[microsound] [playlist?] "itde" 1-29-05

From DaveX
Sent Mon, Jan 31st 2005, 21:56

"It's Too Damn Early" features experimental music of many varieties, and
also includes field recordings and found sound from time to time. Special
show within a show "Sound Museum" examines neglected and forgotten
recordings of many kinds. "ITDE" is broadcast from WDBX 91.1FM, a
not-for-profit community radio station broadcasting to Southern Illinois-- 
and now, online. www.wdbx.org

Complete information about the show (contact info, playlists for all shows,
reviews) is available at: http://home.mchsi.com/~itde

DaveX, host



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From ???@??? Mon Jan 31 21:25:57 2005
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From: ". m u r m e r ." <xxxxxx@xxxxxx.xxx>
Subject: [microsound] [playlist] framework - 28.01.05
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framework broadcasts live every friday (except the first one of each month) on resonance104.4fm  in london (uk) or worldwide on http://www.resonancefm.com between 8:30 and 9:30pm gmt, and is repeated the following wednesday between 11:00am and 12:00 noon gmt

next live broadcast: 11.02.05
~ time zone converter: http://www.thesaturnv.com/converter.html


RESONANCE FM'S PROGRAMMING IS PRODUCED ENTIRELY BY VOLUNTEERS; PLEASE HELP US TO CONTINUE BY MAKING A DONATION.  CHECK OUT OUR WEBSITE TO FIND OUT HOW YOU CAN HELP KEEP RESONANCE ON THE AIR: HTTP://WWW.RESONANCEFM.COM.  THANK YOU!

 

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


framework - phonography/field recording; contextual and decontextualized sound activity
presented by patrick mcginley

we continued our deep exploration of several recent arrivals this week with several tracks from sawako's and/oar release yours gray, and and/oar frontman dale lloyd's stasisfield mp3 release turba/lateral minor.  the first few of these melted into a backdrop of ilios' fine crackling venta elektra (on antifrost), and led us eventually to some heavily processed brickwork from lief elggren's the cobblestone is the weapon of the proletariat, and some more soothing sounds from scott taylor's conv mp3 release castaway.  this was all preceded by a framework introduction recorded for us london painter and mosaic artist henri simson.

next friday, as each first friday of the month, sees the monthly airing of peter cusack's vermillion sounds in the field recording slot; we return the week after, the 11th, for our next edition.  the show after that, on the 18th, will be this year's first edition of framework:focus, featuring a live performance by the head of the aforementioned stasisfield mp3 label, john kannenberg, visiting from the states.

again, we are always looking for material for the show, whether raw field recordings, field recording based composition or introduction submissions.  send material, released or not, on any format, to the address below.   we are also hoping to have live performances as often as possible, so if you are in or passing through london please get in touch! 

 
framework
31 nevill road
london n16 8sl
uk

xxxxxxxxx@xxxxxx.xxx



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


28.01.05

this edition will be rebroadcast this wednesday, 02.02.05, at 11:00am gmt 

(artist  /  title  /  album  /  label)

henrietta simson  /  framework intro
recorded in a dripping basement below squeaky floorboards in north london
http://www.nennasimson.net

ilios  /  -  /  vento elektra  /  antifrost
very minimal slow building sounds created from electricity and electrical signals
http://www.siteilios.gr, http://www.antifrost.gr

sawako  /  as:unacir  
                a message from the bed of the sea  /  yours gray  /  and/oar
these first 2 tracks interspersed with ilios electricity show a smoother more tonal sound on sawako's latest...
http://homepage.mac.com/oto_s, http://www.and-oar.org

dale lloyd  /  lateral minor  /  turba/lateral minor  /  stasisfield
staccato bumps and piercing silence give way to warmer organic tones
http://www.and-oar.org/dalelloyd.html, http://www.stasisfield.com

sawako  /  hole  /  yours gray  /  and/oar
darker and heavier here, featuring water, sand, shortwave radio and a clock
http://homepage.mac.com/oto_s, http://www.and-oar.org

dale lloyd  /  turba [remedial]  /  turba/lateral minor  /  stasisfield 
layers of crackle and static, lending another perspective to our electrical direction
http://www.and-oar.org/dalelloyd.html, http://www.stasisfield.com

sawako  /  cache cache  /  yours gray  /  and/oar 
multipoint field recordings taken in the vicinity of a live performance by toshimaru nakamura
http://homepage.mac.com/oto_s, http://www.and-oar.org

dale lloyd  /  turba [imitable]  /  turba/lateral minor  /  stasisfield 
at a guess, a duet for radio and the resonance of empty bottles.  the reality...?
http://www.and-oar.org/dalelloyd.html, http://www.stasisfield.com

lief elggren  /  no.2  /  the cobblestone is the weapon of the proletariat  /  firework edition
heavy processing of the sound of a single throw of a cobblestone in the street outside firework editions
http://www.fireworkeditionrecords.com

tom wallace  /  brisbane city centre  /  -  /  -
the artist says: 'recording made while trying to record the pedestrian crossing sound, suddenly it all kicks off!'
xxxxxxxxxx@xxxxxxxxxxx.xx.xx

scott taylor  /  -  /  castaway  /  conv
more recognisable source materials of water and insects continue to bring us back down to earth, softly
http://www.con-v.org

lief elggren  /  no.5  /  the cobblestone is the weapon of the proletariat  /  firework edition
another sampling of cobblestone warping
http://www.fireworkeditionrecords.com

scott taylor  /  -  /  castaway  /  conv
machine like rattles, clicks and groans with a hint of dripping and some tonal structuring
http://www.con-v.org

tom wallace  /  macritchie reservoir in singapore  /  -  /  -
this singapore reservoir resonates with birds and insects, the rumble of distant water, and the grit of passing footsteps
xxxxxxxxxx@xxxxxxxxxxx.xx.xx


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


framework intro submissions:

1)    take yourself and an audio recording device to a location of your choice
2)    record for AT LEAST 1 minute before you -
3)    read the following text:

welcome to framework.

framework is a show consecrated to field recording, and it's use in composition.
field recording, phonography, the art of sound-hunting; open your ears and listen!

4)    continue your recording for AT LEAST 2 minutes after you've finish speaking
5)    send the recording on any format to the address above, or as an mp3 via email

thanks!



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



the framework 2003 cd has been reprinted and is now once again available directly from the resonancefm online shop, along with a selection of other benefit cds, t-shirts, and general paraphernalia.  drop in here to have a look:

http://www.resonancefm.com/shop.php


framework 2003
resonancefm benefit cd featuring highlights from the year's broadcasting

rob grant & melanie clifford  /  framework intro
thomas dimuzio  /  unearth & lift and spear  /  sonicism  /  rrrecords
chris watson  /  river mara at night   /  stepping into the dark  /  touch
johannes helden / - / sketchbook / trente oiseaux
toy bizarre  /  -  /  kdi dctb 116  /  absurd
murmer  /  liquid solid  /  definition  /  absurd
jgrzinich & seth nehil  /  the distant edge  /  confluence  /  intransitive
seth nehil & jgrzinich  /  the mirrored corner  /  stria  /  erewhon
annette lissauer  /  framework intro
toby paddock  /  air, surface and magnetic vibrations  /  -  /  -
steve roden  /  -  /  resonant cities  /  trente oiseaux
francisco lopez  /  untitled #101  /  untitled (2000)  /  ignis projekt
mnortham  /  ancient sewer pipe, valletta, malta  /  phonography.org 5  /  phonography.org
the quiet american  /  donkey trains leaving marpha, nepal  /  phonography.org 4  /  phonography.org
steve barsotti  /  trainyard presence  /  phonography.org 5  /  phonography.org
k. m. krebs  /  jericho sailing center (nautical gamelan)  /  phonography.org 4  /  phonography.org
david daniell  /  highway 371, forty miles south of farmington, january 19, 1998, 2:25 pm  /  sem  /  antiopic
joyce hinterding  /  -  /  spectral  /  antiopic/sigma editions
david daniell  /  dixon lake road, july 31, 1999, 5:45 am  /  sem  /  antiopic
tacet ncv  /  live on framework
jean-luc guionnet & bertrand denzler  /  live on framework
dallas simpson  /  framework intro
--Boundary_(ID_sLospZ4kWXVnC9Ym90E/Tg)--

From ???@??? Mon Jan 31 20:21:37 2005
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From: Michael Winkler <xxxxxxx.xxxxxxx@xxxxxx.xx>
Subject: Re: [microsound] what d'ya know Ondes Martinot...
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hi ndkent, th_ost & folks!

find a re-invented follower of the ondes martenot on this site, the ondéa
(f***ing expensive, but if i had the money ... ;-)

http://www.chez.com/cslevine/ondes/

there you can listen also some ondea-music.

enthusiasted,
michael


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From ???@??? Mon Jan 31 17:55:48 2005
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Subject: Re: [microsound] another interesting release
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Somme hack at Sub Rosa wrote on 1/31/05:

>more than 140 minutes of the most powerful music ever recorded on earth  

Nice to know that it's the most powerful on earth...

<xxxxxxxx@xxxxxxxxx.xxx>

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Subject: [microsound] another interesting release
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I was also FWD'd this which also sounds like something that would be  
found in a typical microsounders CD pile:

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

TIBETAN BUDDHIST RITES FROM THE MONASTORIES OF BHUTAN

cd
SR222

barcode
5411867112228

recorded by John Levy in 1971
more than 140 minutes of the most powerful music ever recorded on earth  
!

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

John Levy, an englishman in Bhutan early seventies
Released by Lyrichord in mid-70', all the people who have listen to  
these vinyls know
that it does'nt exist something more powerful, more prodigious and pure  
than them.
John Levy was a london ethnomusicologist who took refuge in tibetan  
buddhism.
So he had all the possibilities to record - with his nagra-stéreo - all  
the rituals
(even the most sacred). We can say that what is discovered here is  
unique and far
behond all what was done after that. All the material is fully  
remastered and we
propose the Levy's collection divided into two discs of ritual and  
chanting (SR222 /
rel date Jan 28, 2005) and one of instrumentals and folk music (SR230,  
to be released
late 2005)

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

The great power of the rituals of the Drupka and Nyingmapa Order
On the first volume, a double cd with extented notes, Rituals of the  
Drupka Order,
the primary instrument is the long golden trumpet, along with various  
drums and
percussion and a deep droning bass. Rather than soothingly meditative,  
the music can
be a bit dissonant to Western ears. Chanted and played by 76 Lamas and  
Monks with
long trumpets, shawms, cymbals, drums and other Tibetan instruments in  
sacred
temples. Invited by the king of Bhutan, Levy was afforded every  
facility for recording
monastic music in the principal dzongs (great fort-like monasteries) of  
the Nyingmapa
Order. The ethereal Polytonal throat chanting, the long trumpets,  
shawms and percussion
instruments, the processional music and spectacular mask dances,  
Tibetan and
Bhutanese secular songs and poems, All reproduced with incredibly sonic  
fidelity!
A truly remarkable collection, with extensive liner notes, photographs,  
and musical
illustrations by John Levy.


as info, later in the year, we'll publish another volume :
Tibetan and Bhutanese Instrumental and Folk Music SR230
The last volume features performances on both Tibetan and Bhutanese  
lutes and fiddles,
beautiful folksongs, and a part of a drama of Tibetan origin performed  
by a troupe of yak
and cow herdsmen of eastern Bhutan. The latter is particularly  
compelling, the standout
performer being Go-Te Do-Pe, who sings and accompanies himself on the  
dramnyen,
a Bhutanese lute. His two songs bear an eerie resemblance to the blues  
of Junior
Kimbrough and other Mississippi hill country musiciansŠ
A real blues of the top of the world.



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

CD track listing

CD ONE
PART ONE
Rituals of the Drukpa Order
Band 1:  In Praise of Genyen.
Band 2:  Offering of "Golden Drink".
Band 3:  Exhortation to the Guardian Goddess of Long Life.
Band 4:  Long Trumpets, "Throat Ornament:.
Band 5:  Long Trumpets, "Two Notes Prolonged".
Band 6:  Invitation to Gonpo.
Band 7:  Petition to Chakchen.
Band 8:  Invoking Tshetro's Blessings.
Band 1:  Supplication to the Buddhas.
Band 2:  Aspiration to be reborn in the Western Paradise.
Band 3:  Petition to Dramar.
Band 4:  Prayer for Lama's Long Life.
Band 5:  Large 'Mani-wheel', with mantra.
Bands 6, 7, & 8:  Rite to Cure Disease, chanted by nuns.
Band 9:  'Tibetan Shawm', Processional Music.
Band 10:  Processional music for shawms and percussion.
  Band 11:  Long Trumpets, "Auspicious Ending".

PART TWO
Sacred Dances and Rituals of the Nyingmapa and Drukpa Orders
Recorded at the Nyingmapa Monastery, Nyimalug.
  Band 1: Peling Shachham, Deer Dance.
  Band 2: Dramitse Ngachlam, The Drum Dance of Dramitse.
Bands 3, 4 and 5: Lama Norbu Guamtsho, Ritual dedicated to Padma  
Sambhava.

CD TWO
Sacred Dances and Rituals of the Nyingmapa and Drukpa Orders (SUITE)
Recorded in the Tongsa Dzong.  From the Seven Supplications to Padma  
Sambhava.
  Band 1: Entreaty to the Three Buddha-bodies
  Band 2: Invitation to Padma Sambhava.
  Band 3: Rise up, Padma.
  Band 4: Words of Prayer.
Band 5: "Tibetan Shawms."
part three
Temple Rituals and Public Ceremonies
Annual Restival, drubchen, Great Tantric Attainment, in Myingmapa  
Monastery at Kyichu.
Band 1: Myule Drelwa, Calling Down of deities to subjugate evil spirit;  
and Kulwa, its death,
stabbed by Black Hat.
Band 2: Part of Junbeb, The Coming /down of Grace.
Band 3: Monks in procession playing portable instruments followed by  
chanting
of the Heart-Drop Teaching.  Recorded in Thimphu.
Band 4: Dramnyen Choshe, Song of Offering, with lute (dramnyen).  Lute  
solo,
followed by chorus,
in praise of sons of Bhutan.
Band 5: Dramnyen Choshe, chorus only, Song in Praise of Chinese Silk.

Annual Restival of Sacred Dance, at Jampai Lhakhang (Temple of the  
Future Buddha
in Bumthang Dt., E. Bhutan).

Bands 1,2 and 3: Monks, a clown, crowds and instruments.
Band 4: End of festival, with temple bell, and drums and trumpets.
Bands 5 and 6: Wandering ascetic (manip) chanting a Milarepa poem and a  
mantra.
Band 7: Cymbals (silnyen) played solo.
Band 8: Cross-flute (zurlim), folk-song from E. Bhutan.
Band 9: Another manip chanting Milarepa poem.
Band 10: First manip as story-teller.

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

key points

* recorded by John Levy in 1971
   more than 140 minutes of the most powerful music ever recorded on  
earth !

* John Levy, who was a london ethnomusicologist, took refuge in tibetan  
buddhism.
    He had all the possibilities to record - with his nagra-stéreo -  
all the rituals,
    even the most sacred, having every facility for recording monastic  
music in the
    principal dzongs (great fort-like monasteries)

* Secular songs and poems, reproduced with incredibly sonic fidelity!

* de luxe packaging with slipcase

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



musician
TIBETAN AND BUDDHIST RITES FROM THE MONASTORIES OF BHUTAN

ref 
SR222 - 2 cd set

2CD set packaged in a slipcase
+ booklet
packed in 25 units CD boxes
shrinked

release date
January 28, 2005 

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From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] interesting new release
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I was FWD'd this info by my friends over at Sub Rosa and wanted to  
share this info with the list since it sounds like something people  
here would find interesting... KIM
======================================================================== 
=========


RELEASE DATE
JANUARY 21 - 2005


SIMON KEEP
interview with the eggs
cd
SR234

barcode
5411867112341


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

In confine of silence
"The original sound installation consisted of three headphones playing  
back three
different sounds.
Though the first set of headphones the sound of snow was heard, close  
up and sounding
like dust or sugar.
The second was the sound of a Buddhist monk meditating in an empty room.
The last was the sound of volcanic steam seeping out of the sides of a  
mountain.
Alongside the headphones were one thousand origami cranes. The paper  
was made from
photo snapshots of Japan and when made the cranes were hung in ten rows  
of one hundred.
To make one thousand origami cranes is a Japanese symbol of health and  
longevity.
Sound pieces produced from Mini Disc recordings I made in Japan 2002.
The audio has been extracted from Hokkaido's volcanic snow-covered  
landscape.
The composition and patterns of the sound are based on the way I heard  
these sounds;
they are inspired by my experience of listening. One of the recordings  
was made inside
a temple. During "Zazen" meditation the sound of an empty room was  
opening out to me
and I was hearing sounds deep into the room. One evening I recorded the  
sound of an
empty midnight landscape, again I was listening into the silence and  
into the distance.
Sounds would ring out from the distance, then a split second later I  
would hear silent
space again." 
Simon Keep

------------------------------------------------------------------------ 
------
Simon Keep aka Holkham
Simon keep is a young londoner, composer, involved in a series of sound  
installations.
More recently, out of a desire for people to hear/think about sound in  
a more conscious
way, he has been working on a public arts project with Vital Arts at  
the Royal London
Hospital. He has also been working with sound outside of the human  
audibility, mainly
radio waves. Over the summer of 2002 he created a sound triptych for an  
exhibition
in Memphis called "life/afterlife", (based on this inaudible sound.)
His up-coming project is working again with Why Not Associates on a  
sixteen-channel
sound installation at the "Cultural Institute of Macau" in China, a  
video piece filming
the sound of moths and a recording project collecting sound samples  
from England's
least noise polluted spaces.

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

Silence as poetic system
Walking through snow, my feet crunching on the snow and ice, kicking  
the snow,
sounding like sugar, snow dust.
  Night-time recording, the silence outside the cabin, red, green and  
yellow stars,
the flashing lights of city.
  Hearing emptiness, no sound then sound, the imprint of sound in my  
mind, reverberations
of sound in my head and the contemplation of sound.
Zazen, the sound of an empty room, listening deep into a room for  
inherit sound
  Volcanic eggs, the sound of steam seeping out of a mountainside and  
poaching eggs.


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

CD track listing
Hokkaido (parts 1-13)
1  snow powder dust
  2  snow glitch
  3  recording silence
  4  treated silence
  5  snowdrone 1
  6  snowdrone 2
  7  snow cracks 1
  8  snow cracks 2
  9  snow cracks 3
  10 snow crunch bit
  11 night outside cabin
  12 cold wind
  13 distant Kushiro lights

Zazen, Listening to the Room
14 bell waves
  15 bell 2
  16 zazen bell 1
  17 zazen bell 2
  18 untitled process
  19 listening to the room

Interview With the Eggs
20 low eggs
  21 treated steam
  22 steam wheat 1
  23 steam wheat 2
24 interview with the eggs


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



musician
SIMON KEEP

ref 
SR234

standard jewel case
6 pages letterfold booklet
packed in 25 units CD boxes
shrinked

file under
Simon Keep / avant garde

release date
January 21, 2005


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From ???@??? Mon Jan 31 16:02:51 2005
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Date: Mon, 31 Jan 2005 16:59:03 +0100
From: underscan <xxxxx@xxxxxxxxx.xx>
Subject: [microsound] UNDERSCAN NEWS
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hi

here are the latest infos on underscan in 2005 !
we wish u a happy new year and wanted to thank
everyone who supported us over the years.

all the best from
underscan


--

Rod "All My Love" EP hitting stores now !!!

Rod Morris from Ireland delivers a very emotional insight with this
new installement on underscan and front end synthetics.

some review excerpts:

"Simply put, 'All My Love' is so divine it might have dropped
from heaven.." (textura.org)

"Bass is a wonderful thing. Rod proves it. 'All my love' is an  
outstanding
track. A slowly evaporating melody unfolding on some delicate  
electronica
noises and beats..." (monochrom.at)

The release is brought to you in colaboration with Irish based label  
Front End Synthetics
who are making the release available on CD.

For more info and track previews click here please:
http://www.underscan.de/Prelisten/us007_preview.html


If you want to order any of the items please get in touch
mailto:xxxx@xxxxxxxxx.xx

If you want to diretly dowload the tracks please go to
http://shopbase.finetunes.net/shopserver/ActionServlet? 
cmd=labeldetails&labelid=2000

--

Upcoming: NOW Series

"NOW" is the new compilation series on Underscan which  is brought to  
you as four 12" vinyl
records.  A full length CD featuring all the tracks will be released to  
coincide with the fourth
and final EP.
NOW presents the current state of the label and what is to be expected  
in the near future.
Featured acts are  current Underscan artists such as GRAM, DALEZY,  
SOMSHIT,
ONETHEMA, ROD and MENU:EXIT as well as SCANNER, F. BRETSCHNEIDER,
FUNCKARMA, EVEREST, QUENCH, FIBLA and others.

NOW 01 (feat. tracks by Funckarma, Gram, Somshit, Pytlik)
will be released on 14. March 2005 as a limited 12" (500 copies only)  
and downloadable mp3.

more info online soon !

--

Events:

Underscan Labelnite:

10.02.05                        Taktik (front, berlin) [live]
                                Menu:Exit (underscan, berlin) [live]
                                Marius Reisser (repeatrepeat, berlin) [dj]

                                  NBI (neue berliner initiative)
                                Schönhauserallee 157 | Berlin


"All My Love" mini Tour:

                                Rod (underscan, neo ouija, dublin) [live]
                                Menu:Exit (underscan, berlin) [live]
                                Marius Reisser (repeatrepeat, berlin) [dj]

25.02.05                        Zentrale Randlage
                                Schönhauserallee 172 | Berlin                        

26.02.05                        Superkronic
                                Markranstaedter Strasse 4 | Leipzig/Plagwitz


Underscan Labelnite:

18.03.05                        Scanner (bette, underscan, london) [live]
                                Menu:Exit (underscan, berlin) [live]
                                more to be confirmed....watch our site !!!

                                NBI (neue berliner initiative)
                                Schönhauserallee 157 | Berlin

--

more info on underscan and related stuff:
http://www.underscan.de (new website coming soon !!!)

--


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Date: Mon, 31 Jan 2005 10:34:45 +0000
From: slow sound system <xxxx@xxxxxxxxx.xxx>
Subject: [microsound] slow sound system : we're breaking up, cheapmachines,
 13 february, london
To: Ambient <xxxxxxx@xxxxxxxxx.xxx>,
 Dorkbot London <xxxxxxxxxxxxx-xxxxxxxx@xxxxx.xxxxxxxx.xxx>,
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SLOW SOUND SYSTEM
LIE DOWN AND BE COUNTED

THE FOUNDRY : 13 FEBRUARY 2005 : 3-8PM, FREE

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

'Quality avant chillage' BBCi
'Unadulterated bliss .' RESONANCE FM

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

The slow sound system explores ambient listening, new electronica and pixel
manipulation . we return for 2005 with the first of our free listening
sessions.

Lining up at The Foundry on 13 February are two of London's brightest stars
of electronica, last encountered at the London Headphones Festival last
year. We're Breaking Up lay down delicate shortwave experiments and
electronic snap, crackle & pop. Meanwhile Cheapmachines explores warm noise,
field recordings and tape loops. On the bench: digitals, soundscaping and
audiocollage from resident djs iMax and Albert, plus digital artworks and
flash workouts from Janek Ropinsky. Full details follow.

PS! - on the 17th it's Isan, Bovaflux, Fisk Industries and e.g.ø at the
Horse Hospital. Organised by our friends [no.signal] and HighpointLowlife.
More details at www.no-signal.net.

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

ARTIST BIOS

WE'RE BREAKING UP (TWOTHOUSANDAND / ANTIOPIC) (US / UK) (LIVE) :
shortwave electronica, snap, crackle & pop

We're Breaking Up is Michael Rodgers, multi-instrumentalist, free improviser
and (with Anthony Guerra) co-founder of the outstanding London-Sydney label
TwoThousandAnd. Living in London since 2000, he's now a fixture of the
electronica / impro / microsound scene, with TwoThousandAnd really on a roll
at the moment. Michael brings a sense of urgency and openness to his own
musical projects - collaborators include Paul Hood, Anthony Guerra, Pedro
Lourenço and Manuel Mota. Much of his music reflects personal ideas of
distance, human relationships, density, and things that are invisible.

Michael plays out regularly in London and has also performed in Portugal,
Germany, Austria and the USA.

'Restless, shifting drones . a really epic feel. Excellent' SMALLFISH
'Takes the improvisation of electronics to a barren wasteland, it glows and
flashes and fizzes to the end' IGLOOMAG
'Yet another fine, fine release from this superb label. Check it out'
BAGATELLEN

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

CHEAPMACHINES (KABUKIKORE, NID NOD) (UK) (LIVE) :
warm noise, field recordings, tape loops

Cheapmachines has been in existence since 1997, acting at the interface
between noise electronics, generative software, field recordings, tape music
and drones. Stark, stunning soundscaping and musique concrete.

'. some fine examples of extreme manipulation .' VITAL

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

RESIDENTS

iMAX, ALBERT (GRAIN OF SOUND, KABUKIKORE, 8BITRECS) (UK / FR) (DJ) :
decks, loops and FX

JANEK ROPINSKY (KLIKLAK, POP-UP RECS) (D) (VJ):
flashwerks, digital sublime

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

DETAILS

Sunday 13 February, 3-8pm, free admission
The Foundry, 84-86 Great Eastern St, London, ec2 : 0207 739 6900 :
xxxx@xxxxxxx.xx : www.foundry.tv

xxxx@xxxxxxxxx.xxx
www.slowsound.net

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

CHECK

www.twothousandand.com
www.antiopic.com
www.a-version.co.uk/cheap/
www.kabukikore.net
www.8bitrecs.com
www.hardmanbros.com
www.jayropinsky.kliklak.net

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

Ends

slow sound system
lie down and be counted

xxxx@xxxxxxxxx.xxx
www.slowsound.net

-----

in league w/ [no.signal] | not clickable | sonomu | highpointlowlife |
midrange | frequenzen

-----
-----

new! live sets archive w/motion, recon, crucial felix/timeblind, sebastien
roux, adam butler/vert and more
http://www.slowsound.net

'small pieces', every friday on Resonance 101.4fm, midnight-1am GMT
http://www.resonancefm.com

'there is no hidden meaning', out now on kabuki kore
http://www.kabukikore.net

-----
-----

london headphones festival 2004
http://www.state51.org/placard

'midrange sessions', forthcoming on coombe records
http://www.coomberecords.com

slow sound system vs. posset, 'entropy sessions' out now on kabuki kore
http://www.kabukikore.net

'first steps' out now on grain of sound
http://www.grainofsound.com

imax photogallery : kill yr speed
http://www.lomohomes.com/imax

[no.signal] : promoters of genius
http://no-signal.net

highpointlowlife : bitmpapped indie-electronic goodness since 01
http://www.highpointlowlife.com

sprawl club @ charterhouse
http://www.sprawl.org.uk

frequenzen, fortnightly on resonance 104.4fm
http://www.frequenzen.co.uk

sonomu : sound noise music
http://www.sonomu.net

kultureflash : headlines from london
http://www.kultureflash.net

-----

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Date: Sun, 30 Jan 2005 21:30:08 -0800
From: David Kendall <xxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] Fwd: February 1st at The Smell
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> Apologies first for the promotional and second for the last-minute 
> nature of this message. This should be a great show and I encourage 
> all to come who can make it. If you do not want receive these kinds of 
> messages from me, please let me know and I will send you no more 
> announcements in the future. Thanks.
>
> -David
>
> Here's a show on Tuesday February 1st:
>
> Sejayno (shinth builder Peter Blasser)
>  God (Bryan Eubanks and Leif Sundstrom from Portland, OR)
>  Gowns (members of Mae Shi/Blue Silk Sutures)
>  David Kendall
>
>  This will be happening at the Smell. The show starts at 9pm, and it 
> costs $5 to get inside.
>
>  This is what David Cotner from the LA Weekly has to say about the 
> show:
>
> Flying down from Portland with a little deific slice of circuit-bent 
> heaven, God (Bryan Eubanks and Leif Sundstrom) uses found electronics, 
> record players and equalizers in improvisations that warp one’s senses 
> of Silence and Loud. Likeminded mind-benders Gowns’ sundry 
> synthesizers and electronics preface David Kendall’s computer world 
> studies; he prefers to ape the death rattles of analog synths through 
> the laptop these days. Sejayno is Peter Blasser and Severiano Martinez 
> — Blasser builds analog synthesizers made from logs and coats, while 
> poet Martinez plays bells and the tor-tor. This machine — actually a 
> forhortortor — is a device for twisting and kneading vocals, alongside 
> the “infinite rambling” of the leather-clad phase shifters known as 
> ambraziers and the chaotic electronic menace of the kittennettik, all 
> evolving and devolving into something Blasser calls “serene techno.” 
> It’s advanced sound-tweaking science mixed with naiveté and innocence 
> reminiscent of the first time you ever saw something like a car.
>
> _________________________________________________
> homepage http://davidkendall.net
> mp3 http://www.ponyattack.com; http://ruccas.org
>
_________________________________________________
homepage http://davidkendall.net
mp3 http://www.ponyattack.com; http://ruccas.org

--Boundary_(ID_+MYPaT1EVmUIkcbgppNENg)--

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Subject: [microsound] LIST New Year News( and related ones) ! 30.01.05
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hi microsounders, 

some news for early 2005 from LIST :

1/ NEW RELEASE :

Much anticipated GUNTER MULLER & STEINBRUCHEL "perspectives" (List-L6)*
    
The collaboration, created by List for a concert at Geneva Cave12 on
december 5th 2003 , born from the desire of List to confront two musicians
from different backgrounds and prove that they have so much  in common !
This duo worked so well that it was clear from that day that it have to be
documented by List !
This cd based on recordings of live improvisation from that day to may 2004
and then edited and reworked by the artists in their studio from june to
december 2004, is composed of 12 pieces with a strong unity (+ a bonus
track) . 

duration : 71 minutes

mastering : Steinbruchel

packaging: digifile

design :   Steinbruchel

photos :  Taylor Deupree

more info on the artists on :

- GUNTER MULLER  at http://home.datacomm.ch/g.mueller/mueller.htm
- STEINBRUCHEL   at http://www.synchron.ch
and soon on List website (with bio, samples and a detailed catalog page)

you can already check the frontcover design on :
 http://www.list-en.com

* this cd will be available to order from >08.02.05< through List paypal
shop (price 14 euros shipping included) and on the next weeks on List
distributors and mail-orders around the world .

