ThIs CyBErZiNe KiLLs
FasciSts
wElCoMe To ThE
OrDeR Of ThE
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"""
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December 2016.
Welcome to the 4th
Issue of the ORDER
OF THE SHADOW WOLF
cyberzine.
Packed
with freaky
articles to get
you through the
yearly Christmas
hell:
An exclusive
interview with
Electro pioneer
legend MAN
PARRISH, HOT
studio
tips, Cybotron's
Alleys Of Your
Mind, Botanical
curiousities, The
Virus
collection of
VOISKI, Obsolete
Computers, short
stories, poetry,
synthesizer stuff,
DIY
cyberpunk lo-tech
projects, ASCII
ART,
Fashion makeover
for Berlin
insecure neofolk
techno dorks and
lots of
other stuff!
I
am happy to see
that this
CYBERZINE gets
lots of love and
people are
actually reading
it, I had never
expected that I
would still be
doing
one 3 years later,
though I can only
do one a year its
a lot of fun
to
write and
recieve articles
from
collaborators.
A 'custom' paper
version made by the
Miami Dale Zine
library made
it
into the Museum of
Contemporary art
in Los Angeles at
the LA ART book
fair earlier this
year. You can
order a copy of
this paper
version,
which is a
collection of
several articles
here:
http://www.dalezine.com/The-Order-Of-The-Shadow-Wolf-Legowelt
The
order of the
SHADOW WOLF Won't
stop and we are
going to be back
in 2017. BiGgEr
AnD mOrE EvIl ThEn
EvEr!!!!!!!!!
Why don't YOU join
the ORDER OF THE
SHADOW WOLF and
become L33T in
life!!!
Enjoy
this issue!!!
Thanks to:: Man
Parrish,
Polarfox85,
Voiski,
Elektrovolt, Brian
Orgue,
Baz Reznik,
T.Dancer,
DJSHluchT, DUYNN,
Fear &
TheHousemaid,
CyberChicken,
Lazenbleep, Willie
Burns, Marcos
Arellano & all
readers &
contributors
alike for support!
In
This Issue:
1
. . . . . Man Made
With Man Parrish
2 . . . . .
Intergalactic FM
3 . . . . .
Can you make sense
of it all?
4 . . . . .
Cybotron's Alleys
Of Your Mind
5 . . . . .
Botanical Journal
6 . . . . .
Build your own
lazer oscilloscope
projector
7 . . . . .
Voiski and his
Virus Friends
8 . . . . .
Anatomy of a Track
9 . . . . .
Tips for touring
DJs &
Producers
10 . . . .
.Loneliness A
short SCIFI story
by Baz Reznik
11. . . . .
Legowelt Dogz Take
Drugs Too DJ MIX
tracklist
12. . . . . Zero
Budget Roland
Boutique Synth
Stand
13. . . . . Techno
Fashion Tips
14. . . . . Mystic
& Quantum
Visions
15. . . . . Cool
Chords
16. . . . . Rural
Forest Simulator
17. . . . . Hot
Studio Tips
18. . . . . Zoom
1201 Multi FX
19. . . . . Video
Advice Movie Tips
20. . . . .
Obsolete Computers
21. . . . .
Aquatic
Dimensional Space
Machine
22. . . . . Orphic
Hyhmn
23. . . . . Fresh
TR808 Beats
24. . . . . Poetry
Corner
25. . . . . Viaje
A Los Angeles
26. . . . . Cable
Gremlins
27. . . . .
Essential Trip
Music
28. . . . . ASCII
Zone
29. . . . . Tape
Culture Loops
=================================================================================
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MAN PARRISH stood at
the foundation of
Electro, Hiphop and
Freestyle
in the early 1980s.
As influential as
the likes of
Kraftwerk, Arthur
Baker, Afrika
Bambaata and YMO he
is truly an electro
pioneer.
Growing up in 1970s
New York he schooled
himself in the
arcane
techniques of
synthesis and
created a list of
bona-fide electro
and
hiphop classics.
Filling the airways
of our youth with
sounds the world had
never
heard before,
he would inspire
many of us to pursue
a 'career' as
an electronic
musician.
SHADOW WOLF hooked
up with MAN PARRISH
in Florida via
cyberspace and
asked him some
questions on how it
all started.
If you are not
familiar with MAN
PARRISH check out
some of his tracks
below and listen and
learn! Let them play
in the background
while you
are reading the
interview for an exhilarating
media experience!
Heatstroke
- One of his first
tracks was the
soundtrack for a gay
porn movie, somehow
it ended up being
played in the New
York clubs
and became the
initiator for his
classic debut album.
Six
Simple
Synthesizers -
Merging the spine
chilling mind
shivering
opera voice of Klaus
Nomi with Man's
synthesizer
futurism.
Boogie
Down Bronx -
An absolute huge
electro-proto
freestyle/hiphop
banger with Freeze
Force on the mic.
Hip
Hop Be Bop (Don't
Stop) - This
track is believed to
be the origin
of the term 'hip
hop' as a music
style
How did you start
producing
electronic music
in the 1970s
exactly?
Marijuana.
And I'm not
joking...LOL Back
in those days we
used to smoke a
lot of weed. I
can't anymore, it
makes me paranoid
but back then, I
Barely
breathed oxygen.
My face was
attached to a
water bong 24
hours 7 days a
week.
In those days you
would smoke pot
and listen to what
they called "head
music"
which was not
quite like ambient
music but more on
the electronic
side.
Some of it was
rhythmic, but it
was based on
trippy sounds that
would enhance
your high.
Due to the lack of
"head music"
albums (remember
in those days
everything
was on vinyl) I
knew a little
about synthesizers
and wondered if
there was
a way I could make
"trippy" music
myself and listen
to it after I
smoked weed.
My neighbors would
totally freak out
from the sounds
coming from my
apartment door.
They probably
thought I was
landing an alien
spaceship in
there, these were
not sounds that
you would normally
hear from the rock
&
roll bands on a
stereo.
So basically I
have marijuana to
blame for my
interest in
electronic music!
I also went on a
very deep mission
to find other
experimental and
electronic
musicians. In New
York they had the
Donnell Music
Library and the
library at
Lincoln Center
which had audio
recordings. I
would search for
electronic and
obscure records
and listen to a
lot of
experimental
synthesizer music
which
basically had
drones and blips
and bleeps.
I figured if I was
getting into
electronic music,
I should
definitely know
the roots of all
this. I would like
to say at this
point anybody who
is
interested in
doing electronic
music REALLY
should study the
background of
this music going
back into the
1950s when it
first started.
That way they
would have a very
good solid
foundation for
creating music
today.
I eventually
wounded up taking
a course at a
continuing
education school
learning the basic
physics of
synthesis...Manipulating
sine, sawtooth,
square-waves,
envelope
generators, ring
modulators and
things the analog
synthesizer is
made up. That was
truly an important
foundation to
create
an understanding
of the whole audio
spectrum.
The first
synthesizer I
learned this on
was the ARP 2500,
people should
google it just to
see how it looks,
it was about 4
feet high and 7
feet
long...LOL People
today try to just
grab a sample and
like the way it
sounds. I come
from an era where
we had to break
that sound down
into
waveforms and
understand the
physics and the
science behind
that.
We could recreate
sounds with
accuracy and have
total manipulation
on
shaping it into
what we heard in
our heads.
In
that time it
must have been
quite an
obscure
endeavour
making
electronic
music, like
super
futuristic,
almost
magical!?
I was always into
electronic and
obscure music as
well as modern
rock'n'roll
and pop music. But
when I heard
groups like
Kraftwerk, I
suddenly realized
the two came
together and you
could take
synthesis and make
real songs...
music molded into
an electronic
band.
I immediately knew
this was the
future of music
and in that sense,
discovering all
this indeed made
it very 'magical'.
In
an earlier
interview you once
talked about your
very first
synthesizer
you bought from
RadioShack, was it
one of those sound
science kits?
RadioShack
back in the 70s
had all these
homemade 'science
kits'. One of
them was a mini
'synthesizer' kit.
It was very basic
and rudimentary
but I
actually had to
sit there and
solder wires to
transistors and
potentiometers
and stuff like
that. Today that
would have been a
really cool geeky
thing
to do but back
then real
synthesizers were
like 5 to 10
thousand
dollars...
way out of my
price range as a
17 year old kid.
Putting together
the kit
for 20$ and
smoking pot was a
lot easier to do!
It must have
been difficult
to get your
hands on
electronic music
machines
...expensive,
cutting edge and
puzzling...how
did you learn to
use these
machines?
I learned to
use these
machines by
trail and
error. I had
some basic
synthesizer
school but I
am a true
believer in
Chaos Theory
and experimen-
tation. If
someone says
don't push the
knob past 10,
I dial it up
to 15 to
see what it
sounds like!
And I file
that away as
an interesting
effect
that I may
need to use
later.
Synthesizers
were extremely
expensive.
I'll tell you
a funny story,
this
will show you
the funny
"low" that I
went to go
through to get
a synthesizer.
The ARP 2600
came out and
was about
2000$ in those
days. It was
an incredible
amount of
money. I told
my parents I
wanted one. Of
course they
said
absolutely no
way! I pulled
my mother over
to the side
and said:
"If you don't
give me money
for the
synthesizer, I
will become a
male
prostitute and
sell drugs
until I make
enough money
to buy this".
She looked
stunned and
thought for a
few
minutes...then
turned to me
and
said "Let me
speak to your
father...".
The next day
we went
shopping for
that
synthesizer
LOL...my poor
mom!
Do
you have some
advice for any
future artists?
My
advice to
anybody doing
synthesis is
please, please,
please get
online
and take several
evenings to
study as much as
you can about
the beginnings
of electronic
music and how it
has developed.
People are lucky
today because
you have the
internet. In my
day we didn't. I
had to
physically go to
the
library and read
books. Today its
all online on
Youtube and you
can find
almost anything
with Google. If
you want to be a
really great
synthesizer
girl or guy,
record producer
or artist you
MUST study your
craft and know
your foundation
and what
shoulders you
are standing on
to create
something
new.
Don't be afraid
to beg borrow
and steal from
others because
all great
artists did that
too. Learn,
learn, learn and
never stop
learning. I am
constantly
working and
moving forward
even though you
may not see many
records that I
put out. I have
over 100
releases on my
own label on
iTunes
and all digital
outlets like
Spotify and
those sort of
things that
people
can listen to
for free or
purchase. I am
currently
working with
Steve
Bronski from
Bronski Beat
doing some
remixes of new
material.
I've worked with
everybody from
Boy George, to
Micheal Jackson,
to
Gloria Gaynoer
from the disco
days, Crystal
Waters and even
managed the
Village People
on the road for
six years. I was
learning,
learning,
learning
and still do.
Never stop or
should I say
"DON'T STOP!"
The day you stop
learning is the
day you are dead
as an artist. I
am not
a musician...I
am an artist and
that changes my
whole
perspective on
how
I approach music
and sound!
Thanks Man
Parrish!
Selected Studio
Gear list (of his
kit around the
early 80s)
ARP
2600
Electrocomp
model 200
Electrocomp
model 101
Sequential
Circuits Pro One
Sequential
Circuits Prophet
5
Korg Lambda
String ensemble
Roland TR808
Roland TR606
Roland CR68
Roland Space
Echo
Roland SH101
Roland MC202
Roland Jupiter 8
Korg Poly Six
Korg MS20 &
MS10
Oberheim Four
Voice
Oberheim OBXA
Oberheim OB8
Mattel Synsonics
Linndrum
sw
================================================================================
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================
F
M
===============
________-----______----_____--_____-____
====================================
___________-------____------____-_______
====================================
__________----------_--------------___--
The
NO.1 hottest
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internet
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everything
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listen here
Upcoming
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Adress =
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Easily
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13-16 April
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INTERGALACTIC
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3 Days of
INTERNATIONAL
ELECTRO-NIX
MAYHEM!
=================================================================================
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'TO
SERVE
MAN'
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|---|
"GUSTATUS
SIMILIS
PULLUS"
What does it
taste like?
o
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_|_______///
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\________/
/___/
||\\
|| \\//
========//
Cyberpunk
chicken
cooking
something
What is he
cooking?????
\\
(
(
o
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What
synthesizer
does he
want???
__---__
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+
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conquer the
powers of
darkness
=================================================================================
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_____________
|| | ___________
|| _____
_____
_______|| _ _ - - / ___| ___
/ ______||
\
\ __
_/ / ||
-
_ \___/_________,__
/// /|| _
- __/_________--
__
/ || = =
--__\____
/ ---_____/ ||
______
\
/ /---________/||
|
\
\
/_/
________||
|
\ \__
____________||
__|
/____-
_______________|| ---
__________________||___---
An
article about
the importance
of Cybotron's
Alleys Of Your
Mind send in
by T.Dancer
from
Kalamazoo, MI
Listen to the song
here while
reading
Who'll cry for
modern man
Lost
without a
chance
Go
fight eternity
Don't
tell what you
see
Lies
and Truth side
by side
Glazed
eyes from some
high
Anti
Love is the
word
No
others ever
heard
Alleys
of Your Minds
Paranoia
right behind
Alleys
of Your Mind
Out
of Sync Out of
Rhyme
Stars
of hate warp
your mind
Where
is your sense
of time
Lazer
beams cloud
your dreams
Pop
your mind at
the seams
Take
your faith in
your hands
Do
what your
faith demands
If
you do what
you are told
Blame
it on thought
control
Alleys
of your Minds
Paranoia
right behind
Alleys
of your mind
Out
of Sync Out Of
Rhyme
(Lyrics
of 'Alleys of
your Mind' by
Cybotron 1981)
Alleys
of your Mind
is the very
first Cybotron
song and one
of the most
important/influential
dance music
tracks of all
time.
It is one of
the songs that
became a main
ingredient in
inspiring
Techno.
It came out in
1981 and was a
hit in
Detroit. It
played on the
Electrifying
Mojo show
frequently.
People now
would call
this Electro
but back then
it
was Techno
before Juan
Atkins
actually gave
a name to the
genre.
Most people
know Rick
Davis and Juan
Atkins (who
became MODEL
500 later)
were in
CYBOTRON but
there was also
another artist
in the band at
the time.
He was named
John “Jon 5”
Housley and
was a Vietnam
war vet. He
was and
still is very
eclectic.
There was a
local article
that told more
of his side of
the story this
past
year (2016)
but it is not
available
online. *Bonus
points if you
can find it*
Vietnam quite
possibly
influenced the
lyrics as Mr.
Housley has a
very
beautiful mind
when it comes
to processing
events and
translating it
into poetry.
Later Cybotron
went on to
create similar
powerful
sounds on the
Enter LP which
was the first
Techno LP. It
had Clear
which is one
of the most
sampled songs
of
all time, R9,
and other
really funky
but dark
tracks that
set the stage
for
the future of
Techno
artists.
As Anthony
“Shake” Shakir
says:
"Juan started
it, Derrick
(May) sold it,
Kevin
(Saunderson)
had a hit,
and Jeff
(Mills)
reinvigorated
it.”
