electricjalaba.com

 Introducing Electric Jalaba is available on CD or to download now on Bandcamp.

Read + Listen on: Get to know more about two members of Electric Jalaba, Oliver and Henry Keen.

sbtrkt.com

Look on: Photos from a CDR live special with Sampha back in 2010.

For more videos of, or by, HowAboutBeth, visit her YouTube page.

(Excellent) Photo above by Greg Holland.

Read on: HowAboutBeth’s My First CDR… feature.

Tod Dockstader (born 1932, Minnesota, USA) fills a space, alongside Raymond Scott and the BBC Radiophonic Workshop, in which electronic music making as we know it was shaped through the mid-20th Century.

Building on Edgar Varèse and Pierre Schaeffer’s pioneering work in early electronic composition and musique concrète, Dockstader experimented at Gotham Recording Studios, working with tens of thousands of feet of magnetic tape to create beeps, creaks and squeaks; otherworldly sounds that possess a sinister beauty and, at times, are occasionally straight-up strange.

For this remix project you can cut, splice, stretch, loop or manipulate the original music in whatever way you like. There are no restrictions on tempo, style or genre.

The works on offer for you to play with have been selected from two rare (and pricey) Boosey & Hawkes library LPs, recently reissued by Mordant Music. The first volume is available in full here at Bleep.

To see/hear more about Tod Dockstader this biography and 1963 interview on UbuWeb is a good starting point. And this article in Wired. A further attempt to document the remarkable man’s music and current condition is also in progress, titled Unlocking Dockstader.

Press play below to hear a mix of the Tod Dockstader samples for you choose from. For further specifics on this CDR project please scroll down and read the numbered guidelines:

Production Notes

1. Download the selection via the button above or here.

2. Listen to the full mix of samples and choose one of Tod’s tracks to focus your remix on. See Track IDs in our timed comments. Elements of other tracks from the selection can also be used as your sample pallet.

3. If you would like to share your work in progress before the final deadline please upload to the CDR Project dropbox.

Work in progress versions should be named as follows:

[Tod Dockstader trackname] – [Your artistname] CDR Remix WIP

4. Final versions can be uploaded to the CDR Project dropbox and/or submitted at the CDR London session on February 10th.

Your final version should be named as follows:

[Tod Dockstader trackname] – [Your artistname] CDR Remix MASTER

5. Please note your final submission should include production notes and hi-res portrait (min 300px). Production notes need to include:

• The Digital Audio Workstation(s)
• Music creation plugins
• FX plugins
• Remix workflow
• Challenges you faced and overcame
• Mixing considerations

DEADLINE: Monday February 11th, 6pm
PREVIEWS: CDR London, Sunday February 10th

The finer 10 submissions will be released digitally, with our finest picks also on a limited edition Vinyl EP.

For use of the original recordings beyond this project please contact pm@imagem.com

If you have any other questions please ask us on Twitter, Facebook or at cdrw@cdr-projects.com.

Best wishes with your creations, we look forward to hearing them on Soundcloud and CDR London, February 10th.

Watch on: Click on their names for the respective CDR Berlin workshop, Jacob Korn and Morphosis.

“NTS, a purely internet-based station, already blasts its unique medley of non-mainstream music and random chit-chat to 10,000 listeners a day – exporting 150 presenters in the process. They include Leyla Pillai, whose slot, ‘Who’s That Girl’, focuses on a different female artist each week, and the eponymous, ‘James’s Show’, which has been known to fill a whole hour with nothing but static noise.

The key to NTS’s success, [Femi 'Mr Wonderful'] Adeyemi says, is the element of surprise – and if you don’t like what you hear when you switch on, there is a whole back-catalogue of podcasts on their website to choose from.”

Read the full feature on community radio stations in The Independent. Props to Charlotte Philby for the story.

Listen on: Past CDR Audio Shows are in our audio section and archived at NTS Live. Listen live bi-weekly Thursdays 6-8pm GMT.

When and where did you first attend CDR? What do you recall?

It was hosted by Tony Nwachukwu in Sydney, Australia around 2006 above a Greek restaurant in Surry Hills. As soon as we launched into the CDR session I knew this was something really special. I felt at the time that Sydney producers were very isolated from each other and as a result, the underground electronic music culture was quite fragmented. I saw CDR as an opportunity to change all of that by offering a safe space, a meeting place for producers to find common ground with each other, and even stimulate collaboration. Since that first CDR session the vision has come true, CDR has contributed significantly to building healthy relationships between music makers, and raising the profile of producers involved.