2/ NEW DISTRIBUTORS :

CANADA :      1.8(sec) http://www.1pt8.tk/

SCANDINAVIA : DOT      http://www.dotshop.se

CHINA :       MONITOR  http://www.monitor-records.com

3/ NEXT EVENTS : 

FEBRUARY : 

12.02.05 Planetarium > Bruxelles (be)
:: live : Herve Boghossian + Colleen
http://www.vaartkapoen.be

24.02.05 Kunstraum Walcheturm > Zurich (ch)
"Perspectives" cd release concert :
:: live : Gunter Muller & Steinbruchel + Herve Boghossian
http://www.walcheturm.ch

25.02.05 Bad Bonn > Dudingen (ch)
:: live : Hervé Boghossian
http://www.badbonn.ch

MARCH/APRIL :
 
IN PARIS (fr): 

SOUND INSTALLATIONS with Bernd Schurer (Domizil) and LIVE (solo) : from
STEINBRUCHEL at Centre Culturel Suisse .
LIVE from GUNTER MULLER & STEINBRÜCHEL (tbc) .
and  from HERVE BOGHOSSIAN/STEPHANE RIVES/ MATTHIEU SALADIN TRIO° (tbc)
more details soon

4/ NEW PROJECTS : 

 HERVE BOGHOSSIAN new projects currently at work :

- °A trio with H.B (guitar feedback) / STEPHANE RIVES (soprano saxophone) /
MATTHIEU SALADIN ( amplified bass clarinet & mixing desk )
in the spirit of the H.B "rvb" album, an exploration of electric and
amplified or totally acoustic intruments to meet electronic sounds (like
sine tones) .

_"EUPHONIE" a sequel of "Mouvements" which were released on Raster-Noton
last june http://www.raster-noton.de .
a step forward on the possibilities of guitar with DSP in a more "pop" touch
that the previous one .
(euphonie : harmonic suite of sounds in a sentence)

thanks for your attention

all the best 

rv  


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From ???@??? Sun Jan 30 12:49:09 2005
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From: sound no sound <xxxxxxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] TRACKS ANYONE????
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 FILETIME=[11F29C40:01C506CA]

Hi All,

We're starting a CDR label here in Sydney Australia>>> The name of this 
label will be Spanish Magic.

We are going to start off with a compilation of Australian music. If anyone 
is interested in contributing a track to this compilation which will be 
released on May 7th or thereabouts, we would love you to get in contact with 
us at;

xxxxxxxxxxxx@xxxxxxx.xxx

or send tracks to:

2/280 Palmer St.
Darlinghurst  NSW  2010

If you want anymore information or anything please email us or call me on 
0404837117

Hope to hear from some of you soon.

Cheers,
Mark

_________________________________________________________________
Are you right for each other? Find out with our Love Calculator:  
http://fun.mobiledownloads.com.au/191191/index.wl?page=191191text


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From ???@??? Sun Jan 30 01:32:38 2005
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From: Phil Thomson <xxxxxxxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] iPods boot Linux
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http://apple.slashdot.org/article.pl?sid=05/01/29/2017244


-- 
Phil Thomson
xxxxxxxxxxxxxxxxx@xxxxx.xxx

{ home: http://www.sfu.ca/~pthomson/
{ blog: http://www.bloglines.com/blog/PhilThomson
{ label: http://centibel.org/

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From ???@??? Sat Jan 29 23:51:27 2005
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Date: Sun, 30 Jan 2005 00:47:21 +0100
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Subject: Re: [microsound] what d'ya know Ondes Martinot...
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--Boundary_(ID_Ra15HgPs3TXfxLiwHsfI8g)
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thanx for all that info. will get me busy searching down more info/cds.

th_ost
°°°
th_ost: tomoroh hidari_oliver stummer
acronymic symbiosis of alter & ego

http://www.tomoroh.com/
http://www.stiege44.com/
xxxxxx@xxx.xxx
ay, sigue:56825202

>> we gonna fight for your right to apathy... <<
°°°°°
  ----- Original Message ----- 
  From: ndkent 
  To: microsound 
  Sent: Friday, January 28, 2005 01:08
  Subject: [microsound] what d'ya know Ondes Martinot...


  >
  > ----- Original Message -----
  > From: "th_ost" <xxxxxx@xxx.xxx>
  > To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
  > Sent: Thursday, January 27, 2005 7:34 AM
  > Subject: Re: [microsound] Ondes Martinot...
  >
  > i am very interested in the ondes martenot, but found it hard to find
  > recordings of it, especially unacommpanied ones.
  > the only one i have is a recording of olivier messiaen's turangalila
  > symphony conducted by seiji ozawa.

  that 3 CD "OHM" set (released by the Elipsis Arts label in 2000) of 
  (mostly) historic electronic music has a Messaien piece - for 4 ondes
  here goes the album it's from (which I don't have)

  http://www.amazon.ca/exec/obidos/ASIN/B000006EI8
  (if the link doesn't work it's a 1990 CD recorded by and self titled  
  "Ensemble d'Ondes de Montréal")

  I think the key album (though surely not easily obtained) is a double 
  1980 LP by Jeanne Loriod
  "Les Ondes Martenot - 50e Anniversaire de leur invention " on the  
  Musique Francais d'Aujourd'huis label cat# 21.007 ADÈS

  That's got the full Messiaen "Fête des belles eaux" with the 6 Ondes 
  ensemble, Millhaud & Jolivet pieces for Ondes and piano and then a 
  newly commissioned piece (by Tessier) to play on a 6 ondes ensemble.


  > does anybody know of other recordings?
  > also, does anybody know how hard it would be to build one, given there 
  > are
  > schematics of it to be found (i am absolutely NOT an electronics dyi 
  > person,
  > just curious:(( )

  It's vacuum tube technology though the inventor did update the 
  technology and build some using more modern solid state components 
  before he died. Though it's not really correct to simplify it quite so 
  far, if you think about it,  the sound is basically sine waves (though 
  often treated even mechanically resonated within the system) so I'd 
  think at least as much of it's distinction is it's user interface.

  I played a real one once for a couple minutes. You had the ring on wire 
  that most people probably know about, but what's less known is the 
  keyboard keys are baby sized and the whole mechanism rocks left and 
  right for vibrato effects. So it's a little like a 2 part retinking of 
  the theremin. You can do pitch sweeps. There's an accuracy to the 
  sweeps that takes much longer to master on a real Theremin. But you 
  still have manual vibrato... something well known to string players and 
  vocalists but rarely taken advantage of in electronic music performance 
  (where more or less fixed speed electronic LFOs rule when unexpressive 
  samples aren't used).

  By the way. Radiohead might very well have bought a real one with their 
  considerable money since then but kind of like like Portishead and 
  their "Theremin", what they were using when their first got associated 
  with the Ondes, and seen in videos of them live was actually a 
  newlymade Analogue Systems French Connection CV keyboard controller 
  meant for their line of analogue synth modules. (likely a prototype to 
  be exact) . Anyway maybe someone will clue me in as to where if 
  anywhere he's or they're  playing a real Ondes rather than an Ondes his 
  Analogue Systems inspired by synth controller.
  http://www.analoguesystems.co.uk/controllers.htm
  (scroll to the bottom keyboard)


  Less expected movies with substantial Ondes playing in the scores are 
  Maurice Jarre's "Passage to India" and Elmer Bernstein's "The Field". 
  Takemitsu's "Rising Sun" (the Connery/Snipes film) along with several 
  of his Japanese scores ("Legacy for the Future" was re-issued by DG 
  Japan a few years back).

  More expected are  "Ed Wood"  and "Ghost Busters" (also by Elmer 
  Bernstein)

  nicholas d. kent
  www,technopop.info

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--Boundary_(ID_Ra15HgPs3TXfxLiwHsfI8g)--

From ???@??? Sat Jan 29 12:06:30 2005
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From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] [OT] Firewall
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Kerio makes a good one

http://www.kerio.com/kpf_home.html

their personal firewall works good on my Windows Box in the freeware mode.
But I second the suggestion to get another physical firewall in front of 
windows, here it is a Linuxbox securing the network. Windows can 
internal bypass any given firewall running on it, a sick and twisted system.

Cheers,

Malte

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

Next events:
11. february Elektronengehirn Concert at Dorkbot Ghent, Belgium
more at blog 4, also available as rss feed:
http://java.block4.com/blog4/

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Subject: [microsound] archive.org
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hallo,

is anyone using archive.org who had problems to log into
the server.  i believe i have exhausted all methods and
thought perhaps someone has had similar issues.  my
belief is a firewall of any kind is disallowed.   is this true
and/or are there any suggestions?

thanks.


      . 1001
                                                          e*;
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. 
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                                                               o          o
o         o
                                                            o          1
o          o
                                                     !        ¬ Ÿ Ð

         o
                                                  o-        (o ))
\\            /|
                                                /\         /-
o             . + 
                                              .·         . €
          +                                      .

        º' "                               ..·
    

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              € . ¬
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                                ·



                 · `   .;
                   
               .   '· `


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yeah sometimes this happens - usually when the server is full or too may 
users - if it doesn't sort iteslf out soonish just send them a friendly 
email and they will assist , how soon depends if anyone is working on it 
on the w/e....
ch-ears



..` °·' ± `.° '· wrote:

>hallo,
>
>is anyone using archive.org who had problems to log into
>the server.  i believe i have exhausted all methods and
>thought perhaps someone has had similar issues.  my
>belief is a firewall of any kind is disallowed.   is this true
>and/or are there any suggestions?
>
>thanks.
>
>
>      . 1001
>                                                          e*;
>                                                              . · . + .   :
>. 
>                                                           t)          X
>t          t)
>                                                                   z
>z          z          z
>
>                                                               o          o
>o         o
>                                                            o          1
>o          o
>                                                     !        ¬ Ÿ Ð
>
>         o
>                                                  o-        (o ))
>\\            /|
>                                                /\         /-
>o             . + 
>                                              .·         . €
>          +                                      .
>
>        º' "                               ..·
>    
>
>                     -                          º
>                   
>              € . ¬
>                       . '
>                                          '
>                                -',.
>                                ·
>
>
>
>                 · `   .;
>                   
>               .   '· `
>
>
>---------------------------------------------------------------------
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>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>website: http://www.microsound.org
>
>
>  
>


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From ???@??? Sat Jan 29 02:53:08 2005
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zone alarm

See 
http://www.cleansoftware.org/security/
for more.
B

> ( 05.01.28 17:06 +0100 ) Noisejihad:
> > Can anybody recommend a good, free firewall for windoze?
> 
> http://gentoo.org/
> http://openbsd.org/ [if you're really paranoid]
> 
> but to install, you'd need to wipe windoze, or put another machine on
> the network in front of it. it might be easier to buy one of those
> linksys router-firewall things.
> 
> -- 
> \js      http://or8.net/~johns              ;`^+{"-&=     '>>  ^   
> iraq body count: 15,495 [min] 17,723 [max] 
> 
> ---------------------------------------------------------------------
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> 
> 

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From ???@??? Sat Jan 29 01:28:13 2005
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Date: Fri, 28 Jan 2005 19:32:32 -0600
From: DaveX <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] Job opportunity at the Exploratorium - FEB 1 deadline!
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Reply-to: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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I'm SO sorry, but this made me laugh. --DaveX

Gives me hope that I could find a decent job when I get the hell out of 
school....

- Scott Carver

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From ???@??? Sat Jan 29 01:23:47 2005
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Date: Fri, 28 Jan 2005 17:23:30 -0800
From: Scott Carver <xxxxxxx@x.xxxxxxxxxx.xxx>
Subject: Re: [microsound] Job opportunity at the Exploratorium - FEB 1 deadline!
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Gives me hope that I could find a decent job when I get the hell out of 
school....

- Scott Carver

On Jan 28, 2005, at 4:47 PM, derek holzer wrote:

> This got posted to the Phonography list, but I thought it would be 
> topical here as well. *Almost* makes me wish I still ive din SF...
>
> derek
>
> ***
>
> AUDIO & SOUND DEVELOPER
> Center for Public Exhibition
> Full-time position (with some flexibility)
>
>
> SUMMARY:
> The Audio and Sound Developer uses strong conceptual, creative, and 
> technical skills to
> develop and redesign exhibits for inclusion in the Exploratorium's new 
> "Listening" area.
> The position is in the Center for Public Exhibition, which has primary 
> responsibility for the
> public museum floor. This is a fixed term, full-time position funded 
> through September
> 2006. Qualified candidates available for less than a full-time 
> schedule will be considered.
> The position will report to the Listening Project Manager.
>
>
>
>
>
> ESSENTIAL FUNCTIONS:
> · Design, develop, and produce highly accessible audio-based exhibits 
> for the new
> "Listening" area of the museum floor.
> · Evaluate and redesign existing exhibits to fit within the new 
> "Listening" collection.
> · Support the exhibit development efforts of other project team 
> members by providing
> expertise in sound and audio technology.
> · Conceptualize, research, and develop materials on topics involving 
> sound, hearing, and
> attentive listening.
> · Work collaboratively with scientists, educators, artists, exhibit 
> developers, and media
> professionals on team-based projects.
> · Manage own projects, meet deadlines, and attend project team 
> meetings.
> · Additional duties as assigned.
>
>
>
>
>
>
> QUALIFICATIONS:
> · Bachelors Degree.
> · Minimum 3 years experience in audio production and/or sound 
> manipulation.
> · Background or strong interest in science, sound art/design, 
> humanities, and public
> education.
> · Demonstrated proficiency in a variety of audio production tools and 
> software, such as
> Peak and Pro Tools. Knowledge of MAX MSP plus at least one other 
> signal processing
> package a plus.
> · Familiarity and demonstrated proficiency in state-of-the-art audio 
> production software.
> · Demonstrated troubleshooting and technical problem-solving abilities.
> · Excellent communication and interpersonal skills, including ability 
> to work collaboratively
> on project teams.
> · Knowledge of inquiry-based teaching strategies helpful.
> · Able to lift & carry up to 50 lbs for short distances, move from 
> place to place, and use a
> computer terminal as well as basic office and shop equipment
>
>
>
>
>
>
> APPLICATION DEADLINE:
> Please submit on or by Tuesday, February 1, 2005.
>
>
>
>
>
> HOW TO APPLY:
> This is a fixed-term, full-time (37.5 hours per week), exempt, union 
> (grade 20, step 1)
> position that pays $845.63 per week and includes benefits. This 
> fixed-term position is to
> end on or before September 30, 2006. Qualified candidates available 
> for less than full-
> time will be considered. Please indicate your preferred schedule in 
> your application. Please
> apply by sending cover letter and resume to:
>
> Dept. CPE-1
> Exploratorium, 3601 Lyon Street, San Francisco, CA 94123
> Fax: (415) 561-0370
> E-mail: xxxxxx@xxxxxxxxxxxxx.xxx (attachments not accepted)
> No phone calls please
>
>
> The Exploratorium is committed to a diverse workforce
>
>
>
>
>
>
>
> Yahoo! Groups Links
>
> <*> To visit your group on the web, go to:
>     http://groups.yahoo.com/group/phonography/
>
> <*> To unsubscribe from this group, send an email to:
>     xxxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxxxx.xxx
>
> <*> Your use of Yahoo! Groups is subject to:
>     http://docs.yahoo.com/info/terms/
>
>
>
>
>
>
> -- 
> derek holzer ::: http://www.umatic.nl
> ---Oblique Strategy # 36:
> "Consult other sources
> -promising
> -unpromising"
>
> ---------------------------------------------------------------------
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> website: http://www.microsound.org
>


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From ???@??? Sat Jan 29 00:45:08 2005
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From: derek holzer <xxxxx@x-x.xxx>
Subject: [microsound] Job opportunity at the Exploratorium - FEB 1 deadline!
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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This got posted to the Phonography list, but I thought it would be 
topical here as well. *Almost* makes me wish I still ive din SF...

derek

***

AUDIO & SOUND DEVELOPER
Center for Public Exhibition
Full-time position (with some flexibility)


SUMMARY:
The Audio and Sound Developer uses strong conceptual, creative, and 
technical skills to
develop and redesign exhibits for inclusion in the Exploratorium's new 
"Listening" area.
The position is in the Center for Public Exhibition, which has primary 
responsibility for the
public museum floor. This is a fixed term, full-time position funded 
through September
2006. Qualified candidates available for less than a full-time schedule 
will be considered.
The position will report to the Listening Project Manager.





ESSENTIAL FUNCTIONS:
· Design, develop, and produce highly accessible audio-based exhibits 
for the new
"Listening" area of the museum floor.
· Evaluate and redesign existing exhibits to fit within the new 
"Listening" collection.
· Support the exhibit development efforts of other project team members 
by providing
expertise in sound and audio technology.
· Conceptualize, research, and develop materials on topics involving 
sound, hearing, and
attentive listening.
· Work collaboratively with scientists, educators, artists, exhibit 
developers, and media
professionals on team-based projects.
· Manage own projects, meet deadlines, and attend project team meetings.
· Additional duties as assigned.






QUALIFICATIONS:
· Bachelors Degree.
· Minimum 3 years experience in audio production and/or sound manipulation.
· Background or strong interest in science, sound art/design, 
humanities, and public
education.
· Demonstrated proficiency in a variety of audio production tools and 
software, such as
Peak and Pro Tools. Knowledge of MAX MSP plus at least one other signal 
processing
package a plus.
· Familiarity and demonstrated proficiency in state-of-the-art audio 
production software.
· Demonstrated troubleshooting and technical problem-solving abilities.
· Excellent communication and interpersonal skills, including ability to 
work collaboratively
on project teams.
· Knowledge of inquiry-based teaching strategies helpful.
· Able to lift & carry up to 50 lbs for short distances, move from place 
to place, and use a
computer terminal as well as basic office and shop equipment






APPLICATION DEADLINE:
Please submit on or by Tuesday, February 1, 2005.





HOW TO APPLY:
This is a fixed-term, full-time (37.5 hours per week), exempt, union 
(grade 20, step 1)
position that pays $845.63 per week and includes benefits. This 
fixed-term position is to
end on or before September 30, 2006. Qualified candidates available for 
less than full-
time will be considered. Please indicate your preferred schedule in your 
application. Please
apply by sending cover letter and resume to:

Dept. CPE-1
Exploratorium, 3601 Lyon Street, San Francisco, CA 94123
Fax: (415) 561-0370
E-mail: xxxxxx@xxxxxxxxxxxxx.xxx (attachments not accepted)
No phone calls please


The Exploratorium is committed to a diverse workforce







Yahoo! Groups Links

<*> To visit your group on the web, go to:
     http://groups.yahoo.com/group/phonography/

<*> To unsubscribe from this group, send an email to:
     xxxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxxxx.xxx

<*> Your use of Yahoo! Groups is subject to:
     http://docs.yahoo.com/info/terms/






-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 36:
"Consult other sources
-promising
-unpromising"

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From ???@??? Fri Jan 28 23:33:18 2005
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Date: Fri, 28 Jan 2005 15:33:10 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] hotline server down tonight
To: microsound_list <xxxxxxxxxx@xxxxxxxxx.xxx>
Cc: microsound_hotline_admin Eric <xxxx@xxxxxxxxxxx.xxx>
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the microsound hotline server will be down tonight (US time) for 
maintenance and repairs...Eric is trying to make sure we are back up 
and running by tomorrow or Sunday the latest...
shouts to Eric for hosting the microsound hotline server!
:)
KIM


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From ???@??? Fri Jan 28 22:29:41 2005
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Subject: [microsound] Re: Ondes Martinot...
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In 1937 Oliver Messiaen wrote a piece for 6 Ondes
Martenots, "Fetes Des Belles Eaux." The library near
to me has the score but not a recording of it.

-Josh Ronsen
in Austin, Texas





                
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From ???@??? Fri Jan 28 22:13:31 2005
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Subject: [microsound] Call for Works Ai-maako 2005
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The Electroacoustical Chilean Community (CECh) has organised for the last four years the Electroacoustic music festival of Santiago de Chile, “Ai-maako”. The fifth edition of this festival will take place between the 17th and the 22nd of october 2005 in the concert hall of the Cultural Center of Spain. During the four years of existence of the festival more than 200 works by composers from diverse countries have been played.

The CECh invites the electroacoustical community to participate in this festival. Musical works must be sent before the 30th of April 2005 (the post office stamp will be valid as a reference) to the following address:

José Miguel Candela (CECh)

Correo Villa La Reina

Casilla 104

La Reina -Santiago de Chile

Chile

The works sent must fulfill the following conditions in order to be eligible:

a) Acousmatical or tape pieces.

   Format: Audio CD, DAT or ADAT

   Technical notes or diff usion score, in case of multi-channel pieces.

   Pieces of a duration no longer than 10 minutes.

   Biography of the composer and programme notes. Spanish translations are welcome (paper and Word document)


b) Mixed Pieces (depending on the organisers’ possibilities of available soloists):

   Works for soloist and electronics.

   Pieces of a duration no longer than 10 minutes.

   Format: Audio CD, DAT or ADAT.

   Technical notes or diffusion score, in case of multi-channel pieces.

   The instrumental score must be sent by regular or registered post.

   Demostration recording of the electronic part or of the piece as a whole.

   Biography of the composer and programme notes. Spanish translations are welcome (paper and Word document)


xxxx@xxxx.xx  / FRENCH AND SPANISH IN: http://www.cech.cl/Ai-maako_Call_2005.pdf

----> Greeting from Chile, Mika Martini.



------------------------------------------- 
[M!M] [SCL]
[www.mikamartini.scd.cl]



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From ???@??? Fri Jan 28 21:51:53 2005
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THE CENTER FOR CONTEMPORARY MUSIC (CCM) at MILLS COLLEGE
presents:

SPRING 2005
SONGLINES SERIES: Symposia on Sound, Nature, Technology,
and Performance

MONDAY, January 31th
7:30 PM - Concert Hall Foyer and Ensemble Room
Admission: FREE

NICOLAS COLLINS

An evening of electro-acoustic works and "hardware-hacked"
instrumentation by CCM Composer-in-Residence Nic Collins and
Mills student composers. Featured pieces by Collins include "Pea
Soup," performed by local bassist George Cremaschi, and "The
Talking Cure." Born and raised in New York, Mr. Collins studied
composition with Alvin Lucier at Wesleyan University and worked
for many years with legendary composer/instrumentalist David
Tudor. As a composer he helped pioneer the use of microcomputers
in live performance, and has made extensive use of "home-made"
electronic circuitry, radio, found sound material, and
transformed musical instruments. From 1992-1995 he was Artistic
Director of Stichting STEIM (Amsterdam) and in 1996-1997 a DAAD
composer-in-residence in Berlin. In 1999 he joined the faculty
of the School of the Art Institute of Chicago as the chair of
the sound department.


for more information contact:
John Bischoff, CCM Studios Coordinator
510-430-2331

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From ???@??? Fri Jan 28 21:08:39 2005
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From: SUNE <xxxxxx@xxxxxxx.xx>
Subject: Re: [microsound] [OT] Firewall
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I use Sygate personal firewall and never had any problems

Sune

On Fri, 28 Jan 2005 17:06:54 +0100
  "Noisejihad" <xxxx@xxxxxxxxxx.xx> wrote:
> Can anybody recommend a good, free firewall for windoze?
> 
> -Lars
> IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
> Next: Electrical Bonding on Desolation House >>> 
>www.desolationhouse.com
> Now: Uncomfortable Positions - mp3-ep on Fukk God >>> 
>www.fukkgod.org
> key to knowledge on danish noise >>> www.noisejihad.dk
> art >>> www.ideations.dk
> www.waldchengarten.dk


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http://www.berkeley.edu/news/media/releases/2005/01/27_helium4.shtml


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Subject: Re: [microsound] call for works : earphone music
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Hi Marc, I'm Mika Martini from Chile, Southamerica.
 
You look for music like this one?:
 
http://www.mikamartini.scd.cl/Chiste_Music.htm

earphone <xxx@xxxxxxxx.xxx> wrote:
greetings,

earphone music, invites you to submit a track for inclusion on our 
first compilation cd entitled: earphone 01.

earphone music's goal is to document new electronic sound works that 
are either software or hardware derived. the area of our interest is 
in the genres of: microsound, lowercase, or something that loosely fits 
in within those terms.

the scheduled date of release is: april 2005, so please have works to 
us by, march 1st 2005.

we are also interested in artwork and/or a design for the cover.

> guidelines:

1. please try to keep tracks under 5 minutes so we can have at least 14 
artists on the cd.
2. you may submit more than one track, but only one will be on the 
"earphone 01" compilation.
3. you can submits tracks in any format you wish as long as the file 
specs are at least, 44.1kHz @ 16bits, you can submit audio files on cd, 
if you prefer.

> what you get:

1. to be part of an ongoing series of documents of electronic music.
2. you will receive 10 copies of the CD that includes your track, a 
biography with links on our site, etc.
3. our unending appreciation for sharing your work.

> where to send:

m.mcnulty
620 park ave #319
rochester, ny 14607
u.s.

if you have questions please e-mail: xxx@xxxxxxxx.xxx

thank you,
marc


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[www.mikamartini.scd.cl]



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From: Dan Heidebrecht <xxx.xxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] Quantum Whistles - Superfluid helium-4 whistles just the
 right tune
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If you just want to listen:

http://www.berkeley.edu/news/media/releases/2005/01/images/He4QuantumWhistle.wav


Superfluid helium-4 whistles just the right tune

By Robert Sanders, Media Relations | 27 January 2005

BERKELEY – University of California, Berkeley, physicists can now tune
in to and hear normally inaudible quantum vibrations, called quantum
whistles, enabling them to build very sensitive detectors of rotation
or very precise gyroscopes.
Quantum whistle
Hear the synchronized vibrations from a chorus of more than 4,000
nano-whistles, created when physicists pushed superfluid helium-4
though an array of nanometer-sized holes. Note that the pitch drops as
the pressure drops.

A quantum whistle is a peculiar characteristic of supercold condensed
fluids, in this case superfluid helium-4, which vibrate when you try
to push them through a tiny hole. Richard Packard, professor of
physics at UC Berkeley, and graduate student Emile Hoskinson knew that
many other researchers had failed to produce a quantum whistle by
pushing helium-4 through a tiny aperture, which must be no bigger than
a few tens of nanometers across - the size of the smallest viruses and
about 1,000 times smaller than the diameter of a human hair.

To their surprise, however, a chorus of thousands of nano-whistles
produced a wail loud enough to hear. This is the first demonstration
of whistling in superfluid helium-4. According to Packard and
Hoskinson, the purity of the tone may lead to the development of
rotation sensors that are sufficiently sensitive to be used for Earth
science, seismology and inertial navigation.

"You could measure rotational signals from an earthquake or build more
precise gyroscopes for submarines," Packard speculated.

Four years ago, Packard and his coworkers built and successfully
tested a gyroscope based on quantum whistling in superfluid helium-3.
But that required cooling the device to a few thousandths of a degree
above absolute zero, a highly specialized and time-consuming process.
Because the new phenomenon exists at 2 Kelvin - a temperature
achievable with off-the-shelf cryo-coolers - the proposed sensors also
will be user-friendly to scientists unfamiliar with cryogenic
technology. A temperature of 2 Kelvin is the equivalent of minus 456
degrees Fahrenheit.

"Because these oscillations appear in helium-4 at a temperature 2,000
times higher than in superfluid helium-3, it may be possible to build
sensitive rotation sensors using much simpler technology than
previously believed," the researchers wrote in a brief communication
appearing in the Jan 27 issue of the journal Nature.

Packard noted that sensitive rotation or spin detectors could have
application in numerous fields, from geodesy, which charts changes in
the spin and wobble of the Earth, to navigation, where gyroscopes are
used to guide ships. Though little is now know about the rotational
signals from earthquakes, having a sensitive rotation detector might
reveal new and interesting phenomena.

Quantum whistling is analogous to a phenomenon in another macroscopic
quantum system, a superconductor, which develops an oscillating
current when a voltage is applied across a non-conducting gap. Nobel
Laureates Philip Anderson, Brian Josephson and Richard Feynman
predicted in 1962 that the same would happen in superfluids. In the
case of superfluids, however, a pressure difference across a tiny hole
would cause a vibration in the superfluid at a frequency - the
Josephson frequency - that increases as the pressure increases. The
fact that the fluid oscillates back and forth through the hole rather
than flows from the high-pressure side to the low-pressure side, as a
normal liquid would, is one of the many weird aspects of quantum
systems like superfluids.

Eight years ago, Packard and fellow UC Berkeley physicist Seamus
Davis, now at Cornell University, heard such vibrations when pushing
superfluid helium-3 through a similar array of 4,225 holes, each 100
nanometers across. Though no simple feat - it took them 10 years to
make their experiment whistle, working at one thousandth of a degree
Kelvin - it's theoretically easier than with helium-4.

For helium-4 to whistle, physicists predicted that the holes either
had to be much smaller, pushing the limits of today's technology, or
the temperature had to be within a few hundred thousandths of a degree
of the temperature at which helium-4 becomes a superfluid, that is, 2
Kelvin. While working with an array of holes 70 nanometers across,
essentially testing the apparatus with helium-4 before using it to
conduct a helium-3 experiment, Hoskinson was surprised when he put on
earphones and heard the characteristic pennywhistle sound as the pitch
dropped with the pressure in the device.

"Predictions on where the Josephson oscillations would occur put them
much closer to the transition temperature than I could hope to go,"
Hoskinson said. "The fact that I could detect the oscillations with
the set-up I had was amazing in itself, and something we're very
interested in exploring."

He and Packard calculated that the tones were due to a different
mechanism, phase slippage, than that producing the whistle in
helium-3, though it follows the same relationship between frequency
and driving pressure. Phase slippage shouldn't have produced a pure
tone at all. The vibrations at the holes should shift randomly and get
lost in the noise. Even if phase slippage did produce a constant tone
in a single hole, the whistles from the array of 4,225 holes should
have been out of phase and the resulting sound less than 100 times
louder than that from a single hole.

Apparently, Packard said, the vibrating holes somehow achieved
synchrony, like crickets chirping in unison on a summer evening,
amplifying the sound 4,000 times higher - loud enough to be heard
above the background noise of the experiment.

"For 40 years, people have been trying to see something like this, but
it has always been with single apertures," Hoskinson said. "Maybe it's
true that you don't get coherent oscillations with a single aperture,
but somehow, with an array of apertures, the noise is suppressed and
you hear a coherent whistle."

"There was no reason to expect that. I still think it's amazing," Packard added.

The research by Packard, Hoskinson and post-doctoral fellow Thomas
Haard is supported by the National Science Foundation and by the
National Aeronautics and Space Administration.

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In a message dated 1/28/05 1:51:29 PM, xxxxxxxxxxx@xxxxx.xxx writes:


> anybody else getting these for no reason right now?
> 

I get them sporadically from all my hyperreal.org lists.   I'm at AOL.
Could be something about the volume of messages from   hyperreal being 
filtered as spam.
Check with yahoo.

mediadrome
international audiochrome, inc.