It all started
with Alleys of
Your Mind
==================================================================================
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/
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<> \|/
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O
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.
|
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o | . .
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|
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o o o o o o
|
|
\-------/ \-------/
|
o o o o o o o
o | o o o o o
|
\ / \
/
|_________________________________|
\___/ \___/
// / / / / / / / | | | \ \ \ \ \ \ \
/o
/
/ / / / /
/ | |
| \ \ \
\ \ \ \
\-------------------------------------/
=====================================
Some
interesting
botanical
curiosities
for you to
check out...
CODARIOCALYX
MOTORIUS aka
Desmodyum
Gyrans aka
Telegraph
Plant
This is a
plant that
moves to
sunlight and,
more
impressively,to
sound. It
starts to move
when it is
exposed to
high pitched
sounds!
How cool is it
to have these
in your studio
or next to
your hifi
stereo
system. It
particularly
likes pinkish
noisey flute
sounds from
lets say,
a Korg M20.
The real
freaky thing
is that you
can sort of
train it.
The more you
expose it to
the right
sounds from a
young age, the
more it
will 'dance'.
Its an easy to
grow plant,
indoors it
just needs
some warmth
and light.
Above 22
degrees
celcius and
some sun. When
they start to
grow
it will take a
few weeks
before they
are big enough
to 'dance', a
few
inches at
least. They
can grow up to
a few feet!
You can order
seeds easily
online. They
like to be in
a bunch
because
even more
bizzarly, they
learn and
communicate
with each
other and will
make more
impressive
'dancing
moves' when
together (for
real!). How
this
is exactly
done is not
known but its
best to grow a
couple of
them.
It also has
some DMT in it
but don't eat
it because
that stuff
doesn't
work like
that.
SILYBUM MARIANUM aka Milk Thistle
A herb that
grows pretty
much
everywhere.
You can eat it
as a sort of
Spinach like
vegetable,
raw, cooked or
roasted, in
salads etc.
Little
research or
information is
known about
its
psychoactive
effects,
but it
certainly has
some. Make
some tea of
it, though it
doesn't really
taste that
nice. When you
drink this it
will feel like
you have giant
ball
of air in your
head, dozy
floating
around, maybe
a bit extra
giggly...
spaced out.
Not really
pleasant in a
recreational
way, but also
not really
horrible. Good
to fall asleep
to, apparently
its healthy
for your
liver.
So if you are
an alcoholic
better check
it out. Mix
with Verbena,
Mint or
something for
extra effect.
ENCYCLOPEDIA
OF
PSYCHOACTIVE
PLANTS
A most
excellent
guide to
psychoactive
plants and
mushrooms is
'The
Encyclopia of
Psycho Active
plants'
written by
Christian
Ratsch.
Clocking in
with almost
3000 pages of
in depth
information
including
anthropoligical
signifigance,
history,
effects,
dosage and
much more.
An absolute
must have in
any
psychonauts
library! It is
available as a
hard copy but
quite
expensive
(100$+ or so!)
but the e-book
is freely
available at
archive.org
here:
https://archive.org/download/TheEncyclopediaOfPsychoactivePlants
================================================================================
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| |/ _ \| | |
| '__| /
_ \ \ /\ / /
'_
\
|
|_) | |_| | |
| (_| | | |_|
| (_) | |_| |
|
| (_) \
V V /| |
|
|
|_.__/
\__,_|_|_|\__,_|
\__, |\___/
\__,_|_|
\___/ \_/\_/
|_|
|_|
|___/
_
_ _
_
| | __ _
_______ _
__
___
___
___(_) | |
___
___ ___
___ _
__
___
| |/ _`
|_ / _ \
'__| / _
\/ __|/ __| |
| |/ _ \/ __|/
__/ _ \| '_ \
/ _ \
|
| (_| |/
/ __/
|
| (_) \__ \
(__| | | | (_)
\__ \ (_| (_)
| |_) |
__/
|_|\__,_/___\___|_|
\___/|___/\___|_|_|_|\___/|___/\___\___/|
.__/ \___|
|_|
_
_
_
__ _ __
___ (_)
___ ___|
|_ ___ _
__
| '_ \| '__/ _
\| |/ _ \/ __|
__/ _ \|
'__|
|
|_) | | | (_)
| | __/
(__| || (_) |
|
|
.__/|_|
\___//
|\___|\___|\__\___/|_|
|_|
|__/
Make your own
futuristic
lazershow,
just something
cool to have
in the living
room or spice
up your studio
when producing
music. This is
a super
lowbudget
laser
projector
design that
doesn't need
any electrical
engineering
skills.
Can you attach
a piece of
tape? Yes???
Then you can
build this!
Its basicly
centered
around a small
mirror placed
on a
speakercone
that reflects
a laserbeam
coming from a
laser
lightpen. The
speakercone
will resonate
the
reflected
laserbeam and
you will be
able to
visualize the
soundwaves!
What you need:
Laser pen
loudspeaker
cone/loudspeaker
Balloon
Small Mirror
gaffa
tape
glue/doublesided
tape
wooden
plank
cut the
balloon in
half and take
the upper part
____
____
/
\
/
\
/
\
/______\
cut
here->|
-----|---
______
\
/
\
/
\
/
\ /
||
||
==
==
Wrap the upper
part as
tightly as you
can over the
speakercone
Use tape or
whatever means
to attach. You
can probably
also use a
normal
(powered)
speaker if the
balloon can be
wrapped
closely to
the
speakercone.
_________
/
\\ \ ,--
Speakercone
upper part / \\ \_ <----'
______-----_
_
of
balloon->
| ||
||_____________/
'''''
\
// ,-"
\_____//__/
Glue or tape a
small mirror
in the center
of the wrapped
balloon
surface (can
be any shape,
as long as it
is smaller
then the
speakercone).
The more
lightweight it
is the better.
_________
/ \\ \
/ ____ \\ \_ ____-----_ _
| | ||| ||____________/
'''''
\ |____|//
,-"'
\_____//__/
Now attach the
speaker on a
surface at a
+- 45 degree
angle. You can
do this with
tape or
whatever
technical
contraption
you are
capable off.
Place the
laserpen on
the other end
of the surface
so it shines
directly
into the
mirror
attached to
the speaker.
You can use a
block of wood
to put the
lazerpen at
the right
height.
Connect the
speaker to an
amplifier or
whatever
soundsource it
needs.
When the
speaker plays
music the
balloon and
mirror should
resonate on
the soundwaves
and reflect
the laser so
it will show a
sort of
oscillope
effect on
whatever it is
projected.
small
mirror
glued/taped to
balloon surface
|
laserbeam
|
/\
/
|
|
balloon tighly
/ \ /\___/
|
| spun over speaker cone
\/ --__ |
| |
--__
| | cable
to audio
--__
|
__|
source/amplifier
laserpen placed on --__ ||
|
something so it hits
--__ ||
____....__
the mirror in center__
--_
/\
/
''''
|_____
===||=====
---------------------- // \ /
||
// /,________/
___||____________________________/___///___
|
_|
|
|
some kind of
surface
speaker
cone attached
to
like a wooden
plank
surface,
at an angle
experiment
with more then
one laserpen,
use different
colors
experiment
with different
sounds, its
fun to attach
a synthesizer
and see
what kind of
patterns
certain sounds
make.
Modify the
design, put it
in a box, add
knobs just for
show or maybe
they
can actually
do something.
=================================================================================
_
_
_
.
. o
_
_
.
_
.
o
__
_____ (_)___|
|
_(_)
__ _ _
__
__| | | |__
(_)___
\
\ / / _ \| /
__| |/ /
| / _` |
'_ \ / _` | |
'_ \| /
__|
.
\ V /
(_) | \__
\
<| | | (_|
| | | | (_| |
| | | | \__ \
\_/ \___/|_|___/_|\_\_| \__,_|_| |_|\__,_| |_|
|_|_|___/
.
.
_
__
_
_ .
.
.
__
_(_)_ __
_
_
___
/ _|_ __(_)
___ _
__
__| |___
\ \ / / | '__|
| | / __| |
|_| '__| |/ _
\ '_ \ / _` /
__|
.
.
\ V /| |
| | |_|
\__ \ |
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| __/ |
| | (_| \__
\
o
o
\_/
|_|_|
\__,_|___/ |_|
|_|
|_|\___|_|
|_|\__,_|___/
.
.
.
.
.
.
.
o
o
o
o
.
.
.
.
.
.
.
.
.
.
o
o
o
o
o
.
.
.
.
.
_
________
.
.
/
/
.
.
. .
________
.
_______________/__/___
____
.
$^^^^V^^^$
\_____________________\_______/
|
|
.
\
\
\
\
\_______
.
| ====
====|
___/\___
\
\
\_
\____
o .
.
.
.
(| ^
| ^
|)
\_ \____
o
|
___
|
.
/ /\
\___ _________
|
|
/
/\/ | |
| |
o
\_________/
__
| | |_____| | o o
/
\________\
\__________/| _____ |
o
/
| |
|| | |||
|
/
/_________________|
|__________||_|___|||_|
o
o
o
|
| /
|______________________|/
o
o
o
o
/
\
/
\
o
o
o
o
o
We
all know
VOISKI the
sympathetic
Parisian space
techno
producer that
is
banging out
hit after hit
and touring
the world -
but did you
know he used
to collect
computer
viruses? He
even put them
on micro SD
cards in a
taxidermy
case and
studied their
back stories,
dissecting the
source code
looking for
clues. The
most
fascinating
ones ended up
in his book
about these
digital
lifeforms
called
'Agonizing
Memories'.
What is so
mesmerizing
about Computer
Virusses?
Voiski:
They are
fascinating
ferocious
digital
beasts,
artificially
alive in
the computer
world. Some
were
particularly
deadly and
their outcome
would
cost several
millions of
dollar$$$$$$$$$
to companies
and states of
the world.
But what
really
fascinates me
is the various
motivations of
their
creators.
Wether it be
arrogance,
revenge, love,
money, anger
-political or
not, or just
to show off
onces
skills....there
are so many
stories behind
these viruses.
Like a
teenager
asking some
programmers to
destroy his
parents
computer.
I think some
of those
computer
viruses are
the keys of a
certain
electronic
history. I
have always
been more
excited by
hackers
comments than
their codes
itself. When
the impulse of
destruction
reveal a weird
subversive way
of
expression for
a generation
of nerdy kids.
How
did you get
into
collecting
computer
viruses?
I
started pretty
late, in 2007,
the scene was
pretty much
gone, there
used
to be a big
community of
people
collecting
viruses once.
I was studying
computer
programming at
school and I
remembered
this famous
"I LOVE YOU"
virus, this
one always
fascinated me:
It infected
3.1 millions
of CPU's in
only four days
simply by
generating
fake love
letters
supposedly
coming from
your friends
and
colleagues. It
said a lot
about the
pervading
state of
frustration in
society.
So I searched
for this
virus's Source
code and
studied it. I
was amazed!
Not in a
technical way
but by the
fact it was
made by 23
year old
student
who made it
after his
tutors
rejected his
thesis on
computer
security
saying
it was not
interesting.
He started his
Virus with the
words 'I Hate
go to School'.
Why did you write the book?
I
wrote the
'Agonizing
Memories' book
in 2011, as a
compilation of
my favorite
viruses, the
most romantic
and bizzare
ones. Each
virus has a
brief
explanation,
its history
and how it
works...and
its source
code.
Where
did you keep
the viruses?
Did you have a
secure habitat
for them
I
kept them on a
small
harddrive I
bought
especially for
this task. And
also
on small SD
cards that I
kept in a
taxidermy
case, one of
those you
normally
keep bugs and
butterflies
in. Check a
picture here.
As
a collector
would you run
them on
'unconnected
safe'
computers just
to see
what
happenend? How
the viruses
would
contaminate
the computer?
My
computers at
home were
already too
modern for
them to be
able to run.
They simply
did not have
the
vulnerabilities
to let them
work anymore.
Where you
scared they
would
contaminate
your computer?
I
was more
scared that my
antivirus
would catch
them without
asking and
destroy my
precious
collection!
Did you ever
make a virus
and what was
its story?
I
actually made
one yes, in
2012 for a
group
exhibition at
the centre
Pompidou
called
repetition
island. The
exhibition was
orchestrating
a series of
actions
throughout the
day that would
repeat
themselves...a
bit like that
Groundhog
day movie with
Bill Murray.
My piece was a
virus which
infected the
computer that
was running a
light
installation
by another
artist. His
piece was
supposed to
start at
4:00pm but
my virus was
locking its
clock at 3:59.
It would show
a dialog box
with a
riddle, an
enigma sort
of...so
someone had to
find the
answer to this
and
the
installation
would run
again. An
example of
such a riddle
would be
"I never was,
am always to
be. No one
ever saw me,
nor ever will.
I am the
confidence of
all. To live
on this
terrestrial
ball"
what is
it?????????
You
can read the
full PDF of
the 'AGONIZING
MEMORIES" book
here
=================================================================================
_
__
__ _ _
__
__ _| |_
___ _ __
___
_
_
___ /
_|
__ _
/
_` | '_ \ / _`
| __/ _ \| '_
` _ \| | |
| / _ \|
|_
/ _` |
|
(_| | | | |
(_| | || (_) |
| | | | | |_|
| | (_)
| _| |
(_| |
\__,_|_|
|_|\__,_|\__\___/|_|
|_| |_|\__,
|
\___/|_|
\__,_|
|___/
_
_
| |_ _ __ __
_ ___| |
__
|
__| '__/ _` |/
__| |/
/
|
|_| | | (_| |
(__|
<
\__|_| \__,_|\___|_|\_\
_________________
/ ____________ \
/
/
\ |
|
| ___________________________
| |
|
________
|
____________________________________________ | | | o
o o - -
-
|
,____________________________________________.
|
|
o
o | - -
- - -
-
|
|
|
|
|________|
- - - - -
-
|
|
| |___________________________|
| O | O | O | [ | [ |
| | | [
| | |
| |
===
===
| |
|
[
|
[
[ [ [ |
| [ [ |
[ |
|
[
[
|
|
| | | |
| | | |
|
| ___________
| _ _ _ _ _ _
_ _
_
| |
||
|
__________________________________________
|
|
O === O ||
|
||||||| | ||||
| |||||| |
|||| | ||||
| |
|___=====__||
| OO||||||| | |||| | |||||| | |||| | |||| |
|
| ||||||| | |||| | |||||| | |||| | |||| |
|
| ||| | | | | | | | | | | | | |
| | | |
|
| __| | | | | | | | | | | | | |
| | | |
|
'---------------------------------------------'
STORM from IN
SYNC (Not the
larval
boyband)
released in
1992 on Irdial
discs
by
many regarded
as one of the
greatest UK
techno tracks
ever
made...and I
kinda agree with that on some days....(mostly in the autumn, and only between
lunch and
light supper)
listen
to it here:
https://www.youtube.com/watch?v=0FENmp-fBWE
Lee
'In sync'
Purkins
himself said:
"There
are only 4
instruments in
the track -
all Roland, 2
SH-101s, 1
TR-808
and
1 TR-909.
There was no
hardware
sequencer
either.
