[Nettime-bold] Re: <nettime> Analog to Digital Dj mixes coded language...

["tripDixon &&" <trw34x@hotmail.com>]

Paul D. Miller" <anansi1@mail.earthlink.net> wrote:

I tend to think that this will create some kind of compact multi-media
platform that can handle almost all aspects of digital creativity
within a couple of years...



    >> the likelyhood of multimedia platforms becoming more compact, i think 
is less likely, due to increased specialization and access to the 
technology. there will be more toys and bits and bites for one to play with: 
a confusing melee of digital instrumentation that could make it more 
difficult to switch between mediums, especially by people who don't 
understand a device or medium beyond the "on" switch.

don't you think part of this digital specialization and confusion can be 
seen even in the attempted categorizations of electronic music? I once 
talked to someone who thought "trance" referred to any kind of electronic 
music... by no mistake of theirs: it's just that clarity tends to come 
through attempts at organisation and definition: something that digital 
mediums tend to dissolve and add to the grey zones....

---((o))))]]++--- - - - -

tripDixon








&&&&+++++ http://www.mp3.com/tripdixon <<<<<<ooooooo



>From: "Paul D. Miller" <anansi1@mail.earthlink.net>
>Reply-To: "Paul D. Miller" <anansi1@mail.earthlink.net>
>To: "nettime-l@bbs.thing.net" <nettime-l@bbs.thing.net>
>Subject: <nettime> Analog to Digital Dj mixes coded language...
>Date: Sat, 3 Nov 2001 16:56:21 -0500
>
>The whole situation is what I've been talking about for a while...
>this will bring digital music into a relationship with not only how
>we create sound but also how we think about file systems, media for
>data storage, and almost all other aspects of how contemporary
>culture now is a culture of the "operating system" of networks of
>discourse... it always makes me chuckle to see kids in Japan and
>Finland, and even like remote Pakistan have a whole generation of
>budding cell phone composers and graphic designers... I call it the
>Bin Laden effect - it makes people improvise their graphic design
>impulse in response to the social environment they find themselves
>enmeshed in, but of course, they also want sounds to accompany the
>process so they  use cell phones to compose music for greetings and
>to select what kind of people they feel like hanging out with... I
>tend to think that this will create some kind of compact multi-media
>platform that can handle almost all aspects of digital creativity
>within a couple of years... think about how much the use of home
>computers and consumer audio electronics brought what was usually
>limited to academics and large corporations into the grasp of the
>average consumer... the kind of software that's described in this
>article will pretty much do the same thing for digital sound
>production, and all that that implies...
>
>Paul
>
>
>
>
>
> >
> >The New Breed of Digital DJ
> >By Yakob Peterseil
> >
> >
> >Record sales are down this year, and the proliferation of digital
> >audio files over the Internet is partially to blame.  Since Napster
> >burst on the scene in the late '90s and terms like "MP3" and "bit
> >rate" became part of the national lexicon, the hard drive has
> >rivaled the home stereo as people's most popular means of bringing
> >music into their homes and offices.  Home computers equipped with PC
> >jukebox programs offer several obvious advantages over traditional
> >CD-player stereos: they do away with those bothersome and
> >easily-damaged silver coasters, they have tons more storage space,
> >and playing any song from a record label's entire catalog is
> >potentially only a mouse click away (that is, once the majors unveil
> >their subscription services; until then, there's still peer-to-peer).
> >
> >So it is only natural that the trend away from "hard media" should
> >eventually pass from those who play music simply for fun to those,
> >like professional DJs, who do it for a living.  After all, if you
> >think it's cumbersome loading CDs into your stereo sitting at your
> >desk at home, think of the tribulations of a DJ who must load
> >upwards of twenty CDs an hour standing and sweating with a headphone
> >to his ear high above a dance floor.  For the most part, those DJs
> >who previously used twin CD decks have already been converted to
> >audio files.  Several new computer programs allow for the
> >manipulation of MP3s the same way Pioneer's CDJ-1000 Digital Vinyl
> >Turntable allowed for the manipulation of CDs: with a jog dial,
> >users can slow down, speed up, or scratch audio files similar to the
> >way DJs tweak vinyl.
> >
> >But a new sound system is sending shock waves through the DJ
> >community by purporting to be the digital audio file equivalent to
> >the classic DJ set-up of two turntables, a mixer, and a stack of