--Boundary_(ID_vH+NAkRPLV9Cac/OYAKLdA)--

From ???@??? Fri Jan 28 19:23:07 2005
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"if you can think of a better way to get ice, i'd like to hear it"

apu, the simpsons

vze26m98 wrote:

> Glenn Bach wrote on 1/28/05:
>
> >A very off-topic question: I'm looking for an article that appeared a
> >few months/years ago in _The New Yorker_ about contemporary
> >manufacturing and distribution of ice, particulary the competition
> >among several entrepreneurs for the title of "Ice King."
>
> Is this what you're looking for?  It's a review from the April 21, 2003
> issue of the New Yorker.  More general searches for "ice" and "king"
> didn't turn up much...
>
> "The Frozen-Water Trade, by Gavin Weightman (Hyperion; $23.95). The idea
> sounds fanciful: harvest ice in Massachusetts and sell it to people in
> the tropics. But the nineteenth-century entrepreneur Frederic Tudor was
> immune to ridicule and single-minded in his conviction that the ice
> trade could be profitable. He was also right. This entertaining history
> of his crusade to turn New England into the world's ice-maker shows how
> the combination of technological innovation and sharp marketing-Tudor
> trained bartenders to use ice in cocktails in order to illustrate the
> virtues of cold drinks-created an industry that sold thousands of tons
> of ice a year to places like India, Cuba, and the American South. As a
> case study of the entrepreneurial mind, Weightman's book reminds us that
> creating demand can be as important as meeting it."
>
> Best,
>
> <xxxxxxxx@xxxxxxxxx.xxx>
>
> ---------------------------------------------------------------------
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yes i've been getting these messages and i have notice
some microsound messages being diverted to the bulk
mail bin and i too have plenty of space in the
account..--jeff gburek
--- Jorge Blank <xxxxxxxxxxx@xxxxx.xxx> wrote:

> anybody else getting these for no reason right now?
> 
> I've been getting them every so often, though there
> is
> no reason why microsound should be bouncing from my
> email account since nothing else is and I have
> plenty
> of space.
> 
> ideas?
> 
> jorge
> 
> 
>                 
> __________________________________ 
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> 


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From ???@??? Fri Jan 28 18:51:14 2005
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anybody else getting these for no reason right now?

I've been getting them every so often, though there is
no reason why microsound should be bouncing from my
email account since nothing else is and I have plenty
of space.

ideas?

jorge


                
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From ???@??? Fri Jan 28 18:16:21 2005
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On Jan 28, 2005, at 10:33 AM, Michal Seta wrote:

> PD has the same right-to-left principle.  The ambiguities arise  in
> situations where there are several patch chords originating at the same
> outlet.

Right.

>  Regardless
> of theoretical premise of the right-to-left principle, taking the
> necessary steps to enforce the order in a crucial situation is simply
> good practice.  Treatment with the slightest bit of care :)

I agree here for the most part. On occasion though I'm lazy, and for 
code I'm likely to never edit again, I like being able to knock it out 
without trigger objects. ;-)

> I do agree with the fact that (visual) dataflow languages don't scale
> well.  Regardless of how well you encapsulate and abstract, large
> projects are not easy to manage.  However, I don't follow Max
> development and I haven't been near it in years, maybe it makes it
> easier now.  I speak from a point of view of a PD user.

I find that keeping a notebook (virtually or otherwise), or liberally 
commenting, is necessary for big projects. It can really help 
sometimes.

- John


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From ???@??? Fri Jan 28 18:05:20 2005
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From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] [OT] question about New Yorker article on ice
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Glenn Bach wrote on 1/28/05:

>A very off-topic question: I'm looking for an article that appeared a
>few months/years ago in _The New Yorker_ about contemporary
>manufacturing and distribution of ice, particulary the competition
>among several entrepreneurs for the title of "Ice King."

Is this what you're looking for?  It's a review from the April 21, 2003
issue of the New Yorker.  More general searches for "ice" and "king"
didn't turn up much...

"The Frozen-Water Trade, by Gavin Weightman (Hyperion; $23.95). The idea
sounds fanciful: harvest ice in Massachusetts and sell it to people in
the tropics. But the nineteenth-century entrepreneur Frederic Tudor was
immune to ridicule and single-minded in his conviction that the ice
trade could be profitable. He was also right. This entertaining history
of his crusade to turn New England into the world's ice-maker shows how
the combination of technological innovation and sharp marketing-Tudor
trained bartenders to use ice in cocktails in order to illustrate the
virtues of cold drinks-created an industry that sold thousands of tons
of ice a year to places like India, Cuba, and the American South. As a
case study of the entrepreneurial mind, Weightman's book reminds us that
creating demand can be as important as meeting it."

Best,



<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Fri Jan 28 17:24:25 2005
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hi list!

i fought the post-blizzard down to the radio last night and performed 
for an hour.

solo, i don't know if i'll try that marathon again soon, but hear the 
music here

http://www.bsrlive.com/archives/playlist.php?p=1813

mono, and at 128k

microphone, bells, melodica, casio sk-8, max/msp, max/msp problems....

b. 


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Hey, all.

A very off-topic question: I'm looking for an article that appeared a 
few months/years ago in _The New Yorker_ about contemporary 
manufacturing and distribution of ice, particulary the competition among 
several entrepreneurs for the title of "Ice King."  (?)  Does this ring 
a bell?  I've tried googling, library searches, etc.  Anyone know of 
this article, or if there is an index of New Yorker articles online 
somewhere?

Any replies off-list would be greatly appreciated.

Thanks,

G.

P.S.  It may have appeared in Harper's, but I'm 80% sure it was The New 
Yorker . . .  The New Yorker website doesn't allow you to search their 
archives . . .



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From ???@??? Fri Jan 28 17:11:13 2005
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Subject: [microsound] mpls : 2/1/05 : every other tuesday : bryce beverlin ii +
 john     davis, abinadi meza, bill lang + brock davis + alden ikeda
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Every Other Tuesday
Experimental / improvised performance at Acadia

Tuesday February 1st, 2005

1st set : John Davis: bass, Bryce Beverlin II : drums
The town continually searches for new ways to dispose of waste in a sound,
environmentally safe manner. To that end, the town operates a
comprehensive, curbside recycling program, removing from the waste stream
those items which can be successfully recycled. In considering the
environmental hazards posed by certain household chemicals, the town
implemented a program called S.T.O.P. (Stop Throwing Out Pollutants). This
program takes ordinary household chemicals such as cleaning sprays,
paints, etc. and disposes of them in a way that safeguards our
environment. The town holds 10 "S.T.O.P. DAYS" a year at various locations
around the town. Look for one in your community.

2nd set : Abinadi Meza : laptop
Meza is a sound artist and visual artist who creates soundscapes from
original field recordings and sound from film. Recently returned from
performing a radio/ installation piece in Stockholm, Sweden, Meza will
also will perform in the upcoming Spark Festival of Electronic Music and
Art in Minneapolis this February. More info: http://www.abinadimeza.net

Meza will present a laptop performance this Tuesday at the Acadia,
improvising a soundscape from various sources including field recordings
and other found audio.

3rd set: Bill Lang : tenor saxophone, Alden Ikeda : drums and eklectronics
Lang and Ikeda have been performing improvised music off on with each  for
the past 20 years. The roots of it seem to get deeper and darker, like
some kind of weird plant.

Acadia Cabaret Theater
1931 nicollet avenue south
(corner of nicollet & franklin)
Minneapolis MN
8 pm door-- music at 8:20
$3  -- all ages
http://www.acadiacafe.com

The Acadia's been a smoke-free venue since before it was hip. The cafe
next door serves food and beverages (including wine and beer), which
patrons are permitted to take into the theater with them.

The acadia closes at 11 pm, so performances must be over by then. The show
usually wraps up well before, so it's a pretty early night for a Tuesday.

View the schedule online:
http://tcmusic.net/musicianschedule1449.html

To hear mp3s of performances from E.O.T. and related events in Minneapolis
St Paul, drop by the Earliest Convenience page:
http://www.juniorbirdman.com/earliestconvenience

For further discussion and promotion of experimental and improvised music
in the twin cities, join the tc experimental music yahoogroup at
http://yahoogroups.com/group/tc_experimental_music

Enjoy!
Mike Hallenbeck
Cruise director
Every Other Tuesday series

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From ???@??? Fri Jan 28 16:17:05 2005
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hi

( 05.01.28 17:06 +0100 ) Noisejihad:
> Can anybody recommend a good, free firewall for windoze?

http://gentoo.org/
http://openbsd.org/ [if you're really paranoid]

but to install, you'd need to wipe windoze, or put another machine on
the network in front of it. it might be easier to buy one of those
linksys router-firewall things.

-- 
\js      http://or8.net/~johns              ;`^+{"-&=     '>>  ^   
iraq body count: 15,495 [min] 17,723 [max] 

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--Boundary_(ID_ieU2FLIsmfici0+j/fCujA)
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7bit

Can anybody recommend a good, free firewall for windoze?

-Lars
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
Next: Electrical Bonding on Desolation House >>> www.desolationhouse.com
Now: Uncomfortable Positions - mp3-ep on Fukk God >>> www.fukkgod.org
key to knowledge on danish noise >>> www.noisejihad.dk
art >>> www.ideations.dk
www.waldchengarten.dk
--Boundary_(ID_ieU2FLIsmfici0+j/fCujA)--

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John Nowak <xxxx@xxxxxxxxx.xxx> writes:

> I much prefer this method to that of Pd. At least in Max, I can look
> and see exactly what will happen. In Pd, which resolves ambiguity via
> order of object creation, I haven't the slightest clue what will
> happen when looking at it. The right-to-left nature of Max often makes
> code easier to read, saves time, and if treated with the slightest bit
> of care, never causes any issues.

PD has the same right-to-left principle.  The ambiguities arise  in
situations where there are several patch chords originating at the same
outlet.  I have run into ordering ambiguities problems with Max in the
past (note that it might have gotten much better in the past 4-6
years) and order forcing/ensuring I learned with Max, in fact.  Regardless
of theoretical premise of the right-to-left principle, taking the
necessary steps to enforce the order in a crucial situation is simply
good practice.  Treatment with the slightest bit of care :)

>  > On the
> negative side, as many people have mentioned, it doesn't scale
> well; large programs tend to become heaps of spaghetti unless
> one spends inordinate amounts of time laying them out.
> 
> Again, if you encapsulate properly, you should, generally speaking,
> never have more than 20 or so objects visible in any one patch. I
> rarely, if ever do. Hardly a mess.

I do agree with the fact that (visual) dataflow languages don't scale
well.  Regardless of how well you encapsulate and abstract, large
projects are not easy to manage.  However, I don't follow Max
development and I haven't been near it in years, maybe it makes it
easier now.  I speak from a point of view of a PD user.

I do agree, however, that 'heaps of spaghetti' whether laid out or not
are bad programming habit.

../MiS


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http://osdir.com/Article3823.phtml


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Michal Seta wrote on 1/27/05:

>Not that I have something against Mr Dannenberg but the definition on
>wikipedia (if one can consider it a reliable resource) is a little
>more general than Mr Dannenberg's pedantic categorization.

>> >operations. Dataflow languages share some features of functional
>> >languages, and were generally developed in order to bring some
>> >functional concepts to a language more suitable for numeric
>> >processing." 

Michael-

Please explain to me what's more "general" about the Wikipedia
definition.  Saying that data-flow languages partake of functional
concepts seems pretty specific to me.

Best,

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On Jan 27, 2005, at 11:51 AM, vze26m98 wrote:

> I think there's some debate as to whether Max/MSP/Pure Data qualifies 
> as
> a data-flow language:
>
> "The term "data-flow" is not a good description of Max except for the
> intuition. Data-flow computers and languages are based on the idea that
> (parallel) computations can be synchronized by data. For example, an
> addition operator would wait for its two operands before adding them.
> Note that this is not at all how Max works.

This is not how Max objects work by default. However, you can certainly 
implement abstractions that work this way. I have a "syncro" 
abstraction which works similar to the one in Prograph in that it waits 
until both inlets have data available, and then forwards the data 
ahead. Regardless, I'm not aware that this is critical for classifying 
something as a dataflow language.

> I will not argue that Max should work this way,

I'm quite glad it doesn't actually.

> but since it doesn't, one should not call it a
> data-flow language. I think "patch language" or "visual programming
> language" are better terms.

Unfortunately, the former will make no sense to someone who isn't 
familiar with Pd/Max, and the latter is too generalized to impart any 
real meaning.

> For the rest try:
> <http://cf.hum.uva.nl/mmm/papers/dh-93-b.txt>

I've read this before, and I feel compelled to write a "The Mins of the 
Mins of Max" paper. Many of the arguments given are just utter 
nonsense.

Here we go, briefly:

- - -

 > The term "data-flow" is not a good description of Max except
for the intuition.

This is of course debatable, or at least, this list doesn't agree upon 
that.

 >  I would add that, despite
statements in the manuals and documentation, Max is not an
object-oriented language.

I assume things were different before, but now Max is only referred to 
(correctly) as an object-based language. All of the nonsense attached 
to the definition OO languages is unfortunate in my opinion. I'd prefer 
a term that's less misleading, but oh well. That said, it is a good 
thing that Max is not a true OO language for a number of reasons I 
don't want to get into here.

 > To me, Max seems to be an imperative language based on timed
streams of values flowing through a static network of objects.

Again, perhaps this came about after this was written, but Max does not 
require you to have a static network. Building networks that reconnect 
themselves, replace parts of themselves, etc, is entirely possible.

 > Max is claimed to be a music system or musical language, but
the only idea of music that Max has is in the (unnecessarily)
low-level form of MIDI messages. It does not provide primitives
(e.g., notes, chords or ornaments), or control structures
(e.g., repeat or slow down)

Thank god.

 > Computation time becomes involved in the problem of timing;
if one datum needs a bit more computation than another, it will
arrive later at the point at which they are combined. This can
break the algorithm, forcing the user to rely on the work-
arounds provided (a special re-synchronizing module).

If you program in such a way that two parts of a program are racing 
each other, this is unavoidable. And even then, output from the two 
competing processes can be easily synced later.

 > "Even if an algorithm works well, a tiny change ... may break
it."

Not only do I not understand where this claim comes from, but hell, Max 
is much harder to mess up than most any textual programming language. 
Miss some whitespace in Python, and it all goes to hell. Forget a 
semicolon in C, and you're not going anywhere. Etc.

 > in the Opcode version of Max, there is a potentially
confusing and dangerous mechanism that acts automatically on
ambiguities in order; graphic positioning of connections
between objects on the screen will determine the message-
passing order between these objects.

I much prefer this method to that of Pd. At least in Max, I can look 
and see exactly what will happen. In Pd, which resolves ambiguity via 
order of object creation, I haven't the slightest clue what will happen 
when looking at it. The right-to-left nature of Max often makes code 
easier to read, saves time, and if treated with the slightest bit of 
care, never causes any issues.

 > But one has to keep
in mind that not all abstractions can be expressed well
graphically. Nested loops, variables, references, match
patterns, computation history, and recursion are among the
constructs with which the conversational mode, in the form of a
formal language, can deal much better.

Well of course a dataflow language (or whatever you want to call it) 
will not let you directly translate code written for a traditional 
control flow language. That said, it is still very easy to implement 
things like recursion in Max, and the segmented patch cord that loops 
back make it very easy to spot. Computations can be stored if desired. 
Even global variables are possible to emulate in a naturally reusable 
way. I have the abstractions to prove it. You simply send a message via 
a send object to a receive which talks to the variable. The message you 
send contains a pointer (yes, I'm using the term loosely) back to a 
receive where the message was sent from. The receive at the variable 
holding object (be it an int, float, whatever) sets a forward to send 
to the receive that is being pointed to, and then sends the data to the 
forward object. You can abstract it as such that you just store your 
data in a "variable" object, and then access it whenever you want via a 
"getvariable" object. Of course to change the value in the variable, 
you'd just send data to a send object with the variable name as an 
argument. The point is though, I've only had to do this once in my 
history of Max programming, and this was for a very unique situation. 
If you find yourself wanting to use variables all the time in Max, 
you're thinking in a control flow way, not a dataflow way.

 > Max supports
further extensibility in the form of procedures written in the
C language, instead of the ability to abstract from the
primitives in the language itself.

This is just false -- perhaps it was different 12 years ago.

 > Furthermore, because Max is advertised as a
language with an object-oriented flavor, one would expect a
versatile system of data types (classes) and polymorphic
modules (objects), which adapt their processing to the type of
incoming data and their own identity.

Max uses a system similar to prototypes, which has been proved to be 
approximately functionally equivalent to classes, except that with 
prototypes you don't have to waste your time making classes for one-off 
objects, etc. Many fully-featured textual OO languages (Self, 
Javascript, Rebol, etc) let you work just fine without any classes.
http://c2.com/cgi/wiki?PrototypeBasedProgramming

 > Instead the neat old-fashioned block diagrams [e.g., of Music
V-style instruments] that we used to see in articles (e.g., in
the older ICMC proceedings), now awkward looking Max patches
are often presented-no different symbols for modules, no
different line types for different signal types, and a mess of
wires. Even if the latter can be cleaned up, users often have
to spend more time cleaning up the patch than creating it
because the graphical editor does not support state-of-the-art
consistency maintenance when moving modules, multiple moves
etc.

This is simply not true in the case of a decent Max programmer who 
understands the importance of encapsulation. While Max could use some 
things to speed graphical building (a clean up command a la Pd, a key 
command for new objects), generally the graphical nature encourages far 
more productivity than it wastes time.

 > On the
negative side, as many people have mentioned, it doesn't scale
well; large programs tend to become heaps of spaghetti unless
one spends inordinate amounts of time laying them out.

Again, if you encapsulate properly, you should, generally speaking, 
never have more than 20 or so objects visible in any one patch. I 
rarely, if ever do. Hardly a mess.

 > I would like to
be able to click on a "code" object and have a window with
editable C open up.

Such a thing is now possible via the js and maxlisp objects.

- - -

Alright, I realize I just provided a rebuttal for something that's 12 
year old, and things have changed since then, but if people are going 
to continue citing it then I suppose it won't hurt if I procrastinate 
my Max building and write this instead. Okay, back to work.

- John


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From ???@??? Fri Jan 28 06:34:41 2005
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Date: Fri, 28 Jan 2005 01:34:28 -0500
From: earphone <xxx@xxxxxxxx.xxx>
Subject: [microsound] call for works : earphone music
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greetings,

earphone music, invites you to submit a track for inclusion on our 
first compilation cd entitled: earphone 01.

earphone music's goal is to document new electronic sound works that 
are either software or hardware derived.  the area of our interest is 
in the genres of: microsound, lowercase, or something that loosely fits 
in within those terms.

the scheduled date of release is: april 2005, so please have works to 
us by, march 1st 2005.

we are also interested in artwork and/or a design for the cover.

 > guidelines:

1. please try to keep tracks under 5 minutes so we can have at least 14 
artists on the cd.
2. you may submit more than one track, but only one will be on the 
"earphone 01" compilation.
3. you can submits tracks in any format you wish as long as the file 
specs are at least, 44.1kHz @ 16bits, you can submit audio files on cd, 
if you prefer.

 > what you get:

1. to be part of an ongoing series of documents of electronic music.
2. you will receive 10 copies of the CD that includes your track, a 
biography with links on our site, etc.
3. our unending appreciation for sharing your work.

 > where to send:

m.mcnulty
620 park ave #319
rochester,  ny 14607
u.s.

if you have questions please e-mail: xxx@xxxxxxxx.xxx

thank you,
marc


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From ???@??? Fri Jan 28 06:10:34 2005
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On Jan 27, 2005, at 8:28 PM, Michal Seta wrote:

> John Nowak <xxxx@xxxxxxxxx.xxx> writes:
>
>> In summary, Pd will be your new god, and dataflow programming will be
>> your new religion. Convert immediately.
>
> and to become a true follower and experience some serious community
> brainwashing, by all means join #dataflow channel on irc.freenode.org.
> You will even be allowed to talk about any other dataflow type
> programming languages if you feel inclined.

I've been meaning to do this, but I've been having trouble connecting 
from my dorm's network. I'll go kick some administrator ass or 
something.

> Better even, there will be developers meetings on the channel in a
> very near future so you may even get a chance to voice your opinion.
> See you there.

Lovely!

- John


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vze26m98 <xxxxxxxx@xxxxxxxxx.xxx> writes:

> Michal Seta wrote on 1/27/05:
> 
> >"In computer programming, dataflow languages are a class of
> >programming languages that model the program, conceptually if not
> >physically, as a directed graph of the data flowing between
> >operations. Dataflow languages share some features of functional
> >languages, and were generally developed in order to bring some
> >functional concepts to a language more suitable for numeric
> >processing." 
> >
> >Perhaps some definitions have changed since 1993.
> 
> Michael-
> 
> I don't see how your quote supports an argument for a changed definition
> of data-flow languages.  This seems like a classic definition of
> data-flow and one that Dannenberg wouldn't disagree with either.  

ok, sorry, I snipped too much of the Dannenberg quote.  Relevant
portion included below for your convenience.

"The term "data-flow" is not a good description of Max except for the
intuition. Data-flow computers and languages are based on the idea that
(parallel) computations can be synchronized by data. For example, an
addition operator would wait for its two operands before adding them.
Note that this is not at all how Max works. I will not argue that Max
should work this way, but since it doesn't, one should not call it a
data-flow language. I think "patch language" or "visual programming
language" are better terms."

Not that I have something against Mr Dannenberg but the definition on
wikipedia (if one can consider it a reliable resource) is a little
more general than Mr Dannenberg's pedantic categorization.

../MiS


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Michal Seta wrote on 1/27/05:

>"In computer programming, dataflow languages are a class of
>programming languages that model the program, conceptually if not
>physically, as a directed graph of the data flowing between
>operations. Dataflow languages share some features of functional
>languages, and were generally developed in order to bring some
>functional concepts to a language more suitable for numeric
>processing." 
>
>Perhaps some definitions have changed since 1993.

Michael-

I don't see how your quote supports an argument for a changed definition
of data-flow languages.  This seems like a classic definition of
data-flow and one that Dannenberg wouldn't disagree with either.  

Best,

<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Fri Jan 28 02:16:31 2005
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From: colin <xxxxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] EM videos
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only saw 'drive' so far .. .. but i liked it!! 

-----Original Message-----
From: Joao Duarte <xx.xxx.xxx@xxxxxxx.xx>
Sent: Jan 27, 2005 1:58 PM
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] EM videos

Here are some nice EM video clips for your enjoyment: 
http://www.geocities.com/pygar_pygar/index.html

Have fun!

http://pwp.netcabo.pt/op.cab.pol/index.html

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vze26m98 <xxxxxxxx@xxxxxxxxx.xxx> writes:

> I think there's some debate as to whether Max/MSP/Pure Data qualifies as
> a data-flow language:
> 
> "The term "data-flow" is not a good description of Max except for the
> intuition. Data-flow computers and languages are based on the idea that
> (parallel) computations can be synchronized by data. For example, an

[..snip..]

"In computer programming, dataflow languages are a class of
programming languages that model the program, conceptually if not
physically, as a directed graph of the data flowing between
operations. Dataflow languages share some features of functional
languages, and were generally developed in order to bring some
functional concepts to a language more suitable for numeric
processing." 

Source - http://en.wikipedia.org/wiki/Dataflow_language

Perhaps some definitions have changed sine 1993.

../MiS


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John Nowak <xxxx@xxxxxxxxx.xxx> writes:

> In summary, Pd will be your new god, and dataflow programming will be
> your new religion. Convert immediately.

and to become a true follower and experience some serious community
brainwashing, by all means join #dataflow channel on irc.freenode.org.
You will even be allowed to talk about any other dataflow type
programming languages if you feel inclined.

Better even, there will be developers meetings on the channel in a
very near future so you may even get a chance to voice your opinion.
See you there.

../MiS


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Date: Thu, 27 Jan 2005 19:08:11 -0500
From: ndkent <xxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] what d'ya know Ondes Martinot...
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>
> ----- Original Message -----
> From: "th_ost" <xxxxxx@xxx.xxx>
> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Thursday, January 27, 2005 7:34 AM
> Subject: Re: [microsound] Ondes Martinot...
>
> i am very interested in the ondes martenot, but found it hard to find
> recordings of it, especially unacommpanied ones.
> the only one i have is a recording of olivier messiaen's turangalila
> symphony conducted by seiji ozawa.

that 3 CD "OHM" set (released by the Elipsis Arts label in 2000) of 
(mostly) historic electronic music has a Messaien piece - for 4 ondes
here goes the album it's from (which I don't have)

http://www.amazon.ca/exec/obidos/ASIN/B000006EI8
(if the link doesn't work it's a 1990 CD recorded by and self titled  
"Ensemble d'Ondes de Montréal")

I think the key album (though surely not easily obtained) is a double 
1980 LP by Jeanne Loriod
"Les Ondes Martenot - 50e Anniversaire de leur invention " on the  
Musique Francais d'Aujourd'huis label cat# 21.007 ADÈS

That's got the full Messiaen "Fête des belles eaux" with the 6 Ondes 
ensemble, Millhaud & Jolivet pieces for Ondes and piano and then a 
newly commissioned piece (by Tessier) to play on a 6 ondes ensemble.


> does anybody know of other recordings?
> also, does anybody know how hard it would be to build one, given there 
> are
> schematics of it to be found (i am absolutely NOT an electronics dyi 
> person,
> just curious:(( )

It's vacuum tube technology though the inventor did update the 
technology and build some using more modern solid state components 
before he died. Though it's not really correct to simplify it quite so 
far, if you think about it,  the sound is basically sine waves (though 
often treated even mechanically resonated within the system) so I'd 
think at least as much of it's distinction is it's user interface.

I played a real one once for a couple minutes. You had the ring on wire 
that most people probably know about, but what's less known is the 
keyboard keys are baby sized and the whole mechanism rocks left and 
right for vibrato effects. So it's a little like a 2 part retinking of 
the theremin. You can do pitch sweeps. There's an accuracy to the 
sweeps that takes much longer to master on a real Theremin. But you 
still have manual vibrato... something well known to string players and 
vocalists but rarely taken advantage of in electronic music performance 
(where more or less fixed speed electronic LFOs rule when unexpressive 
samples aren't used).

By the way. Radiohead might very well have bought a real one with their 
considerable money since then but kind of like like Portishead and 
their "Theremin", what they were using when their first got associated 
with the Ondes, and seen in videos of them live was actually a 
newlymade Analogue Systems French Connection CV keyboard controller 
meant for their line of analogue synth modules. (likely a prototype to 
be exact) . Anyway maybe someone will clue me in as to where if 
anywhere he's or they're  playing a real Ondes rather than an Ondes his 
Analogue Systems inspired by synth controller.
http://www.analoguesystems.co.uk/controllers.htm
(scroll to the bottom keyboard)


Less expected movies with substantial Ondes playing in the scores are 
Maurice Jarre's "Passage to India" and Elmer Bernstein's "The Field". 
Takemitsu's "Rising Sun" (the Connery/Snipes film) along with several 
of his Japanese scores ("Legacy for the Future" was re-issued by DG 
Japan a few years back).

More expected are  "Ed Wood"  and "Ghost Busters" (also by Elmer 
Bernstein)

nicholas d. kent
www,technopop.info

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"still i can't help considering radiohead a bore trying to depress
teenagers, which, according to lisa simpson, is "like shooting fish in a
barrel"..."

There's truth in what little Lisa said, but still, I can't say it's quite as
boring as listening to the end result of the 56k challenge. Have you got
around to listening to "Hail to the Thief" yet? It's some very nice music,
maybe you'll find something to enjoy there. Lots of neat things going on.


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Project prolonged. Three submissions yet - give it a try. 3n is my favourite 
signal.
http://microsound.nexthop.net/bin/view.cgi/Main/RingTones

Other projects (56k, DerridaMemorial) to be found over at:
http://microsound.nexthop.net/bin/view.cgi/Main/CollaborativeAudio

/Björn Eriksson




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>>Got a problem with that? *lol*
(that: 
of all the musicmaking entities out there it has to be radiohead?!!!?;(((   )

yes!

well, actually not really, since (or rather: as long as) nobody forces me to listen to them.
the interview and other material on their website proved an interesting reading - so thanx for the info, nonetheless.
still i can't help considering radiohead a bore trying to depress teenagers, which, according to lisa simpson, is "like shooting fish in a barrel"...

th_ost




°°°
th_ost: tomoroh hidari_oliver stummer
acronymic symbiosis of alter & ego

http://www.tomoroh.com/
http://www.stiege44.com/
xxxxxx@xxx.xxx
ay, sigue:56825202

>> we gonna fight for your right to apathy... <<
°°°°°
--Boundary_(ID_ah19BrFh1FNBKgcdV8QaGg)--

From ???@??? Thu Jan 27 20:12:24 2005
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Date: Thu, 27 Jan 2005 12:11:17 -0800
From: roberth <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Ondes Martinot...
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on vinyl there was a musical heritage lp of messian chamber music, the ondes 
maritnot was not solo, but was in a small group setting.
i still see this record for cheap
robert
----- Original Message ----- 
From: "th_ost" <xxxxxx@xxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Thursday, January 27, 2005 7:34 AM
Subject: Re: [microsound] Ondes Martinot...


i am very interested in the ondes martenot, but found it hard to find 
recordings of it, especially unacommpanied ones.
the only one i have is a recording of olivier messiaen's turangalila 
symphony conducted by seiji ozawa.

does anybody know of other recordings?
also, does anybody know how hard it would be to build one, given there are 
schematics of it to be found (i am absolutely NOT an electronics dyi person, 
just curious:(( )

thanx for any info


oliver
°°°
th_ost: tomoroh hidari_oliver stummer
acronymic symbiosis of alter & ego

http://www.tomoroh.com/
http://www.stiege44.com/
xxxxxx@xxx.xxx
ay, sigue:56825202

>> we gonna fight for your right to apathy... <<
°°°°°
  ----- Original Message ----- 
  From: vze26m98
  To: microsound
  Sent: Thursday, January 27, 2005 15:51
  Subject: [microsound] Ondes Martinot...