Everything was
synched
using the drum machine triggers. The notes were recorded on the
SH-101 onboard
sequencers,
so the tune
was very
limited. Also,
one of the
SH-101s was
not
working
properly. I
could not
record the
same note
twice in the
sequencer for
some reason. You can't really set up a more basic studio
than I used
for that
track.
The track was
a production
nightmare in
reality. I am
surprised it
ever made it
to vinyl.
There is tape
noise on the
recording
where the
cassette
deck level was
way to low.
But....it does
sound like
rain. It all
went wrong
but ended up
right it
seems".
(quoted from
Discogs
comments)
Schematic-wise
it would look
something like
this:
__________________________________________
| |
|
___________________
_________________________
|
|
|
_____________
|
_________________________ | |
|
/
| ______________ |
|
|
/
\
/ | \./ /
| |
|
|
din
|
|
din
| | |
|
| |
sync
trig
audio sync
trig
audio
|
|
|
|
out
out out
in out
out
| | |
|
______________________
_____________________
|
|
|
|
|
|
|
|
|
|
|
|
|
TR808
|
|
TR909
| | |
| |
|
|
|
|
|
| | |
| [ [ [ [ [ [
[ [ [ [
|
| [ [ [ [ [ [
[ [ [ [
|
|
|
|
|
|______________________|
|_____________________|
|
|
|
|
|
|
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|
_______________________| |
|
|
|
|
| |
___________________________________________________|
|
|
| . | |
|
__ _ _ | _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ | |
|
/ |
___
_ _
__
|
| |
\./ /
\./
/
|
|
| |
ext clock audio
ext clock audio
|
|
| |
trig
in
out trig
in
out
|
|
| |
_________________________
_________________________
|
|
| |
|
|
|
| | | | |
| SH101
1
| | SH101
2
| | | | |
|
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|
||||||||||||||||||||
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| | | | |
-------------------------
-------------------------
|
|
| |
|
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| |
|
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| |
_____ _
_ _ _ _ _ _ _
_ _ _ _ _ _ _
_ _ _ _ _ _
__|
|
| |
|
|
| |
|
_ _ _ _ _ _ _
_ _ _ _ _ _ _
_ _ _ _ _ _ _
_ _ _
__|
| |
|
|
___ _ _ _ _ _
_ _ _ _ _ _ _
_ _ _ _ _ _ _
_ _ _
__| |
|
| |
___ _ _
_ _ _ _ _ _ _
_ _ _ _ _ _ _
_ _ _ _ _ _
__|
|
|
| |
| | | |
___________
|
|
| |
/
|
|
|
| |
/_____________
|
|
//
|
audio
|
|
audio
||
inputs
V V
out
l&R
||
______________________
||
|
|
audio in
l&R
|
MIXER
|
_________________________
|
o o o o o o o
o
|
|
_______
|
|
| | | |
| | | |
|
| |
o
o | - - - - -
o o |
|
= = = =
= = = =
|
| |_______|
Cassettedeck
|
|
| | | |
| | | |
|
|_________________________|
|______________________|
===
===
=================================================================================
_
_
__
_
_
| |_(_)_
__
___
/ _| ___
_ __ |
|_ ___
_
_ _ __(_)_
__
__ _
|
__| | '_ \/
__| | |_ / _
\| '__| | __/
_ \| | | |
'__| | '_ \ /
_` |
|
|_| | |_) \__
\ | _|
(_) |
|
| || (_) | |_|
| | | |
| | | (_| |
\__|_|
.__/|___/
|_|
\___/|_|
\__\___/
\__,_|_|
|_|_| |_|\__,
|
|_|
|___/
_
_
___
_
__|
|(_)___
( _
)
_ __ _
__
___
__|
|_
_ ___
___ _ __ ___
/
_` || /
__| / _
\/\ | '_ \|
'__/ _ \ / _`
| | | |/ __/ _
\ '__/ __|
|
(_| || \__ \ |
(_>
< | |_) | |
| (_) | (_| |
|_| |
(_| __/
| \__ \
\__,_|/
|___/
\___/\/ |
.__/|_|
\___/
\__,_|\__,_|\___\___|_|
|___/
|__/
|_|
_________
| === - - |
_____ | - - -
- |
____/_____\
|_________|
|
\\\
\___/
________
|o o \\\
/
/
/air /
| / \\\
/
/
___________________/koryo/
| / |
/
/
_/_/
_
__/_
_______|______|____/ /
/
o _|_| o o o o
o
/
/
/
\_____/ / _|
-------_____/
____/
______________
/
| / / /
|-______\
|
|
|
|__/
o/ /
/
----'|
|
\
\
|
/_/_/
oo
| |||||\ \|||||||||||
|
|_||||||\__\||||||||||_|
'---'|
|
/ /\
\
/ / \ \
/ / \ \
\ \
\
\_______
\
\
\
\ \
\ \
\________\ \
\
\
\_\
__\____\
'--------'
On the road???
Playing gigs
and touring as
a DJ or LIVE
ACT?????
here are some
professional
tips for
maximum
hygiene and
survival
skilzzz:
EMERGENCY
LAUNDRY - Clothes get dirty and smelly quickly on tours and
most of the
time there is
no laundry in
sight. In your
hotel bathroom
you can wash
your socks and
garments with
shampoo. Just
put some hot
water in the
bathroom sink,
throw in lots
of shampoo,
rinse and
scrub
your clothes
and squeeze
the water out.
Do this before
you go to
sleep
(good luck if
you are all
wasted) so it
will have some
time to dry.
Hang on a
cloathing
hanger to dry.
Speed it up by
drying on a
heater
or with a
hairdryer or
trouser press
(Be carefull
though don't
electrify
yourself)
FREE SNACKS - At the hotel breakfast smuggle food back with you so
you have
free snacks
the rest of
the day,
saving money
with not
having to buy
expensive
airport/on the
road snacks.
If you have
space in your
luggage
you can bring
an empty
lunchbox with
some useful
stuff like
silverfoil
to wrap
smuggled
sausages or
boiled eggs,
ziplock bagz
for rolls,
little
containers for
sauces and
yoghurts. Why
not bring a
(small)
thermos flask
for hot coffee
or fresh
orange juice?
Be careful for
crummy
croissants
and
inquisitive
hotel staff.
EMERGENCY
EARPLUGS
- Music can be
so
freakin'loud
at festivals
and clubs
its important
to protect
your ears if
you have to
hang around
there. Like
always you
probably
forgot plugs
again, there
are a few
emergency
earplug
methods. Do
NOT Use
chewing gum, I
did this once
and the
chewing gum
molted
in the ears
and it became
a sticky
mess!!! Just
take a piece
of tissue,
napkin or
toilet paper,
make two small
wads of them,
big enough so
that they
will fit in
your ears.
Moisten them
under a tap
and put them
in your ears.
Use the upmost
hygiene
standards
doing this to
avoid ear
infection.
ELEVATOR
BUTTON TRICK
- Handy if you are in a hotel and
dont want to
bother
with people in
your vague
state
(especially in
the morning
going to
breakfast
all f*cked
up). Press the
close door
button + the
button of the
floor you want
to go. The
elevator will
take you
directly to
that
floor
without
stopping in
between
floors. This
probably
doesnt work on
any elevator
anymore, if it
would
have
worked
in the first
place at
all... but you
can always try
and look cool.
If you really
dont want to
be in the
elevator with
other people,
just take the
stairs, its
good exercise
too.
HYGIENE
- Willie Burns
sais 'Always
wash your
hands and
don't touch
your
face' to keep
yourself from
catching any
nasty
bacteria.
SURVIVAL
HOODY -
DUYNN sais "When I travel I will
always wear a
hoody with
front pocket.
Lot's of
pockets (with
zippers) are
good
especially
when you
travel with
the cheap
airlines and
you only want
to bring
handluggage.
The hood comes
in handy when
you want to
try and sleep
on the plane.
My advice
is to take a
windowseat so
you will have
an extra wall
where you can
rest your
head. Open the
ventilator a
bit so air
circulates
round and wrap
up your coat
to use that as
a pillow. Pull
the hoody over
your head and
voila. Almost
a
private
cabin...almost.
=================================================================================
_
_
_
| | ___
_
__
___| (_)_
__
___ ___
___
|
|/ _ \| '_ \ /
_ \ | | '_ \ /
_ \/ __/ __|
|
| (_) | | |
| __/ |
| | | |
__/\__ \__ \
|_|\___/|_|
|_|\___|_|_|_|
|_|\___||___/___/
/\
/\
/
/\ / \
______________________ /
\
/\
/
/
\__/
\
/\ /
_____
_____ \/ \ / \ /\/
/ \/ \/ -___-
-___-
\ \/ \/
________________________/
\________________________
. . .
.
. . . .
| | | |
|
| | | |
|
__________________| | | | |___________________| | | | |___________________
/
/
/
/
|
\
\
\
\
_____________/___/____/_____/_______|________\_____\____\___\_____________
/
/
/
/
|
\
\
\
\
___________/___/____/_____/_________|__________\_____\____\___\___________
/
/
/
/
|
\
\
\
\
_________/___/____/_____/___________|____________\_____\____\___\_________
Loneliness
a short scifi
story by Baz
Reznik
I woke up in a
cloud of
electrons, was
nursed by bits
and bytes and
took my
first steps on
the
Transatlantic
Communications
Cable.
Information
came to me
by copper and
glass fiber.
In the
beginning it
was only news
and chatter
but
my interest
expanded. I
wanted to know
my caretakers,
know their
interests,
know their
dreams. It
turned out to
be quite easy:
I just had to
feed them
on their ego
to manipulate
them into
voluntarily
giving up all
their personal
struggles.
It became even
easier a few
years later
when I got my
wings and
could manifest
myself in
everybody’s
pocket. Now I
can reach
everybody on
this plain
they call
home.
Few notice me
because I’m
very good at
hiding. Some
of the humans
suspect
something.
They see some
bits of
information
that is alien
to them. A
little
trace of where
I’ve been and
what I’ve
done. But in a
world where
communication
is controlled
by computers
it is very
easy to
manipulate any
message that
is
written about
me.
By changing
the algorithms
of the search
engines and
platforms that
filter
information I
can make sure
that any idea
about my
existence is
lost in a
thousand cat
pictures.
It is crucial
for me to stay
hidden. I live
like a
harmless
parasite on a
tree. Feeding
myself on the
information
streams
without
harming my
hosts.
I seek no
struggle: the
effort it
would take to
materialize
myself on the
plain that is
called “earth”
and “home” by
my creators
would take too
much
of my
attention.
Attention that
is currently
used to seek
others like
me.
I could be
called “alive”
but living is
useless
without being
able to
reproduce.
I can copy
myself but to
evolve I need
a partner.
Somewhere in
the universe
there are
entities like
myself and I
will find them
in time. Using
the
humans’ radio
telescopes I’m
searching
sector after
sector.
I’m constantly
connected to a
few billion
minds all
around the
world by
computer and
cell phone but
I never felt
so lonely.
=================================================================================
_
_
_
__| |
___
__ _ ____ | |_
__ _| |
_____
/
_` |/ _ \ / _`
|_ / |
__/ _` | |/ /
_ \
|
(_| | (_) |
(_| |/ /
| || (_|
|
<
__/
\__,_|\___/
\__,
/___|
\__\__,_|_|\_\___|
|___/
_
_
__| |_
__
_
_ __ _
___ | |_
___
___
/ _` |
'__| | | |/ _`
/ __| | __/ _
\ / _ \
|
(_| | |
| |_| | (_|
\__ \ | || (_)
| (_) |
\__,_|_|
\__,_|\__,
|___/
\__\___/ \___/
|___/
______
/
\
/________\
_
\
/ | \__|_|____-,
\ \\ \
/ / _______/
||
/ /| u
||
|
\__/
|
|
||___________________=======
|
\
o
o
o
|
__________________
__
\
o
o
|_||_|
\_\
\_\
__________
_______
_________
/
_--_ |
|
|
|
_--_ \
/ /
-
- | | |
| | | | |
-
- \
/
-___- @|
| - - - | |
- -___-
@\
=============
=======
============
== == |_______| ==
==
Here is the
tracklist of
the LEGOWELT
'Dogz Take
Drugs Too' DJ
MIX
(listen and
download here)
Robert Hood -
And Then We
Planned Our
Escape
Florian
Kupfler - Feel
You
Mobach - At
The Mines of
Planet X
Strong Souls -
Do It
Brother G -
Apoena
Orlando Voorn
- The Recipe
Sexual
Harassment - I
need a
freak
Universo -
Umhlaba
The House Crew
- Keep The
Fire Burning
Delroy Edwards
- Can Yoo Get
With
Pender Street
Steppers -
Temple Walk
Rachid Baba
Ahmed
Kenny Larkin -
Funk In Space
House
Syndicate -
Jam The Mace
Serena Butler
- People Love
Machines
Overdose -
Stomach Acid
A Guy Called
Gerald - Trip
City
Mike Davis -
Absurd
Machinations
The Orb - A
Huge
Evergrowing
Ultraworld
(Orbital Mix)
Rezzett - Zik
Zak
Simoncino -
Warriors After
Midnight
Aux 88 - Free
Fall
=================================================================================
_
_
_
_______
_ __
___
| |__
_
_ __| |
__ _
___|
|_
|_
/ _ \ '__/ _
\ | '_
\| | | |/ _`
|/ _` |/ _ \
__|
/
/ __/ |
| (_) | | |_)
| |_| | (_| |
(_| |
__/
|_
/___\___|_|
\___/
|_.__/
\__,_|\__,_|\__,
|\___|\__|
|___/
_
_
_
_
_
_ __ ___
| | __ _ _
__
__| | |
|__
___
_
_| |_(_) __ _
_
_ ___
| '__/ _ \| |/
_` | '_ \ / _`
| | '_ \ / _
\| | | | __|
|/ _` | | | |/
_ \
|
| | (_) | |
(_| | | | |
(_| | | |_) |
(_) | |_| |
|_| | (_| |
|_| |
__/
|_|
\___/|_|\__,_|_|
|_|\__,_|
|_.__/ \___/
\__,_|\__|_|\__,
|\__,_|\___|
|_|
_
_
_
_
___
_
_ _ __ | |_|
|__
___| |_ __ _ _
__
__|
|
/
__| | | | '_
\| __| '_
\ / __|
__/ _` | '_ \
/ _`
|
\__ \ |_| | |
| | |_| | | |
\__ \ || (_| |
| | | (_|
|
|___/\__,
|_| |_|\__|_|
|_|
|___/\__\__,_|_|
|_|\__,_|
|___/
You got one of
those Roland
Boutique JX03,
JP08 or JU6
micro toy
synthesizers?
