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May 18, 2016 for Immediate Release WATCH MODERAT's “RUNNING
May 18, 2016 For Immediate Release WATCH MODERAT’S “RUNNING” VIDEO https://youtu.be/tVawpT44Hrk MODERAT KICK OFF NORTH AMERICAN TOUR THIS FRIDAY MODERAT’S III OUT NOW VIA MUTE/MONKEYTOWN ModerAt, the alliance of electronic heavy weights, Modeselektor and AppArAt, kick off their North American tour in support of new album, III, this Friday in New York. They’ll be joined throughout by longtime creative collaborators, PfadfiNderei, who will take the reins on visual production. Last week, Moderat announced the release of the album’s second single, “RuNNiNg,” which presents a highly emotive kind of pop, built for dancing, but never simple. Today, the trio reveals the single’s visual accompaniment, directed by JAkob GruNert. Grunert uses the incessant momentum of “Running” to narrate a pilot’s final flight in the Mojave Desert. After abandoning his plane in an aircraft boneyard, the pilot grapples with the frailty of purpose and the pursuit of rebirth. The story goes hand-in-hand with Apparat’s description of “Running” in that the song is about being part of a mass that constantly needs to move to function, but a mass that’s not deciding directions by itself. Mute/MoNkeytown will release “Running,” featuring the exclusive b-side, “90% WAsser,” on May 20th. The digital bundle includes remixes by Shed and KiNK. The “RuNNiNg” 10”, available July 1st, will feature both remixes, and the “RuNNiNg” 12”, available July 15th, will feature the original track and exclusive b-side. WAtch “RuNNiNg” Video – https://youtu.be/tVawpT44Hrk ListeN To “RuNNiNg (Shed Remix)” – https://souNdcloud.com/moNkeytowNrecords/moderAt-ruNNiNg-shed-remix/ “RemiNder” Video – https://youtu.be/cJwsNUoazUg ModerAt Tour DAtes (tix oN sale via www.moderat.fm.): Thu. -
Dans Natten Væk Med Tyske Modeselektor
2013-02-07 21:00 CET Dans natten væk med tyske Modeselektor VEGA, Live Nation og FROST præsenterer Dans natten væk med tyske Modeselektor Programmet for din lillefredags-fest er sikret torsdag den 14. februar. Modeselektor indtager nemlig VEGA med både artist talk, koncert og efterfølgende fest i Ideal Bar. Som perfekt opvarmning til Modeselektors koncert giver den tyske producerduo et eksklusivt gæste-dj-sæt i Ideal Bar. Fra kl. 18-20 kigger makkerparret Gernot Bronsert og Sebastian Szary forbi med et udvalg af deres yndlingsplader, som de vil spille og præsentere i dialog med P6 Beat- radioværten Carsten Holm. Arrangementet er gratis. Kontrolleret og dansabelt kaos i Store VEGA Sebastian Szary og Gernot Bronsert er musikalske legebørn, som laver musik, der ikke kun kan sættes én betegnelse på. Deres tracks byder på en overflod af uimodståelige grooves med melodisk kant, hvirvlet ind i electronica, dance, techno og hiphop. Duoen betegner det selv som et kontrolleret kaos. Men det er et kaos, som resulterer i både begejstrede anmeldere og et ry som en sveddryppende intens og hyperenergisk live-oplevelse. Der blev således uddelt superlativer efter Modeselektors koncert på årets Roskilde Festival, hvor duoen fyrede op under Apollo-scenen. De to producere har da også udtalt, at de ser sig selv mere som et live-act end studiemusikere. Prominente gæstevokalister På album er Modeselektor dog også leveringsdygtige. Deres nye album Monkeytown (2011) har fået fem stjerner i Gaffa og Soundvenue samt 7.4 ud af 10 hos Pitchfork. De mange kollaborationer med forskellige musikalske kollegaer bliver i særdeleshed fremhævet, og det er da også prominente navne som medvirker på albummet bl.a. -
Beatles, Pink Floyd Engineer, Alan Parsons Rips Audiophiles
