.  I made a promo a while back for my radio show
at university, and one of the DJ's said that halfway through playing
it, she scrambled around to fix it when it stuttered and skipped (as
per my intentions).  The glitch aesthetic is still quite on the fringe
for most listeners.

~Kyle

On 8/22/06, Exegene <xxxxxxx@xxxx.xxx> wrote:

> I managed a while ago to get a CD to a radio DJ; she played it on the air.
> Or tried to. For nearly a minute she skipped around the track. On the
> disc's retrieval, she said she's sorry, but the disc is broken and she
> couldn't find the music, what is this, some kind of joke?
>
> Don't underestimate how much music's perceived musicality can depend on
> its similarity to already-accepeted-as music, or on the
> marketing/packaging surrounding it.


http://theradioproject.com
http://perhapsidid.blogspot.com

(((())))(()()((((((((()())))()(((((((())()()())())))
(())))))(()))))))))))))(((((((((((()()))))))))((())))
))(((((((((((())))())))))))))))))))__________
_____())))))(((((((((((((()))))))))))_______
((((((())))))))))))((((((((000)))oOOOOOO

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Date: Tue, 22 Aug 2006 17:06:58 -0400
From: Milan Davidovic <xxxxx.xxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] a personal appreciation of microsound?
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On 8/22/06, Exegene <xxxxxxx@xxxx.xxx> wrote:
> I managed a while ago to get a CD to a radio DJ; she played it on the air.
> Or tried to. For nearly a minute she skipped around the track. On the
> disc's retrieval, she said she's sorry, but the disc is broken and she
> couldn't find the music, what is this, some kind of joke?

Wrong music, wrong DJ?

-- 
Milan Davidovic
http://altmilan.blogspot.com
http://www.terminus1525.ca/studio/view/2758

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From ???@??? Tue Aug 22 21:03:55 2006
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From: Exegene <xxxxxxx@xxxx.xxx>
Subject: Re: [microsound] a personal appreciation of microsound?
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On Mon, 21 Aug 2006, Rod Stasick wrote:
*snip*
> the reviewer seems to have had a preconceived idea
> of what "should" happen by trying to hang it on the
> microsound coat-rack of someone else and was unable to -
*snip*

Not managing to fit what's being listened to into a pattern built on past 
experience is a clear way for music to fall short of enjoyable, or even 
listenable.

I managed a while ago to get a CD to a radio DJ; she played it on the air. 
Or tried to. For nearly a minute she skipped around the track. On the 
disc's retrieval, she said she's sorry, but the disc is broken and she 
couldn't find the music, what is this, some kind of joke?

Don't underestimate how much music's perceived musicality can depend on 
its similarity to already-accepeted-as music, or on the 
marketing/packaging surrounding it.

-- 
Dear Patron Saint,
your lips are lopsided
www.devo.com/exegene

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From ???@??? Tue Aug 22 20:40:27 2006
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Date: Tue, 22 Aug 2006 21:33:21 +0100
From: "David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] a personal appreciation of microsound?
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ah - you like the rebellion factor > micropunk
----- Original Message ----- 
From: "Milan Davidovic" <xxxxx.xxxxxxxxx@xxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Tuesday, August 22, 2006 4:02 PM
Subject: Re: [microsound] a personal appreciation of microsound?


> On 8/21/06, David @ Audiobulb <xxxxxxxx@xxxxx.xx.xx> wrote:
>> Why do some of us enjoy/appreciate or find interest in repeated exposure 
>> to
>> microsound compositions...
>
> My parents hate it.
>
> -- 
> Milan Davidovic
> http://altmilan.blogspot.com
> http://www.terminus1525.ca/studio/view/2758
>
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>
>
> 


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From ???@??? Tue Aug 22 16:38:52 2006
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Date: Tue, 22 Aug 2006 11:23:12 -0500
From: Jason Hollis <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] embarrassing technical query re samplers - emu e64
 and midi: can anyone help
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I have an e6400, another EOS sampler, in fact the successor to yours I 
believe.
IIRC, the audition key plays the sound naked at root key, while key presses 
play it however you play it, and through the mixer - including the effects.
Check your effects settings to make sure they are OFF.  This should fix.
If not, check your Cords section to make sure you have no retriggers or 
similar items that would be causing a flange.

~ !J!
http://www.endif.org
http://www.crunchpod.com
http://www.thirdwavecollective.com



----- Original Message ----- 
From: "guiver ben" <xxxxxxxxx@xxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Tuesday, August 22, 2006 10:23 AM
Subject: Re: [microsound] embarrassing technical query re samplers - emu e64 
and midi: can anyone help


> Dear microsounders,
>
> hi sorry to ask but i have an emu e64. when i press
> the 'audition' button on the front panel, in sample
> edit mode, it plays the selected sample fine.
>
> however, when i audition the sample off the c4 key on
> my master keyboard, it plays like its phasing or
> something.
>
> apparently this is a very basic midi / sampler issue
> and thus i feel a bit ashamed that i'm asking. but
> anyway, does anyone know why the f$%^ this happens
> please? only its doing my head in.
>
> best
>
> ben
>
> --- eretsua <xxxxxxxxx_xxxxxx@xxxxx.xxx> wrote:
>
>>
>> ----- Original Message ----- 
>> From: "Jan L." <xxx@xxxxxx.xx>
>> > Perhaps the record is just that? Boring bullsh*t?
>>
>> that's not a very nice thing to say BUT i think it's
>> well in place. i have
>> not heard the recording that spawned this thread so
>> i'm not giving any
>> judgement on wether or not this statement is true or
>> false (for me). however
>> what i would like to point out is the fact that
>> occassionally people who get
>> bad reviews start saying "you are not elitist enough
>> to understand my music"
>> while in some cases that might be true in others
>> it's just not true and what
>> you've made is actually just pointless bullsh*t for
>> anyone but yourself.
>> there's nothing wrong with making music just for
>> yourself just the attitude
>> that people have to like whatever you make is a
>> wrong one, i think.
>>
>> eretsua.
>>
>>
>>
>>
>>
>>
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>>
>>
>
>
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From ???@??? Tue Aug 22 16:05:52 2006
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Date: Tue, 22 Aug 2006 11:05:38 -0500
From: David Powers <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] embarrassing technical query re samplers - emu e64
 and midi: can anyone help
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Hello,
This sounds like "MIDI feedback" - for some reason the way stuff is
setup, the note from your master keyboard sounds like it's getting
sent twice. Couldn't tell why, or if this is the actual problem,
without seeing your setup.
~David

On 8/22/06, guiver ben <xxxxxxxxx@xxxxx.xxx> wrote:
> Dear microsounders,
>
> hi sorry to ask but i have an emu e64. when i press
> the 'audition' button on the front panel, in sample
> edit mode, it plays the selected sample fine.
>
> however, when i audition the sample off the c4 key on
> my master keyboard, it plays like its phasing or
> something.
>
> apparently this is a very basic midi / sampler issue
> and thus i feel a bit ashamed that i'm asking. but
> anyway, does anyone know why the f$%^ this happens
> please? only its doing my head in.
>
> best
>
> ben
>
> --- eretsua <xxxxxxxxx_xxxxxx@xxxxx.xxx> wrote:
>
> >
> > ----- Original Message -----
> > From: "Jan L." <xxx@xxxxxx.xx>
> > > Perhaps the record is just that? Boring bullsh*t?
> >
> > that's not a very nice thing to say BUT i think it's
> > well in place. i have
> > not heard the recording that spawned this thread so
> > i'm not giving any
> > judgement on wether or not this statement is true or
> > false (for me). however
> > what i would like to point out is the fact that
> > occassionally people who get
> > bad reviews start saying "you are not elitist enough
> > to understand my music"
> > while in some cases that might be true in others
> > it's just not true and what
> > you've made is actually just pointless bullsh*t for
> > anyone but yourself.
> > there's nothing wrong with making music just for
> > yourself just the attitude
> > that people have to like whatever you make is a
> > wrong one, i think.
> >
> > eretsua.
> >
> >
> >
> >
> >
> >
> ---------------------------------------------------------------------
> > To unsubscribe, e-mail:
> > xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail:
> > xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> >
> >
>
>
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From ???@??? Tue Aug 22 15:39:20 2006
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From: John Hopkins <xxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] a personal appreciation of microsound?
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>i think that personal preferences are atleast partially dictated by 
>physical properties of the individual in question. i don't know if 
>it's true but i believe everyone has a different frequency range 
>that they are able to hear better than another person. so PersonA's 
>hearing is more sensitve, better able to hear high sounds and 
>PersonB's hearing is more sensitive to low sounds. i think these 
>differences make up (atleast partially) our tastes because we are 
>not hearing the same thing and there for may may miss out on the 
>point of the music. i think that one needs to be able to recognize a 
>pattern (of some sort) in order to enjoy / appreciate anything. so 
>if the point of the music/sound is in an area of the frequency 
>spectrum where the listener's ears & brain can't make anything of 
>it's going to be lost on them.

it's also the social filtering that people apply to their physical 
input systems -- "you only hear what you want to hear" -- where it is 
seems reasonable to say that measured at the eardrum, with small 
variations for different people, everyone is receiving the same sonic 
energy, and this would likely hold for the energy passing through the 
nerves from the ear to the brain...  But the brain has been taught to 
'accept or reject' certain information impulses as being important or 
un-important to the individuals survival in the social system in 
which they reside -- this occurs as one matures in a system -- from 
childhood.  Children tend not to discriminate one kind of input  vs 
another (except as a visceral protection level).  As one assimilates 
into the social system, active filtration begins to operate as 
dictated by that system.  You could even think of this list being a 
collective of people who find themselves with roughly similar 
filtration systems that don't quite fit the 'norm' of the social 
system that they are embedded in...

My filter criteria -- I like a particular sonic energy if it's good 
;-)) -- if it energizes my system...

Cheers
John

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From ???@??? Tue Aug 22 15:30:21 2006
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From: guiver ben <xxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] embarrassing technical query re samplers - emu e64
 and midi: can anyone help
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Dear microsounders,

hi sorry to ask but i have an emu e64. when i press
the 'audition' button on the front panel, in sample
edit mode, it plays the selected sample fine. 

however, when i audition the sample off the c4 key on
my master keyboard, it plays like its phasing or
something. 

apparently this is a very basic midi / sampler issue
and thus i feel a bit ashamed that i'm asking. but
anyway, does anyone know why the f$%^ this happens
please? only its doing my head in.

best

ben 

--- eretsua <xxxxxxxxx_xxxxxx@xxxxx.xxx> wrote:

> 
> ----- Original Message ----- 
> From: "Jan L." <xxx@xxxxxx.xx>
> > Perhaps the record is just that? Boring bullsh*t?
> 
> that's not a very nice thing to say BUT i think it's
> well in place. i have 
> not heard the recording that spawned this thread so
> i'm not giving any 
> judgement on wether or not this statement is true or
> false (for me). however 
> what i would like to point out is the fact that
> occassionally people who get 
> bad reviews start saying "you are not elitist enough
> to understand my music" 
> while in some cases that might be true in others
> it's just not true and what 
> you've made is actually just pointless bullsh*t for
> anyone but yourself. 
> there's nothing wrong with making music just for
> yourself just the attitude 
> that people have to like whatever you make is a
> wrong one, i think.
> 
> eretsua.
> 
> 
> 
> 
> 
>
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On 8/21/06, David @ Audiobulb <xxxxxxxx@xxxxx.xx.xx> wrote:
> Why do some of us enjoy/appreciate or find interest in repeated exposure to
> microsound compositions...

My parents hate it.

-- 
Milan Davidovic
http://altmilan.blogspot.com
http://www.terminus1525.ca/studio/view/2758

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NYU's Jeff Han shows some the they've done at Courant.

Cool stuff:
http://youtube.com/watch?v=PLhMVNdplJc

A little more about Jeff:
http://mrl.nyu.edu/~jhan/



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From ???@??? Tue Aug 22 14:52:17 2006
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I can get behind this. A former room mate pointed out that everyone else 
in the world hums the melody of a song, and I hum the bass line. My ears 
just gravitate that way, and have ever since I can remember.
Low frequencies and rhythm are what draw me into a piece of music - 
microsound or otherwise.

I think exposure and conditioning play a part as well. Near the end of 
my days in  music school, I grew tired of wading through I-Vi -ii - V- I 
charts. I realized that there are a lot of people who enjoy it more than 
I, and decided for the most part to leave it to them. My search for some 
form of post-diatonic musical activity led to appreciation of and 
participation in microsound and Contemporary/New Music/Avant Garde, or 
whatever the current hip moniker is.

eretsua wrote:
> From: "David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx>
>> Why do some of us enjoy/appreciate or find interest in repeated 
>> exposure to <
>> microsound compositions whilst others are repelled by it?<
>
> i think that personal preferences are atleast partially dictated by 
> physical properties of the individual in question. i don't know if 
> it's true but i believe everyone has a different frequency range that 
> they are able to hear better than another person. so PersonA's hearing 
> is more sensitve, better able to hear high sounds and PersonB's 
> hearing is more sensitive to low sounds. i think these differences 
> make up (atleast partially) our tastes because we are not hearing the 
> same thing and there for may may miss out on the point of the music. i 
> think that one needs to be able to recognize a pattern (of some sort) 
> in order to enjoy / appreciate anything. so if the point of the 
> music/sound is in an area of the frequency spectrum where the 
> listener's ears & brain can't make anything of it's going to be lost 
> on them.
>
> there are many different reasons. one microsounder might listen to the 
> recording and enjoy the technical quallity of the recording. another 
> microsounder may be facinated by the sonic magnification of the word 
> around him/her. like when you take a camera into the garden and zoom 
> in on all the little things and film a whole different world then when 
> you just look at the garden from your window, only in microsound it's 
> done with sound rather than film.
>
> eretsua
>
>
>
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----- Original Message ----- 
From: "Jan L." <xxx@xxxxxx.xx>
> Perhaps the record is just that? Boring bullsh*t?

that's not a very nice thing to say BUT i think it's well in place. i have 
not heard the recording that spawned this thread so i'm not giving any 
judgement on wether or not this statement is true or false (for me). however 
what i would like to point out is the fact that occassionally people who get 
bad reviews start saying "you are not elitist enough to understand my music" 
while in some cases that might be true in others it's just not true and what 
you've made is actually just pointless bullsh*t for anyone but yourself. 
there's nothing wrong with making music just for yourself just the attitude 
that people have to like whatever you make is a wrong one, i think.

eretsua.





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From: "David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx>
>Why do some of us enjoy/appreciate or find interest in repeated exposure to 
><
>microsound compositions whilst others are repelled by it?<

i think that personal preferences are atleast partially dictated by physical 
properties of the individual in question. i don't know if it's true but i 
believe everyone has a different frequency range that they are able to hear 
better than another person. so PersonA's hearing is more sensitve, better 
able to hear high sounds and PersonB's hearing is more sensitive to low 
sounds. i think these differences make up (atleast partially) our tastes 
because we are not hearing the same thing and there for may may miss out on 
the point of the music. i think that one needs to be able to recognize a 
pattern (of some sort) in order to enjoy / appreciate anything. so if the 
point of the music/sound is in an area of the frequency spectrum where the 
listener's ears & brain can't make anything of it's going to be lost on 
them.

there are many different reasons. one microsounder might listen to the 
recording and enjoy the technical quallity of the recording. another 
microsounder may be facinated by the sonic magnification of the word around 
him/her. like when you take a camera into the garden and zoom in on all the 
little things and film a whole different world then when you just look at 
the garden from your window, only in microsound it's done with sound rather 
than film.

eretsua



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From ???@??? Tue Aug 22 04:19:02 2006
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Perhaps the record is just that? Boring bullsh*t?

There is nothing wrong with a person rather listening to Spike Jones  
collected works before even a single track by Claudia. Music is  
personal - the consumer is the judge.



