Re: [microsound] free software in experimental music

From michael trommer
Sent Mon, May 1st 2006, 03:28

Then there's soundhack for the mac...


On 4/30/06 7:54 AM, "Sietse Van Erve" <xxxxxx.xxx.xxxx@xxxxx.xxx> wrote:

> Maybe Audiomulch might be something. it is not 100% free, but free
> enough to use it for e very long period.
> www.audiomulch.com
> 
> It is a virtual modular environment that can also work with vst's.
> They also have an yahoo group which might be usefull.
> 
> Greetz,
> Sietse
> 
> On 4/28/06, Frank Barknecht <xxxx@xxxxxxx.xxx> wrote:
>> Hallo,
>> Malte Steiner hat gesagt: // Malte Steiner wrote:
>> 
>>> we did document some on the microsound wiki but its off at the moment,
>>> but here is a vast list:
>>> 
>>> http://linux-sound.org/
>> 
>> I'm currently sitting in a talk at the Linux Audio Conference 2006 on
>> Faust, SuperCollider and Q. The conference will last till Sunday,
>> happens at ZKM in Karlsruhe and all talks will be streamed as well,
>> video and audio. Anyone interested in Free Software for experimental
>> music may want to join in. LAC2006 Website: http://lac.zkm.de
>> Streaaming info: http://lac.zkm.de/2006/streaming.shtml
>> Programme: http://lac.zkm.de/2006/program.shtml
>> 
>> There also are several concerts, however AFAIK these won't be streamed
>> (maybe the Linux Sound Night on Saturday night will be streamed,
>> though. This is undecided so far.)
>> 
>> See you there,
>> --
>>  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
>> 
>> 
> 
> 
> --
> www.orphax.tk (ambient, drones ao.)
> www.zonderland.tk (postambientrock)
> 
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From ???@??? Sun Apr 30 16:02:41 2006
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Date: Mon, 01 May 2006 01:02:27 +0900
From: "Mark R." <xxxxxx@xxxxx.xxx>
Subject: Re: [microsound] free software in experimental music
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scaled down fully capable versions of *ableton* *live *and *reason* have
been packaged with some inexpensive *m-audio* gear such as the *transit* and
possibly a few others...not sure they are still offering it though,

maybe someone on list who has made an *m-audio* purchase lately can testify.

best,

mark


p.s.

really love the orphan sound link *Jeff*. what a visually stunning
site!...downloads are quite mystical too.
--Boundary_(ID_bW/HExLAsTzyWpWXZM5YzA)--

From ???@??? Sun Apr 30 13:11:01 2006
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From: jeff gburek <xxxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] free software in experimental music
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mulch is a pretty excellent starting point and has
helped be understand how to build in other formats.
for the steps from being an analog patcher to a pd
patcher the bridge was mulch


--- Sietse Van Erve <xxxxxx.xxx.xxxx@xxxxx.xxx> wrote:

> Maybe Audiomulch might be something. it is not 100%
> free, but free
> enough to use it for e very long period.
> www.audiomulch.com
> 
> It is a virtual modular environment that can also
> work with vst's.
> They also have an yahoo group which might be
> usefull.
> 
> Greetz,
>   Sietse
> 
> On 4/28/06, Frank Barknecht <xxxx@xxxxxxx.xxx>
> wrote:
> > Hallo,
> > Malte Steiner hat gesagt: // Malte Steiner wrote:
> >
> > > we did document some on the microsound wiki but
> its off at the moment,
> > > but here is a vast list:
> > >
> > > http://linux-sound.org/
> >
> > I'm currently sitting in a talk at the Linux Audio
> Conference 2006 on
> > Faust, SuperCollider and Q. The conference will
> last till Sunday,
> > happens at ZKM in Karlsruhe and all talks will be
> streamed as well,
> > video and audio. Anyone interested in Free
> Software for experimental
> > music may want to join in. LAC2006 Website:
> http://lac.zkm.de
> > Streaaming info:
> http://lac.zkm.de/2006/streaming.shtml
> > Programme: http://lac.zkm.de/2006/program.shtml
> >
> > There also are several concerts, however AFAIK
> these won't be streamed
> > (maybe the Linux Sound Night on Saturday night
> will be streamed,
> > though. This is undecided so far.)
> >
> > See you there,
> > --
> >  Frank Barknecht                 _
> ______footils.org_ __goto10.org__
> >
> >
>
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> xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail:
> xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> >
> >
> 
> 
> --
> www.orphax.tk (ambient, drones ao.)
> www.zonderland.tk (postambientrock)
> 
>
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> 
> 


j.ff gbk

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

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

http://www.djalma.com

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From ???@??? Sun Apr 30 11:55:12 2006
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Date: Sun, 30 Apr 2006 13:54:59 +0200
From: Sietse Van Erve <xxxxxx.xxx.xxxx@xxxxx.xxx>
Subject: Re: [microsound] free software in experimental music
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Maybe Audiomulch might be something. it is not 100% free, but free
enough to use it for e very long period.
www.audiomulch.com

It is a virtual modular environment that can also work with vst's.
They also have an yahoo group which might be usefull.

Greetz,
  Sietse

On 4/28/06, Frank Barknecht <xxxx@xxxxxxx.xxx> wrote:
> Hallo,
> Malte Steiner hat gesagt: // Malte Steiner wrote:
>
> > we did document some on the microsound wiki but its off at the moment,
> > but here is a vast list:
> >
> > http://linux-sound.org/
>
> I'm currently sitting in a talk at the Linux Audio Conference 2006 on
> Faust, SuperCollider and Q. The conference will last till Sunday,
> happens at ZKM in Karlsruhe and all talks will be streamed as well,
> video and audio. Anyone interested in Free Software for experimental
> music may want to join in. LAC2006 Website: http://lac.zkm.de
> Streaaming info: http://lac.zkm.de/2006/streaming.shtml
> Programme: http://lac.zkm.de/2006/program.shtml
>
> There also are several concerts, however AFAIK these won't be streamed
> (maybe the Linux Sound Night on Saturday night will be streamed,
> though. This is undecided so far.)
>
> See you there,
> --
>  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
>
>


--
www.orphax.tk (ambient, drones ao.)
www.zonderland.tk (postambientrock)

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From ???@??? Sat Apr 29 21:06:20 2006
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Date: Sat, 29 Apr 2006 12:58:23 -0700
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] hotline server redux
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once again, the hotline server is down until further notice...so  
please don't ask me for a password until an announcement is made  
about the new server location...
thanks!
KIM

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From ???@??? Sat Apr 29 19:44:07 2006
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Date: Sat, 29 Apr 2006 14:28:15 -0500
From: Eric Leonardson <xxxxx@xxxxx.xxx>
Subject: [microsound] Re: environmental sensors and aural landscape
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Hi Trond,

Perhaps some of these will be of help.

Nigel Helyer <http://www.sonicobjects.com/>

Leif Brush <http://www.d.umn.edu/%7Elbrush/index.html>

leif-brush.info <http://www.leif-brush.info/><>

Audible Construct <http://www.d.umn.edu/%7Elbrush/lbarchivesb1.html>

David Rokeby <http://homepage.mac.com/davidrokeby/home.html>

A u r (e) a l i t y <http://www.loribeckstead.net/aureality/>

Living Wall <http://www.livingwall.org/> | Ambient installation with
self-organized sonic memory

http://www.activatedspace.com/

Sha Xin Wei <http://www.lcc.gatech.edu/%7Exinwei/>

-- 
Eric Leonardson
"sound thinking" http://pages.ripco.net/~eleon/
"what's new" http://pages.ripco.net/~eleon/whatsnew.html
"collected links" http://del.icio.us/eleon



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From ???@??? Sat Apr 29 01:27:13 2006
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http://www.signonsandiego.com/news/metro/20060427-9999-1n27boom.html#

"A group of local scientists has uncovered some clues to the source of a
mysterious disturbance that rattled San Diego County on the morning of
April 4, shaking windows, doors and bookcases from the coast to the
mountains."

(SignOnSanDiego.com)

  xxxxx@xxxx.xxx
  http://www.quietamerican.org

  |  quod omne animal post   |
  |  cogitum est triste...   |


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>cookie cutter templates are better than the blanket copyright which 
 >would seem to be the alternative to anyone who isn't a lawyer and/or 
 >can't afford lawyer's fees.
 
 no, this is not true. do you think every copyright text that is written for a contract by an agency is vetted thru a lawyer? Believe me it doesn't work like that. The reason is because its not neccesary.  In fact with a little practice and getting the main concepts, anyone with a bit of a head on their shoulders can write a solid contract that protects your rights and gives other rights in any way you want. That "only lawyers" can do this is pure mystification (which certainly benefits the legal fees of lawyers thats for sure!) and I would suggest to believe this further alienates you from your own work in the real world (that is, how you, as an artist have to deal with negotiating 'deals', "rights", etc.). 
 
 Artists need to understand how to negotiate these things so as to protect themselve and work out deals, etc. etc. Using cookie cutter templates, while ostensibly *easy* actually, in my opinion, alienate you from understanding how to handle this as particular situations arise. 
 
 The original prompt here was that sometimes these creative commons licenses don't address the specifics of a situation (not to mention that the term "non-commercial" was thought of as inadequate -- which it is!).  What I am attempting to clarify is that one CAN write good solid copywrite for one self that is specific to the situation, and which allows libraries, etc. etc. to use the material. You just need to know how. This doesn't require anything like a law degree, but it does require becoming somewhat familiar with tradiitional terms that are used in writing copyright.  And just looking at traditional copyright texts. 
 
 For instance, in the USA, the traditional term for allowing libraries to use material, would be addressed in the following sentence: "Rights include not-for-profit educational institutions (such as public libraries)".  
 
 Utlitamately, writing copyright texts is about clarifying how you -- the artist or what is called "the producer" -- are permitting 'others' to use your material. This is really not all that hard. There are many sources out there to get a handle on it.
 
 The main name of the game is creating short texts which as documents protect you, so that  IF something should be used in a way you did not want, you can refer to this document. 90% of the time this amounts to some kind of agreement (sometimes involving money as compensation for the wrong use) without involving any lawyers.  And most often it creates the clarification neccesary, so that others who may want to use things outside the perimeters of what is stated as being granted, know to contact you.   it isn't really that difficult to figure out. 
 
 
 -andrew
 

                
---------------------------------
Blab-away for as little as 1/min. Make  PC-to-Phone Calls using Yahoo! Messenger with Voice.
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Hallo,
Malte Steiner hat gesagt: // Malte Steiner wrote:

> we did document some on the microsound wiki but its off at the moment, 
> but here is a vast list:
> 
> http://linux-sound.org/

I'm currently sitting in a talk at the Linux Audio Conference 2006 on
Faust, SuperCollider and Q. The conference will last till Sunday,
happens at ZKM in Karlsruhe and all talks will be streamed as well,
video and audio. Anyone interested in Free Software for experimental
music may want to join in. LAC2006 Website: http://lac.zkm.de
Streaaming info: http://lac.zkm.de/2006/streaming.shtml
Programme: http://lac.zkm.de/2006/program.shtml

There also are several concerts, however AFAIK these won't be streamed
(maybe the Linux Sound Night on Saturday night will be streamed,
though. This is undecided so far.)

See you there,
-- 
 Frank Barknecht                 _ ______footils.org_ __goto10.org__

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From ???@??? Fri Apr 28 08:50:49 2006
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On 27/04/2006, at 22:12, Revolution #9 wrote:

> hello list...
>
> I should hold this "lecture" in Belgrade, Serbia - within the days  
> of "free culture", organised by local community of GNU/Linux people...
> my initial idea was to hold simple open talk about recent  
> developments in experimental music (last 10 years, say), because in  
> Balkans you won't find lots of oportunities to do so...
> but, having in mind the whole context, I had to mildly switch focus  
> to the use of free software in contemporary music and Julien Ottavi  
> first came in mind...
> and I'm not just at home with this topic, so I'll keep it simply  
> and informative - after all, intention is to raise people's  
> attention to this music and that in the field of contemporary  
> music, free software also is making impact....
>
I like Dave Phillips' docs for the Agnula project (http:/ 
www.agnula.org), but they're more of a set of intros/manuals.


On the other hand, Hans Christoph Steiner from the p.d. project just  
gave a talk yesterday evening here at MediaLabMadrid  about Share  
(http://share.dj/), which seems to be an interesting social/networked  
project developed by free software audio and media community. So you  
might find this interesting. And there must be a few more projects  
like this out there.

Best,

Kamen

> so I look for a site that could possibly deal with some wider  
> implications and consequences of using free software in exp. music  
> practice, free distibution of experimental music etc etc...
>
> but I'll try to put it together by myself...
>
> I'd like to thank to everyone who will/did help me with possible  
> info...
>
>
> darko
>
>
>
>
>
> ===========================
>                  Die Kunst ist tot
> Es lebe die neue Maschinenkunst Tatlins
> ----------------------------------------

------------------------------------
Kamen Nedev
c/Pelayo N38, 5 Izda.
28004 Madrid
Espaa

(+34) 649 77 80 37
xxxxxxxxxx@xxxxx.xxx
http://emitmedia.blogspot.com
http://emit-es.blogspot.com
http://emit.omweb.com




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wow, you kinda scared me! 

:-) 

davide 

Graham Miller Scrive: 

> sounds like an announcement if ya ask me... level 8 security has been 
> dispatched. beware the black helicopters.  we have a lock on your location 
> and your pheromone signature profile has been uploaded to the microsound 
> suborbital tactical weapons platform. we await your next move.   
> 
> :) 
> 
> davide valecchi wrote: 
> 
>> Hello list,
>> it's been a while since my last presence in here... I'm davide from 
>> Italy, aka aal. I have some mp3s posted to the microsound projects at the 
>> website, so I think maybe someone should remember me.
>> I hope to have a good time here! 
>> 
>> davide valecchi
>> ~ http://www.lulu.com/aal ~
>> ~ http://www.aferecords.com/artists/aal.htm ~ 
>> 
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>> 
>  
> 
> 
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> 
 


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hello list...

I should hold this "lecture" in Belgrade, Serbia - within the days of "free culture", organised by local community of GNU/Linux people...
my initial idea was to hold simple open talk about recent developments in experimental music (last 10 years, say), because in Balkans you won't find lots of oportunities to do so...
but, having in mind the whole context, I had to mildly switch focus to the use of free software in contemporary music and Julien Ottavi first came in mind...
and I'm not just at home with this topic, so I'll keep it simply and informative - after all, intention is to raise people's attention to this music and that in the field of contemporary music, free software also is making impact....

so I look for a site that could possibly deal with some wider implications and consequences of using free software in exp. music practice, free distibution of experimental music etc etc...

but I'll try to put it together by myself...

I'd like to thank to everyone who will/did help me with possible info...


darko





===========================
                 Die Kunst ist tot
Es lebe die neue Maschinenkunst Tatlins
----------------------------------------
--Boundary_(ID_u7n2aP4C5QoWMf1qdNkARQ)--

From ???@??? Thu Apr 27 18:02:12 2006
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Here are two really cool "alternative audio editors" I use on WinXP:

http://www.klingbeil.com/spear/
http://caotica2.reynerie.org/

Spear might only be free cus it's in beta testing, I don't know for sure,
but it's pretty sweet. Mac and Windows.

Caotica, unfortunately, is Win only.

It's not clear from what you wrote, whether you're looking for "free beer"
type software (which the above are), or free and open source software.

~David

> Hallo!
>
>> In some 15 days from now I should hold a lecture regarding (among else)
>> use of free software in contemporary experimental music - now are there
>> any on-line locations I could visit in order to spread my knowledge
>> about this ?...
>
> puredata
> supercollider
> csound
> linux audio community
> chuck
> CLAM
> ardour
> audacity
> ...
>
> (only a quick list ...)
>
> LG
> Georg
>
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Date: Thu, 27 Apr 2006 18:04:27 +0200
From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] free software in experimental music
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we did document some on the microsound wiki but its off at the moment, 
but here is a vast list:

http://linux-sound.org/

cheers,

Malte
-- 
Malte Steiner
media art + development
-www.block4.com-

Elektronengehirn concert 29. April 2006
KuBaSta Hamburg, Germany

more at blog 4, also available as rss feed:
http://java.block4.com/blog4/

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sounds like an announcement if ya ask me... level 8 security has been 
dispatched. beware the black helicopters.  we have a lock on your 
location and your pheromone signature profile has been uploaded to the 
microsound suborbital tactical weapons platform. we await your next move.  

:)

davide valecchi wrote:

> Hello list,
> it's been a while since my last presence in here... I'm davide from 
> Italy, aka aal. I have some mp3s posted to the microsound projects at 
> the website, so I think maybe someone should remember me.
> I hope to have a good time here!
>
> davide valecchi
> ~ http://www.lulu.com/aal ~
> ~ http://www.aferecords.com/artists/aal.htm ~
>
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From ???@??? Thu Apr 27 12:35:56 2006
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PureData, SuperCollider, ChuCK, JMax and Csound are the most beautiful 
OpenSource software to do some experimental electronic music, but if you 
also are looking for something more "classical" like wave editors or 
sequencers you can look at Ardour, Audacity, MuSE, Rosegarden and 
others...anyway you should find interesting this www.macmusic.org and 
www.kvraudio.com


Kamen Nedev ha scritto:

> Also, for a great round-up of most of them (though not all):
>
> http://www.agnula.org
>
> Kamen
>
> On 27/04/2006, at 13:43, Georg Holzmann wrote:
>
>> Hallo!
>>
>>> In some 15 days from now I should hold a lecture regarding (among  
>>> else) use of free software in contemporary experimental music -  now 
>>> are there any on-line locations I could visit in order to  spread my 
>>> knowledge about this ?...
>>
>>
>> puredata
>> supercollider
>> csound
>> linux audio community
>> chuck
>> CLAM
>> ardour
>> audacity
>> ...
>>
>> (only a quick list ...)
>>
>> LG
>> Georg
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>
>
>
> ------------------------------------
> Kamen Nedev
> c/Pelayo N38, 5 Izda.
> 28004 Madrid
> Espaa
>
> (+34) 649 77 80 37
> xxxxxxxxxx@xxxxx.xxx
> http://emitmedia.blogspot.com
> http://emit-es.blogspot.com
> http://emit.omweb.com
>
>
>
>
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>
>


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Also, for a great round-up of most of them (though not all):

http://www.agnula.org

Kamen

On 27/04/2006, at 13:43, Georg Holzmann wrote:

> Hallo!
>
>> In some 15 days from now I should hold a lecture regarding (among  
>> else) use of free software in contemporary experimental music -  
>> now are there any on-line locations I could visit in order to  
>> spread my knowledge about this ?...
>
> puredata
> supercollider
> csound
> linux audio community
> chuck
> CLAM
> ardour
> audacity
> ...
>
> (only a quick list ...)
>
> LG
> Georg
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>



------------------------------------
Kamen Nedev
c/Pelayo N38, 5 Izda.
28004 Madrid
Espaa

(+34) 649 77 80 37
xxxxxxxxxx@xxxxx.xxx
http://emitmedia.blogspot.com
http://emit-es.blogspot.com
http://emit.omweb.com




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From ???@??? Thu Apr 27 11:24:46 2006
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From: Georg Holzmann <xxxxx.xxxxxxxx@xxxxxxx.xxx.xx.xx>
Subject: Re: [microsound] free software in experimental music
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Hallo!

> In some 15 days from now I should hold a lecture regarding (among else) use of free software in contemporary experimental music - now are there any on-line locations I could visit in order to spread my knowledge about this ?...

puredata
supercollider
csound
linux audio community
chuck
CLAM
ardour
audacity
....

(only a quick list ...)

LG
Georg

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From ???@??? Thu Apr 27 12:17:34 2006
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From: "Alexandra P. Spaulding" <xxxxxx@xxxxx.xxx>
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Hi
Where is the lecture going to be?

All Best
Alex





Georg Holzmann wrote:
> Hallo!
>
>> In some 15 days from now I should hold a lecture regarding (among 
>> else) use of free software in contemporary experimental music - now 
>> are there any on-line locations I could visit in order to spread my 
>> knowledge about this ?...
>
> puredata
> supercollider
> csound
> linux audio community
> chuck
> CLAM
> ardour
> audacity
> ...
>
> (only a quick list ...)
>
> LG
> Georg
>
> ---------------------------------------------------------------------
> 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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On 27/04/06, Revolution #9 <xxxxxxx@xxxxx.xx> wrote:
>
> In some 15 days from now I should hold a lecture regarding (among else)
> use of free software in contemporary experimental music - now are there any
> on-line locations I could visit in order to spread my knowledge about this
> ?...




http://www.puredata.org
--Boundary_(ID_kN+AEJKBo1uCxrAZRt+ZWQ)--

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Subject: [microsound] free software in experimental music
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In some 15 days from now I should hold a lecture regarding (among else) use of free software in contemporary experimental music - now are there any on-line locations I could visit in order to spread my knowledge about this ?...

thanks,

darko




===========================
                 Die Kunst ist tot
Es lebe die neue Maschinenkunst Tatlins
----------------------------------------
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From ???@??? Thu Apr 27 07:38:01 2006
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Hello list, 

it's been a while since my last presence in here... I'm davide from Italy, 
aka aal. I have some mp3s posted to the microsound projects at the website, 
so I think maybe someone should remember me. 

I hope to have a good time here! 


davide valecchi
~ http://www.lulu.com/aal ~
~ http://www.aferecords.com/artists/aal.htm ~ 


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From ???@??? Thu Apr 27 00:40:51 2006
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Subject: Re: [microsound] Re: creative commons license
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tasty radish wrote:

> Should it be like this? Well, I think we would need to
> ask should their be private property really! Not
> something so super-easy to really finally once and for
> all state, if you ask me.  Maybe we will get to a
> world where this doesn't play, but it won't be with
> cookie cutter templates, primarily. 

cookie cutter templates are better than the blanket copyright which 
would seem to be the alternative to anyone who isn't a lawyer and/or 
can't afford lawyer's fees.