  Maurice Martenot, luthier de l'electronique
  1990. , Quebec 312 p.
  Croissy-Beaubourg: Dervy. ISBN: 2-85076-333-0

  Special Features:
  illus., port., bibliog., list of works, discog., index

  Abstract:
  History of the ondes martenot, based in large part on interviews
  conducted with Maurice Martenot (the inventor), his wife, sisters, and
  sons; Marcel Maniere, Martenot's assistant during the last 30 years of
  his life; and performer Jeanne Loriod. Provides lists of performers;
  institutions that offer instruction in the instrument; places where one
  or more ondes martenot are to be found; and compositions featuring
  it.(Calderisi, Maria)


  <xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Thu Jan 27 20:02:57 2005
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Got a problem with that? *lol*
DaveX

of all the musicmaking entities out there it has to be radiohead?!!!?;(((


°°°°°
  ----- Original Message ----- 
  From: bruce tovsky
  To: microsound
  Sent: Thursday, January 27, 2005 18:15
  Subject: Re: [microsound] Ondes Martinot...


  i do believe that jonny greenwood of radiohead is one of
  the devotees of the ondes, and has featured it on recordings
  of his own music as well as radiohead's. you can hear his
  use of the ondes on the kid a/amnesiac sessions.
  here's a link to an interview in the computer music journal:
  http://www.ateaseweb.com/news/archive/001014.php
  cheers
  bruce

  On Jan 27, 2005, at 10:34 AM, th_ost wrote:

  > i am very interested in the ondes martenot, but found it hard to find
  > recordings of it, especially unacommpanied ones.
  > the only one i have is a recording of olivier messiaen's turangalila
  > symphony conducted by seiji ozawa.
  >
  > does anybody know of other recordings?
  > also, does anybody know how hard it would be to build one, given there
  > are schematics of it to be found (i am absolutely NOT an electronics
  > dyi person, just curious:(( )
  >
  > thanx for any info

  bruce tovsky
  www.skeletonhome.com


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From ???@??? Thu Jan 27 20:02:59 2005
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Date: Thu, 27 Jan 2005 12:02:49 -0800 (PST)
From: Wayne Jackson <xxxxxxx@xxxxx.xxx>
Subject: [microsound] RE: MIDI software question/webcam as a controller?
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> I=B9m looking for software that will accomplish a
somewhat 
> simple task: using
> a webcam to detect color, motion, light, etc and
translate 
> that information
> into midi information. 

Tim Thompson has implemented this as an undocumented part
of his KeyKit algorithmic music framework (for Windows
only, so far as I know):

http://nosuch.com/keykit/

I've played with it personally and the results are very
compelling.

You should contact Tim personally with any questions.

-Wayne
xxxxxxx@xxxxx.xxx


                
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of all the musicmaking entities out there it has to be radiohead?!!!?;(((



°°°
th_ost: tomoroh hidari_oliver stummer
acronymic symbiosis of alter & ego

http://www.tomoroh.com/
http://www.stiege44.com/
xxxxxx@xxx.xxx
ay, sigue:56825202

>> we gonna fight for your right to apathy... <<
°°°°°
  ----- Original Message ----- 
  From: bruce tovsky 
  To: microsound 
  Sent: Thursday, January 27, 2005 18:15
  Subject: Re: [microsound] Ondes Martinot...


  i do believe that jonny greenwood of radiohead is one of
  the devotees of the ondes, and has featured it on recordings
  of his own music as well as radiohead's. you can hear his
  use of the ondes on the kid a/amnesiac sessions.
  here's a link to an interview in the computer music journal:
  http://www.ateaseweb.com/news/archive/001014.php
  cheers
  bruce

  On Jan 27, 2005, at 10:34 AM, th_ost wrote:

  > i am very interested in the ondes martenot, but found it hard to find 
  > recordings of it, especially unacommpanied ones.
  > the only one i have is a recording of olivier messiaen's turangalila 
  > symphony conducted by seiji ozawa.
  >
  > does anybody know of other recordings?
  > also, does anybody know how hard it would be to build one, given there 
  > are schematics of it to be found (i am absolutely NOT an electronics 
  > dyi person, just curious:(( )
  >
  > thanx for any info

  bruce tovsky
  www.skeletonhome.com


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From ???@??? Thu Jan 27 18:59:21 2005
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Date: Thu, 27 Jan 2005 18:58:53 +0000
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Here are some nice EM video clips for your enjoyment: 
http://www.geocities.com/pygar_pygar/index.html

Have fun!

http://pwp.netcabo.pt/op.cab.pol/index.html
--Boundary_(ID_NFb5lSWsLDbYvVz2h6ZHBg)--

From ???@??? Thu Jan 27 18:35:23 2005
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Date: Thu, 27 Jan 2005 12:39:49 -0600
From: DaveX <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] Yasunao Tone
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The same goes for me. Contact us both. Maybe a combined effort will help
uncover a recording of his...

DaveX

> I'm looking for any live performances or other rare audio by Yasunao
> Tone. Should you have something please contact me and we can work out a
> trade.
> Please contact me off list.
>
> best,
> Jacob
>
>
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Subject: [microsound] Yasunao Tone
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Hi

I'm looking for any live performances or other rare audio by Yasunao 
Tone. Should you have something please contact me and we can work out a 
trade.
Please contact me off list.

best,
Jacob


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From ???@??? Thu Jan 27 17:42:26 2005
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Subject: Re: [microsound] Ondes Martinot...
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I think the Messiaen piece Oraision on the compilation OHM early 
pioneers of electronic music is a solo for ondes martenot. Also 
Messiaen's opera St Francois d'Assise features an ondes martenot trio.

jonathan


On Jan 27, 2005, at 9:15 AM, bruce tovsky wrote:

> i do believe that jonny greenwood of radiohead is one of
> the devotees of the ondes, and has featured it on recordings
> of his own music as well as radiohead's. you can hear his
> use of the ondes on the kid a/amnesiac sessions.
> here's a link to an interview in the computer music journal:
> http://www.ateaseweb.com/news/archive/001014.php
> cheers
> bruce
>
> On Jan 27, 2005, at 10:34 AM, th_ost wrote:
>
>> i am very interested in the ondes martenot, but found it hard to find 
>> recordings of it, especially unacommpanied ones.
>> the only one i have is a recording of olivier messiaen's turangalila 
>> symphony conducted by seiji ozawa.
>>
>> does anybody know of other recordings?
>> also, does anybody know how hard it would be to build one, given 
>> there are schematics of it to be found (i am absolutely NOT an 
>> electronics dyi person, just curious:(( )
>>
>> thanx for any info
>
> bruce tovsky
> www.skeletonhome.com
>
>
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From ???@??? Thu Jan 27 17:43:23 2005
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Ok... thanks for the encouragement, folks. Here's a
link to the full text of tonight's (thursday) show of
Antimatter and Miba in San Francisco.

www.bayimproviser.com/luggagestore

I'll only post events here that are likely to be
interesting in a "microsound" context.

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bruce tovsky wrote on 1/27/05:

>i do believe that jonny greenwood of radiohead is one of
>the devotees of the ondes, and has featured it on recordings
>of his own music as well as radiohead's.

Jeanne Loriod was supposed to record w/Radiohead, but sadly passed
away...

<xxxxxxxx@xxxxxxxxx.xxx>

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 FILETIME=[EF63C050:01C50494]

well, the windows version is not really complete. it lacks
e.g. scheduling, OSCresponder, GUI...

On Thu, Jan 27, 2005 at 04:34:28PM +0000, Edward George wrote:
> Actually, i seem to remember downloading a windows port of
> supercollider from sourceforge.
> So the option is there i reckon for windows people if they fancy it.
> 
> *PureData*

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i do believe that jonny greenwood of radiohead is one of
the devotees of the ondes, and has featured it on recordings
of his own music as well as radiohead's. you can hear his
use of the ondes on the kid a/amnesiac sessions.
here's a link to an interview in the computer music journal:
http://www.ateaseweb.com/news/archive/001014.php
cheers
bruce

On Jan 27, 2005, at 10:34 AM, th_ost wrote:

> i am very interested in the ondes martenot, but found it hard to find 
> recordings of it, especially unacommpanied ones.
> the only one i have is a recording of olivier messiaen's turangalila 
> symphony conducted by seiji ozawa.
>
> does anybody know of other recordings?
> also, does anybody know how hard it would be to build one, given there 
> are schematics of it to be found (i am absolutely NOT an electronics 
> dyi person, just curious:(( )
>
> thanx for any info

bruce tovsky
www.skeletonhome.com


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From ???@??? Thu Jan 27 16:51:52 2005
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John Nowak wrote on 1/27/05:

>nearly any type of application. Anyone who tells you that SC is more 
>powerful because it is a "real" or "textual" language is not familiar 
>with the true nature of dataflow programming. It is a very powerful and 

>In summary, Pd will be your new god, and dataflow programming will be 
>your new religion. Convert immediately.

John-

I think there's some debate as to whether Max/MSP/Pure Data qualifies as
a data-flow language:

"The term "data-flow" is not a good description of Max except for the
intuition. Data-flow computers and languages are based on the idea that
(parallel) computations can be synchronized by data. For example, an
addition operator would wait for its two operands before adding them.
Note that this is not at all how Max works. I will not argue that Max
should work this way, but since it doesn't, one should not call it a
data-flow language. I think "patch language" or "visual programming
language" are better terms. Since Max is not a data-flow language, it
lacks many of their nice properties. Interestingly, most signal
processing, and certainly DSP based on unit generators, is essentially
data-flow computation. Even the Max extensions for signal processing on
the IRCAM Signal Processing Workstation follow the data-flow paradigm,
resulting in a mismatch between the event-based Max operators and the
signal/data-flow-based Max operators. The boxes and lines look the
same, but the underlying semantics are quite different. This is a
manifestation of some of the problems that Desain and Honing describe."

Roger Dannenberg
Pittsburgh, Pennsylvania USA

For the rest try:

<http://cf.hum.uva.nl/mmm/papers/dh-93-b.txt>

Best,

<xxxxxxxx@xxxxxxxxx.xxx>

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>Supercollider doesn't run on Windows anyway

Actually, i seem to remember downloading a windows port of
supercollider from sourceforge.
So the option is there i reckon for windows people if they fancy it.

*PureData*

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On Jan 27, 2005, at 10:08 AM, john saylor wrote:

>> supercollider and puredata seem to be the best two choices.  which
>> should i learn first?
>
> pd
>
> cross platform
> active development
> 'cousin' of max
> can do as much as you have brain to make it
> open source
>
> you'll need to work to get it to do what you want- but it can do pretty
> much anything you'll want it to.

I agree with this 100%. Supercollider is more flexible only in the 
sense that signal objects can be manipulated more dynamically while 
audio processing is occurring, although often you can get the same 
thing done in Pd/Max via pre-scripting, matrix~ objects, etc. 
Otherwise, dataflow languages like Pd are hugely powerful for building 
nearly any type of application. Anyone who tells you that SC is more 
powerful because it is a "real" or "textual" language is not familiar 
with the true nature of dataflow programming. It is a very powerful and 
non-domain-specific paradigm.

That said, not everyone's brain is compatible with it. Some people find 
SC easier than Pd, although I'd say most of the time people find Pd 
easier (if for no other reason than that there is less initial shock).

Supercollider doesn't run on Windows anyway, so unless you're willing 
to switch to Linux or BSD (which you should of course, if for no other 
reason than to avoid people telling you to switch), you have to go with 
Pd. That said, it kicks ass. I prefer Max due to the tons of excellent 
documentation, easy standalone building, wider array of externals 
(although Pd is catching up for sure), and Jitter (although gridflow is 
also becoming very viable as far as I can tell). Of course you can 
always learn Pd and move to Max later if you want. I installed Pd for 
the first time a few weeks back, and I was able to begin working 
immediately. The only real differences are how ordering ambiguities are 
resolved (I prefer the Max method) how abstraction instantiation is 
dealt with in regards to arguments (I prefer the Pd method), and if you 
can edit abstractions or not (you can in Pd, and you can't in Max, but 
saving an editing abstraction in Pd is functionally equivalent to 
editing the original in Max anyway). There are of course many features 
that they do not share, but as far as the core concepts go, that's 
about it (as far as I can tell). Someone correct me if I'm missing some 
mid-level differences, which I likely am as I'm not Pd expert.

In summary, Pd will be your new god, and dataflow programming will be 
your new religion. Convert immediately.

- John


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From ???@??? Thu Jan 27 16:07:22 2005
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Date: Thu, 27 Jan 2005 11:08:43 -0500
From: Mike Hansen <xxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] CKLN FM's Whynot Jazz playlist  for January 12, 2005
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>
> Dear Artist and Label
>
> Welcome to the radio program Whynot Jazz on Toronto's CKLN FM 88.1. 
> Heard Every Wednesday Morning from 7am-11am est, 1pm thru most of 
> Europe and noon in the UK. Available around the world at:
>
> www.ckln.fm
>
> Here is the playlist from the last Whynot Jazz Program. Please note 
> that radio program, hosted by Mike Hansen, takes an outside 
> examination of new improvised and jazz musics. Whynotjazz is one of 
> the very few voices for progessive new music heard in Toronto or 
> around the world.
>
> Why Not?
> 2005/01/12
>
>
> Artist
> Song Title
> Album Title
> Label
>
>
> Keith Rowe/Burkhard Beins
> untitled
> Keith Rowe/Burkhard Beins
> Erstwhile Records
>
>
>
> Simon Fell Quartet2
> Kandinsky lines
> SFQ - Four Compositions
> Red Toucan Records
>
>
>
> Joe McPhee/Dominic Duval
> Sunday Improvisations 2
> Rules of Engagement
> Drimala Records
>
>
>
> The Sealed Knot
> 3
> Unwanted Object
> Confront
>
>
>
> Ken Aldcroft Group
> Things to Come
> Kirby Sideroad
> Trio Records
>
>
>
> A.Doerner/G.Kelley/A.Neumann/B.Rainey
> Thanks Cash pt3
> Thanks Cash
> Sedimental Records
>
>
>
> Steve Lacy/Phillip Jeck
> dw 1.2 remix 7.7
> New Jazz Meeting Badeb-Baden 2002
> Hathut
>
>
>
> Olaf Rupp/Lol Coxhill
> Galleria 2
> Poschiavo 2003
> Rio and Galleria
> Audiosementics
>
>
>
> R.U.B.
> Ahere and Now
> Are You Be
> Animul Records
>
>
>
> Paul Newman Open House
> Symmetry Part 5
> Symmetry
> independent
>
>
>
> Ateleia
> To Sell The Groud from
> Unborn Feet Forever...Swimming
> Against the Moments
> Antiopic
>
>
>
> Mimeo
> cd 1 part 2
> Lifting Concrete Lightly
> Serpentine Gallery
>
>
>
> Gastric Female Reflex
> ...A Contempted Opinion
> and Asked for Enacted
> Anci
> 3 ep's
> Gastric Influence
>
>
>
> Barnyard Drama
> Little Drama,Minor Madness and Barnyard Drama
> Memories and a List of Things to Do
> Barnyard Records
>
>
>
> Ken Aldcroft Group
> Dialog About a Dialog
> Kirby Sideroad
> Trio Records
>
>
>
> Albert Casaia/Hal Mcgee
> Non-Linear Array
> New Forms
> Omnid
>
>
>
> Jeff Gburek
> Improvisation 1
> Energarium
> Nurnictnur
>
>
>
> Brodie West/Han Bennick
> 7
> Vancouver and Banff
> Lorna Music
>
>
>
> Paul Newman Open House
> Symmetry pt 4
> Symmetry
> independent
>
>
>
> Tertiary Trio
> Brushes With Death
> Title Goes Here
> rcrcd
>
>
>
> Nilkos Veliotis
> 12:35
> Radial
> Confront
>
>
>
> Martin Tetreault/Otomo Yoshihide
> Grenoble no.3
> GRRR
> Dame
>
>
>
> Ritesh Das and the Toronto Tabla Ensemble
> Weaving
> Weaving
> Naxos World
>
> Your support is necessary in keeping this voice for the music current. 
> Please feel free to forward music to the address below. Thanks again 
> for your support. Keep Listening
>
>
> Thanks
> Mike
>
>
> Mike Hansen
> CKLN FM 88.1
> Whynot Jazz Program
> 79 Benson Ave.
> Toronto,On
> Canada
> M6G 2H7
> xxxxxxxxxx@xxxxxxx.xxx
>
>


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From ???@??? Thu Jan 27 15:38:22 2005
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From: th_ost <xxxxxx@xxx.xxx>
Subject: Re: [microsound] Ondes Martinot...
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i am very interested in the ondes martenot, but found it hard to find recordings of it, especially unacommpanied ones.
the only one i have is a recording of olivier messiaen's turangalila symphony conducted by seiji ozawa. 

does anybody know of other recordings? 
also, does anybody know how hard it would be to build one, given there are schematics of it to be found (i am absolutely NOT an electronics dyi person, just curious:(( )

thanx for any info


oliver
°°°
th_ost: tomoroh hidari_oliver stummer
acronymic symbiosis of alter & ego

http://www.tomoroh.com/
http://www.stiege44.com/
xxxxxx@xxx.xxx
ay, sigue:56825202

>> we gonna fight for your right to apathy... <<
°°°°°
  ----- Original Message ----- 
  From: vze26m98 
  To: microsound 
  Sent: Thursday, January 27, 2005 15:51
  Subject: [microsound] Ondes Martinot...


  Maurice Martenot, luthier de l'electronique
  1990. , Quebec 312 p. 
  Croissy-Beaubourg: Dervy. ISBN: 2-85076-333-0

  Special Features:
  illus., port., bibliog., list of works, discog., index

  Abstract:
  History of the ondes martenot, based in large part on interviews
  conducted with Maurice Martenot (the inventor), his wife, sisters, and
  sons; Marcel Maniere, Martenot's assistant during the last 30 years of
  his life; and performer Jeanne Loriod. Provides lists of performers;
  institutions that offer instruction in the instrument; places where one
  or more ondes martenot are to be found; and compositions featuring
  it.(Calderisi, Maria)


  <xxxxxxxx@xxxxxxxxx.xxx>

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http://www.news.cornell.edu/releases/Jan05/Wong.software.to.html


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From ???@??? Thu Jan 27 15:09:33 2005
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From: Onda Sonora Radio <xxxxxxxxxxxxxxx@xxxxx.xx>
Subject: [microsound] CONTENTS ONDA SONORA 26/01/05
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ONDA SONORA, Madrid (ES)

Radio Círculo de Bellas Artes 100.4 FM - Miércoles/Wednesday 15h - www.circulobellasartes.com 
Radio Autónoma 88.8 FM - Mar-Jue/Tue-Thu 16h - www.uam.es/ra
Escucha en directo a cualquier hora / Listen live real time - www.ondasonoraradio.com
_________________________________
CONTENTS ONDA SONORA 26/01/05
 
01. REUBER 
Track: Foreverof 
Album: VA Tempo Technik Teamwork
Label: Staubgold 
 
Timo Reuber es un músico electrónico de raíces psicodélicas que mantiene lazos musicales con Markus Detmer, fundador de Staubgold, en su proyecto conjunto Klangwart, y que recientemente publicaba, precisamente en este sello alemán, su tercer álbum, "Kintopp", un trabajo lleno de secuencias de diferentes contextos ensambladas a modo de collage. Este, sin embargo, es el corte de Reuber incluído en el último recopilatorio de Staubgold, "Tempo Technik Teamwork", un doble cd que documenta las múltiples caras de un sello polifacético
 
Timo Reuber is an electronic musician of psychedelic roots keeping musical knots with Markus Detmer (Staubgold founder) in their combined project Klangwart. He recently releaseded in this German label his third album, "Kintopp", a work filled with sequences of different contexts assembled as a kind of collage. This is, however, the track included by Reuber in the last compilation of the label, "Tempo Technik Teamwork", a double cd that documents the multiple faces of a versatile company
 
02. MINIT 
Track: Ij Muiden 
Album: Now Right Here 
Label: Staubgold 
 
Continuamos con Minit, un proyecto originario de Sydney con residencia actual en Berlin, formado por Jasmine Guffond y Torben Tilly. Se trata de un disco disturbante, mitad emocional mitad frío, mitad ruido, mitad armonía, titulado "Now Right Here", un trabajo que evoluciona hipnóticamente y se desarrolla a través de samplings, procesado digital y técnicas electroacústicas
 
We continue with Minit, a Sydney native project with current residence in Berlin, formed by Jasmine Guffond and Torben Tilly. It is a disturbing record, half emotional half cold, half noise, half harmony, entitled "Now Right Here", a work that evolves hypnotically and is developed through samplings, digital processing and electro-acoustic techniques
 
03. DEAN ROBERTS
Track: Part 1 
Title: And the Black Moths Play the Grand Cinema 
Label: Staubgold
 
Segundo trabajo del neozelandés Dean Roberts, originalmente publicado por Ritornell el año 2000 y recientemente reeditado por Staubgold, un álbum en el que Roberts posiblemente alcanzó la cima de su carrera, aunque ha continuado publicando varios discos más a través del sello Kranky
 
Second work of the neozelander Dean Roberts, originally released by Ritornell the year 2000 and recently reissued by Staubgold, an album in which Roberts maybe reached his higher point, although he has several more releases on the Kranky label
 
04. AUTISTIC DAUGHTERS 
Track: Spend It On The Enemy (While It Was Raining) 
Album: Jealousy and Diamond 
Label: Staubgold 
 
Proyecto conjunto de Dean Roberts junto a los vieneses Martin Brandlmayr (Radian, Trapist) y Werner Dafeldecker (a quien conocemos como componente de Polwechsel y por sus múltiples obras de colaboración con otros improvisadores de prestigio): The Autistic Daughters. Este es su primer trabajo: "Jealousy and Diamond", publicado a medias por Staubgold desde Alemania, en su versión vinilo, y Kranky en los Estados Unidos, en su versión cd
 
Project Dean Roberts together with the Vienesse artists Martin Brandlmayr (Radian, Trapist) and Werner Dafeldecker (we know him as a component of Polwechsel and for his multiple collaborative works with other prestiged improvisators): The Autistic Daughters. This is their first work together, released by both Staubgold from Germany, the vinyl version, and Kranky in the United States, the cd
 
05. BRANDLMAYR/ DAFELDECKER/ NEMETH/ SIEWERT 
Track: Part 5 
Album: Die Instabilität Der Symetrie
Label: Doc / Grob Recordings 
 
Desde Austria, el percusionista Martin Brandlmayr y el contrabajista Werner Dafeldecker, a quienes se unen en esta ocasión el músico electrónico Stefan Nemeth, director también del sello Mosz y el guitarrista y productor Martin Siewert, todos con un background musical común, dado que se han cruzado los unos con los otros muchas veces y en muy diferentes proyectos, del pop a la pura improvisación
 
From Austria, percusionist Martin Brandlmayr and bassist Werner Dafeldecker, joined in this occasion by electronic musician Stefan Nemeth, as well director of the Mosz label, and guitarist and productor Martin Siewert, all with a common musical background, since they have crossed each other many times and in very different projects, from pop music to pure improvisation
 
06. VITOR JOAQUIM 
Track: Vii 
Album: A Rose is a Rose 
Label: dOc 
 
Vitor Joaquim, artista multidisciplinar portugués que comenzó trabajando en teatro, cine e interpretación y que posteriormente comenzó a desarrollar un extenso trabajo como creador de atmósferas y sonidos originales para todo tipo de formatos: danza, cine, vídeo o instalaciones, hasta que publicara en 1997 su primer disco, "Tales From Chaos". Desde entonces, ha editado en Cronica Electronica y más recientemente para el sello austríaco dOC
 
Vitor Joaquim, Portuguese multidisciplinar artist that began working for theater, cinema and interpretation, later started to develop an extensive work as a creator of atmospheres and original sounds for all kind of productions: dance, cinema, video or installations, until he released in 1997 his first record, "Tales From Chaos". From then on, he has released some more works in Cronica Electronica and more recently for the Austrian label dOC
 
07. OYSTER 
Track: Coins Causing Galvanic Corrosion 
Album: Oyster
Label: Fukk God
 
Colaboración entre dos músicos originarios de Florida, Danny L. y Greg Kowalsky, al que conocíamos por sus trabajos bajo el alias Osso Bucco, un proyecto para el que han tomado el sobrenombre Oyster que investiga en armonías sutiles y texturas densas, editado por Fukk God Let's Create, netlabel dedicado a distribuir gratuitamente via internet sonidos electrónicos de raíz abstracta
 
Collaboration between two Florida native musicians, Danny L. and Greg Kowalsky (Osso Bucco), a project for which they have taken the Oyster moniker, investigating in subtle harmonies and dense textures. Released by Fukk God Let's Create, a netlabel dedicated to the free distribution of abstract electronic sounds via internet
 
08. KARL MIDHOLM 
Track: 2 
Album: Drömminge EP
Label: Fukk God
 
Acabamos en el sello Fukk God con el "Drömminge EP" de Karl Midholm, artista sueco que lleva varios trabajando en el campo del ambient noise bajo el sobrenombre Ovum, aunque ésta es la segunda referencia que edita bajo su propio nombre, un disco que en ocasiones recuerda a la división más ambiental de Kranky y en otras, como ésta, desarrolla paisajes sonoros de inspiración más industrial
 
We end in the Fukk God netlabel with Karl Midholm's "Drömminge EP", a Swedish artist that has been working in the field of ambient noise under the Ovum moniker, although this is his second reference under his own name, a record that remembers to the most environmental division of Kranky at times, and develops sound landscapes of a more industrial inspiration at other times, as this one
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From ???@??? Thu Jan 27 14:53:57 2005
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hi

( 05.01.26 22:17 -0500 ) david golightly:
> i'm slowly becoming disillusioned with Csound

well, i've always thought csound is better as a non-real [imaginary?]
time tool. for composers and their descendants. 

> supercollider and puredata seem to be the best two choices.  which
> should i learn first?

pd

cross platform
active development
'cousin' of max
can do as much as you have brain to make it
open source

you'll need to work to get it to do what you want- but it can do pretty
much anything you'll want it to.

-- 
\js         ;~|+}\=       ]:>          http://or8.net/~johns .{)\. 
iraq body count: 15,493 [min] 17,721 [max] 

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Date: Thu, 27 Jan 2005 09:51:38 -0500
From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] Ondes Martinot...
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Maurice Martenot, luthier de l'electronique
1990. , Quebec 312 p. 
Croissy-Beaubourg: Dervy. ISBN: 2-85076-333-0

Special Features:
illus., port., bibliog., list of works, discog., index

Abstract:
History of the ondes martenot, based in large part on interviews
conducted with Maurice Martenot (the inventor), his wife, sisters, and
sons; Marcel Maniere, Martenot's assistant during the last 30 years of
his life; and performer Jeanne Loriod. Provides lists of performers;
institutions that offer instruction in the instrument; places where one
or more ondes martenot are to be found; and compositions featuring
it.(Calderisi, Maria)


<xxxxxxxx@xxxxxxxxx.xxx>

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what? tengo miedo, mucho miedo...

Francisco Alvarez Alvarez <xxxxxxxxxxxxxx@xxxxxxx.xxx> wrote:PANTASMA=FANTASMA=GHOST
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_________________________________________________________________
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------------------------------------------- 
[M!M] [SCL]
[www.mikamartini.scd.cl]



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Visíta Yahoo! Noticias.
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Subject: Re: [microsound] monsier brel and madame loriod
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stephan mathieu wrote on 1/27/05:

>this morning i've heard a version of 'ne me quitte pas' by jacques
>brel featuring jeanne loriod on the ondes martenot, an absolutely
>stunning performance. now i dont seem to find any info on wich album
>this recording can be found.

Sure it's not the original recording?  (Barclay LP 80.470, 1972)

"Elle a même touché quelque peu au cinéma en participant à
l’enregistrement des musiques de Maurice Jarre pour Lawrence d’Arabie,
et à la variété en collaborant avec Jacques Brel pour sa célèbre chanson
Ne me quitte pas..."

<http://www.musimem.com/obi-0701-1201.htm>

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From ???@??? Thu Jan 27 13:11:11 2005
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From: Richard Whitelaw <xxxxxxx@xxxxxxxxxxxxxxxx.xxx>
Subject: [microsound] Capsule at the Spitz, London
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Capsule presents
Supersonic treats from the city of Birmingham

Live performances from:
Black Galaxy vs Kreepa (ex napalm death/scorn)
ZX Spectrum Orchestra (feat. Brian Duffy + Mike in Mono ex Plone)
Esquilax

Visuals by Beat13
Record Stalls: Static Caravan/Experimental Seafood/Type

Saturday 29th January
THE SPITZ. 109 COMMERCIAL ST. OLD SPITALFIELDS MARKET. LONDON. E1 6BG
8.30pm - till late
£5

In recent years, Birmingham has developed a potent electronica scene,
breeding artists such as Plone, Broadcast, Pram, Magnetophone, Scorn, Sand,
Tele:Funken, The Modified Toy Orchestra, Dreams Of Tall Buildings, PCM and
Mike In Mono. Innovative artists need innovative record labels. The current
Birmingham scene is bristling with vital new set-ups that are dedicated to
the music's confrontational byways, without relinquishing its funky pulse...

Black Galaxy features Nicholas Bullen whose abrasive work in Napalm Death
initiated a new musical genre known as 'Grindcore' and later a member of the
dark, isolationist and dub-influenced Scorn. In collaboration with Simon
Mabbutt they fuse cold and alien galactic soundscapes with minimal warped
bass and glacial rhythmic underpinnings to create nocturnal sonorities.

kREEPA mix electronic and acoustic elements to create improvisations that
explore the dynamic interplay between acousmatic synthesis and instrumental
approaches. (Members of Sand)


ZX Spectrum Orchestra (feat. Brian Duffy + Mike in Mono) its capability to
create a more unconventional sound is limitless. Everything you will see and
hear is derived from a steep and logistic learning curve. Peek, Poke and
Merge. Brian Duffy / Modified Toy Orchestra works with electronic sound toys
that have been rewired and reconfigured to create a series of musical
instruments each creating their own new electronic sounds which oscillate
between the familiar function of the toys and new sounds far removed from
the original function.
Mike In Mono (UK Halfeaten Records) aka Mike Johnston is better known as
member of Birmingham's kitsch electronica trio Plone (Warp). His ever
growing fondness for 'spoken word' is now a relished element in the
mike-in-mono show.

Esquilax are a shiny party plastic new wave avant-garde pop terror group
-possessed by Devo, raised by Agoraphobic Nosebleed.


A sample of forthcoming  treats at the Supersonic Festival due to take place
on 15th/16th July 05 at the Custard Factory Birmingham.

http://www.capsule.org.uk
For images or further info contact Lisa/Jenny 0121 248 2252
xxxx@xxxxxxx.xxx.xx


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this morning i've heard a version of 'ne me quitte pas' by jacques brel featuring jeanne loriod on the ondes martenot, an absolutely stunning performance.
now i dont seem to find any info on wich album this recording can be found.

any help is greatly appreaciated, 
please contact me off-list
 - stephan

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From ???@??? Thu Jan 27 09:30:00 2005
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Hey all,

Anyone in the Vancouver area might want to check out a show @ BLIM
(#600 - 23 W. Pender) this Friday. Me and a guy named pino the frog
(http://www.fragm.net/pinothefrog/) are playing. There is another show
the same night at Video In as well, featuring coin gutter among
others.