22 aug 2006 kl. 01.07 skrev David @ Audiobulb:

> The question of whether or when sound becomes music or more broadly  
> "something a person would wish to submit their ears to".... is  
> raised on occasion in the context of microsound compositions....
>
> Claudia's recent release on Audiobulb Records has prompted a number  
> of reviewers to question raise questions in their reviews such as  
> "Is this music?" or "is there any point to this?".
>
> A quote from http://angryape.com/reviews/2006/08/claudia-weve-met- 
> before-when-we-were .... "The trilogy of tracks that makes up Me  
> And My Tornado is the most uncomfortable listen, the broken sound  
> clips are harsh and unpleasant on the ears. Don't get me wrong, I  
> don't need pretty sounds to make something sound good, but this is  
> too sparse, too little, bordering on the pointless, the realm of is  
> this or is it not music? Rarely is there more than one sound  
> overlapping with another, the samples are jarring clangs and snaps  
> intertwined with emptiness throughout all three tracks.
>
> +++++++ So to cut to the question that is on my mind +++++++
>
> Why do some of us enjoy/appreciate or find interest in repeated  
> exposure to microsound compositions whilst others are repelled by it?
>
> 1. Is this a learnt behaviour and if so why?
>
> 2. Does this reflect developmental experiences?
>
> What cognitive, personality or experiential elements lie behind  
> your understanding of microsound appreciation?
>
> Best wishes
>
> David @ www.audiobulb.com
>
>
>
>
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On 8/21/06, David @ Audiobulb <xxxxxxxx@xxxxx.xx.xx> wrote:
> Why do some of us enjoy/appreciate or find interest in repeated exposure to
> microsound compositions whilst others are repelled by it?

variety is essential to life.

> 1. Is this a learnt behaviour and if so why?

sometimes learned. each person probably has a different reason why
they have learned to like microsound music. maybe these reasons can be
generalized into a few trends, but this may be leaving out all the
important parts.

also, some people may just like the music, viscerally.

> 2. Does this reflect developmental experiences?

it may. i think there's a wide variety of experiences that may lead
someone to seek out microsound-like music.

> What cognitive, personality or experiential elements lie behind your
> understanding of microsound appreciation?

i don't know if this can be generalized. can people like music without
a supporting intellectual process? can people dislike music without
any rationale for it? are these preferences less valid without
'argument' behind them?

-- 
\js  [ http://or8.net/~johns/ ]

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I think that microsound compositions mostly deal with very
medium-specific problems and concepts, and the people that are
repelled are those that don't care about the concept.

Reviewers asking the question "is this music?" just seem misguided.
It might be more fruitful to ask the question "How does the piece deal
with sound?"

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From ???@??? Tue Aug 22 00:12:49 2006
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Date: Mon, 21 Aug 2006 19:11:38 -0500
From: Rod Stasick <xxx@xxxxxxx.xxx>
Subject: Re: [microsound] a personal appreciation of microsound?
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I'm just going by the samples
on your website, so...

This appears to be a debut recording so,
instead of approaching the recording with fresh ears,
the reviewer seems to have had a preconceived idea
of what "should" happen by trying to hang it on the
microsound coat-rack of someone else and was unable to -
thus producing an uncomfortable feeling about linear-based
microsound.

I like what little I've heard,
and not knowing the composer,
I'm only guessing that these "incomplete"
strands of sound are intended as arrhythmic
lines - especially if you consider the title of the disc.

my two cents...


Rod






---
Now playing: Sabrina Malheiros - Love Sorte

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From ???@??? Mon Aug 21 23:07:36 2006
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The question of whether or when sound becomes music or more broadly 
"something a person would wish to submit their ears to".... is raised on 
occasion in the context of microsound compositions....

Claudia's recent release on Audiobulb Records has prompted a number of 
reviewers to question raise questions in their reviews such as "Is this 
music?" or "is there any point to this?".

A quote from 
http://angryape.com/reviews/2006/08/claudia-weve-met-before-when-we-were 
..... "The trilogy of tracks that makes up Me And My Tornado is the most 
uncomfortable listen, the broken sound clips are harsh and unpleasant on the 
ears. Don't get me wrong, I don't need pretty sounds to make something sound 
good, but this is too sparse, too little, bordering on the pointless, the 
realm of is this or is it not music? Rarely is there more than one sound 
overlapping with another, the samples are jarring clangs and snaps 
intertwined with emptiness throughout all three tracks.

+++++++ So to cut to the question that is on my mind +++++++

Why do some of us enjoy/appreciate or find interest in repeated exposure to 
microsound compositions whilst others are repelled by it?

1. Is this a learnt behaviour and if so why?

2. Does this reflect developmental experiences?

What cognitive, personality or experiential elements lie behind your 
understanding of microsound appreciation?

Best wishes

David @ www.audiobulb.com




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From ???@??? Mon Aug 21 15:02:43 2006
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From: guiver ben <xxxxxxxxx@xxxxx.xxx>
Subject: RE: [microsound]   :::   Burial
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i like the burial cd a lot. i think its more than a
few samples, etc etc, the arrangements are pretty cool
too and it strikes a note for me in particualrly since
i spent some good sat nights at the end of the 90's
mixing to detuned pirate radio etc etc so it reminds
me of those times in some ways. the rhythms are cool
to, it just feels like part of the development thats
coming through in the uk underground scene, if i may
be so bold. heard any Skream lately? he's good too.
but in a different way. 

--- Noel Peters <xxxxxxx@xxxxxxx.xxx> wrote:

> Fiar enough. I think the sketchy production is one
> of the things that draws me to it and I'm not one to
> necessarily embrace low-end for the sake of it. I
> also don't care who samples what. :)
> 
> 
> -----Original Message-----
> From: steinbrchel [mailto:xxxxxxxxxxxx@xxxxxxxx.xx]
> 
> Sent: Saturday, 19 August 2006 12:40 AM
> To: microsound
> Subject: Re: [microsound] Re: thom yorke's eraser
> (Burial)
> 
> in my humble opinion the burial record is by far
> overrated.
> sampling massive attack just is to easy...
> 
> for anyone freaking out because they think burial is
> ****ing good,
> they should check out what scorn did 10 years ago.
> absolutely
> stunning (and far heavier, deeper and better
> produced). and the
> good thing about it is also that theirs no massive
> attack sampling
> in near sight...
> 
> cheers, ralph.
> 
> 
> 
>
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From ???@??? Mon Aug 21 13:41:08 2006
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i think burial just made an interesting listenable record, 
which is exceptional esp for techno, garage, and esp dubstep.
for those not familiar with rhythm & sound, basic channel,
scorn, etc, itll sound really unique.

Subject: Re: [microsound] Re: thom yorke's eraser (Burial)
Message-ID: <C10B9DD6.2E21%xxxxxxxxxxxx@xxxxxxxx.xx>

in my humble opinion the burial record is by far overrated.
sampling massive attack just is to easy...

for anyone freaking out because they think burial is ****ing good,
they should check out what scorn did 10 years ago. absolutely
stunning (and far heavier, deeper and better produced). and the
good thing about it is also that theirs no massive attack sampling
in near sight...

cheers, ralph.

                 
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From ???@??? Mon Aug 21 06:07:55 2006
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> Subject: Re: [microsound] audio-to-midi converters
>
> Thanks Nick. Much of the stuff that I'm looking at
> is earlier work on DAT that is polyphonic and has
> some microtone considerations. Wanting to get a
> reasonable representation into score form.

While the act of transcription requires attention,
action, and some skill, there's no substitute -
particularly as you approach any source that's
microtonal and polyphonic [either one is problematic
on its own. Together? whoa.], and the difficulties
increase with orders of magnitude as you add
multiple instruments or instruments with spectral
profiles that are anything short of non-unusual.

For some basic background as to *why* this
might be problematic, there's always the oldschool
"analog" reading thing.

http://scitation.aip.org/getabs/servlet/GetabsServlet? 
prog=normal&id=JASMAN000118000003001948000007&idtype=cvips&gifs=yes

Given the issues outlined in the paper here, it'd not
be too surprising that some of the more robust stuff
would involve single instrument work. You might want
to have a look at the AES stuff online. I seem to recall
some papers from a session on analysis and modelling
a few years back - some interesting and reasonable
piano results.

This probably isn't the answer you wanted, but you're
asking for something that's um... a bit ambitious.

Monophonic sources [particularly without wonky
attack transient segments] in 12tET? Probably
pretty doable in hardware and software [especially
if you're willing to do the type of OCR people had to
do many years ago - sweep once, spell check forever]
with stuff that will either be inexpensive or easily
available. That old recording of Gendhing Sri Kraton
you made on holiday in Surakarta? You'll pay big
money for that one.






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From ???@??? Sun Aug 20 23:19:06 2006
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From: Noel Peters <xxxxxxx@xxxxxxx.xxx>
Subject: RE: [microsound] Re: thom yorke's eraser (Burial)
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Fiar enough. I think the sketchy production is one of the things that draws me to it and I'm not one to necessarily embrace low-end for the sake of it. I also don't care who samples what. :)


-----Original Message-----
From: steinbrchel [mailto:xxxxxxxxxxxx@xxxxxxxx.xx] 
Sent: Saturday, 19 August 2006 12:40 AM
To: microsound
Subject: Re: [microsound] Re: thom yorke's eraser (Burial)

in my humble opinion the burial record is by far overrated.
sampling massive attack just is to easy...

for anyone freaking out because they think burial is ****ing good,
they should check out what scorn did 10 years ago. absolutely
stunning (and far heavier, deeper and better produced). and the
good thing about it is also that theirs no massive attack sampling
in near sight...

cheers, ralph.



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From ???@??? Sun Aug 20 23:15:57 2006
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Subject: RE: [microsound] Re: thom yorke's eraser (Burial)
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Well, in terms of looping he has said he just cut and paste... but who
knows?

-----Original Message-----
From: peter lasell [mailto:x_xxxxxx@xxxxx.xxx] 
Sent: Saturday, 19 August 2006 12:35 AM
To: microsound
Subject: Re: [microsound] Re: thom yorke's eraser (Burial)

Ive heard that bit about Burial using nothing but Soundforge, which I
find suspect. Soundforge can't loop or multitrack, and the lp certainly
sounds like that. Soundforge + Acid I can believe.

Peter

                 

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From ???@??? Sat Aug 19 18:50:42 2006
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Date: Sat, 19 Aug 2006 20:50:21 +0200
From: =?Windows-1252?Q?Bj=F6rn_Eriksson?= <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] .microsound podcasts
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As you all should now it is totally free and up to everyone to register at 
the .microsound wiki and post info about podcasts, netlabels and what more.

Wiki start page:
http://www.interdisciplina.org/microsound-wiki/index.php/Main_Page
Wiki podcast page
http://www.interdisciplina.org/microsound-wiki/index.php/Microsound_Podcasts

It is very easy to get things going there. Excellent resources for instance 
for different sound tools for different platforms, nteresting texts on 
different topics and more. Come on and add things there!

Now there are not more than 4 to 5 persons adding/editing things. Could be a 
lot more. Paolo has made a great work in transferring from the old crashed 
TWiki to the new Wiki. Keep on working on that effort and make this thing 
even better.

(btw: I think it should be great to have a link now from the frontpage to 
this Wiki aswell as the .microsound server. They are a bit long to 
remember... John?)

Yours,
Bjrn Eriksson


----- Original Message ----- 
From: "Andras Hargitai" <xxxxxx.xxxxxxxx@xxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Saturday, August 19, 2006 8:29 PM
Subject: Re: [microsound] .microsound podcasts


Hi PBJ,

If you excuse for the self promotion I have a weekly radio show called
VBR at Radio Periszkop (small FM radio in Pecs, Hungary). The raw
material is various netaudio music. I archive every show with
playlists and maintain a podcast as well. Check for yourself if you
are interested:
http://www.bitlabrecords.com/vbr

cheers,
Andras


2006/8/16, P BJ <x.x-x@xxxxxxx.xx.xx>:
> Thanks Paulo - that's incredibly helpful!
>
> PBJ
>
> >From: "Paulo Mouat" <xxxxx.xxxxx@xxxxx.xxx>
> >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> >Subject: Re: [microsound] .microsound podcasts
> >Date: Tue, 15 Aug 2006 18:56:41 -0400
> >
> >http://www.interdisciplina.org/microsound-wiki/index.php/Microsound_Podcasts
> >
> >//p
> >http://www.interdisciplina.org/00.0/
> >
> >On 8/15/06, Kyle Klipowicz <xxxxxxxx@xxxxx.xxx> wrote:
> >>You could listen to The Radio Project (http://theradioproject.com).
> >>It has some experimental electronic audio stuff, but hasn't been
> >>updated for a while, so check the archives.
> >>
> >>~Kyle
> >>
> >>On 8/15/06, P BJ <x.x-x@xxxxxxx.xx.xx> wrote:
> >> > Dear All
> >> >
> >> > Hello - back after a break - can anyone recommend any podcasts with
> >> > microsound-type material broadcasted?
> >> >
> >> > Ta
> >> >
> >> > PBJ
> >> >
> >> > _________________________________________________________________
> >> > Windows Live Messenger has arrived. Click here to download it for
> >>free!
> >> > http://imagine-msn.com/messenger/launch80/?locale=en-gb
> >> >
> >> >
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> >> >
> >> >
> >>
> >>
> >>--
> >>
> >>http://theradioproject.com
> >>http://perhapsidid.blogspot.com
> >>
> >>(((())))(()()((((((((()())))()(((((((())()()())())))
> >>(())))))(()))))))))))))(((((((((((()()))))))))((())))
> >>))(((((((((((())))())))))))))))))))__________
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> >>
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From ???@??? Sat Aug 19 18:32:18 2006
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+ ...and microsound is present in the shows of course, the shows
usually start with microsound/ambient works, then the second half is
about beat oriented tracks.

best,
A.

2006/8/19, Andras Hargitai <xxxxxx.xxxxxxxx@xxxxx.xxx>:
> Hi PBJ,
>
> If you excuse for the self promotion I have a weekly radio show called
> VBR at Radio Periszkop (small FM radio in Pecs, Hungary). The raw
> material is various netaudio music. I archive every show with
> playlists and maintain a podcast as well. Check for yourself if you
> are interested:
> http://www.bitlabrecords.com/vbr
>
> cheers,
> Andras
>
>
> 2006/8/16, P BJ <x.x-x@xxxxxxx.xx.xx>:
> > Thanks Paulo - that's incredibly helpful!
> >
> > PBJ
> >
> > >From: "Paulo Mouat" <xxxxx.xxxxx@xxxxx.xxx>
> > >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> > >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> > >Subject: Re: [microsound] .microsound podcasts
> > >Date: Tue, 15 Aug 2006 18:56:41 -0400
> > >
> > >http://www.interdisciplina.org/microsound-wiki/index.php/Microsound_Podcasts
> > >
> > >//p
> > >http://www.interdisciplina.org/00.0/
> > >
> > >On 8/15/06, Kyle Klipowicz <xxxxxxxx@xxxxx.xxx> wrote:
> > >>You could listen to The Radio Project (http://theradioproject.com).
> > >>It has some experimental electronic audio stuff, but hasn't been
> > >>updated for a while, so check the archives.
> > >>
> > >>~Kyle
> > >>
> > >>On 8/15/06, P BJ <x.x-x@xxxxxxx.xx.xx> wrote:
> > >> > Dear All
> > >> >
> > >> > Hello - back after a break - can anyone recommend any podcasts with
> > >> > microsound-type material broadcasted?
> > >> >
> > >> > Ta
> > >> >
> > >> > PBJ
> > >> >
> > >> > _________________________________________________________________
> > >> > Windows Live Messenger has arrived. Click here to download it for
> > >>free!
> > >> > http://imagine-msn.com/messenger/launch80/?locale=en-gb
> > >> >
> > >> >
> > >> > ---------------------------------------------------------------------
> > >> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > >> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > >> > website: http://www.microsound.org
> > >> >
> > >> >
> > >>
> > >>
> > >>--
> > >>
> > >>http://theradioproject.com
> > >>http://perhapsidid.blogspot.com
> > >>
> > >>(((())))(()()((((((((()())))()(((((((())()()())())))
> > >>(())))))(()))))))))))))(((((((((((()()))))))))((())))
> > >>))(((((((((((())))())))))))))))))))__________
> > >>_____())))))(((((((((((((()))))))))))_______
> > >>((((((())))))))))))((((((((000)))oOOOOOO
> > >>
> > >>---------------------------------------------------------------------
> > >>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > >>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > >>website: http://www.microsound.org
> > >>
> > >>
> > >
> > >---------------------------------------------------------------------
> > >To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > >For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > >website: http://www.microsound.org
> > >
> >
> > _________________________________________________________________
> > Be the first to hear what's new at MSN - sign up to our free newsletters!
> > http://www.msn.co.uk/newsletters
> >
> >
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> >
> >
>

