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Radio Web MACBA | 1 Feb 15:52
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Up-to-date with the 5 COMPOSING WITH PROCESS: PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC Transcripts (the podcast series by Mark Fell and Joe Gilmore on generative approaches to composition and performance)

*Up-to-date with the 5 COMPOSING WITH PROCESS: PERSPECTIVES ON GENERATIVE
AND SYSTEMS MUSIC Transcripts (the podcast series by Mark Fell and Joe
Gilmore on generative approaches to composition and performance)*

Link: http://bit.ly/jd5DyQ <http://bit.ly/jd5DyQ%20>

Generative music is a term used to describe music which has been composed
using a set of rules or system. This series of seven episodes explores
generative approaches (including algorithmic, systems-based, formalised and
procedural) to composition and performance primarily in the context of
experimental technologies and music practices of the latter part of the
twentieh century and examines the use of determinacy and indeterminacy in
music and how these relate to issues around control, automation and
artistic intention.

Transcript episode #1.1. Continue http://bit.ly/nd8MlT
Transcript episode #2.1. Systems http://bit.ly/qNBC33
Transcript episode #3.1. Determinacy and indeterminacy http://bit.ly/qxAwNR
Transcript episode #4.1. Time http://bit.ly/pmljSy
Transcript episode #51. Duration http://bit.ly/wCIUQp

Recently relicensed under a Creative Commons Attribution-NonCommercial-
NoDerivs 3.0 License.

More info: http://rwm.macba.cat/
Follow us at* *http://twitter.com/Radio_Web_MACBA
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Clint Anderson | 2 Feb 03:15
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Re: First IDM take on Abelton

on a similar topic, why is there so many vst eq plugins, why cant every app
just have a 4 band parametric eq on the mixer strip or whatever?

On Mon, Jan 30, 2012 at 3:35 AM, Sham Beam <sham.beam <at> gmail.com> wrote:

> I like the electric piano thing and the amplitude modulated lead. Nice
> tones. :)
>
> The clicky stuff doesn't do much for me. I hear it as a constant
> background texture. I think I would prefer if it was a bit more
> rhythmically interesting.
>
>
>
> On 1/30/2012 7:05 PM, Bar Hazan wrote:
>
>> Hey guys,
>>
>> This is my first take of creating IDMish vibes with Abelton 8. I'd love
>> for
>> your feedback about the Mix, EQ, whatever you have in mind.
>>
>> Also - collaborations / remixes are more than welcome :)
>>
>> http://soundcloud.com/**barhazan/telescopes-2<http://soundcloud.com/barhazan/telescopes-2>
>>
>>
> --
> Sham Beam
>
(Continue reading)

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Godot Wolf | 2 Feb 04:11
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Re: First IDM take on Abelton

If you go to any professional recording studio, you will find many
different eq's in the racks.
I'm sure if you are making music professionally you will either understand
the benefits of good eq'ing.  If you are just a bedroom bandit with a
computer and few vsts, then your music is going to sound just like that.
No offence to Clint personally, but to those out there that think they can
just get a computer and ableton and start making great sounding music, you
have a long way to go.  If only those bedroom bandits were able to hear
their music in the hands of a professional sound engineer, it would really
make them understand that there is more to making music (whatever the
genre) than just coming up with the loops and melodies.

Take your idea for a song in recorded in 16bit audio down to your local pro
audio store and run it through all the eq they have on the shelf with a
cheap pair of store quality speakers, you will hear why we need so many
eq's.

You can't really call yourself a producer unless you understand the
production of music.
Putting a few loops together and tweaking a few vsts in ableton or any
other DAW really only makes you a composer.

Producing is all about the production side, not the composing.  If you
don't understand the need for production equipment, then stick to composing
and hand your compositions off to a producer to allow them to finish off
your ideas and turn them into those musical masterpieces.

There are very few composers in any genre that are also good producers.
Producing is a technical skill that must either be taught, or have years of
experience to build on.
(Continue reading)

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Clint Anderson | 2 Feb 04:28
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Re: First IDM take on Abelton

Sounds like someone has written a few EQ plugins....

On Wed, Feb 1, 2012 at 9:11 PM, Godot Wolf <ghosts.of.wolves <at> gmail.com>wrote:

> If you go to any professional recording studio, you will find many
> different eq's in the racks.
> I'm sure if you are making music professionally you will either understand
> the benefits of good eq'ing.  If you are just a bedroom bandit with a
> computer and few vsts, then your music is going to sound just like that.
> No offence to Clint personally, but to those out there that think they can
> just get a computer and ableton and start making great sounding music, you
> have a long way to go.  If only those bedroom bandits were able to hear
> their music in the hands of a professional sound engineer, it would really
> make them understand that there is more to making music (whatever the
> genre) than just coming up with the loops and melodies.
>

> Take your idea for a song in recorded in 16bit audio down to your local
> pro audio store and run it through all the eq they have on the shelf with a
> cheap pair of store quality speakers, you will hear why we need so many
> eq's.
>

> You can't really call yourself a producer unless you understand the
> production of music.
> Putting a few loops together and tweaking a few vsts in ableton or any
> other DAW really only makes you a composer.
>
> Producing is all about the production side, not the composing.  If you
> don't understand the need for production equipment, then stick to composing
(Continue reading)

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Godot Wolf | 2 Feb 04:35
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Re: First IDM take on Abelton

Not at all.

But I do know the value of good production.

Plugins don't quite work as well as hardware, especially for post
production.

Try giving your music to a producer to mix properly, even if they don't
have the hardware, it will be worth it.