Beatles, Pink Floyd Engineer, Alan Parsons Rips Audiophiles Alan Parsons, producer, musician and sound engineer of Pink Floyd's Dark Side of the Moon, says audiophiles overpay for equipment while ignoring room acoustics. In an exclusive interview with CE Pro, Alan Parsons, renowned sound engineer for Pink Floyd's Dark Side of the Moon and for the Beatles, says hi-fi pros focus too much on equipment and brand names, when they should put more energy into room acoustics. He also says some surround- sound systems “really aren’t that bad.” All this from the audio wizard behind Dark Side of the Moon, and the name sake of the Alan Parson’s Project. Parsons broke into the music industry in the late 1960s when he was hired by Abbey Road Studios to work as an assistant engineer. As an assistant engineer, Parsons’ career started at a point where most music lovers only dream of reaching - working on the last two Beatles’ albums. As a full-fledged engineer, Parsons worked on projects with Paul McCartney and the Hollies, but it was his efforts on the benchmark album Dark Side of the Moon that launched his career. Throughout the rest of the 1970s and 1980s, Parsons released several albums under the name of Alan Parsons Project (APP). The 1990s marked a shift in direction for Parsons that was highlighted by his dropping of “Project” from his band name. As he entered the 2000s, Parsons continued to release new music, which includes his first foray into the electronica genre when he released 2004’s A Valid Path. -
MUSIC PRODUCTION GUIDE Official News Guide from Yamaha & Easy Sounds for Yamaha Music Production Instruments
MUSIC PRODUCTION GUIDE OFFICIAL NEWS GUIDE FROM YAMAHA & EASY SOUNDS FOR YAMAHA MUSIC PRODUCTION INSTRUMENTS 04|2014 SPECIAL EDITION Contents 40th Anniversary Yamaha Synthesizers 3 40 years Yamaha Synthesizers The history 4 40 years Yamaha Synthesizers Timeline 5 40th Anniversary Special Edition MOTIF XF White 23 40th Anniversary Box MOTIF XF 28 40th Anniversary discount coupons 30 40th Anniversary MX promotion plan 31 40TH 40th Anniversary app sales plan 32 ANNIVERSARY Sounds & Goodies 36 YAMAHA Imprint 41 SYNTHESIZERS 40 YEARS OF INSPIRATION YAMAHA CELEBRATES 40 YEARS IN SYNTHESIZER-DESIGN WITH BRANDNEW MOTIF XF IN A STUNNIG WHITE FINISH SARY PRE ER M V IU I M N N B A O X H T 0 4 G N I D U L C N I • FL1024M FLASH MEMORY Since 1974 Yamaha has set new benchmarks in the design of excellent synthesizers and has developed • USB FLASH MEMORY (4GB) innovative tools of creativity. The unique sounds of the legendary SY1, VL1 and DX7 have influenced a INCL. SOUND LIBRARIES: whole variety of musical styles. Yamaha‘s know-how, inspiring technique and the distinctive sounds of a - CHICK’S MARK V - CS-80 40-years-experience are featured in the new MOTIF XF series that is now available in a very stylish - ULTIMATE PIANO COLLECTION white finish. - VINTAGE SYNTHESIZER COLLECTION YAMAHASYNTHSEU YAMAHA.SYNTHESIZERS.EU YAMAHASYNTHESIZEREU EUROPE.YAMAHA.COM MUSIC PRODUCTION GUIDE 04|2014 40TH ANNIVERSARY YAMAHA SYNTHESIZERS In 1974 Yamaha produced its first portable Yamaha synthesizers and workstations were and still are analog synthesizer with the SY-1. The the first choice for professionals and amateurs in the multi- faceted music business. -
MODERAT III: Le Date: 28 Aprile Milano, Alcatraz 29 Aprile Roma, Spazio Novecento
MODERAT III: Le date: 28 aprile Milano, Alcatraz 29 aprile Roma, Spazio Novecento 26/01/2016 Gernot Bronsert, Sebastian Szary (aka Modeselektor)e Sascha Ring (aka Apparat) tornano in Italia per due imperdibili date per presentare il nuovo atteso album della loro creatura, MODERAT III, in uscita il 1 aprile per Monkeytown Records e definitiva consacrazione del progetto Moderat. Perfezione maniacale, ma anche felicità creativa, ed innata capacità a completarsi artisticamente l'uno con l'altro. L'unione fra i tedeschi Modeselektor ed Apparat nel progetto Moderat è davvero una delle avventure più esaltanti nella musica elettronica dell'ultimo decennio. Lo è per la statura dei singoli protagonisti: i Modeselektor fin dal loro debutto, con la loro techno creativa e piena di colpi di scena, si sono guadagnati i favori della stampa specializzata ma anche di star come Thom Yorke (prima loro fan e poi direttamente collaboratore), Apparat dal canto suo sia come solista che in collaborazione con Ellen Allien si è guadagnato la fama di producer incredibilmente bravo e sensibile nello sposare elettronica, ritmi e fortissimo senso melodico. Risultato: entrambi ormai, ad ogni apparizione italiana, radunano pubblici foltissimi e inanellano sold out. Moderat diventa il modo migliore per unire il potenziale artistico di queste due entità così importanti. Non si sovrappongono fra di loro in questo progetto, diventano invece perfettamente complementari: la potenza ritmica e l'impatto ipnotico dei Modeselektor, la preziosità dei ricami armonici e melodici di Apparat. Un equilibrio perfetto, a cui si arriva peraltro non senza fatica. Il loro primo lavoro in comune, l'ep “Auf Kosten Der Gesundheit” (2003), racconta già dal titolo (“Al costo della salute”) quanto è stato complesso arrivare alla giusta misura e alla giusta interazione, figlie di sfibranti sedute in studio di registrazione all'insegna del più maniacale perfezionismo. -
