This rare video from the late 1990s features Terrence Parker, Mike Huckaby, Juan Atkins, Ritchie Hawtin, Derrick May, Kevin Saunderson, Carl Craig, Rolando, Jeff Woodward, Gary Koral, Josh Glazer, Jon Ozias, Theorem, DJ Dunebugg, (with special cameo appearances by Mike Grant, Brian Bonds, Don Waxmaster D Smooth, Hugh C, and Todd Weston).
Detroit techno music was originally thought of as a subset to Chicago’s early style of house. However, some critics believe that the Detroit techno movement was an adjunct to house music, named for the new style of music played at a Chicago nightclub called “The Warehouse”. Although producers in both cities used the same hardware and even collaborated on projects and remixes together, Detroiters traded the choir-friendly vocals of House for metallic clicks, robotic voices and repetitive hooks reminiscent of an automotive assembly line. Many of the early techno tracks had futuristic or robotic themes, although a notable exception to this trend was a single by Derrick May under his pseudonym Rhythim Is Rhythim, called Strings of Life. This vibrant dancefloor anthem was filled with rich synthetic string arrangements and took the underground music scene by storm in May 1987. With subtle differences between the genres, clubs in both cities included Detroit techno and Chicago house tracks in their playlists without objection from patrons (or much notice by non-audiophiles).
The three individuals most closely associated with the birth of Detroit techno as a genre are Juan Atkins, Kevin Saunderson and Derrick May, also known as the “Belleville Three”. The three, who were high school friends from Belleville, Michigan, created electronic music tracks in their basement(s). Eventually, they were in demand at local dance clubs, thanks in part to seminal Detroit radio personality The Electrifying Mojo. Ironically, Derrick May once described Detroit techno music as being a “complete mistake…like George Clinton and Kraftwerk caught in an elevator, with only a sequencer to keep them company.
You can’t talk about electronic music without mentioning Detroit. That’s why in the second edition of Real Scenes, RA and Bench went to the city which birthed the genre we now call techno.
Detroit has always had a creative streak, due in large part to the boom and subsequent bust of the auto industry. Quite simply, Detroit is a city of extremes, and its music reflects that. These days, Detroit’s importance in the global electronic music scene is often referred to in the past tense. When we visited the city, though, we found a number of artists with their eyes (and ears) firmly set towards the future. After our time in the Motor City, it’s clear to us that Detroit will endure and innovate for years to come.
Visit the feature page on RA: residentadvisor.net/feature.aspx?1382
Reformat the Planet (RTP) is a feature length documentary which delves into the movement known as chip music, a vibrant underground scene based around creating new, original music using obsolete video game hardware. Familiar devices such as the Nintendo Game Boy and Nintendo Entertainment System are pushed in new directions with startling results.
This version of Reformat the Planet is tailored specifically for Youtube with all new annotations. If you have never watched the film before you may want to turn them off for the first viewing.
Reformat the Planet is available to purchase on DVD from 2 Player Productions at-
This all new 2 disc set features remastered picture and audio as well as tons of bonus features.
DISC 1: REFORMAT THE PLANET:
All new Director’s Cut of Reformat the Planet
Commentary track with the Filmmakers
DISC 2: REFORMAT THE PLANET 1.5:
All new documentary short RTP 1.5
Commentary track with the Filmmakers
Conversations feat. Johan Kotlinkski, Peter Swimm, and David Sugar
Chip music tutorials feat. Glomag and Bit Shifter
Plus a full color 16-page collector’s booklet featuring photos and all new essays from critics and noted members of the chip community.
Slices – Pioneers Of Electronic Music Vol. 1 – Richie Hawtin. The 70 min documentary features an extensive archive of unreleased photos, video and interviews.