How did you hear about CDR?
I first heard about it from my friend Lorna Clarkson, who suggested we have Tony host a CDR session as part of the Red Bull Music Academy info sessions in Australia.

What has CDR meant to you?
CDR has meant a great deal to me over the last 6 or so years. I have helped host CDR sessions in Melbourne, Brisbane, Adelaide, Perth, Newcastle and Sydney, and got to meet many talented producers and hear some great music along the way. I also get a thrill every time from how CDR brings like minded music makers and lovers together, with all manner of possibilities that can eventuate from that.

Have you collaborated with, or hope to, any artists via CDR sessions?
Yes indeed, I have done remixes for Westernsynthetics and Monk Fly and both have been released on local Australian labels.

Any other noteworthy CDR memories?
Plenty! We’ve had some most auspicious guests at our sessions, including Dorian Concept, Theo Parrish, Gaslamp Killer, James Pants, Mala, Martyn just to name a few.

Please could you describe your work life/creative life tussle. Any tips or tricks for managing to keep making music?
It’s really hard to balance work and creativity. I work a full time job, present a radio show, and playing gigs doesn’t leave me a lot of time to work on music. I found a good way to balance my work/creative life is by taking a few months off every year to focus on making music. Currently I spend 3 months in Berlin every year writing music, working with mastering engineers to finalise releases and getting inspired by the cultural landscape of Europe. I also keep my overheads low by living cheaply (low rent, minimal spend on luxury items) so I can save my pennies for three months break and the upkeep of my equipment.

I think it is important to have connections with other people who have to walk this tightrope because it helps to be able to discuss/commiserate the struggles and frustrations with people who understand.

Have you a favourite club and/or soundsystem?
The club scene in Sydney is pretty average, so warehouse parties and outdoor events are really where it’s at. My favourite soundsystem in Sydney is the Hijack. It’s graced many stages over the years and has a detailed low end like very few soundsystems I have heard before. Benga and Skream played on it in Sydney a couple of years ago and I remember getting up really close to the speakers and watching the valves inside the speakers lighting up on the bass hits. It’s really one of the best systems I have ever heard.

Please give a brief (as you see fit) description of your current production set up.
Laptop, RME Fireface, Rode Classic Mic, Midi controller, UAD Satellite Quad, a bunch of weird effects pedals, a tiny analogue drum machine (MFB-522), and a studio full of colourful synths.

My [Roland] Juno 6 has a special place in my studio and in my heart because it was the first synthesiser I ever owned. I used it to learn the basics of synthesis, and it’s rich warm analogue sound had me hooked on making electronic music from the day I got it. Nowadays I am surrounded by a wide variety of synths in my studio but the Juno will always be special to me.

Any projects or tracks you’re working on at the moment that you’d like to let us know about?
I just released a 10 inch vinyl EP on my label Radical Nature records called Aphoria Horizonte and am working on a follow up album under the Anomie pseudonym. I’m also currently working on a psychedelic desert music collaboration with Westernsynthetics.

Finally, have you any advice or words of warning for producers/musicians developing musical works in progress to play at CDR?
Some budding and talented producers can be a little shy about sharing their new creations, but I can’t encourage them enough to submit a track because you never know what you might learn along the way. It’s a great opportunity to test a mix before committing to it as well as picking up a few mixing tips and anecdotes from other producers.

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Connect @SofieLoizou, on Facebook, Soundcloud and sofieloizou.tumblr.com.

Read on: More from the My First CDR… series.

witclub.net

soundcloud.com/funkineven         facebook.com/funkineven        twitter.com/FunkinEven

 Watch on: Cast your eyes and ears on a CDR Knowledge from a while ago where FunkinEven discussed ‘Kleer’.

Stream the album on Soundcloud, buy direct at Bandcamp.

facebook.com/deltasonmusic         soundcloud.com/deltason        mixcloud.com/deltamixes        deltason.bandcamp.com

The videos from Paved With Gold focus on key components to London’s lure; parks, parties, people. A love poem to a city.

Full 40-min standalone polished version above. Edit of the live happenings in the Tanks below.

Applause from all at CDR to all those who made the event, film and music. Special shouts to NTS Live and CKTRL.

