A comparative study of changes in bass drum sounds from 70s disco to electronic dance music of the 1980s and 1990s.
This Paper was presented at the Art of Record Production conference at the University of Edinburgh, September 8th -10th 2006
The title for this paper; The Most Significant Beat, refers to the beat fulfilled as a bass drum sound. The material in focus contains the so-called four-to-the-floor bass drum pattern,where the author believes the bass drum is functionally crucial in initiating kinetic patterns amongst its receivers.
Robert Babicz is a Polish music producer, mastering engineer and live performer living in Cologne, Germany. With a career spanning nearly two decades covering genres from techno to acid house to minimal, Babicz has also been known under the pseudonyms Rob Acid, Acid Warrior, Department of Dance and Sontec amongst many others. He has released a number of very well respected record labels such as Kompakt, Treibstoff, Bedrock , Intec Digital and Audiomatique, as well his own labels, Junkfood and Babiczstyle. He is well known as a live performer, never a DJ, as he uses synths and live equipment and improvises in every set he plays. Watch the video here
In this short interview, he discusses mastering, what he thinks of mastering software,how you should prepare your track for mastering and gives an insight into the kit he uses.
It is with great pleasure that I am able to announce that one of my tracks has been used on Andrew Weatherall’s Masterpiece compilation. Andrew is a DJ and producer I have a great deal of respect for and whose work I have followed for a very long time.
Andrew Weatherall’s history goes back far to the beginning of the British acid house scene, having swung gigs for himself at Danny Rampling’s legendary Shoom night off the back of the sort of sounds Andrew showcased on “that” compilation for Nuphonic – entitled 9 O’Clock Drop. Subsequently, his connections with the original Boys Own record label (and fanzine) led to artist releases, remixes and a string of legendary London clubs such as Blood Sugar, Circulation and of course Sabresonic (where the fledgling David Holmes cut his teeth). It was through Primal Scream though that Andrew firstmade his name. As the producer of Screamadelica he took The Primals, twisted them (best not to ask how) and in turn created the hybrid of narcotically-challenged rock and acid house now seen as a generation-defining release.
You can check out the compilation here
In the first of these lectures Pete Townsend examines the current state of music media and asks the question: Can John Peelism survive the Internet? In an age of free downloads and a disposable attitude to music, can creative people earn a living, and without radio how can the “unpolished” music that John Peel championed find an audience?
Listen to it here
Things have been going quite well this year on the release front, with my latest single on Foto Recordings being supported by Dj’s right across the board including X-press 2, Steve Bug, Ame, Chris Duckenfield, Chicago Damn, Harri, Catz n Dogz, Rub n Tug, Jim Stanton (Horse Meat Disco) Milton Jackson, Claude Von Stroke and Jacques Renault. You can check all my releases out here .
I have also recently signed to The Unity Agency…
Stefan Goldmann on why Web 2.0 can work for you but won’t for most, where all the money went and how working against the market consensus can be a winning strategy.
Read the article here
The debate that never dies, Is Vinyl better than MP3?
Liberate Tate: Alternative Tate Audio Tour
This is an invitation to collaborate on a sound artwork in response to BP’s sponsorship of Tate.
This is a call for proposals for a sound artwork to act as an alternative audio tour/guide for the Tate. We want to install a new acoustic territory inside the Tate, to create a sound artwork that can occupy the Tate space yet exist within a much broader conceptual landscape.
The final artwork will be available online for visitors to download onto MP3 players in advance of their visit to the Tate. ‘Alternative Tate’ will be exhibited in late June 2011. The deadline for submissions is April 11th 2011.
We welcome expressions of interest from artists working with sound: from Turner Prize winners, to guerilla mash-up DJs, from people writing radio plays, to sound engineers, from field recording specialists to musicians. Although we are framing this as an audio tour, we do not want to restrict the structure of the artwork to a linear, guided narrative – artists are free to interpret the frame of the tour as they see fit.
Liberate Tate has a history of challenging the corporate presence of large oil companies inside cultural institutions, a presence that we feel compromises culture and expression. The alternative audio tour will be part of a broader endeavor to stimulate debate around the relationship between art, oil and climate change.
The artwork could come into contact with issues and themes of control, democracy, censorship, Freedom of Information, voice, corporate power, ecological disasters, creative freedom or the role of museums and galleries in creating and historically capturing culture.
We can offer a fee of £1000 and a budget of £1000 to the sound artist/collectives selected, but no production facilities.
In your proposal please include:
* a sample of your previous work
* a written proposal of your ideas for this piece (approx. 500 words)
* April 11th – Proposal deadline
* April w/c 18th – Face to face meetings with those shortlisted
* April/May – Research, development and production
* Late June – Launch
Please email your digital proposals to firstname.lastname@example.org (and write “Audio Submission” in the subject line) or if you wish to send cd’s or any physical material please post to:
Licence To Spill
7 Horselydown Lane
London, SE1 2LN
Further Info here