“The Dark Side of the Moon”—Pink Floyd (1973) Added to the National Registry: 2012 Essay By: Daniel Levitin (Guest Post)*
“The Dark Side of the Moon”—Pink Floyd (1973) Added to the National Registry: 2012 Essay by: Daniel Levitin (guest post)* Dark Side of the Moon Angst. Greed. Alienation. Questioning one's own sanity. Weird time signatures. Experimental sounds. In 1973, Pink Floyd was a somewhat known progressive rock band, but it was this, their ninth album, that catapulted them into world class rock-star status. “The Dark Side of the Moon” spent an astonishing 14 years on the “Billboard” album charts, and sold an estimated 45 million copies. It is a work of outstanding artistry, skill, and craftsmanship that is popular in its reach and experimental in its grasp. An engineering masterpiece, the album received a Grammy nomination for best engineered non-classical recording, based on beautifully captured instrumental tones and a warm, lush soundscape. Engineer Alan Parsons and Mixing Supervisor Chris Thomas, who had worked extensively with The Beatles (the LP was mastered by engineer Wally Traugott), introduced a level of sonic beauty and clarity to the album that propelled the music off of any sound system to become an all- encompassing, immersive experience. In his 1973 review, Lloyd Grossman wrote in “Rolling Stone” magazine that Pink Floyd’s members comprised “preeminent techno-rockers: four musicians with a command of electronic instruments who wield an arsenal of sound effects with authority and finesse.” The used their command to create a work that introduced several generations of listeners to art-rock and to elements of 1950s cool jazz. Some reharmonization of chords (as on “Breathe”) was inspired by Miles Davis, explained keyboardist Rick Wright. -
Connecting Time and Timbre Computational Methods for Generative Rhythmic Loops Insymbolic and Signal Domainspdfauthor
Connecting Time and Timbre: Computational Methods for Generative Rhythmic Loops in Symbolic and Signal Domains Cárthach Ó Nuanáin TESI DOCTORAL UPF / 2017 Thesis Director: Dr. Sergi Jordà Music Technology Group Dept. of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Dissertation submitted to the Department of Information and Communication Tech- nologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA Copyright c 2017 by Cárthach Ó Nuanáin Licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 Music Technology Group (http://mtg.upf.edu), Department of Information and Communication Tech- nologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain. III Do mo mháthair, Marian. V This thesis was conducted carried out at the Music Technology Group (MTG) of Universitat Pompeu Fabra in Barcelona, Spain, from Oct. 2013 to Nov. 2017. It was supervised by Dr. Sergi Jordà and Mr. Perfecto Herrera. Work in several parts of this thesis was carried out in collaboration with the GiantSteps team at the Music Technology Group in UPF as well as other members of the project consortium. Our work has been gratefully supported by the Department of Information and Com- munication Technologies (DTIC) PhD fellowship (2013-17), Universitat Pompeu Fabra, and the European Research Council under the European Union’s Seventh Framework Program, as part of the GiantSteps project ((FP7-ICT-2013-10 Grant agreement no. 610591). Acknowledgments First and foremost I wish to thank my advisors and mentors Sergi Jordà and Perfecto Herrera. Thanks to Sergi for meeting me in Belfast many moons ago and bringing me to Barcelona. -
Popular Music in Germany the History of Electronic Music in Germany
