Inside China – their digital economy

Currently, all music services in China offer music to consumers for free. For some, the music service is merely an appendage by which to draw in user traffic, which they then divert and monetize by other means, especially for the bigger portals like Baidu. It is rarely about the music at all, which is a sad state of affairs for the purist.

From <http://www.hypebot.com/hypebot/2015/05/music-distribution-in-china.html>
Are you considering to be an insider in the grossly huge potential market of China? IF the spectacle of music form, the representations of music genre in China. The moment we believe that the door is wide open is a smoke screen and a pipe-dream. In any form of music, the underground and the major recording artists are by far; it is not so often you can buy vinyl or in fact the outcome of finding foreign music is either pirated or sold in CD format, without the support from labels or artists. Yes they are still downloading, and in this hoarder of landscape, only live music and acts can be monetized. And for a large festival 330Yen or for about 30euros for a 3 days festival, I wonder where they can make back the money for the organizers.

Are we looking at the good ole days, not exactly good, but from a film buff, and the days for DVD films, the piracy for independent foreign films on the blackmarket in 2002, China was flourishing, rare copies of well known, special issue and out-of-print dvd films from classic, to modern and untold directors in the eastern bloc, European and art films are all hot selection in the black-market, pirated dvd film houses, selling for 10-30Yen a DVD-including boxset. And now I think music is looking likely similar with large well organized festivals in Top-tier cities like Beijing and Shanghai, Shenzhen maybe and Hong Kong definitely.

Film by masters and well know independent directors, French New Wave, German Existentialism/realism, documentaries and Art short film like Wim Wenders, Lar Von Trier from the earlier works are all sold in basement shop in the back of the shop in Shanghai and Shenzhen in the early 2001 in the dvd format.

From an exceptional rumor only, some more then 50,000 copies of records was transported across the Hong Kong boarder in to China end of last year, mostly secondhand classical and pop genre records, another rumor from unknown source, date back to the early 2013 that one or two entire vinyl pressing units was sold to an unknown buyer, but nothing have been told more about the opening of a pressing plant anywhere in the mainland China or across the border’s of Hong Kong, yet.

More and more records buyer’s in the mainland collectors are going out to find rare classical, pop and mint condition 80’s music in vinyl format.

2K-BOX and the future of music(Asia)

In the precise manner of speaking, I am getting abit over anger at some of these Asia nations, mostly become of some, timely and untold ideas to differentiate independent film producer, or music(producer) within the APAC, that we no longer could make proceedings with self-censorship. As in this case for piracy or copyrights, or from dealing with royalties or on the behalf of adaptations, on musical freedom from playbook(society of playing copyrighted materials,) this on one hand they play their games of “12 Angry Men” and then formalize this perspective of the act of international organization for multi-nations bipartian, or “bomboclatt” from the entry act of storytelling and then they act on their other head(s.) like intellectuals wannabe.

It is very obvious to everybody playing the double-standard for a (Dire Strait) rather than double take, artfully. This act is often assumed if anything but alright with the local is alright in theory (no-such-thing….)

The withstanding of nothingness is believed that the interest of listening to dance music has not gained much by the trust of the establishments, rather by this integral strength of the producers themselves, they are really a body without organs and without any advances on progress or support from foreign devils (wham!)

This fear comes from the usual raven, and by taking up penmanship, these thoughts goes out to those (REM) whom thinks only towards pop culture and generalization of those whom find cultural assassination is a processing or a boycott and byproduct of activist, blacklister and freedom to downloads in consent. Our copyleft of free-software foundations(Opensource) are in nomansland, or in these kind of perspective of negative PSA in APAC, there is nothing more about branding, but organization from the following spectulation of formula studies.

1.National interest (GDP/automata)

2.Information retrieval (productions in all form of content)

3.Racial for socialism for the improvement on popular culture (policy in arts)

4.Musica’ for identical in cultural censorships (copyrights/content/ownerships)

5.Banality and dogmatic (system architect)

Quayola/NLS + Matter

NLS is presenting you the soundtrack of Matthias Kispert by the Master works of QUAYOLA collection.

Matter

is a time-based digital sculpture; a celebration of matter itself, the substance of all physical things. It describes a continuous dynamic articulation of a solid, pure block of matter, from the simplest primitive forms to the highest details of geometric complexities, and vice versa… from the unpredictable grace of geological processes to the perfection, beauty and precision of man made crafts.
The subject of this piece is Rodin’s sculpture Le Penseur (The Thinker), a masterpiece born as the avant-garde that has since become a universal classical icon, and now considered the bridge from classical to modern sculpture.
Commissioned by Audemars Piguet.

