However one thing, I didn’t enable record on the Pacemaker device. It was kind of gutting because it was a good set and 90mins got extended to 2hrs, even with the mixer power supply getting overloaded half way through.
Because of the lack of recording, I remembered most of the tracks I played including the starting tune (Stella) and the last one (Anahera), I did a remix of the night also on the Pacemaker device.
Its good mix with some pace and sums up that amazing night after midnight in the laser & smoke filled null sector.
Remix culture, sometimes read-write culture, is a society that allows and encourages derivative works by combining or editing existing materials to produce a new product. A remix culture would be, by default, permissive of efforts to improve upon, change, integrate, or otherwise remix the work of copyright holder
My personal thoughts are, DJ culture was new exciting and things were moving and changing all the time. We had vinyl, record players and mixers. But people were innovating and doing new things on top of that. Then the technology changed from spinning discs (Vinyl, CDs heck even Minidisc if you must) to Solid State/Digital. There was a lot of push back and there still is… But you can’t stop the future.
However we adopted the digital methods to do exactly the same thing. You can see this in the vast amount of digital dj tools, 2 decks and a mixer. Skeuomorphism hell! And it needs to die! Because a good 20 years after the first Mp3 dj software (virtual turntables by Carrot innovations). The interface, method and general approch is exactly the same.
That’s more than half my life time! That has to be some kind of a joke!
Ok under the hood things have changed but not far enough and wheres the distruptive changes? The DJ world still seems to be stressing out about auto BPM? Its happened get over it. For a whole culture built on innovation and creativity, it seems highly ironic?
But this was just scratching the surface of a much larger problem with DJ/Remix culture. I put together some slides which horrible to read back through as they are 5 years old, but its been super useful when talking to people and companies about what DJ hackday could be about. It was due an update and thankfully I can finally tick this off my list.
The 1% rule is a rule of thumb pertaining to participation in an internet community, stating that only 1% of the users of a website actively create new content, while the other 99% of the participants only lurk. Variants include the 1-9-90 rule (sometimes 90–9–1 principle or the 89:10:1 ratio), which states that in a collaborative website such as a wiki, 90% of the participants of a community only view content, 9% of the participants edit content, and 1% of the participants actively create new content.
In the case of DJ hackday; out of 100 people…
90 will be consumer (lurkers/watchers)
1% will be makers (creators)
9% will be remixers (editors)
Music hackday cators for the 1% and of course moving remixers and consumers into makers. DJ hackday is moving consumers and makers into remixers. Its a very viable area with plenty of people doing interesting great things already. Everyone we have spoke over the last 5 years have gotten the concept and really want to see it become a real things now.
Capitalising on the recent interest in the Get Down on Netflix, which sums up a bit of why DJ/Remix culture is important. I created some simple teaser posters. Expect a proper poster in near future but right now, its about getting the word out. And we’re really targetting those who never thought of themselves as DJs or participating in remix culture. People like you!
As the year counts down towards Winter, I’ll be looking for people to help and other companies to join the DJ Hack. We already have some great names (tbc) and starting to sort out venues for the night events. Of course we already have the MMU Shed for the main hack which is a great space for a hackday. The actual hack dates are Saturday 14th and Sunday 15th January, with a social event on the Friday 13th January and post hackday party on Sunday evening somewhere we can try out some of the hacks.
If you are interested in helping out on the day, know a great venue, like to support in some way, set a challenge or want to come help organise it. Get in touch…
Feel free to ping myself a tweet or drop a message via email, my contact form, comment, etc… I’m quite easy to get hold of.
I have no idea what happened in the first 2 mixes. Honestly the mixes were dead on, I was playing it loud out of my amp and if it was that off trust me I would have heard it. Anyway, rather that try and fix it, I’ve left it in because the whole set is a excellent one. There seems to be a bug with the pacemaker or something because after those two mixes everything pans out perfect. Anyway let the mix do the talking, just remember to skip the first two mixes.
Now I understand a little more what could be going on thanks to me playing with the pacemaker beta firmwares. I rolled back my pacemaker firmware to the last known official version and lost some features including the beat aware looping (shame!) but now can record exactly what I hear.