> Anyhow, all this _doesn't_ mean that people shouldn't
> feel free to mess with stuff. Just understand that you
> may be taking risks, and weight them.  It's like this
> sample crazy sound artist said, he respects copyright
> and understands its uses and abuses, and he
> appropriates without getting consent like a
> motherf*ker.  So... 

my approach goes like this: if it's traditionally copyrighted and i'm 
using it for purposes that i feel are 'fair use', i'll use it. if i get 
sued, i know that the definition of 'fair use' largely comes down to who 
has the bigger legal budget, and as such i will lose, but that's not 
going to stop me doing it.

if on the other hand it is creative commons licensed, i will look at the 
'mess with me' flag (attributive, no-derivatives etc) and if the artist 
explicitly does not allow me to mess with it i won't mess with it.

> The key to writing good copyright language is time
> limits and a sense of what the main aim is in letting
> 'others' have rights to the material. 

the latter part is exactly what creative commons tries to do.

-- 
f r e y
live music with computers
http://www.frey.co.nz


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From ???@??? Wed Apr 26 09:44:36 2006
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Gio,

I'm not sure if anyone's mentioned her to you yet, but Sabrina Raaf's 
work might be of interest to you, particularly a piece of hers 
entitled "Grower" - it's a robot that draws "grass" on the walls of 
the gallery that houses it based on a reading of the amount of CO2 in 
the air -- so the bigger the audience, the taller the grass:

http://www.raaf.org/

Hope this helps.

>>

john kannenberg

[ http://www.johnkannenberg.com ]

[ http://www.stasisfield.com ]



>  > Hi bright people!
>>  I'm writing my master university thesis,
>>  collecting information and names of projects using devices to perceive
>>  environmental qualities and presence, sensors to register temperature,
>>  brightness, air chemical composition,
>>  range sensors, and video motion tracking.
>>  Using the sensors data to influence sound spazialization, sample 
>>  triggering,
>>  effects on sound,
>>  basically inputting sensors_readings to effects_parameters_values.
>>
>>  Can you suggest names of people working in ths field and "interesting"
>>  projects?
>>  Sorta sensor-based aural landscape redesign... uuuugh...
>>
>>  sorry for my bad english and the not-so-precise explanation!
>>  Thanks for your time,
>>  keep on pushing
>  > gio


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From ???@??? Wed Apr 26 06:42:11 2006
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> Well, but if you need to control your software through basically just
> the voice, if that's all that's left, then Pd/Max are horrible tools.
> They also wouldn't be the tools of choice for blind people.

Straight out of the box I have to agree on this. But with the new  
scripting/javascripting abilities of Max 4.5 I could imagine that it  
might be possible to combine speech detection and scripting to make a  
voice driven interface for patching. It would probably be quite a bit  
of work, though...

Best,
Trond

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On Tue, 25 Apr 2006, Frank Barknecht wrote:

*snip*
>> 3. ?Fidelity? is a red herring in sound recording. A recording medium
>> only ever works tolerably well within certain parameters. You never
>> get back exactly what you put in. This applies to digital and
>> analogue recording alike.
>
> This is trivial, of course a recording is just that: A recording, not
> the original. However once you recorded something digitally, this
> specific recording can be transfered without any loss of information,
> which is not true in the analoge realm. But that is trivial as well.
*snip*

One issue : much listee-created art and similiar is not recorded from 
performance, will in fact never be performed in the manner of stage and 
audience. Working inside of this medium of transmission and appreciation - 
the interconnected network of computers - allows for music that is neither 
recorded nor performed, if still allowing the high energy creation ritual 
otherwise acted out in the performance. The .ogg or CD or what have you 
that may result from a musician's efforts may also be an object that is 
not a lie and second rate experience to boot, as descriptive expression 
may be considered.

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

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Subject: [microsound] Call for Works
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- CALL FOR CONTENT -
"The Residents of the United States of America present
One-Minute Commercials for Democracy"
Delivering Digital Democracy In 60 Seconds Or Less

**FOR IMMEDIATE ATTENTION**

Communications Of Tomorrow (CommTom) announces a call for content, 
urging submission of socially aware, politically motivated 
contributions from US-based audio artists who are attentive to 
contemporary political conditions. The compilation will be distributed 
free of charge to US radio stations and public access media outlets. 
Submissions must be 60 seconds in duration and be free of language 
which would violate FCC regulations for radio airplay.

In a follow-up project to the 2004 CommTom release, "Polyphonic Voices 
Of Digital Dissent", which appeared on Democracy Now, Air America, and 
numerous radio stations across the United States, CommTom will release 
this next compilation to an increased number of targeted broadcasters 
across the United States. The accepted submissions will also be 
available for free download from the CommTom website, but will not be 
sold in stores. Custom packaging, designed and letterpress printed by 
MATTER will round out the presentation. A single copy will also be 
offered as compensation to contributing artists whose works are 
accepted for the project. Additional copies will be available to 
participating artists at cost.

This project will increase distribution to 100 independent, community 
and college radio stations across the country. Broadcasters who 
previously added CommTom's "Polyphonic" tracks will also be receiving 
the new release. Stations that featured last years project ranged from 
the West Coast (Radio For Peace International, and KBOO - Oregon; San 
Francisco Liberation Radio, KCRW, KPFA, and KMUD  California), to the 
Mountain region (KZMU  Utah; KGNU, Radio 1190  Colorado; KZUM - 
Nebraska), to the South (KOOP  Austin; KPFT Pacifica Radio  Houston; 
KXCI  Arizona; WMMT  Kentucky), throughout the Midwest (Common Ground 
Radio  Iowa; KFAI  Minnesota; KDHX  Missouri; WFHB  Indiana; WAIF  
Ohio; WYCE  Michigan; WORT  Wisconsin; Chicago Public Radio - 
Illinois), along the East Coast (WMNF, and WLRN - Florida; WBAI  New 
York; Radio Volta - Pennsylvania), and as far-reaching as Maine (WERU) 
and Hawaii (KKCR).

Inspired by media activists (Jim Hightower, Amy Goodman, Noam Chomsky, 
Jello Biafra, Howard Zinn, David Barsamian, etc.) who continue to 
create alternative responses to corporate mainstream news 
information, CommTom hopes to edify and to entertain in a political 
climate that apparently seeks to nullify and restrain. We encourage 
other advocates of democratic practices to exercise the rights of 
speech, of assembly, and of legitimate regime change via untampered 
electoral processes. Exercise prevents atrophy.

Audio works must be submitted by June 1st to be considered for the 
project. Details follow.

"The Residents of the United States of America present
One-Minute Commercials for Democracy"
Delivering Digital Democracy In 60 Seconds Or Less

GUIDELINES
- June 1, 2006 deadline
- Target Release Date: July 4th weekend
- Completed works may be submitted at any time between now and June 1st
- Submissions must be politically-oriented works, 60 seconds in 
duration.
- Political orientation is open to interpretation
- Highly opinionated work is encouraged
- Submissions must be 100% clean (radio-friendly, with no profanity 
see: http://www.nfcb.org/resources/intro_indecency.pdf)
- Provide an MP3 link via e-mail (xxx@xxxxxxx.xxx), or an audio CD via 
USPS or similar
- If sending via snail mail, please send to:

Communications Of Tomorrow
805 East Chester
Lafayette, CO 80026

- If providing a link, please encode MP3 at 192kbps minimum, or as AIFF 
or WAV audio format
- If in doubt regarding your content and its airwave friendliness see: 
http://www.nfcb.org/resources/intro_indecency.pdf
- Use of voice samples encouraged, especially those emanating from 
political speeches, debates, media commentary & other public-domain 
sound-bites
- Works of an experimental and/or adventurous nature are encouraged
- Please provide complete contact Name, Phone #, & email address
- Also provide: Artist's Name; Track Title; Label/Website/Organization 
affiliation

ACCEPTANCE
- CommTom reserves the right to accept or reject any entry for any 
reason,
and will not provide comment on selection.
- Notification of acceptance will be issued via email on June 10, 2006
- Accepted works will require a brief one-to-three sentence bio &/or 
discography.
- Please include a digital photo for the website; images must be JPG 
format, 300 pixels square.
- All artists will retain original rights to their work. Any copyrights 
or lefts will be published as included in the supplemental submission 
materials.
- Supplemental materials due June 12th.
- Additional copies must be ordered at this time. Details will 
accompany notification of acceptance.

RELEASE
- Release date of U.S. Independence Day, July 4, 2006.
- Each artist will recieve one unit of physical packaged materials.
- Distro to 100 Community Broadcasters, and College Radio stations.
- The compilation will not be available for sale in any store.
- Accepted submissions will also be available for free download/podcast 
via CommTom
- CommTom will handle all press management (one-sheets, press release, 
contact, etc.)

Guidelines may also be downloaded in PDF format:
http://www.commtom.com/special_projects/CommDem/commdem.html

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

unique electronic music for the adventurous ear.

http://www.commtom.com
--Boundary_(ID_t8BKgERSINjvIQeo+8VSAQ)--

From ???@??? Wed Apr 26 01:48:59 2006
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From: thewade <xxxxx@xxxxxxxxxxxx.xxx>
Subject: Re: [microsound] still wishing to rock despite all
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Yes, you are quite right.
I am sorry, I took this message out of context.

I agree that if all you have is a microphone as an interface for your 
computer then some nural net voice recognition system would be the best 
way to go. After that abstraction layer some text-based programming 
language would be best (though longer to get started in the beginning).

If you have speech and vision then I have heard of an experimental 
surgery where a quadrapalegic (sp) couls move a mouse (clumsly) around 
the screen by interacting with a thin film electrode placed somewhere 
in his head. Now I guess you can do it by EEG
http://blog.cognitivelabs.com/2006/03/mental-typewriter-and-game-controller.html

-wade

Quoting Frank Barknecht <xxxx@xxxxxxx.xxx>:

> Hallo,
> thewade hat gesagt: // thewade wrote:
>
>> I just wanted to add that I think fiddle~ in PD's first outlet gives
>> the "cooked" frequency in MIDI.
>> It might just be that easy.
>>
>> Also I have built a learning markov chain in PD (as far as computer
>> aided composition goes).
>>
>> PD is where its at!
>>
>> Plus in PD you could build a beat matcher and connect it via serial to
>> some servos that could coax your tripod into helping you head-bang if
>> you wanted.
>
> Well, but if you need to control your software through basically just
> the voice, if that's all that's left, then Pd/Max are horrible tools.
> They also wouldn't be the tools of choice for blind people.
>
> I'd rather suggest learning a text based language, and I'd suggest not
> to use a pure synthesis language like Supercollider, but a "real"
> programming language like Python, Lisp/Scheme, Forth etc., because
> with these one may also be able to build some other tools and user
> interfaces that help with one's specific physical handicap. I
> recommend scripting languages like Python here, because they are
> quicker to write than, say, C++, which is important, if writing is
> difficult because of a severe handicap.
>
> Oh, and Lisp/Scheme seem to have the best libraries for Computer-aided
> composition with Common Music.
>
> Ciao
> --
> Frank Barknecht                 _ ______footils.org_ __goto10.org__
>
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From ???@??? Wed Apr 26 01:28:40 2006
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From: Noel Peters <xxxxxxx@xxxxxxx.xxx>
Subject: RE: [microsound] 7 points...
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Point 8:

People who have experienced using either the Elektron Machinedrum or the
Elektron Monomachine tend towards epiphanies of process reassessment

-----Original Message-----
From: Graham Miller [mailto:xxxxxxxxxxxx@xxxxxxxxx.xx] 
Sent: Tuesday, 25 April 2006 12:53 PM
To: microsound
Subject: [microsound] 7 points...

found this while surfing the web looking for prices for used  
monomachines (i'm thinking of selling mine...).

anyway read the whole thing:

from: http://www.bzangygroink.co.uk/wordpress/archives/2005/12/19/ 
monomachine-vs-walter-benjamin/

1. Even if we accept that a computer can be programmed to perform any  
task, it would be foolish to assume that a computer will always be  
the best tool to perform every task.

2. We are encouraged to think that computers provide the ideal level  
playing field; that they are the ultimate transparent medium, and the  
perfect blank page. This is completely, utterly wrong. In fact, the  
reverse is true.

3. 'Fidelity' is a red herring in sound recording. A recording medium  
only ever works tolerably well within certain parameters. You never  
get back exactly what you put in. This applies to digital and  
analogue recording alike.

4a. To talk in terms of 'better' or 'worse' sound quality entails a  
category mistake. The clue is in the question: there are qualitative  
*differences* between sounds. There is no objective measure of sound  
quality. (The efficiency of a recording device can be measured, in  
terms of frequency response, dynamic range and so on, but that's not  
the same thing.)

4b. While there are some interesting differences between analogue and  
digital recording media, these are not all that significant. A much  
more striking difference is between a standalone digital recorder and  
a computer-based DAW.

5. A process that requires three decisions to be made will be  
completed more quickly than a process that requires thirty decisions  
to be made. A process that requires three hundred decisions to be  
made may never be completed. Limiting the number of decisions that  
has to be made can therefore be an effective strategy for increasing  
productivity (which is defined as the frequency with which one  
finishes things).

6. Computer software is designed according to what successive  
programmers have assumed is a reasonable or rational way of working.
Their assumptions may have been wrong.

7. Computers are a powerful force for rationalisation. Sometimes  
(e.g. when editing recordings) this is useful. In other  
circumstances, it may not be. Historically, interesting artistic  
results have been produced by people who were using technology The  
Wrong Way. People working exclusively with computers have relatively  
little opportunity to do this.

i don't agree with all of this, but thought it might generate some  
crosstalk.

best,
g.

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From ???@??? Tue Apr 25 16:20:08 2006
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I guess whoever wrote this never heard of "hacking"--i.e. coding something
the wrong way out of necessity, or to exploit some kind of unintended
accident in the software?

Anyway, I think this is plain misleading. On the microsound tip, isn't the
whole "digital glitch/ "post-digital" aesthetic a misuse of digital
reproduction technology?

Anyway, the claim that computers offer little opportunity to do things in
"wrong" (I'd prefer to say, "novel" ways is just plain wrong. A program as
mainstream as Ableton is easy to abuse. And in a programming language,
like ChucK or SuperCollider, or something modular like PD, Max, Reaktor,
etc., I'd say that things are so open that talking about the Wrong Way
doesn't make much sense anyway.

Whether people choose to work with their tools in traditional ways has
more to do with the person and the particular project, not whether their
tool happens to be a computer.

~David

> 7. Computers are a powerful force for rationalisation. Sometimes
> (e.g. when editing recordings) this is useful. In other
> circumstances, it may not be. Historically, interesting artistic
> results have been produced by people who were using technology The
> Wrong Way. People working exclusively with computers have relatively
> little opportunity to do this.
>



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25 apr 2006 kl. 09.26 skrev Frank Barknecht:
>
> This is trivial, of course a recording is just that: A recording, not
> the original. However once you recorded something digitally, this
> specific recording can be transfered without any loss of information,
> which is not true in the analoge realm. But that is trivial as well.

This is only true as long as you do no processing - only act as  
storage. Not even changing the volume.

>> 4b. While there are some interesting differences between analogue and
>> digital recording media, these are not all that significant. A much
>> more striking difference is between a standalone digital recorder and
>> a computer-based DAW.
>
> Never having worked with standalone gear, I'd be interested to know:
> what is this difference?

*Good* stand-alone gear at least sometimes has the processing power  
to do things "right". A DAW (without any hardware-assist) is limited  
to the processor doing everything else in the workstation. And this  
is not enough. Even a simple operation as chang-of-volume (a  
multiply) requires application of dithering not to add distortion.  
Dithering must be added at every step and every channel. This is very  
expensive in terms of processing power.

Many DAW:s also fall into the trap of using floating-point formats  
which not only has rounding errors but also is a format that is a  
bitch to apply correct dithering to. Most floating-point based DAW:s  
do not even bother - they just hope the distortion from the rounding  
errors will mask the quantization errors.

It can be argued that these errors are very small in a 24-bit fixed  
(or the equivalent 32-bit float) but when you add them up (many  
channels with many operations on each channel) this is very audible  
and tiring for the ear.

Finally good stand-alone gear almost always have better analog  
circuits/powersupplies than the ones inside a computer. This makes  
for a sound with superior PRaT (Pace, Rythm and Timing).


>> 5. A process that requires three decisions to be made will be
>> completed more quickly than a process that requires thirty decisions
>> to be made. A process that requires three hundred decisions to be
>> made may never be completed.
>
> Nonsense. It will be completed with the same likelihood as the
> processes of three or thirty decisions. However if completion time is
> limited, then of course any process taking longer to complete than the
> available time will not finish.

Not if it is a human doing the processing ... he/she may decide the  
three hundred desision system must have been designed by a moron and  
simply  walk away.


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From ???@??? Tue Apr 25 14:53:57 2006
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From: tasty radish <xxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] Re: creative commons license
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>Hmm, it is not the diversity (or variety) of CC
licences that confuse 

to me, the whole approach of creative commons is
wacky-idealistic, born out of confusion.

instead of providing new-fangled cookie cutter texts,
an education campaign should have been developed, with
_some_ language given for different possible contexts.


For instance, as much as people would like it to be
all super-simple, the reality of copywrite licensing,
very often, is that there is no such thing as a
"boiler-plate" text.  

I also want to mention something that I think a lot of
people don't really get, which is that copywrite has
been useful to many individual artists.  Before the
days of copywrite protections artists' works were
routinely abused by what we now call "mainstream"
organizations. The history of photojournalism is a
primary case.  When Magnum Photos and a number of
other agenices were formed, they were done so
specifically because primary to their formation,
photos were routinely picked up by newspapers from
other newspapers or wires and used without credit and
without payment of any sort.  Magnum and other
agencies were also set up as cooperatives by the way. 


Copywrite is by no means perfect at all. And the way
that it is used today by music publishers is often
pure exploitation. 

And, this is why people like Ray Charles and others
fought to keep control of their work's copyright. 
Which means that he or another artist can do what he
wants with it, including making tracks, for instance,
available for free usage forever or for a limited
number of years, etc, etc. 


It is really a matter of people understanding how they
can control, thru the text of the language of their
copyright, possible uses.  

For instance, lets say that you were doing a piece as
a part of a microsound project (on the site) and you
wanted to make available the track to be further
developed by sound artists for further pieces in the
project, but weren't really sure that you wanted to
just let it be used for endless number of
projects/re-workings outside of the microsound
project.... You could state that the piece is
copyrighted by you and that the rights are available
for one year (or any number of years... its up to you)
to anyone doing a piece in the microsound project, to
be on the site specifically and for no other use. Any
further uses require your written consent. 

Basically, the uses and abuses of copyright are
wrapped up in the history of the development of
private property. This isn't something that can just
be simply dealt with. It has to negotiated and
specified. It is situational. 

Unfortunately, the real problem is that people are not
informed in how they can develop reasonable language
to deal with things.  

Lastly, I think people need to be savvy.  This too
should be a part of an education campaign so to speak.
For instance, it would be dangerous to
use/appropriate/sample any thing Disney has
copyrighted (particularly Mickey Mouse, as they go
after people on this pretty intensively), without
written consent. As well as U2, obviously
(negativeland).   

Should it be like this? Well, I think we would need to
ask should their be private property really! Not
something so super-easy to really finally once and for
all state, if you ask me.  Maybe we will get to a
world where this doesn't play, but it won't be with
cookie cutter templates, primarily. 

Anyhow, all this _doesn't_ mean that people shouldn't
feel free to mess with stuff. Just understand that you
may be taking risks, and weight them.  It's like this
sample crazy sound artist said, he respects copyright
and understands its uses and abuses, and he
appropriates without getting consent like a
motherf*ker.  So... 

contradictions of being an artist in capitalism.  they
can be negotiated to produce reasonable results. 

The key to writing good copyright language is time
limits and a sense of what the main aim is in letting
'others' have rights to the material. 

-andrew

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From ???@??? Tue Apr 25 07:36:40 2006
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Hallo,
thewade hat gesagt: // thewade wrote:

> I just wanted to add that I think fiddle~ in PD's first outlet gives 
> the "cooked" frequency in MIDI.
> It might just be that easy.
> 
> Also I have built a learning markov chain in PD (as far as computer 
> aided composition goes).
> 
> PD is where its at!
> 
> Plus in PD you could build a beat matcher and connect it via serial to 
> some servos that could coax your tripod into helping you head-bang if 
> you wanted.

Well, but if you need to control your software through basically just
the voice, if that's all that's left, then Pd/Max are horrible tools.
They also wouldn't be the tools of choice for blind people. 

I'd rather suggest learning a text based language, and I'd suggest not
to use a pure synthesis language like Supercollider, but a "real"
programming language like Python, Lisp/Scheme, Forth etc., because
with these one may also be able to build some other tools and user
interfaces that help with one's specific physical handicap. I
recommend scripting languages like Python here, because they are
quicker to write than, say, C++, which is important, if writing is
difficult because of a severe handicap.

Oh, and Lisp/Scheme seem to have the best libraries for Computer-aided
composition with Common Music.

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

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From ???@??? Tue Apr 25 07:27:21 2006
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Hallo,
Graham Miller hat gesagt: // Graham Miller wrote:

> anyway read the whole thing:
>
> from: http://www.bzangygroink.co.uk/wordpress/archives/2005/12/19/ 
> monomachine-vs-walter-benjamin/

Some things are interesting here, some are plain wrong, some are
debatable. So it's a very good list of points. ;)

> 2. We are encouraged to think that computers provide the ideal level  
> playing field; that they are the ultimate transparent medium, and the  
> perfect blank page. This is completely, utterly wrong. In fact, the  
> reverse is true.

I don't quite understand this point: What is the reverse? "A computer
is not the perfect blank page" or "A blank page is the perfect
computer"? I would subscribe to the second interpretation.

> 3. ?Fidelity? is a red herring in sound recording. A recording medium  
> only ever works tolerably well within certain parameters. You never  
> get back exactly what you put in. This applies to digital and  
> analogue recording alike.

This is trivial, of course a recording is just that: A recording, not
the original. However once you recorded something digitally, this
specific recording can be transfered without any loss of information,
which is not true in the analoge realm. But that is trivial as well.

> 4b. While there are some interesting differences between analogue and  
> digital recording media, these are not all that significant. A much  
> more striking difference is between a standalone digital recorder and  
> a computer-based DAW.

Never having worked with standalone gear, I'd be interested to know:
what is this difference?

> 5. A process that requires three decisions to be made will be  
> completed more quickly than a process that requires thirty decisions  
> to be made. A process that requires three hundred decisions to be  
> made may never be completed. 