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From ???@??? Sat Aug 19 18:30:00 2006
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Hi PBJ,

If you excuse for the self promotion I have a weekly radio show called
VBR at Radio Periszkop (small FM radio in Pecs, Hungary). The raw
material is various netaudio music. I archive every show with
playlists and maintain a podcast as well. Check for yourself if you
are interested:
http://www.bitlabrecords.com/vbr

cheers,
Andras


2006/8/16, P BJ <x.x-x@xxxxxxx.xx.xx>:
> Thanks Paulo - that's incredibly helpful!
>
> PBJ
>
> >From: "Paulo Mouat" <xxxxx.xxxxx@xxxxx.xxx>
> >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> >Subject: Re: [microsound] .microsound podcasts
> >Date: Tue, 15 Aug 2006 18:56:41 -0400
> >
> >http://www.interdisciplina.org/microsound-wiki/index.php/Microsound_Podcasts
> >
> >//p
> >http://www.interdisciplina.org/00.0/
> >
> >On 8/15/06, Kyle Klipowicz <xxxxxxxx@xxxxx.xxx> wrote:
> >>You could listen to The Radio Project (http://theradioproject.com).
> >>It has some experimental electronic audio stuff, but hasn't been
> >>updated for a while, so check the archives.
> >>
> >>~Kyle
> >>
> >>On 8/15/06, P BJ <x.x-x@xxxxxxx.xx.xx> wrote:
> >> > Dear All
> >> >
> >> > Hello - back after a break - can anyone recommend any podcasts with
> >> > microsound-type material broadcasted?
> >> >
> >> > Ta
> >> >
> >> > PBJ
> >> >
> >> > _________________________________________________________________
> >> > Windows Live Messenger has arrived. Click here to download it for
> >>free!
> >> > http://imagine-msn.com/messenger/launch80/?locale=en-gb
> >> >
> >> >
> >> > ---------------------------------------------------------------------
> >> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> >> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> >> > website: http://www.microsound.org
> >> >
> >> >
> >>
> >>
> >>--
> >>
> >>http://theradioproject.com
> >>http://perhapsidid.blogspot.com
> >>
> >>(((())))(()()((((((((()())))()(((((((())()()())())))
> >>(())))))(()))))))))))))(((((((((((()()))))))))((())))
> >>))(((((((((((())))())))))))))))))))__________
> >>_____())))))(((((((((((((()))))))))))_______
> >>((((((())))))))))))((((((((000)))oOOOOOO
> >>
> >>---------------------------------------------------------------------
> >>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> >>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> >>website: http://www.microsound.org
> >>
> >>
> >
> >---------------------------------------------------------------------
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> >For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> >website: http://www.microsound.org
> >
>
> _________________________________________________________________
> Be the first to hear what's new at MSN - sign up to our free newsletters!
> http://www.msn.co.uk/newsletters
>
>
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From ???@??? Fri Aug 18 15:29:47 2006
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From: Rod Stasick <xxx@xxxxxxx.xxx>
Subject: Re: [microsound] audio-to-midi converters
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On 2006 Aug 18, at 9:50 AM, ニコラス・ケント wrote:
>
> In general you can say that the results get worse as the material  
> gets more complex. Additionally the ability to deal with polyphonic  
> input is, as far as I know still experimental. For instance if you  
> have some simple flute music or one person singing "aaahhh" solo  
> you would likely get something fairly clean and usable. The problem  
> is most of what's interesting is far more complex and potentially  
> is chock full of not quite right sounding material. From what I  
> understand the problem lies in not only accuracy but what to  
> ignore. The beginnings of sounds often contain unpitched material  
> that can mistrack. On the other hand waiting until it's over leaves  
> you with a lag and likelyhood that the rhythmic timing will wind up  
> sloppy.

Thanks Nick. Much of the stuff that I'm looking at
is earlier work on DAT that is polyphonic and has
some microtone considerations. Wanting to get a
reasonable representation into score form.

Rod






---
Now playing: Segun Adewale - Atewo-Lara Ka Tepa Mo'se
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From ???@??? Fri Aug 18 14:51:32 2006
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Subject: Re: [microsound] audio-to-midi converters
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> i think there was a discussion about this a while
> back. you should check the archive.
> you're talking about software, right?
>
> --- Rod Stasick <xxx@xxxxxxx.xxx> wrote:
>
>
>> So, I'm guessing that nobody here has had any
>> experience with
>> audio-to-midi converters?

There's two categories in general. Realtime and file processing - you  
know, audio file in midi file out.

I've yet to run it through it's paces, but the commercial software I  
hear the most about is Melodyne.
http://www.celemony.com/cms/?id=349
though it's not cheap and MIDI output is more a fringe benefit rather  
than the focus of this pitch correction and harmony building  
software. Not realtime.

Something very legacy oriented but free is Opcode Studio Vision, an  
OS9 MIDI sequencer app that guitar-maker Gibson bought and gave up  
on, also not realtime.

In general you can say that the results get worse as the material  
gets more complex. Additionally the ability to deal with polyphonic  
input is, as far as I know still experimental. For instance if you  
have some simple flute music or one person singing "aaahhh" solo you  
would likely get something fairly clean and usable. The problem is  
most of what's interesting is far more complex and potentially is  
chock full of not quite right sounding material. From what I  
understand the problem lies in not only accuracy but what to ignore.  
The beginnings of sounds often contain unpitched material that can  
mistrack. On the other hand waiting until it's over leaves you with a  
lag and likelyhood that the rhythmic timing will wind up sloppy.

nick

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From ???@??? Fri Aug 18 14:44:32 2006
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Date: Fri, 18 Aug 2006 16:39:50 +0200
From: steinbr=?ISO-8859-1?B?/A==?=chel <xxxxxxxxxxxx@xxxxxxxx.xx>
Subject: Re: [microsound] Re: thom yorke's eraser (Burial)
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in my humble opinion the burial record is by far overrated.
sampling massive attack just is to easy...

for anyone freaking out because they think burial is ****ing good,
they should check out what scorn did 10 years ago. absolutely
stunning (and far heavier, deeper and better produced). and the
good thing about it is also that theirs no massive attack sampling
in near sight...

cheers, ralph.


Am 18.8.2006 16:35 Uhr schrieb "peter lasell" unter <x_xxxxxx@xxxxx.xxx>:

> Ive heard that bit about Burial using nothing but Soundforge, which I find
> suspect. Soundforge can't loop or multitrack, and the lp certainly sounds like
> that. Soundforge + Acid I can believe.
> 
> Peter
> 
> 
> ---------------------------------
> Get your email and more, right on the  new Yahoo.com

-- 
http://www.synchron.ch .:.::.:.



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Ive heard that bit about Burial using nothing but Soundforge, which I find suspect. Soundforge can't loop or multitrack, and the lp certainly sounds like that. Soundforge + Acid I can believe.

Peter

                 
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On 2006 Aug 17, at 12:02 PM, Brian Klein wrote:

> i think there was a discussion about this a while
> back. you should check the archive.
> you're talking about software, right?

Yup! I'll do a check thru Google.
It may be easier than our own archive
which after about 10-15 minutes didn't
help.

Rod

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From ???@??? Fri Aug 18 06:45:16 2006
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  I was reading a notice for upcoming events and in trying to find more 
text regarding one of the performers ran across a review by Christopher 
Delaurenti of the group Na.

"Na, the trio of Noriaki Watanabe, Shinsuke Yamada, and Kazz Nomura, 
who sometimes wear robes or homemade hats. You may have picked up one 
of their free CD-Rs at Wall of Sound or Everyday Music. "We have made 
1460 Copies since June.15. 2004, received 2 E-mails, and earned $0." 
declares the tattered insert of the na#7 Live!!!! CD-R."

  (From October 2004.)

   I was intrigued since I have a c.d. titled 'Shinsuke #2' given to me 
by a friend of mine who, although he was one of the persons making the 
sound , the last time I spoke with him didn't consider himself a 
musician. Not being a musician in seattle carries certain privileges 
and for that reason I won't drag his good name in the dirt just to 
appear that I have something to say.

  The c.d. is very good , leaves me clear-headed serene and inspired , 
though for no obvious reason. It's  likely that Shinsuke Yamada had 
nothing to do with it, though it's possible that he contributed. It's 
also possible that the c.d. case was made by him and later used to 
house another recording. The last track is a very brief sound of a few 
milliseconds which loops spontaneously and changes , keeps changing 
indefinitely . I don't know if it behaves the same way on everybody's 
player. Questions about the technical aspect didn't bring me any new 
knowledge.

  Anyway, if you're in the Seattle or Portland area this weekend you 
might be interested in the No West Festival of Improvised Music.
see: http://www.makejetsilent.com/nowest/


--bill


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From ???@??? Fri Aug 18 04:35:27 2006
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Date: Fri, 18 Aug 2006 00:24:12 -0400
From: Graham Miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] Re: thom yorke's eraser (Burial)
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bleep is very cool. but i'm addicted to jewel cases:)

soundforge is a PC thing is it not?

i love the reverb on that burial disc, as i do with all the chain  
reaction/basic channel stuff.

there's no enough reverb in music:) ever.

g.
On 17-Aug-06, at 9:42 PM, Noel Peters wrote:

> Burial is good, very post-apocalyptic as you say. Interstingly he says
> he composed the whole thing using only soundforge. Another good  
> piece of
> information is that it can be downloaded in lossless FLAC format at
> bleep.com.
>
>
> -----Original Message-----
> From: Graham Miller [mailto:xxxxxxxxxxxx@xxxxxxxxx.xx]
> Sent: Thursday, 17 August 2006 3:34 AM
> To: microsound
> Subject: Re: [microsound] Re: thom yorke's eraser
>
> i checed out that burial disc in the record store - it sounds
> AMAZING. spooky post-apocalyptic sci-fi...
>
>
> On 16-Aug-06, at 9:56 AM, peter lasell wrote:
>
>> I gave the album a listen, it's not bad, it just sounds like
>> Radiohead b-sides. I think Yorke's vocal range is really limited,
>> making his work a little tedious to these ears. Yorke doesn't
>> really stretch at all. I still think their instrumentals rip off
>> afx (i secretly suspect he does production for them).
>>
>> here are some releases that ive been listening to nonstop, most
>> might appeal to microsounders:
>> marsen_jules_-_lazy_sunday_funerals
>>   burial-burial_(hyperdub)-2006
>
>
>
>
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From ???@??? Fri Aug 18 01:39:32 2006
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Subject: RE: [microsound] Re: thom yorke's eraser (Burial)
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Burial is good, very post-apocalyptic as you say. Interstingly he says
he composed the whole thing using only soundforge. Another good piece of
information is that it can be downloaded in lossless FLAC format at
bleep.com.


-----Original Message-----
From: Graham Miller [mailto:xxxxxxxxxxxx@xxxxxxxxx.xx] 
Sent: Thursday, 17 August 2006 3:34 AM
To: microsound
Subject: Re: [microsound] Re: thom yorke's eraser

i checed out that burial disc in the record store - it sounds  
AMAZING. spooky post-apocalyptic sci-fi...


On 16-Aug-06, at 9:56 AM, peter lasell wrote:

> I gave the album a listen, it's not bad, it just sounds like  
> Radiohead b-sides. I think Yorke's vocal range is really limited,  
> making his work a little tedious to these ears. Yorke doesn't  
> really stretch at all. I still think their instrumentals rip off  
> afx (i secretly suspect he does production for them).
>
> here are some releases that ive been listening to nonstop, most  
> might appeal to microsounders:
> marsen_jules_-_lazy_sunday_funerals
>   burial-burial_(hyperdub)-2006




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From ???@??? Thu Aug 17 21:25:59 2006
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You could use Pd with the fiddle~ external.  It tracks independent
peaks using an fft.

~Kyle

On 8/17/06, Brian Klein <xxxxxxx@xxxxx.xxx> wrote:
> i think there was a discussion about this a while
> back. you should check the archive.
> you're talking about software, right?
>
> --- Rod Stasick <xxx@xxxxxxx.xxx> wrote:
>
> > So, I'm guessing that nobody here has had any
> > experience with
> > audio-to-midi converters?
> >
> >
> > Rod
> >
> >
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-- 

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i think there was a discussion about this a while
back. you should check the archive.
you're talking about software, right?

--- Rod Stasick <xxx@xxxxxxx.xxx> wrote:

> So, I'm guessing that nobody here has had any
> experience with
> audio-to-midi converters?
> 
> 
> Rod
> 
>
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Not me -- but a sponsored link in gmail gave me this:

www.intelliscore.net

Can't actually look it myself right now (maybe due to nannyware, I'm
not sure), so you'll have to go yourself.

--------------------------------------------------------------------------------
Milan Davidovic
http://altmilan.blogspot.com
http://www.terminus1525.ca/studio/view/2758

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From ???@??? Thu Aug 17 16:11:49 2006
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Date: Thu, 17 Aug 2006 11:11:30 -0500
From: Rod Stasick <xxx@xxxxxxx.xxx>
Subject: [microsound] audio-to-midi converters
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So, I'm guessing that nobody here has had any experience with
audio-to-midi converters?


Rod

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From ???@??? Thu Aug 17 01:21:32 2006
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Definitely agree on the Burial disk.

Also been enjoying:

Pretty Boy Crossover & Julian Soto - We Are Drifting
New releases on Cut - Seth Nehil, Jason Kahn & Gabriel Paiuk
New releases on and/OAR - May 6,2001 v/a & MNortham
Bip_Hop Generation Vol.8


Simon.

Symbiosis - Experimental Sound Textures and Rhythms

Wednesday nights / 10pm - 12am
102.7 FM / www.rrr.org.au
Melbourne / Australia
xxxxx@xxxxxxxxx.xxx.xx

On 17/8/06 3:34 AM, "Graham Miller" <xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:

> i checed out that burial disc in the record store - it sounds
> AMAZING. spooky post-apocalyptic sci-fi...
> 
> 
> On 16-Aug-06, at 9:56 AM, peter lasell wrote:
> 
>> I gave the album a listen, it's not bad, it just sounds like
>> Radiohead b-sides. I think Yorke's vocal range is really limited,
>> making his work a little tedious to these ears. Yorke doesn't
>> really stretch at all. I still think their instrumentals rip off
>> afx (i secretly suspect he does production for them).
>> 
>> here are some releases that ive been listening to nonstop, most
>> might appeal to microsounders:
>> marsen_jules_-_lazy_sunday_funerals
>>   burial-burial_(hyperdub)-2006



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From ???@??? Wed Aug 16 18:47:52 2006
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> ---------- Forwarded message ----------
> From: cdrk <xxxx@xxxxxx.xxx>

>    Hello,
> 
> I work for a while on the forthcoming cd release to
> be
> published my label Syrphe. This will be
> a noise, experimental, electronic compilation
> featuring some artists
> coming
> from around 20 coutries from Africa, Middle-East and
> Asia.
> 
> The deadline is over but I'm still looking for any
> artist from Iran,
> Egypt,
> Madagascar, Botswana, Saudi Arabia and Indonesia as
> I have [nearly] no
> contact
> with the scene over there anymore or contacts are
> really slow/
> difficult.
> 
> Artists must be into the underground electronic,
> experimental or noise
> [harsh
> noise, power electronics, electro-acoustic,
> experimental, electronica,
> breakcore,
> etc. are ok, but no ebm, no techno, no drum'n'bass,
> no goth, no punk,
> no metal].
> 
> The cd compilation will be published as a cd [not a
> cdr] in October
> after my
> gigs in China.
> 
> Thanks for your time.
> 
>
__________________________________________________________
> _____
> 
> Forthcoming gigs/performances
> 
> 26 August 2006 | Riga | Latvia
> 21 October 2006 | Marcinelles | Belgium
> 10 December 2006 | Lille | France
> + more tba in Estonia, Latvia
> 
> September + October 2006 | Beijing, Shanghai,
> Guangzhou, Shenzhen |
> China
> November 2006 | Turkey, Lebanon, Israel, UAE, tbc
> +/- 24 December 2006 until end of February 2007 :
> China,
> Hong Kong, Indonesia, Singapore, Malaysia, Thailand,
> etc.
> 
> April 2007 | Europe : Lithuania, Latvia, Estonia,
> Finland,
> Switzerland, France, Belgium, etc.
__________________________________________________________
> _____
> 
> http://www.syrphe.com/
> http://www.moonsanto.org/
> http://www.3point5.be/syrphe/ [for china !]
> http://www.livejournal.com/users/cdrk/
> http://www.myspace.com/cdrk
> http://www.myspace.com/syrphe
> http://mothersagainstnoise.org/
> http://mothersagainstnoise.com/
> 
> http://www.vegansociety.com/html/
> http://www.vegan.org/
> 
> http://dwardmac.pitzer.edu/Anarchist_Archives/
> http://www.greenanarchy.org/


-
http://freewebs.com/brokensleep

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From ???@??? Wed Aug 16 18:06:55 2006
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i checed out that burial disc in the record store - it sounds  
AMAZING. spooky post-apocalyptic sci-fi...


