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Post by Nictoshek on Nov 21, 2010 8:54:15 GMT -7
From Moby's album: 'Everything is Wrong' and quite possibly the best techno trance you'll ever hear. The views are GREAT as well. ;D
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Post by pieter on Nov 21, 2010 16:47:34 GMT -7
Nice subtle music of Moby Nictoe. I like this piece of music of Boards of Canada as well!
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Post by Nictoshek on Nov 21, 2010 17:04:36 GMT -7
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Post by Nictoshek on Nov 21, 2010 17:59:25 GMT -7
No doubt the song is quite popular. Here it was used very effectively in the movie ending HEAT:
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Post by Nictoshek on Nov 28, 2010 5:19:37 GMT -7
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Post by Nictoshek on Nov 30, 2010 2:02:54 GMT -7
Speaking in Code is an intimate account of people who are completely lost in music. A heartbreaking and lighthearted documentary, it's a vérité glimpse into the world of techno. Captivating and entertaining, the film takes you around the world, following the people who make electronic music ... their lives.
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Post by pieter on Nov 30, 2010 17:33:51 GMT -7
Old hard core Techno Damon Wild – Subtractive Synthesis Vol. 1 Label: Geometric – Geo-001 Format: Vinyl, 12", 45 RPM, 33 ⅓ RPM Country: US Released: 1994 Genre: Electronic Style: Techno, AcidDamon WildDamon Wild (* 1967) ist ein US-amerikanischer Musiker, Produzent und DJ aus dem Techno- und Acid Techno-Bereich. Er ist Gründer des Labels Synewave.LebenDamon Wild stammt aus New Orleans und war bereits mit 15 Jahren als DJ tätig. Um 1990 kam er nach New York City, wo er seine musikalische Karriere begann.
1991 gelang ihm mit seinem damaligen Mitbewohner Ray Love unter dem Projektnamen Toxic Two mit dem Track Rave Generator ein Top-10-Hit in Großbritannien. Gemeinsam mit Love hat er 1991/92 noch weitere Titel unter den Projektnamen Acid Masters, Peace of Mind und Gangsters of Love. Ab 1992 leitete er das Label Experimental Records, auf dem er bis 1995 über 30 Releases von Tim Taylor, Freddy Fresh, DJ ESP und anderen veröffentlichte. Freddy Freshs unter dem Pseudonym Modulator veröffentlichter Track Sinewave (Experimental Records 011, 1993) gab den Anstoß zur Gründung von Damon Wilds eigenem Label Synewave im Jahr 1994, das bis in die Gegenwart fortbesteht. Auf Synewave hat Damon Wild neben eigenen Projekten auch weiterhin Tracks von Tim Taylor, Freddy Fresh, DJ ESP und anderen veröffentlicht. Zu seinen bekannten Veröffentlichungen zählt der zusammen mit Tim Taylor eingespielte Track Bang the Acid, der in mehreren Neuauflagen und Remixes erschien. Gemeinsam mit Taylor trat er auch unter dem Projektnamen Aurabora in Erscheinung, außerdem wirkte er immer wieder bei Veröffentlichungen von Taylors Projekt Pump Panel mit. Weitere Kollaborationen waren Morgan Wild (mit Dan Morgan, mehrere Veröffentlichungen 1992 bis 1994), Morph (mit Dennis Ferrer, 1994), Voyager 8 (mit Steve Stoll, mehrere Veröffentlichungen 1995 bis 1998) und Blue Maxx (mit Mederic Nebinger, verschiedene Veröffentlichungen 1996 bis 1998). Von 2002 bis 2005 hat Wild außerdem mit Echoplex (Peter Sliwinski) verschiedene gemeinsame Aufnahmen veröffentlicht. Damon Wild hat seit Beginn seiner Karriere ungefähr 90 Veröffentlichungen produziert und ungefähr 50 Veröffentlichungen unter eigenem Namen zu verzeichnen. Unter seinen eigenen Veröffentlichungen ragt die Subtractive Synthesis betitelte Serie hervor, in der von 1994 bis 2006 acht Veröffentlichungen auf Synewave erschienen. Damon Wild tritt außer als Produzent und Musiker auch als DJ in Erscheinung.Veröffentlichungen (Auswahl) Alben 2001: Colortheory (Music Man Records) 2004: Downtown Worlds (Kanzleramt Records)Singles & EPs1993: Damon Wild presents Nightvision – Nuclear Sun (Experimental) 1994: Damon Wild – Subtractive Synthesis Vol. 1 (Geometric) 1995: Damon Wild – Red Dog (Synewave) 1995: Damon Wild & Woody McBride – Life In The Slow Lane (Head In The Clouds) 1995: Morgan / Wild – Untitled (Geometric) 1995: Damon Wild – Subtractive Synthesis II (Synewave) 1996: Damon Wild – Subtractive Synthesis III (Synewave) 1996: Damon Wild / Chris Sattinger – Synewave New York Volume Two (Kickin Records) 1996: Damon Wild – Avion (Synewave) 1997: Damon Wild – Fluorescence / Linear (Synewave) 1997: Damon Wild – Subtractive Synthesis IV (Synewave) 1997: Damon Wild – Eva EP (Geometric) 1997: Damon Wild vs. Function – Covert Operations (Synewave) 1998: Damon Wild – Rotary (Synewave) 2000: Damon Wild – Warchild (Adam Beyer Remixes) (Synewave) 2000: Damon Wild – Zoom / Opaque (Synewave UK) 2000: Damon Wild – Subtractive Synthesis V (Synewave) 2000: Damon Wild – Mistaken Identity (Synewave) 2001: Damon