Nonsense. It will be completed with the same likelihood as the
processes of three or thirty decisions. However if completion time is
limited, then of course any process taking longer to complete than the
available time will not finish. 

> 6. Computer software is designed according to what successive  
> programmers have assumed is a reasonable or rational way of working.
> Their assumptions may have been wrong.

Very true, that's why everyone should consider to become a programmer
her/himself. Your assumptions may be wrong, too, but at least they are
your own wrong assumptions. 

> 7. Computers are a powerful force for rationalisation. Sometimes  
> (e.g. when editing recordings) this is useful. In other  
> circumstances, it may not be. Historically, interesting artistic  
> results have been produced by people who were using technology The  
> Wrong Way. People working exclusively with computers have relatively  
> little opportunity to do this.

If more people became programmers as suggested in 6. they would have
lots of opportunity to create interesting stuff through doing things
the wrong way. This might be one main difference between "standalone
digital recorders" and computer workstations: you can fsck up a
computer very easily, with standalone gear you need to rely on your
circuit bending skillz.  

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

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From ???@??? Tue Apr 25 03:17:20 2006
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--Boundary_(ID_ha5p0Pdup9pseFIrP0oe/w)
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found this while surfing the web looking for prices for used  
monomachines (i'm thinking of selling mine...).

anyway read the whole thing:

from: http://www.bzangygroink.co.uk/wordpress/archives/2005/12/19/ 
monomachine-vs-walter-benjamin/

1. Even if we accept that a computer can be programmed to perform any  
task, it would be foolish to assume that a computer will always be  
the best tool to perform every task.

2. We are encouraged to think that computers provide the ideal level  
playing field; that they are the ultimate transparent medium, and the  
perfect blank page. This is completely, utterly wrong. In fact, the  
reverse is true.

3. Fidelity is a red herring in sound recording. A recording medium  
only ever works tolerably well within certain parameters. You never  
get back exactly what you put in. This applies to digital and  
analogue recording alike.

4a. To talk in terms of better or worse sound quality entails a  
category mistake. The clue is in the question: there are qualitative  
*differences* between sounds. There is no objective measure of sound  
quality. (The efficiency of a recording device can be measured, in  
terms of frequency response, dynamic range and so on, but thats not  
the same thing.)

4b. While there are some interesting differences between analogue and  
digital recording media, these are not all that significant. A much  
more striking difference is between a standalone digital recorder and  
a computer-based DAW.

5. A process that requires three decisions to be made will be  
completed more quickly than a process that requires thirty decisions  
to be made. A process that requires three hundred decisions to be  
made may never be completed. Limiting the number of decisions that  
has to be made can therefore be an effective strategy for increasing  
productivity (which is defined as the frequency with which one  
finishes things).

6. Computer software is designed according to what successive  
programmers have assumed is a reasonable or rational way of working.
Their assumptions may have been wrong.

7. Computers are a powerful force for rationalisation. Sometimes  
(e.g. when editing recordings) this is useful. In other  
circumstances, it may not be. Historically, interesting artistic  
results have been produced by people who were using technology The  
Wrong Way. People working exclusively with computers have relatively  
little opportunity to do this.

i don't agree with all of this, but thought it might generate some  
crosstalk.

best,
g.
--Boundary_(ID_ha5p0Pdup9pseFIrP0oe/w)--

From ???@??? Tue Apr 25 02:32:55 2006
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Date: Mon, 24 Apr 2006 18:57:37 -0700
From: thewade <xxxxx@xxxxxxxxxxxx.xxx>
Subject: Re: [microsound] still wishing to rock despite all
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Holy moly! Hi Michael, 'tis I, thewade!
How are you! I am now a fabulously wealthy experimental musican and 
visual artist. Who would have guessed there was so much money in 
electronic art!
Just kidding, still trying to find my artistic footing out here in SF.

I just wanted to add that I think fiddle~ in PD's first outlet gives 
the "cooked" frequency in MIDI.
It might just be that easy.

Also I have built a learning markov chain in PD (as far as computer 
aided composition goes).

PD is where its at!

Plus in PD you could build a beat matcher and connect it via serial to 
some servos that could coax your tripod into helping you head-bang if 
you wanted.
-wade

Quoting Michael Theodore <xxxxxxx.xxxxxxxx@xxxxxxxx.xxx>:

>> Date: Sat, 22 Apr 2006 18:37:17 -0700
>> To: xxxxxxxxxx@xxxxxxxxx.xxx
>> From: Xylor King <xxxxxxxxx@xxxxxxxxx.xxx>
>> Subject: still wishing to rock despite all
>>
>>
>> i wasn't kidding
>>
>> hi kids,
>>   any recommendations on good pitch-to-midi conversion And computer
>> aided composition?
>> I lost my body in a terrible neurological accident and now I consist
>> of nothing more than a head, mounted on a tripod.
>>   having only a head, it's somewhat difficult to rock out - it's a
>> tragedy.  Any thoughts?
>>   stop laughing dammit - I'm quite serious.
>>
>
> fiddle~ provides state of the art pitch tracking in max/msp and pd, 
> and can easily be coaxed into midi-land....
>
> cheers,
> m
>
>
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From: Eloy Anzola <xxxx@xxxxxxxxx.xxx>
Subject: [microsound] monome
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very microsound looking MIDI interface
http://monome.org/

w/ video:
http://146.186.186.101/~bcrabtree/monome40h.mov

eloy
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xxxx@xxxxxxxxx.xxx
347.225.1058


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i got a Tascam US122, i heard people complaining about it, but i never
had any problem with it. Not much noise at all. Though of course if
you have got some more money to spend check the things the others
said...

On 4/20/06, Noisejihad <xxxx@xxxxxxxxxx.xx> wrote:
> Does anybody have any experience w the Hercules Firewire 1612? So far
> i've been very satisfied w my M-Audio Quattro, USB standards or not,
> (but i'm not running Linux either) but am looking into getting more I/O's....
> Lars
>
> peter lasell wrote:
>
> >Ive got an Echo Indigo thats working well for me.
> >
> >P
> >www.peterlasell.net
> >
> >
> >---------------------------------
> >Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls.  Great rates starting at 1¢/min.
> >
> >
>
> --
>
> 
> www.noisejihad.dk
> msn: info[at]noisejihad.dk
> www.waldchengarten.dk
> www.monoeffect.com
> 
>
>
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>


--
www.orphax.tk (ambient, drones ao.)
www.zonderland.tk (postambientrock)

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From ???@??? Mon Apr 24 11:23:36 2006
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Date: Mon, 24 Apr 2006 12:56:35 +0200
From: Heribert Friedl <xxxxxxxx.xxxxxx@xxx.xx>
Subject: Re: [microsound] oval/markus popp wanted
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hi mic!

he is involved on a project at the donaufestival in krems, curated by david 
toop.
it will be on two days  (27. april and 28 april) called "sound body".

more info: www.donaufestival.at

best,
 heribert


coming very soon!

NVO_007 | Tomas Phillips/Dean King |  travers le bord

out now!

NVO_004 | Garet/Lloyd/Smolders/Ubeboet | territorium
NVO_005 | Richard Chartier | tracing

out!

NVO_001 | Steve Roden | oder delias or butterflies
NVO_002 | Roel Meelkop | >momentum<
NVO_003 | Heribert Friedl | bradycard

www.nonvisualobjects.com


----- Original Message ----- 
From: "mic" <xxxxxxx@xxx.xx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, April 24, 2006 12:31 PM
Subject: [microsound] oval/markus popp wanted


hi to all,
Have anyone some news about oval/markus popp?  it seems like  he 
disappeared.  Sometimes I search news about my favourites artists (fennesz, 
jim o'rourke etc.) on internet but about Markus Popp there are only old 
interviews and no news about a new record or some gig.
thanks
bye

mic


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From ???@??? Mon Apr 24 10:31:34 2006
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hi to all,
Have anyone some news about oval/markus popp?  it seems like  he disappeared.  Sometimes I search news about my favourites artists (fennesz, jim o'rourke etc.) on internet but about Markus Popp there are only old interviews and no news about a new record or some gig. 
thanks
bye

mic 
--Boundary_(ID_yzb7Q6mWcnELVJ6C2wGNZA)--

From ???@??? Mon Apr 24 09:14:23 2006
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And "Let's"

Talk about pots and kettles!

Richard

On 22/4/06 2:59 pm, "Rod Stasick" <xxx@xxxxxxx.xxx> wrote:

> 
> On 1427 Rabi I 23, at 8:06 AM, Derek Mason wrote:
> 
>> Lets just hope your english and grammer is better when you turn in
>> your thesis.
> 
> 
> He may not be writing his thesis in English and he *did* apologize
> for his "bad English"
> (of which I've seen worse examples from native English speakers).
> 
> By the way, it's "grammar."
> 
> Oh, and it's "are better."
> 
> 
> R~~
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From ???@??? Mon Apr 24 08:05:14 2006
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Date: Mon, 24 Apr 2006 10:04:54 +0200
From: Trond Lossius <xxxxxxx@xxx.xx>
Subject: [microsound] Re: environmental sensors and aural landscape
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Andre Polli might be of interest:

http://www.andreapolli.com/

If you search the Rhizome database I am sure you will find a lot of  
references:

http://www.rhizome.org/

And here's one more to check out:

http://www.jimcampbell.tv/formula/index.html

Best,
Trond


> Hi bright people!
> I'm writing my master university thesis,
> collecting information and names of projects using devices to perceive
> environmental qualities and presence, sensors to register temperature,
> brightness, air chemical composition,
> range sensors, and video motion tracking.
> Using the sensors data to influence sound spazialization, sample  
> triggering,
> effects on sound,
> basically inputting sensors_readings to effects_parameters_values.
>
> Can you suggest names of people working in ths field and "interesting"
> projects?
> Sorta sensor-based aural landscape redesign... uuuugh...
>
> sorry for my bad english and the not-so-precise explanation!
> Thanks for your time,
> keep on pushing
> gio



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From ???@??? Mon Apr 24 06:52:18 2006
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From: Michael Theodore <xxxxxxx.xxxxxxxx@xxxxxxxx.xxx>
Subject: Re: [microsound] still wishing to rock despite all
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> Date: Sat, 22 Apr 2006 18:37:17 -0700
> To: xxxxxxxxxx@xxxxxxxxx.xxx
> From: Xylor King <xxxxxxxxx@xxxxxxxxx.xxx>
> Subject: still wishing to rock despite all
>
>
> i wasn't kidding
>
> hi kids,
>   any recommendations on good pitch-to-midi conversion And computer
> aided composition?
> I lost my body in a terrible neurological accident and now I consist
> of nothing more than a head, mounted on a tripod.
>   having only a head, it's somewhat difficult to rock out - it's a
> tragedy.  Any thoughts?
>   stop laughing dammit - I'm quite serious.
>

fiddle~ provides state of the art pitch tracking in max/msp and pd, and 
can easily be coaxed into midi-land....

cheers,
m


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From ???@??? Sun Apr 23 16:29:25 2006
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From: Kevin McCoy <xx.xxxxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] still wishing to rock despite all
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Hello Mole,

Could you be more specific about "computer aided composition"?  And
what platform are you running?

Thanks,
Kevin

On 4/22/06, Xylor King <xxxxxxxxx@xxxxxxxxx.xxx> wrote:
> i wasn't kidding
>
>
> hi kids,
>   any recommendations on good pitch-to-midi conversion And computer
> aided composition?
> I lost my body in a terrible neurological accident and now I consist
> of nothing more than a head, mounted on a tripod.
>   having only a head, it's somewhat difficult to rock out - it's a
> tragedy.  Any thoughts?
>   stop laughing dammit - I'm quite serious.
>
>
> Mystr S. Mole on the Xylor King Node of the GaraJ Mahal Delving Net
> this e-mail was typed using voice recognition
>
>
>

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From ???@??? Sun Apr 23 12:03:48 2006
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Date: Sun, 23 Apr 2006 13:58:53 +0200
From: nicola catalano <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] environmental sensors and aural landscape
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>Derek Mason wrote:
>> Lets just hope your english and grammer is better when you turn in your
>>thesis.
>>
>> Try these some quick sources to look at:
>>
>> http://www.secretsounds.dk/
>>
>> http://www.fonik.dk/about.html
>>
>> All the Best
>> Derek
>
>actually his English looks better than yours
>
>ale***
>
>

and it's certainly better than your italian...!


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

"our truest life is when we are in dreams awake." henry david thoreau



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From ???@??? Sun Apr 23 11:44:42 2006
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Hi Giovanni,


I ran across this the other day...I think some great resources for you here.

especially this link ( *http://tinyurl.com/opkhc ) *on light creates sound
project by *Mohammad Mobaseri* <xxxxxx@xxxxx.xxx> *Sound Design by Denis
Menard <xxxxxxxx@xxxxxxx.xxx> .*
**
Japanese sound clothing that fits your description.  Whoever said that
Japanese girls can't be well endowed never saw Watashi Chan!

(Watashi Chan) roughly translates as clothing that responds to sound  *
http://tinyurl.com/nxy82  *
**
Best,

Mark
**
**
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From ???@??? Sun Apr 23 10:10:14 2006
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Derek Mason wrote:
> Lets just hope your english and grammer is better when you turn in your thesis.
> 
> Try these some quick sources to look at:
> 
> http://www.secretsounds.dk/
> 
> http://www.fonik.dk/about.html
> 
> All the Best
> Derek

actually his English looks better than yours

ale***

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i wasn't kidding


hi kids,
  any recommendations on good pitch-to-midi conversion And computer  
aided composition?
I lost my body in a terrible neurological accident and now I consist  
of nothing more than a head, mounted on a tripod.
  having only a head, it's somewhat difficult to rock out - it's a  
tragedy.  Any thoughts?
  stop laughing dammit - I'm quite serious.


Mystr S. Mole on the Xylor King Node of the GaraJ Mahal Delving Net
this e-mail was typed using voice recognition

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From ???@??? Sat Apr 22 20:51:40 2006
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On 1427 Rabiʻ I 23, at 12:29 PM, j.kurtz wrote:

>
> apples own Soundtrack Pro is great, sounds good  and is intel-ready.
>
> but i am not sure if it is still a separate product or only  
> available as part of Final Cut Studio.


Yes, I remember reading in a recent Mac magazine that Soundtrack  
itself had been discontinued after the release of the "Pro" version  
which is available only thru "Studio"
now. I would think that the previous version would be up on eBay  
somewhere for a decent price.


Rod






---
Now playing: Achim Reichel - Die Nacht Hat Viele Sterne
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....and let's hope that next time you critique someone's grammar, you at
least spell the word correctly...

: )

(as an english teacher,i couldn't help it)

> Lets just hope your english and grammer is better when you turn in your
> thesis.



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apples own Soundtrack Pro is great, sounds good  and is intel-ready.

but i am not sure if it is still a separate product or only available  
as part of Final Cut Studio.

http://www.apple.com/finalcutstudio/soundtrackpro/



22 apr 2006 kl. 17.07 skrev Duncan  Ceallaigh:

>  hallo!
>
> a friend of mine has samplitude running on xp. he's just got one of  
> the new intel-powered macs and needs an equivalent program that  
> runs on osx and of course the new hybrid mac. any suggestions?
>
> thanks in advance.
>
> dc
>
>
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>
>


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I am about to start my master in computer music.
Lets just hope I don't run into people like you in the process.

--//:___el sonido nace para todos '___

Nacho.
www.discosinvisibles.org


----- Original Message ----- 
From: "Derek Mason" <xxxxx.xxxxx@xxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Saturday, April 22, 2006 6:06 AM
Subject: Re: [microsound] environmental sensors and aural landscape


Lets just hope your english and grammer is better when you turn in your 
thesis.

Try these some quick sources to look at:

http://www.secretsounds.dk/

http://www.fonik.dk/about.html

All the Best
Derek

> ----- Original Message -----
> From: "giovanni conti" <xxxxxxxxxxxx@xxxxxxx.xxx>
>
> Hi bright people!
> I'm writing my master university thesis,
> collecting information and names of projects using devices to
> perceive environmental qualities and presence, sensors to register
> temperature, brightness, air chemical composition,
> range sensors, and video motion tracking.
> Using the sensors data to influence sound spazialization, sample
> triggering, effects on sound,
> basically inputting sensors_readings to effects_parameters_values.
>
> Can you suggest names of people working in ths field and
> "interesting" projects?
> Sorta sensor-based aural landscape redesign... uuuugh...
>
> sorry for my bad english and the not-so-precise explanation!
> Thanks for your time,
> keep on pushing
> gio
>


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From ???@??? Sat Apr 22 16:14:47 2006
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Duncan  Ceallaigh ha scritto:

>  hallo!
>
> a friend of mine has samplitude running on xp. he's just got one of 
> the new intel-powered macs and needs an equivalent program that runs 
> on osx and of course the new hybrid mac. any suggestions?
>
> thanks in advance.
>
> dc
>
>
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>
>
Have you ever looked at www.macmusic.org in the wave editor section?

bye bye

franz

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From ???@??? Sat Apr 22 16:13:21 2006
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Peter Coyte ha scritto:

> Hi Franz
>
> It's funny how your work room looks just like mine- Mac & Ikea!
>
> Nice handywork.
>
> Peter
>
> On 21 Apr 2006, at 20:50, .franz wrote:
>
>> Hi guys
>>
>> i've done some funny data-glove experiments to control simple  
>> granular synthesis patch made with MaxMSP.
>> You can find some videos and audio examples at http:// 
>> franz.impattosonoro.it/softwares.php
>> Hope you'll enjoy!
>>
>> cheers
>>
>> franz
>
>
>
>
> Peter Coyte
> http://www.petercoyte.co.uk
>
>
Hi Peter

Yes Ikea and Mac rules!
Glad you like the funny experiment !

cheers

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From ???@??? Sat Apr 22 15:11:03 2006
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From: =?ISO-8859-1?Q?Duncan_=D3_Ceallaigh?= <xxx@xxxxxxxx.xxx>
Subject: [microsound] equivalent of samplitude for intel macs / osx?
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  hallo!

a friend of mine has samplitude running on xp. he's just got one of the 
new intel-powered macs and needs an equivalent program that runs on osx 
and of course the new hybrid mac. any suggestions?

thanks in advance.

dc


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From ???@??? Sat Apr 22 14:56:12 2006
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Subject: Re: [microsound] environmental sensors and aural landscape
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I realized it jsut after I sent it.  So, that's what I get for just waking up and trying to think.  

I apologize for the comment I made.

Derek


> 
> 
> On 1427 Rabiʻ I 23, at 8:06 AM, Derek Mason wrote:
> 
> > Lets just hope your english and grammer is better when you turn 
> > in  your thesis.
> 
> 
> He may not be writing his thesis in English and he *did* apologize  
> for his "bad English"
> (of which I've seen worse examples from native English speakers).
> 
> By the way, it's "grammar."
> 
> Oh, and it's "are better."
> 
> 
> R~~
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>


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On 1427 Rabiʻ I 23, at 8:06 AM, Derek Mason wrote:

> Lets just hope your english and grammer is better when you turn in  
> your thesis.


He may not be writing his thesis in English and he *did* apologize  
for his "bad English"
(of which I've seen worse examples from native English speakers).

By the way, it's "grammar."

Oh, and it's "are better."


R~~
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From ???@??? Sat Apr 22 13:06:25 2006
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Lets just hope your english and grammer is better when you turn in your thesis.

Try these some quick sources to look at:

http://www.secretsounds.dk/

http://www.fonik.dk/about.html

All the Best
Derek

> ----- Original Message -----
> From: "giovanni conti" <xxxxxxxxxxxx@xxxxxxx.xxx> 
> 
> Hi bright people!
> I'm writing my master university thesis,
> collecting information and names of projects using devices to 
> perceive environmental qualities and presence, sensors to register 
> temperature, brightness, air chemical composition,
> range sensors, and video motion tracking.
> Using the sensors data to influence sound spazialization, sample 
> triggering, effects on sound,
> basically inputting sensors_readings to effects_parameters_values.
> 
> Can you suggest names of people working in ths field and 
> "interesting" projects?
> Sorta sensor-based aural landscape redesign... uuuugh...
> 
> sorry for my bad english and the not-so-precise explanation!
> Thanks for your time,
> keep on pushing
> gio
> 


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From ???@??? Sat Apr 22 11:10:33 2006
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 FILETIME=[5A3609E0:01C665FD]

Hi bright people!
I'm writing my master university thesis,
collecting information and names of projects using devices to perceive 
environmental qualities and presence, sensors to register temperature, 
brightness, air chemical composition,
range sensors, and video motion tracking.
Using the sensors data to influence sound spazialization, sample triggering, 
effects on sound,
basically inputting sensors_readings to effects_parameters_values.

Can you suggest names of people working in ths field and "interesting" 
projects?
Sorta sensor-based aural landscape redesign... uuuugh...

sorry for my bad english and the not-so-precise explanation!
Thanks for your time,
keep on pushing
gio



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From ???@??? Sat Apr 22 01:04:18 2006
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   oh yea . podcasting .. mmm

   Um . have you all checked out the De:bug feed. ?

   They have several feeds.  They do a cool thing where
   they cast tracks as singles .. as well separate feeds
   for mixes .. etc

   http://www.de-bug.de/pod/


   PostFutura

   http://www.idmcast.com/tabid/53/default.aspx



   Secession out of Australia.  Very cool shows .. have been
   doing it for ages . lots of field recording, idm, scape sounds
   and experimental excursions.

   http://www.toysatellite.org/secession/


   My own show "Speakeasy" on Psurkit .. and other NZ based
   people doing stuff.  Occasional mixes from NZ labels, bands
   and other artists.

   http://psurkit.net/

     .





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Agree with Frank about this too.
It seems as if whoever decided on this idea
kept being asked, "Well, what happens if THIS happens"
and instead of sitting down and trying to come up with
a single concise policy, it was decided that variations
would be considered and given other names - or maybe they are the  
*same* names? -
hell, I dunno...it's a scrambled mess.
Kind of like trying to tie the laces of too many shoes that can't
all be worn simultaneously?


R~


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Hi Franz

It's funny how your work room looks just like mine- Mac & Ikea!

Nice handywork.