Phil


-- 
Phil Thomson
xxxxxxxxxxxxxxxxx@xxxxx.xxx

{ home: http://www.sfu.ca/~pthomson/
{ blog: http://www.bloglines.com/blog/PhilThomson
{ label: http://centibel.org/

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From ???@??? Thu Jan 27 07:15:10 2005
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From: koen <xxxxx@xxxxxxxxx.xxx>
Subject: [microsound] Tonic 01/28 - Queens (Jane,
 14K | NYC) Mountains (Aero &        Anderegg, Apestaarje | NYC)
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Please come join us MIDNIGHT 01/28 UPSTAIRS at Tonic ::

Queens (Jane, 14K | NYC) :

Queens is Scott Mou's solo project. When he's not performing as Queens, he
works at Other Music, performs as Jane with one of the Animal Collective
guys and as 14K with Hisham (ex-Black Dice), and is also one hell of a
minimal techno DJ. Queens is quiet electro-acoustic drones done very well.

Mountains (Aero & Anderegg, Apestaarje | NYC) :

Mountains is new project from Apestaarje label barons Brendon Anderegg and
Koen Holtkamp, who are more known for their minimal and melodic Aero &
Anderegg projects. Mountains covers a lot of ground, sweetly drifting
between minimal electronic and new folk. For tonights show they promise
something a little louder, including an accordian...

Tonic is located at 107 Norfolk Street between Delancey and Rivington
Streets in Manhattan's Lower East Side.

You can take the F train to Delancey Street or the J/M/Z trains to Essex
Street. Once you exit the station walk east (towards the Williamsburg
bridge) on Delancey Street and take your first left onto Norfolk. You will
see Tonic about half up the block on your left.


apestaartje
www.staartje.com

.............................................................................

OUT NOW ::
sebastien roux - pillow (staartje017) cd

COMING SOON ::
mountains - s/t (staartje018) cd

............................................................................

NEW ADDRESS ::

782 manhattan ave #2L
brooklyn ny
11222


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From ???@??? Thu Jan 27 04:48:57 2005
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bruce tovsky <xxxxx@xxxxxxxxxxxx.xxx> writes:

> as has already been mentioned, there are objects in
> the jitter video package for max/msp that do this very
> thing. you might also check out softVNS and isadora.
> cheers
> bruce

gridflow (www.gridflow.ca) will do that too.  Well, actually, gridflow
will pull numbers off your images and you do the rest with vanilla PD.

Source code for your perusal is also available.

../MiS



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From ???@??? Thu Jan 27 04:15:33 2005
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I use Pure Data exclusively for live performance, installations and 
recording, but it is something of a rabbit hole once you fall in. CSound 
is ancient, and not meant for realtime at all. SuperCollider is neat, 
powerful, and a step deeper into the learning curve than a graphical 
environment like PD or Max/MSP [but more suited to realtime DSP in its 
own way]. If you are really worried about platform, the PD would be a 
better choice, as it is available for windoze, OSX, Linux, and Irix. If 
you are seriously concerned about platfrom, however, you might 
investigate Linux as an architecture-independent solution. In the end I 
found the benefits of Linux outweighed the lerning curve immensely.

In short, my advice would be to check out PD on whatever platform you 
dig. Get on the mailing list and ask a bizillion questions, caiuse 
that's the only way you'll learn anything. Once you run into dead ends 
with the realtime, learn to optimize PD better or start playing with 
SuperCollider. The stuff you learned from PD will only help, as PD is 
*far* better at data-flow processing than SC. Then install Linx on every 
piece of hardware you have and really go to town ;-) In fact, the best 
option would be to combine PD+SC on Linux via OSC, or maybe even build a 
sweet interface in Java or Proce55ing.

good luck and see you on the frequency again soon,
d.


david golightly wrote:
> hello list,
> i'm slowly becoming disillusioned with Csound - my first real 
> development platform - because of its poor real-time performance.  i'm 
> ready to learn a new language, then.  i'd like to use max/msp but can't 
> afford it (i KNEW i never should have graduated from school!).  so i'd 
> like some feedback, offlist if you prefer: supercollider and puredata 
> seem to be the best two choices.  which should i learn first?  what have 
> you used?  what would you avoid?  what has the best all-around learning 
> curve/power of control tradeoff?  how about live performance?  (no 
> pricey commercial software please!)  i'm using an 800mhz windoze xp 
> desktop pc and an 300mhz ibook so anything that runs on both platforms 
> would be ideal.


-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 36:
"Consult other sources
-promising
-unpromising"

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hey, i have a sampler w/ you on it....it came in CABNET magazine
-t

-------------- Original message from Al C <xxxxx@xxxxxxxxx.xxx>: -------------- 


> Hi all, 
> 
> Since some people have claimed that they don't mind self promotion type 
> posts, Here ya go... 
> 
> New omnid full legth release on Retinascan Records. Go here for details/mp3 
> clips: http://www.retinascan.de/compactdiscs/fcd48.htm 
> 
> also out now: 
> 
> omnid "Wrong Number" 3"cd-r on Authorised Version 
> http://www.a-version.co.uk/releases.htm 
> 
> best, 
> albert casais 
> 
> 
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> 
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 FILETIME=[CE946990:01C5041E]

hello list,
i'm slowly becoming disillusioned with Csound - my first real development 
platform - because of its poor real-time performance.  i'm ready to learn a 
new language, then.  i'd like to use max/msp but can't afford it (i KNEW i 
never should have graduated from school!).  so i'd like some feedback, 
offlist if you prefer: supercollider and puredata seem to be the best two 
choices.  which should i learn first?  what have you used?  what would you 
avoid?  what has the best all-around learning curve/power of control 
tradeoff?  how about live performance?  (no pricey commercial software 
please!)  i'm using an 800mhz windoze xp desktop pc and an 300mhz ibook so 
anything that runs on both platforms would be ideal.

thanks
david



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From ???@??? Thu Jan 27 02:14:27 2005
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From: "xxxxx@xxxx.xxx" <xxxxx@xxxx.xxx>
Subject: [microsound] Re: [phonography] seeking a contact for Thanos Chrysakis.
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Robert,

As far as I know, xxxxxxxx@xxxxxxx.xx.xx is still his e-mail
address. I am also sending this to him, so if it returns to me then
maybe he changed it recently.

Best, Dale

Dale Lloyd:  http://www.and-oar.org/dalelloyd.html
and/OAR:  http://www.and-oar.org/

NEW: Turba / Lateral Minor (Stasisfield.com) 
NEW: Volatile And Fixed Principles (leerraum)




Hi,
I'm wondering (and hoping) that someone on the list can help put me in 
touch with the sound artist Thanos Chrysakis, or even if you are on 
this list yourself Thanos. I've been emailing a freenet uk address but 
it's being returned.

This is quite urgent and concerns 'drift | resonant cities' (of which I 
am the curator.

Thanks in advance to anyone who can help.

Regards.

Robert King

 


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Hi all,

Since some people have claimed that they don't mind self promotion type
posts, Here ya go...

New omnid full legth release on Retinascan Records. Go here for details/mp3
clips: http://www.retinascan.de/compactdiscs/fcd48.htm

also out now:

omnid "Wrong Number" 3"cd-r on Authorised Version
http://www.a-version.co.uk/releases.htm

best,
albert casais


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From ???@??? Thu Jan 27 00:39:34 2005
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From: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] MIDI software question/webcam as a controller?
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>i believe Image/ine development has halted.
-Dead as a dead parrot can be and that's pretty dead....
 http://www.mtholyoke.edu/~ebarnes/python/dead-parrot.htm

AvS

  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................

  `    |Schreck Ensemble    . . . . . . . . . . . . . . . . . . . . +

    `  |# -laboratory for live electro-acoustic music- #            |
       |             http://www.schreck.nl/                         |
       |             http://www.xs4all.nl/~schreck/                 |
     ` *===========================================================++
     ` |Compositions http://www.xs4all.nl/~schreck/html/compo.html  |
     ` |Samples      http://www.xs4all.nl/~schreck/html/samp.html   |
     ` |Patches      http://www.xs4all.nl/~schreck/html/pat.html    |
     ` |Videos       http://www.xs4all.nl/~schreck/html/video.html  |

     ` |Scores       http://www.xs4all.nl/~schreck/html/scores.html |

       *===========================================================++
  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................



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From ???@??? Thu Jan 27 00:34:07 2005
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you could also check VNS (very nervous system)

http://homepage.mac.com/davidrokeby/softVNS.html

j-l
> 
> From: tkrakowiak <xxxxxxxxx@xxxxxxxxx.xx>
> Date: 2005/01/26 on PM 10:10:47 GMT
> To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> Ämne: Re: [microsound] MIDI software question/webcam as a controller?
> 
> 
> check out STEIM software, Big Eye
> 
> http://www.steim.org/steim/products.html
> 
> 
> cheers
> t
> 
> 
> On Wed, 26 Jan 2005 17:01:18 -0500, Adam Young <xxxx_xxxxx@xxxxxx.xx>  
> wrote:
> 
> >
> > I¹m looking for software that will accomplish a somewhat simple task:  
> > using
> > a webcam to detect color, motion, light, etc and translate that  
> > information
> > into midi information. I¹d be shocked if this hasn¹t been done already,  
> > and
> > I¹d really like to find a download of an application or even some source
> > code to do this, as I really don¹t want to ³reinvent the wheel²..
> >
> > Thanks.
> > -adam
> >
> > adam young
> > tractile.net | direwires.com | adyo.info
> >
> >
> 
> 
> 
> -- 
> Using Opera's revolutionary e-mail client: http://www.opera.com/m2/
> 
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From ???@??? Thu Jan 27 00:20:09 2005
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i believe Image/ine development has halted.

http://www.image-ine.org/


/sean


> Have a look at the GEM and PDP externals for Pure Data. They're open
> source and very configurable. You could also look at EyesWeb for
> windoze, or Imagine for the Mac.
>
> derek
>
>
>
> Adam Young wrote:
>> I¹m looking for software that will accomplish a somewhat simple task:
>> using
>> a webcam to detect color, motion, light, etc and translate that
>> information
>> into midi information. I¹d be shocked if this hasn¹t been done already,
>> and
>> I¹d really like to find a download of an application or even some source
>> code to do this, as I really don¹t want to ³reinvent the wheel²..
>
>
> --
> derek holzer ::: http://www.umatic.nl
> ---Oblique Strategy # 36:
> "Consult other sources
> -promising
> -unpromising"
>
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>



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Subject: [microsound] PANTASMA
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 FILETIME=[84266620:01C503FF]

PANTASMA=FANTASMA=GHOST
/////////////////////////////////////
WRITE TO>>>>>>>>>>>>>>
////////////////////////////////////
xxxxxxxxxxxxxxxxxx@xxxxx.xx

_________________________________________________________________
Platica con tus amigos en linea con T1msn Messenger 
http://messenger.t1msn.com.mx/


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From ???@??? Wed Jan 26 23:15:37 2005
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 FILETIME=[B8956E90:01C503FC]

I have half a dre bank (two pocket controlers) 32 knobs, they are great, 
very tiny, steel, the pots are solid. main draw back - you have to carry the 
big ass wallwarts and use a usb/midi interface. The evolution stuff felt 
kinda cheap and toy like to me, all plastic parts, I bet if you had one of 
those controllers in a bag and say was on a bus there would be a really good 
chance you would find that the knobs had broken off, I say go with the 
german engineering if you can, I got mine off ebay for fairly cheap.

>are the knobs sturdy enough for heavy use? i noticed the evolution
>uc33 knobs seem to wear out.
>the faderfox.de controllers are very nice too. and battery operated.

>>I have the Drehbank, and it's a great controller.  The
>>editor leaves a lot to be desired, but generally I just
>>leave the Drehbank programmed to do MIDI CC 1-64 and assign
>>away in software.  Part of my current live kit is Ableton
>>with a Drehbank.  It's a lethal combination.



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From ???@??? Wed Jan 26 22:39:33 2005
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I like the evolution uc-33e a lot...cheap, simple, versatile, light &
portable...great fun with ableton. Build quality seems ok, but not
spectacular (I have an encore electronics slidemate that's built like a
tank...i think their 'knobby' controller' is now on sale, but be aware that
there is no osX editor for the thing...
www.encoreelectronics.com)

On 1/26/05 1:03 PM, "Adam Young" <xxxx_xxxxx@xxxxxx.xx> wrote:

> Hello... I¹m basically looking for something with tons of knobs and possibly
> a few sliders (14 or 32)
> 
> I really like this: http://www.doepfer.de/db_e.htm
> 
> Anything similar out there? Anything CHEAPER?
> 
> I¹d forgo the sliders, as the machine above definitely would work...
> 
> adam young
> tractile.net | direwires.com | adyo.info
> 
> 
> 


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From ???@??? Wed Jan 26 22:27:36 2005
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as has already been mentioned, there are objects in
the jitter video package for max/msp that do this very
thing. you might also check out softVNS and isadora.
cheers
bruce

On Jan 26, 2005, at 5:01 PM, Adam Young wrote:

>
> I’m looking for software that will accomplish a somewhat simple task: 
> using
> a webcam to detect color, motion, light, etc and translate that 
> information
> into midi information. I’d be shocked if this hasn’t been done 
> already, and
> I’d really like to find a download of an application or even some 
> source
> code to do this, as I really don’t want to “reinvent the wheel”..
>
> Thanks.
> -adam
>
> adam young
> tractile.net | direwires.com | adyo.info
>
>
>
bruce tovsky
www.skeletonhome.com


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From ???@??? Wed Jan 26 22:13:51 2005
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Date: Wed, 26 Jan 2005 23:15:56 +0100
From: derek holzer <xxxxx@x-x.xxx>
Subject: Re: [microsound] MIDI software question/webcam as a controller?
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Have a look at the GEM and PDP externals for Pure Data. They're open 
source and very configurable. You could also look at EyesWeb for 
windoze, or Imagine for the Mac.

derek



Adam Young wrote:
> I¹m looking for software that will accomplish a somewhat simple task: using
> a webcam to detect color, motion, light, etc and translate that information
> into midi information. I¹d be shocked if this hasn¹t been done already, and
> I¹d really like to find a download of an application or even some source
> code to do this, as I really don¹t want to ³reinvent the wheel²..


-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 36:
"Consult other sources
-promising
-unpromising"

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From ???@??? Wed Jan 26 22:13:00 2005
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From: Eloy Anzola <xxxx@xxxxxxxxx.xxx>
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Eric Singer's MAX/MSP object Cyclop does exactly that:

http://www.ericsinger.com/cyclopsmax.html

hope it helps,

Eloy
 -----
xxxx@xxxxxxxxx.xxx
http://groovylab.com/



> -----Original Message-----
> From: Adam Young [mailto:xxxx_xxxxx@xxxxxx.xx] 
> Sent: Wednesday, January 26, 2005 5:01 PM
> To: microsound
> Subject: [microsound] MIDI software question/webcam as a controller?
> 
> 
> 
> I¹m looking for software that will accomplish a somewhat 
> simple task: using
> a webcam to detect color, motion, light, etc and translate 
> that information
> into midi information. I¹d be shocked if this hasn¹t been 
> done already, and
> I¹d really like to find a download of an application or even 
> some source
> code to do this, as I really don¹t want to ³reinvent the wheel²..
> 
> Thanks.
> -adam
> 
> adam young
> tractile.net | direwires.com | adyo.info
> 
> 
> 


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From ???@??? Wed Jan 26 22:07:26 2005
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check out STEIM software, Big Eye

http://www.steim.org/steim/products.html


cheers
t


On Wed, 26 Jan 2005 17:01:18 -0500, Adam Young <xxxx_xxxxx@xxxxxx.xx>  
wrote:

>
> I¹m looking for software that will accomplish a somewhat simple task:  
> using
> a webcam to detect color, motion, light, etc and translate that  
> information
> into midi information. I¹d be shocked if this hasn¹t been done already,  
> and
> I¹d really like to find a download of an application or even some source
> code to do this, as I really don¹t want to ³reinvent the wheel²..
>
> Thanks.
> -adam
>
> adam young
> tractile.net | direwires.com | adyo.info
>
>



-- 
Using Opera's revolutionary e-mail client: http://www.opera.com/m2/

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I¹m looking for software that will accomplish a somewhat simple task: using
a webcam to detect color, motion, light, etc and translate that information
into midi information. I¹d be shocked if this hasn¹t been done already, and
I¹d really like to find a download of an application or even some source
code to do this, as I really don¹t want to ³reinvent the wheel²..

Thanks.
-adam

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


--Boundary_(ID_+xmx794/nYShbHHgeF4NFQ)--

From ???@??? Wed Jan 26 21:20:33 2005
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i've been using the bcr2000 for about 3-5 hours a day for the last two
months. it's been powered on continuously.

i generally don't like the quality of behringer equipment - this seems
to be an exception for me.

the knob action loosened up a little bit - but they don't move
side-to-side or anything like that, and the values they send are solid
(i.e. they don't drift).

the faderfox controllers look really nice - but they won't ship them
to the US - otherwise i would have tried them.

On Wed, 26 Jan 2005 21:56:59 +0100, robert van heumen <xxxxxx@xxxxx.xx> wrote:
> are the knobs sturdy enough for heavy use? i noticed the evolution uc33
> knobs seem to wear out.
> the faderfox.de controllers are very nice too. and battery operated.
> robert
> 
> 
> On Jan 26, 2005, at 19:45, Tom Butcher wrote:
> 
> >
> > I have the Drehbank, and it's a great controller.  The
> > editor leaves a lot to be desired, but generally I just
> > leave the Drehbank programmed to do MIDI CC 1-64 and assign
> > away in software.  Part of my current live kit is Ableton
> > with a Drehbank.  It's a lethal combination.
> >
> > t
> >
> >> Hello... I¹m basically looking for something with tons of knobs and
> >> possibly
> >> a few sliders (14 or 32)
> >>
> >> I really like this: http://www.doepfer.de/db_e.htm
> >>
> >> Anything similar out there? Anything CHEAPER?
> >>
> >> I¹d forgo the sliders, as the machine above definitely would work...
> >>
> >> adam young
> >> tractile.net | direwires.com | adyo.info
> >>
> >>
> >>
> >
> > ---
> > Tom Butcher
> >
> >
> >
> > ---------------------------------------------------------------------
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> >
> >
> >
> 
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From ???@??? Wed Jan 26 21:13:11 2005
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Date: Wed, 26 Jan 2005 13:12:10 -0800
From: roberth <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Show announcements
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i also like release announcements
and gigs anouncements, even if they aren't in my city
they are interesting.
robert horton
----- Original Message ----- 
From: "david golightly" <xxxxxxxx@xxxxxxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Wednesday, January 26, 2005 11:56 AM
Subject: Re: [microsound] Show announcements = costly faux-pas?


> second that.  i actually really look forward to release announcements, 
> especially when done by artists themselves and not by labels etc.... 
> listening to each other's work is at least as important as discussing it. 
> as for shows, i like knowing about things going on - it helps to know 
> about venues and scenes in different parts of the world where one can 
> play, if passing through.  also, at this point the volume isn't nearly so 
> high as to be irritating.
>
> can't very well have theory without practice, can we...
>
> david g
>
>>From: "Pat Gillis" <xxxxxx@xxxxxxx.xxx>
>>Reply-To: "Pat Gillis" <xxxxxx@xxxxxxx.xxx>
>>To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>>Subject: Re: [microsound] Show announcements = costly faux-pas?
>>Date: Tue, 25 Jan 2005 20:59:27 -0500
>>
>>I guess it is a list admin question, but so long as the show referred to 
>>is within the realm of what the list is 'about', what's the problem?  Is 
>>there some expectation that members are here only to discuss tools, 
>>techniques,  history and critical theory, with nothing to offer by way of 
>>public expression of their own efforts (or shut up about it if they do)? 
>>In which case, are release announcements ever more unacceptable?
>>
>>Just curious.
>>
>>Pat
>
>
>
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Subject: Re: [microsound] MIDI Controllers
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are the knobs sturdy enough for heavy use? i noticed the evolution uc33 
knobs seem to wear out.
the faderfox.de controllers are very nice too. and battery operated.
robert




On Jan 26, 2005, at 19:45, Tom Butcher wrote:

>
> I have the Drehbank, and it's a great controller.  The
> editor leaves a lot to be desired, but generally I just
> leave the Drehbank programmed to do MIDI CC 1-64 and assign
> away in software.  Part of my current live kit is Ableton
> with a Drehbank.  It's a lethal combination.
>
> t
>
>> Hello... I¹m basically looking for something with tons of knobs and 
>> possibly
>> a few sliders (14 or 32)
>>
>> I really like this: http://www.doepfer.de/db_e.htm
>>
>> Anything similar out there? Anything CHEAPER?
>>
>> I¹d forgo the sliders, as the machine above definitely would work...
>>
>> adam young
>> tractile.net | direwires.com | adyo.info
>>
>>
>>
>
> ---
> Tom Butcher
>
>
>
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From ???@??? Wed Jan 26 20:44:07 2005
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From: Eloy Anzola <xxxx@xxxxxxxxx.xxx>
Subject: [microsound] [OT]  Philip Johnson
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Architect Philip Johnson Dies at Age 98:
http://news.yahoo.com/news?tmpl=story&u=/ap/20050126/ap_on_en_ot/obit_johnso
n

http://www.pjar.com/

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From ???@??? Wed Jan 26 20:09:19 2005
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Subject: Re: [microsound] [ot] q for traktion users
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hope this can answer your question:
http://www.kvraudio.com/forum/viewtopic.php?t=64644

for future tracktion related questions check the tracktion/'raw material 
software' forum:
http://www.kvraudio.com/forum/viewforum.php?f=22
normally you get useful answers from tracktion aficionados...

8pointer.


Kim Cascone wrote:

> I'm working on a sound installation project in Mackie's Traktion 
> 1.6.0.1 - they announced this version as a free download a couple of 
> months ago...
> being indoctrinated primarily in Pro Tools I got past Traktion's 
> 'pseudo-Live' interface, managed to create an edit, placed clips into 
> it and now I want to mix it down using a midi fader box...
> so my question is: can I assign midi controllers (continuous 
> controllers and not keynums) to a tracks volume (or a VST for that 
> matter)? and if so, how do I do this?
> I get the feeling this might be a Traktion 2.0 feature... :(
> if not then is there an FOSS program for OS X that can do this?


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From ???@??? Wed Jan 26 19:57:41 2005
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Date: Wed, 26 Jan 2005 14:56:43 -0500
From: david golightly <xxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] Show announcements = costly faux-pas?
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 FILETIME=[35C40190:01C503E1]

second that.  i actually really look forward to release announcements, 
especially when done by artists themselves and not by labels etc....  
listening to each other's work is at least as important as discussing it.  
as for shows, i like knowing about things going on - it helps to know about 
venues and scenes in different parts of the world where one can play, if 
passing through.  also, at this point the volume isn't nearly so high as to 
be irritating.

can't very well have theory without practice, can we...

david g

>From: "Pat Gillis" <xxxxxx@xxxxxxx.xxx>
>Reply-To: "Pat Gillis" <xxxxxx@xxxxxxx.xxx>
>To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] Show announcements = costly faux-pas?
>Date: Tue, 25 Jan 2005 20:59:27 -0500
>
>I guess it is a list admin question, but so long as the show referred to is 
>within the realm of what the list is 'about', what's the problem?  Is there 
>some expectation that members are here only to discuss tools, techniques,  
>history and critical theory, with nothing to offer by way of public 
>expression of their own efforts (or shut up about it if they do)?  In which 
>case, are release announcements ever more unacceptable?
>
>Just curious.
>
>Pat



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I've been using the Behringer BCR2000 for a few months now - very
reliable and easy to set up:

32 endless rotary controllers for less than USD200.

http://www.behringer.com/BCR2000/index.cfm?lang=ENG

they also have one with 8 motorized faders that costs just a little
more than USD200:

http://www.behringer.com/BCF2000/index.cfm?lang=ENG


On Wed, 26 Jan 2005 13:03:32 -0500, Adam Young <xxxx_xxxxx@xxxxxx.xx> wrote:
> Hello... I¹m basically looking for something with tons of knobs and possibly
> a few sliders (14 or 32)
> 
> I really like this: http://www.doepfer.de/db_e.htm
> 
> Anything similar out there? Anything CHEAPER?
> 
> I¹d forgo the sliders, as the machine above definitely would work...
> 
> adam young
> tractile.net | direwires.com | adyo.info
> 
>

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From ???@??? Wed Jan 26 19:03:30 2005
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hey, check out

www.ucapps.de

best,
t


On Wed, 26 Jan 2005 13:03:32 -0500, Adam Young <xxxx_xxxxx@xxxxxx.xx>  
wrote:

> Hello... I¹m basically looking for something with tons of knobs and  
> possibly
> a few sliders (14 or 32)
>
> I really like this: http://www.doepfer.de/db_e.htm
>
> Anything similar out there? Anything CHEAPER?
>
> I¹d forgo the sliders, as the machine above definitely would work...
>
> adam young
> tractile.net | direwires.com | adyo.info
>
>



-- 
Using Opera's revolutionary e-mail client: http://www.opera.com/m2/

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From ???@??? Wed Jan 26 18:53:17 2005
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Evolution UC-33e
Very cheap and easy to use!
but... the manual sucks!

http://www.evolution.co.uk/company/news_ucc33e.htm

> Hello... I’m basically looking for something with tons of knobs and 
> possibly
> a few sliders (14 or 32)
>
> I really like this: http://www.doepfer.de/db_e.htm
>
> Anything similar out there? Anything CHEAPER?
>
> I’d forgo the sliders, as the machine above definitely would work...
>
> adam young
> tractile.net | direwires.com | adyo.info
>
>


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From ???@??? Wed Jan 26 18:48:35 2005
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I have the Drehbank, and it's a great controller.  The
editor leaves a lot to be desired, but generally I just
leave the Drehbank programmed to do MIDI CC 1-64 and assign
away in software.  Part of my current live kit is Ableton
with a Drehbank.  It's a lethal combination.

t

> Hello... I¹m basically looking for something with tons of knobs and possibly
> a few sliders (14 or 32)
> 
> I really like this: http://www.doepfer.de/db_e.htm
> 
> Anything similar out there? Anything CHEAPER?
> 
> I¹d forgo the sliders, as the machine above definitely would work...
> 
> adam young
> tractile.net | direwires.com | adyo.info
> 
> 
> 

---
Tom Butcher



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From ???@??? Wed Jan 26 18:32:21 2005
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if you are handy with a soldering iron, and have a
lot of spare time (and patience) you might try these:
http://www.ucapps.de/index.html
http://www.doepfer.de/home_e.htm
the first link (to the midibox forum, a diy group) is the
more comprehensive one, lots of info and an active
user forum. the doepfer stuff is more basic but still
well thought-out and people are doing interesting
stuff with it.
cheers
bruce

On Jan 26, 2005, at 1:03 PM, Adam Young wrote:

> Hello... I’m basically looking for something with tons of knobs and 
> possibly
> a few sliders (14 or 32)
>
> I really like this: http://www.doepfer.de/db_e.htm
>
> Anything similar out there? Anything CHEAPER?
>
> I’d forgo the sliders, as the machine above definitely would work...
>
> adam young
> tractile.net | direwires.com | adyo.info
>
>
>
bruce tovsky
www.skeletonhome.com


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Hello... I¹m basically looking for something with tons of knobs and possibly
a few sliders (14 or 32)

I really like this: http://www.doepfer.de/db_e.htm

Anything similar out there? Anything CHEAPER?

I¹d forgo the sliders, as the machine above definitely would work...

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


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From ???@??? Wed Jan 26 19:31:40 2005
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I'm working on a sound installation project in Mackie's Traktion 
1.6.0.1 - they announced this version as a free download a couple of 
months ago...
being indoctrinated primarily in Pro Tools I got past Traktion's 
'pseudo-Live' interface, managed to create an edit, placed clips into 
it and now I want to mix it down using a midi fader box...
so my question is: can I assign midi controllers (continuous 
controllers and not keynums) to a tracks volume (or a VST for that 
matter)? and if so, how do I do this?
I get the feeling this might be a Traktion 2.0 feature... :(
if not then is there an FOSS program for OS X that can do this?


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From ???@??? Tue Jan 25 15:06:20 2005
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derek holzer;

> Another idea would be to provide song "fragements" that could be
> arranged randomly, in a playlist, or by some other set of instructions.
> There was a whole bunch of stuff done on the Fallt site a while back
> that simply used the broswer's "refresh" function to mix a series of
> *extremely* small fragments. Total size of the various "tracks" ranged
> started somewhere around 6 or 12 Kb. I think maybe Pimmon was involved
> in that project.

Similarly, Gescom´s release "MD" takes advantage of the data compression of
minidisks. Because of the data compression and thus the relatively large
buffer minidisk players can be randomised or programed so there will be
audio without gaps inbetween tracks. Quite usefull, I think, to be able to
use such advantages of a medium. It would´ve been nice if such releases
would be more common and usable as a creative plaything, much like locked
grooves on records.


Kas.



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greg g;

> no, you're missing the point.  everyone here is really obsessed with all
> these "constraints" and stuff, like only using certain software or
encoding,
> or certain samples, like the microsound releases for example.

Makes perfect sense. It might be hard to find some rules to determine wether
something is indeed good but then again, it´s not that much easier to
objectively verify some random piece was indeed based on -say- field
recordings of Berlin or inspired by some writer.....

The one problem might be that people who write very high quality material
will often also be very critical of themselves while a lot of mediocre
pieces come from people who believe themselves to be "the new messiah" (or
Aphex or Tiesto as the case may be). This might adversely affect the
selection of pieces uploaded. Perhaps your project should be based on people
sending in "good" pieces by their friends (of cource with the permission of
those friends)?

I don´t think I´m even completely joking here. The more I contemplated that
paragraph before hitting "send" the more sense it made.

Kas.



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As long as the topic is quasi-tolerated events announcements, I
might as well take the opportunity to announce:

Field Effects 21
 ~ featuring ~

   Yuko Nexus6 & Mariko Tijiri
   Scott Arford

Friday, January 28th, 2005
Doors 8 pm show around 9
964 Natoma, San Francisco, CA (USA)

$6-10 requested donation, no one turned away

Seating mostly on futons and beanbags to encourage comfortable deep
listening. Depending on weather hot or cold drinks will be available.
With luck someone will bake cookies.