Link

AN INTERVIEW WITH THE CREATOR JOHNNY DEKAM

AN INTERVIEW VDMX – THE CREATOR JOHNNY DEKAM

Many time interviews are missing from proposed project. Here is a designed interview for Vidvox.com or VDMX creator and their collective PURE/Dekam
Questions:
1: Music scene in your Performance, how did it commence, was it in Vienna?

I started performing while in graduate studies at Rensselaer in upstate New York. At first I worked a lot with Steim’s Big Eye, which was arguably the first video tracking software. It was also around this time I started coding my own visual software, working with Max. After much research and development, I formed VIDVOX and quit my day job.

Around the turn of the century, I made my way to Europe where I met two influential collaborators, Jasch and Pure. Jasch and I first started performing together as DYAD. On our first tour we did a show in Vienna organized by PURE at Club Rhiz, which eventually led to our working together as PURE DEKAM. Both projects ran more or less in parallel for approx 5 years with various small tours, workshops, and festival appearances. (DEAF, SONAR, SONIC ACTS, PIXELACHE, MUTEK etc.)
2.To imaging and imagination, science/science fiction your only inspiration?

My mother raised us on sci-if paperbacks and Star Trek. We subscribed to ‘OMNI’ magazine. There was definitely a strong Sci-Fi influence in my home growing up. My art school studies were in Detroit. It was the early 90’s and the ‘peak’ of Detroit techno / house music, all the while surrounded by this rust belt, urban decay, dystopic, blade runner-esque city. It was (and still is I imagine) a perfect storm for creativity. I am very fond of Detroit.

3.MEGO – the labels, where other people have you worked with in AV labels?

I came to MEGO via PURE who had his own subsidiary called “d0c”. We had a single release as a PURE DEKAM, which incidentally was paid for by the French government through a residency in Renne. I have to say I have had very little luck over the years in terms of visual labels, the model came too late I think.

As my career progressed I became much more involved in the music industry with large scale concert productions. I think many of us ‘early’ VJs have grown into this pursuit, as ‘visual designers’, ‘video directors’ and so on. Through it all, the trajectory has been live performance, rather than releases. Now I have come full circle. I’m returning to software and art, shifting my work from the road to the studio.

4.What do you think of analogue formats in Audiovisual, is there any left overs?

It is important to distinguish the term analogue as more than simply an electronic technique, but rather an aesthetic with a rich history of video art and pioneers. It is easy for the young VJ to completely ignore this history, but it is there and always will be. There is a strong movement of people working on analogue equipment with modern sensibilities. I especially like LZW industries who manufactures modular video synthesis hardware. There are also those who lovingly restore and archive the old hardware; the Rutt Etra’s, the Fairlights and so on. I keep a small collection of 80’s era vintage equipment, as sometimes you just need ‘that look’ of a tube camera, or Panasonic DSK lumakey. Right now is the perfect time to collect, because so much of the gear is being discarded by broadcasters and the like.

MUTEK/PURE/DEKAM

RecordStoreDay – Hong Kong

An exclusive, inside-look at one of Hong Kong’s best kept secret “diggin’ the crates” spots. Roy C. Malig plans a trip for all the vinyl collectors/djs only once or twice a year to Paul’s warehouse location. Featured in this short film is Paul (warehouse owner), Roy C. Malig, Johnny Hiller, Jimmy Howe, Afraid Thomas, Fat B, Pasha, Boyz, Jon and Jesse James.

Short Film by Brandon Ho @ Dougievision

念能力人的普樂 – NNLR

這個比方沒有太多東西可給大家看。

There is no better stuff for other people to see, but sometimes I put a lot of effort in creating sound or music in a bad literature study XD (Intro Music has No names) 來一個無名樂響。Internet is like this, don’t like it don’t read here. Night time Music, good or bad?

I can’t write Chinese, but trying again! Dying to speak and starting a music label is logical? Yet funny but happy to continue to write. Back in Hong Kong for more than 10 years, people with the same interest are here, only if time will wait for anyone. In music we call this space or Spatial, also representation of time sequence. In both learning about Music or Chinese language has to be self taught, I use google. But this isn’t a place for us and neither it has become not a random access memory(only realization.) I speak Chinese everyday. It represent the meaning of an experimental sound artist but not important if it is all but about writing primary composition, keep on going!