Peter

On 21 Apr 2006, at 20:50, .franz wrote:

> Hi guys
>
> i've done some funny data-glove experiments to control simple  
> granular synthesis patch made with MaxMSP.
> You can find some videos and audio examples at http:// 
> franz.impattosonoro.it/softwares.php
> Hope you'll enjoy!
>
> cheers
>
> franz



Peter Coyte
http://www.petercoyte.co.uk

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Hi guys

i've done some funny data-glove experiments to control simple granular 
synthesis patch made with MaxMSP.
You can find some videos and audio examples at 
http://franz.impattosonoro.it/softwares.php
Hope you'll enjoy!

cheers

franz

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Hallo,
devslashnull hat gesagt: // devslashnull wrote:

> I think CC have an "attribution-share alike" license, which covers the 
> scenario you describe below.
> 
> Commmercial use allowed as long as "If you alter, transform, or build 
> upon this work, you may distribute the resulting work only under a 
> license identical to this one."
> 
> Seems pretty straightforward to me, but perhaps I am missing something.

No, you're not, I actually consider this a good license, my criticism
is more targetted at mixing this license with the other licenses under
the common name "CC" and at putting the machine to promote both kinds
though they have a different philosophy. 

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

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I think CC have an "attribution-share alike" license, which covers the 
scenario you describe below.

Commmercial use allowed as long as "If you alter, transform, or build 
upon this work, you may distribute the resulting work only under a 
license identical to this one."

Seems pretty straightforward to me, but perhaps I am missing something.

On Apr 21, 2006, at 9:58 AM, Frank Barknecht wrote:

> To me personally the way out is to explicitly allow commercial use of
> my music, *but* use a Copyleft catch, which is the ShareAlike in CC or
> the viral aspect of the GNU Pulic License for software: Every
> derivative work has to be licensed under the same terms and has to
> allow free distribution and commercial use by others. That is, if
> Microsoft would use my music in a TV ad, they would be allowed to do
> so, but only if everyone then would be allowed to use the Microsoft TV
> ad in the same way and built further works on it.
> I have no idea if this could really work for artworks, but so far, CC
> didn't even really try it. Plus: now CC themselves might even have
> become an obstacle for people, who would like to try 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 ???@??? Fri Apr 21 15:58:43 2006
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Hallo,
xxxxxxx@xxxxxxxxxxxxxx.xxx hat gesagt: // xxxxxxx@xxxxxxxxxxxxxx.xxx wrote:
> Honestly, the legality of things is about the last thing I worry about
> when I DJ or even do my own sets, it's guaranteed that some of my samples
> are "illegal", I say who cares, it's just capitalist bull$#!+ anyway...
> ;-]

Well, in practice, everyone of course plays (netlabel) music with and
without permission. But if it's among the goals of these netlabels to
foster sharing and playing together, then choosing the NC-license is
wrong, IMO. If they want to "fight the big companies", then the
license would in fact need to leave the sensible legal world even more
and include stuff like "allowed for commercial use, but not if you're
a big evil company." 

To me personally the way out is to explicitly allow commercial use of
my music, *but* use a Copyleft catch, which is the ShareAlike in CC or
the viral aspect of the GNU Pulic License for software: Every
derivative work has to be licensed under the same terms and has to
allow free distribution and commercial use by others. That is, if
Microsoft would use my music in a TV ad, they would be allowed to do
so, but only if everyone then would be allowed to use the Microsoft TV
ad in the same way and built further works on it. 

Actually that could be fun. 

I have no idea if this could really work for artworks, but so far, CC
didn't even really try it. Plus: now CC themselves might even have
become an obstacle for people, who would like to try it.

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

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From ???@??? Fri Apr 21 14:40:34 2006
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Might this provision conflict with existing law? And if there is not a
technical contradiction, surely there is a de facto contradiction: i.e.
normally a club or bar pays to the big royalty-collecting companies (in
the USA, ASCAP/BMI) and then nobody normally worries about whether
individual songs are licensed for public performance. No judgement on
whether this system is good or fair, I'm not an ASCAP fan as they screw
over indie artists, but that's how it is, at least in the USA. Which means
that in reality, no netlabel could possibly enforce whether some DJ played
song X in a set at a club in Detroit.

Maybe Europe is different, but we don't have to turn in any kinds of
setlists in the US, so there's no way to know what gets played. The only
worry is venues paying ASCAP and BMI, who have secret police that snoop
around and blackmail venues that haven't gotten their compulsory license.

Honestly, the legality of things is about the last thing I worry about
when I DJ or even do my own sets, it's guaranteed that some of my samples
are "illegal", I say who cares, it's just capitalist bull$#!+ anyway...
;-]

~David

> I'm not sure if many netlabels are aware of the fact, that I'm not
> allowed to play their music in a bar, as soon as the owner gives me
> free beer for djing. Some netlabels now include a "special permission"
> which allows DJing their music, but that is in fact just another
> CC-license: CC-SA-BY-NC-but-djing-allowed-omygod, which shows that
> something is wrong with CC in the first place.
>
> Ciao
> --
>  Frank Barknecht                 _ ______footils.org_ __goto10.org__
>
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>



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Hallo,
Kamen Nedev hat gesagt: // Kamen Nedev wrote:

> Now, there's little point in re-running the Nettime discussion here.  
> What I'm trying to say is that despite their excellent presentation,  
> their amazing communication efforts, and their brilliant intentions,  
> CC haven't managed to breach the "legalese" divide: most people are  
> still not quite aware of the full implications of the smallprint in  
> each single kind of licence, and I shudder to think what might happen  
> to a lot of the content I see out there.

Word up, that's exactly the problem. CC became a slick marketing
machine for a logo, but CC didn't make the differences between the
various licenses clear enough. Another example is DJing: A
CC-NC-license with the non-commercial catch prohibits playing that
music in a bar or club, because that is commercial use.

I'm not sure if many netlabels are aware of the fact, that I'm not
allowed to play their music in a bar, as soon as the owner gives me
free beer for djing. Some netlabels now include a "special permission"
which allows DJing their music, but that is in fact just another
CC-license: CC-SA-BY-NC-but-djing-allowed-omygod, which shows that
something is wrong with CC in the first place.

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

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From ???@??? Fri Apr 21 09:49:46 2006
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Subject: Re: [microsound] Fwd: Creative Commons (Was RE: Podcast feedback?)
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Hmm, it is not the diversity (or variety) of CC licences that confuse  
me. It's the actual implications of the different licences. Say, the  
most common ones I see on the web are "Attribution-No Commercial Use- 
You Name it".

Now, there was a rather long and heated thread on Nettime about the  
"No Commercial Use" issue, since most people don't have a very clear  
idea of what "commercial use" of content might imply.

See, suppose that X posted a marvellous audio project here  
on .microsound. So, I decide to take part, and send a track  
copyrighted under an Attribution-No Commercial use licence. Cool, eh?  
Expanding the universal commons, or whatever...

But X has spent a lot of time and money on a limited edition CD,  
download/podcast bandwith, etc., so she wants to cover at least some  
of the costs, and wants to sell a few copies online. Well, obviously,  
my track makes the whole compilation impossible to sell. Too bad.

Then X decides that, well, he'll take on some extra work, or what  
have you, money's not that important, what matters is to document and  
make the project available. So, she decides to donate a few copies to  
public libraries/museum archives, etc. But, you see, if any of these  
institutions charge any kind of fee (and most of them do), then they  
cannot hold works whose licence prohibits "commercial use". Yup,  
charging a 5 annual fee for a library membership, or something like  
a 2 loan fee is also considered "commercial use".

Now, there's little point in re-running the Nettime discussion here.  
What I'm trying to say is that despite their excellent presentation,  
their amazing communication efforts, and their brilliant intentions,  
CC haven't managed to breach the "legalese" divide: most people are  
still not quite aware of the full implications of the smallprint in  
each single kind of licence, and I shudder to think what might happen  
to a lot of the content I see out there. It doesn't mean that they  
won't achieve it one day, but this is still a long way away, IMO.

But, anyway, I use CC licences, despite the time and effort needed to  
decide which licence is appropriate to every kind of content. But I'm  
still looking. I suppose artlibre is an option (it was funny to see  
representatives of both artlibre and CC at a CC conference here in  
Madrid a couple of years ago...).

Well, my 0,02 .

Best,

Kamen

On 21/04/2006, at 11:27, Frank Barknecht wrote:

> Hallo,
> Kyle Klipowicz hat gesagt: // Kyle Klipowicz wrote:
>
>> While we're on this topic, what's everybody think about creative
>> commons licensing?
>
> CC has been a good idea, but it went terribly wrong IMO. Instead of
> providing one license that can be truly called "free" the board
> created a whole bunch of incompatible licenses, some of which forbid
> almost as many uses as traditional copyright did. Most websites
> providing artworks under one of the many CC licenses make this fault
> visible by stating for example "This [xx] is licensed under Creative
> Commons" which is a sentence that contains absolute zero information
> and is a useless nonsense statement. For a critique of CC see for
> example this article:
> http://www.metamute.org/en/Freedoms-Standard-Advanced
>
> An alternative could be the Free Art License:
> http://artlibre.org/licence/lalgb.html
>
> 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
>



------------------------------------
Kamen Nedev
c/Pelayo N38, 5 Izda.
28004 Madrid
Espaa

(+34) 649 77 80 37
xxxxxxxxxx@xxxxx.xxx
http://emitmedia.blogspot.com
http://emit-es.blogspot.com
http://emit.omweb.com




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From ???@??? Fri Apr 21 09:27:38 2006
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Hallo,
Kyle Klipowicz hat gesagt: // Kyle Klipowicz wrote:

> While we're on this topic, what's everybody think about creative
> commons licensing? 

CC has been a good idea, but it went terribly wrong IMO. Instead of
providing one license that can be truly called "free" the board
created a whole bunch of incompatible licenses, some of which forbid
almost as many uses as traditional copyright did. Most websites
providing artworks under one of the many CC licenses make this fault
visible by stating for example "This [xx] is licensed under Creative
Commons" which is a sentence that contains absolute zero information
and is a useless nonsense statement. For a critique of CC see for
example this article: 
http://www.metamute.org/en/Freedoms-Standard-Advanced

An alternative could be the Free Art License:
http://artlibre.org/licence/lalgb.html 

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

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From ???@??? Fri Apr 21 06:32:11 2006
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Subject: [microsound] Fwd: Creative Commons (Was RE: Podcast feedback?)
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While we're on this topic, what's everybody think about creative
commons licensing?  A 'loose' affilliation of reference, if you will. 
Share and share alike.  Anyone got accounts on thebox.net?  (I'm not
marketing, but I _should_ be!)

~Kyle

On 4/20/06, erik schoster <xxxxxxxxxx@xxxxx.xxx> wrote:
> i just added about a half dozen podcasts to itunes - awesome :-)
>
> i do one, too: http://thewordsofanoak.blogspot.com
> direct: http://feeds.feedburner.com/TheWordsOfAnOak
>
> best,
> erik
>
> On 4/20/06, Ritchie <x_xxxxxx@xxxxxxx.xxx> wrote:
> > For experiments in guitar music, check out:
> >
> > http://murdergrin.blogspot.com
> > http://feeds.feedburner.com/rdomain  (rss)
> >
>
>
> --
> www.hecanjog.com / www.cedarav.com / www.luvsound.org
>
> he can jog split ep with jahbitat forthcoming on norsordo:
> http://www.nosordo.com
>
> Switches and Intricate Maximals comps out now on Audiobulb Records
> http://www.audiobulb.com
>


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

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

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From ???@??? Fri Apr 21 02:40:34 2006
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i just added about a half dozen podcasts to itunes - awesome :-)

i do one, too: http://thewordsofanoak.blogspot.com
direct: http://feeds.feedburner.com/TheWordsOfAnOak

best,
erik

On 4/20/06, Ritchie <x_xxxxxx@xxxxxxx.xxx> wrote:
> For experiments in guitar music, check out:
>
> http://murdergrin.blogspot.com
> http://feeds.feedburner.com/rdomain  (rss)
>
> Ranges from ambient to extreme.
>
> Slowly getting through the other podcasts listed.  I'm enjoying the
> Audiobulb one at the moment :-)
>
> Ritchie
>
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>
>


--
www.hecanjog.com / www.cedarav.com / www.luvsound.org

he can jog split ep with jahbitat forthcoming on norsordo:
http://www.nosordo.com

Switches and Intricate Maximals comps out now on Audiobulb Records
http://www.audiobulb.com

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Does anybody have any experience w the Hercules Firewire 1612? So far 
i've been very satisfied w my M-Audio Quattro, USB standards or not, 
(but i'm not running Linux either) but am looking into getting more I/O's...
Lars

peter lasell wrote:

>Ive got an Echo Indigo thats working well for me.
>
>P
>www.peterlasell.net
>
>                
>---------------------------------
>Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls.  Great rates starting at 1¢/min.
>  
>

-- 


www.noisejihad.dk
msn: info[at]noisejihad.dk
www.waldchengarten.dk
www.monoeffect.com



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I had the pleasure of playing at the Aurora Picture show.
It was a live jam session of video and audio performance.
It's nice to know we actually have some cool things happening down her in
Tejas (hahah)
Houston has always had a wonderful art scene, so that makes sense.

http://www.aurorapictureshow.org/
cheers
phoen+
--
[dissecting audio w/ sonic possibilities]
----------------------------------------------
http://www.phoensnd.com
mailto:xxxxxxxxx@xxxxx.xxx
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From ???@??? Thu Apr 20 13:51:27 2006
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hi all,

I wanted to let you know about an event I am helping organize in Boston, 
Massachusetts for this SUNDAY 4/23, a 5K (about 3 mile) run/walk to benefit 
Architecture for Humanity's shelter projects in Pakistan, New Orleans and Boston.  
Info about the run/walk is below.  

You are invited to join us as runners/walkers, but also I thought i would 
invite microsound musicians to "do their thang" along the route.  We have more 
conventional bands for the start and end of the road race, but it might be a 
cool guerilla Performance Art thing if you wanted to station yourself along the 
route (along the Charles River) with something portable that doesn't require 
power (unless you bring your own).  

The main thing would be to respect and not interfere with the runners / 
walkers, and not disrupt the event.  It doesn't have to relate directly to the 
theme, which is homelessness and displacement by 
environmental/social/political/economic factors. The race itself will be pretty laid back and low key, so I 
envision something low-key would be appropriate.  It might be nice or 
serendipitous for the runners/walkers to pass an unusual sound event along their way.  
Since it involves running/walking, rhythmic experiments might also be 
interesting...  a metronomes installation would be fun.  whatever, be creative.  (for 
soundlovers, It's also an interesting sonic event to hear lots of sneakers 
pounding by.....)

The event starts at noon, and most of the runners would probably be done in 
the first half hour - we are not sure how many walkers we have.  The event will 
happen rain or shine.  The route will be marked in the morning, but basically 
it's a loop that runs along Soldiers Field Road from Artesani Park (near the 
outdoor theater and community gardens) west along Charles River to the Western 
Ave/Arsenal St bridge that crosses Charles River onto Greenough Blvd going 
East, crossing back over the river again at Elliot Bridge then West back to the 
starting area (mapquested here:  
http://www.mapquest.com/maps/map.adp?formtype=address&country=US&popflag=0&latitude=&longitude=&name=&phone=&level=&addtohis
tory=&cat=&address=1234+soldiers+field+road&city=brighton&state=ma&zipcode=

If you are interested in performing/practicing in front of a 
moving/disappearing audience, or just making noises along the charles river for yourself and 
whoever comes along, let me know or just show up and stake a spot.  (This is a 
low budget fundraising/consciousness raising event, so your participation will 
be unofficial, voluntary and $ unremunerated.)  If the weather is nice, it 
will be a great day to play outside.

Hope to see you there!

- maria

------------RUN / WALK INFO -----------
THIS SUNDAY! April 23, 2006 @ 12 noon
1st Annual Architecture for Humanity 5K Run/Walk
"RUN LIKE YOU GIVE A DAMN!"
to benefit Architecture For Humanity/Boston shelter projects in Boston as 
well as New Orleans and Pakistan

Starts @ Artesani Park, 1234 Soldiers Field Road, Brighton (10 minute walk 
from Harvard Square)
Runs about 3 miles along Charles River

$20 registration fee is a donation

Registration and more details:  http://www.afhb.org/ (click on the red flyer)

Virtual Runners/Walkers:  please join us by donating at 
http://www.active.com/donate/afhb

Information about Architecture for Humanity:  
http://www.architectureforhumanity.org/

Architecture for Humanity / Boston (AFHB) hopes to help by bringing their 
skills as local architects, urban planners, designers and building professionals 
to support shelter projects for those in need (let us know if you know of 
projects that could use architectural help!).

Please help us spread the word about this event to your friends and anyone
who might be interested - word of mouth is key!  All are welcome!

Don't hesitate to contact us if you have any questions (CONTACT
Michael McHugh, TEL 617-576-1154, EMAIL xxxxxxx@xxxx.xxx).
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From: Ritchie <x_xxxxxx@xxxxxxx.xxx>
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 FILETIME=[D5F5C890:01C6644A]

For experiments in guitar music, check out:

http://murdergrin.blogspot.com
http://feeds.feedburner.com/rdomain  (rss)

Ranges from ambient to extreme.

Slowly getting through the other podcasts listed.  I'm enjoying the 
Audiobulb one at the moment :-)

Ritchie 

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From ???@??? Thu Apr 20 02:40:34 2006
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From: Aaron Ximm <xxxxx@xxxx.xxx>
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http://www.kontraband.com/show/show.asp?ID=3606

  xxxxx@xxxx.xxx
  http://www.quietamerican.org

  |  quod omne animal post   |
  |  cogitum est triste...   |


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Subject: [microsound] I Broadcasting Art Call
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I Broadcasting Art Call



Globos Sonda / Trial Ballons International Sound Art Competition .
Organized by MUSAC y the SPanish National Radio programme"Fluído  
Rosa" (RNE3).
It is focused on art disciplines such as radio art, broadcast art,  
and sound art in its most open and advanced dimension, which assumes  
a reference to all the aesthetic, narrative and technical aspects  
generated by new digital and analgoue technologies. The deadline is  
August the 25th, and there are three prizes of 4.500 € each.

Conditions in Spanish & English

(Via http://emitmedia.blogspot.com.)



------------------------------------
Kamen Nedev
c/Pelayo Nº38, 5º Izda.
28004 Madrid
España

(+34) 649 77 80 37
xxxxxxxxxx@xxxxx.xxx
http://emitmedia.blogspot.com
http://emit-es.blogspot.com
http://emit.omweb.com



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From ???@??? Wed Apr 19 07:24:15 2006
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From: "David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx>
Subject: [microsound] root of sine
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Following the success of the Root of Sound "Microsound Edition" - I would 
like to invite microsounders to particpate in Volume 3.... I have about 4 
tracks in - when I reach 10-12 tracks I will publish the collection @ 
audiobulb.... For more info visit the "project" page @ www.audiobulb.com.

Project description below ::::

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

A sine wave is waveform of a single constant frequency and amplitude that 
continues for all time. Since a sine wave has only a single frequency 
associated with it, it may be considered the simplest sound. The sine wave 
is the embodiment of audio-purity and strength as it presents an unchanging 
tonal quality. An in-depth discussion on theoretical aspects of the sine 
wave can be found in the "Handbook for Acoustic Ecology" edited by Barry 
Truax (1999).


To expand the sonic palate the sine wave has to be distorted, manipulated 
and de-composed. In sound design we seek to change a sound wave and enable 
new harmonics, frequencies, oscillations and waveforms to come into play. In 
electronic music there are many tools (hardware and softwae) that can used 
to change the sine wave. From simply rerecording it via an old tape recorder 
and introducing some simple distortion to sending it through a myriad of 
effect processors or synthesis modules. For the purpose of creating 
electronic music
 there are a number of software applications that can be used to process the 
sine wave tone.

The remainder of this page is dedicated to music derived entirely from 
sounds originating from the sine wave tone. Some of our artists have 
contributed tracks that have followed this idea through. You can find a 
selection of samples derived from sine wave manipulation in the sample packs 
(found in the right hand menu of the site). We will also be happy to feature 
your work on this page. The only rule is that you start with the sine wave 
and develop the piece from there. Now go and work that sine wave.


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From ???@??? Tue Apr 18 22:54:54 2006
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A very interesting and weird piece of technology. It prompts me to think of
other strange anomalies on the 
audio front. Remember those Panasonic am/fm cassette players that were a
molded plastic? If you're of a 
certain age it might ring a bell. It was made up of two brightly coloured
pieces and they folded together to 
create this kind of bad, 70's post-Henry Moore sculpture. The advertisement
showed various swinging people 
playing in sunny, grassy parks and dancing with these audio accessories.
Maybe those iPod commercials aren't 
such a revolution....


Original Message:
-----------------
From: Rod Stasick xxx@xxxxxxx.xxx
Date: Tue, 18 Apr 2006 12:41:34 -0500
To: xxxxxxxxxx@xxxxxxxxx.xxx
Subject: Re: [microsound] yet another reminder



On 1427 Rabiʻ I 19, at 12:13 PM, Kim Cascone wrote:

> please microsounders, don't post items for sale to the main list -  
> use the announce list for that...
> also NO CROSS POSTING!!!!
> you can cross post to your hearts content to the announce list

Hi, not sure if this is in reference to my Sony link,
but it is not mine and I just thought that it was a strange bit of  
history
that folks on this list might find interesting. That's all.

R~~
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Woo! Right back atcha Kyle! I didn't even realize I got selected  
until you posted this.

On Apr 17, 2006, at 1:43 PM, Kyle Klipowicz wrote:

> Congrats to Craque for being selected for this month's artists at
> http://famousfor15mb.com .  My show has also been selected, although
> it's _very_ diffferent in format.  It's a neat site, check it out.
>
> ~Kyle


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On 1427 Rabiʻ I 19, at 12:13 PM, Kim Cascone wrote:

> please microsounders, don't post items for sale to the main list -  
> use the announce list for that...
> also NO CROSS POSTING!!!!
> you can cross post to your hearts content to the announce list

Hi, not sure if this is in reference to my Sony link,
but it is not mine and I just thought that it was a strange bit of  
history
that folks on this list might find interesting. That's all.

R~~
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please microsounders, don't post items for sale to the main list -  
use the announce list for that...
also NO CROSS POSTING!!!!
you can cross post to your hearts content to the announce list


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From ???@??? Tue Apr 18 16:40:44 2006
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Agreed & I'd say Wiki!
I know John Saylor is working on a possible solution for a re-launch of the 
Wiki function we had before.
Podcast feeds too can be put here (soon).