Much more about the show:

     http://www.quietamerican.org/fe21.html

More about the series:

     http://www.fieldeffects.org

 aaron

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

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


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Subject: Re: [microsound] Show announcements = costly faux-pas?
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I guess it is a list admin question, but so long as the show referred to is within the realm of what the list is 'about', what's the problem?  Is there some expectation that members are here only to discuss tools, techniques,  history and critical theory, with nothing to offer by way of public expression of their own efforts (or shut up about it if they do)?  In which case, are release announcements ever more unacceptable?

Just curious.

Pat
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I just found it out on Earlabs:

From the booklet:
Since the foundation of the studio of radio NHK, Tokyo in 1954, the
development of electro-acoustic music in Japan has shown a constant exchange
between national tradition and techniques imported from the West.
The Japanese contribution is especially interesting in the field of combied
electronic instrumental music. Japan has a rich variety of traditional
instruments, and there are many which blend particularly happily with
electronically produced sound.
However, the meeting of the two sound-worlds has been most rewarding in
musical froms where both modern techniques and traditional eleemnts are
readily adoptable and sometimes singularly convergent. Elements borrowed by
Mayuzumi and Moroi from the vocal puntuations of the Noo theatre, or the
sound patterns of the shamizen are significant in this respect. Such
borrowings might determine perhaps a refined breaking-up of the beat, or
afain a stretching of tempo in accordance with the flow of the musical
material. From the standpoint of our own western conception of tempo, we
still sense an alien quality in Japanese electro-acoustic music.

http://www.earlabs.org/label/lc/lc012b.htm

some microsounders may find it interesting.
Best,

ale***





---
http://www.pachinkostudio.com
http://www.12k.com/term/term10.htm


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From ???@??? Wed Jan 26 00:56:02 2005
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well, i don't know if there's a list rule against it or not, but I for one
don't mind announcements.

Especially shows like this one, which looks really good.

/sean


> I was just about to put a show announcement on here,
> then realized that I seem to be one of very few people
> who does this. Have I been bugging people with these
> all this time? This is a venue that includes
> "microsoundy" stuff in the range of what we book.
>
> Here's the announcement in very brief mode
>
> Thu, 1/27 8-10 pm.
> Luggage Store Gallery
> 1007 Market St @ 6th
> San Francisco
> $6-10 sliding scale
>
> Electronic glitches, drones, hums, textures, washes,
> perhaps some notes.
>
> with miba (Kristin Miltner & Mark Bartscher)
> and Antimatter (Xopher Davidson)
>
> ---------------------------------------------------------------------
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> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>



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From ???@??? Wed Jan 26 00:49:59 2005
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Date: Wed, 26 Jan 2005 01:49:47 +0100
From: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound]'S T A L A G M I E T E N  1' (ahum...)
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>i was listening to 'stalagmieten 1'
-That's very nice of you...

>and wished to hear it stretched out somewhat ...
-Which you clearly did...

>in order to be aware of the harmonies
-Repeated listening could be beneficial..

>without having to work quite so hard.
-Practise makes perfect...

>for educational purposes only, probably, most likely.
-I think that I don't this easy offering of other one's
 work so much:

1: You changed it beyond any recognition and didn't
   add anything to it yourself, which be kind of
   an interpretation;

2. What kind of educational purposes do you have in mind?

3. Most importantly, you never asked me in the first place...

So I would prefer that you do these things first before you
place this on your server, in the mean time either refer to
it's original location on the web or remove it.

I'm not against your suggestion about 'educational purposes',
but this is not a proper way of conduct.

AvS

  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................

  `    |Schreck Ensemble    . . . . . . . . . . . . . . . . . . . . +

    `  |# -laboratory for live electro-acoustic music- #            |
       |             http://www.schreck.nl/                         |
       |             http://www.xs4all.nl/~schreck/                 |
     ` *===========================================================++
     ` |Compositions http://www.xs4all.nl/~schreck/html/compo.html  |
     ` |Samples      http://www.xs4all.nl/~schreck/html/samp.html   |
     ` |Patches      http://www.xs4all.nl/~schreck/html/pat.html    |
     ` |Videos       http://www.xs4all.nl/~schreck/html/video.html  |

     ` |Scores       http://www.xs4all.nl/~schreck/html/scores.html |

       *===========================================================++
  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................



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From ???@??? Tue Jan 25 23:39:55 2005
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Date: Tue, 25 Jan 2005 15:38:51 -0800
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Subject: Re: [microsound]' S T A L A G M I E T E N  1 '
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hi,

    i was listening to 'stalagmieten 1' and wished to hear it stretched 
out somewhat ...in order to be aware of the harmonies without having to 
work quite so hard.


   ( 17.9 mb zipped mp4 )
    for educational purposes only, probably, most likely.

     http://klatch.co.uk/billjarboe/Stalagmiet1aifT2.mp4.zip



                                                                         
         Bill




On Jan 14, 2005, at 11:48 AM, Arie van Schutterhoef wrote:

>
>
>    '  S T A L A G M I E T E N  1   '
>
>       - Arie van Schutterhoef -
>
>
> http://knorretje.hku.nl/~schreck/SmietMP3/Stalagmiet1.mp3
>
>
> Realized in the home-studio of the composer.
> Original sounds recorded with the BassBoxes
> http://www.xs4all.nl/~schreck/html/bassbox.html
> in the 'Veem'-Theatre, Amsterdam, during recording
> sessions with Hans van Eck and Hans van Koolwijk.
>
> Recorded different flutes on the BassBoxes, through
> extreme close-miking to capture the varying spectra
> and timbres, that were triggered by tightly structured
> pulse-trains, according to the Fibonacci-series.
>
> Sound treatment using different FFT-processes and
> cross-convolution. Used programs were 'Ceres3','MetaSynth', '
> SoundHack', 'SonicWorx Artist' and 'Csound'on running on
> Silicon Graphics and Apple Computers.
>
>
>
>   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
> .....................................................................
>
>   `    |Schreck Ensemble    . . . . . . . . . . . . . . . . . . . . +
>
>     `  |# -laboratory for live electro-acoustic music- #            |
>        |             http://www.schreck.nl/                         |
>        |             http://www.xs4all.nl/~schreck/                 |
>      ` *===========================================================++
>      ` |Compositions http://www.xs4all.nl/~schreck/html/compo.html  |
>      ` |Samples      http://www.xs4all.nl/~schreck/html/samp.html   |
>      ` |Patches      http://www.xs4all.nl/~schreck/html/pat.html    |
>      ` |Videos       http://www.xs4all.nl/~schreck/html/video.html  |
>
>      ` |Scores       http://www.xs4all.nl/~schreck/html/scores.html |
>
>        *===========================================================++
>   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
> .....................................................................
>
>
>


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I was just about to put a show announcement on here,
then realized that I seem to be one of very few people
who does this. Have I been bugging people with these
all this time? This is a venue that includes
"microsoundy" stuff in the range of what we book. 

Here's the announcement in very brief mode

Thu, 1/27 8-10 pm. 
Luggage Store Gallery 
1007 Market St @ 6th 
San Francisco
$6-10 sliding scale

Electronic glitches, drones, hums, textures, washes,
perhaps some notes.

with miba (Kristin Miltner & Mark Bartscher) 
and Antimatter (Xopher Davidson)

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From ???@??? Tue Jan 25 22:14:05 2005
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I forget to comment you two spanish e music distributors (Level and
jaxx records both in madrid)

it might be easy to contact with them through internet

good luck


On Mon, 24 Jan 2005 16:25:15 -0000, David @ Audiobulb
<xxxxxxxx@xxxxx.xx.xx> wrote:
> Does anyone know who are considered the most electronic music friendly
> distributors in the Europe?
> 
> I'm looking for coverage in Scandinavia, France, Germany, Spain in
> particular.... Would appreciate any links to reputable companies dealing
> with those territories.
> 
> Who is Mille Plateaux with now?
> 
> Thanks David
> 
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>

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Go here for details:

http://www.japansociety.org/events/event_detail.cfm?id_event=1702597446&id_performance=536554939

cheers,

Pat
(my first post to this list, I'm subbed to the digest)
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Subject: [microsound] ::: TU M'P3 : SOUNDTRACKS FOR IMAGES : 2005 :::
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TU M'P3
web label

















SOUNDTRACKS FOR IMAGES
http://www.tu-m.com




















2005 EDITION

























with:







 .Black To Comm




 .Dälek




 .Dill



 .Jason Forrest



 .Anne Laplantine



 .Yoshio Machida



 .Frank Metzger



 .Sergej Mohntau



 .Secret Mommy



 .Joerg Piringer



 .Akira Rabelais



 .Sinistri



 .Skyphone



 .Joshua Treble



 .Simon Fisher Turner



 .TV Pow



 .Hiroyuki Ura



 .Voks



 .Wilbo Wright



 .Yutha





































..
..


MP3s  ARCHIVE






A
  .Aero
  .Noël Akchoté
  .Mitchell Akiyama
  .Alejandra and Aeron
  .Alluvion  (trx1)
  .Alluvion  (trx2)
  .Oren Ambarchi
  .Anderegg
  .Ian Andrews
  .Arg
  .Dan Armstrong
  .Astro
  .Ateleia





B
  .Eraldo Bernocchi  (trx1)
  .Eraldo Bernocchi  (trx2)
  .Black Dot
  .Olivia Block
  .F.S. Blumm
  .Boca Raton  (trx1)
  .Boca Raton  (trx2)
  .Alessandro Bosetti
  .Frank Bretschneider
  .John Butcher





C
  .Kim Cascone  (trx1)
  .Kim Cascone  (trx2)
  .Mike Cooper
  .Alvin Curran
  .Chris Cutler and Thomas Dimuzio





D
  .Datach'i
  .Greg Davis
  .Frans De Waard  (trx1)
  .Frans de Waard  (trx2)
  .Deison
  .Amy Denio
  .Taylor Deupree
  .Giustino Di Gregorio
  .Thomas Dimuzio
  .DiscMan & WalkMan
  .Michel Doneda & Pierre-Olivier Boulant
  .Domotic
  .Donna Summer  (trx1)
  .Donna Summer  (trx2)
  .Düplo
  .Duul_drv





E
  .Ekkehard Ehlers
  .Electric Birds
  .Electric Turn To Me
  .Elettrodo  (trx1)
  .Elettrodo  (trx2)
  .Ent  (trx1)
  .Ent  (trx2)
  .Erikm
  .Karlheinz Essl
  .Evol  (trx1)
  .Evol  (trx2)





F
  .Farmers Manual  (trx1)
  .Fermers Manual  (trx2)
  .Flatbush
  .Four Color
  .Heribert Friedl
  .Erik Friedlander





G
  .David Grubbs
  .Brent Gutzeit





H
  .Haco
  .Kazumasa Hashimoto
  .Hauf
  .HDJ Tom  (trx1)
  .HDJ Tom  (trx2)
  .Heller
  .Gerry Hemingway
  .Hugh Hopper  (trx1)
  .Hugh Hopper  (trx2)
  .Hugh Hopper  (trx3)
  .John Hudak





I
  .Illusion Of Safety
  .Kozo Inada  (trx1)
  .Kozo Inada  (trx2)





J
  .Jass Halos
  .Jliat
  .Seth Josel / Joker Niess





K
  .Jason Kahn  (trx1)
  .Jason Kahn  (trx2)
  .Greg Kelley
  .Andrey Kiritchenko
  .Kenneth Kirschner
  .Cordell Klier
  .Masahiko Kono
  .Tomas Korber
  .Ulrich Krieger





L
  .O.Lamm
  .Brett Larner  (trx1)
  .Brett Larner  (trx2)
  .Brian Lavelle
  .Jason Lescalleet
  .Alan Licht
  .Lazy Listening
  .Lullatone





M
  .David Maranha
  .Mariko
  .Elio Martusciello  (trx1)
  .Elio Martusciello  (trx2)
  .Maurizio Martusciello
  .Massaccesi  (trx1)
  .Massaccesi  (trx2)
  .Massimo
  .Stephan Mathieu
  .Peter Maybury
  .Rob Mazurek
  .Roel Meelkop  (trx1)
  .Roel Meelkop  (trx2)
  .Mellana Osco
  .Radboud Mens  (trx1)
  .Radboud Mens  (trx2)
  .Marco Messina  (trx1)
  .Marco Messina  (trx2)
  .Frank Metzger
  .Nathan Michel
  .Paul D. Miller
  .Mils
  .Molecu
  .Mondii  (trx1)
  .Mondii  (trx2)
  .Jean Marc Montera
  .Manuel Mota
  .Motion  (trx1)
  .Motion  (trx2)
  .Mr.Dorgon
  .Guenter Mueller  (trx1)
  .Guenter Mueller  (trx2)
  .Mugen
  .My Jazzy Child





N
  .Vacuous Ninnies
  .KK Null





O
  .Osso Bucco
  .Julien Ottavi





P
  .Rosy Parlane
  .Phthalocyanine
  .Plank
  .Ghislain Poirier  (trx1)
  .Ghislain Poirier  (trx2)
  .PowerBooks for Peace
  .Pramrod Sexena
  .Jim Pugliese





R
  .Akira Rabelais
  .Radian
  .Bhob Rainey  (trx1)
  .Bhob Rainey  (trx2)
  .Retina.it  (trx1)
  .Retina.it  (trx2)
  .Ned Rothenberg  (trx1)
  .Ned Rothenberg  (trx2)
  .Sébastien Roux
  .Olaf Rupp





S
  .Sawako  (trx1)
  .Sawako  (trx2)
  .Sawako Vs Hypo
  .Scanner
  .Janek Schaefer
  .Mario Schiano
  .Schneider TM
  .Roddy Schrock
  .Sciajno  (trx1)
  .Domenico Sciajno  (trx2)
  .Shuttle358
  .si-cut.db
  .Martin Siewert
  .Sogar  (trx1)
  .Sogar  (trx2)
  .Staalplaat Soundsystem
  .Burkhard Stangl
  .Stapletape
  .Howard Stelzer
  .Steno
  .Carl Stone  (trx1)
  .Carl Stone  (trx2)
  .Joseph Suchy





T
  .Jason Talbot
  .Richard Thomas
  .Tonne  (trx1)
  .Tonne  (trx2)
  .Toy.Bizarre (C Peyronnet)
  .Uli Troyer  (trx1)
  .Ulrich Troyer  (trx2)
  .TV Pow  (trx1)
  .TV Pow  (trx2)
  .Twine





U
  .Ultra Milkmaids  (trx1)
  .Ultra Milkmaids  (trx2)
  .Un caddie renversé dans l'herbe





V
  .Luca Venitucci
  .Vert
  .Violet
  .Stephen Vitiello
  .Stephen Vitiello with Pauline Oliveros
  .Voice Crack





W
  .Wang Inc.  (trx1)
  .Wang Inc.  (trx2)
  .Dan Warburton
  .Warmdesk
  .Keith Fullerton Whitman
  .Wobbly  (trx1)
  .Wobbly  (trx2)
  .Christopher Willits





Y
  .Tetsuro Yasunaga





Z
  .z_e_l_l_e  (trx1)
  .z_e_l_l_e  (trx2)
  .Zenial [Palsecam]
  .Zeitblom
  .Harald "Sack" Ziegler
  .Carlos Zingaro





123...
  .87 central
  .*0


























:
..
..
..





Curated by TU M'





























:
..
..
..



Thanks to K.Michael Babcock / Aesova for the web space.

































..
..
..
..


Tu M'p3
www.tu-m.com


















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From ???@??? Tue Jan 25 11:43:31 2005
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Date: Tue, 25 Jan 2005 12:43:23 +0100
From: Marco Messina <xxxxxxxxxx@xxxxxxxx.xx>
Subject: [microsound] R:[microsound] European Distribution
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Ciao,

I¹ m working with MDM <http://www.mutualism.de/>
Very professional and friendly

Best

marco messina
[] [] [] [] [] []
http://www.mousikelab.com/
http://www.novenove.it/
http://www.folderstudio.com/
[] [] [] [] [] []


Da: "David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx>
Risposta: "microsound <xxxxxxxxxx@xxxxxxxxx.xxx>" <xxxxxxxxxx@xxxxxxxxx.xxx>
Data: Mon, 24 Jan 2005 16:25:15 -0000
A: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Oggetto: [microsound] European Distribution

Does anyone know who are considered the most electronic music friendly
distributors in the Europe?

I'm looking for coverage in Scandinavia, France, Germany, Spain in
particular.... Would appreciate any links to reputable companies dealing
with those territories.

Who is Mille Plateaux with now?

Thanks David 


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Date: Tue, 25 Jan 2005 11:46:54 +0100
From: douglas benford <xxxxxxx@xxxxx.xxxxx.xx.xx>
Subject: [microsound] INTERPLAY 3 in London
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Sprawl presents
INTERPLAY 3 - 2005

the 3rd mini-festival of international collaborations
Weds 9th and Thurs 10th February 2005

Once again London's haven for experimental audio, Sprawl, will
be inviting a selection of International artists for 2 nights of unique live
collaborations, traversing the sonic realms of minimal & post-techno beats,
new dub, voice, pop, jazz and improvisation.

Interplay 3 is dedicated to uncovering new relationships as well as
established clashes of style and technique, from novel instrumental
approaches to twisted technology.

Weds 9th Feb
POLE (scape/mute)  + DEADBEAT (scape/Intr_version)
MARKUS SCHMICKLER (pluramon) + THOMAS LEHN (mimeo)
MAX EASTLEY (obscure/bip hop) + FREEFORM (skam/sub rosa)

Thurs 10th Feb
STEPHAN MATHIEU (orthlorng/sirr) + SI-CUT.DB (fallt/bip-hop)
LEAFCUTTER JOHN (planet mu) + JANEK SCHAEFER (audiOh!/sirr)
SCANNER (sub rosa/bette) + IRIS GARRELFS (bip hop)

PLUS: The early evening will feature a sound based visual programme,
including audio-visual collaborations from DFuse, who have worked
with Burnt Friedmann, Kid 606 and recently Beck

This project is supported by the Goethe-Institut London and the PRS
Foundation

VENUE: Spitz, Spitalfields Market,109 Commercial Street, London E1 8BG
DATE: Wednesday 9th and Thursday 10th February 2005
TIME: 8pm - midnight
PRICE: £8 / £6 concs, £12 for both nights
BOX OFFICE: 0207 392 9032, www.spitz.co.uk
CONTACT: xxxx@xxxxxx.xxx.xx
WEB: www.sprawl.org.uk
--Boundary_(ID_6cmKnhI8X6Z81INhx2b/IQ)--

From ???@??? Tue Jan 25 04:53:40 2005
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Date: Mon, 24 Jan 2005 23:53:30 -0500
From: Kurt Ralske <xxxxxxxx@xxxx-xxxx.xxx>
Subject: [microsound] Morton Feldman: Triadic Memories
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Morton Feldman: Triadic Memories

Michael Century, piano
Kurt Ralske, video

Friday January 28 / 8pm
Chapel and Cultural Center at Rensselaer
Troy, NY

Triadic Memories was composed in 1979, one of Morton Feldman's long,
ruminative late works.  Quiet throughout and eccentrically repetitive, this
piece invites the listener to experience a now-unusual kind of long
duration.  For this performance, a newly created video will be projected,
inspired by Feldman's interest in the carpets of the Middle East.   The
composer was struck by parallels between his own off-centered,
memory-twisting rhythms and what he called the "disproportionate symmetry"
of  certain Turkish rugs' skewed repetition of motif.  Created by Kurt
Ralske, this video is not a literally synchronized accompaniment, but a
parallel and complementary track that scans, scrolls, cross-fades and morphs
between mostly detailed carpet images.  In this conjuncture of music and
image, we propose another kind of disproportionate symmetry.  Whereas
Feldman recast musical time with aspects of the stasis and scale of painting
and textiles, here the static carpet image is rendered with aspects of
Feldman's ineffable quietude and slow tempos.

 Michael Century is a musician and professor in the Department of the Arts
at Rensselaer Polytechnic Institute. http://www.arts.rpi.edu/people/century/

Kurt Ralske is a NYC-based video artist, composer, and programmer. Co-winner
in 2003 of Transmediale first prize for media art, he recently created the
video installation permanently on view in the the lobby of the re-opened
Museum of Modern Art. 

More info and directions
http://www.rpi.edu/web/C+CC/ccc/ccc.html




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Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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Sean Rooney Geschrieben hat .      ::                     .            :::
:      .

> Hi,

my opinion only . . .

>Is there some usefulness in being
> able to make small sounds/scores?

yes 

> Do people expect/hope to find some
> creative tactics that could be used elsewhere?

yes  

> Or is it the creative
> challenge itself, separate from anything that might be learned from it?

yes

> 

of course, afterwards what can be achieved with small files need not
be so strict as to require a 56k limitation - but, for web-based audio
personally have discovered some very interesting facts about mp3
encoding and what not.  useful too.

merci !

> /sean

         . 1001 




    €



                          .
              . €           €
                 
                      €

                                                      '
€
                                                                 ®
                                          .    €€
                           .·€
                         ·
                            ·.
                               €
                          €. .   € .                                .  ·
                                             €      ´·.    ·           €
                                                                      ´ · .
.              


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CALL FOR CONTRIBUTIONS

Berlin.Soundscape-FM : A City of Sounds : 4-8 February 2005

http://berlin.soundscape-fm.net

"How would you build a city of sounds?"

Berlin.Soundscape-FM is a collaborative soundwork, featuring field
recordings taken from the city of Berlin, which will be broadcast
locally via FM radio during the Transmediale 05 festival, and archived
in a user-uploadable database complete with an interactive soundmap of
the city.

During the days of 4-8 February 2005, sound artists, amateur sound
hunters, phonographers, among other interested participants, will
collaborate on gathering sounds from different places within the city of
Berlin. A physical workspace, located at the Transmediale Festival in
the Haus der Kulturen der Welt, will be a post-production booth for the
gathered sounds which can be uploaded immediately in a database system.
Uploads can also be made remotely via the Internet. The uploaded sounds
are accessible online via an interactive sound map, and will be
broadcasted via several local FM radio programs in Berlin during the
Festival.

We are seeking contributions of environmental recordings made in the
city of Berlin during any time period. Be it the sound of autos around
Alexanderplatz, distant Turkish music overheard in Kreuzberg or the rain
hitting the gutter outside a flat window in Friedrichshain, you will be
able to upload it to the Soundscape-FM server by locating your sound on
a scalable map of Berlin.

To contribute, please send an email to xxxxx@xxxxxx.xx with the subject
"Berlin.Soundscape-FM.net login", and please give a short description of
the sounds you would like to upload. Please note that, while "found"
music is acceptable as content, this project is not a forum for people's
bands or solo musical projects. Such tracks, along with direct transfers
of copyrighted material, will be removed. Thanks for understanding ;-)

Berlin.Soundscape-FM.net has been created by Sara Kolster, Derek Holzer
and Marc Boon for the Transmediale 05 Festival's BASEMENT workspace,
curated by Carsten Stabenow and Stefan Rikeles. The Soundscape-FM
project was originally commissioned for the Garage Festival 2004, with
inspiration from Yannick Dauby and the Phonographic Migrations series,
and with technical assistance from Olaf Matthes.

http://berlin.soundscape-fm.net
http://www.soundscape-fm.net
contact: xxxxx@xxxxxx.xx

-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 36:
"Consult other sources
-promising
-unpromising"


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hallo,


    the 56k challenge = great $%#*!@ idea.  perhaps,
we should share research and methods so we can all 
learn best course of aktion.  

i hope the consensus is to move forward.


    . 1001


 

 ¿ .            .:                     .     ][+



                     l  º
                  •       a
                    - d   
                                   ·                   
                                                  
                                    ·        .º :            
                                      ·. `                                            
                                                                                                                  
                                                                                                           
       .                                                                
      ·                                                   
                                                                        
      •  å
                                                                        
   b ·      n
                                                                        
         g
     .   :               .  ·        .º : 
      .          ·                 '.      
          `       º: .

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--Boundary_(ID_wvNX2IMfwRsh2jATICJQQA)
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framework broadcasts live every friday (except the first one of each month) on resonance104.4fm  in london (uk) or worldwide on http://www.resonancefm.com between 8:30 and 9:30pm gmt, and is repeated the following wednesday between 11:00am and 12:00 noon gmt

next live broadcast: 27.01.05
~ time zone converter: http://www.thesaturnv.com/converter.html


RESONANCE FM'S PROGRAMMING IS PRODUCED ENTIRELY BY VOLUNTEERS; PLEASE HELP US TO CONTINUE BY MAKING A DONATION.  CHECK OUT OUR WEBSITE TO FIND OUT HOW YOU CAN HELP KEEP RESONANCE ON THE AIR: HTTP://WWW.RESONANCEFM.COM.  THANK YOU!

 

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


framework - phonography/field recording; contextual and decontextualized sound activity
presented by patrick mcginley

we took detailed looks at a few releases in this edition, namely the latest instalment of the phonography organisation's series of raw field recording compilations.  we also listened to several tracks from crouton's reissue of an early irr. app. (ext.) work, dust pincher appliances, keith berry's latest release buddha's mile, and a recent release from the copyleft netlabel test tube by spanish artist ubeboet.  coming up this friday, we'll be listening, among other things, to the and/oar release by sawako, yours gray, and some internet-released work (on the netlabel stasisfield) by and/oar's (and phonography.org's) own dale lloyd.

again, we are always looking for material for the show, whether raw field recordings, field recording based composition or introduction submissions.  send material, released or not, on any format, to the address below.   we are also hoping to have live performances as often as possible, so if you are in or passing through london please get in touch! 

 
framework
31 nevill road
london n16 8sl
uk

xxxxxxxxx@xxxxxx.xxx



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


21.01.05

this edition will be rebroadcast this wednesday, 25.01.05, at 11:00am gmt 

(artist  /  title  /  album  /  label)

adam wimbush  /  framework intro
recorded through the window of a bathroom in barbados, featuring the voice of a mysterious woman known only as liz
xxxxxxx@xxxxx.xx.xx

murmer  /  38,000 for madrid  /  phonography.org 6 (compilation)  /  phonography.org
the sound of a stadiumful of people during a minute's silence
http://www.phonography.org

irr. app (ext.)  /  narcoinvitatorintraphasieschatological music box  /  dust pincher appliances  /  crouton
crackling chorus of music boxes and rumbling drones
http://www.holocenesound.org/irr, http://www.croutonmusic.com

frederic yarm  /  bottle neck traffic  /  phonography.org 6 (compilation)  /  phonography.org
acoustic processing applied through the capture of sound from inside a bottle
http://www.phonography.org

keith berry  /  -  /  buddha's mile  /  authorised version
sublime field recordings and tonal elements slowly develop and disperse
http://www.inbetweensilence.com, http://www.a-version.co.uk/

josh russell  /  wall mounted gas heater overheating and shutting down  /  phonography.org 6 (compilation)  /  phonography.org
almost industrial sounding chaotic rhythms, crackles and rumblings
http://www.phonography.org

irr. app (ext.)  /  a body rendered disjecta membra through the application of dust pincher appliances  /  dust pincher appliances  /  crouton
rhythmic mechanics and clacking bones are pervaded over by a dysfunctional intercom
http://www.holocenesound.org/irr, http://www.croutonmusic.com

perri lynch  /  walking through eyebeam  /  phonography.org 6 (compilation)  /  phonography.org
reverberations of public space with an odd collection of mechanical and (mechanically?) natural sound
http://www.phonography.org

ubeboet  /  north wind  /  bleak ep  /  test tube
metallic rain and organic scratchings filter through multi-levelled tonescapes
xxxxxxx@xxxxx.xxx, http://www.monocromatica.com/netlabel

mathieu ruhlmann  /  water pipe pond drone  /  phonography.org 6 (compilation)  /  phonography.org
ubiquitous narrow pipe reverberations tempered with an active environment enfolding it
http://www.phonography.org

irr. app. (ext.)  /  desist in ceasing to cease to exist  /  dust pincher appliances  /  crouton
more layerings of indiscernible acoustic sources and percussing found objects
http://www.holocenesound.org/irr, http://www.croutonmusic.com

ubeboet  /  nocturno (danny kreutzfeldt version)  /  bleak ep  /  test tube
hissing and collapsing tones lead through the erosion
xxxxxxx@xxxxx.xxx, http://www.monocromatica.com/netlabel



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


framework intro submissions:

1)    take yourself and an audio recording device to a location of your choice
2)    record for AT LEAST 1 minute before you -
3)    read the following text:

welcome to framework.

framework is a show consecrated to field recording, and it's use in composition.
field recording, phonography, the art of sound-hunting; open your ears and listen!

4)    continue your recording for AT LEAST 2 minutes after you've finish speaking
5)    send the recording on any format to the address above, or as an mp3 via email

thanks!



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



the framework 2003 cd has been reprinted and is now once again available directly from the resonancefm online shop, along with a selection of other benefit cds, t-shirts, and general paraphernalia.  drop in here to have a look:

http://www.resonancefm.com/shop.php


framework 2003
resonancefm benefit cd featuring highlights from the year's broadcasting

rob grant & melanie clifford  /  framework intro
thomas dimuzio  /  unearth & lift and spear  /  sonicism  /  rrrecords
chris watson  /  river mara at night   /  stepping into the dark  /  touch
johannes helden / - / sketchbook / trente oiseaux
toy bizarre  /  -  /  kdi dctb 116  /  absurd
murmer  /  liquid solid  /  definition  /  absurd
jgrzinich & seth nehil  /  the distant edge  /  confluence  /  intransitive
seth nehil & jgrzinich  /  the mirrored corner  /  stria  /  erewhon
annette lissauer  /  framework intro
toby paddock  /  air, surface and magnetic vibrations  /  -  /  -
steve roden  /  -  /  resonant cities  /  trente oiseaux
francisco lopez  /  untitled #101  /  untitled (2000)  /  ignis projekt
mnortham  /  ancient sewer pipe, valletta, malta  /  phonography.org 5  /  phonography.org
the quiet american  /  donkey trains leaving marpha, nepal  /  phonography.org 4  /  phonography.org
steve barsotti  /  trainyard presence  /  phonography.org 5  /  phonography.org
k. m. krebs  /  jericho sailing center (nautical gamelan)  /  phonography.org 4  /  phonography.org
david daniell  /  highway 371, forty miles south of farmington, january 19, 1998, 2:25 pm  /  sem  /  antiopic
joyce hinterding  /  -  /  spectral  /  antiopic/sigma editions
david daniell  /  dixon lake road, july 31, 1999, 5:45 am  /  sem  /  antiopic
tacet ncv  /  live on framework
jean-luc guionnet & bertrand denzler  /  live on framework
dallas simpson  /  framework intro
--Boundary_(ID_wvNX2IMfwRsh2jATICJQQA)--

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 FILETIME=[265878B0:01C50262]

A possible solution to the high price of buying pro-level audio gear - one 
of my old roomates from undergrad works for a pro audio shop in LA, they 
rent out everything from the Fostex FR2 all the way up to the Aaton Cantar 
and can send the gear via Fed Ex, also they have a huge selection of 
extemely sensitive mics for rent, I never considered that before, but it 
could save you a lot of money, if you say knew that for a weekend you are 
planning a trip to make recordings and wanted to rent the gear for a 
fraction of the price instead of buying it. This could way of working could 
allow you to choose specific gear for specific types of recordings/recording 
situations and never really have to own anything. I see this method as sort 
of a way around starting to drop thousands on gear, instead maybe, get a R1 
and a very good mic, then rent the rest of the gear when needed. Save your 
money, buy a house instead.

