dj mylo

A great bit of writing about the man who invented a device that started a musical revolution. Written by Ray Kurzweil. Robert Moog (1934-2005) I first heard a Moog synthesizer in the mid-1960s when I happened across a TV news segment about the newfangled instrument and its "sci-fi sounds," as the reporter put it. I had just finished a high school computer project on algorithmic music composition, but this was the first time I had heard synthesized sounds. It left me with an inspired feeling that a threshold had been crossed. Robert Moog, (the name rhymes with vogue) died August 21 at age 71, but his impact on music was permanent and profound. Through the end of the 19th century, music had been made entirely from found and crafted implements - vibrating strings, resonant boxes and tubes - and of course the human voice. In the 20th century, musical devices went beyond such natural ones (which were sometimes electrically amplified) to fully embrace high technology in the form of electronic music synthesis. The first synthesizers appeared in the early 1900s, but they were obscure experiments until Moog brought them into the mainstream. The Bob Moog I knew, however, wasn't focused on his pivotal role in music history. He was motivated by his love for invention, for applying electronics to music, and for interacting with the musicians who used his technology. He had a rare combination of talents: an intuition for signal processing and an equally clear sense of the language of music. Moog built his first electronic musical instrument, a theremin, when he was 14. Invented around 1920 by Russian ­physicist Léon Thérémin, it enables musicians to create­ sounds by moving their hands between­ two electrodes. Moog started selling­ portable theremin kits in 1961 and was soon flooded with orders. Although he was pursuing a doctorate in physics at Cornell University at the time, this unexpected success firmly established his career path. He debuted the Moog synthesizer - a slim keyboard attached to a bulky cabinet arrayed with oscillators, amplifiers, and filters - at the 1964 Audio Engineering Society convention in New York. At $10,000, the instrument was affordable - at least to a few musicians. RCA had introduced a synthesizer a decade earlier, but that model filled a room and cost in the low six figures. Moreover, RCA's version got its performance instructions from punchcards, while Moog's could be played by ordinary musicians. Although only a few dozen were sold, the Moog synthesizer caught the music world by storm. Its striking sounds showed up on albums by the Beatles, the Rolling Stones, and the Monkees and spawned a genre of space-age novelty records. Moog's most important early customer was Walter (now Wendy) Carlos. In 1968, Carlos released the landmark album Switched-On Bach, featuring synthesized Bach compositions painstakingly multitracked one line at a time. No one expected it to get much notice. The release party lumped it with another obscure work called Rock and Other Four Letter Words. Carlos didn't even show up (although Moog did). But Carlos' record became a huge hit, selling multiplatinum and earning three Grammy awards. It effectively launched a new era in music creation. The palette of sounds available to musicians exploded. Switched-On Bach caught the attention of my father, Fredric, a noted orchestra conductor and music educator. In my teenage years, we had many conversations about the nature of music, and now our talks broadened to include technology. Shortly before his own death in 1970, he told me of a strong feeling he had, that one day I would combine my interests in computers and music. This conversation, a direct result of Moog's work, was very much on my mind when I founded Kurzweil Music Systems in 1982. The company's mission was to harness digital technology in music. As a result I crossed paths with Moog many times at various music conferences. I found him unusual in his earnest, sincere, and self-effacing manner. He didn't much believe in small talk, and a casual comment was likely to cause him to think deeply about his response. Often he'd meet a simple question such as "How's the convention going?" with a prolonged, awkward silence while he pondered an answer. Those who learned to be patient with this style of conversation were consistently rewarded with a keenly insightful response. Starting in 1984, Moog spent five years working for Kurzweil Music Systems as vice president of new product research. His thoughtful approach was of great help in realizing our ambitions. He would sit silently during executive committee meetings, not out of indifference or distraction, but because he was listening intently. Invariably, at a crucial moment, he would offer his considered opinion, delivered with a gentle voice of authority and spoken from a deep appreciation of the musician's perspective. It's these personal qualities, as much as the indelible mark he left on the world of music, that come to mind when I remember Bob Moog. - Ray Kurzweil

yo! Vortex don't have a site cos they like to keep things a little more hush hush, otherwise there are like 10 000 ravers trying to get in try 3am. there's a forum too so you can ask the peeps! Enjoy, I'm jealous clicky

Apart from good eq'ing ( mentioned above ) my advice would be expirement with compression a bit. you can really get a punchy bassline with the right compression, preferably hardware compression that is. try using different attack and release settings and you'll probably get closer to the sound you are looking for. also could be an idea add a bit of distortion/overdrive as well good luck.