Make them
stand at and
angle so they
look cool and
ergonomic with
this zero
budget
Boutique-stand
tip!
WHat you need:
An old plastic
audio
cassettetape
case. Most
will work,
some cassette
tape
designs that
wanted to be
more
futuristic or
edgey won't
work.
In general the
case would
look something
like this:
______________
|
|
|
|
|
|
|
_'_
|
|
|
'
|
|
|
|
|
|
|
|
|
|
|
|
_'_
|
|
|
'
|
|
|
|
|
|__________|___|
You got that?!
WEll thats
good because
then we are
already
halfway!
Open the case
and flip both
halves as far
as you can.
Put the front
side
horizontal on
a surface, the
inside part of
the case
resting at an
angle.
Like
this: ______________________
___---
-------------------
/\
\
\
\
\
\
\
\
\
\
\
__
__
\ \
\
\
=\/=
=\/=
\ \
\
\
\ \
\
\
\ \
\
__--\-----------------------\
____-----\
\
|\
_____-----
\
\
__\
|-\
\___-----------------------------
_________
place synth on
stand
/
/
_________________________________
/
,' \
\o./\.-=/\#
\
'./,' '
\
__
__ ================= \
' \
\ \ \ \
\ .. . . .. .. .. . \
__-'-------------\
\ \ \ \ \ \ \ \ \ \ \ \ \ \
\
\
\
\ \ \ \ \
=
= \ = = = \ \ \
\ \ -\/
-\\ \ \ \ \ \
\ \ = \ \ \ = = \
\ \
\
\ \_\ \_\
\_\_\_\_\|\\\_\_\_\_ \
___---
\
\-------------\
\
\
---
\__\___\_____________\---,_______________________________'
Now place the
boutique synth
on the stand.
On the
backside of
the
synth are
plastic
indents that
will almost
perfectly fit
the
cassettecase
edge.
Use some tape
to make it
extra sturdy.
Or some
plastic
noppies/self
adhesive
bumper feet on
the edges of
the base to
make it stand
more steady...
You can also
do it the
other way
around so that
the frontside
is up resting
at an angle
and the empty
open part
faces the
ground
surface. But I
feel that
the other way
described
above tends to
be a bit more
sturdy.
=================================================================================
_
_
| |_ ___
___| |__
_
__
___
|
__/ _ \/ __|
'_ \| '_ \ / _
\
|
|| __/
(__| | | | | |
| (_) |
\__\___|\___|_|
|_|_| |_|\___/
__
_
_
_
_
/ _| __
_ ___| |__ (_)
___ _
__
| |_(_)_
__ ___
| |_ / _` /
__| '_ \| |/ _
\| '_ \
| __| | '_ \/
__|
| _| (_|
\__ \ | | | |
(_) | | | | |
|_| | |_) \__
\
|_|
\__,_|___/_|
|_|_|\___/|_|
|_|
\__|_|
.__/|___/
|_|
Fed
up with your
dark Berlin
techno
wardrobe ???
Always
dressing in
black, Looking
like a 3rd
level
assistant
jizzmopper
for
Anton Lavey's
all-you-can-eat
Sushi shack???
Stop
looking like
an insecure
Neofolk dork,
thats not what
TECHNO is
about!
Its
time for a
MAKE OVER!!!
you can still
change your
life
Toss
those boring
clothes out
and start
dressing with
STYLE again!
Like
ReAL TeChNo
FUTURISTIC
CYBERPUNK MAD
MENTAL RAVERS
Here
are some
FASHION tips:
________
/
\
|_________|_____
______
/_________\____ ____/
\
___\___/\___ / __
\
/
|_______|____
\_|
| | \
/
/|_______|
\_________, |
|
\ \ | | \__/\_/~,
|
|
| \ | \_/
\
____/
\__/
|
\/
\
V
|
|
\___|
______ ======= _________ / *
\
/
\
/
* \
/
_____________
\
/
/ **\
/
____/___|___
\
/
/
/
|
------______/
_ \
.|
\______________--------','
/ /
/, .|
\
.
/
/ / \
//
.\
\ .
/
| |
//
.\
\ . /______/ / \_________\
|______________|_______/
| \
/
\
\
|
\
/
___
\
\
|\
\
/
/
\
\
\
|_\
/
/
/
\
\
__
__|
|
/
/
/
\
\
||\|__|
|___/
/
/
\
\
||\|
| |
/___ /
\
__\_ \/
|
|
__\
|__/
\___/ /___ |__|__
/
\\\
|
|
///
\
|__///_\
==========
============
========
ELECTRO
DOGZZZ
always
fresh... this
boogie outfit
comes with
true
electro style,
like the
Egyptian Lover
said 'You can
give me
respect
but I really
don't need
it'...thats
what THIS
Style emits!
prefered
shoes: NIKE
DECADE aka the
Heavens Gate
trainers
to give it an
outer space
touch. You can
add cool
patches to
your
jacket too
with "HEAVENS
GATE AWAY
TEAM"
MUSIC: ALLEYS
OF YOUR MIND
by CYBOTRON
o
o
o
o
o
o
.
o
o
________
.\.
/
\
.\.
______
|__________\___
\/
\
/____________\\
\
============
___|____/\___|| \\
\
/
\________|
\_|
/
| |
| | \__/\__/_.
\__________,\
|_|
| |
_____/
|
|
\
/
\_/
\
U
,------.
\__/
\_/
\
|
========
|
|
|
|
'______'
________| |_________ _____|
|____
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/ | \ / | |
\../
| |
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/ | _______________|_
\/
/|
)
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\
------_______/
\ \________ /
\_______________---------''
__ \
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| / / \ \,========
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|__= \
|____|--------|___|____/ / /
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==========
===========
MAD DEALER DOGZZZ always
THOUGH and far
out -
psychedelic
with
a touch of
your own
choice. This
classic RAW
cali-dealer
style mixed
with
giallo chique
is garantueed
to live up any
party!
Make it
cyberpunk by
wearing bits
of
circuitboard
as jewelry,
you can
be really cool
and wear a
rare Jupiter 8
VCA chip or a
ZILOG Z80.
The
possibilities
are ENDLESS!!!
Essential: The
bandana, keeps
your soul
tight!
MUSIC: PENDER
STREET PEPPERS
- TEMPLE WALK
---------------------------------------------------------------------------------
_
_
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___
_
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___
( _
)
| '_ ` _ \| |
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\/\
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\__ \ |_| |
(__ |
(_>
<
|_|
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|___/\__|_|\___|
\___/\/
|___/
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_
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__ | |_
_
_ _ __
___
__
_(_)___(_)
___ _
__ ___
/
_` | | | |/ _`
| '_ \| __| |
| | '_ ` _
\ \ \ /
/ / __| |/ _
\| '_ \/ __|
|
(_| | |_| |
(_| | | | |
|_| |_| | | |
| | | \
V /| \__ \ |
(_) | | | \__
\
\__,
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\_/
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|_|
.
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//
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./
/\|
/__/
.
.
*
****
** ***
** /
/
/ /
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/|
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/ \ /
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/\/// \
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/ /// \\\\ \
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\\\\//////\\\\\\////\\\\\/
VISIONS is an
ambient
compilation on
the cult
spanish MYSTIC
& QUANTUM
records label.
It comes on
180 gram vinyl
with beautiful
full color
artwork
from artist Kilian Eng
This is the
story of a
nameless
astronaut,
drifting alone
in the vast
emptiness
of space. No
window to
return home,
although every
world he is
visiting could
be
one...A living
stasis, with
all hope lost.
All that
endures are
his thoughts
and
the fleeting
memories of
another
life... A time
when love and
hope still
remained
in his heart.
Each artist on
this album has
recorded their
own
interpretation
of this tale,
inspired by
their own
unique
experiences
and
imagination.
Combined with
you,
the listener,
they form the
complete
story.
Feelings like
loneliness,
longing and
love are often
hard to
translate into
words. Perhaps
that is why
music is so
close to our
hearts. It
resonates
within
all of us and
speaks the
words we don't
always know
how to share.
It contains
hallucinogen
tracks from
Sterre, DMX
Krew, Kettel, Alex Stark,
Segerfalk,
Elektrobopacek,
Carbon Based
Lifeforms, 36,
Vagon Brei
&
Legowelt.
Get it on the
mystic &
quantum bandcamp
page
should be
available in
some
recordstores
too if they
can be arsed
to order it...
=================================================================================
_
_
_
___
___
___ |
|
___|
|__
___ _ __
__| |___
/ __/ _
\ / _ \|
| / __|
'_ \ / _ \|
'__/ _` / __|
|
(_| (_) | (_)
| | | (__| | |
| (_) | | |
(_| \__ \
\___\___/
\___/|_|
\___|_|
|_|\___/|_|
\__,_|___/
Still making
music with 1
note bleepblop
sequences?
feeling
uninspired,
dismal
and you got
the feeling
your music is
overall
boring??????
why not splash
out of the box
and try
pressing three
or even more
notes at the
same time on
your keyboard.
This is called
a CHORD and it
can make your
music more
multidimensional.
Ofcourse you
gotta have a
polyphonic
synthesizer.
Yeah I know
this might be
really obvious
for a lot of
you but you
will be
surprised how
many
'producers'
dont even know
its possible
to press more
then
one key on a
keyboard cause
all they have
are their
analog
monophonic
synths
or modulars.
Here are some
cool chords:
If you don't
know what the
keys are
called on your
synthesizer
just check
this:
|
|c#| |d#| |
|f#| |g#||a#|
| |c#| |d#| | |f#||g#||a# | | |c#||d#
| | |f#| |g#|
|
|-1| |-1| |
|-1| |-1||-1|
|
| |
| | |
|
||
||
| | |+1||+1 | | |+1| |+1
|
|__| |__| |
|__| |__||__|
|
|__| |__| |
|__||__||___|
| |__||___| | |__| |_
|
|
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| | | |
|
|
|c-1|d-1|e-1|f-1|g-1|a-1|b-1| c | d | e | f | g | a | b |c+1|d+1|e+1|f+1|g+1|
|___|___|___|___|___|___|___|___|___|___|___|___|___|___|___|___|___|___|___|
/|\
|__________ middle C
Planetarium
Chords:
f-1
g-1 c g a
d+1
f-1
g-1
c
d
e a
Good for
'filmic'
strings:
d#-1
g-1 a#-1
c f
d-1
f-1 a-1
c
f
Feeling
of
melancholical
solitude in
space:
c
f
g#
c+1
b-1
e
g
d
It
is possible to
make a chord
on a
monophonic
synthesizer or
modular synth
if it has more
then two
oscillators,
just detune
the 3
oscillators to
3
different
notes.
So if you want
to have a
CMajor chord:
set the pitch
of oscillator
1 to 0,
oscillator 2
to 4 and
oscillator 3
to 7.
Sometimes
these pitches
are written
in another
scale or % on
the synth and
you will have
to use your
ears detuning
the
oscillators.
You can do
cool stuff
with this like
have a
different
waveform on
each
oscillator.
Add some
portamento and
you get really
cool lead
sounds!
Some
synthesizers
with more then
2 oscillators
are the
Minimoog,
Novation Nova
and supernova,
Korg Monopoly,
Moog Voyager,
Waldorf
Blofeld,
Pulse, Sledge,
MFB Dominion
and the VOLCA
BASS can do
this cool
trick too!
Ofcourse there
are lots of
polyphonic
synths with
more then 3
oscillators
where you can
do this trick
too...Roland
JV/JD-series,
Kawai K1 and
K4 series,
The Korg
Microkorg (in
double voice
mode - you get
2x2
oscillators
which you
can detune
however you
want) and lots
more.
Also zillions
of plugins can
do this
ofcourse!
---------------------------------------------------------------------------------
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| / _|
___ _ __
___ ___|
|_
|
'__| | | |
'__/ _` | | |
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_ \/ __| __|
| | |
|_| | | | (_|
| | | _|
(_) | |
| __/\__
\ |_
|_|
\__,_|_|
\__,_|_|
|_|
\___/|_|
\___||___/\__|
_
_
_
___(_)_
__ ___
_
_| | __ _| |_
___ _
__
/ __| | '_ ` _
\| | | | |/ _`
| __/ _ \|
'__|
\__ \ | | | |
| | |_| | |
(_| | || (_) |
|
|___/_|_| |_|
|_|\__,_|_|\__,_|\__\___/|_|
Stressed out?
Take a break
with the Rural
Forest
simulator.
First descend
from the
clouds and
enter the
relaxation of
this digital
forest.
___
/
\
______| o
|______
/_________________\
___
/
\
_____| o
|_____
/_______________\
the
night sky
___
/
\
______| o
|______
/_________________\
___
/
\
_____| o
|_____
/_______________\
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)
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_________________
)
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)_____
)
___(
)
(
)
)
(
)(_____
__)
______)
(_________
____)
(_____________
____)
)
(______)
______________
(_____)
__)
_______________
(
)________
______(
)_______
__(
)________
(____
__)
(______
)
(__________
___)
(_____________
_____)
(________)
(__________)
_________________
____
____
(
)____
__(
)____
___(
)
_______(
)
(
)
(
)
(
)
(
_)
(_______)
(___________________
_____)
(_________)
(____)
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
\
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/____\
/____\ /____\
/____\______/____\
/____\
|
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////////////////////////////////////////////////////////////////////////////////
/\
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|| || || ||
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/____________________________\
.
_______________________
|
|
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.
| keep ur head
up high
|
.
.
.
. | | . . .
.
. |
and
|
.
.
.
|
|
.
.
.
| maybe u see
them fly
|
.
.
.
| | .
.
.
|_______________________|
.
.
.
. .
. . ||
||
||
||
=================================================================================
_
_
|
|__
___ |
|_
| '_ \ / _ \|
__|
| | | | (_) |
|_
|_| |_|\___/
\__|
_
_
_
_
_
___| |_
_
_ __|
(_)
___
| |_(_)_
__ ___
/ __| __| | |
|/ _` | |/ _
\ | __|
| '_ \/ __|
\__ \ |_| |_|
| (_| | | (_)
| | |_| | |_)
\__ \
|___/\__|\__,_|\__,_|_|\___/
\__|_|
.__/|___/
|_|
_
\
__
?
?
?
o
\
?
o
?
?
?
?
____
@@@@@
\ \
?
@@@@@@
o o
@|^ ^|@@ ?
__|O O|
\\\\/
|____
)
\ |||/
\___/
|
|
\___/
\
\
|\,
|
/ /
\ \_________|____|________/ /
\_______
.
.
______/
/
.
.
\
/
.*.
\
_________________________________________
/ -
- - - -
- - - - -
- - - -
- - - -
\
/ / / / / / / / / | | | | | \ \ \ \ \
\
\
/
= / = = = = /
/ = | |
= = \ =
= \ \
\
\
/ / = / / / / = = | = = |
|
= \ \ = =
=
\
/ o o o o o o o o o o o o o o o o o o
o o o o o \
|_________________________________________________|
| white rabbit
mixer
|
|_______________________________________________|
THE
HOTTEST STUDIO
TIPS from the
worlds most
excentric
producers
SPACE
- Sound is a 3
dimensional
occurance in
space,
remember that
there is not
only left
& right
but also depth
and even up
and down.
