有些音樂軟件和硬件報告

M-Audio Unveils Trigger Finger

Trigger Finger incorporates pre-programmed maps for Live, Reason, GM Drum, XG Drum and iDrum, among others. Settings are easy to store via 16 memory presets or M-Audio’s free Enigma librarian software for PC and Mac.

Field Test: Ableton Live 4 Audio/MIDI Sequencer

Field Test: Apple Logic Pro 7 Workstation

Field Test: PreSonus Central Station

LIVE LITE 4 TO ACCOMPANY PRO TOOLS TDM, LE SYSTEMS

一些"past"CD的 review

Tzadik
The Tzadik Composer Series continues to uncover young and unheard talent from all corners of the globe. John Zorn and Yamatsaka Eye’s 1995 visit to Hong Kong and mainland China will not soon be forgotten by either the guests or the hosts… on of the highlights of this trip was the discovery of Li Chin Sung.

Sung’s debut album, a collection of his works from 1992 to 1995, was never intended for commercial release. The subject matter of his work is deeply personal, dealing with the people and things around him, especially his family and friends, and as such does not always obey traditional musical logic.

Past presents intriguing and personal ambient/noise/environmental works by this adventurous young Hong Kong composer. Inspired by influences as diverse as Brit-pop, Luc Ferrari and Taoism, Sung has created a unique sound world that is both perplexing and seductive.

Review by Joslyn Layne (www.allmusic.com)
Past is a flow of modern compositions whose sounds are culled from an industrial soundscape vocabulary. Each composition flows into the next, and during the first two, banging metal and construction sounds are used as gunfire, while dragged chains are flung against poles. As construction parts clang against each other, the sounds carry with an open ring that places the piece outdoors. At times more like the shattered images of a sound collage, Li Chin Sung’s compositions range from the alien cavernous soundscape of “Dream On” to the brutal violence of “Yin 1.” Often focused on the percussive use of sound, there are times when the layered samples become like very tough industrial dance tracks, as in “Suffocation” and “Wake Up and Death.” Other tracks have a cathartic, thick, grained fuzz, with fast-escaping bleeps that sound like escaping steam from a pressurized industrial life.

Forced Exposure
Discovered on the historic 1995 Zorn/Eye tour of China. “Sung’s debut album, a collection of his works from 1992 to ’95, was never intended for commercial release. The subject matter of this work is deeply personal, dealing with the people and things around him, especially his family and friends, and as such does not always obey traditional music logic…Past presents intriguing and personal ambient/noise/environmental works by this adventurous young Hong Kong composer. Inspired by influences as diverse as Brit-pop, Luc Ferrari and Taoism, Sung has created a unique sound world that is both perplexing and seductive.” Performed almost completely solo by Sung, on percussion, guitar, CD, synthesizer, voice and tapes; it’s noisy and unpredictable, and should go over big with Otomo Yoshihide fanatics.

轉:Dj Dee -"sunday" review

http://digforfire.net/index.php?p=254

作者: 张潍

人说:天才绝对需要一个深蓝的背景。

——题记

01:10+03:15+05:59+10:35++16:28+23:38+07:22+09:03不等于DJ Dee的Sunday.不信的可以做加法。缩小将导致紧张或尖锐,放大将导致模糊或失踪;借助重力浮停在某一平面,营造一个准确的星期天。一位绅士制作了这一切:封套的午夜蓝——现代感的疏远隔离,两条腿走动的一个停格——倾斜才是有重点的平衡。单一色调也许意味着简约,但不表示有人在做减法。

吸烟吸完前半支便掐灭,因为后半支含有更多的尼古丁:这是借口。Sunday没有任何借口,是一只上足了发条的表,或者,像它放出的第二首曲子那样的秒表,不拖泥带水,向集成电路芯片看齐。

DJ Dee在音乐里严肃地砌砖、榨汁、贴马赛克、烘面团。其实我想念出来的是:受伤的树林,国王与卷心菜,明尼苏达等于一块蛋糕。一个叫瓦萨雷利的人说:“艺术家变得不受限制了。”思想不发作疼痛,适宜受众去幻想。

这是一个像极了传说中的英国的星期天。传说中名正言顺的阴雨天里脾气也可以跟着名正言顺地坏,传说中紫黑色的玫瑰花,女孩子象牙白的皮肤,传说中一小束一小束青莲色鸢尾配白色铃兰。好象不切实际得过了头,DJ Dee没有此类闲情逸致。DJ Dee这人,生下来就是人,而不是儿童或老人。