Watch on: CDR’s memorable night at the Tate Britain back in 2009.

Tracklist

1. Phuture – Rise From Your Grave (Wake Da Fuck Up Mix) (Strictly)
2. Photon Inc. – Give A Little Love (Tha Wild Pitch Mix) (Strictly)
3. Audio Clash – Don’t Take It Away (Wild Pitch Mix) (Strictly)
4. DJ Pierre – Let The Music Take You Higher (Wild Honey Mix) (Emotive)
5. Phuture – Spirit (DJ Pierre Tribal Mix) (Strictly)
6. Phuture – Inside Out (Wild Pitch Mix) (Strictly)
7. DJ Pierre – I Want You (Short Dub) (Emotive)
8. Phuture – Acid Tracks (Trax)
9. DJ Pierre – Fire Drill (Fire Drill Mix) (Strictly)
10. Phantasia – More Than Just A Dance (Original Wild Pitch Mix) (Vinyl Solution Special Editions)
11. The Underworld – Angel’s Calling (Wild Pitch Mix) (Strictly)
12. Photon Inc. – Generate Power (Wild Pitch Mix) (Strictly)
13. Phuture Scope – Plastic (Wild Pitch Mix) (Emotive)
14. Danell Dixon – Hello (Nite Grooves)
15. DJ Pierre – Love Trax (Love Izz…) (Strictly)

onehandedmusic.com         dontbeafraidrecordings.co.uk

In case you missed it first time round, Mr Beatnick’s OHM Dedication Series mix of Sun Ra songs is essential listening. No shame in rewinding it.

Many thanks once again to Emily Evans for tweaking the accompanying artwork to fit our specifics. You can follow the ever-so-skilled illustrator @__emilyevans__ and dedicationtoallthemwomen.wordpress.com. Don’t shy away from her exhibition at Folk too, on until February.

Watch on: Don’t Be Afraid’s Boiler Room takeover.

“Dance music is dominated by men. Despite the presence of a handful of female producers, engineers, DJs, artist managers and songwriters, the industry is overwhelmingly male. Is that a problem? Not everyone agrees. “I’m so over this debate about being a woman in dance music,” opines DJ Heidi Van Den Amstel. “I don’t feel discriminated against and have done well in the industry on my own without any help from anyone. However, it is naturally good to see more women involved.

Although Heidi raises a fair point – plenty of female musicians, DJs, journalists and managers have succeeded with (pretty much) equal respect and support from their male peers – this is still a debate that surely needs re-airing based purely on the evidence. According to PRS for Music, just 12% of writers on its books are women, a drop of 4% from 2011. Only 4% of Music Producers Guild members are women. The Liverpool Institute of Performing Arts says just 6% of the students enrolled on its sound technology course are female – a figure that hasn’t changed for three years. Only one spot on this year’s DJ Magazine Top 100 was taken by women, in the form of Australian blonde model twin sisters Nervo. There were none last year.”

Read in full at Attack Magazine.

lululevay.com

Connect with the man from Ann Arbor @Dabrye and on Facebook.

Watch on: See Dabrye sit and talk more, only this time alongside Tony Nwachukwu, Dirk Rumpff and Traxx at CDR Berlin.

Up on the walls until February, some of Emily’s collages travel the space ways, continuing the Sun Ra-inspired theme explored in her Calling Planet Earth exhibit at Print House Gallery and within ‘Twin Stars Of Thence’, a work she kindly let us feature to accompany Mr Beatnick’s Sun Ra mix for One-Handed Music Dedication Series.

In addition to the fine art, postcards of her visuals plus handmade foiled notebooks are available to buy. Certain items are also stocked in her Etsy store.

For more details visit Folk’s blog. Read what Design Week had to say about the exhibition here.

dedicationtoallthemwomen.wordpress.com

folkclothing.com/dray-walk (Map)

Photos: Teddy Fitzhugh.