On 16-Aug-06, at 9:56 AM, peter lasell wrote:

> I gave the album a listen, it's not bad, it just sounds like  
> Radiohead b-sides. I think Yorke's vocal range is really limited,  
> making his work a little tedious to these ears. Yorke doesn't  
> really stretch at all. I still think their instrumentals rip off  
> afx (i secretly suspect he does production for them).
>
> here are some releases that ive been listening to nonstop, most  
> might appeal to microsounders:
> marsen_jules_-_lazy_sunday_funerals
>   burial-burial_(hyperdub)-2006




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From ???@??? Wed Aug 16 13:57:00 2006
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I gave the album a listen, it's not bad, it just sounds like Radiohead b-sides. I think Yorke's vocal range is really limited, making his work a little tedious to these ears. Yorke doesn't really stretch at all. I still think their instrumentals rip off afx (i secretly suspect he does production for them). 

here are some releases that ive been listening to nonstop, most might appeal to microsounders:
marsen_jules_-_lazy_sunday_funerals
  burial-burial_(hyperdub)-2006
monolake - alaska melting
machinefabriek - manchester
  john duncan, mika vainio & ilpo vaisanen - nine suggestions (2005)
  six_organs_of_admittance--the_sun_awakens-2006-i8
  [op3n]012-ORPHAX-sunlights_are_fading-A & B(podcast www.op3n.com)
  rekid - made in menorca (soul jazz - 2006)
  ze'v (2005) untitled cd1 (2005) vs john duncan vs aidan baker vs fear falls burning
claude young - minimal input mix (download www.claudeyoung.com)
  stewart walker - live & shanti 23_07_05
terry riley - you're no good (original & his rmx) 1976?
morton feldman - three voices for joan la barbara
gyorgy ligeti - mechanical music
  martin fierr - el topo & the holy mountain OST
miles davis - porgy & bess

Peter
   

                 
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From ???@??? Wed Aug 16 07:01:39 2006
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 FILETIME=[CA299A50:01C6C101]

Thanks Paulo - that's incredibly helpful!

PBJ

>From: "Paulo Mouat" <xxxxx.xxxxx@xxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] .microsound podcasts
>Date: Tue, 15 Aug 2006 18:56:41 -0400
>
>http://www.interdisciplina.org/microsound-wiki/index.php/Microsound_Podcasts
>
>//p
>http://www.interdisciplina.org/00.0/
>
>On 8/15/06, Kyle Klipowicz <xxxxxxxx@xxxxx.xxx> wrote:
>>You could listen to The Radio Project (http://theradioproject.com).
>>It has some experimental electronic audio stuff, but hasn't been
>>updated for a while, so check the archives.
>>
>>~Kyle
>>
>>On 8/15/06, P BJ <x.x-x@xxxxxxx.xx.xx> wrote:
>> > Dear All
>> >
>> > Hello - back after a break - can anyone recommend any podcasts with
>> > microsound-type material broadcasted?
>> >
>> > Ta
>> >
>> > PBJ
>> >
>> > _________________________________________________________________
>> > Windows Live Messenger has arrived. Click here to download it for 
>>free!
>> > http://imagine-msn.com/messenger/launch80/?locale=en-gb
>> >
>> >
>> > ---------------------------------------------------------------------
>> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> > website: http://www.microsound.org
>> >
>> >
>>
>>
>>--
>>
>>http://theradioproject.com
>>http://perhapsidid.blogspot.com
>>
>>(((())))(()()((((((((()())))()(((((((())()()())())))
>>(())))))(()))))))))))))(((((((((((()()))))))))((())))
>>))(((((((((((())))())))))))))))))))__________
>>_____())))))(((((((((((((()))))))))))_______
>>((((((())))))))))))((((((((000)))oOOOOOO
>>
>>---------------------------------------------------------------------
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>>
>>
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http://www.interdisciplina.org/microsound-wiki/index.php/Microsound_Podcasts

//p
http://www.interdisciplina.org/00.0/

On 8/15/06, Kyle Klipowicz <xxxxxxxx@xxxxx.xxx> wrote:
> You could listen to The Radio Project (http://theradioproject.com).
> It has some experimental electronic audio stuff, but hasn't been
> updated for a while, so check the archives.
>
> ~Kyle
>
> On 8/15/06, P BJ <x.x-x@xxxxxxx.xx.xx> wrote:
> > Dear All
> >
> > Hello - back after a break - can anyone recommend any podcasts with
> > microsound-type material broadcasted?
> >
> > Ta
> >
> > PBJ
> >
> > _________________________________________________________________
> > Windows Live Messenger has arrived. Click here to download it for free!
> > http://imagine-msn.com/messenger/launch80/?locale=en-gb
> >
> >
> > ---------------------------------------------------------------------
> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> >
> >
>
>
> --
>
> http://theradioproject.com
> http://perhapsidid.blogspot.com
>
> (((())))(()()((((((((()())))()(((((((())()()())())))
> (())))))(()))))))))))))(((((((((((()()))))))))((())))
> ))(((((((((((())))())))))))))))))))__________
> _____())))))(((((((((((((()))))))))))_______
> ((((((())))))))))))((((((((000)))oOOOOOO
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>

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You could listen to The Radio Project (http://theradioproject.com).
It has some experimental electronic audio stuff, but hasn't been
updated for a while, so check the archives.

~Kyle

On 8/15/06, P BJ <x.x-x@xxxxxxx.xx.xx> wrote:
> Dear All
>
> Hello - back after a break - can anyone recommend any podcasts with
> microsound-type material broadcasted?
>
> Ta
>
> PBJ
>
> _________________________________________________________________
> Windows Live Messenger has arrived. Click here to download it for free!
> http://imagine-msn.com/messenger/launch80/?locale=en-gb
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>


-- 

http://theradioproject.com
http://perhapsidid.blogspot.com

(((())))(()()((((((((()())))()(((((((())()()())())))
(())))))(()))))))))))))(((((((((((()()))))))))((())))
))(((((((((((())))())))))))))))))))__________
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From ???@??? Tue Aug 15 14:26:30 2006
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From: Rod Stasick <xxx@xxxxxxx.xxx>
Subject: [microsound] audio-to-midi converters
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On 2006 Aug 15, at 6:51 AM, Brian Klein wrote:

> why don't you just record the audio and then put the audio into an   
> audio to midi converter? it would be much more limited, but it  
> would at  least be similar to what you have in mind.

Anyone have opinions on audio to midi converters for Mac?
How accurate are these plug-ins like Windisoft when it comes to  
converting polyphonic sound?

Thanks,


Rod






---
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(often) rodcasting at:
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From ???@??? Tue Aug 15 14:24:40 2006
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Date: Tue, 15 Aug 2006 16:24:24 +0200
From: Tobias Reber <xxxxxxxxxxx@xxxxxxxx.xx>
Subject: [microsound] Re:[microsound] Re:[microsound] [ot] ball droppings
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That's an idea. Apparently the guy who programmed this already thought about
that and has some max patches ready, but I didn't quite get it how it should
work. Anyone?

Tobias


Am 15.8.2006 13:51 Uhr schrieb "Brian Klein" unter <xxxxxxx@xxxxx.xxx>:

> why don't you just record the audio and then put the audio into an  audio to
> midi converter? it would be much more limited, but it would at  least be
> similar to what you have in mind.
>   
> 
> Tobias Reber <xxxxxxxxxxx@xxxxxxxx.xx> wrote:  This is brilliant, I'd like to
> have that spit out midi data...
> 
> T
> 
> 
> Am 15.8.2006 2:50 Uhr schrieb "choncey langford" unter
> :
> 
>> Has anybody played with this?
>> 
>> http://jtnimoy.net/itp/balldroppings
>> 
>> have fun.
>> 
>> 
>> 
>> 
>> 
>> Choncey
>> www.myspace.com/theeoutfit
>> 
>> _________________________________________________________________
>> On the road to retirement? Check out MSN Life Events for advice on how to
>> get there! http://lifeevents.msn.com/category.aspx?cid=Retirement
>> 
>> 
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>> 
> 
> 
> 
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why don't you just record the audio and then put the audio into an  audio to midi converter? it would be much more limited, but it would at  least be similar to what you have in mind.
  

Tobias Reber <xxxxxxxxxxx@xxxxxxxx.xx> wrote:  This is brilliant, I'd like to have that spit out midi data...

T


Am 15.8.2006 2:50 Uhr schrieb "choncey langford" unter
:

> Has anybody played with this?
> 
> http://jtnimoy.net/itp/balldroppings
> 
> have fun.
> 
> 
> 
> 
> 
> Choncey
> www.myspace.com/theeoutfit
> 
> _________________________________________________________________
> On the road to retirement? Check out MSN Life Events for advice on how to
> get there! http://lifeevents.msn.com/category.aspx?cid=Retirement
> 
> 
> ---------------------------------------------------------------------
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> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
> 



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Dear All

Hello - back after a break - can anyone recommend any podcasts with 
microsound-type material broadcasted?

Ta

PBJ

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This is brilliant, I'd like to have that spit out midi data...

T


Am 15.8.2006 2:50 Uhr schrieb "choncey langford" unter
<xxxxxxxxxx@xxxxxxx.xxx>:

> Has anybody played with this?
> 
> http://jtnimoy.net/itp/balldroppings
> 
> have fun.
> 
> 
> 
> 
> 
> Choncey
> www.myspace.com/theeoutfit
> 
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www.myspace.com/klasor



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Has anybody played with this?

http://jtnimoy.net/itp/balldroppings

have fun.





Choncey
www.myspace.com/theeoutfit

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From ???@??? Mon Aug 14 16:30:46 2006
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sorry for the off topic post but
I am in need of some English -> Italian translations of some simple  
documents
please contact me off list if you are able to help me with this...you  
need to be in the Bay Area to help me with this...
KIM


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From ???@??? Mon Aug 14 02:58:31 2006
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you sir, are absolutely right.  i never really liked radiohead until  
countless listens. now, kid A and amnisiac and that last one, hail to  
the thief, i think are brilliant pieces of pop song writing.

in fact, i'd go so far to say that a lot of what i consider my all  
time favourite pop albums or experimental albums i hated upon initial  
listen.  i used to sell that kind of stuff, only to find myself  
rebuying it a later point in time, kicking myself for selling it in  
the first place. but that's the process i go through. close- 
mindedness eventually yielding to truth.

g.



On 13-Aug-06, at 10:43 PM, Kyle Klipowicz wrote:

> As with anything of Yorke and Radiohead, it takes a few listens to
> enjoy completely, but that's the sign of a good work.  I like the
> minimalist approach and think that it's a solid piece of work.
>
> ~Kyle
>
> On 8/13/06, Graham Miller <xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:
>> haven't really given it a good chance yet...  so chances are i'll
>> totally change my mind. i do that a lot. which is why i could never
>> write reviews.
>>
>> had a bootleg way before it came out and i never listened to it
>> properly. then i bought the real deal when it came out and still
>> haven't had the motivation to really give it a good listen.  i saw
>> radiohead in toronto and was bored to death.  they sounded like a
>> really good radiohead cover band. every note in the right place. i
>> just kind of ODed on the whole thing. like when i stopped listening
>> to bjrk. it was like: enough already. we get it.  sincerity refined
>> to a science.
>>
>> from my initial impression, the sound design and beats on eraser are
>> nothing groundbreaking.  if anything, a bit dated, drained of emotion
>> and energy. but i suppose, just like kid A and whatnot, it'll seem
>> more progressive to those outside electronic music, which isn't
>> entirely a bad thing. in the long run, that is.
>>
>> what i really liked, though, is johnny greenwood's 'bodysong'
>> soundtrack. that's pretty damn cool. check that out.
>>
>>
>> g.
>>
>>
>> On 13-Aug-06, at 5:21 PM, devslashnull wrote:
>>
>> > i am just wondering what folks think of it.
>> >
>> >
>> > CommTom
>> > Communications of Tomorrow
>> > "it's only a day away"
>> >
>> > unique electronic music for the adventurous ear.
>> >
>> > http://www.commtom.com
>>
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>>
>
>
> -- 
>
> http://theradioproject.com
> http://perhapsidid.blogspot.com
>
> (((())))(()()((((((((()())))()(((((((())()()())())))
> (())))))(()))))))))))))(((((((((((()()))))))))((())))
> ))(((((((((((())))())))))))))))))))__________
> _____())))))(((((((((((((()))))))))))_______
> ((((((())))))))))))((((((((000)))oOOOOOO
>
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As with anything of Yorke and Radiohead, it takes a few listens to
enjoy completely, but that's the sign of a good work.  I like the
minimalist approach and think that it's a solid piece of work.

~Kyle

On 8/13/06, Graham Miller <xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:
> haven't really given it a good chance yet...  so chances are i'll
> totally change my mind. i do that a lot. which is why i could never
> write reviews.
>
> had a bootleg way before it came out and i never listened to it
> properly. then i bought the real deal when it came out and still
> haven't had the motivation to really give it a good listen.  i saw
> radiohead in toronto and was bored to death.  they sounded like a
> really good radiohead cover band. every note in the right place. i
> just kind of ODed on the whole thing. like when i stopped listening
> to bjrk. it was like: enough already. we get it.  sincerity refined
> to a science.
>
> from my initial impression, the sound design and beats on eraser are
> nothing groundbreaking.  if anything, a bit dated, drained of emotion
> and energy. but i suppose, just like kid A and whatnot, it'll seem
> more progressive to those outside electronic music, which isn't
> entirely a bad thing. in the long run, that is.
>
> what i really liked, though, is johnny greenwood's 'bodysong'
> soundtrack. that's pretty damn cool. check that out.
>
>
> g.
>
>
> On 13-Aug-06, at 5:21 PM, devslashnull wrote:
>
> > i am just wondering what folks think of it.
> >
> >
> > CommTom
> > Communications of Tomorrow
> > "it's only a day away"
> >
> > unique electronic music for the adventurous ear.
> >
> > http://www.commtom.com
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>


-- 

http://theradioproject.com
http://perhapsidid.blogspot.com

(((())))(()()((((((((()())))()(((((((())()()())())))
(())))))(()))))))))))))(((((((((((()()))))))))((())))
))(((((((((((())))())))))))))))))))__________
_____())))))(((((((((((((()))))))))))_______
((((((())))))))))))((((((((000)))oOOOOOO

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haven't really given it a good chance yet...  so chances are i'll  
totally change my mind. i do that a lot. which is why i could never  
write reviews.

had a bootleg way before it came out and i never listened to it  
properly. then i bought the real deal when it came out and still  
haven't had the motivation to really give it a good listen.  i saw  
radiohead in toronto and was bored to death.  they sounded like a  
really good radiohead cover band. every note in the right place. i  
just kind of ODed on the whole thing. like when i stopped listening  
to bjrk. it was like: enough already. we get it.  sincerity refined  
to a science.

from my initial impression, the sound design and beats on eraser are  
nothing groundbreaking.  if anything, a bit dated, drained of emotion  
and energy. but i suppose, just like kid A and whatnot, it'll seem  
more progressive to those outside electronic music, which isn't  
entirely a bad thing. in the long run, that is.

what i really liked, though, is johnny greenwood's 'bodysong'  
soundtrack. that's pretty damn cool. check that out.


g.