很想试试,在钢筋水泥之下不锈钢防盗门内距地面十米处的地下室,音量适中地听完DJ Dee的Sunday,是否入情入境,删除犬儒的折中。而有一些词汇必须被抛弃:布尔乔亚,波西米亚,人工智能,拼贴解构,用心良苦,纤细精致,悲观,乐观,白天不懂夜的黑。要知道,上帝就活在细节当中。DJ Dee面向未来。

星期天的清晨——羽毛。星期天的上午——枕边文论。星期天的中午——番茄。星期天的下午——切割钻石。星期天的夜晚——默念完一遍所有崇拜的人的名姓。先生好奇,我也好奇:请问DJ Dee身体哪个部位有年龄的皱纹?嗜好哪一种维生素?

再次抛弃一些惯于形容电音的词汇:冰冷,诡异,温暖,舒适,碎裂,游戏。DJ Dee是一个代词,用来指代Sunday。星期天是需要拉上只透一点点光的窗帘的,人就该关闭在室内,摒弃原以为的星期天是为周末的念头,这是一周循环中的第七天,而非休息日。不要休息,不可暂停,一秒一秒,循序渐进。不记前仇旧恨,也不展示太多欢欣喜乐。面无表情,不等于麻木或肌肉僵硬,是,情绪在低压下不能用表情代替。

每一天都可以是星期天,星期天仅是一次命名。

剛看到一遍我的訪問稿

信息时报

現在Noise Asia的經營方向有了很大改變,可以說是轉型,自1989年來這是第三次變了.例如独立厂牌的代理基本都停止了,只留一些友好的廠牌作郵購代理,但主力以版權代理和制作(音樂和演出)為主.

文章裹提到的“音乐邮包计划”聽顏峻說已找回了,但下文如何還不知道.

Cdrk live in Shanghai

C-drik Fermont,又名C-drik、cdrk、Kirdec,

来自荷兰,职业艺术家。他是希腊裔,在刚果出生,于比利时生活过一段时间,2002年后移居荷兰,曾师从电子原音作曲家Annette Vande Gorne,涉及的音乐创作领域甚广,创作风格涵盖工业噪音、电子原音和氛围音乐,参加的团体包括Ammo、Axiome、Moonsanto、Ambre、Dead Hollywood Stars,合作者甚多,包括Mick Harris(“死亡汽油弹”、“止痛片”主脑人物)和Mark Spybey(Dead Voices On Air主脑、Zoviet-France成员)。他的音乐生涯是从1989年创建工业噪音团体Crno Klank开始的。

作为一个开放的艺术家,希崔克.费蒙特也为戏剧、展览、声音装置、短片和时装秀谱写音乐,同时还经营一个叫做Syrphe的工作室和唱片厂牌,致力于制作各种类型的电子音乐。

从1990年开始,,在世界各地演出,所到之处包括西欧、东欧、北美、土耳其和泰国。目前他热衷于多轨音乐制作模式的现场演出和更具立体感、力度感的声音装置艺术。他是一个音乐创作者,也是一个喜欢现场演出的一流DJ,风格不限于工业噪音和ELECTRONICA,也包括狂躁的BREAKCORE和沉静的AMBIENT。

演出定于3月30日在苏河美术馆举行
地址:中国上海市光复路423号后面长安路101号(近大统路)
邮编:200070
电话:86- 021-63804150 63803547
传真:86- 021-63804152
邮箱:[email protected]
http://www.creekart.cn/

晚上8点

同台artists:
徐程(CN)
Amnjk(JP)
B6(CN)
Dickson Dee(HK)
MHP(CN)
Torturing Nurse(CN)

土星的CD 母帶處理

“you did a great job on the master, and everybody in our live band says it sounds amazing! Thank you! “土星

士星的CD終於出版了,恭喜恭喜!!
他這次的活還真幹得不容易,前後花了4個月,我最大收獲是學會怎樣幫樂手了他們自已的作品,土星每次收到我寄去的樣版都會問我很多問題,前後几次後他發現自己在制作方面的問題,例如部份歌加了很大壓縮,以致後期很難在細緻方面再修改,他也掌握了前期tracking的手法了,他一一接受我對他音樂處理的手法,謝謝土星對我的信任.

www.bubblegreentea.com

Taipei Times