Because of this, I redid the impossible wall of trance which one of the first mixes where I identified the problem/bug. As its a new mix, I threw some old tunes out and replaced them with new stuff. The bulk of the mix is still there however. I did have a better ending but I had to cut it short, as we were landing and things needed to be put away.
I’ve been thinking recently out of 100 people using social media , 1 person will want to create and upload their own media. However 9 people if the user interface is effortless, smooth and simple, would make slight changes to either reflect their own decisions, point of view, etc.
This is reflected in the 1% rule where 90% are lurkers, 9% are contributors and 1% creators.
Its strikes me that many things are missing the 9%. They miss the fact that the 9% can also contribute to the enjoyment of the 90% and be even more interesting than the 1%.
The Surface remix project isn’t a DJ platform but rather a remix platform. Yes you could do a little mixing on it but realistically it for making music. The thing which got me interested was the interface. From what I understand about the Microsoft surface is that the keyboard is clicked on, but what if you could click other types of inputs in? It would certainly beat the problem of touching glass.
Will this extended beyond the one smart modified smartcover? I doubt it, Microsoft are well known for wanting to control everything but then again what they did with the Xbox Kinect was good news, although I’ve not seen anything like this recently. If it was a open source project with open and published hardware and software specs, I would be a lot more interested.
I’ll keep an eye on it but I don’t hold out hope for anything ground breaking…
I was speaking to a group of students at Salford University earlier this month about the cultural value of parody videos. Even the terrible ones. I made the arguement that the really terrible ones may be more important than the really good ones.
I explained to the students that for every terrible parody video on Youtube there will be hundreds of super talented viewers saying to themselves “I can do better than that”. The terrible parody video is what it took to kickstart their creative career.
Example 1: Custom cookbook. Pick a your favourite menu items and self publish your own cookbook. A bit of Jamie, dash of Heston and a lot of Nigella (yes please). Arrange them into a new type of cook book which is custom for you, or reflects your cooking style. It could be a cookbook for you or for someone else…
Example 2: The best of… Many times in the past, people have said the best way to learn about Z is to read chapters Y & X of book W and chapters A, B and C of book D… Want to know the best to learn how to skateboard or surf? I recommend reading my custom book which is made up of… you get the idea
Example 3: The best places in the world. Could be a nice mix of places you’ve never been to before, places you inspire to go or places you have been to before. Actually it kind of reminds me of off beat guides, but instead of building it from raw components its from previous decent reviews.
Sure there are many more including books for young children, books for different learning styles, etc, etc…
The remix methodology is actually very apt, because instead of building your own from the components, your remixing parts of others. Like a Dj remixing other peoples tunes.
The copyrights framework will be a nightmare to work out (we’re not kidding ourselves about that) but to be honest it could be something like the music rights framework for albums and singles? Might even increase the amount of readership for some books? It could be massive changes, or little changes like the art work in the book. Instead of lovely glossy pictures of food in a cook book, it could be technical diagrams for those more interested in seeing those? Maybe the remixes will cost more than the originals but to the person who gets it, its worth so much more. You get the idea…
Crazy idea? Tell me and Simon why? Maybe you love it and want to run with it? Well all we require is attribution… This idea is open to the world… Run with it and tell us when you get rich by changing the publishing industry. This is what places like Lulu have been crying out for right? Just like… My lifestreaming dating idea and my dreamscape idea. Go get them, change the world or go Lazy web make it so…!
This all comes at a point when I’m seriously considering wiping my laptop drive and building a version of Ubuntu without Unity from the very start. Problem is I don’t really want to loose all the applications, preferences, etc, etc… So I’ll try and get Gnome3 fully working then maybe one day soon, just do the wipe. I am hoping Ubuntu allow Gnome3 to be a part of Ubuntu or allow such projects to grow and establish themselves.