Also, no one has mentioned this, but you can also rent/buy a portable Nagra, 
which is a tape based system, some people will argue/perfer this medium over 
digital, granted the fidelity ceiling is lower, but I wonder, would the 
Nagra sound better than most stuff under 1000$?, say like the R1? The 
portable Nagras, even used, are not cheap. I wonder is Watson used a Nagra 
for his older recordings?

Also on the very cheap end is the micro-cassette recorder, I know a few 
people who have managed to make some really really excellent recordings with 
a micro-cassette recorder using an external mic, granted its a mono medium.

Best
Scott

>A couple people asked me offlist what I thought might be a higher
>grade portable HD recorder than the Editrol R1 I mentioned earlier.
>Specifically, pro-quality recorders with XLR connections, digital
>IO, USB or firewire, more than 2 channels, ability to burn CDRs,
>decent battery life, etc... This list got posted to the Phonography
>list by Mark Griswold a while back, and I consider it an excellent
>starting point if you have USD 1500+ to spend and want the same kind
>of gear that gets used by video and film production companies to do
>their sound.
>
>http://www.trewaudio.com/downloads.htm
>http://www.trewaudio.com/download/non%20linear%20comp%20chart.pdf
>
>Based on the research I've done [but no field testing yet!], my
>recommendations for stereo would go to either the HHB Portadisk
>[msrp USD 1600] or the Fostex FR2 [msrp USD 1500], depending on
>which features and interface strikes you best.
>
>You can get 4 channels from the Sound Devices 744T [msrp 4,250],
>while Fostex makes a 6 channel model for about 8,500,. HHB has an 8
>channel monster going for 10,000, and Zaxcom's Deva V hauls a
>whopping 10 channels for USD 13,00. Top of the line, the Bentley of
>non-linear recorders, is the 8 channel Aaton Cantar, ringing in
>around 14,500, but man is it sweet!http



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So near and yet so far:
http://www.capturedbyrobots.com/

> From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
> Subject: L.E.M.U.R.
> 
> http://www.juilliard.edu/update/journal/j_articles385.html

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From ???@??? Mon Jan 24 21:08:15 2005
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hi lars

> it seems that the amount of CD's released with
> usable sounds are limited (more like slim to none).

for a great hippo recording you could check chris watsons 'outside the circle of fire' CD on touch. although, the recording isnt necessarily 'usable'.
 - stephan


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these colors don't run ... they roll ...


> here's one for all the arthur kroker fans...
> 
> http://news.bbc.co.uk/2/hi/americas/4199935.stm



                
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From ???@??? Mon Jan 24 20:23:27 2005
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From: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
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>Is there some usefulness in being able to make small sounds/scores?
-Brevity.

AvS

  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................

  `    |Schreck Ensemble    . . . . . . . . . . . . . . . . . . . . +

    `  |# -laboratory for live electro-acoustic music- #            |
       |             http://www.schreck.nl/                         |
       |             http://www.xs4all.nl/~schreck/                 |
     ` *===========================================================++
     ` |Compositions http://www.xs4all.nl/~schreck/html/compo.html  |
     ` |Samples      http://www.xs4all.nl/~schreck/html/samp.html   |
     ` |Patches      http://www.xs4all.nl/~schreck/html/pat.html    |
     ` |Videos       http://www.xs4all.nl/~schreck/html/video.html  |

     ` |Scores       http://www.xs4all.nl/~schreck/html/scores.html |

       *===========================================================++
  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................



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From ???@??? Mon Jan 24 20:19:32 2005
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Hi,

An honest question (not trying to prolong a flamewar):

what is it about this challenge that appeals to people (I know the reasons
that some list members don't like it)? Is there some usefulness in being
able to make small sounds/scores? Do people expect/hope to find some
creative tactics that could be used elsewhere? Or is it the creative
challenge itself, separate from anything that might be learned from it?

Like I said, its an honest question, not intended to find fault or
anything. Just trying to understand the appeal.

/sean


>
> hallo,
>
>
>     the 56k challenge = great $%#*!@ idea.  perhaps,
> we should share research and methods so we can all
> learn best course of aktion.
>
> i hope the consensus is to move forward.
>
>


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From ???@??? Mon Jan 24 20:09:44 2005
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now, if we could only get skynet up and running...

Patrick Valiquet wrote:

> here's one for all the arthur kroker fans...
>
> http://news.bbc.co.uk/2/hi/americas/4199935.stm
>
> =====
> ØäPnî?áÃ`Ìgx9KlóS•Ìh´9»=œ®_®*ö±ql°<|Pô“)”ì1xS@?ñì?eúë©?
> Çñ=*>2åûMsØ?h#Õxk·#Í6*ü:´kB*÷Ú©¶*ö“™GÎ3ü>u4Öÿ***Ú÷ç5
> À8¡ http://fragm.net/pinothefrog/ @*ø’ÈWϱïÚU€IéÑ**1Ñmà?s
> è+?5E“)I? ÃBâÅ/x@x€gº*ët(?eÙį?mè0%—íDcWï?Ÿ_Ÿ‰—
> ?[>¿B±¸ Ÿ_i}*Ëï35?_/çËÿ,¿k—ë¯*C`©rÉ?Ÿ Äxîõ$2,‚µ?Èd7’
>
> ______________________________________________________________________
> Post your free ad now! http://personals.yahoo.ca
>
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From ???@??? Mon Jan 24 19:47:38 2005
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here's one for all the arthur kroker fans...

http://news.bbc.co.uk/2/hi/americas/4199935.stm

=====
ØäPnî­áÃ`Ìgx9KlóS•Ìh´9»=œ®_®½ö±ql°<|Pô“)”ì¹xS@‹ñìðeúë©­
Çñ=Ž>²åûMsØ›h#Õ×k·#Í6žü:´kB*÷Ú©¶½ö“™Gγü>u4ÖÿžŽ¾Ú÷ç5
À8¡ http://fragm.net/pinothefrog/ @½ø’ÈWϱïÚU¤IéѼž¹ÑmàÝs 
è+ý5E“)IÐ ÃBâÅ/²@A€gºžët(‹eÙį–mè0%—íDcWïýŸ_Ÿ‰—
þ[>¿B±¸ Ÿ_i}¾Ëï³5ý_/çËÿ,¿k—믾C`©rÉ?Ÿ Ä×îõ$2,‚µðÈd7’

______________________________________________________________________ 
Post your free ad now! http://personals.yahoo.ca

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From ???@??? Mon Jan 24 19:13:58 2005
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great signature!!

".` °·' ± `.° '·" wrote:

> hallo,
>
>     the 56k challenge = great $%#*!@ idea.  perhaps,
> we should share research and methods so we can all
> learn best course of aktion.
>
> i hope the consensus is to move forward.
>
>     . 1001
>
>
>
>  ¿ .            .:                     .     ][+
>
>                      l  º
>                   •       a
>                     - d
>                                    ·
>
>                                     ·        .º :
>                                       ·. `
>
>
>        .
>       ·
>
>       •  å
>
>    b ·      n
>
>          g
>      .   :               .  ·        .º :
>       .          ·                 '.
>           `       º: .
>
> ---------------------------------------------------------------------
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From ???@??? Mon Jan 24 19:16:02 2005
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From: derek holzer <xxxxx@x-x.xxx>
Subject: [microsound] hard disk recorders roundup
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A couple people asked me offlist what I thought might be a higher grade 
portable HD recorder than the Editrol R1 I mentioned earlier. 
Specifically, pro-quality recorders with XLR connections, digital IO, 
USB or firewire, more than 2 channels, ability to burn CDRs, decent 
battery life, etc... This list got posted to the Phonography list by 
Mark Griswold a while back, and I consider it an excellent starting 
point if you have USD 1500+ to spend and want the same kind of gear that 
gets used by video and film production companies to do their sound.

http://www.trewaudio.com/downloads.htm
http://www.trewaudio.com/download/non%20linear%20comp%20chart.pdf

Based on the research I've done [but no field testing yet!], my 
recommendations for stereo would go to either the HHB Portadisk [msrp 
USD 1600] or the Fostex FR2 [msrp USD 1500], depending on which features 
and interface strikes you best.

You can get 4 channels from the Sound Devices 744T [msrp 4,250], while 
Fostex makes a 6 channel model for about 8,500,. HHB has an 8 channel 
monster going for 10,000, and Zaxcom's Deva V hauls a whopping 10 
channels for USD 13,00. Top of the line, the Bentley of non-linear 
recorders, is the 8 channel Aaton Cantar, ringing in around 14,500, but 
man is it sweet!

Save your milk-money ;-)
d

-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 36:
"Consult other sources
-promising
-unpromising"

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From ???@??? Mon Jan 24 18:51:35 2005
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Subject: [microsound] [ann] Zs and David Grubbs at galapagos 1/26
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Wednesday, Jan 26th, 10pm...

DARMSTADT @ Galapagos presents:

Zs with special guest DJ David Grubbs of Drag City and Gastr del Sol!

New York's brutal chamber sextet, Zs (www.zzzsss.com) is a band working
between the worlds of Avant Rock and New Music. Mostly instrumental, the
music often explores the extremes of compositional complexity and
virtuosity as well as extended repetition. The sound ranges from bombastic
Prog Rock counterpoint to barely audible breathing sounds. Several members
contribute compositions, and some pieces are written collaboratively.

Zs formed in January 2002 and began performing in September, sharing bills
with the Flying Luttenbachers, Touchdown, Gang Gang Dance, Young People,
Ty Braxton and other experimental acts in New York and around the
Northeast. They also performed in conjunction with Wet Ink Musics, a
non-profit curatorial group for New Music, opening for seminal composer
Christian Wolff.

David Grubbs is a Brooklyn-based musician and writer.  His most recent
album is "A Guess at the Riddle" (Drag City/FatCat).  He has played in
Gastr del Sol, The Red Krayola, and Squirrel Bait; directs the Blue
Chopsticks record label; and contributes music criticism to the
Sueddeutsche Zeitung.

All this and more at Darmstadt:

Classics of the Avant-Garde listening party

$5.00....10pm - late.
galapagos
70 north 6 street, williamsburg, ny, 718.384.4586

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From ???@??? Mon Jan 24 18:13:15 2005
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Date: Mon, 24 Jan 2005 19:14:37 +0100
From: Noisejihad <xxxx@xxxxxxxxxx.xx>
Subject: [microsound] Hippo MP3
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--Boundary_(ID_1hcEmh1ju7WUoIFFEKpGRA)
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Hey all
I've uploaded a track, entirely made of sound from hippos, made for and performed at the opening of an exhibition last friday. All the source material were incredibly low-bit and badly compressed soundclips found on the internet, as it seems that the amount of CD's released with usable sounds are limited (more like slim to none). Same goes with the hippo, i discovered, it doesn't have a wide variety of sounds and nor does it use those sounds too often. Anyway the track is called "Post digital hippo collapse" (22.02 m/s - 20.1mb) and can be downloaded from the audio section, bottompage, here www.waldchengarten.dk 
Comments are welcomed, but please keep them off list...

enjoy!
Lars
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
Next: Electrical Bonding on Desolation House >>> www.desolationhouse.com
Now: Uncomfortable Positions - mp3-ep on Fukk God >>> www.fukkgod.org
key to knowledge on danish noise >>> www.noisejihad.dk
art >>> www.ideations.dk
www.waldchengarten.dk
--Boundary_(ID_1hcEmh1ju7WUoIFFEKpGRA)--

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 music]
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---------- Original Message ----------------------------------
From: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Date: Sun, 23 Jan 2005 22:16:01 +0100

>>absolutely true.  my order to FE last week included both german
>>electronic artist chronomad and folk enigma jandek.

>-Now the next phase is:
> how to inter-connect acoustic and electronic?

we do that in our music all the time.  some of the tracks are like 
what i thought "folktronica" would be...folky guitar and singing with 
crunchy electronic beats.  others are electronic-based with 
acoustic elements.  not sure if the best examples are online, but if 
anyone's interested:

http://www.dreamintodust.com


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From ???@??? Mon Jan 24 16:26:22 2005
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Does anyone know who are considered the most electronic music friendly 
distributors in the Europe?

I'm looking for coverage in Scandinavia, France, Germany, Spain in 
particular.... Would appreciate any links to reputable companies dealing 
with those territories.

Who is Mille Plateaux with now?

Thanks David 


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From ???@??? Mon Jan 24 16:12:19 2005
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Date: Mon, 24 Jan 2005 10:16:38 -0600
From: DaveX <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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> your expectations were too high.

Don't flatter yourself. 




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From ???@??? Mon Jan 24 14:19:47 2005
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hi

( 05.01.23 23:21 -0600 ) DaveX:
> For some smart folks, who really seem to love music, you sure do work
> hard at making composition into some sort of stupid game.

you are making an 'OR' when it may be an 'AND':
loving music OR playing music games [games can be stupid, but don't have to be]

> Frankly, I'm disappointed as hell in the quality of discussion at this
> list.

your expectations were too high.

-- 
\js       &http://or8.net/~johns $ ''=&$'! \*<_-@`   !~%{@       ) 
iraq body count: 15,458 [min] 17,683 [max] 

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Anyone has played live with the Roland SP-808 Groove
Sampler?

http://www.loopers-delight.com/tools/sp808/sp808.html

Is it enough for a good experimental electronic music
performance when the sources are previously created
into softwares? Does it handle a huge base wav file
and some wav samples in a 100mb zip withou crashing?

Please respond me off-list.

Thanks and best,
Zusa


        
        
                
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From ???@??? Mon Jan 24 07:30:33 2005
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I think the reason most people focused on that is because that's what 
was explicitly asked for:

 From the original email proposal:
"i have an idea for a microsound project . lets all compose a work that 
is over one minute and is no more than 56k in size [wav or mp3]"


/sean


On Jan 23, 2005, at 8:29 PM, Scott Carver wrote:

> Exactly. If the central tenets of the challenge are (a) 56k (b) sound, 
> then mp3 is probably the the least interesting ways of going about 
> this. It seems to me there are any number of ways a sound (a sonic 
> experience?) could be transmitted in a 56k file... I don't think the 
> way to start is thinking in terms of off-the-shelf data compression 
> like mp3. Software is one way to approach the problem, but I think 
> there is a lot of territory here that is left being unexplored.
>
> - Scott Carver
>
>> Certainly.
>>
>> I found it kind of interesting that most people on this list who 
>> responded immediately focused on mp3s and reducing their size. As if 
>> the only way to do it is to externally source a larger linear audio 
>> file you captured and compress it as much as possible
>
>
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I imagine there might be some territory to be covered by taking the  
lead of Cardew (by way of Treatise), and creating a 56k file with no  
explicit decoding procedure at all.

- Scott

On Jan 23, 2005, at 8:37 PM, Aaron Ximm wrote:

>> this. It seems to me there are any number of ways a sound (a sonic
>> experience?) could be transmitted in a 56k file... I don't think the
>
> MIDI files are arguably at least as portable as MP3s.
>
> And that's a lot of tablature in plaintext...
>
>  fast
>
>   
> ----(2)-0-----------(5)-0-------------(2)-0----------(3)(2) 
> -0----------
>   
> ------------(3)-5------------(3)-5-----------(3)-5-------------(3) 
> -5---
>  --...
>  --...
>  --...
> --...
>
>  :D
>
>   aaron
>
>   xxxxx@xxxx.xxx
>   http://www.quietamerican.org
>
>   |  quod omne animal post   |
>   |  cogitum est triste...   |
>
>
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" no, you're missing the point.  everyone here is really obsessed with all
these "constraints" and stuff"

*snip*

My thoughts exactly. For some smart folks, who really seem to love music,
you sure do work hard at making composition into some sort of stupid game.
Frankly, I'm disappointed as hell in the quality of discussion at this list.
Hopefully, things will improve, but I think I will be lurking until then.

DaveX


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From ???@??? Mon Jan 24 04:37:37 2005
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> this. It seems to me there are any number of ways a sound (a sonic
> experience?) could be transmitted in a 56k file... I don't think the

MIDI files are arguably at least as portable as MP3s.

And that's a lot of tablature in plaintext...

 fast

 ----(2)-0-----------(5)-0-------------(2)-0----------(3)(2)-0----------
 ------------(3)-5------------(3)-5-----------(3)-5-------------(3)-5---
 --...
 --...
 --...
--...

 :D

  aaron

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

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


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Exactly. If the central tenets of the challenge are (a) 56k (b) sound, 
then mp3 is probably the the least interesting ways of going about 
this. It seems to me there are any number of ways a sound (a sonic 
experience?) could be transmitted in a 56k file... I don't think the 
way to start is thinking in terms of off-the-shelf data compression 
like mp3. Software is one way to approach the problem, but I think 
there is a lot of territory here that is left being unexplored.

- Scott Carver

> Certainly.
>
> I found it kind of interesting that most people on this list who 
> responded immediately focused on mp3s and reducing their size. As if 
> the only way to do it is to externally source a larger linear audio 
> file you captured and compress it as much as possible


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From ???@??? Mon Jan 24 04:18:30 2005
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Date: Sun, 23 Jan 2005 20:17:38 -0800
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Don't worry Greg, I got it...and it was funny. In fact, I propose that  
for the next 24 hours, the members of this list only post comment to  
the list that display a good sense of humor... now that's a challenge.

k

On Jan 23, 2005, at 7:19 PM, greg g wrote:

> no, you're missing the point.  everyone here is really obsessed with  
> all these "constraints" and stuff, like only using certain software or  
> encoding, or certain samples, like the microsound releases for  
> example.
>
> so this obviously is a parody of that... how about the constraints  
> being "good music" for a change
>
>
>
>> From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>> things
>> Date: Sun, 23 Jan 2005 22:13:21 -0500
>>
>> I think greg means "good" as determined by whomever sends something  
>> in.  If you think you're stuff is "good", send it (if you want)
>> But I'm just guessing.
>> chris
>> On Jan 23, 2005, at 10:06 PM, greg g wrote:
>>
>>> you are thinking way too hard
>>>
>>> just chill
>>>
>>>
>>>> From: <xxxxxxxxxx@xxxxxxx.xxx>
>>>> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> Subject: Re: [microsound] thoughts on the 56k chalenge and other   
>>>> things
>>>> Date: Sun, 23 Jan 2005 21:56:24 -0500
>>>>
>>>> "good" as determined by who?
>>>> are you proposing that your subjective judgement represents a   
>>>> consensus?
>>>>
>>>> ----- Original Message -----
>>>> From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
>>>> To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> Sent: Sunday, January 23, 2005 9:20 PM
>>>> Subject: Re: [microsound] thoughts on the 56k chalenge and other   
>>>> things
>>>>
>>>>
>>>> > that's why it's a challenge
>>>> >
>>>> > better get started.  i'm serious
>>>> >
>>>> > >From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>>>> > >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> > >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> > >Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>>>>  things
>>>> > >Date: Sun, 23 Jan 2005 21:17:28 -0500
>>>> > >
>>>> > >that'll be a small site...
>>>> > >On Jan 23, 2005, at 9:13 PM, greg g wrote:
>>>> > >
>>>> > >>i propose the "good music" challenge--only good music  
>>>> submissions  plz,
>>>> > >>that's the only constraint.  i'll host the files free
>>>> > >>
>>>> > >>
>>>> > >>
>>>> > >>>From: xxxxxxx@xxx.xxx
>>>> > >>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> > >>>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
>>>> > >>>Subject: [microsound] thoughts on the 56k chalenge and other   
>>>> things
>>>> > >>>Date: Mon, 24 Jan 2005 01:07:57 +0000
>>>> > >>>
>>>> > >>>the reason i proposed the 56k challenge was because i wanted  
>>>> to  see
>>>> what
>>>> > >>>would happen if people are limited by certain restraints
>>>> .............be
>>>> > >>>it physiccal, mental, sonic or file size.....i could have just  
>>>> as
>>>> easily
>>>> > >>>proposed a project that involved everyone composing music/art   
>>>> using
>>>> > >>>nothing, but text files or the color red or even better only  
>>>> the  left
>>>> or
>>>> > >>>right channel. the reason why i chose 56k or smaller was that  
>>>> i  am on a
>>>> > >>>cheap laptop in indiana and im working w/ a 56k modem and im   
>>>> getting
>>>> > >>>tired of trying to down load 9MB or larger files....also i   
>>>> wanted to
>>>> > >>>challenge my self to write something that i could easily   
>>>> upload/down
>>>> > >>>load. i personally dont care what format you make the   
>>>> file.....just
>>>> keep
>>>> > >>>it under 56k.
>>>> > >>>
>>>> > >>>-thaniel ion lee///bridle wire
>>>> > >>>
>>>> > >>>oh, ya
>>>> > >>>
>>>> > >>>359 true and untrue I statements
>>>> > >>>by thaniel ion lee
>>>> > >>>online from january 23rd til february 23rd
>>>> > >>>located at
>>>> > >>>http://thanielionlee.com/
>>>> > >>>
>>>> > >>>if you would like to comment on the work kindly send the  
>>>> comment  to
>>>> > >>>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send  
>>>> it  to
>>>> > >>>everyone who got this email
>>>> > >>
>>>> >  
>>>> >>_________________________________________________________________
>>>> > >>FREE pop-up blocking with the new MSN Toolbar - get it now!
>>>> > >>http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/
>>>> > >>
>>>> > >>
>>>> >   
>>>> >>------------------------------------------------------------------ 
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>>>> > >>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>>> > >>website: http://www.microsound.org
>>>> > >>
>>>> > >>
>>>> > >mandra
>>>> > >c:410.258.5281
>>>> > >h:301 772 7376
>>>> > >
>>>> > >realtime experimentalist / guitarist for Telesma
>>>> > >creator of "the manDrum"
>>>> > >...jamming the mainstream in the zips
>>>> > >http://defDumbAndBass.com
>>>> > >http://telesma23.com
>>>> > >http://skywheel.com
>>>> > >
>>>> > >Come to my very happening *happening*
>>>> > >the defDumbAndBass fREAKoUT!
>>>> > >happening the 3rd Sunday of EVERY month
>>>> > >@ the Royal - 1542 Light Street, Baltimore, MD
>>>> > >watch, listen, dance, relax and explore the "known unknowns"
>>>> > >
>>>> > >AND check out "e+@13" - a new show the first Thursday of every   
>>>> month at
>>>> the
>>>> > >13th Floor in Baltimore highlighting live aspects of electronic   
>>>> music.
>>>> > >
>>>> > >
>>>> > >
>>>> >   
>>>> >------------------------------------------------------------------- 
>>>> --
>>>> > >To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>>> > >For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>>> > >website: http://www.microsound.org
>>>> > >
>>>> >
>>>> > _________________________________________________________________
>>>> > Express yourself instantly with MSN Messenger! Download today -   
>>>> it's FREE!
>>>> > http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
>>>> >
>>>> >
>>>> >   
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>>>> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>>> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
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>>>> >
>>>>
>>>>
>>>> -------------------------------------------------------------------- 
>>>> -
>>>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
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>>>>
>>>
>>> _________________________________________________________________
>>> Don’t just search. Find. Check out the new MSN Search!   
>>> http://search.msn.click-url.com/go/onm00200636ave/direct/01/
>>>
>>>
>>> ---------------------------------------------------------------------
>>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> website: http://www.microsound.org
>>>
>>>
>> mandra
>> c:410.258.5281
>> h:301 772 7376
>>
>> realtime experimentalist / guitarist for Telesma
>> creator of "the manDrum"
>> ...jamming the mainstream in the zips
>> http://defDumbAndBass.com
>> http://telesma23.com
>> http://skywheel.com
>>
>> Come to my very happening *happening*
>> the defDumbAndBass fREAKoUT!
>> happening the 3rd Sunday of EVERY month
>> @ the Royal - 1542 Light Street, Baltimore, MD
>> watch, listen, dance, relax and explore the "known unknowns"
>>
>> AND check out "e+@13" - a new show the first Thursday of every month  
>> at  the 13th Floor in Baltimore highlighting live aspects of  
>> electronic  music.
>>
>>
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>
> _________________________________________________________________
> Express yourself instantly with MSN Messenger! Download today - it's  
> FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>


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From ???@??? Mon Jan 24 04:06:15 2005
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Date: Sun, 23 Jan 2005 23:07:01 -0500
From: mandra <xxxxxx@xxxxxxxxxxxxxx.xxx> (chris)
Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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ergo, even though I missed your point, what I wrote is apropos...



On Jan 23, 2005, at 10:19 PM, greg g wrote:

> no, you're missing the point.  everyone here is really obsessed with  
> all these "constraints" and stuff, like only using certain software or  
> encoding, or certain samples, like the microsound releases for  
> example.
>
> so this obviously is a parody of that... how about the constraints  
> being "good music" for a change
>
>
>
>> From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>> things
>> Date: Sun, 23 Jan 2005 22:13:21 -0500
>>
>> I think greg means "good" as determined by whomever sends something  
>> in.  If you think you're stuff is "good", send it (if you want)
>> But I'm just guessing.
>> chris
>> On Jan 23, 2005, at 10:06 PM, greg g wrote:
>>
>>> you are thinking way too hard
>>>
>>> just chill
>>>
>>>
>>>> From: <xxxxxxxxxx@xxxxxxx.xxx>
>>>> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> Subject: Re: [microsound] thoughts on the 56k chalenge and other   
>>>> things
>>>> Date: Sun, 23 Jan 2005 21:56:24 -0500
>>>>
>>>> "good" as determined by who?
>>>> are you proposing that your subjective judgement represents a   
>>>> consensus?
>>>>
>>>> ----- Original Message -----
>>>> From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
>>>> To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> Sent: Sunday, January 23, 2005 9:20 PM
>>>> Subject: Re: [microsound] thoughts on the 56k chalenge and other   
>>>> things
>>>>
>>>>
>>>> > that's why it's a challenge
>>>> >
>>>> > better get started.  i'm serious
>>>> >
>>>> > >From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>>>> > >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> > >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> > >Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>>>>  things
>>>> > >Date: Sun, 23 Jan 2005 21:17:28 -0500
>>>> > >
>>>> > >that'll be a small site...
>>>> > >On Jan 23, 2005, at 9:13 PM, greg g wrote:
>>>> > >
>>>> > >>i propose the "good music" challenge--only good music  
>>>> submissions  plz,
>>>> > >>that's the only constraint.  i'll host the files free
>>>> > >>
>>>> > >>
>>>> > >>
>>>> > >>>From: xxxxxxx@xxx.xxx
>>>> > >>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> > >>>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
>>>> > >>>Subject: [microsound] thoughts on the 56k chalenge and other   
>>>> things
>>>> > >>>Date: Mon, 24 Jan 2005 01:07:57 +0000
>>>> > >>>
>>>> > >>>the reason i proposed the 56k challenge was because i wanted  
>>>> to  see
>>>> what
>>>> > >>>would happen if people are limited by certain restraints
>>>> .............be
>>>> > >>>it physiccal, mental, sonic or file size.....i could have just  
>>>> as
>>>> easily
>>>> > >>>proposed a project that involved everyone composing music/art   
>>>> using
>>>> > >>>nothing, but text files or the color red or even better only  
>>>> the  left
>>>> or
>>>> > >>>right channel. the reason why i chose 56k or smaller was that  
>>>> i  am on a
>>>> > >>>cheap laptop in indiana and im working w/ a 56k modem and im   
>>>> getting
>>>> > >>>tired of trying to down load 9MB or larger files....also i   
>>>> wanted to
>>>> > >>>challenge my self to write something that i could easily   
>>>> upload/down
>>>> > >>>load. i personally dont care what format you make the   
>>>> file.....just
>>>> keep
>>>> > >>>it under 56k.
>>>> > >>>
>>>> > >>>-thaniel ion lee///bridle wire
>>>> > >>>
>>>> > >>>oh, ya
>>>> > >>>
>>>> > >>>359 true and untrue I statements
>>>> > >>>by thaniel ion lee
>>>> > >>>online from january 23rd til february 23rd
>>>> > >>>located at
>>>> > >>>http://thanielionlee.com/
>>>> > >>>
>>>> > >>>if you would like to comment on the work kindly send the  
>>>> comment  to
>>>> > >>>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send  
>>>> it  to
>>>> > >>>everyone who got this email
>>>> > >>
>>>> >  
>>>> >>_________________________________________________________________
>>>> > >>FREE pop-up blocking with the new MSN Toolbar - get it now!
>>>> > >>http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/
>>>> > >>
>>>> > >>
>>>> >   
>>>> >>------------------------------------------------------------------ 
>>>> -- -
>>>> > >>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>>> > >>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>>> > >>website: http://www.microsound.org
>>>> > >>
>>>> > >>
>>>> > >mandra
>>>> > >c:410.258.5281
>>>> > >h:301 772 7376
>>>> > >
>>>> > >realtime experimentalist / guitarist for Telesma
>>>> > >creator of "the manDrum"
>>>> > >...jamming the mainstream in the zips
>>>> > >http://defDumbAndBass.com
>>>> > >http://telesma23.com
>>>> > >http://skywheel.com
>>>> > >
>>>> > >Come to my very happening *happening*
>>>> > >the defDumbAndBass fREAKoUT!
>>>> > >happening the 3rd Sunday of EVERY month
>>>> > >@ the Royal - 1542 Light Street, Baltimore, MD
>>>> > >watch, listen, dance, relax and explore the "known unknowns"
>>>> > >
>>>> > >AND check out "e+@13" - a new show the first Thursday of every   
>>>> month at
>>>> the
>>>> > >13th Floor in Baltimore highlighting live aspects of electronic   
>>>> music.
>>>> > >
>>>> > >
>>>> > >
>>>> >   
>>>> >------------------------------------------------------------------- 
>>>> --
>>>> > >To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>>> > >For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>>> > >website: http://www.microsound.org
>>>> > >
>>>> >
>>>> > _________________________________________________________________
>>>> > Express yourself instantly with MSN Messenger! Download today -   
>>>> it's FREE!
>>>> > http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
>>>> >
>>>> >
>>>> >   
>>>> -------------------------------------------------------------------- 
>>>> -
>>>> > 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
>>>>
>>>
>>> _________________________________________________________________
>>> Don’t just search. Find. Check out the new MSN Search!   
>>> http://search.msn.click-url.com/go/onm00200636ave/direct/01/
>>>
>>>
>>> ---------------------------------------------------------------------
>>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> website: http://www.microsound.org
>>>
>>>
>> mandra
>> c:410.258.5281
>> h:301 772 7376
>>
>> realtime experimentalist / guitarist for Telesma
>> creator of "the manDrum"
>> ...jamming the mainstream in the zips
>> http://defDumbAndBass.com
>> http://telesma23.com
>> http://skywheel.com
>>
>> Come to my very happening *happening*
>> the defDumbAndBass fREAKoUT!
>> happening the 3rd Sunday of EVERY month
>> @ the Royal - 1542 Light Street, Baltimore, MD
>> watch, listen, dance, relax and explore the "known unknowns"
>>
>> AND check out "e+@13" - a new show the first Thursday of every month  
>> at  the 13th Floor in Baltimore highlighting live aspects of  
>> electronic  music.
>>
>>
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>
> _________________________________________________________________
> Express yourself instantly with MSN Messenger! Download today - it's  
> FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>
mandra
c:410.258.5281
h:301 772 7376

realtime experimentalist / guitarist for Telesma
creator of "the manDrum"
....jamming the mainstream in the zips
http://defDumbAndBass.com
http://telesma23.com
http://skywheel.com

Come to my very happening *happening*
the defDumbAndBass fREAKoUT!
happening the 3rd Sunday of EVERY month
@ the Royal - 1542 Light Street, Baltimore, MD
watch, listen, dance, relax and explore the "known unknowns"

AND check out "e+@13" - a new show the first Thursday of every month at  
the 13th Floor in Baltimore highlighting live aspects of electronic  
music.