/Bjrn


----- Original Message ----- 
From: "Derek Mason" <xxxxx.xxxxx@xxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Tuesday, April 18, 2006 2:29 PM
Subject: Re: [microsound] London


Wasn't this discussed?  Maybe a catagorie should be listed on .microsound 
for various cities and what's there.


> ----- Original Message -----
> From: "Risonanza Magnetica - S" <x@xxxxxxxxx-xxxxxxxxx.xxx>
>
> Hi all,
>
> I'll be in London on 1st and 2nd of May,
> any reccomendations in terms of exhibition, interesting spaces and
> gigs are welcome.
>
> Thanks in advance,
> SB


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Wasn't this discussed?  Maybe a catagorie should be listed on .microsound for various cities and what's there.  


> ----- Original Message -----
> From: "Risonanza Magnetica - S" <x@xxxxxxxxx-xxxxxxxxx.xxx>
> 
> Hi all,
> 
> I'll be in London on 1st and 2nd of May,
> any reccomendations in terms of exhibition, interesting spaces and  
> gigs are welcome.
> 
> Thanks in advance,
> SB


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Hi all,

I'll be in London on 1st and 2nd of May,
any reccomendations in terms of exhibition, interesting spaces and  
gigs are welcome.

Thanks in advance,
SB


--
Risonanza Magnetica
http://www.risonanza-magnetica.com
xxxx@xxxxxxxxx-xxxxxxxxx.xxx
Tel +39 0523 713363
Mob +39 328 8619930
--



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From: Simon Hampson <xxxxx@xxxxxxxxx.xxx.xx>
Subject: Re: [microsound] strange piece of Sony history on ebay
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Man! That's an insane piece of history.. Did they really believe that mini
cds were the future?!?

Wow,

Simon.


On 18/4/06 1:16 PM, "Rod Stasick" <xxx@xxxxxxx.xxx> wrote:

> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=9714434236
> 
> 
> R~~
> 
> 
> 
> 
> 
> 
> ---
> Now playing: Frw Haylou - Eytgnu Nqu
> 
> 
> 
> 
> 
> 
> 
> RANDOM RODIO:
> (often) rodcasting at:
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> 
> "you won't like all of it"
> 
> 
> 
> 
> 
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Hallo,
Graham Miller hat gesagt: // Graham Miller wrote:

> i just can't get over this. and i thought ableton live was 
> groundbreaking... imagine this software hooked into the web, where all 
> media can be instantly accessed. the entire audiovisual world becomes 
> realtime fodder for improvisation... so sci-fi...

The wirded article didn't mention it, but SH is in large parts made
with Pure Data (Pd) so it already kind of is hooked into the web.

Here's a link to Sven's thesis concept which is in German, but has
some screenshots of the software: 
http://snm-hgkz.ch/SNMHome/diplom01/pdf/koenig_sven.pdf

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

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Everything in the current episodes is also available as manual 
downloads here:

http://commtom.com/releases/devslashnull/archives.html
and here:
http://commtom.com/releases/devslashnull/board.html




On Apr 17, 2006, at 9:23 PM, Frank D'Urso wrote:

> Hello,
>
> I recomend that you make the podcast available as an MP3 that can be 
> downloaded manually, some of us (me) prefer that method of loading up 
> the MP3 player.
>
> Frank "creative MP3" D'Urso
>
> devslashnull wrote:
>
>>> Anyone with a spare minute and some interest in the music at CommTom 
>>> could help us test out a new Podcast we are producing.
>>> The link is on the main page at http://www.commtom.com
>>>
>>> Just looking for feedback on the presentation etc.
>>>
>>> Thanks
>>>
>>> dev
>>>
>>> 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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>
>
CommTom
Communications of Tomorrow
"it's only a day away"

unique electronic music for the adventurous ear.

http://www.commtom.com
--Boundary_(ID_ec9izd/t/go0r91tf48wNg)--

From ???@??? Tue Apr 18 03:24:48 2006
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Hello,

I recomend that you make the podcast available as an MP3 that can be downloaded manually, some of us (me) prefer that method of loading up the MP3 player.

Frank "creative MP3" D'Urso

devslashnull wrote:

>> Anyone with a spare minute and some interest in the music at CommTom 
>> could help us test out a new Podcast we are producing.
>> The link is on the main page at http://www.commtom.com
>>
>> Just looking for feedback on the presentation etc.
>>
>> Thanks
>>
>> dev
>>
>> 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 ???@??? Tue Apr 18 03:16:57 2006
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http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=9714434236


R~~






---
Now playing: Frw Haylou - Eytgnu Nqu







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

"you won't like all of it"





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From ???@??? Tue Apr 18 03:00:04 2006
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Date: Mon, 17 Apr 2006 22:12:00 -0400
From: Graham Miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] sCrAmBlEd?HaCkZ!
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thank you so much for this!

this is absolutely mindblowing. this is just so insane. this will change 
music forever.

i just can't get over this. and i thought ableton live was 
groundbreaking... imagine this software hooked into the web, where all 
media can be instantly accessed. the entire audiovisual world becomes 
realtime fodder for improvisation... so sci-fi...

g.


Christopher Sorg wrote:

>Wired article on sCrAmBlEd?HaCkZ, some nifty sample software        :
>http://www.wired.com/news/columns/1,70664-0.html
>
>sCrAmBlEd?HaCkZ! home page is here:
>http://www.popmodernism.org/scrambledhackz/
>__________________________________________
>Christopher Sorg
>Multimedia Artist and Instructor
>The School of the Art Institute of Chicago
>Columbia College Chicago
>http://www.chrissorg.com
>
>
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>  
>



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From ???@??? Tue Apr 18 01:41:09 2006
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Wired article on sCrAmBlEd?HaCkZ, some nifty sample software        :
http://www.wired.com/news/columns/1,70664-0.html

sCrAmBlEd?HaCkZ! home page is here:
http://www.popmodernism.org/scrambledhackz/
__________________________________________
Christopher Sorg
Multimedia Artist and Instructor
The School of the Art Institute of Chicago
Columbia College Chicago
http://www.chrissorg.com


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Check out  www.foundrysite.com/podcasts



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From ???@??? Mon Apr 17 23:06:27 2006
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From: ".franz" <xxxxxxxxxxx@xxxxxxx.xx>
Subject: Re: [microsound] ChucK
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it would be interesting to know what's the main differences between 
SuperCollider and ChuCK that seems to me very similar for the 
"on-the-fly-programming" aspect and the managing of polyphony.

cheers

..franz

>Chuck is looking really intriguing to me! Thanks for the links.
>
>On 4/17/06 12:37 PM, "Bjrn Eriksson" <xxxxxxx@xxxxxxx.xx> scribed:
>
>  
>
>>Looks like ChucK is intended to be used as an on-the-fly programming
>>application. Would be nice to hear from someone that has used it. Here is
>>another link that points to some info about the "on-the-fly" capacities
>>http://on-the-fly.cs.princeton.edu/
>>
>>/Bjrn Eriksson
>>
>>
>>----- Original Message -----
>>From: "phoenSND" <xxxxxxxxx@xxxxx.xxx>
>>To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
>>Sent: Monday, April 17, 2006 7:31 PM
>>Subject: Re: [microsound] ChucK/ Re: [microsound] microsound sale
>>
>>
>>Sorry, I found it.
>>
>>http://chuck.cs.princeton.edu/
>>
>>
>>
>>
>>
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>>
>
>
>
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Chuck is looking really intriguing to me! Thanks for the links.

On 4/17/06 12:37 PM, "Bjrn Eriksson" <xxxxxxx@xxxxxxx.xx> scribed:

> Looks like ChucK is intended to be used as an on-the-fly programming
> application. Would be nice to hear from someone that has used it. Here is
> another link that points to some info about the "on-the-fly" capacities
> http://on-the-fly.cs.princeton.edu/
> 
> /Bjrn Eriksson
> 
> 
> ----- Original Message -----
> From: "phoenSND" <xxxxxxxxx@xxxxx.xxx>
> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Monday, April 17, 2006 7:31 PM
> Subject: Re: [microsound] ChucK/ Re: [microsound] microsound sale
> 
> 
> Sorry, I found it.
> 
> http://chuck.cs.princeton.edu/
> 
> 
> 
> 
> 
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From ???@??? Mon Apr 17 21:43:31 2006
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The feed for Famous for 15MB is
http://www.famousfor15mb.com/ff15mb-pdcst.xml

/Bjrn


>Congrats to Craque for being selected for this month's artists at
>http://famousfor15mb.com .  My show has also been selected, although
>it's _very_ diffferent in format.  It's a neat site, check it out.
>
>~Kyle



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Ive got an Echo Indigo thats working well for me.

P
www.peterlasell.net

                
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Congrats to Craque for being selected for this month's artists at
http://famousfor15mb.com .  My show has also been selected, although
it's _very_ diffferent in format.  It's a neat site, check it out.

~Kyle

On 4/17/06, mat.the.w <xxxxxx@xxxxxx.xxx> wrote:
> http://craque.net/craque.xml - CraqueCast, stuff I've done, including DJ
> mixes, live performance improvisations (solo and with others), some studio
> sculptures, updated almost monthly. Music range is wide and varied, from
> sparse looping electronic noises and sampled toys to house mixes and
> loungeometric undertones.
>

--

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

(((())))(()()((((((((()())))()(((((((())()()())())))
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From ???@??? Mon Apr 17 21:16:23 2006
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Subject: Re: [microsound] Fwd: [oddmusic] One second compilation
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OK, it was pointed out to me that the track markers are every minute.

ooops!


R~~






---
Now playing: Nurse With Wound - Salt Marie Celeste

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From ???@??? Mon Apr 17 20:23:12 2006
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Subject: Re: [microsound] Fwd: [oddmusic] One second compilation
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yes, this is true concerning the minimum length for indexed tracks.
but he will solve the problem like this:

> My goal is to fill an 80 minute CDr in this way. At 60 artists a
> minute, that would be 4800 separate submissions, with a track marker every
> minute.

if there's a track marker every minute, then it won't be a problem.
cheers, ralph.


Am 17.4.2006 21:44 Uhr schrieb "Rod Stasick" unter <xxx@xxxxxxx.xxx>:

> Well, I'm kinda new to this new thing called "Compact Disc"
> but can you actually make 1 second tracks on a disc.
> I thought the minimum was 4 seconds.
> 
> 
> R~~
> 
> 
> 
> 
> 
> 
> ---
> Now playing: Hasidic New Wave - Sim Shalom
> 
> 
> 
> 
> 
> 
> 
> RANDOM RODIO:
> (often) rodcasting at:
> http://rodcast.dyndns.org:8000/listen.m3u
> 
> "you won't like all of it"
> 
> 
> 
> 
> 
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-- 

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


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I've had good luck with the Echo Indigo on both Windows and Mac.
w/low latency ASIO drivers for Windows.
http://www.echoaudio.com/Products/CardBus/IndigoIO/index.php

http://omniversemusic.com
http://lucybland.com

On 4/17/06, Frank Barknecht <xxxx@xxxxxxx.xxx> wrote:
> Hallo,
> Cordell Klier hat gesagt: // Cordell Klier wrote:
>
> > ,,any suggestions on what to buy?
>
> You can buy a Firewire or a USB soundcard. I only have experience with
> USB cards. All the cards by Edirol, Terratec, Tascam etc. provide very
> good quality. I would avoid M-Audio USB soundcards, some of them
> (Quattro, Audiophile,...) are not following the USB standard which
> will lead to problems in the future, or in the present, if you happen
> to run Linux. I use a Terratc Phase26, very good sound quality and not
> too expensive.
>
>
> Ciao
> --
>  Frank Barknecht                 _ ______footils.org_ __goto10.org__
>
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>

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Well, I'm kinda new to this new thing called "Compact Disc"
but can you actually make 1 second tracks on a disc.
I thought the minimum was 4 seconds.


R~~






---
Now playing: Hasidic New Wave - Sim Shalom







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

"you won't like all of it"





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From ???@??? Mon Apr 17 20:08:36 2006
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From: =?iso-8859-1?Q?Bj=F6rn_Eriksson?= <xxxxxxx@xxxxxxx.xx>
Subject: Re: [microsound] ChucK
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Looks like ChucK is intended to be used as an on-the-fly programming 
application. Would be nice to hear from someone that has used it. Here is 
another link that points to some info about the "on-the-fly" capacities
http://on-the-fly.cs.princeton.edu/

/Bjrn Eriksson


----- Original Message ----- 
From: "phoenSND" <xxxxxxxxx@xxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, April 17, 2006 7:31 PM
Subject: Re: [microsound] ChucK/ Re: [microsound] microsound sale


Sorry, I found it.

http://chuck.cs.princeton.edu/





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From ???@??? Mon Apr 17 19:11:50 2006
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Begin forwarded message:

> From: mIEKAL aND <xxx@xxx.xxx>
> Date: 17 de abril de 2006 18:04:41 GMT+02:00
> To: xxxxxxx-x@xxxxxxxx.xxxxxxxx.xx
> Subject: Fwd: [oddmusic] One second compilation
> Reply-To: "WRYTING-L : Writing and Theory across Disciplines"  
> <xxxxxxx-x@xxxxxxxx.xxxxxxxx.xx>
>
> Begin forwarded message:
>
>> From: Erik Stein <xxxxxxxxx@xxxxxxxx.xxxxxxxxx.xx.xx>
>> Date: April 16, 2006 11:01:44 AM CDT
>> To: <xxxxxxxx@xxxxxxxxxxx.xxx>
>> Subject: [oddmusic] One second compilation
>> Reply-To: xxxxxxxx@xxxxxxxxxxx.xxx
>>
>> I'm sure we have a lot of artistic people on this list. You might  
>> like to
>> contribute to this. I know I will...Erik.
>>
>> http://www.obscurica.com/sloppy_seconds.html
>>
>> 1 Second Comp
>> I am accepting submissions for a comp, tentatively entitled "Sloppy
>> Seconds". Submissions must be exactly one second in length. They  
>> may be
>> found sound, original compositions, previously released or  
>> unreleased..
>> anything. They will all be strung together in the order they are  
>> received,
>> into a massive, A.D.D. inducing, pummeling, roller coaster ride of an
>> audio experience.
>>
>> My goal is to fill an 80 minute CDr in this way. At 60 artists a  
>> minute,
>> that would be 4800 separate submissions, with a track marker every  
>> minute.
>> I know, I'm aiming for the sky, and I probably won't make that  
>> goal. You
>> can help by telling friends or folks you know about this offer.  
>> Any style
>> of music will be accepted. When I deem it's "done", submissions  
>> will no
>> longer be accepted and it'll be released in whatever form it  
>> takes. There
>> is no timeline for this process, but I suspect it will take awhile.
>>
>> Rules:
>> 1. Email your track, wav files preferred, to xxxxxxxxx@xxxxx.xxx.
>> 2. Include your project name and the name of your track.
>> 3. Tracks must be one second in length, no more no less.
>> 4. Nobody may submit more than once. ONCE. No side projects.
>> 5. YOU WILL NOT GET AN ARTIST COPY. Nobody. Don't even ask. You'll  
>> have to
>> buy one if you want it.
>>
>> Thems the rules. Well, what are ya waiting for? Send your second!!
>>
>>
>>
>>
>> -------------------------------------------
>> http://www.cultwithnonname.com
>> http://www.myspace.com/cwnn
>> -------------------------------------------
>>
>> -------------------------------------------
>> http://www.cultwithnonname.com
>> http://www.myspace.com/cwnn
>> -------------------------------------------

--Boundary_(ID_3CoSq1H/UD1ZO4i2ySUOxA)--

From ???@??? Mon Apr 17 19:02:51 2006
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From: "mat.the.w" <xxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Podcast feedback?
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http://craque.net/craque.xml - CraqueCast, stuff I've done, including DJ
mixes, live performance improvisations (solo and with others), some studio
sculptures, updated almost monthly. Music range is wide and varied, from
sparse looping electronic noises and sampled toys to house mixes and
loungeometric undertones.

http://m50.net/streamed/podcast.xml - my friend max, a DJ at WNUR, who
archives all kinds of sets and live DJs, updated every week or so, sometimes
more. Some great great sets from Kompakt and Ghostly folks up there.

Yes, the audiobulb cast is great too!

On 4/16/06 3:59 AM, "Peter Worth" <xxxxxxxxxxx@xxxxxxxxxx.xxx> scribed:

> podcasts - more of them please.. anyone got any recommendations?



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From ???@??? Mon Apr 17 18:04:04 2006
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Date: Mon, 17 Apr 2006 20:03:08 +0200
From: Frank Barknecht <xxxx@xxxxxxx.xxx>
Subject: Re: [microsound] better soundcards for PC laptops?
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Hallo,
Cordell Klier hat gesagt: // Cordell Klier wrote:

> ,,any suggestions on what to buy?

You can buy a Firewire or a USB soundcard. I only have experience with
USB cards. All the cards by Edirol, Terratec, Tascam etc. provide very
good quality. I would avoid M-Audio USB soundcards, some of them
(Quattro, Audiophile,...) are not following the USB standard which
will lead to problems in the future, or in the present, if you happen
to run Linux. I use a Terratc Phase26, very good sound quality and not
too expensive.


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

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Date: Mon, 17 Apr 2006 19:50:22 +0200
From: k_ <xxxxxxx_@xxxxxxxxxxxxx.xxx>
Subject: [microsound] sapporo
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has anybody  tips for sapporo /hokkaido [ venues, food, interesting  
and nice places ].
i'll spend some time there, 23rd.march - 7th june and would be  
grateful for any personal recommendations !
thanks in advance
k_

_________________________________
   http://www.myspace.com/kreidenweiss
_________________________________
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Sorry, I found it.

http://chuck.cs.princeton.edu/



On 4/17/06, Gianluca Foglino <xxxxxxxx_xxxxxxx@xxx.xx> wrote:
>
> yes unbelivable ......
>
> gl
>
>
>
> Il giorno 17/apr/06, alle 19:11, phoenSND ha scritto:
>
> > yeah, not good :-(
> >
> > Do you have a link for this ChucK utility?
> >
> >
> > On 4/17/06, xxxxxxx@xxxxxxxxxxxxxx.xxx <xxxxxxx@xxxxxxxxxxxxxx.xxx>
> > wrote:
> >>
> >> Oh man, not only are you spamming the list, you are selling off Kim
> >> Cascone CD's... Double-boot for you!!! ;-)
> >>
> >> Microsound related content:
> >>
> >> Has anyone used ChucK for microsound performance? I just started
> >> playing
> >> with it, and I'm really excited about the possibilities... especially
> >> as
> >> I'm sure even more will be added as the language develops. It's quite
> >> intuitive and logical to use, you can really make something fun quite
> >> quickly...
> >>
> >> ~David
> >>
> >>> I have been clearing out my cds and think that some of you might be
> >>> interested in these.
> >>> Everything is in excellent shape.
> >>> Prices are without shipping. I live in Denmark. I accept paypal.
> >>> Please mail me off list.
> >>>
> >>> cheers,
> >>> Jacob
> >>>
> >>>
> >>> Thomas Ankersmit - Alto Saxophone. 3"cdr. $8
> >>>
> >>> Terre Thaemlitz - G.R.R.L. cd. comatose. $7
> >>>
> >>> Terre Thaemlitz/jane dowe - Institutional Collaborative. cd. Mille
> >>> Plateux. $7
> >>>
> >>> V/A - Blue Cubism. cd. digital narcis.. $9
> >>>
> >>> Kim Cascone - Dust Theories. cd. Cycling 74. $8
> >>>
> >>> Kim Cascone - Cathode Flower. cd. mille plateaux. $7
> >>>
> >>> Kim Cascone - Residualism. cd. mille plateaux. $7
> >>>
> >>> Kim Cascone - Blue Cube. cd. Raster noton. $10. Jewelcase has a small
> >>> crack.
> >>>
> >>> Kim Cascone - Parasites. mini cd. $7
> >>>
> >>> Kim Cascone - Black Cube. mini cd. $7
> >>>
> >>> Kim Cascone - Anti-Correlation. mini cd. $7
> >>>
> >>> Kim Cascone - Dust Theories 2. mini cd. $7
> >>>
> >>> Terre Thaemlitz - Means From An End. cd. Mille Plateux. $7
> >>>
> >>> Terre Thaemlitz/ - Interstices. cd. Mille Plateux. $7
> >>>
> >>> Terre Thaemlitz - Love For sale. cd. Mille Plateux. $7
> >>>
> >>> Terre Thaemlitz - Fagjazz. 2cd. Comatose. $14. Minor creases to
> >>> corners of the cardboard.
> >>>
> >>> Terre Thaemlitz - Oh, no! It's Rubato. cd. Mille Plateux. $12
> >>>
> >>> Terre Thaemlitz - Replicas Rubato. cd. Mille Plateux. $12
> >>>
> >>> Laszlo Dubrovay - Symphonia... cd. staalplaat. $3
> >>>
> >>> Alvin Lucier - 40 rooms. cd-rom for mac os9. $2
> >>>
> >>> Hans G. Leonhardt - Psycho Images . cd. $2
> >>>
> >>>
> >>>
> >>>
> >>>
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> >>>
> >>>
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> >>
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Date: Mon, 17 Apr 2006 19:21:07 +0200
From: Gianluca Foglino <xxxxxxxx_xxxxxxx@xxx.xx>
Subject: Re: [microsound] ChucK/ Re: [microsound] microsound sale
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yes unbelivable ......

gl



Il giorno 17/apr/06, alle 19:11, phoenSND ha scritto:

> yeah, not good :-(
>
> Do you have a link for this ChucK utility?
>
>
> On 4/17/06, xxxxxxx@xxxxxxxxxxxxxx.xxx <xxxxxxx@xxxxxxxxxxxxxx.xxx> 
> wrote:
>>
>> Oh man, not only are you spamming the list, you are selling off Kim
>> Cascone CD's... Double-boot for you!!! ;-)
>>
>> Microsound related content:
>>
>> Has anyone used ChucK for microsound performance? I just started 
>> playing
>> with it, and I'm really excited about the possibilities... especially 
>> as
>> I'm sure even more will be added as the language develops. It's quite
>> intuitive and logical to use, you can really make something fun quite
>> quickly...
>>
>> ~David
>>
>>> I have been clearing out my cds and think that some of you might be
>>> interested in these.
>>> Everything is in excellent shape.
>>> Prices are without shipping. I live in Denmark. I accept paypal.
>>> Please mail me off list.
>>>
>>> cheers,
>>> Jacob
>>>
>>>
>>> Thomas Ankersmit - Alto Saxophone. 3"cdr. $8
>>>
>>> Terre Thaemlitz - G.R.R.L. cd. comatose. $7
>>>
>>> Terre Thaemlitz/jane dowe - Institutional Collaborative. cd. Mille
>>> Plateux. $7
>>>
>>> V/A - Blue Cubism. cd. digital narcis.. $9
>>>
>>> Kim Cascone - Dust Theories. cd. Cycling 74. $8
>>>
>>> Kim Cascone - Cathode Flower. cd. mille plateaux. $7
>>>
>>> Kim Cascone - Residualism. cd. mille plateaux. $7
>>>
>>> Kim Cascone - Blue Cube. cd. Raster noton. $10. Jewelcase has a small
>>> crack.
>>>
>>> Kim Cascone - Parasites. mini cd. $7
>>>
>>> Kim Cascone - Black Cube. mini cd. $7
>>>
>>> Kim Cascone - Anti-Correlation. mini cd. $7
>>>
>>> Kim Cascone - Dust Theories 2. mini cd. $7
>>>
>>> Terre Thaemlitz - Means From An End. cd. Mille Plateux. $7
>>>
>>> Terre Thaemlitz/ - Interstices. cd. Mille Plateux. $7
>>>
>>> Terre Thaemlitz - Love For sale. cd. Mille Plateux. $7
>>>
>>> Terre Thaemlitz - Fagjazz. 2cd. Comatose. $14. Minor creases to
>>> corners of the cardboard.
>>>
>>> Terre Thaemlitz - Oh, no! It's Rubato. cd. Mille Plateux. $12
>>>
>>> Terre Thaemlitz - Replicas Rubato. cd. Mille Plateux. $12
>>>
>>> Laszlo Dubrovay - Symphonia... cd. staalplaat. $3
>>>
>>> Alvin Lucier - 40 rooms. cd-rom for mac os9. $2
>>>
>>> Hans G. Leonhardt - Psycho Images . cd. $2
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>
>>
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>>
>
>
> --
> [dissecting audio w/ sonic possibilities]
> ----------------------------------------------
> http://www.phoensnd.com
> mailto:xxxxxxxxx@xxxxx.xxx


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yeah, not good :-(

Do you have a link for this ChucK utility?