> >vinyl.  N2IT Development, a Dutch company, has developed a new
> >technology it calls Final Scratch, a hardware/software package
> >designed to work with a Sony Vaio laptop and simulate for users the
> >phenomenon of spinning vinyl using digital music files.  Purists may
> >scoff, but Final Scratch technology has already made a believer out
> >of world-famous DJ Richie Hawtin.  The Canadian is among the first
> >people to use Final Scratch professionally, and the professed
> >vinyl-junkie can barely contain his enthusiasm over his
> >revolutionary new system: "[Final Scratch] opens these floodgates to
> >a whole new potential," he told the New York Times last week.
> >
> >Last Night That DJ's Laptop Saved My Life
> >
> >The system that Hawtin uses is the vanguard of digital DJing.
> >Pioneer introduced their Digital Vinyl Turntable earlier this year,
> >which surprised many analog purists with the relatively easy and
> >accurate transition from spinning vinyl to spinning compact discs.
> >Hawtin's Final Scratch uses audio files in ways that previous
> >programs only hinted at.  "DJ technologies have come out to help you
> >mix, but those have been relegated to the mouse and the keyboard,"
> >Hawtin says. "It's so much easier to skip through the files when you
> >are using a needle" (Wired News).
> >
> >Enter Final Scratch, originally conceived at a hacker convention in
> >Amsterdam, which uses existing turntable technology to manipulate
> >audio files as if they were vinyl records.  The system is composed
> >of three main parts: the classic two-turntable-and-a-mixer DJ
> >set-up, a specially equipped laptop computer, and the ScratchAmp
> >interface, which connects the turntables to the computer.  Using a
> >traditional turntable stylus and specialized Final Scratch vinyl
> >records, a DJ can cue up and manipulate audio files as easily as
> >spinning vinyl.  The specialized Final Scratch record acts as a
> >conductor between the stylus and the audio file: the program
> >translates whatever action the DJ performs with the needle to a
> >corresponding effect in the audio file.  For example, scratching the
> >Final Scratch vinyl at the record's two-minute mark would scratch
> >the corresponding audio file at the same spot to within a
> >millisecond of precision.  This allows digital music to be used in
> >precisely the same way vinyl records are and makes the array of
> >techniques and tricks that make up the artistry of DJing no longer
> >restricted to using vinyl records.
> >
> >Those who can forgo the vinyl purist outlook of most DJs will find
> >there are a lot of conveniences to be had as a result of Final
> >Scratch.  Hawtin has some 900 audio files stored on his laptop, most
> >of them encoded from vinyl, which he has categorized and
> >cross-referenced so that retrieving them becomes a snap.  Even
> >better, unlike the costly dub-plates that DJs use to encode their
> >tracks on vinyl and that deteriorate after 15 to 20 plays, Hawtin's
> >audio files retain their sound quality indefinitely.  As for the
> >notoriously suspect sound quality of encoded files, "a lot of the
> >sound systems in clubs aren't that great, so you can't tell the
> >difference in quality," Hawtin says (Wired News).  The DJ is
> >especially enamored of the fact that with Final Scratch he can use
> >actual turntables, which he claims get better crowd response than if
> >he were stuck behind a computer clicking a mouse.
> >
> >Perhaps the greatest advantage of Final Scratch is the fact that
> >Hawtin no longer has to lug huge crates of vinyl from gig to gig.
> >Except for the hundred or so records he still carries to gigs
> >(vinyl-lover that he is), the DJ's entire repertoire is stored on
> >his laptop.  "Do you have any idea how much a crate of records
> >weighs?" he asked the New York Times.  Hawtin's former setup with
> >900 records, one might suppose, weighed a lot.
> >
> >Please Try This at Home
> >
> >Over the last two decades, the DJ has become more and more of an
> >enviable figure, now rivaling the status of the rock star of the
> >'60s and '70s.  Just as there were thousands of amateur guitarists
> >aspiring to become Hendrix but rarely leaving their bedrooms, so
> >there are "Desk Jockeys"-those who spin records primarily for
> >themselves and a few friends.  These home DJs were the first to
> >widely use digital DJ equipment and embrace the digital audio
> >movement of which Final Scratch is the tail end.  A company called
> >Carrot Innovations has offered a shareware program for some time now
> >called Virtual Turntables, modeled after Panasonic CD-decks.  The
> >program, which is free to test and $42 to keep, works with
> >mouse-controlled jog dials and a cross-fader to bring users such
> >features as real-time mixing, volume and pitch control, and even
> >some rudimentary scratching.  With the addition of a cheap strobe