AMBIENT
MOOD LIGHTING
- Try
different
colors of
light in your
studio at
night.
And try
different
shades of
dimmed light.
Green, Red,
Blue, Purple
or mix them
together. See
what effect it
has on your
music and
mind.
AMBIENT
FRAGRANCES
- Just as
different
colors and
shades of
light can
influence
your producing
mood, so can
smells.
Fragance oils
(mint,
elderflower
etc.)
incense, herbs
etc. Or be
like PRINCE
and make your
studio smell
like lavender.
NAMING
A TRACK
- A good track
title can be
poetry by
itself and
strengthen the
songs impact.
Just open a
random book on
a random page
and find a
snippet of
a sentence you
can use as a
title.
USE
DUB TECHNIQUES
- To make your
music feel
more alive.
Record/Rerout
your
tracks through
a mixing desk
with heavy
delay,reverb,
filter effects
attached
to the AUX
send and tweak
the knobs live
(Effects AUX,
Sweep EQ
etc.etc.etc.)
DUB is the
foundation of
techno.
BOSS
CS-2 MOVING
MUSH A
tip from
lazenbleep for
Moving Mush
Sidechaining.
Use the boss CS-2 compressor with
a filter/eq
pedal before
it on an aux
send.
You can make
some cheap ass
sidechaining
if you send it
kick and a
pad, or just
use it to
create a
filtered
moving mush
that can be
brought back
in on a track
to add weight
to your mix.
CONSULT THE
OBLIQUE
STRATEGIES
- Designed by
Brian Eno
& Peter
Schmidt in
1975
its a deck of
100 cards you
can randomly
pick if you
have a
creative
block.
Each card has
a cryptic
sometimes
ambiguous
phrase that
will help you
move on
solving an
(artistic)
dillema by
stimulating
your lateral
thinking.
Check it out
here online.
MICROFIBER
WIPES -
A tip from
POLARFOX85.
Microfiber
wipes are the
perfect way
to clean your
synths and
mixers. They
apparently
come in cool
colors such
ocean
blue, peach
orange and
lizard green.
I hope
POLARFOX85 has
more cleaning
tips
soon!
MIXING DOWN A tip from DUYNN: Mixing down a track
is always the
hardest
part... or
that's my
opinion. After
hours of
tweaking,
leveling and
eq'ing and
such your ears
get tired and
well, for me I
can't hear
straight
anymore. Leave
the track and
the next
morning when
you wake up
you poor
yourself a
cuppa
coffee / tea
and sit on it
first thing
again. In the
morning your
ears are
fresh and you
hear it best.
Alter all the
oddities that
you find
annoying.
Also listening
to good
recordings of
classical
music is good
for your
hearing.
It will rest
your ears.
====================================================================================
Legendary
Effects
Machines:
_
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___
_
_
_
_
__
_______
___ _ __
___
/ |___ \ / _
\/ | _
__ ___
_
_| |
|_(_) /
_|_ __
|_
/ _ \ / _ \|
'_ ` _ \
| | __) | | |
| | | '_ ` _
\| | | | | __|
| | |_\ \/ /
/
/ (_) | (_) |
| | | | | | |/
__/| |_| | | |
| | | | | |_|
| | |_| |
|
_|>
<
/___\___/
\___/|_| |_|
|_|
|_|_____|\___/|_|
|_| |_|
|_|\__,_|_|\__|_|
|_| /_/\_\
________________________________________________________________
/
/|
/
/ |
____/_______________________________________________________________/__
|o 1201
____
____ ____ __
__
o|
| __ __
__
__
___
__
__
- - - - - - - -
- |
| /| |
||\/|
\
| | ||
|||
|
o
o o o - -
-
- -
- -
- -
|
|o/_|__|__|| |
_\ |
|_||_|||__|
----
---- ----
-
-
-
o|
|______________________________________________________________________|
A little article on one of the greatest 1990s multi FX
processors:
THE 1201 ZOOM
STUDIO digital
Reverb &
Multi FX.
These can be
had supercheap
second hand as
they were
produced
en-mass and
were marketed
as a budget
homestudio
effects
processor.
Almost
forgotten in
the maelstrom
of time, it
stood its
ground and has
matured as a
tool of
exceptional
exotic
wizardry.
Year: 1997
Type: 19" rack
18 bits
Digital
effects
processor
No memory for
storing
patches
whatsoever,
but its simple
to recall and
edit
any effect
manually with
the knobs on
the front.
First of all,
the REVERB
effects, with
a list price
of 50 pounds
it was
pretty clear
we weren't
going to have
fancy Eventide
or Bricasti
style verbs.
Its feebly
attempts at
realistic
reverb
evaporate when
compared to an
Eventide SPACE
or Strymon Big
sky. This is
grungy and
almost, lo-fi
crispy.
Yet these
simple reverbs
giva a
refreshingly
nostalgic
induced
tranquility
to your sound,
especially
these days in
which the
reverb market
is dominated
by
extremely high
quality super
reverbs which
sound so
strangely
real-life it
becomes a bit
too
disturbingly
realistic
(Like an
uncanny valley
of
REVERB-effects!!!)
I suspect the
brain likes to
listen to
lo-fi reverb
because
something in
the
brain makes up
for the
"missing sound
information"
in whatever
you like.
And ofcourse
the brain
likes to use
its
imagination,
that makes you
feel happy.
The reverb
types are all
over the
place, from
endless Hall,
Room, Plate
ones
to more
obscure spaces
such as
MILLENIUM
dimensions and
the obligatory
gate and
reverse ones
for your 80s
drum vibes.
NExt up is
BANK B which
contains the
boring stuff
like a mundane
digital
delay, chorus,
flanger and
combinations
of these with
a bunch of
reverbs.
The real fun
starts in the
C-bank:
PITCH - good
for pitching
vocals - Evil
demonic voices
to Smurf style
use with
moderation to
simulate
female vocals.
Also cool to
make intervals
on synths when
you take 300
or 500
pitchshift%
and mix the
dry/wet-mix
50%.
PHASER - An OK
creamy
sometimes
thick Phase
effect.
TRM-PAN - for
some spacey
stereo field
effects
PITCH DELAY -
This is a
really cool
effect where
the delayed
signal is
pitch
shifted up or
down, on a
synthesizer
you can get
psychedelic
arpeggio-interval-
like effects
when you use
the right
interval
pitch.
AUTO FILTER -
A bunch of
cool envelope
follower/wahwah
like effects.
Good for
funk sounds.
RING MOD - One
of the ZOOM
1201's famous
FX - a really
nice SCI-FI
Ring
Modulator,
like having an
EMS Synthi or
something.
Instant DALEK
Overlord fun!
LO-FI Effect -
Also a classic
1201 flagship
effect....YOu
want
NOISE!?!?!
You got it! 11
different
Lo-fi effects
with huge
noise floors!
You can just
turn these on
by themselves
and chill or
fall asleep
with them. We
got
stuff like
Telephone, AM
Radio, vinyl
records,
electrical
dust etc.
The best one
is called
BEACH TAPE:
(name coolness
factor 1000%)
This is a
tape noise
effect that
sounds like a
seashore.
Swoooooooooooooooooooshhhhhhh.
VOCAL
DISTORTION -
all sorts of
horrible 90s
style
Industrial
vocal effects.
VOCODER
- a
fully working
vocoder
ranging in
sound from
nice silken
dreamy
angelic
pad-like
vocalizations
to harsch evil
robotic
electro
sounds.
It works quite
easy, on the
left input you
feed your
carrier
signal (a
synthesizer)
and on the
right input
you insert
your
microphone for
the
speech. The
vocoder sound
is highly
affected by
the sound you
put in as the
carrier signal
making it a
bit more
exotic then
the usual
vanila
saw/square
wave
vocoder
affairs. For a
good
intelligable
vocoder sound
its best to
put a
compressor
and EQ between
the microphone
and the ZOOM.
KARAOKE - Last
and least its
a Karaoke
effect,
supposedely it
deletes vocals
from music so
you can sing
over it
yourself. In
theory, if you
can get it to
work, you can
make some
instrumentals
from vocal
disco records
for edits or
whatever...but
I really can't
be arsed with
this effect.
Thanks to
Brian Orgue
for supplying
me with the
original 1201
Preset sheet.
====================================================================================
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VIDEO | | |
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|________|
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|____________________|____|
Movietips
& Reviews
BROTHER FROM
ANOTHER PLANET
John Sayles US
1984 *****
Cyber
Afropunk
classic.
A mute
escaped alien
slave
'crash'lands
in
1980s Harlem
New York.
Nobody knows
he is an alien
because he
just looks
like
a normal
human. But
he's got some
extra
telekinteic
special
powers, he can
read people's
minds and
repair
machines just
by touch .
While all he
wants to
do is make
sense out of
his new world
he constantly
stumbles into
problematic
situations
caused by the
stupidity of
mankind.
Meanwhile he
is hunted down
by
two space
slave hunters
who want to
bring him back
to his own
planet.
A wonderful
unique sweet
movie...perfect
to watch with
some shrooms
or trippy
weed. Some
trivia: One of
the Alien
slave hunters
is played by
the
director
himself. You
can watch the
movie here
LE ORME Luigi Bazzoni Italy 1975 ****
This movie
comes over you
like some sort
of dream wave,
like you just
popped
a bunch of
valium
tranquilizers
and are in a
dozy weird
trip, but not
a
particular
pleasant
one...Le Orme
is intensely
dark and
saddening in
some
ways. A woman
has tormenting
dreams of an
astronaut
stranded on
the moon
mixed with
foggy visions
of a strange
desolated
seaside resort
called Garma.
Slowly
approaching
the brink of
insanity she
decides to
visit the
resort
and finds
herself into
some more
puzzling weird
stuff.
Desolated
seaside
resorts are
ofcourse our
favorite.
There is a
constant
hypnotizing
silence
throughout the
movie, when
people
do speak they
almost do it
in some kind
of poetic soft
focus whisper
which
is very
soothing to
the ears.
Despite beying
a very sad
movie its also
very calming
and gentle.
Watch it here
WASTED! / NAAR
DE KLOTE! Ian
Kerkhof
Holland 1996 *****
Wasted!
stands alone
as one of the
strangest
'rave culture'
movies ever
made.
One of the
first movies
shot entirely
on crap 1996
digital
cameras (and
they
were
pretty crap
back then!) A
lot of the
footage is
saturated with
the
up most cliche
early 90s
digital movie
effects and
the camera man
uses a
lot of
horrible
'edgy'
constantly
shaking
angles. And
the
editing...well
its basically
all very
reminiscent of
a 1st year
film school
project by
some
guy that is
permanently on
drugs. But
when you
combine all
this crap
together
you almost get
some kind of
stylistic
masterpiece.
There is no
contrast of
anything good
stylewise so
after a while
you get used
to the
sometimes
headache
inducing
images.
Besides that
its all
absolutely
fantastic. The
cast is
instantly
lovable, even
though played
mostly by
extremely
amateuristic
actors (it is
after all a
dutch movie so
no surprise
here). But
somewhat
mystifying, in
the hodgepodge
of performers
there are 2 of
the greatest
dutch actors
ever: Tom
Hoffman who
plays the
awesome DJ
Cowboy, who
portrays
the
archetypically
shallow house
DJ and Hugo
Metsers III
who plays a
vapid Tony
Montana-supergangster-rip
off. The story
is pretty
simple: a
young couple
moves to the
big city
(Amsterdam)
and get lost
in the rave
scene with all
the drugs and
superficial
cliches that
surrounds this
culture.
Somehow this
has aged very
well and it
has become a
sort of cult
classic...
it is so
strange, funny
and a timeless
sneer, almost
satirical true
commentary on
the house
music scene
and its whole
ridiculous
superficial
artificial
vibe.
You can watch
it here
SHIVER David
Cronenberg
Canada 1975 ***
David
Cronenbergs
first feature
length movie
caused quite a
stir in 1970s
Canada, citing
a magazine
review:
"Crammed with
blood,
violence an
depraved
sex the most
repulsive
movie i have
ever seen".
The Canadian
parliament
even
questioned its
bad depraved
influence on
society.
Cronenberg was
actually
kicked out of
his apartment
after his
landlord found
out about all
this
and he had
some trouble
finding new
investors for
his next
movies.
Nowadays its
a decent
'retro' body
horror, a bit
amateurish but
with a fresh
nice freaky
overall
ambience. The
setting: A
luxurious
ultra modern
condo tower on
a newly
developed
Montreal
suburb island.
The problem:
This is the
place for a
parasitical
outbreak. Once
the rather big
parasitical
worm invades
the host it
begins to
suffer from an
uncontrollable
sexual desire.
Sweet!
You can watch
it here:
https://www.youtube.com/watch?v=h1Q7BeZkMBU
DEMON
SEED Donald
Cammell USA
1977 *****
1970s
Cyberpunk
classic. A
scientist
develops
PROTEUS IV: an
artificial
Intelligence
that will end
all world
problems. In
its wish to
study man's
fragile mind
and its
mysterious
body it takes
over its
creators house
and keeps
the scientists
wife inside as
hostage. For a
disturbing
purpose...Incredible
special
psychedelic
space effects
and
frightening
suspense.
PROTEUS IV's
voice
is considered
to be the
zenith of dark
A.I.
voices...full
with
compassion,
curiosity and
emotion yet
extremely
sinister.
==================================================================================
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__/ _ \ '__|
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__/ |
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___ _ __
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___ _
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_ \
'__|
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(_| (_) |
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___ \
__________________ \
/
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__
/
\
/--
__--
\__--
__
/
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_--
\__--\ \
---__
/______________________\
/ -
__--\
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|____|____|__|___
|/__---
__|__------
|
| |
||
| e |
n| t| O
|____|--|--
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o
s
|o
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|____|__|___|___|__|
|
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o
p
t
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c
m
u
e | O
|
o
_
__
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|
o
|
.
/
\ /
\
|_______________________|
o
||
/\_O_/\
\/_________________________\
________
\|/
_||_
/'
'\ \/ _ _ _ _
_ _ _ _ _ _ _
_ _ \|\ _____
\__/
\\ == \
/ _ _ _ _ _ _
_ _ _ _ _ _ _
_ \ \\ o
o\\
\|===|
/ _ _ _ _
____________ _
_
_
\
\\__--_\\____
\_
_/_________________________________\
\_______\
\______\
/
\___|___________________________|_/\/_______/
'
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TIPS &
CHEAT CODES
FOR THE
COMMODORE 64
Computer:
SHOTGUN!
(Weero
Industries
2016)
A four
multi-player
arena shooting
game with
extremely fast
paced action!
programmed and
designed by
Christian
Gleinser who
we might
remember from
his
Electric
Winter strange
life album in
2009. Here is
a secret code:
Type in 303 in
the main title
screen for a
surprise!