On 4/17/06, xxxxxxx@xxxxxxxxxxxxxx.xxx <xxxxxxx@xxxxxxxxxxxxxx.xxx> wrote:
>
> Oh man, not only are you spamming the list, you are selling off Kim
> Cascone CD's... Double-boot for you!!! ;-)
>
> Microsound related content:
>
> Has anyone used ChucK for microsound performance? I just started playing
> with it, and I'm really excited about the possibilities... especially as
> I'm sure even more will be added as the language develops. It's quite
> intuitive and logical to use, you can really make something fun quite
> quickly...
>
> ~David
>
> > I have been clearing out my cds and think that some of you might be
> > interested in these.
> > Everything is in excellent shape.
> > Prices are without shipping. I live in Denmark. I accept paypal.
> > Please mail me off list.
> >
> > cheers,
> > Jacob
> >
> >
> > Thomas Ankersmit - Alto Saxophone. 3"cdr. $8
> >
> > Terre Thaemlitz - G.R.R.L. cd. comatose. $7
> >
> > Terre Thaemlitz/jane dowe - Institutional Collaborative. cd. Mille
> > Plateux. $7
> >
> > V/A - Blue Cubism. cd. digital narcis.. $9
> >
> > Kim Cascone - Dust Theories. cd. Cycling 74. $8
> >
> > Kim Cascone - Cathode Flower. cd. mille plateaux. $7
> >
> > Kim Cascone - Residualism. cd. mille plateaux. $7
> >
> > Kim Cascone - Blue Cube. cd. Raster noton. $10. Jewelcase has a small
> > crack.
> >
> > Kim Cascone - Parasites. mini cd. $7
> >
> > Kim Cascone - Black Cube. mini cd. $7
> >
> > Kim Cascone - Anti-Correlation. mini cd. $7
> >
> > Kim Cascone - Dust Theories 2. mini cd. $7
> >
> > Terre Thaemlitz - Means From An End. cd. Mille Plateux. $7
> >
> > Terre Thaemlitz/ - Interstices. cd. Mille Plateux. $7
> >
> > Terre Thaemlitz - Love For sale. cd. Mille Plateux. $7
> >
> > Terre Thaemlitz - Fagjazz. 2cd. Comatose. $14. Minor creases to
> > corners of the cardboard.
> >
> > Terre Thaemlitz - Oh, no! It's Rubato. cd. Mille Plateux. $12
> >
> > Terre Thaemlitz - Replicas Rubato. cd. Mille Plateux. $12
> >
> > Laszlo Dubrovay - Symphonia... cd. staalplaat. $3
> >
> > Alvin Lucier - 40 rooms. cd-rom for mac os9. $2
> >
> > Hans G. Leonhardt - Psycho Images . cd. $2
> >
> >
> >
> >
> >
> >
> >
> >
>
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>


--
[dissecting audio w/ sonic possibilities]
----------------------------------------------
http://www.phoensnd.com
mailto:xxxxxxxxx@xxxxx.xxx
--Boundary_(ID_R0n2oaO6stytC2SdughTRQ)--

From ???@??? Mon Apr 17 17:07:55 2006
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Subject: [microsound] ChucK/ Re: [microsound] microsound sale
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Oh man, not only are you spamming the list, you are selling off Kim
Cascone CD's... Double-boot for you!!! ;-)

Microsound related content:

Has anyone used ChucK for microsound performance? I just started playing
with it, and I'm really excited about the possibilities... especially as
I'm sure even more will be added as the language develops. It's quite
intuitive and logical to use, you can really make something fun quite
quickly...

~David

> I have been clearing out my cds and think that some of you might be
> interested in these.
> Everything is in excellent shape.
> Prices are without shipping. I live in Denmark. I accept paypal.
> Please mail me off list.
>
> cheers,
> Jacob
>
>
> Thomas Ankersmit - Alto Saxophone. 3cdr. $8
>
> Terre Thaemlitz - G.R.R.L. cd. comatose. $7
>
> Terre Thaemlitz/jane dowe - Institutional Collaborative. cd. Mille
> Plateux. $7
>
> V/A - Blue Cubism. cd. digital narcis.. $9
>
> Kim Cascone - Dust Theories. cd. Cycling 74. $8
>
> Kim Cascone - Cathode Flower. cd. mille plateaux. $7
>
> Kim Cascone - Residualism. cd. mille plateaux. $7
>
> Kim Cascone - Blue Cube. cd. Raster noton. $10. Jewelcase has a small
> crack.
>
> Kim Cascone - Parasites. mini cd. $7
>
> Kim Cascone - Black Cube. mini cd. $7
>
> Kim Cascone - Anti-Correlation. mini cd. $7
>
> Kim Cascone - Dust Theories 2. mini cd. $7
>
> Terre Thaemlitz - Means From An End. cd. Mille Plateux. $7
>
> Terre Thaemlitz/ - Interstices. cd. Mille Plateux. $7
>
> Terre Thaemlitz - Love For sale. cd. Mille Plateux. $7
>
> Terre Thaemlitz - Fagjazz. 2cd. Comatose. $14. Minor creases to
> corners of the cardboard.
>
> Terre Thaemlitz - Oh, no! Its Rubato. cd. Mille Plateux. $12
>
> Terre Thaemlitz - Replicas Rubato. cd. Mille Plateux. $12
>
> Laszlo Dubrovay - Symphonia... cd. staalplaat. $3
>
> Alvin Lucier - 40 rooms. cd-rom for mac os9. $2
>
> Hans G. Leonhardt - Psycho Images . cd. $2
>
>
>
>
>
>
>
>



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From ???@??? Mon Apr 17 16:13:08 2006
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Date: Mon, 17 Apr 2006 09:05:19 -0700 (PDT)
From: Cordell Klier <xxxxxxxx@xxxxx.xxx>
Subject: [microsound] better soundcards for PC laptops?
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hi all..
long story short; mine sounds really dirty when i
record internally between programs. I need
something that is as noise free as possible.

I've tried everything to quiet it down, but I've
come to realise that it is just the soundcard.

,,any suggestions on what to buy?
Iv'e got a creative soundblaster live platnum pro
in my desktop and that thing is virtually noise
free. Anything like that for laptops,
internal/external?

thanks
please email me off list
xxxxxxxx@xxxxxxx.xxx



Cordell Klier  
www.doctsect.com  
drone, lowercase, glitch, experimental, noise, click, and soundart.


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From ???@??? Sun Apr 16 19:40:48 2006
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Date: Sun, 16 Apr 2006 20:39:52 +0100
From: "David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] Podcast feedback?
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http://audiobulb.podomatic.com/

another podtastic cast
----- Original Message ----- 
From: "Bjrn Eriksson" <xxxxxxx@xxxxxxx.xx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Sunday, April 16, 2006 4:10 PM
Subject: Re: [microsound] Podcast feedback?


> ACOWO: Podcast
> http://www.acowo.org/pod.xml
>
> /Bjrn
>
> p.s When we get the (T)Wiki up again there is a dozen of pretty good feeds 
> to consider.
>
>
>>podcasts - more of them please.. anyone got any recommendations?
>
>
>
> ---------------------------------------------------------------------
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> 


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ACOWO rules!  It's like getting free records in the mail.

~Kyle

On 4/16/06, Bjrn Eriksson <xxxxxxx@xxxxxxx.xx> wrote:
> ACOWO: Podcast
> http://www.acowo.org/pod.xml
>
> /Bjrn
>
> p.s When we get the (T)Wiki up again there is a dozen of pretty good feeds
> to consider.
>
>
> >podcasts - more of them please.. anyone got any recommendations?
>
>
>
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--
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))(((((((((((())))())))))))))))))))__________
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Date: Sun, 16 Apr 2006 19:18:09 +0200
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I have been clearing out my cds and think that some of you might be  
interested in these.
Everything is in excellent shape.
Prices are without shipping. I live in Denmark. I accept paypal.
Please mail me off list.

cheers,
Jacob


Thomas Ankersmit - Alto Saxophone. 3cdr. $8

Terre Thaemlitz - G.R.R.L. cd. comatose. $7

Terre Thaemlitz/jane dowe - Institutional Collaborative. cd. Mille  
Plateux. $7

V/A - Blue Cubism. cd. digital narcis.. $9

Kim Cascone - Dust Theories. cd. Cycling 74. $8

Kim Cascone - Cathode Flower. cd. mille plateaux. $7

Kim Cascone - Residualism. cd. mille plateaux. $7

Kim Cascone - Blue Cube. cd. Raster noton. $10. Jewelcase has a small  
crack.

Kim Cascone - Parasites. mini cd. $7

Kim Cascone - Black Cube. mini cd. $7

Kim Cascone - Anti-Correlation. mini cd. $7

Kim Cascone - Dust Theories 2. mini cd. $7

Terre Thaemlitz - Means From An End. cd. Mille Plateux. $7

Terre Thaemlitz/ - Interstices. cd. Mille Plateux. $7

Terre Thaemlitz - Love For sale. cd. Mille Plateux. $7

Terre Thaemlitz - Fagjazz. 2cd. Comatose. $14. Minor creases to  
corners of the cardboard.

Terre Thaemlitz - Oh, no! Its Rubato. cd. Mille Plateux. $12

Terre Thaemlitz - Replicas Rubato. cd. Mille Plateux. $12

Laszlo Dubrovay - Symphonia... cd. staalplaat. $3

Alvin Lucier - 40 rooms. cd-rom for mac os9. $2

Hans G. Leonhardt - Psycho Images . cd. $2







--Boundary_(ID_atuR3ikrWz0A/wwdd0tv4A)--

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Hallo,
Thomas Ashcraft hat gesagt: // Thomas Ashcraft wrote:

> Hi.  For initial feedback sake as per your request:    Using Firefox as 
> browser.....clicking on the blue "podcast" bar produces a Firefox alert 
> box message that says :  "Firefox doesn't know how to open this address, 
> becasue the protocol ( itcp) isn't associated with any program."

Now it's "pcast://" which isn't any better. You should not invent any
funky and fake protocol schemes, when all this is simple "http://".
Everything else will break in almost every software.

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

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ACOWO: Podcast
http://www.acowo.org/pod.xml

/Bjrn

p.s When we get the (T)Wiki up again there is a dozen of pretty good feeds 
to consider.


>podcasts - more of them please.. anyone got any recommendations?



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From ???@??? Sun Apr 16 14:51:19 2006
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Date: Sun, 16 Apr 2006 16:50:47 +0200
From: Kamen Nedev <xxxxxxxxxx@xxxxx.xxx>
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Well, Walter Ciancusi's Fluxus Podcast is right over here: http:// 
homepage.mac.com/cianciusi/podcast.xml

(if you like that sort of thing).

On a more local level, here's the radio section of artesonoro.org  
(http://www.uclm.es/dr/dinamo_listen.htm), most likely the best  
project along these lines here in Spain.

Check out Dinamo Radio (http://www.uclm.es/dr/dinamo_listen.htm) ,  
and look through the other links to local netradios and so forth.

Most of them are streams (not podcasts), but they should do.

I'm preparing my own podcasts. But I'm not saying a word more until  
they're ready.

Best,

Kamen


On 16/04/2006, at 12:59, Peter Worth wrote:

> podcasts - more of them please.. anyone got any recommendations?
>
> On 16/04/06, Kyle Klipowicz <xxxxxxxx@xxxxx.xxx> wrote:
>>
>> You may wish to put a direct link to the rss feed on the page, with
>> the ubiquitous feed icon to clarify things.  Good start though!
>> Please check out my own podcast, The Radio Project
>> (http://theradioproject.com).  If you'd like to submit music for our
>> segments, let me know.
>>
>> ~Kyle
>>
>> On 4/15/06, Simon Hampson <xxxxx@xxxxxxxxx.xxx.xx> wrote:
>>> Worked fine for me - asked if I wanted to open the link with  
>>> iTunes and
>> I
>>> have downloaded the podcast.
>>>
>>> Working on Mac with Firefox (1.5.0.2 - universal build)
>>>
>>> Simon.
>>>
>>>
>>> On 16/4/06 8:57 AM, "Thomas Ashcraft" <xxxxxxxx@xxxxxxxxx.xxx>  
>>> wrote:
>>>
>>>> Hi.  For initial feedback sake as per your request:    Using  
>>>> Firefox
>> as
>>>> browser.....clicking on the blue "podcast" bar produces a Firefox
>> alert
>>>> box message that says :  "Firefox doesn't know how to open this
>> address,
>>>> becasue the protocol ( itcp) isn't associated with any program."
>>>>
>>>> Hope this helps!   -  TA
>>>>
>>>>
>>>> devslashnull wrote:
>>>>> Anyone with a spare minute and some interest in the music at  
>>>>> CommTom
>>>>> could help us test out a new Podcast we are producing.
>>>>> The link is on the main page at http://www.commtom.com
>>>>>
>>>>> Just looking for feedback on the presentation etc.
>>>>>
>>>>> Thanks
>>>>>
>>>>> dev
>>>>>
>>>>> 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
>>>>
>>>>
>>>
>>>
>>> -------------------------------------------------------------------- 
>>> -
>>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> website: http://www.microsound.org
>>>
>>>
>>
>>
>> --
>> 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
>>
>>



------------------------------------
Kamen Nedev
c/Pelayo N38, 5 Izda.
28004 Madrid
Espaa

(+34) 649 77 80 37
xxxxxxxxxx@xxxxx.xxx
http://emitmedia.blogspot.com
http://emit-es.blogspot.com
http://emit.omweb.com




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Ok, Kile, I've hooked up to you - just give me some time, my  
bandwidth is kinda weird.

Best.

Kamen


On 16/04/2006, at 4:47, Kyle Klipowicz wrote:

> You may wish to put a direct link to the rss feed on the page, with
> the ubiquitous feed icon to clarify things.  Good start though!
> Please check out my own podcast, The Radio Project
> (http://theradioproject.com).  If you'd like to submit music for our
> segments, let me know.
>
> ~Kyle
>
> On 4/15/06, Simon Hampson <xxxxx@xxxxxxxxx.xxx.xx> wrote:
>> Worked fine for me - asked if I wanted to open the link with  
>> iTunes and I
>> have downloaded the podcast.
>>
>> Working on Mac with Firefox (1.5.0.2 - universal build)
>>
>> Simon.
>>
>>
>> On 16/4/06 8:57 AM, "Thomas Ashcraft" <xxxxxxxx@xxxxxxxxx.xxx> wrote:
>>
>>> Hi.  For initial feedback sake as per your request:    Using  
>>> Firefox as
>>> browser.....clicking on the blue "podcast" bar produces a Firefox  
>>> alert
>>> box message that says :  "Firefox doesn't know how to open this  
>>> address,
>>> becasue the protocol ( itcp) isn't associated with any program."
>>>
>>> Hope this helps!   -  TA
>>>
>>>
>>> devslashnull wrote:
>>>> Anyone with a spare minute and some interest in the music at  
>>>> CommTom
>>>> could help us test out a new Podcast we are producing.
>>>> The link is on the main page at http://www.commtom.com
>>>>
>>>> Just looking for feedback on the presentation etc.
>>>>
>>>> Thanks
>>>>
>>>> dev
>>>>
>>>> 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
>>>
>>>
>>
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>>
>
>
> --
> 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
>



------------------------------------
Kamen Nedev
c/Pelayo N38, 5 Izda.
28004 Madrid
Espaa

(+34) 649 77 80 37
xxxxxxxxxx@xxxxx.xxx
http://emitmedia.blogspot.com
http://emit-es.blogspot.com
http://emit.omweb.com




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Subject: Re: [microsound] Podcast feedback?
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On 16/04/2006, at 0:57, Thomas Ashcraft wrote:

> Hi.  For initial feedback sake as per your request:    Using  
> Firefox as browser.....clicking on the blue "podcast" bar produces  
> a Firefox alert box message that says :  "Firefox doesn't know how  
> to open this address, becasue the protocol ( itcp) isn't associated  
> with any program."
>

OK, a little (only a little) manual work should do the job here.

Ctrl-click (or right-click) on the link. Select "Copy Link Location".  
Go to iTunes. Select "Advanced -> Subscribe to podcast". Paste the  
link into the text field.

And that's it.

Otherwise, I suppose Safari would pop-up iTunes automatically, but I  
don't use it much - I'm more of a Firefox guy. And no, I don't know  
how your mileage may vary with other applications.


So, yeah, I suppose a direct link to the RSS would be fine -  
otherwise, everything's fine with me. I'm currently listening. Should  
have a clear idea by tomorrow.

Best.

Kamen


> Hope this helps!   -  TA
>
>
> devslashnull wrote:
>> Anyone with a spare minute and some interest in the music at  
>> CommTom could help us test out a new Podcast we are producing.
>> The link is on the main page at http://www.commtom.com
>>
>> Just looking for feedback on the presentation etc.
>>
>> Thanks
>>
>> dev
>>
>> 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
>

------------------------------------
Kamen Nedev
c/Pelayo N38, 5 Izda.
28004 Madrid
Espaa

(+34) 649 77 80 37
xxxxxxxxxx@xxxxx.xxx
http://emitmedia.blogspot.com
http://emit-es.blogspot.com
http://emit.omweb.com




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check out the HOSPITAL PRODUCTIONS store...

60 East Third St.
Basement of Jammyland.

best record store ever.
http://www.hospitalproductions.com

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podcasts - more of them please.. anyone got any recommendations?

On 16/04/06, Kyle Klipowicz <xxxxxxxx@xxxxx.xxx> wrote:
>
> You may wish to put a direct link to the rss feed on the page, with
> the ubiquitous feed icon to clarify things.  Good start though!
> Please check out my own podcast, The Radio Project
> (http://theradioproject.com).  If you'd like to submit music for our
> segments, let me know.
>
> ~Kyle
>
> On 4/15/06, Simon Hampson <xxxxx@xxxxxxxxx.xxx.xx> wrote:
> > Worked fine for me - asked if I wanted to open the link with iTunes and
> I
> > have downloaded the podcast.
> >
> > Working on Mac with Firefox (1.5.0.2 - universal build)
> >
> > Simon.
> >
> >
> > On 16/4/06 8:57 AM, "Thomas Ashcraft" <xxxxxxxx@xxxxxxxxx.xxx> wrote:
> >
> > > Hi.  For initial feedback sake as per your request:    Using Firefox
> as
> > > browser.....clicking on the blue "podcast" bar produces a Firefox
> alert
> > > box message that says :  "Firefox doesn't know how to open this
> address,
> > > becasue the protocol ( itcp) isn't associated with any program."
> > >
> > > Hope this helps!   -  TA
> > >
> > >
> > > devslashnull wrote:
> > >> Anyone with a spare minute and some interest in the music at CommTom
> > >> could help us test out a new Podcast we are producing.
> > >> The link is on the main page at http://www.commtom.com
> > >>
> > >> Just looking for feedback on the presentation etc.
> > >>
> > >> Thanks
> > >>
> > >> dev
> > >>
> > >> 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
> > >
> > >
> >
> >
> > ---------------------------------------------------------------------
> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> >
> >
>
>
> --
> 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
>
>
--Boundary_(ID_dznQlY02chBgB+PIT2BqZw)--

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From: Ben Zimmerman <xxxxxxx@xxxxx.xxx>
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Date: Fri, 14 Apr 2006 12:11:19 -0400 To: microsound
<xxxxxxxxxx@xxxxxxxxx.xxx> From: "xxxxxx@xxxxxx.xxx"
<xxxxxx@xxxxxx.xxx> Subject: NY [maybe OT] Message-ID:
<xxxxxxxx.xxxxxxx@xxxxxx.xxx> hello to all
microsounders i'll be in NY next week for the first
time for a couple of weeks, so i call upon the list to
give suggestions as for: - venues, gigs, record shops
and so on and so forth. thanks all maikko 


In NYC theres also The Stone (John Zorns space),
Diapason Gallery (Michael J. Schumachers space),
Roulette (Jim Staley) & if you come in December or
March Experimental Intermedia Foundation (Phill
Niblock).  Theres also Lotus Music & Dance (Tom
Hamilton & Thomas Buckner) .