---------------------------------------------------------------------
To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
website: http://www.microsound.org


From ???@??? Mon Jan 24 03:20:09 2005
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Date: Mon, 24 Jan 2005 03:19:47 +0000
From: greg g <xxxxxxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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 FILETIME=[96D7E930:01C501C3]

no, you're missing the point.  everyone here is really obsessed with all 
these "constraints" and stuff, like only using certain software or encoding, 
or certain samples, like the microsound releases for example.

so this obviously is a parody of that... how about the constraints being 
"good music" for a change



>From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] thoughts on the 56k chalenge and other things
>Date: Sun, 23 Jan 2005 22:13:21 -0500
>
>I think greg means "good" as determined by whomever sends something in.  If 
>you think you're stuff is "good", send it (if you want)
>But I'm just guessing.
>chris
>On Jan 23, 2005, at 10:06 PM, greg g wrote:
>
>>you are thinking way too hard
>>
>>just chill
>>
>>
>>>From: <xxxxxxxxxx@xxxxxxx.xxx>
>>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>Subject: Re: [microsound] thoughts on the 56k chalenge and other  things
>>>Date: Sun, 23 Jan 2005 21:56:24 -0500
>>>
>>>"good" as determined by who?
>>>are you proposing that your subjective judgement represents a  consensus?
>>>
>>>----- Original Message -----
>>>From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
>>>To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>Sent: Sunday, January 23, 2005 9:20 PM
>>>Subject: Re: [microsound] thoughts on the 56k chalenge and other  things
>>>
>>>
>>> > that's why it's a challenge
>>> >
>>> > better get started.  i'm serious
>>> >
>>> > >From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>>> > >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>> > >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>> > >Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>>>things
>>> > >Date: Sun, 23 Jan 2005 21:17:28 -0500
>>> > >
>>> > >that'll be a small site...
>>> > >On Jan 23, 2005, at 9:13 PM, greg g wrote:
>>> > >
>>> > >>i propose the "good music" challenge--only good music submissions  
>>>plz,
>>> > >>that's the only constraint.  i'll host the files free
>>> > >>
>>> > >>
>>> > >>
>>> > >>>From: xxxxxxx@xxx.xxx
>>> > >>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>> > >>>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
>>> > >>>Subject: [microsound] thoughts on the 56k chalenge and other  
>>>things
>>> > >>>Date: Mon, 24 Jan 2005 01:07:57 +0000
>>> > >>>
>>> > >>>the reason i proposed the 56k challenge was because i wanted to  
>>>see
>>>what
>>> > >>>would happen if people are limited by certain restraints
>>>.............be
>>> > >>>it physiccal, mental, sonic or file size.....i could have just as
>>>easily
>>> > >>>proposed a project that involved everyone composing music/art  
>>>using
>>> > >>>nothing, but text files or the color red or even better only the  
>>>left
>>>or
>>> > >>>right channel. the reason why i chose 56k or smaller was that i  am 
>>>on a
>>> > >>>cheap laptop in indiana and im working w/ a 56k modem and im  
>>>getting
>>> > >>>tired of trying to down load 9MB or larger files....also i  wanted 
>>>to
>>> > >>>challenge my self to write something that i could easily  
>>>upload/down
>>> > >>>load. i personally dont care what format you make the  
>>>file.....just
>>>keep
>>> > >>>it under 56k.
>>> > >>>
>>> > >>>-thaniel ion lee///bridle wire
>>> > >>>
>>> > >>>oh, ya
>>> > >>>
>>> > >>>359 true and untrue I statements
>>> > >>>by thaniel ion lee
>>> > >>>online from january 23rd til february 23rd
>>> > >>>located at
>>> > >>>http://thanielionlee.com/
>>> > >>>
>>> > >>>if you would like to comment on the work kindly send the comment  
>>>to
>>> > >>>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it  
>>>to
>>> > >>>everyone who got this email
>>> > >>
>>> > >>_________________________________________________________________
>>> > >>FREE pop-up blocking with the new MSN Toolbar - get it now!
>>> > >>http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/
>>> > >>
>>> > >>
>>> >  
>>> >>-------------------------------------------------------------------- -
>>> > >>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> > >>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> > >>website: http://www.microsound.org
>>> > >>
>>> > >>
>>> > >mandra
>>> > >c:410.258.5281
>>> > >h:301 772 7376
>>> > >
>>> > >realtime experimentalist / guitarist for Telesma
>>> > >creator of "the manDrum"
>>> > >...jamming the mainstream in the zips
>>> > >http://defDumbAndBass.com
>>> > >http://telesma23.com
>>> > >http://skywheel.com
>>> > >
>>> > >Come to my very happening *happening*
>>> > >the defDumbAndBass fREAKoUT!
>>> > >happening the 3rd Sunday of EVERY month
>>> > >@ the Royal - 1542 Light Street, Baltimore, MD
>>> > >watch, listen, dance, relax and explore the "known unknowns"
>>> > >
>>> > >AND check out "e+@13" - a new show the first Thursday of every  month 
>>>at
>>>the
>>> > >13th Floor in Baltimore highlighting live aspects of electronic  
>>>music.
>>> > >
>>> > >
>>> > >
>>> >  
>>> >---------------------------------------------------------------------
>>> > >To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> > >For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> > >website: http://www.microsound.org
>>> > >
>>> >
>>> > _________________________________________________________________
>>> > Express yourself instantly with MSN Messenger! Download today -  it's 
>>>FREE!
>>> > http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
>>> >
>>> >
>>> >  ---------------------------------------------------------------------
>>> > 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
>>>
>>
>>_________________________________________________________________
>>Don’t just search. Find. Check out the new MSN Search!  
>>http://search.msn.click-url.com/go/onm00200636ave/direct/01/
>>
>>
>>---------------------------------------------------------------------
>>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>website: http://www.microsound.org
>>
>>
>mandra
>c:410.258.5281
>h:301 772 7376
>
>realtime experimentalist / guitarist for Telesma
>creator of "the manDrum"
>...jamming the mainstream in the zips
>http://defDumbAndBass.com
>http://telesma23.com
>http://skywheel.com
>
>Come to my very happening *happening*
>the defDumbAndBass fREAKoUT!
>happening the 3rd Sunday of EVERY month
>@ the Royal - 1542 Light Street, Baltimore, MD
>watch, listen, dance, relax and explore the "known unknowns"
>
>AND check out "e+@13" - a new show the first Thursday of every month at  
>the 13th Floor in Baltimore highlighting live aspects of electronic  music.
>
>
>
>---------------------------------------------------------------------
>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>website: http://www.microsound.org
>

_________________________________________________________________
Express yourself instantly with MSN Messenger! Download today - it's FREE! 
http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/


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From ???@??? Mon Jan 24 03:12:40 2005
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Date: Sun, 23 Jan 2005 22:13:21 -0500
From: mandra <xxxxxx@xxxxxxxxxxxxxx.xxx> (chris)
Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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I think greg means "good" as determined by whomever sends something in.  
If you think you're stuff is "good", send it (if you want)
But I'm just guessing.
chris
On Jan 23, 2005, at 10:06 PM, greg g wrote:

> you are thinking way too hard
>
> just chill
>
>
>> From: <xxxxxxxxxx@xxxxxxx.xxx>
>> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
>> Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>> things
>> Date: Sun, 23 Jan 2005 21:56:24 -0500
>>
>> "good" as determined by who?
>> are you proposing that your subjective judgement represents a  
>> consensus?
>>
>> ----- Original Message -----
>> From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
>> To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>> Sent: Sunday, January 23, 2005 9:20 PM
>> Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>> things
>>
>>
>> > that's why it's a challenge
>> >
>> > better get started.  i'm serious
>> >
>> > >From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>> > >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> > >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> > >Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>> things
>> > >Date: Sun, 23 Jan 2005 21:17:28 -0500
>> > >
>> > >that'll be a small site...
>> > >On Jan 23, 2005, at 9:13 PM, greg g wrote:
>> > >
>> > >>i propose the "good music" challenge--only good music submissions  
>> plz,
>> > >>that's the only constraint.  i'll host the files free
>> > >>
>> > >>
>> > >>
>> > >>>From: xxxxxxx@xxx.xxx
>> > >>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> > >>>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
>> > >>>Subject: [microsound] thoughts on the 56k chalenge and other  
>> things
>> > >>>Date: Mon, 24 Jan 2005 01:07:57 +0000
>> > >>>
>> > >>>the reason i proposed the 56k challenge was because i wanted to  
>> see
>> what
>> > >>>would happen if people are limited by certain restraints
>> .............be
>> > >>>it physiccal, mental, sonic or file size.....i could have just as
>> easily
>> > >>>proposed a project that involved everyone composing music/art  
>> using
>> > >>>nothing, but text files or the color red or even better only the  
>> left
>> or
>> > >>>right channel. the reason why i chose 56k or smaller was that i  
>> am on a
>> > >>>cheap laptop in indiana and im working w/ a 56k modem and im  
>> getting
>> > >>>tired of trying to down load 9MB or larger files....also i  
>> wanted to
>> > >>>challenge my self to write something that i could easily  
>> upload/down
>> > >>>load. i personally dont care what format you make the  
>> file.....just
>> keep
>> > >>>it under 56k.
>> > >>>
>> > >>>-thaniel ion lee///bridle wire
>> > >>>
>> > >>>oh, ya
>> > >>>
>> > >>>359 true and untrue I statements
>> > >>>by thaniel ion lee
>> > >>>online from january 23rd til february 23rd
>> > >>>located at
>> > >>>http://thanielionlee.com/
>> > >>>
>> > >>>if you would like to comment on the work kindly send the comment  
>> to
>> > >>>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it  
>> to
>> > >>>everyone who got this email
>> > >>
>> > >>_________________________________________________________________
>> > >>FREE pop-up blocking with the new MSN Toolbar - get it now!
>> > >>http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/
>> > >>
>> > >>
>> >  
>> >>-------------------------------------------------------------------- 
>> -
>> > >>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> > >>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> > >>website: http://www.microsound.org
>> > >>
>> > >>
>> > >mandra
>> > >c:410.258.5281
>> > >h:301 772 7376
>> > >
>> > >realtime experimentalist / guitarist for Telesma
>> > >creator of "the manDrum"
>> > >...jamming the mainstream in the zips
>> > >http://defDumbAndBass.com
>> > >http://telesma23.com
>> > >http://skywheel.com
>> > >
>> > >Come to my very happening *happening*
>> > >the defDumbAndBass fREAKoUT!
>> > >happening the 3rd Sunday of EVERY month
>> > >@ the Royal - 1542 Light Street, Baltimore, MD
>> > >watch, listen, dance, relax and explore the "known unknowns"
>> > >
>> > >AND check out "e+@13" - a new show the first Thursday of every  
>> month at
>> the
>> > >13th Floor in Baltimore highlighting live aspects of electronic  
>> music.
>> > >
>> > >
>> > >
>> >  
>> >---------------------------------------------------------------------
>> > >To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> > >For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> > >website: http://www.microsound.org
>> > >
>> >
>> > _________________________________________________________________
>> > Express yourself instantly with MSN Messenger! Download today -  
>> it's FREE!
>> > http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
>> >
>> >
>> >  
>> ---------------------------------------------------------------------
>> > 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
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>> website: http://www.microsound.org
>>
>
> _________________________________________________________________
> Don’t just search. Find. Check out the new MSN Search!  
> http://search.msn.click-url.com/go/onm00200636ave/direct/01/
>
>
> ---------------------------------------------------------------------
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>
>
mandra
c:410.258.5281
h:301 772 7376

realtime experimentalist / guitarist for Telesma
creator of "the manDrum"
....jamming the mainstream in the zips
http://defDumbAndBass.com
http://telesma23.com
http://skywheel.com

Come to my very happening *happening*
the defDumbAndBass fREAKoUT!
happening the 3rd Sunday of EVERY month
@ the Royal - 1542 Light Street, Baltimore, MD
watch, listen, dance, relax and explore the "known unknowns"

AND check out "e+@13" - a new show the first Thursday of every month at  
the 13th Floor in Baltimore highlighting live aspects of electronic  
music.



---------------------------------------------------------------------
To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
website: http://www.microsound.org


From ???@??? Mon Jan 24 03:07:20 2005
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From: greg g <xxxxxxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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 FILETIME=[C60FB040:01C501C1]

you are thinking way too hard

just chill


>From: <xxxxxxxxxx@xxxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] thoughts on the 56k chalenge and other things
>Date: Sun, 23 Jan 2005 21:56:24 -0500
>
>"good" as determined by who?
>are you proposing that your subjective judgement represents a consensus?
>
>----- Original Message -----
>From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
>To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>Sent: Sunday, January 23, 2005 9:20 PM
>Subject: Re: [microsound] thoughts on the 56k chalenge and other things
>
>
> > that's why it's a challenge
> >
> > better get started.  i'm serious
> >
> > >From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
> > >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> > >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> > >Subject: Re: [microsound] thoughts on the 56k chalenge and other things
> > >Date: Sun, 23 Jan 2005 21:17:28 -0500
> > >
> > >that'll be a small site...
> > >On Jan 23, 2005, at 9:13 PM, greg g wrote:
> > >
> > >>i propose the "good music" challenge--only good music submissions plz,
> > >>that's the only constraint.  i'll host the files free
> > >>
> > >>
> > >>
> > >>>From: xxxxxxx@xxx.xxx
> > >>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> > >>>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
> > >>>Subject: [microsound] thoughts on the 56k chalenge and other things
> > >>>Date: Mon, 24 Jan 2005 01:07:57 +0000
> > >>>
> > >>>the reason i proposed the 56k challenge was because i wanted to see
>what
> > >>>would happen if people are limited by certain restraints
>.............be
> > >>>it physiccal, mental, sonic or file size.....i could have just as
>easily
> > >>>proposed a project that involved everyone composing music/art using
> > >>>nothing, but text files or the color red or even better only the left
>or
> > >>>right channel. the reason why i chose 56k or smaller was that i am on 
>a
> > >>>cheap laptop in indiana and im working w/ a 56k modem and im getting
> > >>>tired of trying to down load 9MB or larger files....also i wanted to
> > >>>challenge my self to write something that i could easily upload/down
> > >>>load. i personally dont care what format you make the file.....just
>keep
> > >>>it under 56k.
> > >>>
> > >>>-thaniel ion lee///bridle wire
> > >>>
> > >>>oh, ya
> > >>>
> > >>>359 true and untrue I statements
> > >>>by thaniel ion lee
> > >>>online from january 23rd til february 23rd
> > >>>located at
> > >>>http://thanielionlee.com/
> > >>>
> > >>>if you would like to comment on the work kindly send the comment to
> > >>>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it to
> > >>>everyone who got this email
> > >>
> > >>_________________________________________________________________
> > >>FREE pop-up blocking with the new MSN Toolbar - get it now!
> > >>http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/
> > >>
> > >>
> > >>---------------------------------------------------------------------
> > >>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > >>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > >>website: http://www.microsound.org
> > >>
> > >>
> > >mandra
> > >c:410.258.5281
> > >h:301 772 7376
> > >
> > >realtime experimentalist / guitarist for Telesma
> > >creator of "the manDrum"
> > >...jamming the mainstream in the zips
> > >http://defDumbAndBass.com
> > >http://telesma23.com
> > >http://skywheel.com
> > >
> > >Come to my very happening *happening*
> > >the defDumbAndBass fREAKoUT!
> > >happening the 3rd Sunday of EVERY month
> > >@ the Royal - 1542 Light Street, Baltimore, MD
> > >watch, listen, dance, relax and explore the "known unknowns"
> > >
> > >AND check out "e+@13" - a new show the first Thursday of every month at
>the
> > >13th Floor in Baltimore highlighting live aspects of electronic music.
> > >
> > >
> > >
> > >---------------------------------------------------------------------
> > >To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > >For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > >website: http://www.microsound.org
> > >
> >
> > _________________________________________________________________
> > Express yourself instantly with MSN Messenger! Download today - it's 
>FREE!
> > http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
> >
> >
> > ---------------------------------------------------------------------
> > 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
>

_________________________________________________________________
Don’t just search. Find. Check out the new MSN Search! 
http://search.msn.click-url.com/go/onm00200636ave/direct/01/


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From ???@??? Mon Jan 24 03:00:37 2005
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Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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"good" as determined by who?
are you proposing that your subjective judgement represents a consensus?

----- Original Message ----- 
From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Sunday, January 23, 2005 9:20 PM
Subject: Re: [microsound] thoughts on the 56k chalenge and other things


> that's why it's a challenge
>
> better get started.  i'm serious
>
> >From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
> >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> >Subject: Re: [microsound] thoughts on the 56k chalenge and other things
> >Date: Sun, 23 Jan 2005 21:17:28 -0500
> >
> >that'll be a small site...
> >On Jan 23, 2005, at 9:13 PM, greg g wrote:
> >
> >>i propose the "good music" challenge--only good music submissions plz,
> >>that's the only constraint.  i'll host the files free
> >>
> >>
> >>
> >>>From: xxxxxxx@xxx.xxx
> >>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> >>>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
> >>>Subject: [microsound] thoughts on the 56k chalenge and other things
> >>>Date: Mon, 24 Jan 2005 01:07:57 +0000
> >>>
> >>>the reason i proposed the 56k challenge was because i wanted to see
what
> >>>would happen if people are limited by certain restraints
..............be
> >>>it physiccal, mental, sonic or file size.....i could have just as
easily
> >>>proposed a project that involved everyone composing music/art using
> >>>nothing, but text files or the color red or even better only the left
or
> >>>right channel. the reason why i chose 56k or smaller was that i am on a
> >>>cheap laptop in indiana and im working w/ a 56k modem and im getting
> >>>tired of trying to down load 9MB or larger files....also i wanted to
> >>>challenge my self to write something that i could easily upload/down
> >>>load. i personally dont care what format you make the file.....just
keep
> >>>it under 56k.
> >>>
> >>>-thaniel ion lee///bridle wire
> >>>
> >>>oh, ya
> >>>
> >>>359 true and untrue I statements
> >>>by thaniel ion lee
> >>>online from january 23rd til february 23rd
> >>>located at
> >>>http://thanielionlee.com/
> >>>
> >>>if you would like to comment on the work kindly send the comment to
> >>>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it to
> >>>everyone who got this email
> >>
> >>_________________________________________________________________
> >>FREE pop-up blocking with the new MSN Toolbar - get it now!
> >>http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/
> >>
> >>
> >>---------------------------------------------------------------------
> >>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> >>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> >>website: http://www.microsound.org
> >>
> >>
> >mandra
> >c:410.258.5281
> >h:301 772 7376
> >
> >realtime experimentalist / guitarist for Telesma
> >creator of "the manDrum"
> >...jamming the mainstream in the zips
> >http://defDumbAndBass.com
> >http://telesma23.com
> >http://skywheel.com
> >
> >Come to my very happening *happening*
> >the defDumbAndBass fREAKoUT!
> >happening the 3rd Sunday of EVERY month
> >@ the Royal - 1542 Light Street, Baltimore, MD
> >watch, listen, dance, relax and explore the "known unknowns"
> >
> >AND check out "e+@13" - a new show the first Thursday of every month at
the
> >13th Floor in Baltimore highlighting live aspects of electronic music.
> >
> >
> >
> >---------------------------------------------------------------------
> >To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> >For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> >website: http://www.microsound.org
> >
>
> _________________________________________________________________
> Express yourself instantly with MSN Messenger! Download today - it's FREE!
> http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
>
>
> ---------------------------------------------------------------------
> 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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This past fall I saw Mari Kimura demonstrate and talk about her work at 
Harvestworks in NYC. I was surprised and heartened to learn that she 
teaches a class in interactive performance technique where these 
juliard kids not only have to play with computers but have to learn to 
do there own programing in max/msp. Not quite the bastion of 19th 
century musical values it once was I guess.


On Sunday, January 23, 2005, at 08:45 PM, Kim Cascone wrote:

> http://www.juilliard.edu/update/journal/j_articles385.html


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From ???@??? Mon Jan 24 02:21:11 2005
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Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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 FILETIME=[58C5B030:01C501BB]

that's why it's a challenge

better get started.  i'm serious

>From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] thoughts on the 56k chalenge and other things
>Date: Sun, 23 Jan 2005 21:17:28 -0500
>
>that'll be a small site...
>On Jan 23, 2005, at 9:13 PM, greg g wrote:
>
>>i propose the "good music" challenge--only good music submissions plz, 
>>that's the only constraint.  i'll host the files free
>>
>>
>>
>>>From: xxxxxxx@xxx.xxx
>>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
>>>Subject: [microsound] thoughts on the 56k chalenge and other things
>>>Date: Mon, 24 Jan 2005 01:07:57 +0000
>>>
>>>the reason i proposed the 56k challenge was because i wanted to see what 
>>>would happen if people are limited by certain restraints .............be 
>>>it physiccal, mental, sonic or file size.....i could have just as easily 
>>>proposed a project that involved everyone composing music/art using 
>>>nothing, but text files or the color red or even better only the left or 
>>>right channel. the reason why i chose 56k or smaller was that i am on a 
>>>cheap laptop in indiana and im working w/ a 56k modem and im getting 
>>>tired of trying to down load 9MB or larger files....also i wanted to 
>>>challenge my self to write something that i could easily upload/down 
>>>load. i personally dont care what format you make the file.....just keep 
>>>it under 56k.
>>>
>>>-thaniel ion lee///bridle wire
>>>
>>>oh, ya
>>>
>>>359 true and untrue I statements
>>>by thaniel ion lee
>>>online from january 23rd til february 23rd
>>>located at
>>>http://thanielionlee.com/
>>>
>>>if you would like to comment on the work kindly send the comment to
>>>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it to
>>>everyone who got this email
>>
>>_________________________________________________________________
>>FREE pop-up blocking with the new MSN Toolbar – get it now! 
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>>
>>
>mandra
>c:410.258.5281
>h:301 772 7376
>
>realtime experimentalist / guitarist for Telesma
>creator of "the manDrum"
>...jamming the mainstream in the zips
>http://defDumbAndBass.com
>http://telesma23.com
>http://skywheel.com
>
>Come to my very happening *happening*
>the defDumbAndBass fREAKoUT!
>happening the 3rd Sunday of EVERY month
>@ the Royal - 1542 Light Street, Baltimore, MD
>watch, listen, dance, relax and explore the "known unknowns"
>
>AND check out "e+@13" - a new show the first Thursday of every month at the 
>13th Floor in Baltimore highlighting live aspects of electronic music.
>
>
>
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From ???@??? Mon Jan 24 02:16:45 2005
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Date: Sun, 23 Jan 2005 21:17:28 -0500
From: mandra <xxxxxx@xxxxxxxxxxxxxx.xxx> (chris)
Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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that'll be a small site...
On Jan 23, 2005, at 9:13 PM, greg g wrote:

> i propose the "good music" challenge--only good music submissions plz, 
> that's the only constraint.  i'll host the files free
>
>
>
>> From: xxxxxxx@xxx.xxx
>> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
>> Subject: [microsound] thoughts on the 56k chalenge and other things
>> Date: Mon, 24 Jan 2005 01:07:57 +0000
>>
>> the reason i proposed the 56k challenge was because i wanted to see 
>> what would happen if people are limited by certain restraints 
>> .............be it physiccal, mental, sonic or file size.....i could 
>> have just as easily proposed a project that involved everyone 
>> composing music/art using nothing, but text files or the color red or 
>> even better only the left or right channel. the reason why i chose 
>> 56k or smaller was that i am on a cheap laptop in indiana and im 
>> working w/ a 56k modem and im getting tired of trying to down load 
>> 9MB or larger files....also i wanted to challenge my self to write 
>> something that i could easily upload/down load. i personally dont 
>> care what format you make the file.....just keep it under 56k.
>>
>> -thaniel ion lee///bridle wire
>>
>> oh, ya
>>
>> 359 true and untrue I statements
>> by thaniel ion lee
>> online from january 23rd til february 23rd
>> located at
>> http://thanielionlee.com/
>>
>> if you would like to comment on the work kindly send the comment to
>> xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it to
>> everyone who got this email
>
> _________________________________________________________________
> FREE pop-up blocking with the new MSN Toolbar – get it now! 
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>
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>
>
mandra
c:410.258.5281
h:301 772 7376

realtime experimentalist / guitarist for Telesma
creator of "the manDrum"
....jamming the mainstream in the zips
http://defDumbAndBass.com
http://telesma23.com
http://skywheel.com

Come to my very happening *happening*
the defDumbAndBass fREAKoUT!
happening the 3rd Sunday of EVERY month
@ the Royal - 1542 Light Street, Baltimore, MD
watch, listen, dance, relax and explore the "known unknowns"

AND check out "e+@13" - a new show the first Thursday of every month at 
the 13th Floor in Baltimore highlighting live aspects of electronic 
music.



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From ???@??? Mon Jan 24 02:14:10 2005
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 FILETIME=[5E5BDA70:01C501BA]

i propose the "good music" challenge--only good music submissions plz, 
that's the only constraint.  i'll host the files free



>From: xxxxxxx@xxx.xxx
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
>Subject: [microsound] thoughts on the 56k chalenge and other things
>Date: Mon, 24 Jan 2005 01:07:57 +0000
>
>the reason i proposed the 56k challenge was because i wanted to see what 
>would happen if people are limited by certain restraints .............be it 
>physiccal, mental, sonic or file size.....i could have just as easily 
>proposed a project that involved everyone composing music/art using 
>nothing, but text files or the color red or even better only the left or 
>right channel. the reason why i chose 56k or smaller was that i am on a 
>cheap laptop in indiana and im working w/ a 56k modem and im getting tired 
>of trying to down load 9MB or larger files....also i wanted to challenge my 
>self to write something that i could easily upload/down load. i personally 
>dont care what format you make the file.....just keep it under 56k.
>
>-thaniel ion lee///bridle wire
>
>oh, ya
>
>359 true and untrue I statements
>by thaniel ion lee
>online from january 23rd til february 23rd
>located at
>http://thanielionlee.com/
>
>if you would like to comment on the work kindly send the comment to
>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it to
>everyone who got this email

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http://www.juilliard.edu/update/journal/j_articles385.html


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From ???@??? Mon Jan 24 01:08:04 2005
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the reason i proposed the 56k challenge was because i wanted to see what would happen if people are limited by certain restraints .............be it physiccal, mental, sonic or file size.....i could have just as easily proposed a project that involved everyone composing music/art using nothing, but text files or the color red or even better only the left or right channel. the reason why i chose 56k or smaller was that i am on a cheap laptop in indiana and im working w/ a 56k modem and im getting tired of trying to down load 9MB or larger files....also i wanted to challenge my self to write something that i could easily upload/down load. i personally dont care what format you make the file.....just keep it under 56k.

-thaniel ion lee///bridle wire

oh, ya

359 true and untrue I statements
by thaniel ion lee
online from january 23rd til february 23rd
located at
http://thanielionlee.com/

if you would like to comment on the work kindly send the comment to
xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it to
everyone who got this email
--Boundary_(ID_Y7XO1drzZpoGk6l5ZCCpvw)--

From ???@??? Mon Jan 24 00:05:35 2005
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> At variable bit rate MP3, lower frequencies require less information to
> encode than higher frequencies. With some calculation, you could make a
> pretty long bass drone that would still come in under 56K easy. I
> remember something like a 10 minute Slub track using this technique 
> that
> still fit on a floppy.
>
> Likewise, a MIDI file, PD patch or any other essentially "textual"
> instructions for playing a "track" need not take up more than a few Kb
> of space.

Certainly.

I found it kind of interesting that most people on this list who 
responded immediately focused on mp3s and reducing their size. As if 
the only way to do it is to externally source a larger linear audio 
file you captured and compress it as much as possible

Lo-Fi fetish aside, maybe I'm old or something but the first thing that 
popped into my mind was that this was intended as a retro code 
programming challenge to begin with, not the challenge of compressing 
linear data.

  I'm old enough to remember when programmers would get props for fast 
and efficient code rather than tell others by default to go buy 
themselves a faster machine with more RAM or else they are never going 
to run that bloatware app.

Round about 1989 I was working at a college computer lab with a room 
full of already aged IMB PC XTs (pre-286 machines) - so there were 
quite a few afternoons when no classes were held.  I came up with some 
code,  probably compiled Turbo Pascal, all of about 6K that would make 
the PC output insect-like clicking sounds to the speakers along with 
some no frills graphics made with repeated line segments that drew sort 
of palm tree leaves on the screens. So that was my app. Kind of lame on 
one computer but quite a surround environment running on all 16-20 
machines in the room.


ndkent
http://www.technopop.info/ndkent/


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Subject: Re: [microsound] Death of electronic music
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I also consider john's response to be "doing it well"

well!

On Jan 23, 2005, at 5:31 PM, John Nowak wrote:

>
> On Jan 23, 2005, at 4:41 PM, Arie van Schutterhoef wrote:
>
>>> by doing it well.
>
>> -Which applied method would this mean?
>
> Do you consider yourself an artist?
>
> - John
>
>
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