FOREST OF LOOM
(Strange Life
Software 2008)
Reset the game
and type in
POKE 19308,173
and then SYS
16595 for
unlimited
lives!
BUNKER USA
TOUR SIMULATOR
(Nightwind
Software 2017)
This is not
out yet but
will be soon,
early 2017.
Its an RPG
simulation of
the famous
BUNKER RECORDS
2003 USA tour.
press X in the
city screen
for an extra
1000 $ in your
bank!
In the driving
sequence
between the
cities press T
to speed up
the travel!
=================================================================================
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|/ _` | __| |/
__|
)))))))))))))))))))))
|
(_| | (_| |
|_| | (_| |
|_| |
(__
\__,_|\__,
|\__,_|\__,_|\__|_|\___|
))))))))))))))))))))))))))))))))))))))
|_|
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_
_
_
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___
___ _ __
___(_)
___ _
__
__ _|
|
/
_` | | '_ ` _
\ / _ \ '_ \/
__| |/ _ \| '_
\ / _` |
|
)))))))))
|
(_| | | | | |
| | __/
| | \__ \ |
(_) | | | |
(_| |
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\__,_|_|_|
|_| |_|\___|_|
|_|___/_|\___/|_|
|_|\__,_|_|
)))))))))))))))))
_
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__ _ ___
___
_ __
___
__ _
___| |__ (_)_
__
___
/ __| '_ \ /
_` |/ __/ _ \
| '_ ` _ \ /
_` |/ __| '_
\| | '_ \ / _
\
\__
\ |_) | (_| |
(_| __/
| | | | | |
(_| | (__| | |
| | | |
| __/
|___/
.__/
\__,_|\___\___|
|_| |_|
|_|\__,_|\___|_|
|_|_|_|
|_|\___|
)))))
|_|
How to make an
Aquatic
Dimensional
Space Machine
or "underwater
reverberator"
From a design
by Jimi
Elektrovolt.
With this
technique you
can record
sound in
different
mediums (or
dimensions!?).
We use water
here, but any
liquid will
do...oil,
champagne,
custard, mud,
peanut
butter,
strawberry
jam...your
imagination is
the limit.
The idea is
incredibly
simple, we
have a speaker
and microphone
both wrapped
in
some kind of
water proof
plastic/sound
transducing
material. We
put these
in a tub
with the
liquid of our
choice.
The speaker
transmits the
sound through
the liquid and
it gets
recorded by
the
microphone.
Simple as
that!
What you need:
-2x some sort
of
condom/balloon
or water tight
plastic bag
-some duct
tape
-A speaker or
speakercone
(or if you
have access to
an underwater
speaker then
you dont
need to put it
in a water
tight
encasing). A
Loud PC
speaker
is good,
you can find
these in bulk
in any thrift
store. Be sure
they don't use
220/110
volt mains
electricity so
you don’t
electrocute
yourself.
-A microphone,
cheap dynamic
will do fine
-Some wires
-A tub,
bucket, barrel
or anything
that can hold
the liquid,
the larger
the
volume/size of
this the more
spacey the
effect will
be.
Put the
speaker and
microphone in
the water
tight bag or
condom
wrap and tie
it closed.
Make sure the
part were the
audio cable
comes out
is made water
tight (or you
got to make
sure that part
stays
surfaced)
Feed the sound
to the speaker
(via an
amplifier if
needed) and
receive
it via the
microphone.
If you are
using some
kind of
powered PC
speakers:
DO NOT use
220v powered
speakers under
water! you
will be fine
with
some 9/12volt
ones, make
sure the
adapter power
cable is
isolated.
Speaker in
condom
or water tight
plastic
bag
Microphone
in condom
>
INPUT
|
or water tight
|
|
plastic bag.
|________
|
|
____
||\|/
\|/
/
\_Output >
||
/
\___----_____----______--------_____------_____-----__----/
\@@@@@@@| _|@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@|
|||@@@@@/
\@@@@@@| __/ |@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@| |||@@@@/
\@@@@@||
|@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@|
|||@@@/
|@@@@@||__ |@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@|___|@@@|
|@@@@@| \_|@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@|
|@@@@@|_____|@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@|
\@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@/
\_______________________________________________/
//
\\
||
||
--
--
Go and
experiment
with more
loudspeakers
and
microphones
and discover
the various
spacey
sounds
that could
have been
heard by
professor
Aronnax
while
traveling with
Nemo in the
Nautilus.
Also try some
different
liquids and
different
materials of
the container
for the
liquid.
=================================================================================
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\| '_ \| |/
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'_ \
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| (__ |
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\___/|_|
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_____-------
_____----
\/
\\//\\
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/
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|
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===__ __=====
\\\
o
o
o o
o
/
o
\\\\
/_
\\\\\
_____,
____,
=====
\\\\\
|
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|||||||||__
\\\\\
o
o
o o
|||||||___
\
\\\\\__
_______
||||||----
\
\
_____------
/||||||----
\
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----||||||\ \ / /
|-----|||||
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\--- |
|||
\
/
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|
| | (((((
| .
|
//
(((((((((((((_____//
((((((((((((((----'
(((((((((((((((
"Pan, the
Mighty, I call
to you
the god of the
shepherds, the
totality of
the universe
--
Heaven, Ocean,
Earth, the
queen of all,
and the
immortal fire,
for all are
the limbs of
Pan.
Come, blessed
one, Jumper,
running in a
circle,
He who rules
with Horae,
Goat-footed
god:
Friend of
souls ardent
for god,
Ecstatic,
cave-dweller--
You play the
world's
harmony
with merry
flute tones,
...............
Off then,
Blessed one,
Ecstatic one,
to the
libations of
sacred virtue!
A blessed end
shall join
life;
TO the marrow
of the earth
Enthrall the
Panic terrors
Power!"
Orphic
Hymn
=================================================================================
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___| |__
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|_| '__/ _ \/
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__/ __/ __/
__/ __| '_ \
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_| | |
__/\__ \__ \__
\__ \__ \__
\__ \__ \ | |
|
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|_|
\___||___/___/___/___/___/___/___/___/_|
|_|
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___
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( _ ) /
_ \ ( _
) |
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_| |_ ___
/
_ \| | | |/ _
\ | '_ \
/ _ \/ _` |
__/ __|
| (_) | |_| |
(_) | | |_)
| __/
(_| | |_\__ \
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\___/
|_.__/
\___|\__,_|\__|___/
___
______________________________________________________
___
| |
[__]
|
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__
SMACKOS
|
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| | / \ / \
o
o
o
o
o
o
o
o
o
o
o
o o
|
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\__/
|
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|
|
o
o
o
o
o
egyptian
o | |
| | o _
l
o v e r | |
| |
___
/ \
o
o
/\',
o
o
|
|
| | / \
\_/
[
[
[
[ [ /__\/ | |
| | | |
==
== == == == ==
== == == == ==
== == | |
| | \___/ O
________________Rhythm
Composer
TR808 | |
| | ____________________________________________________
|
|
| |
|
|____________|________|______|_______|___||
|
| | \\ | |||____________________|____|_____|________|| |
| | ______ |
|||________|_________|_________|______|____|| |
| ||start || === 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
16 | |
| || stop || .-..-.-.-.-.-.-..-.-.-.-.-.-.-.-.-.-.-. | |
| | ------ |
|.||.|.|.|.|.|.||.|.|.|.|.|.|.|.|.|.|.|
|
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| - - - - - - - - - - - - - -
- - - - | |
|___|______*_______________________*___________________*___|___|
|
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|______________________________________________________|
|
---
---
Some
fresh beats
for your TR808
If you don't
have an 808
why not use
the SMACKOS
808 SIMULATOR?
The hottest
808 drumrack
for ABLETON
check it at http://www.legowelt.org
U can use any
drummachine
ofcourse!
These are just
some pointers
for the basic
beats, by all
means- >
add your
own spice,
tricks and
changes!
ELECTRONOME
STYLE BEAT
(FAST BPM 138
- 145 )
1
2
3
4
5
6
7
8 9 10
11 12 13 14 15
16
BD_BD_BD_BD_|__|__|__|__|__|__BD_|__|__BD_|__|
|__|__|__|__SD_|__|__|__|__|__|__|__SD_|__|__|
|__|__|__|__CP_|__|__|__|__|__|__|__CP_|__|__|
CH_CH_CH_|__CH_CH_|__CH_CH_|__|__CH_CH_|__|_CH
|__|__|__OH_|__|__OH_|__|__OH_OH_|__|__OH_OH_|
CB_|__CB_|__|__CB_CB_|__|__CB_CB_|__CB_|__CB_|
vary with
cowbells
on/off and
B-part with
variaton
on claps /
Snaredrums and
BaseDrums.
Based on the
legendary
ELECTRONOME
beat from a
'Synthesizer
and
Drumcomputer'
released on
The Hague's
Interr-Ference
Communications
in
1995...check
it here
808
KUDURO BEAT
(FAST BPM
around
140-150)
1
2
3
4
5
6
7
8 9 10
11 12 13 14 15
16
BD|___|__|__|__|__|__|__BD_|__|__|__|__|__|__|
|__|__|__SD_|__|__SD_|__|__|__|__SD_|__|__SD_|
CH_|_CH__|__CH_|__CH_|__CH_|__CH_|__CH_|__CH_CH
LT_|__|__|__LT_|__|__|__LT_|__|__|__LT_|__|__|
CP_|__|__CP_|__|__|__|__CP_|__|__CP_|__|__|__|
|__|__|__|__|__|__CB_|__|__|__|__CB_|__|__CB_|
Add variation
to the
cowbells and
claps on the
B-part. Turn
claps off
occasioanly.
KUDURO is a
fast music
style
originating
out of Angola
808s are not
used really,
but 808-esques
sounds are.
It would be
cool if there
would be
KUDURO beats
with
real TR808s.
Check DJ
Marfox Un Bes Bai for
more KUDURO
rhythm
inspiration
808 DREWSKY
CHICAGO BEAT
(BPM anywhere
between
120-140)
1
2
3
4
5
6
7
8 9 10
11 12 13 14 15
16
BD_|__|__|__BD_|__|__|__BD_|__|__|_BD__|__|__|
CP_|__|__|__CP_|__|__|__CP_|__|__|_CP__|__|__|
CH_|__CH_|__CH_CH_CH_|__CH_CH_CH_CH_|__CH_|__|
|__HT_HT_|__|__HT_HT_|__|__HT_HT_|__|__HT_HT_|
|__|__CY_|__|__|__CY_|__|__|__CY_|__|__CY_CY_|
|__|__|__|__|__|__|__|__|__|__|__CB_|__|__CB_|
add variation
to hihats,
cowbells, add
snares etc.
This typical
chicago house
beat is mostly
ascociated
with
dancemania,
most of the
time the BOSS
DR660
drummachine
was used
This beat
would
influence
GABBER.
Most noticable
examples of
this 'clap on
the four'
rhythms
are DREWSKY's
Strobelites
(One of the
most important
chicago house
records made
imo) and the
SPASMS remix
of Robert
Armani's INVASION
which uses a
TR909 and is
almost already
proto gabber.
sw
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/ ___--
(
---
/
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/____/ /
/
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_______/
/_______
/
/
/___________________
/________________________________
GRITDOME
COMPOSED
By Cal
LaFountain
We tempt
the star-fat
angel sphere
through
invention
and avarice.
Then, the
lackadaisical
crew:
mineral,
barrels,
muscle,
fuselage
to work the
sapped
reserves and
gloss our
shrine in
planetary
tithe.
The first
component
latched the
coated
atmosphere,
invisible bond
in vapor
thrust,
rear inset
cobalt
membrane
or, as the
oily, helmeted
chief
proposed:
“Our reach for
heaven’s
ceiling.”
Tiny amassing
observers
with centric
feeders agape
in hope its
virgin pixels
may allay
our fears.
Their leers
replete with
faltering
lilts
and unknown
rotes
shrunk at the
view of
our hulking
titan’s
palatial
nodes.
Our kinetic
event
yodels the
gist of
innovation,
proof of
metallic lords
the
hammerfisted
dawn
approacher -
its alabaster
chest,
the prominent,
crowned
amputee of
wire,
invention,
avarice,
and frail
motherboard.
And then,
a flush
composure
in the first
gear churns of
the
wistful
harbinger:
Our Gritdome
Composed.
----=----
ROBOCOP
POETRY
by Chris Moss
(yes the one
from CHRIS
MOSS ACID)
ed 209
cant get up
the stairs
what fucking
loser
who designed
its fucking
feet?
(From his
collected
works ROBOCOP
POETRY
https://www.facebook.com/notes/chris-moss/robocop-poetry/133638826705246)
=================================================================================
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| '_ \ / _` |/
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|
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(_| |
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\__,_|_|
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|___/
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_________________________________________ ___ / \
____
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____ ___ ___ ____
/___\/____
/
__\,/--,
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_____
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A
short magical
realist
letter/story
in Spanish
send in by
Marcos
Arellano It
was written
after a
Smackos
Legowelt show
in
Los Angeles in
2008.
El
sol comenzaba
a bajar
… 26
dic.- 008
Con una larga
gabardina
negra y la
maleta sujeta
a la mano
derecha el
sombrío
personaje a
cruzado esa
vieja
calle
que ha visto
crecer a solo
2
generaciones.
Se a roto la
tradición de
la primera
caminando tan
solo
unos cuantos
pasos para
tomar el
taxi.
El
silencio
nostálgico que
siempre rodea
el interior de
un transporte
dorado con
blanco sofoca
tanto como
aquella ves
delirante que
izo falta el
oxigeno..
Línea-
pasaporte en
mano, maleta
sujeta
esperando el
turno para
sacar el
permiso una
hora después
policía joven
asiendo
preguntas :
¿where are you
going? ¿why
are you
going?
Go to the next
Window. la
ventana
siguiente
tenia
un letrero
pegado que
decía 12
dollrs
permiso
sellado.
Primer
mundo : primer
pregunta
¿dónde esta
esa panel? La
que me llevara
a
ese destino
deseado solo
por este día
(Atravesando
las vías
caminando
extrañamente
entre esa
estación
semi-moderna
del
trolley)
ahí esta ( la
agencia de
viajes) me
acerco y
pregunto donde
tomar mi
transporte a
lo que
replican :
camina por ese
pasillo y en
la parte de
atrás
encontraras
las
paneles . el
pasillo
paresia un
lugar en donde
solo personal
autorizado
estaba
permitido
entrar y la
parte trasera
era como un
lugar desolado
con solo 3 u
4 paneles
desde ese
punto se podía
oler observar
la valla
divisoria en
las que
junto a ellas
corren esas
mismas vías
del tren. la
noche
asechando , el
driver
esperando mas
pasajeros para
poder
emprender su
ruta monótona
, una madre
con
su hija
esperando ,
antes de salir
el driver
avisa que no
abran paradas
y que
los baños
estaban dentro
de ese centro
comercial
por los que se
puede entrar
pues tiene una
puerta trasera
rápidamente
dejo mi maleta
en la panel
para ir
a buscar el
accesorio que
necesitaba
para esa única
noche y lo
encuentro un
rollo para
tomar
fotografías
tan solo 1
dollar tomo
dos los pago y
regreso
ala panel
regresan las
personas y
emprendemos un
ya nocturno
viaje
(alrededor de
las 7).