(sounds like someone does producing)

On 2 February 2012 11:28, Clint Anderson <clinta <at> gmail.com> wrote:

> Sounds like someone has written a few EQ plugins....
>
>
> On Wed, Feb 1, 2012 at 9:11 PM, Godot Wolf <ghosts.of.wolves <at> gmail.com>wrote:
>
>> If you go to any professional recording studio, you will find many
>> different eq's in the racks.
>> I'm sure if you are making music professionally you will either
>> understand the benefits of good eq'ing.  If you are just a bedroom bandit
>> with a computer and few vsts, then your music is going to sound just like
>> that.  No offence to Clint personally, but to those out there that think
>> they can just get a computer and ableton and start making great sounding
>> music, you have a long way to go.  If only those bedroom bandits were able
>> to hear their music in the hands of a professional sound engineer, it would
>> really make them understand that there is more to making music (whatever
>> the genre) than just coming up with the loops and melodies.
(Continue reading)

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Clint Anderson | 2 Feb 05:00
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Re: First IDM take on Abelton

If someone wanted to publish my music, that is, pay me for it, I would
without question have a "professional" audio production engineer mix
everything.
There's no reason to professionally produce random crap posted to the web
for a few ppl

Clint Anderson
Systems Engineer

On Wed, Feb 1, 2012 at 9:35 PM, Godot Wolf <ghosts.of.wolves <at> gmail.com>wrote:

> Not at all.
>
> But I do know the value of good production.
>
> Plugins don't quite work as well as hardware, especially for post
> production.
>
> Try giving your music to a producer to mix properly, even if they don't
> have the hardware, it will be worth it.
>
> (sounds like someone does producing)
>
> On 2 February 2012 11:28, Clint Anderson <clinta <at> gmail.com> wrote:
>
>> Sounds like someone has written a few EQ plugins....
>>
>>
>> On Wed, Feb 1, 2012 at 9:11 PM, Godot Wolf <ghosts.of.wolves <at> gmail.com>wrote:
>>
(Continue reading)

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Clint Anderson | 2 Feb 16:16
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Re: First IDM take on Abelton

also i have heard amazing productions made using jeskola buzz and no
external hardware
and i have bought cds that were unmastered tracks from impulse tracker
just saying

Clint Anderson
Systems Engineer

On Wed, Feb 1, 2012 at 10:00 PM, Clint Anderson <clinta <at> gmail.com> wrote:

> If someone wanted to publish my music, that is, pay me for it, I would
> without question have a "professional" audio production engineer mix
> everything.
> There's no reason to professionally produce random crap posted to the web
> for a few ppl
>
> Clint Anderson
> Systems Engineer
>
>
>
>
> On Wed, Feb 1, 2012 at 9:35 PM, Godot Wolf <ghosts.of.wolves <at> gmail.com>wrote:
>
>> Not at all.
>>
>> But I do know the value of good production.
>>
>> Plugins don't quite work as well as hardware, especially for post
>> production.
(Continue reading)

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David Newman | 2 Feb 19:15
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A Dancing beggar

http://www.audiobulb.com/albums/AB036/AB036.htm

Greg Barbrick Review 

The Sheffield-based Audiobulb Records label was formed in 2003 by David
Newman as a home for "exploratory electronic music." The term is
intentionally vague, which was a rather smart move on his part. The variety
of music the label has released over the years is fairly broad. All of the
releases share one important element however - which is the stamp of
approval from Mr. Newman. That is no small thing when one listens to a few
of the albums he has released.

Follow The Dark As If It Were Light by A Dancing Beggar is a perfect
example. A Dancing Beggar is the nom de plume of the 23-year old James
Simmons, and was released last May. Being a small, independent label based
in the U.K., Audiobulb's recordings unfortunately do not get the type of
attention here in the United States that they so richly deserve. If I had
heard this album when it was released, it would have made my "Top 10 of
2011" list without question.

Follow The Dark As If It Were Light is actually the second full-length album
from A Dancing Beggar. His first was titled What We Left Behind. James
Simmons has actually made the task of describing his music fairly easy for
me, as he himself refers to it as "ambient." When done right, ambient music
is a form that I adore. Sadly, too many critics (and artists) have used that
term to a point of overkill. In the case of Follow The Dark As If It Were
Light though, we are presented with the very best of what ambient music has
to offer.

The album is a seven-song, 52-minute experience in bliss. On each track, Mr.
(Continue reading)

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Robert Stanton | 2 Feb 19:33
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What Ever Happened to...While (Chris Moore)

Lately, I've been revisiting a set of discs (and vinyl records) done
by While (Chris Moore) and remembering why I enjoyed them so much upon
first hearing them.  There were three albums/EPs on Chocolate
Industries back in the early 2000s, then a mention of a new album (see
http://www.while.8m.com/index.html), then nothing.

Does anyone know what happened to While and potentially any way to get
in contact with him?

-r
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Rjyan Kidwell | 2 Feb 19:45
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Gravatar

Re: What Ever Happened to...While (Chris Moore)

He actually moved back to Baltimore a couple years ago. I always wanted to
shout at him cuz I saw him on the street constantly but he was always with
a cute girl & it seemed possible he was hiding his idm past from her.

I had heard he was a sound effects and/or pro mastering guy in NY not sure
if that's still his deal or what.
On Feb 2, 2012 1:33 PM, "Robert Stanton" <robert.l.stanton <at> gmail.com> wrote:

> Lately, I've been revisiting a set of discs (and vinyl records) done
> by While (Chris Moore) and remembering why I enjoyed them so much upon
> first hearing them.  There were three albums/EPs on Chocolate
> Industries back in the early 2000s, then a mention of a new album (see
> http://www.while.8m.com/index.html), then nothing.
>
> Does anyone know what happened to While and potentially any way to get
> in contact with him?
>
> -r
>
> ---------------------------------------------------------------------
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Gmane