The launch of this DVD special series, Slices – Pioneers of Electronic Music celebrates in detail the life and work of prominent artists or “pioneers” in the global electronic music scene. The first edition is a documentary film based on electronic producer, performer and industry icon, Richie Hawtin. The film draws from the important stages and events in Richie Hawtin’s personal and artistic life, revealing the journey of an introverted and transplanted computerminded teen that develops by way of Detroit’s radio and records fueled by pure driven passion into a successful techno-entrepreneur and global DJ entertainer. Assembling an extensive archive of both new and un-released photos, video and exclusive interviews, the film provides an extraordinary insight into the life and career of one of the most successful activists in techno history: Richie Hawtin.
Chamberlin is ancient sampler! It used 1950′s latest technology Magnetic Tape for sound recording (sampling).
It has 8 tracks (Sound Effects, Trumpet, Flute, Cello, Organ, Violin, Female voice, Organ) and has stereo output.
from My synthesizer photo library.
Created using the Stupeflix Youtube App
Follow the life of the Minimoog Synthesizer from its inception through its prolific contributions to poplular music throughout the last 4 decades.
In this first installment documenting the journey of the Minimoog synth through the 1970′s, we explore the musicians and the people that were instrumental in bringing the instrument to prominence. We also sit with one of Moog Music’s earliest engineers, Bill Hemsath, who recalls the process of the Minimoog’s birth and sheds some light on what sets the Moog synthesizer apart from other analog synths.
A brief glimpse of Daphne Oram’s pioneering and unique ‘Oramics’ synthesiser, designed in 1957 after she left the legendary BBC Radiophonic Workshop to pursue the project.
The machine, recently acquired by Goldsmiths College, is now in the hands of The Science Museum in London and is currently being restored. It hasn’t been performed since the 1970s.
For more information on Daphne Oram and her machine check out daphneoram.org
Here´s what the makers of it has to say about it:
Music on radar it was last fall of this very extensive and therefore worth reading feature on the Roland synthesizers of the company. They that have a total of 89 models from the years 1973 – 2010. Each of the models with a photo and a brief description. It lacks the TR series and the TB, otherwise everything should be there.
Because I was the so-turns, I now have all prepared on an image. Nearly all, for a whistle went I go. I also had it, obviously, make an animated gif.
At KVR a nice article has been posted covering the history of the DAW and how it all began, below is a quick excerpt from the article and some snapshots:
“In 1986 Opcode was the leader in patch librarian and MIDI interface sales so we had a pretty good idea of the size of the market and how fast it was growing, but we had a problem with our sequencer. Although we had loyal and passionate customers we were #3 behind both Performer from MOTU and Mastertracks from Passport in terms of sales. We believed we could change this by reinventing our sequencer and incorporating both a list view like Performer and a graphic piano roll view like Mastertracks. The primary editing windows were linked in such a way that the user could easily move back and forth to match the type of editing they were doing. The commands were set up to optimize the strengths of each type of editing. Whenever you made a change on one window it was automatically updated in the other, saving time and effort when you switched between views. There was a powerful strip chart feature in the graphic window where you could edit note parameters like Velocity and Pitch Bend, which hadn’t been done at the time.
Like Opcode with our MIDI interfaces, Digidesign was the market leader in hard disk recording hardware with both their Sound Tools product, which connected to the Mac through SCSI, and their lower cost NuBus Audiomedia card, which was designed for the fast growing ‘multimedia’ market. As they moved more into hard disk recording their primary competition was New England Digital. NED was marketing an extremely expensive system called the Post Pro. Though they were interested in the high-end market Digi knew that they didn’t yet have the feature set to appeal to post production customers so they were looking for ways to broaden their market beyond sound designers.”
A look at the new role of personal computers in making music. Products demonstrated include Super Jam from Blue Ribbon Soundworks, Encore for Windows from Passport Designs, EZ Vision and Studio Vision from Opcode Systems, and the Miracle Piano. The show incudes visits to the Stanford Center for Computer Research in Music and Acoustics and the annual National Association of Music Merchants (NAMM) convention is Los Angeles. Originally broadcast in 1992.