Best,
Ben Zimmerman

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Subject: Re: [microsound] Podcast feedback?
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You may wish to put a direct link to the rss feed on the page, with
the ubiquitous feed icon to clarify things.  Good start though! 
Please check out my own podcast, The Radio Project
(http://theradioproject.com).  If you'd like to submit music for our
segments, let me know.

~Kyle

On 4/15/06, Simon Hampson <xxxxx@xxxxxxxxx.xxx.xx> wrote:
> Worked fine for me - asked if I wanted to open the link with iTunes and I
> have downloaded the podcast.
>
> Working on Mac with Firefox (1.5.0.2 - universal build)
>
> Simon.
>
>
> On 16/4/06 8:57 AM, "Thomas Ashcraft" <xxxxxxxx@xxxxxxxxx.xxx> wrote:
>
> > Hi.  For initial feedback sake as per your request:    Using Firefox as
> > browser.....clicking on the blue "podcast" bar produces a Firefox alert
> > box message that says :  "Firefox doesn't know how to open this address,
> > becasue the protocol ( itcp) isn't associated with any program."
> >
> > Hope this helps!   -  TA
> >
> >
> > devslashnull wrote:
> >> Anyone with a spare minute and some interest in the music at CommTom
> >> could help us test out a new Podcast we are producing.
> >> The link is on the main page at http://www.commtom.com
> >>
> >> Just looking for feedback on the presentation etc.
> >>
> >> Thanks
> >>
> >> dev
> >>
> >> 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
> >
> >
>
>
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>
>


--
http://perhapsidid.blogspot.com
(((())))(()()((((((((()())))()(((((((())()()())())))
(())))))(()))))))))))))(((((((((((()()))))))))((())))
))(((((((((((())))())))))))))))))))__________
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((((((())))))))))))((((((((000)))oOOOOOO

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From ???@??? Sun Apr 16 02:28:31 2006
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From: Simon Hampson <xxxxx@xxxxxxxxx.xxx.xx>
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Worked fine for me - asked if I wanted to open the link with iTunes and I
have downloaded the podcast.

Working on Mac with Firefox (1.5.0.2 - universal build)

Simon.


On 16/4/06 8:57 AM, "Thomas Ashcraft" <xxxxxxxx@xxxxxxxxx.xxx> wrote:

> Hi.  For initial feedback sake as per your request:    Using Firefox as
> browser.....clicking on the blue "podcast" bar produces a Firefox alert
> box message that says :  "Firefox doesn't know how to open this address,
> becasue the protocol ( itcp) isn't associated with any program."
> 
> Hope this helps!   -  TA
> 
> 
> devslashnull wrote:
>> Anyone with a spare minute and some interest in the music at CommTom
>> could help us test out a new Podcast we are producing.
>> The link is on the main page at http://www.commtom.com
>> 
>> Just looking for feedback on the presentation etc.
>> 
>> Thanks
>> 
>> dev
>> 
>> 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
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> 
> 


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From ???@??? Sat Apr 15 23:15:27 2006
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From: Simon Hampson <xxxxx@xxxxxxxxx.xxx.xx>
Subject: Re: [microsound] Intel Mac laptops
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This problem occurred on the initial batch and has been fixed. Apple are
also replacing the boards in problematic ones.

I'm typing on one that was purchased in March and it's been great. Fast &
reliable so far.

As was correctly identified, the PowerPC software has to be updated to run
on the Intel chips. Although Apple have implemented Rosetta as a stop-gap
for general use (Internet browsers, Office etc), they won't run Pro-Tools
yet. Digidesign are saying they will have a free update ready by May.

Likewise, Adobe and Microsoft are updating but they are sticking to their
normal product cycles (Adobe in Q4 this year, Microsoft are not committed
but the current estimates next year).

The DRM chip is an old story - check here for more info:

http://www.brockerhoff.net/bb/viewtopic.php?p=1742#1742

If you need to upgrade or change to a laptop desperately (as I did) it is a
good move. Otherwise, for music software/pro applications wait until the
second half of the year. The picture will be more complete by then.

Simon. 


On 10/4/06 9:03 AM, "vadim" <xxxxxxxxxx@xxxxx.xxx> wrote:

> if it hasnt been mentioned here already, apparently a number of people
> are reporting some sort of unusual noise coming from the laptop, which
> could be a problem if you need a silent machine for your studio or
> something related...
> http://discussions.apple.com/thread.jspa?threadID=374397&tstart=0
> 
> plenty of other threads and links on this issue elsewhere. i havent
> had any first hand experience with this though...


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From ???@??? Sun Apr 16 01:45:46 2006
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Hi.  For initial feedback sake as per your request:    Using Firefox as 
browser.....clicking on the blue "podcast" bar produces a Firefox alert 
box message that says :  "Firefox doesn't know how to open this address, 
becasue the protocol ( itcp) isn't associated with any program."

Hope this helps!   -  TA


devslashnull wrote:
> Anyone with a spare minute and some interest in the music at CommTom 
> could help us test out a new Podcast we are producing.
> The link is on the main page at http://www.commtom.com
>
> Just looking for feedback on the presentation etc.
>
> Thanks
>
> dev
>
> 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 ???@??? Sat Apr 15 21:12:02 2006
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Anyone with a spare minute and some interest in the music at CommTom 
could help us test out a new Podcast we are producing.
The link is on the main page at http://www.commtom.com

Just looking for feedback on the presentation etc.

Thanks

dev

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

unique electronic music for the adventurous ear.

http://www.commtom.com
--Boundary_(ID_//zFwMjqwryuJ/yR3Uy56A)--

From ???@??? Fri Apr 14 23:01:01 2006
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Mature constructive criticism could be productive and beneficial to  
most all of the members of this list.  Sure you might get some  
ignorant comments, but you get that with anything you do in life.  I  
understand your politeness with keeping it off the list but i think  
its a real missed opportunity for all of us...

Listening now:)


aLEKs



On Apr 13, 2006, at 9:29 PM, Thaniel Lee wrote:

> hey, everyone...please forgive the self promotional nature of this
> message, but i put some of my music on the web and i wonder if you
> people could give me some comments. the music is at
> http://www.myspace.com/bridlewire  if you do comment ....please
> comment off the list
> -t
>
>
>
> --
>
> xxxxxxxxxxxxx@xxxxx.xxx
> http://thanielarts.blogspot.com/
>
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Subject: [microsound] Monome
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This thing looks pretty cool. Check out the video sample. Sorry if this
has been passed by already.
 http://monome.org/index.php?m=01 <http://monome.org/index.php?m=01>

-jon
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On Apr 14, 2006, at 12:11 PM, xxxxxx@xxxxxx.xxx wrote:

> - venues, gigs, record shops and so on and so forth.

definitely check out Issue Project Room in brooklyn, a very cool  
space in
a concrete silo on the gowanus canal, with a 16 channel spherical  
speaker
system. Other Music in manhattan is my favorite record store and is  
worth
checking out. Tonic in manhattan is another great venue to see a variety
of interesting music (though not so much in the microsound arena, Issue
would be more in that vein.) The Tank has some great stuff coming up -
i believe the Bent Festival is next week, a wild week of workshops and
performances featuring hacked and bent electronics. i'm not sure what is
going on with Share, a weekly open jam in manhattan, but i'm put the url
below. i'm sure more folks will chime in with other tidbits.
cheers
bruce

bruce tovsky
www.skeletonhome.com

"Reality is whatever refuses to go away when I stop believing in it.."
Philip K. Dick

Issue Project Room: http://www.issueprojectroom.org/
Other Music: http://www.othermusic.com/
Tonic: http://www.tonicnyc.com/
Bent Festival: http://www.bentfestival.org/
Share: http://share.dj/share/
--Boundary_(ID_oLqcOVIIk5D+ebhiVNSClA)--

From ???@??? Fri Apr 14 16:25:54 2006
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hello to all microsounders

i'll be in NY next week for the first time for a couple of weeks, so i 
call upon the list to give suggestions as for:
- venues, gigs, record shops and so on and so forth.

thanks all

maikko

-- 
http://www.otolab.net
http://www.microsuoni.com/labels/otolab.html
http://www.risonanza-magnetica.com/label.php?id=028
http://www.stasisfield.com/releases/sf-3009.html

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From ???@??? Fri Apr 14 02:25:05 2006
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I came in late on this discussion, but the person wanted ideas for
how to eliminate unwanted reverb.

Here's a kluge I thought might work:


Take your track and with a paragraphic equalizer, take out
as many frequencies as you can to get the original tracking instruments
out of the mix....................

in other words,   eq   everything BUT the reverb sound to the extent 
possible.

Now,  take that track and invert it's phase 180%.   There are several 
freeware phase inverter VSTs on the market.

No combine the resultant phase reversed reverb only track with the original 
track (original instruments and verb)
in as exact a volume distribution as you can manage
and mix down to a new two tracks of stereo.

Theoretically,  the reverb will now cancel itself out (being out of phase) 
and you'll have a track with much less verb.

Does this make sense?   It won't be perfect but it will be better than 
trying to eq out just the verb by itself because
it will target exactly the frequencies you want gone.

yours,
Rick Walker
aka |()()p.p()()|
aka nO thiN-g
aka purplehand

ps  I'm a newbie here....................it looks like a very hip list. 
I make abstract electronica and found and invented live looping CDs
and have toured as a headliner in 12 countries in the past 3 years as a live 
looping artist under the moniker,   |()()p.p()()|
Glad to be here.    I know vastly more about acoustic glitch than electronic 
glitch but I also am a fairly sophisticated digital
sound designer as well.
I am also a representing artist for Cycling 74,  Antares, Gibson (Echoplex), 
Looperlative, Cooperman Frame Drums and several other electric and acoustic 
sound companies.       I am also considered an expert on world rhythm and 
rhythm theory in general, having studied and backed master musicians from 
around the world for the last 30 years, so if anything I do well can be of 
service to the people on this list, please don't
be afraid to reach out.    Otherwise, I"ll just be bugging you all with my 
own annoying newbie questions..............lol
Cheers......................off to headline the Boise Experimental Music 
Festival in two weeks............gotta get a show together. 


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From ???@??? Fri Apr 14 01:31:35 2006
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your crime is without forgiveness.

the hounds have been released.

Thaniel Lee wrote:

>hey, everyone...please forgive the self promotional nature of this
>message, but i put some of my music on the web and i wonder if you
>people could give me some comments. the music is at   
>http://www.myspace.com/bridlewire  if you do comment ....please
>comment off the list
>-t
>
>
>
>--
>
>xxxxxxxxxxxxx@xxxxx.xxx
>http://thanielarts.blogspot.com/
>
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>
>  
>



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From ???@??? Fri Apr 14 01:29:49 2006
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hey, everyone...please forgive the self promotional nature of this
message, but i put some of my music on the web and i wonder if you
people could give me some comments. the music is at   
http://www.myspace.com/bridlewire  if you do comment ....please
comment off the list
-t



--

xxxxxxxxxxxxx@xxxxx.xxx
http://thanielarts.blogspot.com/

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From ???@??? Wed Apr 12 20:29:50 2006
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Dear keen music lover,

Twelve musicians came together, exchanged words of inspiration randomly
with each other and formed from their own creativity a pallet of sounds
to morph into personal branches of their imagination...

Sounds were created, re-processed, scrambled and re-exchanged over the
course of several weeks until a final set of songs emerged from the
froth.

These songs, produced by the participants of the IDM-Making list, are
available to listen to and enjoy via an animated flower-matrix interface at:

http://www.fountain-city.com/ec6

I hope you will find something here both beautiful and stimulating for
your creative soul! It's been a great pleasure running this unique
project and to see it blossom in de-light.
;)

Till next time,
With kindness,

Sebastian Chedal
ArcTone
Fountain City Productions
2006-04
PS:
Currently only 9 tracks are available, more tracks are expected and
ultimately the site will only be complete once all 12 musicians have
submitted their creations!






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From ???@??? Wed Apr 12 14:55:38 2006
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From: guiver ben <xxxxxxxxx@xxxxx.xxx>
Subject: [microsound] re: link to mp3's of radio broadcast
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Dear Microsounders, Dear xxxxxxx@xxxxxxxxx,

the below link should allow you access to mp3's (large
and small) of the radio broadcast tonight on
Resonance: the downloads should be live at some point
tonight: the main blurb is on the microsound announce
list as per list boundaries. 

best

ben guiver

www.radio-sermonettes.com

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 

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invoked or involved
  4 days of no sleep
  things get pure
   

Send instant messages to your online friends http://uk.messenger.yahoo.com 
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From ???@??? Wed Apr 12 02:42:20 2006
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In my own experience, well, yes; Reverb tends to happen when opiates have 
been invoked.
Much like delay fuckery, flange,  and granular synthesis (which are sort of 
cousins) tend to happen when acid is ingested.

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



----- Original Message ----- 
From: "Kim Cascone" <xxx@xxxxxxxxxxxxx.xxx>
To: "microsound_list" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Tuesday, April 11, 2006 5:09 PM
Subject: [microsound] [ot] opiate of the masses


>> any ideas on the best method to eliminate [reduce considerably?]
>> unwanted
>> reverb.  my efforts with compression + eq etc =3D  aint cutt'n it.
>> found an old track, was likely on heroin at the time, only the
>> final copy lived,
>
> wait, so let me check my understand of the above statement: heroin
> causes reverb?
> sorry, couldn't resist in my jet-lagged state... 



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alkohol and opiates freeze time,
  i'm not sure about jet-lag  and heroin,
  ( when i am in this state , i appreciate richard devine
  state-of-mind, not music )
  although i like masses of music
  i don't need religion; i need more music  ;))
  i'm gonna take a night-walk ;)

                
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On 1427 Rabiʻ I 12, at 5:09 PM, Kim Cascone wrote:
>
> heroin causes reverb?
>


on the inside
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> wait, so let me check my understand of the above statement: heroin  
> causes reverb?

duh. 
  

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From ???@??? Tue Apr 11 22:56:50 2006
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It's called wall-smack

-----Original Message-----
From: Kim Cascone [mailto:xxx@xxxxxxxxxxxxx.xxx] 
Sent: Wednesday, 12 April 2006 8:09 AM
To: microsound_list
Subject: [microsound] [ot] opiate of the masses

> any ideas on the best method to eliminate [reduce considerably?]  
> unwanted
> reverb.  my efforts with compression + eq etc =3D  aint cutt'n it.
> found an old track, was likely on heroin at the time, only the  
> final copy lived,

wait, so let me check my understand of the above statement: heroin  
causes reverb?
sorry, couldn't resist in my jet-lagged state...


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> any ideas on the best method to eliminate [reduce considerably?]  
> unwanted
> reverb.  my efforts with compression + eq etc =3D  aint cutt'n it.
> found an old track, was likely on heroin at the time, only the  
> final copy lived,

wait, so let me check my understand of the above statement: heroin  
causes reverb?
sorry, couldn't resist in my jet-lagged state...
--Boundary_(ID_HKW8tB//bo62hFZzBUsX1g)--

From ???@??? Tue Apr 11 23:00:11 2006
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please do not post announcements, calls for works, gear for sale,  
news of upcoming gigs, new CD's coming out, or anything remotely  
promotional to this list...a link to a mp3 for fellow listers to  
check out and offer feedback on is tolerated so long as it doesn't  
become a daily occurrence...
there is another microsound list for posting promotional  
announcements and calls for works...you can learn more about this on  
the microsound web site...
thanks!
KIM

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Forwarding this for Tim Ivison <xxxxxxxxx@xxxxx.xxx>:

Call For Proposals:

LA><ART, a new Los Angeles contemporary art space on La Cienega, is 
seeking sound project proposals for 2006-7.  As a center for 
interdisciplinary production and discussion, LAXART is a hub for artists 
based on flexibility, transition, spontaneity and change.  In this 
spirit, we are trying to maximize the curatorial potential of the space 
by utilizing the entryway as a project space for imbedded sound 
experiments, featuring looping, extended or ambient works, site specific 
interpretations of the gallery or the street, to be played continuously 
at monthly intervals. The space - a 100 square foot portal in front of 
the gallery - consists of two white panel walls, a bisecting ramp and 
handrail, a large wall of glass and a glass doorway with the LA><ART 
logo. A single outdoor speaker has been installed in the ceiling of this 
portal and awaits activation by creative content.

Project reviews will occur periodically through the year, reviewed by a 
panel of distinguished curators in the fields of sound, architecture and 
contemporary art. 

Next deadline:  May 20th

Please send proposals to the attention of:

Tim Ivison
LA><ART
2640 S. La Cienega Blvd
LA CA 90034

Please send a project statement, cv and cd.


                 

-- 
Eric Leonardson 
"sound thinking" http://pages.ripco.net/~eleon/
"what's new" http://pages.ripco.net/~eleon/whatsnew.html
"collected links" http://del.icio.us/eleon

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found it ; michel piccoli in movie of farraldo
  sorry guyzz

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the conversation is a great movie, and i have seen all of tati
  it must be themroc!
  forgot names of actor an regisseur, i check it this evening,
  got visitors ;))
  i'm a music-fanatic; 
  makes me think of another great movie .....
  a blind person: and you only hear same sounds as he does ;)
  greetz, i'm off
  erik

                
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thx, yes themroc ;)
   

                
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From ???@??? Tue Apr 11 14:45:22 2006
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It's name  is themroc. They also had Police bbq. But no reverb.
martin


> Von: erik de bruyn <xxxxxxxxxxxx@xxxxx.xx.xx>
> Antworten an: "microsound <xxxxxxxxxx@xxxxxxxxx.xxx>"
> <xxxxxxxxxx@xxxxxxxxx.xxx>
> Datum: Tue, 11 Apr 2006 14:57:34 +0100 (BST)
> An: "microsound <xxxxxxxxxx@xxxxxxxxx.xxx>" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Betreff: Re: [microsound] annilehate reverb
> 
> speaking of tearing down walls....
>   i allways forget the name of that french movie
>   great actor, anarchist, who makes love to a girl
>   outside wall  is gone ;)
>   and neighbourhood enraged and watching...??
>   must be begin 70ties....
>   erik
> 
> 
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From ???@??? Tue Apr 11 15:59:26 2006
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Hmmm, sounds like a good film. Perhaps Godard? If so, it's a film of 
his I've not see.

There's also Jacques Tati's "Playtime" wherein our protagonist visits 
an old friend in this Mies Van der Rohe type building situated on a 
busy street. The entire scene is shot from outside and the sound of the 
traffic and pedestrians footsteps is all you hear. Yet the drama 
(comedy?) plays out inside the domestic space of the apartment. Very 
good film.

Of course, if you're going to talk about ripping down walls, The 
Conversation is probably the best place to start. Very memorable and 
Coppola's best (yet most minimal) film.

cheers

chris



On Apr 11, 2006, at 9:57 AM, erik de bruyn wrote:

> speaking of tearing down walls....
>   i allways forget the name of that french movie
>   great actor, anarchist, who makes love to a girl
>   outside wall  is gone ;)
>   and neighbourhood enraged and watching...??
>   must be begin 70ties....
>   erik
>
>                 
> ---------------------------------
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> voicemail 


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speaking of tearing down walls....
  i allways forget the name of that french movie
  great actor, anarchist, who makes love to a girl
  outside wall  is gone ;)
  and neighbourhood enraged and watching...??
  must be begin 70ties....
  erik

                
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From ???@??? Tue Apr 11 02:12:54 2006
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thx 4 the replies. 

i shall start by tearing down my apartment walls.  


  


   . 1001



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i seem to remember that Sonicworx package for mac os9 had very good  
de-reverb or un-reverb algorythm.

the software is now free, there are osx audio drivers available - so  
it is possible to run under classic emulation.


http://www.prosoniq.com/
go to downloads/freebies
get power bundle


klif


On Apr 10, 2006, at 5:21 PM, ..`;' . ' . wrote:

> bonjour,
>
> any ideas on the best method to eliminate [reduce considerably?]  
> unwanted
> reverb.  my efforts with compression + eq etc =  aint cutt'n it.
>
> found an old track, was likely on heroin at the time, only the  
> final copy lived,
>
>
>     . 1001
>


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Noise reduction and gates. 


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


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Joseph,

hmmmm........the central lending library in swiss
cottage-borough of camden:tho you should be able to
register there with id for another london borough, i
did at the one in camden for a few years- has plenty
of books/music if i remember rightly.

i use a university library now-middlesex-, but i
wonder if it might be possible to register at one of
these if you applied the right sort of pressure/had
good links, i dont really know about how possible it
might be but i'd hope that it would be if you could
show a demonstrable need: the british library on
euston road operates this sort of criteria ie if you
can show reasonably that you cant get the material you
need anywhere else then they give you a card. 

if you were interested in middlesex then i can ask
politely for you if you like.

hope that this helps.

best

ben

--- Joseph Scott <xxxxxxxxxxxxxxxxxxx@xxxxxxx.xxx>
wrote:

> i've just come back from a holiday in Nice, France,
> and i'm looking for a 
> public lending library in london as good as the main
> one there. e.g. one 
> that has cds by people like oren ambrachi, derek
> bailey, peter brotzmann and 
> a section devoted to music that doesn't fit into a
> genre.
> 
> any ideas?
> 
> 
> 
>
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erik wants music back
  street has been filled with uncontroolable noise
  i think of cage's 04.33 or something
  but mind won't calm down
  am i sick ?
  greetings

                
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barbican is good.

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 FILETIME=[5C4EB5A0:01C65CC6]

i've just come back from a holiday in Nice, France, and i'm looking for a 
public lending library in london as good as the main one there. e.g. one 
that has cds by people like oren ambrachi, derek bailey, peter brotzmann and 
a section devoted to music that doesn't fit into a genre.

any ideas?



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find an appartment without walls ;)
                
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On Apr 8, 2006, at 6:06 AM, Peter Worth wrote:

> On 4/8/06, Xylor King <xxxxxxxxx@xxxxxxxxx.xxx> wrote:
>
>>   having only a head, it's somewhat difficult to rock out - it's a
>> tragedy.  Any thoughts?
>
> the university of york music technology group do quite a bit on
> technology for disabled musicians. theres some links here if you
> scroll down a bit: http://www.york.ac.uk/inst/mustech/flinks_2.html

Oh please... he's just being a sissy about it.