Course Title Popular Music in Germany The History of Electronic Music in Germany Course Number REMU-UT.9811001 SAMPLE SYLLABUS Instructors’ Contact Information Heiko Hoffmann [email protected] Course Details Wednesdays, 6:15pm to 7:30pm Location of class: NYU Berlin Academic Center, Room “Prenzlauer Berg” (tbc) Prerequisites No pre-requisites Units earned 2 credits Course Description From Karlheinz Stockhausen and Kraftwerk to Giorgio Moroder, D.A.F. and the Euro Dance of Snap!, the first nine weeks of class consider the history of German electronic music prior to the Fall of the Wall in 1989. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s. One focus will be on regional scenes, such as the Düsseldorf school of electronic music in the 1970s with music groups such as Cluster, Neu! and Can, the Berlin school of synthesizer pioneers like Tangerine Dream, Klaus Schulze and Manuel Göttsching, or Giorgio Moroder's Sound of Munich. Students will be expected to competently identify key musicians and recordings of this creative period. The second half of the course looks more specifically at the arrival of techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall, up to the present. Indeed, Post-Wall East Berlin, full of abandoned spaces and buildings and deserted office blocks, was the perfect breeding ground for the youth culture that would dominate the 1990s and led techno pioneers and artists from the East and the West to take over and set up shop. -
Student Project
ASSR MUSIC PRODUCTION CURRICULUM Audio Tools for Schools ALAN Parsons’ Student project www.artandscienceofsound.com A LETTER FROM THE FOUNDERS usic is a precious resource. Being able Mto capture or record music for future generations to enjoy is one of music’s most valuable skills. Today Music Production is something anyone can do, armed with a cellphone and a decent internet connection. Sure you’ll soon want a microphone; and then another mic, and then another mic. Speakers help of course, and pro software gives you the sort of power that only major recording studios like Capitol and Abbey Road had back in the day. Speaking of which, back in the day when we were trying to carve out our careers, there weren’t any alternatives to a recording studio. And there weren’t any schools you could go to to learn about recording. Alan got a job as an assistant engineer at Abbey Road and Julian signed with Charisma Records as a writer and keyboard player. We listened, observed, tried, occasionally failed, Since 2010 we’ve dedicated ourselves to lifting the lid on what but eventually started to make sense of this magical thing we call it takes to record music; unravelling some of the mysteries ‘making records.’ behind and in front of the glass. Learning Music Production Today, even though physical records might seem to have gone and Audio Engineering isn’t rocket science (though Alan does the way of the Dodo, there’s still a thrill in creating music… have strong connections with NASA these days) and it’s not art creating something that didn’t exist fifteen minutes ago. -
The Alan Parsons Project Tales of Mystery and Imagination Mp3, Flac, Wma
The Alan Parsons Project Tales Of Mystery And Imagination mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: Tales Of Mystery And Imagination Country: Portugal Released: 1976 Style: Art Rock, Experimental MP3 version RAR size: 1983 mb FLAC version RAR size: 1761 mb WMA version RAR size: 1442 mb Rating: 4.7 Votes: 466 Other Formats: WMA MPC MP3 VOX MP2 MP1 AAC Tracklist A1 A Dream Within A Dream 3:40 A2 The Raven 4:00 A3 The Tell-Tale Heart 4:37 A4 The Cask Of Amontillado 4:27 A5 (The System Of) Doctor Tarr And Professor Fether 4:14 The Fall Of The House Of Usher (15:02) B1.I Prelude B1.II Arrival B1.III Intermezzo B1.IV Pavane B1.V Fall B2 To One In Paradise 4:29 Companies, etc. Recorded At – Abbey Road Studios Mixed At – Abbey Road Studios Published By – Woolfsongs Ltd. Published By – Fox Fanfare Music, Inc. Distributed By – Procope, SARL Phonographic Copyright (p) – 20th Century Records Copyright (c) – Woolfsongs Ltd. Distributed By – Movieplay Portuguesa Record Company – 20th Century Records Mastered At – The Mastering Lab Credits Arranged By [Orchestra & Choir], Conductor [Orchestra & Choir] – Andrew Powell Bass – David Paton, Joe Puerta Cimbalom, Kantele – John Leach