On 13-Aug-06, at 5:21 PM, devslashnull wrote:

> i am just wondering what folks think of it.
>
>
> CommTom
> Communications of Tomorrow
> "it's only a day away"
>
> unique electronic music for the adventurous ear.
>
> http://www.commtom.com


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From ???@??? Sun Aug 13 21:37:40 2006
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i am just wondering what folks think of it.


CommTom
Communications of Tomorrow
"it's only a day away"

unique electronic music for the adventurous ear.

http://www.commtom.com
--Boundary_(ID_8CVxsaHNxeSNKOV2HZtDnQ)--

From ???@??? Sun Aug 13 13:50:00 2006
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Hey all
We're in transit in Washinton DC for nearly 10 hours on sunday 20th and would like
to know if any has any suggestions to what one can do with this amount of time in
DC? Be it museum/gallery, events or sightings. Coffee offers are appreciated as
well.
We spent an equal amount of time in Chicago yesterday, and even though it was nice,
we found we could use a guide or just more info...
please reply off-list to info[at]noisejihad.dk

kind regards
Lars / www.waldchengarten.dk

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From ???@??? Sat Aug 12 20:12:08 2006
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Subject: Re: [microsound] anyone checked out this virtual instrument mag?
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On 2006 Aug 12, at 2:24 PM, Graham Miller wrote:

> http://www.virtualinstrumentsmag.com/
>
> it looks pretty cool, but i've never seen it on the newsstands. any  
> good?

Thanks for this link.
Can't say that I've seen it,
but I'm gonna check my local Micro Center
for a copy.


Rod






---
Now playing: Henk Badings - Cain And Abel (1956)







RANDOM RODIO:
(often) rodcasting at:
http://rodcast.dyndns.org:8000/listen.m3u

"you won't like all of it"





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From ???@??? Sat Aug 12 19:56:43 2006
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http://www.virtualinstrumentsmag.com/

it looks pretty cool, but i've never seen it on the newsstands. any  
good?

g.

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From ???@??? Sat Aug 12 17:54:38 2006
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to all n00bs:
please do not post promotional announcements of any kind to the  
microsound list...also, do not cross post on the main list
thanks
the mgmt

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tst test test test


+  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +

"talkers do not know, knowers do not talk." lao-tzu



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From ???@??? Fri Aug 11 04:17:24 2006
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Date: Thu, 10 Aug 2006 21:17:09 -0700
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Subject: [microsound] SWO is coming to ISEA2006/ZeroOne San Jose Now!!
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Hello, microsound people!

Here is anagma from The SINE WAVE ORCHESTRA.
We will have a performance in ISEA2006 / ZeroOne San Jose.

If you are in ISEA, please join us.

____________________________________

   *  The SINE WAVE ORCHESTRA
    *    in ISEA2006/Zero One San Jose
      *
         * http://swo.jp/
           *
               *          at SOFA District ClosingParty
                  *                 / Downtown San Jose, 1st Street
                     *  Sat. 12th Aug. during 6pm - midnight
                         *   (about 1 hour)
                            *
                               *
                                  *
                                     *
                                       *
                                        *
                                         *
                                         *
                                         *
                                        *
                                       *
                                     * CALL FOR PARTICIPANTS!!
                                  *
                               * Please bring your sine wave!!!
                            *
                         *
                      * The SINE WAVE ORCHESTRA is
                  * organizing a public performance for
               * ISEA2006/ZeroOne San Jose visitors.
           *
         * We invite you to bring any kind of device that
      * can play a sine wave such as, for example, laptop PCs,
    * synthesizers, analog oscillators, loudspeaker equipped iPods,
   * PDAs or mobile phones.
* Before attending the performance, please download and
* install the software from our web site according to
* your operating system: http://swo.jp/faq.html
   *
    * For those who do not have this kind of devices or did not manage
      * to download and install the software, SWO will provide
         * the device to play a sine wave. Be aware, though, that
           * the number of devices provided by SWO is limited;
               * please bring your own device if possible.
                  *
                     * We are looking forward to meet you on the site!
                         *
                            * ENJOY YOUR SINE WAVE LIFE!!!
                               *
                                  *
                                     *
                                       *
                                        *
                                         *
                                         *
                                         *
                                        *
                                       *
                                     *
                                  *
                               * Thank you!
--
                         * The SINE WAVE ORCHESTRA
                      * http://swo.jp/
                  * xxxx@xxx.xx
               *
            *


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Anyone know where I can get spoken alphabet from on download
Tryin to put together a spoken word piece made entirely outta single
letters?
Thanx
ZIF 

-----Original Message-----
From: Patrick Carey [mailto:xx.xxxxx@xxxxxxxx.xx] 
Sent: 10 August 2006 14:04
To: xxxxxxxxxx@xxxxxxxxx.xxx; xxxxxxxxx-xxxxx@xxxxxxxxxxx.xxx
Subject: [microsound] Dafeldecker/Kurzmann/Fennesz, Pan Sonic/Charlemagne
Palestine

Hey all!

If anyone is interested in the Pan Sonic/Charlemagne Palestine collaboration
or the live Dafeldecker/Kurzmann/Fennesz/O'Rourke/
Drumm/Siewert on Charhizma, please contact me offlist...

Thanks,


-Patrick
xx.xxxxx@xxxxxxxx.xx




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From ???@??? Thu Aug 10 13:04:31 2006
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Hey all!

If anyone is interested in the Pan Sonic/Charlemagne Palestine
collaboration or the live Dafeldecker/Kurzmann/Fennesz/O'Rourke/
Drumm/Siewert on Charhizma, please contact me offlist...

Thanks,


-Patrick
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Subject: [Microsound-announce] Strings Of Consciousness is XLR8ted...
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Hello
Hope you enjoy a nice Summer

To keep patienting until our proper site is ready, our collective is  
now having a Space.
Feel free to invade it and find infos, pictures, visit our friends :

http://www.myspace.com/stringsofconsciousness



This week Strings Of Consciousness is "accelerated"...
Getting close to celebrate their 100th issue the American magazine  
XLR8R is certainly one of the world's leading publication dealing  
with Electronic Cultures.
Thus we are honoured that they selected one of our  songs as their  
favourite for the week, and offer it in their INCITE Online series...  
You can download the free mp3 from there :

http://www.xlr8r.com/downloads.php

Besides XLR8R wrote :

"Strings of Consciousness sounds something like a cross between a  
very competent experimental electronic artists and a well-done movie  
soundtrack. The nine-man musical collective manages to remain in  
synch through the numerous pianos, guitars, basses, bleeps and clicks  
that appear throughout their tracks, and create a rhythm together  
that is haunting, unpredictable, and curiously feel good at the same  
time."




We are enjoying our first internationally distributed release on the  
BiP_HOp Generation series of compilation. Available in your  
favourites stores or online from the label...

http://www.bip-hop.com


v. 8 offers 79 minutes which illustrate perfectly the contemporary  
alliance of acoustic instruments and digital technologies in music

BiP_HOp Generation v. 8 [bleep 32]
MURCOF works primarily with orchestral samples, processing the sound  
sources into new textures and fusing them with microscopic sounds and  
rhythms. His music is published on Leaf records.
TENNIS is the occasional project of Ben Edwards (Benge) and Douglas  
Benford (si-cut.db). Their music is an amalgam of miniature rhythmic  
sounds and digitized processing.
MITCHELL AKIYAMA is a Montreal based composer, interested in  
unconventional ways  of playing conventional instruments. He has  
recorded for Sub Rosa, Raster- Noton, Substractif, Staalplaat, and  
several others...
MINAMO is an electro-acoustic quartet from Tokyo, they have released  
music for 12K, Apestaartje, Cubic...
TU M' is a duo from central Italy, who chose their name from Marcel  
Duchamp's last painting. They have released records on labels such as  
Dekorder, Phthalo, ERS/Staalplaat, Fallt...
STRINGS OF CONSCIOUSNESS work on musical motifs that can evoke at  
times a stormy, cinematic, or contemporary atmosphere.

thanx for your attention
philippe
--Mailsmith-E7D7E34C-44B7-11DB-B343-000D932C0D78
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<HTML><BODY style="word-wrap: break-word; -khtml-nbsp-mode: space; -khtml-line-break: after-white-space; "><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">Hello</SPAN></FONT></DIV><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">Hope you enjoy a nice Summer</SPAN></FONT></DIV><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><BR class="khtml-block-placeholder"></SPAN></FONT></DIV><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><B>To keep patienting until our proper site is ready, our collective is now having a Space.</B></SPAN></FONT></DIV><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><B>Feel free to invade it and find infos, pictures, visit our friends :</B></SPAN></FONT></DIV><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><BR class="khtml-block-placeholder"></SPAN></FONT></DIV><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><A href="http://www.myspace.com/stringsofconsciousness">http://www.myspace.com/stringsofconsciousness</A></SPAN></FONT></DIV><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><BR class="khtml-block-placeholder"></SPAN></FONT></DIV><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><BR class="khtml-block-placeholder"></SPAN></FONT></DIV><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><BR class="khtml-block-placeholder"></SPAN></FONT></DIV><DIV><FONT class="Apple-style-span" color="#FF250A" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">This week Strings Of Consciousness is "accelerated"...</SPAN></FONT></DIV><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">Getting close to celebrate their 100th issue the American magazine XLR8R is certainly one of the world's leading publication dealing with Electronic Cultures.</SPAN></FONT></DIV><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">Thus we are honoured that they selected one of our songs as their favourite for the week, and offer it in their INCITE Online series... You can download the free mp3 from there :</SPAN></FONT></DIV><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><BR class="khtml-block-placeholder"></SPAN></FONT></DIV><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><A href="http://www.xlr8r.com/downloads.php">http://www.xlr8r.com/downloads.php</A></SPAN></FONT></DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><BR style="font-family: Times; font-size: 13px; "></SPAN></FONT><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">Besides XLR8R wrote :</SPAN></FONT><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><BR class="khtml-block-placeholder"></SPAN></FONT></DIV><DIV><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><B><I>"</I></B></SPAN></FONT><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><B><I>Strings of Consciousness sounds something like a cross between a very competent experimental electronic artists and a well-done movie soundtrack. The nine-man musical collective manages to remain in synch through the numerous pianos, guitars, basses, bleeps and clicks that appear throughout their tracks, and create a rhythm together that is haunting, unpredictable, and curiously feel good at the same ti</I></B></SPAN></FONT><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">me</SPAN></FONT><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">.</SPAN></FONT><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">"</SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><BR class="khtml-block-placeholder"></SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><BR class="khtml-block-placeholder"></SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><BR class="khtml-block-placeholder"></SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; ; font-family: Helvetica; "><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><BR style="font-family: Times; font-size: 13px; "></SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT class="Apple-style-span" color="#FF2A0F" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><B>W</B></SPAN></FONT><FONT class="Apple-style-span" color="#FF2A0F" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><B>e are enjoying our first internationally distributed release on the BiP_HOp Generation series of compilation. Available in your favourites stores or online from the label...</B></SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT class="Apple-style-span" color="#FF2A0F" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><B><BR class="khtml-block-placeholder"></B></SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT class="Apple-style-span" color="#FF2A0F" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><B><A href="http://www.bip-hop.com">http://www.bip-hop.com</A></B></SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; ; font-family: Helvetica; "><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><BR style="font-family: Times; font-size: 13px; "></SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; ; font-family: Helvetica; "><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><BR class="khtml-block-placeholder"></SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">v. 8 offers 79 minutes which illustrate perfectly the contemporary alliance of acoustic instruments and digital technologies in music</SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; ; font-family: Helvetica; "><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"><BR style="font-family: Times; font-size: 13px; "></SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">BiP_HOp Generation v. 8 [bleep 32]</SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">MURCOF works primarily with orchestral samples, processing the sound sources into new textures and fusing them with microscopic sounds and rhythms. His music is published on Leaf records.</SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">TENNIS is the occasional project of Ben Edwards (Benge) and Douglas Benford (si-cut.db). Their music is an amalgam of miniature rhythmic sounds and digitized processing.</SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">MITCHELL AKIYAMA is a Montreal based composer, interested in unconventional ways</SPAN></FONT><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;"> </SPAN></FONT><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">of playing conventional instruments. He has recorded for Sub Rosa, Raster- Noton, Substractif, Staalplaat, and several others...</SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">MINAMO is an electro-acoustic quartet from Tokyo, they have released music for 12K, Apestaartje, Cubic...</SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">TU M' is a duo from central Italy, who chose their name from Marcel Duchamp's last painting. They have released records on labels such as Dekorder, Phthalo, ERS/Staalplaat, Fallt...</SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT class="Apple-style-span" face="Times" size="3"><SPAN class="Apple-style-span" style="font-size: 13px;">STRINGS OF CONSCIOUSNESS work on musical motifs that can evoke at times a stormy, cinematic, or contemporary atmosphere.</SPAN></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; ; font-family: Helvetica; "><BR class="khtml-block-placeholder"></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; ; font-family: Helvetica; ">thanx for your attention</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; ; font-family: Helvetica; ">philippe</DIV></BODY></HTML>
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From ???@??? Tue Aug  8 21:32:22 2006
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It does look that way when it's flattened out to a print or digital
image but I wonder what it would feel like when viewed in person...
may have a different feel with the ability to perceive the depth of
brush strokes, paint caked on there, etc.

I mention this as someone who didn't understand how color was
important to mid 20th century painters until I actually saw several
paintings at the Metropolitan Museum in NYC - for artists like Rothko,
for example, the size of the painting and the intensity of the color
are really what struck me, but it never came across in prints and I
always thought he was weak until then...

Kevin

On 8/8/06, Thaniel Lee <xxxxxxxxxxxxx@xxxxx.xxx> wrote:
> anyone ever notice that the work of Clyfford Still looks very
> electronic. almost like autechre or pan sonic album covers, but
> slightly more organic
> -t
>
> --
> xxxxxxxxxxxxx@xxxxx.xxx
> http://thanielarts.blogspot.com/
> http://blog.myspace.com/bridlewire
>
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>


-- 
"[D]aily life [is] a theatrical landscape in which 'everyone has their
price,' God (via televangelism) and happiness (smile buttons) become
commodities, radio stations say they love you, and detergents have
compassion for your hands.

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with empathy!