> >light, anyone can now create a dance club in their own home without
> >a closet filled with vinyl records.  As more people are allowed to
> >create music this way in their homes, look for dance music to become
> >more popular and go beyond the club.
>
>
>
>============================================================================
>
>Port:status>OPEN
>wildstyle access: www.djspooky.com
>
>Paul D. Miller a.k.a. Dj Spooky that Subliminal Kid
>
>Subliminal Kid Inc.
>
>Office Mailing Address:
>
>Music and Art Management
>245 w14th st #2RC NY NY
>10011
>--============_-1207297906==_ma============
>Content-Type: text/enriched; charset="us-ascii"
>Content-Transfer-Encoding: quoted-printable
>
>The whole situation is what I've been talking about for a while... this
>will bring digital music into a relationship with not only how we
>create sound but also how we think about file systems, media for data
>storage, and almost all other aspects of how contemporary culture now
>is a culture of the "operating system" of networks of discourse... it
>always makes me chuckle to see kids in Japan and Finland, and even like
>remote Pakistan have a whole generation of budding cell phone composers
>and graphic designers... I call it the Bin Laden effect - it makes
>people improvise their graphic design impulse in response to the social
>environment they find themselves enmeshed in, but of course, they also
>want sounds to accompany the process so they  use cell phones to
>compose music for greetings and to select what kind of people they feel
>like hanging out with... I tend to think that this will create some
>kind of compact multi-media platform that can handle almost all aspects
>of digital creativity within a couple of years... think about how much
>the use of home computers and consumer audio electronics brought what
>was usually limited to academics and large corporations into the grasp
>of the average consumer... the kind of software that's described in
>this article will pretty much do the same thing for digital sound
>production, and all that that implies...
>
>
>Paul
>
>
>
>
>
>
><excerpt>
>
><bold><italic><fontfamily><param>Geneva</param><bigger><bigger><bigger>The
>New Breed of Digital DJ
>
></bigger></bigger></bigger></fontfamily></italic></bold><fontfamily><param>G=
>eneva</param><bigger>By
>Yakob Peterseil
>
>
>
><bigger>Record sales are down this year, and the proliferation of
>digital audio files over the Internet is partially to blame.  Since
>Napster burst on the scene in the late '90s and terms like "MP3" and
>"bit rate" became part of the national lexicon, the hard drive has
>rivaled the home stereo as people's most popular means of bringing
>music into their homes and offices.  Home computers equipped with PC
>jukebox programs offer several obvious advantages over traditional
>CD-player stereos: they do away with those bothersome and
>easily-damaged silver coasters, they have tons more storage space, and
>playing any song from a record label's entire catalog is potentially
>only a mouse click away (that is, once the majors unveil their
>subscription services; until then, there's still peer-to-peer).
>
>
>So it is only natural that the trend away from "hard media" should
>eventually pass from those who play music simply for fun to those, like
>professional DJs, who do it for a living.  After all, if you think it's
>cumbersome loading CDs into your stereo sitting at your desk at home,
>think of the tribulations of a DJ who must load upwards of twenty CDs
>an hour standing and sweating with a headphone to his ear high above a
>dance floor.  For the most part, those DJs who previously used twin CD
>decks have already been converted to audio files.  Several new computer
>programs allow for the manipulation of MP3s the same way Pioneer's
>CDJ-1000 Digital Vinyl Turntable allowed for the manipulation of CDs:
>with a jog dial, users can slow down, speed up, or scratch audio files
>similar to the way DJs tweak vinyl.
>
>
>But a new sound system is sending shock waves through the DJ community
>by purporting to be the digital audio file equivalent to the classic DJ
>set-up of two turntables, a mixer, and a stack of vinyl.  N2IT
>Development, a Dutch company, has developed a new technology it calls
>=46inal Scratch, a hardware/software package designed to work with a Sony
>Vaio laptop and simulate for users the phenomenon of spinning vinyl
>using digital music files.  Purists may scoff, but Final Scratch
>technology has already made a believer out of world-famous DJ Richie
>Hawtin.  The Canadian is among the first people to use Final Scratch
>professionally, and the professed vinyl-junkie can barely contain his
>enthusiasm over his revolutionary new system: "[Final Scratch] opens
>these floodgates to a whole new potential," he told the New York Times
>last week.
>
>