Playlist

The System- You´re In My System (Kerri Chandler Mix)- Ibadan
Jimpster- These Times (Dixon Refix)- Freerange
Trus´Me- Gotta Be Strong- Unknown
Azymuth- Avenida Das Mangueiras (Theo Parrish Mix)- Far Out
Aidan Knight- Dream Team- Adventure Boys Club

in the studio: SESSION VICTIM

Ila Tet- Second Guess -Penguincow Records
Vakula- Intro- Firecracker
Homocide McBride- Listen- SOSwhite
Iron Curtis- Super Sorry- Retreat
Skylevel- Smiling Strangers (Skylevel Edit)-Skylevel
Shoebox- Got So Much- Shoebox
Norm Talley- Ultra- Dockside
Soul 223- Age Of Peace- Boe
The Citizen´s Band- Unity Again- Story 06
Bob Moses- Hands To Hold – SatLtd
Awanto3- Pregnant- Dekmantel
Frank Booker- The Sun- Sleazy Beats
The White Lamp- Make It Good (Galactic Disco Mix)- SK
Patchworks- Million Toes- Kolour
John Roberts- Mirror- Dial
Secret Society- Our Society-
Nick Holder- The Club Track- DNH
TTC- A Word From Mr. Prince- DNH
Kim Brown- String Theory- Just Another Beat
Parallel Dance Ensemble- Occupied ( Maxmillion Dunbar Remix)- Permanent Vacation
SLG- Prostokaty feat. Catz´N´Dogz- Studio Barnhus
Skylevel- Unknown – Skylevel
end of mix

Jamiel Lidell- What A Shame- Warp
Phil Gerus- B&W Of The 60ies (Be Kind)- Based On Misunderstandings

offtrack.org         soundcloud.com/dirkrumpff

When and where did you first attend CDR? What do you recall?
My first CDR experience was in Berlin, as that’s where I’ve been based for the past year or so. I finally got a chance to participate in March 2012. I was definitely nervous at first and had slim hopes of my track being played. Yet to my (very pleasant) surprise, there it was, booming on the club sound system as everyone danced. That first moment definitely made me want to return.

How did you hear about CDR?
Posters all over the city, Facebook announcements on various pages and many other sources led me to check it out.

What has CDR meant to you?
I’ve sometimes described CDR as testing your tracks in a studio with a dancefloor and better monitors than I could ever afford. Of course that’s a somewhat tongue-in-cheek simplification, but I really do appreciate the opportunity to put my music out there while being able to test my (still-amateur) mixing and production skills. Of course, it’s also nice to hear all the good feedback I get from others on my music – it keeps me going!

Have you collaborated with, or hope to, any artists via CDR sessions?
I haven’t so far, but it would be nice to do that someday.

Any other noteworthy CDR memories?
Probably the second time I submitted a track. Tony recognised me right away – that was a nice surprise!

Please could you describe your work life/creative life tussle. Any tips or tricks for managing to keep making music?
Balancing my creative and working lives has been, and continues to be, my biggest challenge. There’s always a sacrifice to be made, whether it’s going broke or having a job that saps your time and energy. I’ll be honest – I’ve definitely wondered a few times if continuing music is really worth it, and it seems that a lot of artists go through that at least once. I guess the best thing would be to keep pushing through and ignoring any self-doubt in that case, wouldn’t it?

That said, I really wish I were in a position to give more practical advice on the matter instead of desperately needing it!

Have you a favourite club and/or soundsystem?
I don’t go out nearly as much as I could, as I’ve always been more of a solitary type. However, I have to say that there are some places I do keep returning to when I do crave a night out. Clubs like about.blank, Stattbad Wedding and Salon zur Wilden Renate usually have a good lineup and parties that last well into the next day. There are also lots of smaller bars, some of them quite underground, that often have a sweet, intimate loft-party vibe when paired with the right DJs and tunes.

As for sound quality, I have to say that the sound-system at Berghain – those Transformers-eque Funktion One towers – is definitely worth the hype, and can make me dance to even the most stripped-down techno for hours.

Please describe your current production set up.
90% laptop-based – a crumbling Sony Vaio with FL Studio 10. I’ve been using FL Studio since 2005, when I first started to produce, and so it’s what I know best. I don’t use most of the softsynths, though, and am far too much of a control-freak to use most presets. I like to use classic drum machine sounds and program all my rhythms and melodies from scratch – almost as though I were in an actual studio full of hardware!

I’ve started using more controllers recently, especially for my live-sets, as I find it makes them go a lot smoother (plus I’d feel quite silly standing there clicking at a laptop and nothing else). Even in the studio, I find it helps my creativity a bit, as I’m more likely to come up with ideas while doodling around on some sort of keyboard.

