LOW FREQUENCY RESEARCH

i found this very nice documentary about the beginning of electronic music and synthesizer sounds! it´s called modulations, cinema for the ear and was directed by iara lee and released 1998! it´s really interesting and cool to watch and it features interviews ranging from robert moog to stockhausen to squarepusher to coldcut & genesis p. orridge and lots more!

it´s really worth checking out!!!

here´s the trailer!

well, if you got hooked by that – here´s part one (always a good point to start with), and again, i guess you all know how to click your way through all 8 parts…..

ENJOY!!!

Found on Dub Gabriels blog , “Destroy This Blog”
One for the gear heads. Of course we all know and love the Moog synths. Moog filters are legendary for bass.
I had to post this because of the interview about two thirds into the vid. It’s with the engineer who
created the first Minimoog prototype on his lunch hours out of junk parts. Got to love this.
The number of keys, the origin of the pitch wheel and , yes, even the reason why the
filters sound so good are more about chaos and mistakes then engineering genius.

i know, i know…. it´s getting warmer every day, and people should go outside, but who knows when the next rain is going to come, and then you´ll need some food for your tv screen!
…and i guess i got the right thing for ya!

“DUB ECHOES” by bruno natal has been released on soul jazz records, and it is a documentary that traces the origins of the Jamaican dub music and it’s influence on the development of hip hop and electronic music.The film shows how the Jamaican invention called dub ended up influencing much of the music we hear today, from electronic music to hip-hop, transforming the studio in a musical instrument and giving way to all of sonic experiments.”

i guess that pretty much says it all…

and it´s got a friggin all star line up ranging from 2manydj´s (whatever they got to do with dub culture) to lee perry to kode9 to zion train…
….well i guess you get the idea.. it´s really a never endling list….

and thanks to all of you “video pirates” out there you can watch this awesome documantery on youtube!

here´s the trailer….

here´s part one…. and i guess you kids know what to click to see the complete movie….

ENJOY!!!!

Pretty much impossible to quantify how much Kraftwerk has influenced the electronic music world.
For me… I discovered “Computer World” around the same time that Afrika Bambaataa’s “Planet Rock” was
coming out of every available sound source. Cars on the walk to the sub, radios on the sub, radios in school, the stereo
after school. Still love that track. But to describe the realization, from both of these pieces, that music could be made with only electronics
was mind blowing. “Mind blowing” doesn’t do it justice. “Life changing”. “Mind blowingly life changing”.
I dropped the rickety drum set in the basement of my parents house and got a synth.
But through all these years I never really thought about Kraftwerk developing into their sound.
One of those things … just felt like they were born with vocoders and drum machines in front of them.
Until I recently ran across this essay on “The Sagacious Iconoclast” blog. The serious nugget is the links at the bottom.
It’s all the old stuff , including tracks from “Tone Float”. An album they worked on before Kraftwerk.
Nice to hear the evolutionary path of one of the little memory banks permanently burned into the brain chip.

Seriously geeky …. but sometimes music producers can be both cool and geek… you know who you are.
120 Years of Electronic Music
Who could have known .. it all started in 1759.
My favorite: Thaddeus Cahill’s “Dynamophone/Telharmonium” (1897)
“The Telharmonium was an immense structure about 200 tons in weight and 60 feet long assuming the proportions and appearance of a power station generator….the quoted cost was $200,000. The monstrous instrument occupied the entire floor of “Telharmonic Hall” on 39th Street and Broadway New York City for 20 years.
Despite the Telharmonium’s excessive proportions the sound it produced was both flexible and novel to a degree unmatched by subsequent designers until the 1950′s, and unusually, the instrument was portable – taking up thirty railroad carriages when transported from Holyoke, Mass to NYC.”
That ones for the world tour!!!