Contractor [Orchestral] – David Katz Cover, Sleeve [Frontsleeve Designed By], Design [Frontsleeve Designed By] – Hipgnosis Double Bass [Sting Bass] – Darryl Runswick* Drums – Burleigh Drummond, Stuart Tosh Engineer – Alan Parsons Engineer [Assistant] – Chris Blair, Pat Stapley Executive-Producer – Eric Woolfson Guitar – Alan Parsons, David Pack, David Paton, Ian Bairnson Keyboards – Alan Parsons, Andrew Powell, Billy Lyall, Christopher North, Eric Woolfson, Francis Monkman Layout [Inside], Artwork [Graphics] – Colin Elgie Mastered By – Doug Sax Photography By – Aubrey Powell, Peter Christopherson, Storm Thorgerson Photography By [Alan Parsons] – Sam Emerson Producer – Alan Parsons Sleeve [Frontsleeve Designed By], Design [Frontsleeve Designed By] – Hardie* Technician [Technical Consultant] – Gordon Parry, Keith O. -
Edgar Allan Poe and Alan Parsons: All That We See Or Seem Is Nevermore
Brigham Young University BYU ScholarsArchive Student Works 2016-06-02 Edgar Allan Poe and Alan Parsons: All that We See or Seem is Nevermore Kimball R. Gardner Brigham Young University - Provo, [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/studentpub Part of the English Language and Literature Commons BYU ScholarsArchive Citation Gardner, Kimball R., "Edgar Allan Poe and Alan Parsons: All that We See or Seem is Nevermore" (2016). Student Works. 161. https://scholarsarchive.byu.edu/studentpub/161 This Class Project or Paper is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Student Works by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Gardner 1 Edgar Allan Poe and Alan Parsons: All That We See or Seem is Nevermore Kimball Gardner Since their beginnings in the mind of a brilliant, misunderstood man, the works of Edgar Allan Poe have captured the imaginations and fears of audiences throughout the world. After his death, when his popularity began to grow, Poe’s works became more widely read and studied by both scholars and authors. As technology began to advance in the twentieth century, his works began to be adapted into short films and later, feature-length films. And, in the late twentieth century, a young progressive rock group named the Alan Parsons Project offered their adaptation of several of Poe’s works. In this paper, I will discuss their work on “A Dream within a Dream” and “The Raven,” from their album Tales of Mystery and Imagination—Edgar Allan Poe and how their adaptation enhances Poe’s effect. -
Mochipetmochipet
MochipetMochipet rawrrawr meansmeans i You! Born in Taiwan R.O.C. to Rocket Scientist father and Kindergarten Teacher mother, David Wang (a.k.a. Mochipet) has been tinkering with electronics since he was a child. However, not until he added music to the equation, did something special begin to take shape. Having grown up listening to metal guitar, avant-garde jazz, and mainstream hip-hop, David’s eclectic taste can now be seen in his music – ever changing, and always evolving. His fervency for diversity can also be noted in the mixed bag of his many artist collaborations which include the likes of legendary skateboarder Ray Barbee (Powell Peralta), Techo producer Ellen Allien (Berlin), hip-hop MCs Mikah9 (Freestyle Fellowship), Casual (Hieroglyphics), and Raashan Ahmad (Crown City Rockers), electro Miami gangster Otto Von Schirach , booty bass rockstars 215 The Freshest Kids and Spank Rock (BigDada), mashup glitch tweeker Kid606 (Tigerbeat6), Edwardian suit-wearing Daedelus (Ninjatune), glitch popstars Jahcoozi (Kitty-Yo), and avant-garde jazz legend Weasel Walter (Flying Luttenbach- ers). David has also shared the stage with a myriad of influential music pioneers, including Aaron Spectre, Andrea Parker, Autechre, Bassnectar, Boom Bip, Bucovina Club, Cargo Natty, Carl Craig, Chris Clark, CLP, Cristian Vogal, Daedelus, Dat Politics, Devlin & Darko, DJ DJ Plasticman, Qbert, DJ Spooky, Drop the Lime, Ellen Allien, Felix Da Housecat, Fluokids, Flying Lotus, Ghislain Poirier, Gift of Gab, Glitchmob, Jahcoozi, Juan Maclean, Ken Ishii, Kid606, Kid Koala, Lazersword, Luke Vibert, Mary Ann Hobbs, Meat Beat Manifesto, Matmos, M.I.A, Mikah 9, Modeselektor, Otto Von Schirach, Skream, Superpitcher, The Bug, Tittsworth, and Tussle, to name a select few.