Some compare the sound to the west, but people, really? Ask us about any interest as work. Can we see a renaissance?? IF is not me it’s not good…haha. Though long about getting someone to translate, Why do I need a translator?! The point is because only music meet science, not many audience see us produce music that are essence in time of music and producers. Slow music!? LOL

晚上的樂有用嗎?

可笑的是一些中文也不會用的我! 言亡也不是和開label的logic。但笑笑是開心的哬也要一值continue to write. 回國十多年香港也有了很多友人! 但時間不會 waiting for anyone. In music we call this space or Spatial, also representation of time sequence.

中文或是音樂都要自己學,你看書、我用google. 這個地方是沒有你我、也不是random access memory. 中國的方言也是長年可用的一們學舉。也是很象音樂experimential artist 的名字。沒有大不了!你天真也要作下去嗎? 有用的人或是比西方的sound?? 問我們的interests?? 真的像黃金時代? IF is not me it’s not good…haha.

Why do I need a translator?! 想了很多年了! 見地 because only music 科学也不多人會看我們做樂的味候也不會改的音樂是時代。慢慢的歌 是 slow music!?

 

 

Reason of The Instrument of Transforming

quote-i-use-music-as-a-medium-to-talk-to-people-sun-ra-100-80-01

Technics turntable the beginning at the end of the crossroad of Technics SL-1200MKII series

 

I would like to be able to begin with the history of the most influential instrument of the last half of the 20th century. The turntable that have been the history of the most heretic instrument of all time in the vinyl culture.

 

This device have been out of production since 2010

This is an instrument of two and a half decade of influence amount turntablist and DJ. This is an extralrdinary period for the rise of the DJ culture. Amount the equipment the turntable and the Technics brand have had to became the only instrument for the performance of this very creative and rationalé for DJ. Their artform of understanding the unique identity amount producer and instrumentalist, relying on the DJs to select the tunes, the culture of the Technics SP-1200 MKII had to be the one for any professional DJ/turtablist….

 

The movement of a very important era where the rise of the CD from the former cassette tape and pre- scratching of the hip hop vinyl movement. The amount not only Hip Hop DJ was relying on the Technics SP-1200 as “the instrument”, amount to the last half of the 20th century vinyl have to be the choice of medium for musician and DJ and to become the choice for collectors. But without this turntable, all those DJ and want to be without feathered bird, non-usable content records like these decks we need to recalled…

 

Technics was indeed the defacto instrument of choice, there are many companies and manufacturer out there while could not penetrate those professional turntablist to convert and represent this DJ culture in the last two and three decade in music instrumental success like what Technics SP-1200 did for the music industry. Hereto the movement for real instant culture of pop music created another genre not in Hip Hop and turntablist scratching, the electronic musician have a mass of followers amount the DJ who begin to see the return of analogue sounds; from the experimental independent label and of Bass/ Breaks, to dubstep producers, nonetheless Techno crowds and DJ are largely Technics fan cum DJ. There is really why no other brand out there able to find a niche into these DJ and collector as for the decline in music records and CD sells, the market is uniquely driven by a standard that is only the defacto instrument for a culture that transformed so rapidly by the introduction of new technology like internet and P2P file transfer. What internet have bought us to an arrested development for easy accessible to other people’s library and soon caught on by big labels and music companies to use internet as their primary distribution platform. Although the aspect for those have anh have not a Technics are finding a hard time to get a hold of turntable from the firsthand market. Since it is out of production in 2010 by the Panasonic company who have own this Technics brand. The documentation is for the purpose of revealing how technology from today have transformed the function of this movement and created a culture of an art form musical style.

 

Over the years the instrument of choice is not a control surface or a device that link up with anything but is within the history of the most analogue recording format of our human history, the vinyl is a format that proceed this last century for the only play and recording medium that is still in use today. The record is only a format today where music is produced and to be sold to the masses by all others like tape, Minidisc and CD, the record format survived much into the 21st century. The vinyl or a record have transformed the culture of music just like the turntable have changed the culture of performance in music, within this last two decade, a new format for audio and visual have revolutionary not only the music culture, the digital format have created a new landscape for production forthe art and turn the world a very connected global market place but on steroids. This new file sharing culture and the internet have killed much of the physical format industries in not only music, but the aspect we play music and perform them.

 

The turntable from Panasonic Corp under the brand technics have absolutely dominated the DJ culture in the last 3 decades for performance DJ and artists. The dance music and Hip-hop genre had also suggested that the instrumentalist and producer is creating special tracks for records and vinyls and uniqueness in the natural texture of a record’s groove to put quality over quantity. As the mass begin to find the groove in nightclubs and dance festivals across the world, the popularity of so called underground music begins to emerge to our radio and popular media, and although the diversity of this new movement is only a small faction on the world stage as mainstream pop culture like Michael Jackson super star still have a denomination over the very super star DJs of those days. And as long as you are in the west capitalistic countries, your party will need DJ.