I had one year of back-and forths with Apple over a faulty hard  
drive.  I took my machine (out of warranty) to Tekserve, they  
diagnosed the problem.  After haggling with "customer relations" I  
had a new hard drive in with no cost to me.

lesson: don't take it to Apple if you don't have to.  Their service  
has seriously declined in the last 1.5/2 years.  If in NYC take it to  
Tekserve.  If somewhere else, find the equivalent.

b
fraufraulein.com

On Aug 8, 2006, at 2:04 PM, Kim Cascone wrote:

> I recently had the hard drive in my iBook LOST by Flextronics/Apple  
> Repair and consequently replaced with a new one (without a system  
> on it!) -- the backups I had created - which I thought were good -  
> turned out to have been corrupted by my iBook somehow (possibly a  
> faulty HD but I'll never find out) and hence useless -- so the most  
> recent backup I have is from February 15 2006...slowly I am trying  
> to rebuild my drive...
>
> word of advice: if you have third party RAM and/or a 3rd party hard  
> drive in a laptop which has gone to Apple Repair, you should  
> indicate *exactly* (on the work order) how you want your 3rd party  
> hardware dealt with when repairing and returning your laptop...
>
> to wit: I had replaced the paltry 40G HD in my G3 iBook with a  
> beefy 100G for working on video and audio files -- both were  
> Hitachi TravelStar hard drives...while in for repair, Apple decided  
> to remove my 100G and install a 40G -- this was to return the unit  
> to its original configuration even though I had told them on the  
> phone to send the laptop back and *not* to replace the hard drive...
>
> its a long involved illogical story - which ended up costing me 4  
> months of work - but my advice is to be very careful when sending  
> anything into Apple Repair...the 'geniuses' at the Apple Genius Bar  
> aren't always geniuses...
>
> the repair company Apple contracts out to - in the USA - (for the  
> heavy lifting sorts of repairs) is a company called Flextronics in  
> Memphis, TN...you have no way to contact Flextronics directly about  
> issues concerning your equipment and as a result are buffered by  
> the Apple Repair people...while Apple has come a long way with  
> their customer service they still have some traveling to do still...
>
> the take-away is: I am trying to reconstruct all my business  
> correspondence from Feb --> mid-July and although I have been lucky  
> with having some of it backed up on servers there are still large  
> gaps remaining...
>
> one such gap is correspondence from an organizer in Tomar, Portugal
>
> ***will the person from Tomar who emailed me about my sGA workshop  
> please contact me?
>
> sorry about the off topic post
>
>
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anyone ever notice that the work of Clyfford Still looks very
electronic. almost like autechre or pan sonic album covers, but
slightly more organic
-t

-- 
xxxxxxxxxxxxx@xxxxx.xxx
http://thanielarts.blogspot.com/
http://blog.myspace.com/bridlewire

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On Aug 8, 2006, at 10:33 AM, Stephen Hastings-King wrote:

> i think r. murray schaeffer's book "the tuning of the world" opens 
> with an
> extended survey of the place accorded sound in european fiction--if i
> rememebr, he focusses quite alot of attention on rabelais and proust--i
> remember the rabelais sections better as they involve the chapter from 
> book
> 4 on frozen words, which is most lovely....
>

   It looks like 'R. Murray Schafer' if you're trying to find the book.


our neurons float like seaweed in the water of the night , touching one 
another , beyond our control.

   (jean cocteau)


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>> Howdy,
>> While we're on the topic of reading lists, can anyone suggest some
>> novels or short stories, where the authors have written about sound in
>> an imaginative or speculative way?
>> Thanks,
>> M
>>

there's an old short novel by james g. ballard strictly related to sound
and amplification, it turns out very funny and frightening in the end.
can't remember the title and my books are still packed in huge boxes due to
a recent moving to check at this very moment. will post again, in case.
cheers.
nic


+  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +

PLEASE REMEMBER MY NEW POSTAL ADDRESS:

NICOLA CATALANO
CASELLA POSTALE 193
00128 ROMA SPINACETO
ITALY




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From ???@??? Tue Aug  8 19:07:06 2006
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From: Michael North <xxxxxxx.xxxxx@xxxxxxxxx.xx>
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The sine fiction site/a sub of notype  @ http://www.notype.com/sine  has a
fair catalogue of soundtracks to science fiction novels...peoples
impressions/interpretations...some very interesting takes...

//*-----Original Message-----
//*From: erik de bruyn [mailto:xxxxxxxxxxxx@xxxxx.xx.xx]
//*Sent: Tuesday, August 08, 2006 12:25 PM
//*To: microsound
//*Subject: Re: [microsound] novels with sound
//*
//*speaking of novels around sound, i once saw a movie about a blind boy
//*  all movie-long you only hear what he hears, great movie , but i forgot
//*name ....:(
//*  erik
//*
//*
//*---------------------------------
//* Try the all-new Yahoo! Mail . "The New Version is radically easier to
//*use" - The Wall Street Journal


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From ???@??? Tue Aug  8 18:05:17 2006
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I recently had the hard drive in my iBook LOST by Flextronics/Apple  
Repair and consequently replaced with a new one (without a system on  
it!) -- the backups I had created - which I thought were good -  
turned out to have been corrupted by my iBook somehow (possibly a  
faulty HD but I'll never find out) and hence useless -- so the most  
recent backup I have is from February 15 2006...slowly I am trying to  
rebuild my drive...

word of advice: if you have third party RAM and/or a 3rd party hard  
drive in a laptop which has gone to Apple Repair, you should indicate  
*exactly* (on the work order) how you want your 3rd party hardware  
dealt with when repairing and returning your laptop...

to wit: I had replaced the paltry 40G HD in my G3 iBook with a beefy  
100G for working on video and audio files -- both were Hitachi  
TravelStar hard drives...while in for repair, Apple decided to remove  
my 100G and install a 40G -- this was to return the unit to its  
original configuration even though I had told them on the phone to  
send the laptop back and *not* to replace the hard drive...

its a long involved illogical story - which ended up costing me 4  
months of work - but my advice is to be very careful when sending  
anything into Apple Repair...the 'geniuses' at the Apple Genius Bar  
aren't always geniuses...

the repair company Apple contracts out to - in the USA - (for the  
heavy lifting sorts of repairs) is a company called Flextronics in  
Memphis, TN...you have no way to contact Flextronics directly about  
issues concerning your equipment and as a result are buffered by the  
Apple Repair people...while Apple has come a long way with their  
customer service they still have some traveling to do still...

the take-away is: I am trying to reconstruct all my business  
correspondence from Feb --> mid-July and although I have been lucky  
with having some of it backed up on servers there are still large  
gaps remaining...

one such gap is correspondence from an organizer in Tomar, Portugal

***will the person from Tomar who emailed me about my sGA workshop  
please contact me?

sorry about the off topic post


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From ???@??? Tue Aug  8 18:08:23 2006
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As a slight tangent, some of you might be interested in _Sight of  
Sound_ by Richard Leppert:

http://www.powells.com/cgi-bin/biblio?inkey=72-0520203429-0

It's an academic book focusing on how music and performance were  
depicted in European paintings and drawings from the 1600s to 1900.   
An interesting book that goes into some of the same issues we've been  
talking about over the past couple weeks, as well as dealing with the  
problem of non-aural sound representation.

nick

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From ???@??? Tue Aug  8 17:33:46 2006
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i think r. murray schaeffer's book "the tuning of the world" opens with an
extended survey of the place accorded sound in european fiction--if i
rememebr, he focusses quite alot of attention on rabelais and proust--i
remember the rabelais sections better as they involve the chapter from book
4 on frozen words, which is most lovely....

more recvently, iain sinclair's psychogeographies have interesting stuff on
sound here and there: check out "london orbital" for example.

cage was quite fond of thoreau on listening/sound--you can find riffs based
on sections from thoreau in "silence", "x" and other writings/interviews.

joyce is quite cool for sound stuff as well, particularly "finnegans
wake"--i like cage's roratorio, but not particularly as an actual reading of
fw.  the book is much more interesting.  it is also really rough reading in
places.

in general, there is a problem with writing about sound--how do you do it?
if you name the source, you collapse the description--if you dont name the
source, it is quite difficult to say anything.  language is a fixed medium
and it fixes what it describes.  sound is otherwise.  what do you say about
sound?  do you imitate it?  do you desribe your reactions to it?  do you
desribe the waveforms, teh acoustic environment and their interactions?  how
do you write about sound?

stephen
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speaking of novels around sound, i once saw a movie about a blind boy 
  all movie-long you only hear what he hears, great movie , but i forgot name ....:(
  erik

                 
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> I just began reading Hermann Hesse's Das Glasperlenspiel ( The Glass Bead
> Game), and it seems it would also fit into this category, as well as is many
> others. 

Of course I meant "as well as in many others".

T



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From ???@??? Tue Aug  8 07:20:49 2006
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I just began reading Hermann Hesse's Das Glasperlenspiel ( The Glass Bead
Game), and it seems it would also fit into this category, as well as is many
others. Here's the book description from amazon

 "The final novel of Hermann Hesse, for which he won the Nobel Prize for
Literature in 1946, The Glass Bead Game is a fascinating tale of the
complexity of modern life as well as a classic of modern literatureSet in
the 23rd century, The Glass Bead Game is the story of Joseph Knecht, who has
been raised in Castalia, the remote place his society has provided for the
intellectual elite to grow and flourish. Since childhood, Knecht has been
consumed with mastering the Glass Bead Game, which requires a synthesis of
aesthetics and scientific arts, such as mathematics, music, logic, and
philosophy, which he achieves in adulthood, becoming a Magister Ludi (Master
of the Game)."

Tobias 


Am 8.8.2006 4:09 Uhr schrieb "benjamin c acree" unter <xxx.xxxxx@xxxxx.xxx>:

> Gravity's Rainbow comes to mind (but of course there isn't much that
> it leaves out).
> 
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Gravity's Rainbow comes to mind (but of course there isn't much that
it leaves out).

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From ???@??? Tue Aug  8 01:55:20 2006
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The Memory of Whiteness by Kim Stanley Robinson is
structured around a musical instrument, a recommended
read.

http://en.wikipedia.org/wiki/The_Memory_of_Whiteness

Nice topic for this list considering the way that so
many of us use other art forms and data in the process
of making music.

Richard aka Part of Me:Apparatus

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Tremolo and vibrato actually work the other way around: Tremolo on
intensity, vibrato on frequency.

//p
http://www.interdisciplina.org/00.0/

On 8/7/06, Renato Fabbri <xxxxxxxxxxx@xxxxx.xxx> wrote:
> based on some knownledge, we can assume that more Reverbetation causes the
> brain to think that the intensity of the soud _on its origin_ is greater, so
> it may be an event that requires some attention.
>
> that's the same for Compression that causes a greater volume perception.
>
> a Tremollo gives oscilation on the freqncie domain, a caracterisctic
> property of speech communication and of animal comunication, or in natural
> fenomena like a bamboo in ressonance with the wind.
>
> Same for Vibrato, but in the intensity domain.
>
> and so on.
>
> Have anyone any literature or links on the subject? Expeculations are cool
> too!
>
> renf
>
>

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From ???@??? Mon Aug  7 20:19:42 2006
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There is a fantastic short story by John Cheever called "The Enormous 
Radio". It's about a couple who live in an apartment and their new 
radio begins to broadcast the various dramas unfolding in their 
neighbouring apartments. The descriptions of how the sounds mingle with 
music really anticipate sampling and noise composition.

cheers

Chris
thinkbox.ca
On Aug 7, 2006, at 5:46 AM, Richard Whitelaw wrote:

> Thoreau - Walden
>
> A great chapter on environmental sound and listening
>
> Cheers
>
> Richard
>
> On 5/8/06 5:34 pm, "mel ducasse" <xxx_xxxxxxx@xxxxx.xx.xx> wrote:
>
>> Howdy,
>> While we're on the topic of reading lists, can anyone suggest some
>> novels or short stories, where the authors have written about sound in
>> an imaginative or speculative way?
>> Thanks,
>> M
>>
>>
>>
>> ---------------------------------------------------------------------
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>>
>
>
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--Boundary_(ID_mBHfxwPJaGOtpqD99v+mgQ)
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based on some knownledge, we can assume that more Reverbetation causes the
brain to think that the intensity of the soud _on its origin_ is greater, so
it may be an event that requires some attention.

that's the same for Compression that causes a greater volume perception.

a Tremollo gives oscilation on the freqncie domain, a caracterisctic
property of speech communication and of animal comunication, or in natural
fenomena like a bamboo in ressonance with the wind.

Same for Vibrato, but in the intensity domain.

and so on.

Have anyone any literature or links on the subject? Expeculations are cool
too!

renf
--Boundary_(ID_mBHfxwPJaGOtpqD99v+mgQ)--

From ???@??? Mon Aug  7 09:46:30 2006
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Thoreau - Walden

A great chapter on environmental sound and listening

Cheers

Richard

On 5/8/06 5:34 pm, "mel ducasse" <xxx_xxxxxxx@xxxxx.xx.xx> wrote:

> Howdy,
> While we're on the topic of reading lists, can anyone suggest some
> novels or short stories, where the authors have written about sound in
> an imaginative or speculative way?
> Thanks,
> M
> 
> 
> 
> ---------------------------------------------------------------------
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> 


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Don't forget to update the Wiki with new information if you want to share!
For Linux related things go here:
http://www.interdisciplina.org/microsound-wiki/index.php/Linux_Software

/Bjrn Eriksson


----- Original Message ----- 
From: "Renato Fabbri" <xxxxxxxxxxx@xxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Sunday, August 06, 2006 3:07 AM
Subject: Re: [microsound] Linux DAW


> use synaptic, it will install jack.
>
> if this list is intended to be totally software discussion free, please 
> let
> me know. but that is not evident on recent topics.
>
> renf
>
> 2006/8/5, Kevin McCoy <xx.xxxxxxxxxxx@xxxxx.xxx>:
>>
>> I think (if I'm correct) that the list is supposed to shy away from
>> particular software-based discussions, so I'm not sure if this borders
>> on the edge, but I will say that there's a direct connection between
>> everything we all argued about politically a couple weeks ago and free
>> software with its relationship to art, sound, and politics.  I think
>> everyone can agree with that, no matter what kind of software you're
>> using.
>>
>> Kevin
>> [distro: Ubuntu (powerpc)
>> apps: Pd; I should be up and running with Ardour soon when I feel like
>> taking the time to configure jack.]
>>
>> On 8/5/06, Renato Fabbri <xxxxxxxxxxx@xxxxx.xxx> wrote:
>> > I read some topics and got curious about how manny linux DAW users are
>> here,
>> > I cant tell how popular it is becoming in sound art production, so here
>> we
>> > go.
>> >
>> > It will be cool to list some of the apps you use mostly, and the 
>> > distro.
>> >
>> > starting:
>> >
>> > distro: Linics (ubuntu based)
>> >
>> > apps mostly used: PD, ardour, audacity, jack, jack-rack, xmms
>> >
>> > ref
>> >
>> >
>>
>>
>> --
>> "[D]aily life [is] a theatrical landscape in which 'everyone has their
>> price,' God (via televangelism) and happiness (smile buttons) become
>> commodities, radio stations say they love you, and detergents have
>> compassion for your hands.
>>
>> ---------------------------------------------------------------------
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>> website: http://www.microsound.org
>>
>>
> 


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Zzzzzzzzzzz ......


6 aug 2006 kl. 07.59 skrev Renato Fabbri:

> Fedora 5? Is Planet CCRMA updated? I tryed old Fedora 3 in january  
> and it
> was not a bit on time. dummy doing, maybe, i've heard of  
> reposioties of
> planet ccarma for fedora 5? nice stuff?
>
> 2006/8/5, thewade <xxxxx@xxxxxxxxxxxx.xxx>:
>>
>> Oops. Sorry for my previous post.
>>
>> BTW, what is the protocaul for posting on this list: top-posting or
>> bottom-posting our replys?
>>
>> -thewade
>>
>> Quoting Kevin McCoy <xx.xxxxxxxxxxx@xxxxx.xxx>:
>>
>> > [distro: Ubuntu (powerpc)
>> > apps: Pd; I should be up and running with Ardour soon when I  
>> feel like
>> > taking the time to configure jack.]
>> >
>> > On 8/5/06, Renato Fabbri <xxxxxxxxxxx@xxxxx.xxx> wrote:
>> >> I read some topics and got curious about how manny linux DAW  
>> users are
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>>


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Fedora 5? Is Planet CCRMA updated? I tryed old Fedora 3 in january and it
was not a bit on time. dummy doing, maybe, i've heard of reposioties of
planet ccarma for fedora 5? nice stuff?