2005 is no doubt the year in which most trance albums and compilations were released. so far, that is. On the downside - a lot more dissapointing releases, and more releases aimed at commercial dancefloors/radio-play. On the upside - production techniques improved, new tricks were discovered etc. New talented artists came into the scene. I don't think we can generalise any more and say it was the "worst year for psytrance". The genre has become even more blurred and people are heading in different directions and sub-genres. I think it is fair to say that it was the worst year for certain artists and labels. Psy-trance, unfortunately, is not like wine There are no good and bad years - just good and bad releases and artists. imho

45. DJ Yahel 75. Astrix lol

great tune

for some reason: Pop Stream - Crying Comet Not sure why. I guess it has a connection for me. I dropped it in a set a while back and heard it on a really big system. The synth line that comes in at a the end just seems to be so "expressive". Like it's actually trying to say something. and it definately has an emotional feeling to it. Maybe it was for other, less musical reasons he he otherwise, a lot of stuff from Oforia, some Psy-sex, and of course IM's Psycho! More recently I have swayed away from the "emotional" sound - eg. Protoculture and all the ProtoClones! to "more groove-oriented" toonz. EDIT: yes I too believe Protoculture is full-on. Perhaps Morining Full-on is a better description.

I will be there! And so will my babe! See you peeps on NYE !!!!

Shit, that's what I meant! Not Creative... Evolution! D'oh! Yip, the software comes free with the keyboard! Never used it tho, is it cool?

same place you got that nick, I guess

Creative soundcards come with a software disk and a piano tutorial application. it works with a usb midi keyboard if you have one. there is other software like this around. lookee on the interweb.

( although they cross the cheese-line every now and then ) SESTO SENTO are farkin l33t with the production side of things. IHMO. The tunes are always super-crispy

I thought more artists would have mixed for 5.1 by now, but nobody really did. I heard that Simon was gonna release an album mixed for 5.1 but it never seemed to be released??? I guess psy is behind the times in many respects. I guess it's a finacial issue on both ends!

*looks at GSH's name So you are gay and a hippie. And you play vinyl? confused ps. vinyls make great clocks, but not great DJ's p.p.s - kidding, but I guess you know me well enough! let's jam sometime when I'm next in Berlin mmmkay? Or are you ever in Hamburg?

dj moni pwnz sungirl

Wrecked Machines - Idioteque Hallucinogen - Beautiful People

1. I would like to see more tracks in the 140-142 bpm range. People either make slow prog or fast fullon these days. I like the middle ground, because it get's both crowds on the dancefloor. 2. A return to psychedelia - less vocals and pop melodies. Less guitars and more creative synth sounds. I like to be sent on a journey out of my world, not reminded of it. 3. Less remixes of Pop stuff and more remixes of psy-trance stuff. Psy remixes push the scene forward. Someone has an idea and then another artists improves on it. This is progress! 4. More originiality. Sensient and Black and White's albums have really stood out for me this year, eventhough they are not pushing the boundaries of creativity that hard. I guess there's a lot of mediocrity and "sounds like" stuff out there these days. We need a few bands/artists out there to break new ground and raise the bar. 5. New tools. When the Fender Stratocaster came out it changed rock music. Psytrance has been developing with technology. So we need a technological breakthrough to influence a psytrance breakthrough. New gear, software, sequences and fx will bring new sounds and styles.

6. Laptop's running Fruity-Poops

they never pick me *tries harder for next year

KT looks like a QT

he makes Tom Cruise look like a basketball player

crying with laughter at Mr Far Left! Yes and Stella pwnz Sungirl for sure! for the following reasons: 1. She is not pictured with Skazi 2. She actually plays good music 3. Her name rocks - sungirl has a dumb name when you realise she wears primarily black and it is evident that her lily white skin hasn't seen the sun in like 20 years.

nhjo Firstly, I do not enjoy your tracks. But that's because of my personal taste in music. Secondly, there are a lot of people out there "waiting to be noticed" by labels. If you are really serious about this you should consider creating your own label and releasing independently. This is how this scene works unfortunately. I don't now any labels that are looking for your sound out there. If there are then you should contact them directly. good luck

Yeah.... Ticon Antix Magnetrix Kruger and Coyle D-Nox Neelix Sensient M.O.S ( ol skool ) Shiva Chandra ( ol skool ) XV Killist ( ol skool ) Check out Dance 'n Dust Records for a truly progressive progressive label! but prog is mostly boring *yawn the above list at least keeps me mildly entertained