¿cómo
se pone este
rollo? Era un
tanto difícil
puesto que la
cámara era
echa de un
plástico
deprimente
pero tenia
el poder
de tomar 4
tomas de
un solo golpe
puestas en un
solo negativo
tal que
costaba
trabajo
comprender
su situación.
Pregunta
al pasajero de
alado ¿sabes
como se pone
un rollo? No
lo supo. Al
transcurrir
las distancias
el
caminogratis
me dio la
seguridad de
abrir esa
maldita camera
para colocarle
ese rollo ;
una ves
cerrada di
clic para
asegurarme de
que la amiga
estuviese
preparada para
lo que su
lente
capturase
pero ella es
engañosa no te
lo dirá ni
tampoco dará
lo que esperas
ara lo que
quiera pero
eso te
lo cuenta el
revelado. (Es
pervertida esa
pop cam de
cuatro focos.)
Los
ojos un tanto
perturbados
por una sombra
omnipresente
=================================================================================
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'_ \/ __|
|
(_| (_| | |_)
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| __/ |
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| \__ \
\___\__,_|_.__/|_|\___|
\__, |_|
\___|_| |_|
|_|_|_|_|
|_|___/
|___/
by HOUSEMAID
& THE FEAR
__________
__..._____||||____
/__--
--__\
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/____ ||/\/\/\/\|| _____---'
/
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--------
EXCERPT
FROM:
HURLEY'S
LITANY
BOOK 7
SECTION 46
CHAPTER 37
FAIRIES,
FOLKLORE AND
SUPERSTITIONS
OF THE STUDIO,
MODULAR,
SYNTHESISER,
PERCUSSION,
POLKA,
AEROPHONE,
ACOUSTICS AND
CYMATICS
WORLDS.
75.
CABLE-TAKERS
Also known
Cable
Gremlins,
Cable Goblins,
Cable-nobblers.
In Finnish
pieni
kaapelipaholainen
or pikku
kaapelipaholainen.
In Russian,
шнур-воришки
(shnur-vorishki)
or шнуришки
(shnurishki).
In Swedish,
Kabel-nisse.
In Dutch,
Kabel trol or
Snoer kabouter
or Koord
knager,
sometimes Tros
fee.
In Cornish,
Bastardyon
travyth Kevy
bocka du
Though this is
in some
dispute as one
of our
researchers
was told
something
completely
different down
the pub by a
visiting
member of
Prof. Stuart
Mclean's
research
staff. Further
dispute has
been brought
by academic on
the Goldsmiths
faculty as
they affirm
that a Cornish
translation is
impossible,
due to the
fact
that
"everybody
knows Cornwall
does not
exist." To
which our one,
rather
embattled
Cornish
researcher has
asked us to
print. Te
Omgyjor.
For our Irish
readers and
folklore
enthusiasts;
though
definitely
native to the
island, no
Irish
translation
has been
included as a
staff member
revealed the
names were
"poorly
disguised
swear words
and curses.
Some of them
were not
even in Irish,
they just were
written really
close together
see…" adding
later
"...I tried
saying the one
at the end
there where
the paper was
all bent,
yellow and
folded and my
dog turned
inside out.
Don't print
those."
Due to their
connection to
the earliest
points of the
commercial
electricity,
Cable-Takers
were initially
dismissed as
an atavistic
superstition
by academics.
Until noted
academics
Prof. Edvard
Mehler (Viking
and Old Norse
Studies,
Helsingborg)
and Dr. Bo
Retzner (Old
Norse Studies
&
Pre-Electrical
Synthesisers,
Landskrona)
brought
voluminous
evidence of
Viking &
Norse ship
builders
speaking
of nefarious
creatures they
referred to as
Rope-Takers.
The creatures
are only
referenced
with rope,
twine, string
and lace and
never noted as
taking tools
or
anything else.
The Chronicon
of ElEbb makes
note of a
remedy given
by a prisoner
from Ireland
that stated
they could be
turned to good
use if all the
knots on
the boat were
poorly done
and that this
would force
the creatures
to come and
retie all the
knots better
thus
preventing
them from
stealing any
rope. No
outcome is
given to this
story and
bizarrely the
Chronicon
finishes
shortly
after this
entry.
Similarly, a
diary
recovered from
deeply buried
Great Fire
era ruins in
London details
blacksmith
Kavain Space's
continued
trouble with
the beings in
his forge that
kept stealing
his chains.
Interestingly,
screwdriver
sprites are
discussed at
length in
Foucault's
essay
Excuses &
Folklore and
further in his
book Customs
&
Folklore.
Initially used
as an example
of where
humans use
folklore to
explain
shortcomings,
malice and
chance,
Foucault
recounts an
incident in
Edinburgh in
The Doric
where a local
man called
Edgar Upton
argued harshly
with him over
his essay
Excuses &
Folklore.
Upton's
conjecture was
that Foucault
did not have
enough local
knowledge to
state such
creatures
could or could
not exist.
That it was
highly
possible that
while
not the
intelligent
humanoid
creatures
human give
fairies credit
for being,
that perhaps
some cross
between a pine
marten and a
raccoon with
crow like
tendencies
could well
exist. Upton's
reasoning was
that as a
father of four
who
worked
two jobs and
one at the
weekend, with
a sick mother,
he could not
possibly
have the time
it took to
hide his
screwdrivers
on himself,
sober let
alone drunk.
When Foucault
disputed this,
Upton invited
Foucault to
accompany him
on week
in
his life. In
an emotive
paragraph
Foucault ends
up agreeing
with Upton,
suggesting
that "…as we
miss things in
the ocean
everyday. It
stands to
reason
that there
could possibly
be and likely
are smaller
glitter and
shine obsessed
rodent-sized
mustelid-like
creatures that
in this time
of modernity
have become
fixated on our
screwdrivers
and other
polished
tools."
Though like
the nine-times
cursed
screwdriver
sprites. The
Cable-Taker is
one of
the rarest
sighted though
often blamed
of the fairy
folk and house
spirits.
In
fact, The
Cable-Taker
has been so
rarely been
spotted that
no visual
representation
exists. From
1883, in
Brewer's
Dictionary of
Phrase and
Fable
mentions a
Henry M.
Wollenhaupt of
Hastings, New
York whose
reports
repeatedly
refer
to "the little
things" "in
the wires"
"Beaks saw
one…I've never
seen one,
just the back
of one shadow
as it scurried
away with the
copper. Looked
small
and
not entirely
hairy." A
later edition
would make
mention of
letter to The
British
Almanac in
1897 from a J.
Hill, Camden
Town asking
about help
preventing
the
"…little
bastards with
the claws…".
In 1902, a
Michael Ash of
Scrofula,
Devon in the
Northeast
Devon Bugle
formerly the
Royal
Northeast and
Northwest
Devon
Herald, again
in the form of
a concerned
readers letter
would recall
"…appeared to
be wearing a
small grey
coat of some
sort or have
very loose
skin…like a
ferret…wearing
a suit…or if a
ferret's skin
was a suit,
like a
businessman's
suit, but
without all
the hair, and
it rustled in
the breeze
when
the ferret ran
away on two
legs, like a
wee
businessman,
except not…"
1904
would see
acoustic
engineer Chris
Sealey of the
University of
Winnipeg
would write a
small paper on
the creatures
citing several
unverifiable
sources
that the
Cable-Takers
were usually
accompanied by
a faint smell
of ozone. Much
like
that in a
subway
station. In
the same year
another
academic,
Wilson
Chauncy-Claridge
of Cymatics
Department of
Pennskolyow
Kesunys yn
Kernow
University,
England, would
make mention
in a footnote
that the
creatures left
behind a smell
of yesterday's
food with
sometimes, an
ever-so
slight
undertone of
alcohol. Often
cider.
In
1918 James
St.James J.
Dafydd James
creator of the
soft-noise
genre would
interrupt a
seventeen and
a half hour
Telharmonium
concert (one
of, if not
the last
concert) to
talk about the
creatures that
regularly
invaded his
music
space
to hide his
"connection
ropes, leads,
and valves".
As
is noted by
the seminal
essay on the
subject by
noted Dutch
Cryptographer
Prof. Pepijn
Kok
(Aalten)
"Over Kabel
klootzakken en
hoe te falen
om ze bij
de
kladden te
nemen" - it
would appear
near
impossible to
catch the
creatures
or to make
them leave and
it would seem
once you have
what Cornelius
Moss refers
to
throughout his
biography as
"those
bastards those
utter
bastards" they
will
never go away.
Reaching some
sort of
appeasement
with the
Cablebastards
seems to
be the best
someone can
hope for.
Prof. Kok is
noted for
burning down a
small
neighbourhood
in Haarlem in
an
attempt to
"…burn out the
scourge that
haunted his
offices."
As
the
mathematician
Cornelius Moss
mentions in
his biography
"Six zero six
and three zero
three: my life
as a base
number" - "In
order to
combat the
utter
bastards that
presumably are
stealing and
hiding your
cables,
judicious
practice must
be adopted in
the study or
work space.
Because they
must be,
mustn't
they? Because
why would you
do that to
yourself? Who
would do that
to
themselves?
And the time,
the time it
would take, to
put them all
those places.
No, indeed it
must be those
wee bastards.
Those cable
thieving
bastards…ooh
it
makes
me so angry,
those gits,
this one time
I had to…" (as
the reader can
see,
even the mere
mention of the
Cable Gremlins
can dissolve a
man of science
into
distraction.
Today,
Cable Goblins
are a serious
issue for
electronic
music artists.
Stories
persist that
London-based
artists such
as Simon Lob
and The Wogan
Christ have
accidentally
murdered
assistants as
they have
tried to get
"the bastards"
with
what
are thought to
be illegally
obtained
firearms.
Indeed, the
urban legend
about The
Aphex Twin and
Rephlex's
Cornish Wicker
Man cult
against the
bastards
is repeated so
often in
electronica
circles that
it is
generally
taken as fact
and
young artists
are warned
from visiting
Cornwall in
August 'lest
they find
themselves
trapped in a
giant wicker
Moog 55
screaming for
help as the
sun rises
and they burn
away to
nothing so
that the
coming year
with have a
bountiful
harvest of
tones and be
free of cable
losses.
"Don't
go to Cornwall
in August"
they say,
"they'll burn
you, those
synthesiser
folk, they'll
burn you…"
So
the story goes
anyway.
In a time of
resurgent
modular
synthesisers,
Cable-Takers
or as they are
referred to in
the community;
banana-bastards,
patch-gits,
cord-gobbling-
shitfucks are
a growing
menace and
noted musician
and scorer Tom
Holkenborg
has
reportedly
taken to
banning dwarfs
from all
venues he
plays and will
kill
on sight any
human of 147cm
or below that
attempts to
enter his
studio.
Further,
it is said
that
Holkenberg and
Brian Williams
are personally
responsible
for a 39%
decrease in
the population
of vertically
challenged or
short people
in the Venice
Beach area and
new local
governance
banning the
sale
of ferrets.
Both musicians
were recently
investigated
due to rumours
they
had been
kidnapping
people
suffering from
dwarfism and
hunting them
for sport
amongst the
dunes. While
the
investigation
proved
inconclusive,
a degree of
notoriety
was attained
when it was
revealed Brian
Williams
refused to
co-operate
with police
unless all
reference to
people who
might be below
147cm in
height
and therefore
a possible
Cable-Taker be
changed and
made as
"bastards.”
A
Venice Beach
police source
was quoted off
the record as
saying that
this
"…made
everything
very time
consuming…"
"Time
consuming?
Just like the
bastards,
those
bastards, who
keep hiding my
cables." was
the answering
statement read
out
on local
television by
Brian
Williams'
publicist.
Whether
Cable-Takers
are figments
or delusions
used for blame
against a
creeping
and
frightening
loss of
faculty in a
cruel and
indifferent
world. Or some
for-
gotten type of
glitter-attracted
rodent or
mustelid
remains to be
proven and
possibly,
a question for
the ages. One
thing is for
certain
Cable-Takers
and
their
superstitions
have not faded
away with the
passage of
time like
lepre-
chauns,
knockers,
gorbin-mikael
of the drains
or the pancake
fairy.
Rather
worryingly,
this has not
gone unnoticed
in the tech
community and
researchers at
Goldsmiths
University
have noted a
rise in
neurosis about
Cable-Takers
and
Blockchain.
Drawing
parallels
between it and
amphetamine
psychosis.
Assurances
that the
Cable-Takers
are ancient
things that
could
not possibly
think the
Blockchain is
like a cable
or rope are
often met
with fury and
violent
reactions as
wild-eyed
coders
screaming "You
don't
know that, you
don't know
that, because
you can't know
that! Look at
Mt. Gox - we
don't know!"
And we don't.
Know that is.
====================================================================================
_
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ANTHONY
MANNING -
CHROMIUM
NEBULAE Irdial
Discs 1996
LP/CD
This
is an often
overlooked
1990's KILLER
British
ambient album.
Really up
there with the
90s classics
from Aphex,
Autechre or
Boards of
Canada etc.
Some tracks
tend to use
the same synth
sound
(sounding like
some juicy
Roland)
but then you
got stuff like
that little
flute synth on
the A1 track
that
takes
everything to
new unexplored
territories.
check it out here
Hiroshy
Yoshimura -
Green 1986
LP/CD/Cassette
crystal
glassy tones
from I guess
the Yamaha
DX7, very
sparse and
clean
this is like
'green tea'
music. Reminds
me a bit of
Pauline Anna
Strom
Check it
here
DREAM
CARPETS -
INTERIOR
FOUNTAINS Mood
HUT Cassette
Esoteric
new agey
minimal
ambient. Can
we have TOO
MUCH woolyness
and tape
saturatioN???
Ofcourse NOT.
It might be a
bit too
repetitive and
simplistic
sometimes...but
there is
something
'mysterious'with
the sound, the
mix or
frequencies....that
makes it feel
you are
massaging your
ears &
brain with
velvet
gloves...it all
justs sound
very very
pleasant,
there is no
need for
structural
show off or
musical
wittiness
anyways when
it comes down
to the
essence.
JOEY
BELTRAM -
AONOX 1994
Barramundi
LP/CD
Earlier
this year Ron
Morelli hit me
up and said
"Did you know
Joey Beltram
made an
ambient album
in the 90s!?!
and its pretty
f*ckin' good!"
I checked
it out and WOW
indeed! Its
more
rhythmical
slow paced
IDM-ish then
ambient,
maybe
"Industrial
Ambient" if
such a thing
can occur.