2006/8/5, thewade <xxxxx@xxxxxxxxxxxx.xxx>:
>
> Oops. Sorry for my previous post.
>
> BTW, what is the protocaul for posting on this list: top-posting or
> bottom-posting our replys?
>
> -thewade
>
> Quoting Kevin McCoy <xx.xxxxxxxxxxx@xxxxx.xxx>:
>
> > I think (if I'm correct) that the list is supposed to shy away from
> > particular software-based discussions, so I'm not sure if this borders
> > on the edge, but I will say that there's a direct connection between
> > everything we all argued about politically a couple weeks ago and free
> > software with its relationship to art, sound, and politics.  I think
> > everyone can agree with that, no matter what kind of software you're
> > using.
> >
> > Kevin
> > [distro: Ubuntu (powerpc)
> > apps: Pd; I should be up and running with Ardour soon when I feel like
> > taking the time to configure jack.]
> >
> > On 8/5/06, Renato Fabbri <xxxxxxxxxxx@xxxxx.xxx> wrote:
> >> I read some topics and got curious about how manny linux DAW users are
> here,
> >> I cant tell how popular it is becoming in sound art production, so here
> we
> >> go.
> >>
> >> It will be cool to list some of the apps you use mostly, and the
> distro.
> >>
> >> starting:
> >>
> >> distro: Linics (ubuntu based)
> >>
> >> apps mostly used: PD, ardour, audacity, jack, jack-rack, xmms
> >>
> >> ref
> >>
> >>
> >
> >
> > --
> > "[D]aily life [is] a theatrical landscape in which 'everyone has their
> > price,' God (via televangelism) and happiness (smile buttons) become
> > commodities, radio stations say they love you, and detergents have
> > compassion for your hands.
> >
> > ---------------------------------------------------------------------
> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
>
>
>
>
> ---------------------------------------------------------------------
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>
>
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From ???@??? Sun Aug  6 02:40:12 2006
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Oops. Sorry for my previous post.

BTW, what is the protocaul for posting on this list: top-posting or  
bottom-posting our replys?

-thewade

Quoting Kevin McCoy <xx.xxxxxxxxxxx@xxxxx.xxx>:

> I think (if I'm correct) that the list is supposed to shy away from
> particular software-based discussions, so I'm not sure if this borders
> on the edge, but I will say that there's a direct connection between
> everything we all argued about politically a couple weeks ago and free
> software with its relationship to art, sound, and politics.  I think
> everyone can agree with that, no matter what kind of software you're
> using.
>
> Kevin
> [distro: Ubuntu (powerpc)
> apps: Pd; I should be up and running with Ardour soon when I feel like
> taking the time to configure jack.]
>
> On 8/5/06, Renato Fabbri <xxxxxxxxxxx@xxxxx.xxx> wrote:
>> I read some topics and got curious about how manny linux DAW users are here,
>> I cant tell how popular it is becoming in sound art production, so here we
>> go.
>>
>> It will be cool to list some of the apps you use mostly, and the distro.
>>
>> starting:
>>
>> distro: Linics (ubuntu based)
>>
>> apps mostly used: PD, ardour, audacity, jack, jack-rack, xmms
>>
>> ref
>>
>>
>
>
> -- 
> "[D]aily life [is] a theatrical landscape in which 'everyone has their
> price,' God (via televangelism) and happiness (smile buttons) become
> commodities, radio stations say they love you, and detergents have
> compassion for your hands.
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org




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From ???@??? Sun Aug  6 02:38:23 2006
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Quoting Renato Fabbri <xxxxxxxxxxx@xxxxx.xxx>:

> It will be cool to list some of the apps you use mostly, and the distro.
>
> starting:
>
> distro: Linics (ubuntu based)
>
> apps mostly used: PD, ardour, audacity, jack, jack-rack, xmms
>
> ref

OS: Fedora Core 5 (x86_64 machine running i386)
HW: Hammerfall HDSP
SW: PD 0.39-1 primairly

-thewade


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From ???@??? Sun Aug  6 01:07:27 2006
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use synaptic, it will install jack.

if this list is intended to be totally software discussion free, please let
me know. but that is not evident on recent topics.

renf

2006/8/5, Kevin McCoy <xx.xxxxxxxxxxx@xxxxx.xxx>:
>
> I think (if I'm correct) that the list is supposed to shy away from
> particular software-based discussions, so I'm not sure if this borders
> on the edge, but I will say that there's a direct connection between
> everything we all argued about politically a couple weeks ago and free
> software with its relationship to art, sound, and politics.  I think
> everyone can agree with that, no matter what kind of software you're
> using.
>
> Kevin
> [distro: Ubuntu (powerpc)
> apps: Pd; I should be up and running with Ardour soon when I feel like
> taking the time to configure jack.]
>
> On 8/5/06, Renato Fabbri <xxxxxxxxxxx@xxxxx.xxx> wrote:
> > I read some topics and got curious about how manny linux DAW users are
> here,
> > I cant tell how popular it is becoming in sound art production, so here
> we
> > go.
> >
> > It will be cool to list some of the apps you use mostly, and the distro.
> >
> > starting:
> >
> > distro: Linics (ubuntu based)
> >
> > apps mostly used: PD, ardour, audacity, jack, jack-rack, xmms
> >
> > ref
> >
> >
>
>
> --
> "[D]aily life [is] a theatrical landscape in which 'everyone has their
> price,' God (via televangelism) and happiness (smile buttons) become
> commodities, radio stations say they love you, and detergents have
> compassion for your hands.
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>
--Boundary_(ID_HemwhNIIUObzV9Eo3OtO1w)--

From ???@??? Sun Aug  6 01:03:43 2006
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I think (if I'm correct) that the list is supposed to shy away from
particular software-based discussions, so I'm not sure if this borders
on the edge, but I will say that there's a direct connection between
everything we all argued about politically a couple weeks ago and free
software with its relationship to art, sound, and politics.  I think
everyone can agree with that, no matter what kind of software you're
using.

Kevin
[distro: Ubuntu (powerpc)
apps: Pd; I should be up and running with Ardour soon when I feel like
taking the time to configure jack.]

On 8/5/06, Renato Fabbri <xxxxxxxxxxx@xxxxx.xxx> wrote:
> I read some topics and got curious about how manny linux DAW users are here,
> I cant tell how popular it is becoming in sound art production, so here we
> go.
>
> It will be cool to list some of the apps you use mostly, and the distro.
>
> starting:
>
> distro: Linics (ubuntu based)
>
> apps mostly used: PD, ardour, audacity, jack, jack-rack, xmms
>
> ref
>
>


-- 
"[D]aily life [is] a theatrical landscape in which 'everyone has their
price,' God (via televangelism) and happiness (smile buttons) become
commodities, radio stations say they love you, and detergents have
compassion for your hands.

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I read some topics and got curious about how manny linux DAW users are here,
I cant tell how popular it is becoming in sound art production, so here we
go.

It will be cool to list some of the apps you use mostly, and the distro.

starting:

distro: Linics (ubuntu based)

apps mostly used: PD, ardour, audacity, jack, jack-rack, xmms

ref
--Boundary_(ID_PYXWjgVw5/I5Y9x5hMYr2w)--

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well, a linux DAW can do anything at _no_ cost, just a good connection to
the web is necessary becouse it requires constant and intensive learning,

btw, PD has more features in linux. Just to try it out, get Apodio that runs
intirely from a bootable CD and has lots of the most useful apps, and you
can take it to grandma's house ;-P

the link:
http://www.apo33.org/apodio/doku.php

kisses,
renf



2006/8/4, Graham Miller <xxxxxxxxxxxx@xxxxxxxxx.xx>:
>
> NI's komplete is a great deal too, i think. worth every penny.
>
> On 4-Aug-06, at 6:09 PM, David Powers wrote:
>
> > Which is why so much software gets stolen, because even a lot of
> > people who
> > make their living doing music (at least the ones I know), can't
> > afford those
> > kind of prices... Even software I've bought, turns out to be too
> > expensive
> > to keep up with the overpriced upgrades.
> >
> > *Two exceptions to this that are NOT overpriced, in my opinion, are
> > Plogue
> > Bidule, and Audiomulch. Much love to those developers making
> > software that
> > working people, including working musicians, can afford.
> >
> > These days, I have tried to get away from overpriced (or stolen)
> > stuff  and
> > stick with all the excellent free software that is available, as
> > much as I
> > can. I hope especially to see Pure Data keep developing to be able
> > to do
> > more and more things that were once the domain of expensive commercial
> > programs.
> >
> > ~David
> >
> > On 8/4/06, Neil Wiernik <xxxx@xxxxxx.xxx> wrote:
> >>
> >>
> >>
> >> no I meant that 99 percent of pro level software is that price. go
> >> into
> >> any pro recording studio and you will see that 500 is the starting
> >> price
> >> for pro apps.
>
>
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and joseph conrad and max havelar and slew of
others...actually a subject much on my mind...how
corrupted cinema is for example by syrup sound---what
is the sonic element of the heart of darkness per
esempio

--- rinus van alebeek <xxxxxxxxxx@xxxxx.xxx> wrote:

> berlin alexanderplatz by alfred dblin,
> 
> Some sequences he might never have written when he
> could have used a
> recording device;
> that's how parts of this book 'sound' like.
> 
> greetings to you all,
> 
> rinus
> -- 
> activities, releases, downloads
> http://emc.yserv.com/103
> 
> In Berlin http://no-bf.blogspot.com/
> 
> salon bruit in berlin http://salonbruit.blogspot.com
> 


j.ff gbk

http://www.futurevessel.com/orphansound/

http://www.mattin.org/desetxea.html

http://www.djalma.com

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That's very nice idea!!! but the original level modulation recovery problem
remains untouched.

2006/8/4, jeff gburek <xxxxxxxxxx@xxxxx.xxx>:
>
> not to prolong the issue after you have come to your
> own conclusions but...you could play the mono file
> into a room and record it with stereo microphones.
> results will be variable of course but you may get a
> feeling from it you might like in the end, who knows
> until you try...jg
>
> --- Renato Fabbri <xxxxxxxxxxx@xxxxx.xxx> wrote:
>
> > thanks for the feedback. well, about  the mono to
> > estereo conversion, I
> > agree, it is not worth the work and will sound fake.
> >
> > but about the level variation recovery, my intent is
> > to recover the
> > _original_ modulations. I belive that there is some
> > chance in existing some
> > kind of "fingerprint" of the live performance. If
> > there really is such a
> > fingerprint, would it be possible to recover it? I
> > guess yes. What I cant
> > see is a way to do it that not using years of
> > research and makind a
> > dedicated module...
> >
> > 2006/8/3, Jan L. <xxx@xxxxxx.xx>:
> > >
> > >
> > > This sounds more like AGC than compression. Try
> > riding the gain by
> > > hand. But any solution will probably just be more
> > distracting than
> > > the original. Same with sgtereo, there are ways to
> > make a mono signal
> > > artificially spread across stereo width. But do
> > you relly want to
> > > listen to sound effects and not the music? Most
> > record companies
> > > release mono ecordings in mono and there is a
> > reason for this.
> > >
> > >
> > >
> > > 3 aug 2006 kl. 03.22 skrev Renato Fabbri:
> > >
> > > > Hi,
> > > >
> > > > There is a piano concert recorded with a sony
> > camera, CCD-TR317,
> > > > and I am
> > > > interested just in recovering the original level
> > range (or
> > > > something near
> > > > it) and expression, but the audio file is very
> > very compressed, and
> > > > using
> > > > expansors (like waves reinassence) is not
> > bringing me any good
> > > > advances.
> > > >
> > > > Another thing. It is a mono sound file. Ive
> > read about some ways
> > > > of getting
> > > > a stereo sound file from a mono one, but has
> > never done it. Can
> > > > anyone point
> > > > a good method?
> > > >
> > > > I run Windows and Linux, both with manny of the
> > most used programs,
> > > > cubase,
> > > > ardour, sound forge, PD, various pluigins etc.
> > > >
> > > > btw, I uploaded 2m of Liszts piano sonata in
> > Bm, played on the
> > > > concert we
> > > > are talking about for anyone interested. It is
> > in 44.1KHz, 16bit,
> > > > about
> > > > 10Mb:
> > > >
> > > > http://cortex.lems.brown.edu/~renato/stuff/
> > > >
> >
> pianoconcert2m.zip<http://cortex.lems.brown.edu/%7Erenato/stuff/
> > > > pianoconcert2m.zip>
> > > >
> > > > all the best to everyone
> > > > ref
> > >
> > >
> > >
> >
> ---------------------------------------------------------------------
> > > To unsubscribe, e-mail:
> > xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > > For additional commands, e-mail:
> > xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > > website: http://www.microsound.org
> > >
> > >
> >
>
>
> j.ff gbk
>
> http://www.futurevessel.com/orphansound/
>
> http://www.mattin.org/desetxea.html
>
> http://www.djalma.com
>
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Date: Sat, 05 Aug 2006 21:32:09 +0200
From: Tobias Reber <xxxxxxxxxxx@xxxxxxxx.xx>
Subject: [microsound] Re:[microsound] novels with sound
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Mel,

Check out all of Jeff Noon's work, right away. also the interviews and texts
on jeffnoon.com (updated about once a year but some useful stuff there)
might make a godd introduction. He works by remixing language in the way we
musicians rework/treat music. Especially DJ-like style in "needle in the
groove", which also is about music as a liquid medium (recorded on a liquid
medium, remixes are made by shaking it etc...). Very very much recommended
(i've read all his books at least twice). He has also worked with David
Toop.

Chuck Palahniuk's "Lullaby" also comes to mind. It's about a children's song
that kills the people who hear it. A guy finds this out (his wife and baby
have died) and begins a journey across the US to try to destroy all
remaining editions of the book in which it was published. It's also very
much about the noise of (media) society.

This is a subject that I'm very much into, please let me know your further
findings!

Tobias




Am 5.8.2006 18:34 Uhr schrieb "mel ducasse" unter <xxx_xxxxxxx@xxxxx.xx.xx>:

> Howdy,
> While we're on the topic of reading lists, can anyone suggest some
> novels or short stories, where the authors have written about sound in
> an imaginative or speculative way?
> Thanks,
> M
> 
> 
> 
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> 



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berlin alexanderplatz by alfred dblin,

Some sequences he might never have written when he could have used a
recording device;
that's how parts of this book 'sound' like.

greetings to you all,

rinus
-- 
activities, releases, downloads http://emc.yserv.com/103

In Berlin http://no-bf.blogspot.com/

salon bruit in berlin http://salonbruit.blogspot.com
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From ???@??? Sat Aug  5 16:53:17 2006
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mel ducasse wrote:

> Howdy,
> While we're on the topic of reading lists, can anyone suggest some
> novels or short stories, where the authors have written about sound in
> an imaginative or speculative way?

nathaniel mackey's 'bedouin hornbook' ( From a Broken Bottle Traces of 
Perfume Still Emanate)

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Howdy,
While we're on the topic of reading lists, can anyone suggest some
novels or short stories, where the authors have written about sound in
an imaginative or speculative way?
Thanks,
M



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From ???@??? Sat Aug  5 01:28:50 2006
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From: Graham Miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] Meta Synth pro 4
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NI's komplete is a great deal too, i think. worth every penny.

On 4-Aug-06, at 6:09 PM, David Powers wrote:

> Which is why so much software gets stolen, because even a lot of  
> people who
> make their living doing music (at least the ones I know), can't  
> afford those
> kind of prices... Even software I've bought, turns out to be too  
> expensive
> to keep up with the overpriced upgrades.
>
> *Two exceptions to this that are NOT overpriced, in my opinion, are  
> Plogue
> Bidule, and Audiomulch. Much love to those developers making  
> software that
> working people, including working musicians, can afford.
>
> These days, I have tried to get away from overpriced (or stolen)  
> stuff  and
> stick with all the excellent free software that is available, as  
> much as I
> can. I hope especially to see Pure Data keep developing to be able  
> to do
> more and more things that were once the domain of expensive commercial
> programs.
>
> ~David
>
> On 8/4/06, Neil Wiernik <xxxx@xxxxxx.xxx> wrote:
>>
>>
>>
>> no I meant that 99 percent of pro level software is that price. go  
>> into
>> any pro recording studio and you will see that 500 is the starting  
>> price
>> for pro apps.


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From ???@??? Fri Aug  4 22:13:58 2006
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hey dude your preaching to the converted...