 

In the time of this publication, the documentation is already kind of out dated due to the re-release of the 3rd generation Technics Turntable.

SONY ICD-SX2000

SONY ICD SX2000

Overall I am enjoying using the SONY SX2000 as a fieldnotes recorder, soundbites recording and sampling tool. The choice of material in starkblack matte colour is very attractive and impression on the first glance I knew it would be my go to machine on the road. The more I use this machine the looks and feel is extremely user friendly like any interface from SONY products, I give it a 4.5 stars.

The ICD-SX2000 has a Hi-Res Linear PCM recording of up to 96kHz/24bit, and comes with a new adjustable microphone which allows for zoom, wide stereo and X-Y positioning for high quality sound. At the same time, enjoy high quality playback with the new S-Master HX™ digital amplifier which supports playback of High-Resolution sound.

Also Support Sound playback on Flac, and used as an audioplayer, with built apps on iphone and android.\

Sound Device 633

In my traditions, working production equipment are often an unique choice in the markup of concepts from the expense of buying top notch gears in comparison, the use of consumer equipment, there are some short sightedness like trimmed down version of consumer grade level equipments throughout this video by Curtis Judd in the Rockies, for example if you are using sound recorders for youtube quality video sound recording. The sound capturing for pro gears are often deemed to be unnecessarily mention by Judd. His video review the SOUNDDEVICE 633, but if you are a professional artist for film Foyle and soundman at the highest end of sound mixing and capturing, investing in a Sound Device 633 would be in your own interest to create the sound from the highest end of equipment checklists and not to mentioned the video below will review the pro tips, and ideas that is necessary to pick the right professional equipment between commercial/consumer grades digital recorders like the ZOOM F8 and ZOOM H4N.

From the understanding of anything to pro gear I think it is the pricetag that is going to be your major investment and using your knowledge based to being able to understand your concept in sound design amid how your sound should turnout would be likely planned, with the artist or filmmaker and not just doing recordings without an intend of research, a lot of information can be found on internet if you look eager enough. And for soundtrack dubbing, and music the knowing of how to make foyle sound…, something I am falling back in to doing, yet is still an idea to be formed as I can hopeful to sell enough music to buy a SoundDevice633.

I find a lot of Asian filmmakers and visual artist is not communicating clearly on how sound should work with their visuals, and I am speaking out to Asian filmmakers like myself when I produce my first film I was lucky to be able to reused the sound from the DSLR camera in built sound recordings, at the time I had learnt a lot of problem after going in to post production. And then again, if you don’t try and learn your mistakes, you will not be able to see how to solve these problem next time. At the time I did not have many working footage for the film editor and in accordance to just luck really to be able to complete the film A.VISUALIST.

And also beware of solo copycats..haah, just a inside joke….

A lot of this is reference to Hong Kong Cinema, and by my case, I did noticing sound recordings without a Limiter is the main problem. From being a producer of music where I was able to find reason to work with sound engineers to learn more on sound mastering and mixing, but without working with sound and music I probably did not make it easier for myself to learn it.

I wish this blog will be able to help other to find genuine ideas to expand on their creative process uniqueness and share with their own community.

Classic Compressor – reviews

In producer’s mind when they create a track or music, there are a few tools they will constantly go back in to for mastering sound. In some aspect, the sound quality coming from a computer or recording liveset are most often used is Compressor. Myself I do not do mastering for sound and music, alternatively I always believed to let the professional do the engineering for your sound.

From sound designer to producer, sound mastering and mixdown is the most important function before delivering a track. I am not an avid for mastering sound in my production, since I spend too much time thinking just upload, and upload as I please, and those who find my music rather mediocratic should be more familiar with the post modern concept on when to upload and when do you think your music and sound is rather for mastering. I think wasting time on your engineers for middle-ware production is rather a waste of talent.

So what is a Classic Compressor, check out this article on Sound on Sound, a UK magazine based in and outside of  London. An analogue compressor is a piece of hardware to create dynamic sound compression, does say much here until you checkout these links below

http://www.barryrudolph.com/mix/comp.html

https://en.wikipedia.org/wiki/Dynamic_range_compression

http://wiki.audacityteam.org/wiki/Nyquist_Effect_Plug-ins

Pages:«123456»