- John

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On Apr 10, 2006, at 11:21 AM, ..`;' . ' . wrote:

> my efforts with compression + eq etc =  aint cutt'n it.

well, compression certainly would be a counter-productive method.
expansion/gating might be more appropriate in some circumstances,
but won't help you much with continuous sound that you want to eliminate
reverb/ambience from. i have heard about some new techniques
for the elimination of reverb and ambience, but they are costly and
require some pretty powerful proprietary software (last time i looked
anyway.) something along the lines of noise reduction software like
sound soap pro and bnr but with much more intelligence. you might
look at soundhack and its capabilities - there might be some things
you could do there that wouldn't cost you an arm and a leg.
another thing that might be worth experimenting with, depending on
your source material, is trying the "vocal-eliminator" technique, where
you take one channel and flip its polarity and combine the two channels
back in mono. this should eliminate anything in the track that is  
centered
in the mix (and what makes it such a good vocal eliminator) - leaving  
you
with just the sources that are panned to the sides. this may give you a
piece of the reverb that is 'bare' enough to get a good snapshot for one
of these noise reduction plugs, which you would then apply to your
original track. generally, using a noise reduction plug to eliminate  
reverb
is an exercise in frustration, but this might be worth trying. again,  
very
dependent on your source material. i would first try the expander (or  
gate)
method, which i have used quite successfully in the past for gentle room
ambient reduction. if you've got a lot of big reverb all over you're  
in for
a lot of fun! good luck.
cheers
bruce

bruce tovsky
www.skeletonhome.com

"Reality is whatever refuses to go away when I stop believing in it.."
Philip K. Dick

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bonjour,

any ideas on the best method to eliminate [reduce considerably?] unwanted
reverb.  my efforts with compression + eq etc =  aint cutt'n it.

found an old track, was likely on heroin at the time, only the final copy lived,


    . 1001


        .
      ...O                                                                                                                                                                           
..
   ...O.                                                                      .
 O....                                                                       ..                                                                                                        
O.
..OO                                                                          O                                            O       O                                                
OOO.O.
                                                                            O                                                                                                    
..O.....                                    .O
                                                                       O                                     .                                                                 
.....O..                                   .O.
               ..OO...                                                O                                                                                                      
........O                   OO.            ..O
             OOO                                                                                            O            O                                                 
.......OO...                 ..            .O
           O..                                                                                                    .                                                      
O...O..O....                OO..         .O.
          ...                                                                                     .  O            .                  .                                 
..OOOO.....OOO              .....O.       ...
         .                                                                                                                                                          
O...... .......             ......       ....
                                                                                                                  .                                               
................             .....        ....
                                                                                                                                                                
........O......             .             .O.



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Subject: [Microsound-announce] BiP_HOp Generation : March 2006 Playlist
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BiP_HOp Generation on Radio Grenouille  //  88.8 FM
Wednesday evenings  : 19:10 - 20:30 PM  //  Marseille  //  France

March 2006 Playlist

  ARTIST      ALBUM     label

Modern Institute : excellent swimmer (Expanding)
Akira Ifukube : king kong vs. godzilla (Lalaland)
Daedelus : denies the day's demise (Ninja tune)
Flanger : spirituals (Nonplace)
APSCI : thanks for asking (Quannum)
Psapp : the only thing i ever wanted (Domino)
Belong : october language (Carpark)
Dressed In Wires : the big black cock of death (Distraction)
No-Neck Blues Band und Embryo : embryonnck (Staubgold)
Nze : how to dance (Circus Company)
Takagi Masakatsu : journal for people (Carpark)
Guido Mbius : dishoek (Dekorder)
Trico! : love home (Samurai)
The Choir Boys With Strings : s/t (pfMentum)
Ekkehard Ehlers : a life without fear (Staubgold)
Isole : western store (Playhouse)
Fink : biscuits for breakfast (Ninja Tune)
D_rradio : come to light (Distraction)
Hassle Hound : limelight cordial (Staubgold)
Small Color : outflow (Samurai)
Ripple + Raposo :  natureza morta (Cronica)
Roots Manuva : alternately deep (Big Dada)
VA. Next To Nothing. a collection of Tuxedomoon covers (Optical Sound)
Reverse Engineering : duck & cover (Jarring Effects)
VA. Blackbox (Autopilot)
This Is Your Captain Speaking : storyboard (Resonant)
Mui : inside a moving machine (Keplar)
Anne Laplantine : discipline (Autopilot)
Johannes Heil : freaks r us (Klang Elektronik)
The Missing Ensemble : hidden doors (Mondes Elliptiques)
VA. Switches (Audiobulb)
Spank Rock : rick rubin (Big Dada)
Barbara Morgenstern : the grass is always greener (Monika Enterprise)
Thomas Stronen : pohlitz (Rune Grammofon)
AmmonContact : with voices (Ninnja Tune)
Mike Shannon : possible conclusions to stories that never end (~Scape)
Jerome Froese : neptunes (Moonpop)

BiP_HOp
Philippe Petit
B. P   80064
13192 MARSEILLE CEDEX 20
France





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From ???@??? Mon Apr 10 05:12:43 2006
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hello Adam,

  i haven't tried one myself.  from what i have been reading  the major 
drawback seems to be that although the software applications written 
for the intel processor run extremely well , the majority of osx 
programs aren't quite so fast on the new platform .  i don't think it's 
possible to run os 9 on the intel machines. if you plan on using music 
software applications you might be better off with an older macintosh 
for the time being. that might provide you with the most options.



-bill

http://chilowethiastoneindex.blogspot.com

http://home.earthlink.net/~billjarboe/sapbb.html

On Apr 9, 2006, at 1:49 PM, Adam Young wrote:

> I apologize if this conversation has already taken place, I haven't 
> been following along recently..
>
>
> Has anyone had any bad experiences with the new Macbook Pro? any good?
>
> I'm trying to make an informed decision but all I know is what I read 
> on the apple site and mixed opinions from individuals who claim to 
> have tried them.  I use all kinds of software for music and multimedia 
> authoring, etc.. and like to play the odd game in my spare time.


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Subject: [microsound] NWEAMO 2006 Call for Works
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Call for Works: NWEAMO 2006


. Theme: Pulse - the Influence of Africa
. Submission Deadline: April 15, 2006 
. Festival Dates: Late September - Mid October 2006
. Submission Fee: $15

Please visit www.nweamo.org for complete details and online submission link.

The NWEAMO board is pleased to announce that we are accepting submissions for our 2006 festival, with the theme of Pulse: the Influence of Africa. We want your personal interpretation of African pulse, rhythms, musics, dances, cultures, traditions, philosophies, and spiritual practices. The music of Africa is among the most powerful and influential forces in world culture. The musical structures, practices and instrumentation permeate virtually every continent. In the Americas, nearly all modern genres are consequent of the confluence of African musical and, a more deeply, spiritual force (e.g. rock, hip-hop, salsa, samba, jazz, tango, blues, reggae etc.). African spirit percolates throughout Asia, Australia, the Near East and Europe as well. This sacred and secular force pulses below the surface, providing a communal mind meld and a contemporary ritual dance throughout the planet.

The 2006 NWEAMO festival seeks works which feature a connection with Africa. The connections may be direct or oblique, from quotes to references to distant echoes.

As usual, works do not have to strictly adhere to the theme. We are looking for all genres and ideas in the world of electro-acoustic music.

This year's festival will be held in these fascinating cities: Morelia (Mexico), Portland, OR and San Diego.

Festival Dates:

Portland, OR - late Sept - TBA
San Diego, CA - Oct. 6 & 7, 2006
Morelia, Mexico - TBA

The Mission of NWEAMO: To forge connections between the composers, performers and lovers of avant garde classical music and the DJs, MCs, guitar-gods, troubadours and gourmets of experimental popular music. When there is no connection, both suffer: When classical music does not connect with popular culture, it becomes a music of experts, unable to reflect and contribute meaningfully in the broad marketplace of developing ideas and cultural experimentation. When popular music has no connection and communication with the classical it becomes naive and superficial, untethered to its historical roots and broad cultural underpinnings. A healthy cultural milieu celebrates both.

NWEAMO is an all-volunteer, not-for-profit, 501C3 corporation.





Pulse: L'influenza dell'Africa
Termine delle iscrizioni: 15 Marzo 2006

Il board di NWEAMO ha il piacere di confermare l'apertura delle iscrizioni al festival 2006, con il tema di Pulse: l'influenza dell'Africa. Vogliamo la vostra personale interpretazione del "pulsare" africano: ritmi, musiche, danze, culture, tradizioni, filosofie e pratiche spirituali.

La musica africana e' considerata tra le forze piu' energetiche ed influenti nella cultura mondiale. Le strutture musicali, le pratiche e gli strumenti hanno influenzato virtualmente ogni continente. Nelle Americhe, quasi tutti i generi moderni sono conseguenze della fusione tra le musicalit africane e quelle locali; e piu' in particolare sono frutto della sua forza spirituale (es. Rock. Hip-hop, salsa, samba, Jazz, tango, blues, reggae ecc.).

Lo spirito africano traspira in Asia tanto quanto in Australia, nelle Americhe e in Europa.

Questa forza sacra e secolare pulsa sotto la superficie dando vita ad uno stato mentale comune e ad un rito di danza contemporanea attraverso l'intero pianeta.

Il festival NWEAMO 2006 cerca lavori che presentino una viva connessione con l'Africa. Queste connessioni possono essere dirette od oblique, contingenti o referenti, o semplicemente eco distanti.

Generalmente, le composizioni iscritte non devono aderire strettamente al tema proposto. Siamo aperti a qualsiasi genere ed idea riguardante il mondo elettro-acustica!

Quest'anno il festival verra' presentato in quattro affascinanti citta': Morelia (Mexico), Portland (OR), San Diego (CA) e in Italia, citta' da confermarsi.

Date del festival:

Morelia, Mexico - da confermare
Portland, OR - 30 Settembre 2006
San Diego, CA - 6 & 7 Ottobre 2006
Italia, citta' da confermare - da confermare

La Missione di NWEAMO e' quella di forgiare connessioni tra i compositori, artisti, amanti dell'avant-garde classica e i DJ, gli strumentisti accaniti, i romantici e i genuini sperimentatori di musica popolare.

Senza una stretta connessione tra queste parti, infatti, entrambe le realt soffrono:

Quando la musica classica non interagisce con la cultura popolare, diventa una musica per esperti, non capace di riflettere ne' contribuire costruttivamente allo sviluppo di nuove idee e alla sperimentazione culturale.

Quando invece la musica popolare non interagisce ne' comunica con quella classica, essa diventa superficiale ed ingenua, distaccata dalle sue radici storiche e dalle fondamenta della propria cultura. Un sano ambiente culturale celebra entrambe.

NWEAMO e' un' organizzazione non-profit, 5013 composta interamente da volontari.



David Hess
(503) 502-8973
--Boundary_(ID_5KMeu4dkGT29LV184Lyd4Q)--

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if it hasnt been mentioned here already, apparently a number of people
are reporting some sort of unusual noise coming from the laptop, which
could be a problem if you need a silent machine for your studio or
something related...
http://discussions.apple.com/thread.jspa?threadID=374397&tstart=0

plenty of other threads and links on this issue elsewhere. i havent
had any first hand experience with this though...

On 4/9/06, Malte Steiner <xxxxxxx@xxxxxx.xxx> wrote:
> Adam Young schrieb:
> > I apologize if this conversation has already taken place, I haven't
> > been following along recently..
> >
> >
> > Has anyone had any bad experiences with the new Macbook Pro? any good?

--
v'

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Adam Young schrieb:
> I apologize if this conversation has already taken place, I haven't  
> been following along recently..
> 
> 
> Has anyone had any bad experiences with the new Macbook Pro? any good?
> 
> I'm trying to make an informed decision but all I know is what I read  
> on the apple site and mixed opinions from individuals who claim to  have 
> tried them.  I use all kinds of software for music and  multimedia 
> authoring, etc.. and like to play the odd game in my spare  time.
> 

I dont like that they have DRM chips and that they are activated (other 
like the thinkpads where the customer needs to activate them). Its just 
a beginning and maybe not harmful now.

http://www.realtechnews.com/posts/2915

And of course the Intel cpus. Performancewise superior but a laugh from 
programmers view, old technology with lot of workarounds.

Just some thoughts,

Malte
-- 
Malte Steiner
media art + development
-www.block4.com-

Elektronengehirn concert 29. April 2006
KuBaSta Hamburg, Germany

more at blog 4, also available as rss feed:
http://java.block4.com/blog4/

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From ???@??? Sun Apr  9 20:49:46 2006
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I apologize if this conversation has already taken place, I haven't  
been following along recently..


Has anyone had any bad experiences with the new Macbook Pro? any good?

I'm trying to make an informed decision but all I know is what I read  
on the apple site and mixed opinions from individuals who claim to  
have tried them.  I use all kinds of software for music and  
multimedia authoring, etc.. and like to play the odd game in my spare  
time.

Please advise. Thanks guys!
-ay



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





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From ???@??? Sun Apr  9 16:55:08 2006
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Date: Sun, 09 Apr 2006 19:50:53 +0200
From: Gafner Amir <xxxxxx@xxxxxx.xxx.xx>
Subject: Re: [microsound] field recording Q
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thanks alot rob. i think im gonna go for your recommendation. all those 
pro recorders are too heavy for me.
but what about some mic recommendation? beside the 907

Rob Danielson wrote:

> At 4:48 PM +0200 4/9/06, Gafner Amir wrote:
>
>> Im plannig on doing some field recording  looking for  recommended 
>> solution
>> my md just died and im wondering what can replce it in the most 
>> efficient way.
>> i have stereo mic ecm-mf907. ill be happy to hear just about anything.
>> is there any other solution beside the md option that will be at the 
>> same dynamic range and same price range?
>> thanks
>
>
> Hi Gafner--
> Sorry to hear about the loss. You are wise to ask because 
> manufacturer/product reputation and advertising claims can be very 
> misleading these days.
>
> The dynamic range of most recorders will provide you enough spread 
> unless you are going to concentrate on thunderstorms, pile driving and 
> motor/jet racing. For music, ambience etc, you can look at the your 
> next priority.
>
> With all of the amazing changes in tech these days, it easy to see why 
> people look at the latest developments first. Currently, in field 
> recording, it is recording to a chip or a hard drive.  Before jumping 
> on one of these bandwagons, one should ask a very logical question: 
> How does the feature impact quality, portability or any other factors 
> important to me? One could also ask, "How do the media costs compare?" 
> The answers I get are: "no impacts" and "chips are quite expensive" As 
> for hard-drive recording, how about adding removable cheap media and 
> thats what MD disks are,..
>
> Quality recordings in the field start with the mics-- there's no way 
> around this. I have come across some great recordings made with a 907 
> but, boy, I have come across a bunch more that were loaded with hiss 
> and and low end grunge due to the high self noise and low output of 
> this mic.
>
>  The next most important factor is probably mic preamplification-- you 
> want low noise, sufficient gain and low distortion. That's why I do 
> the "listen for yourself" tests, to be able to judge this a bit.
>
> If the analog-digital conversion quality in a recorder that meets your 
> "front end" criteria is acceptable and its easy to operate in the 
> field, you've found a winner (assuming any recorder you're looking at 
> uses a digital recording medium you can upload into your computer 
> easily).
>
> When I follow this progression, HiMD comes out on top. It happens to 
> also the cheapest and as I never have enough money for mics,..!
>
> The biggest complaint about HiMD is operability and the faint disk 
> writing sound it produces. The disk clicking can be absorbed with a 
> layer of leather or heavy canvas. I've memorized the button sequence 
> to get into manual gain and I can easily tell when its recording, 
> thank goodness!
>
> The mic pres on the so called "pro" recorders like the Tascam HD-P2, 
> the Microtracker 24/96, the Maranatz 670/671, the Edirol R-1 and R-4 
> are all considerably noisier than lowly HiMD. They all have much less 
> record gain which may be more important if you plan to ever record in 
> quiet places. [In one of the tests, I was able to compare the sound 
> files produced using maximum mic pre gains (as with recording ambience 
> in quiet places). The 16bit NH-900 HiMD produced more effective bits 
> of resolution than the 24 bit Microtrack 24/96.  For loud sounds, the 
> MT's 24 bits  come into play but I find it pretty hard to hear 
> differences between 16/24 with robust sounds.]
>
> Hey, you'd buy a new bike just like your old one, why not an audio 
> recorder? Okay, enough, I need to edit.  Rob D.
>
>
>
>
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>

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From ???@??? Sun Apr  9 17:50:11 2006
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From: Rob Danielson <xxxx@xxx.xxx.xxx>
Subject: Re: [microsound] field recording Q
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Mics can get more complicated, but I'll try. It helps to have a rough 
budget, a sense of the of situations you want to document and 
recording style preferences-- like how much bulk you want to mess 
with. If portability/small-size is a top priority, the recent string 
on stealth lavs is relevant. Unfortunately, I don't know of a single 
point stereo mic that can perform as well as the WL-183's (noise and 
output wise) for less than $350US. Maybe someone else does. Rob D.

At 7:50 PM +0200 4/9/06, Gafner Amir wrote:
>thanks alot rob. i think im gonna go for your recommendation. all 
>those pro recorders are too heavy for me.
>but what about some mic recommendation? beside the 907
>
>Rob Danielson wrote:
>
>>At 4:48 PM +0200 4/9/06, Gafner Amir wrote:
>>
>>>Im plannig on doing some field recording  looking for  recommended solution
>>>my md just died and im wondering what can replce it in the most 
>>>efficient way.
>>>i have stereo mic ecm-mf907. ill be happy to hear just about anything.
>>>is there any other solution beside the md option that will be at 
>>>the same dynamic range and same price range?
>>>thanks
>>
>>
>>Hi Gafner--
>>Sorry to hear about the loss. You are wise to ask because 
>>manufacturer/product reputation and advertising claims can be very 
>>misleading these days.
>>
>>The dynamic range of most recorders will provide you enough spread 
>>unless you are going to concentrate on thunderstorms, pile driving 
>>and motor/jet racing. For music, ambience etc, you can look at the 
>>your next priority.
>>
>>With all of the amazing changes in tech these days, it easy to see 
>>why people look at the latest developments first. Currently, in 
>>field recording, it is recording to a chip or a hard drive.  Before 
>>jumping on one of these bandwagons, one should ask a very logical 
>>question: How does the feature impact quality, portability or any 
>>other factors important to me? One could also ask, "How do the 
>>media costs compare?" The answers I get are: "no impacts" and 
>>"chips are quite expensive" As for hard-drive recording, how about 
>>adding removable cheap media and thats what MD disks are,..
>>
>>Quality recordings in the field start with the mics-- there's no 
>>way around this. I have come across some great recordings made with 
>>a 907 but, boy, I have come across a bunch more that were loaded 
>>with hiss and and low end grunge due to the high self noise and low 
>>output of this mic.
>>
>>  The next most important factor is probably mic preamplification-- 
>>you want low noise, sufficient gain and low distortion. That's why 
>>I do the "listen for yourself" tests, to be able to judge this a 
>>bit.
>>
>>If the analog-digital conversion quality in a recorder that meets 
>>your "front end" criteria is acceptable and its easy to operate in 
>>the field, you've found a winner (assuming any recorder you're 
>>looking at uses a digital recording medium you can upload into your 
>>computer easily).
>>
>>When I follow this progression, HiMD comes out on top. It happens 
>>to also the cheapest and as I never have enough money for mics,..!
>>
>>The biggest complaint about HiMD is operability and the faint disk 
>>writing sound it produces. The disk clicking can be absorbed with a 
>>layer of leather or heavy canvas. I've memorized the button 
>>sequence to get into manual gain and I can easily tell when its 
>>recording, thank goodness!
>>
>>The mic pres on the so called "pro" recorders like the Tascam 
>>HD-P2, the Microtracker 24/96, the Maranatz 670/671, the Edirol R-1 
>>and R-4 are all considerably noisier than lowly HiMD. They all have 
>>much less record gain which may be more important if you plan to 
>>ever record in quiet places. [In one of the tests, I was able to 
>>compare the sound files produced using maximum mic pre gains (as 
>>with recording ambience in quiet places). The 16bit NH-900 HiMD 
>>produced more effective bits of resolution than the 24 bit 
>>Microtrack 24/96.  For loud sounds, the MT's 24 bits  come into 
>>play but I find it pretty hard to hear differences between 16/24 
>>with robust sounds.]
>>
>>Hey, you'd buy a new bike just like your old one, why not an audio 
>>recorder? Okay, enough, I need to edit.  Rob D.



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At 4:48 PM +0200 4/9/06, Gafner Amir wrote:
>Im plannig on doing some field recording  looking for  recommended solution
>my md just died and im wondering what can replce it in the most efficient way.
>i have stereo mic ecm-mf907. ill be happy to hear just about anything.
>is there any other solution beside the md option that will be at the 
>same dynamic range and same price range?
>thanks

Hi Gafner--
Sorry to hear about the loss. You are wise to ask because 
manufacturer/product reputation and advertising claims can be very 
misleading these days.

The dynamic range of most recorders will provide you enough spread 
unless you are going to concentrate on thunderstorms, pile driving 
and motor/jet racing. For music, ambience etc, you can look at the 
your next priority.

With all of the amazing changes in tech these days, it easy to see 
why people look at the latest developments first. Currently, in field 
recording, it is recording to a chip or a hard drive.  Before jumping 
on one of these bandwagons, one should ask a very logical question: 
How does the feature impact quality, portability or any other factors 
important to me? One could also ask, "How do the media costs 
compare?" The answers I get are: "no impacts" and "chips are quite 
expensive" As for hard-drive recording, how about adding removable 
cheap media and thats what MD disks are,..

Quality recordings in the field start with the mics-- there's no way 
around this. I have come across some great recordings made with a 907 
but, boy, I have come across a bunch more that were loaded with hiss 
and and low end grunge due to the high self noise and low output of 
this mic.

  The next most important factor is probably mic preamplification-- 
you want low noise, sufficient gain and low distortion. That's why I 
do the "listen for yourself" tests, to be able to judge this a bit.

If the analog-digital conversion