Wild – Subtractive Synthesis VI (Remixes) (Synewave) 2001: Damon Wild – Travel Remixes (Music Man Records) 2001: Damon Wild – 13 (Music Man Records) 2001: Damon Wild – Subtractive Synthesis VI (Synewave) 2002: Damon Wild & Echoplex – Subtractive Synthesis VI - Niteworks Pt. 1 (Synewave) 2002: Damon Wild – Connect The Dots EP (Music Man Records) 2002: Damon Wild & Echoplex – Niteworks Pt. 2 (Synewave) 2002: Damon Wild & Echoplex – Niteworks Pt. 3 (Synewave) 2003: Damon Wild & Echoplex – Niteworks Pt. 4 (Synewave) 2003: Damon Wild – Subtractive Synthesis VII - Strike By Night EP (Synewave) 2003: Damon Wild – Downtown World (Kanzleramt Records) 2004: Damon Wild – Images EP (Synewave) 2004: Damon Wild – Smoked Grooves (Pseudo Records) 2004: Damon Wild – Avion (Synewave) 2005: Damon Wild & Echoplex – Niteworks Pt. V - Don't Sell Your Soul (Synewave) 2005: Damon Wild – Fried Grooves 01 (Synewave) 2006: Damon Wild – Subtractive Synthesis VIII (Synewave) 2006: Damon Wild – Wish Box (Synewave) 2007: Damon Wild – Unconditional (Synewave) 2007: Damon Wild – Unconditional (Reconditioned) (Synewave) 2011: Damon Wild – Avion Return (Synewave) 2011: Damon Wild – Avion Return Pt. 2 (Synewave)
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Post by Nictoshek on Dec 6, 2010 7:28:01 GMT -7
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Post by pieter on Dec 6, 2010 9:05:26 GMT -7
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Post by Nictoshek on Dec 6, 2010 12:17:26 GMT -7
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Post by Nictoshek on Dec 6, 2010 17:56:34 GMT -7
Reminds me to do something with Winamp:
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Post by Nictoshek on Dec 11, 2010 5:13:08 GMT -7
Foreword The Theory and Technique of Electronic Music is a uniquely complete source of information for the computer synthesis of rich and interesting musical timbres. The theory is clearly presented in a completely general form. But in addition, examples of how to synthesize each theoretical aspect are presented in the Pd language so the reader of the book can immediately use the theory for his musical purposes. I know of no other book which combines theory and technique so usefully. By far the most popular music and sound synthesis programs in use today are block diagram compilers with graphical interfaces. These allow the composer to design instruments by displaying the ``objects" of his instrument on a computer screen and drawing the connecting paths between the objects. The resulting graphical display is very congenial to musicians. A naive user can design a simple instrument instantly. He can rapidly learn to design complex instruments. He can understand how complex instruments work by looking at their graphical images. The first graphical compiler program, Max, was written by Miller Puckette in 1988. Max dealt only with control signals for music synthesis because the computers available at the time were not fast enough to deal with sound. As soon as faster computers which could compute soundwave samples in real-time were available, Puckette and David Zicarelli appended MSP to Max (Max/MSP) thus making the computer, usually a laptop computer, into a complete musical instrument capable of live performance. Development of Max/MSP was done by Puckette and Zicarelli at IRCAM in the period 1993 to 1994 . Both have now moved to California. Zicarelli commercialized and sells Max, MSP, and JITTER (an extension to video synthesis) as products. Puckette, now a professor at UCSD, wrote Pd (Pure Data). It is an open source program which is a close equivalent to Max/MSP. Max and Pd allow almost anyone to synthesize uninteresting timbres almost instantly. Making interesting timbres is much more difficult and requires much additional knowledge. The Theory and Technique of Electronic Music is that body of knowledge. The theory is important for any synthesis program. The Theory and Technique of Electronic Music gives copious examples of how to apply the theory using Pd. The combination of theory plus Pd examples makes this book uniquely useful. It also contains problem sets for each chapter so it is a fine textbook. I expect Puckette's book to become THE essential book in any electronic musician's library. Max Mathews www-crca.ucsd.edu/~msp/techniques/latest/book-html/
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Post by Nictoshek on Dec 11, 2010 8:47:06 GMT -7
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Post by Nictoshek on Dec 12, 2010 12:57:51 GMT -7
"In the future, all pop music will bring everyone a little closer together --gay or straight, black or white, one nation under a groove."--LFO: "Intro" (1991) MACHINE SOUL: A History Of Techno
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Post by Nictoshek on Dec 16, 2010 11:42:51 GMT -7
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