On Fri, 4 Aug 2006, David Powers wrote:

> Which is why so much software gets stolen, because even a lot of people who
> make their living doing music (at least the ones I know), can't afford those
> kind of prices... Even software I've bought, turns out to be too expensive
> to keep up with the overpriced upgrades.
>
> *Two exceptions to this that are NOT overpriced, in my opinion, are Plogue
> Bidule, and Audiomulch. Much love to those developers making software that
> working people, including working musicians, can afford.
>
> These days, I have tried to get away from overpriced (or stolen) stuff  and
> stick with all the excellent free software that is available, as much as I
> can. I hope especially to see Pure Data keep developing to be able to do
> more and more things that were once the domain of expensive commercial
> programs.
>
> ~David
>
> On 8/4/06, Neil Wiernik <xxxx@xxxxxx.xxx> wrote:
>> 
>> 
>> 
>> no I meant that 99 percent of pro level software is that price. go into
>> any pro recording studio and you will see that 500 is the starting price
>> for pro apps.
>> 
>> On Fri, 4 Aug 2006, Rod Stasick wrote:
>> 
>> >
>> > On 2006 Aug 04, at 2:20 PM, Neil Wiernik wrote:
>> >
>> >>
>> >>
>> >> 999 percent of all software apps are 500 bucks
>> >
>> >
>> > Does this mean that 99.9% of all software is $50?
>> >
>> >
>> > Rod
>> >
>> >
>> >
>> >
>> >
>> >
>> > ---
>> > Now playing: Tod Dockstader - Clocking
>> >
>> >
>> >
>> >
>> >
>> >
>> >
>> > http://stasick.org
>> >
>> >
>> >
>> >
>> > ---------------------------------------------------------------------
>> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> > website: http://www.microsound.org
>> >
>> >
>> 
>> ============================
>> www.phoniq.net
>> releases available on:
>> www.noisefactoryrecords.com
>> publication:
>> www.vagueterrain.net
>> 
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>> 
>> 
>

============================
www.phoniq.net
releases available on:
www.noisefactoryrecords.com
publication:
www.vagueterrain.net

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--Boundary_(ID_iXvf92MQC/o9P7Lu79Z4rg)
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Which is why so much software gets stolen, because even a lot of people who
make their living doing music (at least the ones I know), can't afford those
kind of prices... Even software I've bought, turns out to be too expensive
to keep up with the overpriced upgrades.

*Two exceptions to this that are NOT overpriced, in my opinion, are Plogue
Bidule, and Audiomulch. Much love to those developers making software that
working people, including working musicians, can afford.

These days, I have tried to get away from overpriced (or stolen) stuff  and
stick with all the excellent free software that is available, as much as I
can. I hope especially to see Pure Data keep developing to be able to do
more and more things that were once the domain of expensive commercial
programs.

~David

On 8/4/06, Neil Wiernik <xxxx@xxxxxx.xxx> wrote:
>
>
>
> no I meant that 99 percent of pro level software is that price. go into
> any pro recording studio and you will see that 500 is the starting price
> for pro apps.
>
> On Fri, 4 Aug 2006, Rod Stasick wrote:
>
> >
> > On 2006 Aug 04, at 2:20 PM, Neil Wiernik wrote:
> >
> >>
> >>
> >> 999 percent of all software apps are 500 bucks
> >
> >
> > Does this mean that 99.9% of all software is $50?
> >
> >
> > Rod
> >
> >
> >
> >
> >
> >
> > ---
> > Now playing: Tod Dockstader - Clocking
> >
> >
> >
> >
> >
> >
> >
> > http://stasick.org
> >
> >
> >
> >
> > ---------------------------------------------------------------------
> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> >
> >
>
> ============================
> www.phoniq.net
> releases available on:
> www.noisefactoryrecords.com
> publication:
> www.vagueterrain.net
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>
--Boundary_(ID_iXvf92MQC/o9P7Lu79Z4rg)--

From ???@??? Fri Aug  4 21:36:45 2006
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no I meant that 99 percent of pro level software is that price. go into 
any pro recording studio and you will see that 500 is the starting price 
for pro apps.

On Fri, 4 Aug 2006, Rod Stasick wrote:

>
> On 2006 Aug 04, at 2:20 PM, Neil Wiernik wrote:
>
>> 
>> 
>> 999 percent of all software apps are 500 bucks
>
>
> Does this mean that 99.9% of all software is $50?
>
>
> Rod
>
>
>
>
>
>
> ---
> Now playing: Tod Dockstader - Clocking
>
>
>
>
>
>
>
> http://stasick.org
>
>
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>

============================
www.phoniq.net
releases available on:
www.noisefactoryrecords.com
publication:
www.vagueterrain.net

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On 2006 Aug 04, at 2:20 PM, Neil Wiernik wrote:

>
>
> 999 percent of all software apps are 500 bucks


Does this mean that 99.9% of all software is $50?


Rod






---
Now playing: Tod Dockstader - Clocking







http://stasick.org




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From ???@??? Fri Aug  4 20:53:09 2006
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they often have offers for users of their other software. i paid 300  
dollars for my metasynth pro.

metasynth cost, but it also sound very good.

/jan.l


4 aug 2006 kl. 19.53 skrev Graham Miller:

> the price seems a bit steep... 500 bucks?
>
> g.
>
> On 4-Aug-06, at 1:49 PM, Neil Wiernik wrote:
>
>>
>>
>> hey mike,
>>
>> it can make sound from jpegs and it is well worth the money there  
>> is nothing else that I know of that works as well as meta synth  
>> for os x...
>> its a really creative tool and you can do a lot with it. Ive  
>> synthasised every thing from lead to bass to drum sounds with it.
>> scannner used it to for one of his records and Im sure many other  
>> people use it....
>> they even developed a sequencer to sequence the images to sound  
>> with to write patterns with... also possibly worth the money  
>> depending on how you want to use the app.
>>
>> neil
>> aka naw ============================
>> www.phoniq.net
>> releases available on:
>> www.noisefactoryrecords.com
>> publication:
>> www.vagueterrain.net
>>
>>
>> On Fri, 4 Aug 2006, MIKE HANSON wrote:
>>
>>> Hi All
>>>
>>> Does any one know anything about this program. Meta Synth 4 pro.
>>>
>>> I have heard good things about it's use of graphics to produce  
>>> sound. I also been lead to believe that it will create sound from  
>>> jpegs.
>>>
>>> Do any of you use it and is it worth the money??
>>>
>>> or is there a cheaper substitute for OSX
>>>
>>> thanks
>>> Mike Hansen
>>>
>>> www.mike-hansen.com
>>>
>>>
>>>
>>> -------------------------------------------------------------------- 
>>> -
>>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> website: http://www.microsound.org
>>>
>>>
>>
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>
>
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>


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From ???@??? Fri Aug  4 20:39:43 2006
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From: Nicolas Fournel <xxxxxxxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] Meta Synth pro 4
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If you are on Windows, I have a free applet that
converts pictures into sounds on my web site. It's
called AudioPaint and it's at www.nicolasfournel.com.
There is also some other stuff to make music with
virtual gloves, graphic tablets etc...

Nico 



--- shift8 <xxxxxx@xxxxxxxxx.xxx> wrote:

> you guys may also be interested in the
> [pix_pix2sig~] object in the Gem
> external for pure data.  processes an image to
> signals for each of r g b
> and a.
> 
> On Fri, 2006-08-04 at 17:27 +0000, MIKE HANSON
> wrote:
> > Hi All
> > 
> > Does any one know anything about this program.
> Meta Synth 4 pro.
> > 
> > I have heard good things about it's use of
> graphics to produce sound. I also 
> > been lead to believe that it will create sound
> from jpegs.
> > 
> > Do any of you use it and is it worth the money??
> > 
> > or is there a cheaper substitute for OSX
> > 
> > thanks
> > Mike Hansen
> > 
> > www.mike-hansen.com
> > 
> > 
> > 
> >
>
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> xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail:
> xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> > 
> -- 
> Mechanize something idiosyncratic.
> 
> 
> 
>
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> 
> 


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From ???@??? Fri Aug  4 20:42:14 2006
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From: Graham Miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] Meta Synth pro 4
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i paid $19.99 CAN for alien vs predator 2. that must be in the 001%  
you're talkin' about:)

g.

On 4-Aug-06, at 3:20 PM, Neil Wiernik wrote:

>
>
> 999 percent of all software apps are 500 bucks
>
> On Fri, 4 Aug 2006, Graham Miller wrote:
>
>> the price seems a bit steep... 500 bucks?
>>
>> g.


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From ???@??? Fri Aug  4 20:11:44 2006
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Subject: Re: [microsound] Meta Synth pro 4
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you guys may also be interested in the [pix_pix2sig~] object in the Gem
external for pure data.  processes an image to signals for each of r g b
and a.

On Fri, 2006-08-04 at 17:27 +0000, MIKE HANSON wrote:
> Hi All
> 
> Does any one know anything about this program. Meta Synth 4 pro.
> 
> I have heard good things about it's use of graphics to produce sound. I also 
> been lead to believe that it will create sound from jpegs.
> 
> Do any of you use it and is it worth the money??
> 
> or is there a cheaper substitute for OSX
> 
> thanks
> Mike Hansen
> 
> www.mike-hansen.com
> 
> 
> 
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
> 
-- 
Mechanize something idiosyncratic.



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From ???@??? Fri Aug  4 19:23:16 2006
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Date: Fri, 04 Aug 2006 14:22:57 -0500
From: Rod Stasick <xxx@xxxxxxx.xxx>
Subject: Re: [microsound] Meta Synth pro 4
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I remembered a nice MacAddict review a while back,
so I looked it up:

http://www.macaddict.com/issues/2005/7/reviews/metasynth


Rod






---
Now playing: Vandermark 5 - Gyllene







RANDOM RODIO:
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"you won't like all of it"





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999 percent of all software apps are 500 bucks

On Fri, 4 Aug 2006, Graham Miller wrote:

> the price seems a bit steep... 500 bucks?
>
> g.
>
> On 4-Aug-06, at 1:49 PM, Neil Wiernik wrote:
>
>> 
>> 
>> hey mike,
>> 
>> it can make sound from jpegs and it is well worth the money there is 
>> nothing else that I know of that works as well as meta synth for os x...
>> its a really creative tool and you can do a lot with it. Ive synthasised 
>> every thing from lead to bass to drum sounds with it.
>> scannner used it to for one of his records and Im sure many other people 
>> use it....
>> they even developed a sequencer to sequence the images to sound with to 
>> write patterns with... also possibly worth the money depending on how you 
>> want to use the app.
>> 
>> neil
>> aka naw ============================
>> www.phoniq.net
>> releases available on:
>> www.noisefactoryrecords.com
>> publication:
>> www.vagueterrain.net
>> 
>> 
>> On Fri, 4 Aug 2006, MIKE HANSON wrote:
>> 
>>> Hi All
>>> 
>>> Does any one know anything about this program. Meta Synth 4 pro.
>>> 
>>> I have heard good things about it's use of graphics to produce sound. I 
>>> also been lead to believe that it will create sound from jpegs.
>>> 
>>> Do any of you use it and is it worth the money??
>>> 
>>> or is there a cheaper substitute for OSX
>>> 
>>> thanks
>>> Mike Hansen
>>> 
>>> www.mike-hansen.com
>>> 
>>> 
>>> 
>>> ---------------------------------------------------------------------
>>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> website: http://www.microsound.org
>>> 
>>> 
>> 
>> ---------------------------------------------------------------------
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>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>
>
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============================
www.phoniq.net
releases available on:
www.noisefactoryrecords.com
publication:
www.vagueterrain.net

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From ???@??? Fri Aug  4 18:48:11 2006
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From: Eloy Anzola <xxxx@xxxxxxxxx.xxx>
Subject: RE: [microsound] Meta Synth pro 4
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Meta Synth has been critized many time for their price.

It is steep.

I haven't used their demo in a long long time, but I think it doesn't allow
to save. However recording the audio output into another app should be very
easy to do.

cheers,

Eloy
 -----
xxxx@xxxxxxxxx.xxx
347.225.1058



> -----Original Message-----
> From: Graham Miller [mailto:xxxxxxxxxxxx@xxxxxxxxx.xx] 
> Sent: Friday, August 04, 2006 1:54 PM
> To: microsound
> Subject: Re: [microsound] Meta Synth pro 4
> 
> 
> the price seems a bit steep... 500 bucks?
> 
> g.


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Subject: RE: [microsound] Meta Synth pro 4
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Soundhack has been freeware for a few years now.

It make quicktime movies from an audio file spectrogram.
It can also do the opposite: translate a quicktime movie to audio.

Turning any picture into quicktime is trivial.

This is a fantastic way to compose sounds.

        http://soundhack.com/

Besides all the coolness that David mentions below.

Eloy 
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347.225.1058



> -----Original Message-----
> From: David Powers [mailto:xxxxxxx@xxxxx.xxx] 
> Sent: Friday, August 04, 2006 2:35 PM
> To: microsound
> Subject: Re: [microsound] Meta Synth pro 4
> 
> 
> For PC's, I just discovered the program Coagula last night - 
> it's free and
> quite nice:
> http://hem.passagen.se/rasmuse/Coagula.htm
> Perhaps not as full-featured as Metasynth, but definitely 
> makes some nice
> sounds.
> 
> If you are on a Mac don't want to spend $500, you might be 
> interested in
> some of the software listed on this page:
> http://aliasfrequencies.org/son/text/granular.html
> 
> These two look promising for image processing (I'm not on a 
> Mac so others
> will have to chime in if they've used them):
> 
> *Phonogramme*
> Shareware for Mac and PC
> http://www.ai.univ-paris8.fr/~vi/phonogramme/phonogramme.html<
http://www.ai.univ-paris8.fr/%> 7Evi/phonogramme/phonogramme.html>
> 
> The PC version is called Phonogramme Svelte. Basically it 
> takes a bitmapped
> image and turns it into a soundfile. Applying this to a 
> 'normal' picture
> usually results in harsh noise, but painting pictures with 
> sparse patterns
> can create interesting new sounds.
> 
> The Mac version has many more options, including MIDI, for 
> controlling the
> output of the program. Be warned that the website, program 
> and documentation
> are all in French.
> 
> *Soundhack*
> Shareware for Mac
> http://shoko.calarts.edu/~tre/SndHckDoc/<http://shoko.calarts.
> edu/%7Etre/SndHckDoc/>
> 
> It's getting a bit long in the tooth now, but throughout the 
> 90's Soundhack
> has been regarded as one of the coolest pieces of audio 
> software around. It
> was created by CalArts computer music guru Tom Erbe. Although it's
> shareware, all you have to do to register is send Tom some of 
> your music.
> 
> Much of Soundhack's processing power is based on a fast 
> fourier transform
> technique, called phase vocoding, which can result in unusual 
> types of time
> stretching and pitch shifting. The program can perform many 
> other esoteric
> transformations, such as spectral mutation and soundfile 
> convolution, as
> well as binaural filtering, for 3D sound from stereo speakers.
> 
> It also reads and writes just about any file format, making 
> it a very handy
> utility.
> ~David
> 
> On 8/4/06, Graham Miller <xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:
> >
> > the price seems a bit steep... 500 bucks?
> >
> > g.
> >
> > On 4-Aug-06, at 1:49 PM, Neil Wiernik wrote:
> >
> > >
> > >
> > > hey mike,
> > >
> > > it can make sound from jpegs and it is well worth the money there
> > > is nothing else that I know of that works as well as meta 
> synth for
> > > os x...
> > > its a really creative tool and you can do a lot with it. Ive
> > > synthasised every thing from lead to bass to drum sounds with it.
> > > scannner used it to for one of his records and Im sure many other
> > > people use it....
> > > they even developed a sequencer to sequence the images to sound
> > > with to write patterns with... also possibly worth the money
> > > depending on how you want to use the app.
> > >
> > > neil
> > > aka naw ============================
> > > www.phoniq.net
> > > releases available on:
> > > www.noisefactoryrecords.com
> > > publication:
> > > www.vagueterrain.net
> > >
> > >
> > > On Fri, 4 Aug 2006, MIKE HANSON wrote:
> > >
> > >> Hi All
> > >>
> > >> Does any one know anything about this program. Meta Synth 4 pro.
> > >>
> > >> I have heard good things about it's use of graphics to produce
> > >> sound. I also been lead to believe that it will create sound from
> > >> jpegs.
> > >>
> > >> Do any of you use it and is it worth the money??
> > >>
> > >> or is there a cheaper substitute for OSX
> > >>
> > >> thanks
> > >> Mike Hansen
> > >>
> > >> www.mike-hansen.com
> > >>
> > >>
> > >>
> > >> 
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> > >>
> > >
> > > 
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