DubTechno

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Op vrijdag 15 mei 2009 17:02 schreef Laton het volgende:

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fijne muziek tek. maar wtf met die bitrate !

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Op vrijdag 15 mei 2009 17:36 schreef teknomist het volgende:

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Thanks. Bitrate is variabel. Hoe meer informatie de muziek bevat hoe hoger de bitrate en andersom.

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Op vrijdag 15 mei 2009 17:56 schreef Laton het volgende:

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ik ben pro constante hoge bitrates

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Op vrijdag 15 mei 2009 17:56 schreef Laton het volgende:

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ik ben pro constante hoge bitrates

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Op zondag 17 mei 2009 23:53 schreef teknomist het volgende:

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Variabel is laag wanneer het niet hoog hoef te zijn.
Je krijgt hetzelfde maar dan voor minder geld (bytes).

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Op zondag 17 mei 2009 23:53 schreef teknomist het volgende:

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Variabel is laag wanneer het niet hoog hoef te zijn.
Je krijgt hetzelfde maar dan voor minder geld (bytes).

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Moritz von Oswald Trio are set to unveil their debut full-length next month.

The group is comprised of Max Loderbauer (NSI, Sun Electric) and Sasu Ripatti (Luomo, Vladislav Delay) as well as the aforementioned Basic Channel and Rhythm & Sound member, and even though they've been playing live together for the last couple of years, this will be their first recorded output. Entitled Vertical Ascent, the album will be split into four tracks (titled "Pattern 1" through to "Pattern 4"), and will explore organic live polyrhythms and delicately placed affected synth tones.

If you were wondering who exactly does what on the record, Ripatti takes up percussion duties on his home-made steel drums, Loderbauer contributes some subtle synth work, whilst von Oswald plays his Fender Rhodes as well as additional percussion. What with von Oswald and his Basic Channel partner Mark Ernestus' ongoing relationship with the Honest Jon's label and shop (Ernestus' Hard Wax shop share distribution channels, whilst Moritz lends his mastering expertise to some of their reissues), it's not much of a surprise that Vertical Ascent will be released through Honest Jon's Records. Eager listeners can check out samples of the album's four tracks via the Honest Jon's website.

Honest Jon's Records will release Vertical Ascent on June 22nd, 2009.

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Op zaterdag 11 april 2009 16:01 schreef teknomist het volgende:
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Vers van de pers en lekker!

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How does this sound? Deadbeat's Radio Rothko : Scion's Arrange and Process Basic Channel Tracks :: Richie Hawtin's Decks, EFX & 909 : Jeff Mills's Live at the Liquid Room, Tokyo. Easy enough, right? Yet it isn't, not least because the circumstances this one comes out into are so different.

The comparisons are between classic mix CDs and a later one with a similar template and aim. At a time when Soundcloud will absorb us all, there's something special about (weird to type this) the old-fashioned mix CD. So many mixes abound online, at so many different skill levels, that it's easier than ever to appreciate the kind of work that goes into licensing (even handshake deals take time), selecting and whittling down a fully legal mix CD. Going those extra steps tends to mean more thinking about it along the way, a refining process crucial to a mix of this scope.

What Deadbeat sets out is a kind of Whitman's Sampler of dub, techno and minimal's intertwining paths, heavy on the Basic Channel family, with dabs from debtors like Pendle Coven and 2562. The mix takes its sweet, patient time establishing itself, a radically minimalist gesture in any era; the build-up is sweetly agitating, and the way it blossoms in different directions is clearly pre-meditated, without seeming clinical.

The set begins so starkly it's practically invisible. Various Artists' "No. 3 (Debit)" and Deepchord's "Grandbend" are like oddly flexible panes of very thin glass; the subdued beat of Basic Channel's "Quandrant Dub 1" eases us into hardier terrain. Leisurely and with great care, he glides through luxuriant techno like Marko Fürstenberg's "Site 312," a mix of fuzzy static, distant bell-echo, rubbery kick drum and occasional conga spritzes, before, over successive tracks by Monolake and Deadbeat himself, the DJ steers us toward straighter dub that's still haunted by all the rustling synth echoes that preceded it. Deadbeat's own "Deep Structure," with its wobbling walls of synths and deeply felt low end, is the perfect ending—a kind of culmination of what he's spent an hour showcasing. He's not the first to do so, nor will he be the last, but what he has done is remarkably powerful.