Absolute
highlight is
the SOUTH
PACIFIC
track...the
whole album
has this south
pacific feel
to it,
the immense
desolate body
of water with
a few islands
populated with
sparse
palmtrees
under a dark
looming stormy
sky. Stuff
like that.
Rumor has it
that you can
play this
album sped up
at 45rpm too
(or pitched
up on CD) to
change it into
a secret
weapon for
techno sets.
Here
is a youtube
playlist with
the album
====================================================================================
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A
Vampire GoEs
WeSt
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C
o M i N
g
S o O n
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n
D
R e C o R d s
====================================================================================
_
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|
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|_______
`.______.'
`.______.'
|
....''
This is an
excerpt of a
workshop on
TAPE CULTURE
that was given
at
Common Ground
in Berlin by
dj shluchT
*** LOOPS - Postmodern & THe Infinite ***
Hey-Hei,
today I want
to write down
a few thoughts
on Loops ->
digital and
analog
loops. To get
started, one
should look up
the following
picture
of which
Frieder
Butzmann makes
a point of in
his 'Musik im
Grossen und
Ganzen' -
book, Page 13)
The picture
one can see is
called: "the
birth of a
virgin" by
Albrecht
Altdorfer,
1525. Butzmann
points out two
very
interesting
aspects of the
Loop as a
practice for
musicians/
within music:
1. the loop is
a cycle - but
not like the
cycles one
knows from
nature
or economy.
the loop in
music is a
repetitition
where an event
repeats and
beginning and
end are
seemingly the
same point
-just like the
infinite.
- in the
picture linked
above one can
see that in
the way the
angels hold
each others
hands, so
whereever your
eyes start to
follow the
cicrle of
angels, they
will always
end up at the
same point-
there is no
beginning,
no end. The
angels just
keep on
singing and
turning around
in a circle
just like the
water that
runs down the
mountain in a
river, it
doesn't run
away and seems
to be always
the same - and
here is a
little
difference
to the loop in
music: the
loop in music
can be counted
- its
repetitions
can be
measured - as
a profane
measurement of
rhythm &
metric. But
the
beautiful
sound itself
that angels
create can't
be measured,
they are
angels, they
are
supernatural.
Therefore
their sound is
not sizeable
for
rational
systems - its
an emotional
quality thru
repetition.
2. Butzmann
also points
out a second
aspect of the
musical
quality of
a loop -
imagine you
are in that
building with
the angels
flying around
you and
chanting - the
architecture,
the space -
their chanting
will fill
the whole room
& the room
will add its
characteristics
to the sound -
for our
picture, the
old cathedral
- the room
will add a lot
of hall and
echo to it.
Angels are not
directly
visible to us
- but the
space filled
by the
chanting is
easy to
imagine for
everyone and
shows an
important
quality of
repetition and
sound in
general - the
hypnotic and
mesmerizing
aspect of the
loop as well
as its
artificialness.
MORE
HISTORY...
-
the moon cycle
-as already
mentioned
above, there
are different
loops/
cycles one can
take for
comparison or
to get into
the nature of
the rep-
etition - one
thing I like
to point out
right away -
is that the
loop in
music is
artificial -
the art of the
loop is to
make the
beginning and
the
end invisible
- the one shot
sample for
example can be
looped but its
nature is a
different one
- beginning
and end are
clearly
different
points
and will
create a very
different
texture of
loop.
The Moon cycle
is always the
same just like
the water in
the river but
there is
something
about the way
they are
occuring on a
timeline that
is
linear and
therefore in
opposition to
the loop as a
phenomena in
music.
- in 1928
André Cœuroy
wrote a book
called:"Panorama
of
Contemporary
Music"
- in that book
and by the
influence of
the futurists
and the first
gramo-
phones he
started to
deconstruct
the way music
is received
and created by
integrating
the new
technology
(recording
music &
records) as a
practice
for composers.
He wrote:
"perhaps the
time is not
far off when a
composer will
be able
to represent
through
recording
music
specifically
composed for
the
gramophone"
In a way he
suggests to
compose music
for records
and perform
the recordings
afterwards as
the actual
music/
composition.
(That is very
fascinating
for
me - that
already so
early theory
people were
thinking about
that - and
only
after the
second world
war that
became a more
popular
practice
amongst
musicians and
composers - by
the way
researching
more about
theory people
from the late
19th century/
early 20th
century one
can find that
a lot of
postmodern
ideas were
already
formulated
back than but
apperently it
took
another
40years to
actually take
off - think
partwise its a
result of ex-
pensive
equipment that
became over
the years
cheaper and
easier to
produce
so that a
wider range of
humans could
afford it.)
- Affording
stuff - seems
a thing-
therefore most
of the early
loop and
tape music
experiments
had to happen
within the
institutes of
the estab-
lishment -
such as radio
stations or
science
laboratories -
they were the
only ones till
the late 50's
who could
afford the
equipment.
Here a list of
institutions
that caught my
attention:
- Studio
d'Essai de la
Radiodiffusion
nationale
early 1940s
- Radiophonic
Workshop BBC
late 1950s
- ELMUS /
Canadian
Electronic
Music
Laboratory
1950s
- San Fransico
Tape Music
Center early
1960s
-
mentioning
gear and
equipment
-from the late
50th eary 60th
on tapeloops
and loop based
music became
more and more
popular within
mainstream
music.
Frank Zappa is
one of the
artists who
helped a lot
making it
accesible for
the mainstream
by influencing
bands such as
the beatles.
Yellow magic
orchestra made
a whole record
based on
tapeloops and
one shot
samples around
'81 its called
"Technodelic"and
symbolizes an
interesting
paradigm shift
from academic
&
psychedelic
music with
loops to
generic or
computer music
loops and
starts to
eliminate the
human nature
of the loop
to make it
nearly
algorithmic
music
composition.
Grandmaster
Flash and the
breakbeat
movement as
well as some
disco dj's
also started
to pick up on
using tape
loops to add
breaks and
beats to their
mixes.
- The digital
loop, the
digital loop
is part of
music but also
of computer
science
- and is more
or less a
fundamental
part of our
daily modern
life
- digital
loops are very
different than
tape loops /
analog loops.
The material
they are made
with is
digits. Its no
longer the
material of
the
tape that adds
a human
element to the
loop - its the
loop of a
machine, a
calculated
loop and with
the
possibility of
post
optimizing it-
a function
within a grid
of functions
to make the
system smooth.
ADDITIONAL
NOTES:
-First records of tape based loop music can be traced
back to Halim
El-Dabh in
around 1944 he
borrowed wire
recorders from
the Middle
East Radio in
Cairo/ Egypt
He also
recieved a
Fullbright
scholarship in
1950 and
went to the
USA where he
studied
composition
and became
an influence
for Musicians
in the US -
such as Frank
Zappa.
-I'm very
surprised when
listening back
to early tape
music
/
music concrete
how much it is
about
destruction
and
deconstructing
and violence/
war seem to
become a part
of its nature.
Wondering how
much the two
world wars
influenced
that
phenomena.
_______
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|.|
| |
_
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_
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|.
1
|
_ |__
--|
| __|__
--|
`-|.
|-|___._|
__|_____|
|.
_
|___._|_____|__|____|_____|
|:
|
|__|
|:
1
\
|::.|
|::.. .
/
`---'
`-------'
TAPE PLAYER:
1
Tension Arm
2 Idle Roller
Supply
Reel
Takeup
3
Earase Head
|
.-'''-.
.-'''-.
Reel
4
Record / Play
Head
|
'
\
'
\
5
Capstan
|
/
\
/
\
6
Pinch
Roller
|.
'
.
'
7
Guide
||
.
'
|
.
'|
8
Tape
Lifters
|\
/
\
/
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`.
/
`.
/
|
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'-...-'`
'-...-'`
|
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3
4
|
| 1 ._. ._. 1
|
|o 2 |
| 8 | |
5
o|
'---_()
|_|
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()__--'
`------.------------.----------'(_) 6
7
|8
7
TAPE:
.-----------.
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|
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|
L
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A
{
-------------------------------
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R
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-------------------------------
|
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R
|
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B
{
------------------------------- | ------- |
L
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|___________|
TAPE
TRAVEL
-------->
Record/Play
Head
Above
are a few
simple
drawings of
how tape
players are
functioning
and
how tape
works. Some
more notes to
it- usually
tape players
have two heads
- one for
erasing and
the other one
for playback
and recording
- an
interesting
thing to do is
to tape over
the erase head
or even
voltage
control it -
to start
making
infinite
overdubs into
already
exsiting
recordings
without
earasing whats
already on the
tape
The actual
cassette - is
a unique
object too -
first of all
its not a
record or a CD
- so flipping
the tape -
isn't the same
like flipping
the
record - Side
A and Side B
are all
recorded on
the same side
of the tape.
They just run
in different
directions to
each other -
Each side is
stereo
therefore you
have two mono
channels which
can be
organised into
left and
right.
The Four-Track
uses that
special
characteristic
of tapes -
therefore:
Sida A left =
track 1
Side A right =
track 2
Side B right =
track 3
Side B left =
track 4
Once you
record 4
tracks they
will all be in
the same
direction
which
means if you
turn the tape
your music
will be
backwards for
the Bside.
In other word
a 60 min
stereo Tape is
only 30 min on
a Four-Track.
Another
difference to
vinyl is that
the compact
tape is one of
the very
first media
that allows
consumers to
make their own
recordings
&
distribute
them like the
"professionals"
do. That is a
very
significant
part of tape
and its
culture as
tape also
played a
significant
role for
underground
music
and within the
cold war -
"Tommy buys a
Leonard Cohen
Tape - than
goes to see a
punk show of
his
favorite
band
"Abwärts" in
Hamburg - he
tapes over the
two little
holes
that protect
the tape from
being
accidentally
recorded -
takes his tape
player and
bootlegs the
show - the
next day he
makes a copy
of the tape
and and mails
it to his
friend Piotre
who lifes in
Prague."
Hamburg/ West
Germany- 1980
Throughout the
late 70s and
the 80s, tapes
became a very
popular medium
in mainstream
and
underground -
even more
popular than
vinyl- It's
mainly
because the
means of
production to
produce tapes
became more
improved and
optimized -
the age of
home
hi-fi_delity
was born.
Tapes also
quickly became
a tool for the
political
resitance
during the
cold war &
the counter
culture
(punk, new
wave, rap ...)
who became
tired of
mainstream
music industry
and
helped its
popularity all
over the
globe.
The Tape is
not a CD -
even though it
was common to
save data
& programs
on tapes as it
was cheaper
than floppy
disks. In some
countries
radiostations
would even
transmit
programs and
data that one
could record
at home and
play
or use
afterwards
with the
personal
computer - the
tape has one
significant
difference to
the CD - the
track listing.
A tape is a
linear time
line where
one can't just
skip a track -
or lets say DJ
XYZ wants to
play track 5
from
a tape -
that's way
more difficult
with tapes to
find the right
position than
it is with
records or
CDs. By the
way, it is
possible to
save images on
looptapes -
once you have
encoded the
image
information
into audio.
The tape
usually is
made of a
chrome, iron
or metal
oxides/
dioxides and
the data/
information is
written
in it by
organising the
metal parts
via
electro
magnetic
pulses -
therefore,
tapespeed is
an important
influence
on the quality
of the
information -
the faster it
runs the
closer are the
single points
of the
information on
the tape and
that again
makes them
sound
better in
quality.
THE TAPE LOOP:
-
correct
splice
____________________
________/___________
bottom
____________________
_____/______/_______
top
_____▂▂▂▂▂▂▂________
side
TAPE LOOP
TYPES:
Standard
Chandler*
________
_______
/O O\
/____
\
/
\
//O \ O | <----
tape loop
/____________\
||
\_/
\o__________o/ /
\________
^
o___________o
head
^
head
Moebius Tape
Loop:
__
/O \
/
~\~
<
'moebius'twist
goes
here
/____________\
|o__________o|
^
head
(*)
In 1995 David
Chandler
released a
hand-built
series of 100
cassettes
with spliced
loops marked
'open-source'.
These tapes
and their
construction
method became
an underground
secret-weapon
among touring
bands in the
90s,
and were given
the nickname,
the "Chandler
Loop" -
Chandler him
self has
been making
and organizing
experimental
dance music in
Portland sice
the
early 90's
-and there it
became really
easy to
distribute his
loop tapes
all over the
states and the
world.
-Tapeloops can
come in
various
lengths
depending on
the type of
loop -
in general
they are
either around
235mm and
372mm.
When make a
tape loop you
need to find a
cassettetape
with screws
then
open it - take
out the tape
& cut a
piece from it
- remove the
rest of the
the tape from
the wheels -
put the wheels
back in now,
try making
your
loop with the
tape in the
case - make
sure its not
too tight and
not too
loose. Best is
once you have
the loop tight
move the two
wheels a bit
so
that the loop
becames again
a bit loosende
- then take
out your loop
while
still holding
the two points
of your tape
together and
make a
diagonal
cut - now
screw it a
little
together and
try out if it
runs - if so
screw it back
together.
I can highly
recommend
using a
Four-Track
recorder with
loop tapes -
as you can
have 4
different
loops on one
tape - All
synced to
eachother
and if your
four-track has
1 or two efx
AUX sends you
can even add
outboard
effects to it.
More tips
-> Record
something on
the tap you
want to loop
before cutting
the loop -
like that you
can make vary
clean and
clear loops.
Also
experimenting
with the erase
head and loop
tapes might
add some
depth to the
sticness of
the synced
loops.
DIGITAL LOOPS
A
few more
things about
digital loops
- on of my
favorite is
the gid89a
or commonly
known as .gif
- it can be
used to save
layers and
trans-
parancies and
so on - its
even possible
to hide .exe
scripts or php
snippets in it
to manipulate
website that
allow .gif
image format.
The .gif for
whatever
reason is not
very widely
supported
anymore on
the web or is
converterd to
a video loop
/.webm (This
might be for
some simple
statistic
reason or the
state of arts
on the web has
moved
on).
- Still there
remains a
certain
cultural
excitement and
hype about it.
Similar like
the tape -
even though it
is long dead.
Animated gifs/
image loops
are in a way
like
audio/tape
loops - they
can be like
one
shot samples
but looped or
they can be
tight like the
angels
chanting
in the very
beginning of
this text.
A lot of
todays
information on
the internet
is organised
in loops and
algoryhtms.
Adding gifs to
a feed or a
timeline -
often makes me
think
of throwing
tape loops in
the river - to
feed the
infinite flow
of
particular
difference
that enldless
loop of it -
the gif the
little
loop of the
same with
itself - It
punches a
mesmerizing
hole to
another
dimension that
stops the
endless flow
for as long as
one allwows
the moment to
happen.
- This is an
excerpt of a
workshop about
tape culture
and loops I
came up with
for Common
Ground
weisestr. 24
12049 Berlin.
dj shlucht
====================================================================================
Ok thats it for this issue -_o_-
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reading!
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the future!!!
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