>Last Night That DJ's Laptop Saved My Life=20
>
>
>The system that Hawtin uses is the vanguard of digital DJing.  Pioneer
>introduced their Digital Vinyl Turntable earlier this year, which
>surprised many analog purists with the relatively easy and accurate
>transition from spinning vinyl to spinning compact discs.  Hawtin's
>=46inal Scratch uses audio files in ways that previous programs only
>hinted at.  "DJ technologies have come out to help you mix, but those
>have been relegated to the mouse and the keyboard," Hawtin says. "It's
>so much easier to skip through the files when you are using a needle"
>(Wired News).
>
>
>Enter Final Scratch, originally conceived at a hacker convention in
>Amsterdam, which uses existing turntable technology to manipulate audio
>files as if they were vinyl records.  The system is composed of three
>main parts: the classic two-turntable-and-a-mixer DJ set-up, a
>specially equipped laptop computer, and the ScratchAmp interface, which
>connects the turntables to the computer.  Using a traditional turntable
>stylus and specialized Final Scratch vinyl records, a DJ can cue up and
>manipulate audio files as easily as spinning vinyl.  The specialized
>=46inal Scratch record acts as a conductor between the stylus and the
>audio file: the program translates whatever action the DJ performs with
>the needle to a corresponding effect in the audio file.  For example,
>scratching the Final Scratch vinyl at the record's two-minute mark
>would scratch the corresponding audio file at the same spot to within a
>millisecond of precision.  This allows digital music to be used in
>precisely the same way vinyl records are and makes the array of
>techniques and tricks that make up the artistry of DJing no longer
>restricted to using vinyl records.
>
>
>Those who can forgo the vinyl purist outlook of most DJs will find
>there are a lot of conveniences to be had as a result of Final Scratch.
>  Hawtin has some 900 audio files stored on his laptop, most of them
>encoded from vinyl, which he has categorized and cross-referenced so
>that retrieving them becomes a snap.  Even better, unlike the costly
>dub-plates that DJs use to encode their tracks on vinyl and that
>deteriorate after 15 to 20 plays, Hawtin's audio files retain their
>sound quality indefinitely.  As for the notoriously suspect sound
>quality of encoded files, "a lot of the sound systems in clubs aren't
>that great, so you can't tell the difference in quality," Hawtin says
>(Wired News).  The DJ is especially enamored of the fact that with
>=46inal Scratch he can use actual turntables, which he claims get better
>crowd response than if he were stuck behind a computer clicking a
>mouse.
>
>
>Perhaps the greatest advantage of Final Scratch is the fact that Hawtin
>no longer has to lug huge crates of vinyl from gig to gig.  Except for
>the hundred or so records he still carries to gigs (vinyl-lover that he
>is), the DJ's entire repertoire is stored on his laptop.  "Do you have
>any idea how much a crate of records weighs?" he asked the New York
>Times.  Hawtin's former setup with 900 records, one might suppose,
>weighed a lot.=20
>
>
>Please Try This at Home=20
>
>
>Over the last two decades, the DJ has become more and more of an
>enviable figure, now rivaling the status of the rock star of the '60s
>and '70s.  Just as there were thousands of amateur guitarists aspiring
>to become Hendrix but rarely leaving their bedrooms, so there are "Desk
>Jockeys"-those who spin records primarily for themselves and a few
>friends.  These home DJs were the first to widely use digital DJ
>equipment and embrace the digital audio movement of which Final Scratch
>is the tail end.  A company called Carrot Innovations has offered a
>shareware program for some time now called Virtual Turntables, modeled
>after Panasonic CD-decks.  The program, which is free to test and $42
>to keep, works with mouse-controlled jog dials and a cross-fader to
>bring users such features as real-time mixing, volume and pitch
>control, and even some rudimentary scratching.  With the addition of a
>cheap strobe light, anyone can now create a dance club in their own
>home without a closet filled with vinyl records.  As more people are
>allowed to create music this way in their homes, look for dance music
>to become more popular and go beyond the club.=20
>
></bigger></bigger></fontfamily></excerpt><fontfamily><param>Geneva</param><b=
>igger><bigger></bigger></bigger></fontfamily>
>
>
>
>
>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
>=3D
>
>
>Port:status>OPEN
>
>wildstyle access: www.djspooky.com
>
>
>Paul D. Miller a.k.a. Dj Spooky that Subliminal Kid
>
>
>Subliminal Kid Inc.
>
>
>Office Mailing Address:
>
>
>Music and Art Management
>
>245 w14th st #2RC NY NY=20
>
>10011
>
>--============_-1207297906==_ma============--
>
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