Any projects or tracks you’re working on at the moment that you’d like to let us know about?
I’ve got several unfinished tracks that I intend to finish as soon as I get sufficient time and ideas. Too often I find myself getting stuck in “endless-loop mode” where a track sounds great as a snippet or loop and I have no idea where to go next.

Finally, have you any advice or words of warning for producers/musicians developing musical works in progress to play at CDR?
If you hear your track being played, definitely take a moment to listen to how it sounds on a good system – you often hear things you wouldn’t at home, especially if you don’t have proper studio monitors. This taught me a lot about proper production and mixing techniques.

Of course, don’t be too shy! If you’re at all interested in finding out how your track would sound on a dancefloor at a club, don’t hesitate to submit it. CDR is not only a great testing-ground for aspiring producers, but a place to meet with like-minded individuals and put yourself out there.

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If you like what you read and hear, why not let her know?
Connect at soundcloud.com, @lazercatmusik and on facebook.com/pages/Lazercat.

brandtbrauerfrick.de

Watch on: Brandt Brauer Frick at CDR Berlin. 

]]> http://cdr-projects.com/brandt-brauer-frick-album-teaser/feed/ 0 http://cdr-projects.com/tony-nwachukwu-qa-on-lets-be-brief/#utm_source=feed&utm_medium=feed&utm_campaign=feed?utm_source=rss&utm_medium=rss&utm_campaign=tony-nwachukwu-qa-on-lets-be-brief http://cdr-projects.com/tony-nwachukwu-qa-on-lets-be-brief/#comments Mon, 17 Dec 2012 15:47:32 +0000 CDRW http://cdr-projects.com/?p=3716 “My roots have always been in beat programming, sound design and music production. In recent years I have extended my experiences to the world of education and crafting opportunities for music communities and brands to learn together and from each other.

After Uni and a brief spell in music retail I armed myself with an Akai MPC 60 and S1000, a case full of my floppy disc based sample library and an Atari Stacy to venture into a world of freelance beat programming and arranging. I worked with producers and engineers on records for artists including Desree, Tina Turner, Chinablack and Coldcut. Attica Blues followed a few years later.”

Read in full on Let’s Be Brief.

Wach Watch + Listen on: Tony’s Boiler Room set at a 2012 Attica Blues reunion.

When and where did you first attend CDR? What do you recall?
2003, Plastic People – I came down from Uni one week (in Manchester) on the recommendation of brother Henry. It was dark, we got high and I got blown away by some amazing tunes.

What has CDR meant to you?
A monthly target for at least one finished tune. 12 a year, not bad! A proper club system to test my mixes on. A hang out to meet other creative people, other people at various stages of struggle/success in balancing making music and paying rent.

Have you collaborated with, or hope to, any artists via CDR sessions?
Yes, many, in various ways – whether it be creating music together or taking part in events organised by people I met there. Tony W[ach], Om Unit, Breakplus, Duchy, Ben Hadwen, D.Ablo, Analog Jones, Gawain [Hewitt]…

Any other noteworthy CDR memories?
Hearing your tune, getting a clap, reading the write ups from Dayo/Ben V etc on the blog the next day! Also, playing to 500 odd people at Tate Britain for CDR Late at Tate was pretty out there!

How is your work life/creative life tussle? Any tips or tricks for managing to keep making music?
It’s a tussle for sure! It’s just about staying inspired to do it. If you are burning to get in the studio, you’ll find time between work or sleep or whatever else to get in there.

Please describe your current production set up.
Currently – a 24 track ‘Soundtrack’ 80s Analogue desk on loan – plus usual setup: Mac, Logic, Recycle, Plug-ins, mostly just loads of instruments and amps

Logic is the centre of the studio. I know it’s not ‘classic’ or analogue or whatever, but I do love it! I also wish I had my own Analogue desk now, it has changed the way I make music and is currently at the centre of my studio. I love mixing down in real time and making adjustments on the fly and EQing with proper analogue EQs and send effects.

Any projects or tracks your working on at the moment that you’d like to let us know about?
My band: www.ElectricJalaba.com Check it! [We agree. You can buy their mini-album here for a mere skydiver.]

Finally, have you any advice or words of warning for producers/musicians developing musical works in progress to play at CDR?
Nothing to worry about.

oliverkeenrecording.co.uk         soundspecies.co.uk       electricjalaba.com

Watch on: That memorable night where Soundspecies, Dorian Concept and Mark Pritchard performed for CDR Late at Tate Britain.