Back in 1999, System F’s ‘Out Of The Blue’ redefined trance music for a new generation. Ferry Corsten’s synth-laden classic destroyed dancefloors across the planet and became a worldwide chart hit, beginning one of the most successful careers in dance music for the Dutch maestro. 11 years on, the track is being re-released with a host of new mixes from Tiësto, Hi_Tack, Laidback Luke, Rafaël Frost, Giuseppe Ottaviani, Koen Groeneveld, Showtek and others!
To celebrate, Ferry Corsten in association with Trackitdown.net and Copa Football, has launched FC System F – the chance to become part of the greatest team in trance history! By entering the competition, users are able to remix highlights from the System F back catalogue. To kick things off, Tiësto, Laidback Luke and the above have already remixed ‘Out Of The Blue’, but there are 10 further original tracks presented in the line-up, all waiting for the remix treatment from a new star player.
Starting weekly from February 2nd, Ferry will post the original parts of a System F track on the website. After agreeing to the Terms & Conditions and registering, fans will be able to download the parts for free, and have 3 weeks to send in their remix via a download link to email@example.com
Wonder if I can use LMMS for remixing these tracks once their available?
Matt showed me this earlier in the week but I had to blog it. This is a excellent example of remix culture… Imagine if Amen had claimed copyright over the break? Or if they had licensed it only to the top producers in the music industry.
This fascinating, brilliant 20-minute video narrates the history of the “Amen Break,” a six-second drum sample from the b-side of a chart-topping single from 1969. This sample was used extensively in early hiphop and sample-based music, and became the basis for drum-and-bass and jungle music — a six-second clip that spawned several entire subcultures. Nate Harrison’s 2004 video is a meditation on the ownership of culture, the nature of art and creativity, and the history of a remarkable music clip.
5-10 years ago people were touting that it would only be a matter of time before everyone started building 3D web sites just like they were building HTML pages. What happened? Is it that 3D on the web failed? Or is it that many of us didn''t really understand that the Web is a much bigger and more diverse place than HTML pages? X3D, particularly in it's XML incarnation, is actually growing very very rapidly on the web. But it's not growing as HTML pages – it is growing as real XML-based applications that demand serious technical chops to develop
That maybe but come on, your telling me the x3d guys don't want people to mashup realtime data and api's into something x3d? Then looking back a little longer, I found this gem.
OK, so we've spent like 5 or 6 years moving from VRML to X3D…what's the point! Visually the advanced VRML browsers compete pretty well with X3D browsers but it's time to make the XML magic really appear.
Sandy suggestions some implementations and boy oh boy are they run of the mill. No disrespect but there pretty boring and if I saw these, I would shake my head in shame. Recently I've been very much into the visualisation of complex data and honestly I think via some very clever use of x3d you can generate something actually very useful. Lets do a better example. Take Digg data and boy oh boy you could do some very clever things to map whats hot and whats not. Through transparency and using the zindex it would be possible to show existing stories from days before and maybe there peaks. It would be like a landscape of stories with there digg totals in yindex (height), date in the zindex (distance) and maybe relvents or grouping across the xindex (across). Using your mouse you could hover over one and things would open up a little to show you more details of that story. Alright maybe my example isn't much better but at least its not your usual 3d on the web stuff.
The images from the Spam Architecture series are generated by a computer program that accepts as input, junk email. Various patterns, keywords and rhythms found in the text are translated into three-dimensional modeling gestures.
Nice stuff, but I was thinking it would be great to see a real time view of this thing growing over days or weeks then bits getting lobbed off when he purges his spam folder. And this could easily be done with x3d, hey what ever happend to x3d? Anyway, it also seems Alex has a few projects based on visualising complex data like this one called Brecht, a VJ tool based on SQL queries.
The custom software in this work draws musical patterns in the form of translucent arches, allowing viewers to see–literally–the shape of any composition available on the Web. The resulting images reflect the full range of musical forms, from the deep structure of Bach to the crystalline beauty of Philip Glass.
I don't what else to say but I would love to see these drawn using multiple colours and animated to the music. Which (with my remix head on) could be done using clever use of SVG. Do check out the Gallery to get a feel for what I mean.
Third but somewhat deserving to be last, Brian Eno and David Byrne offer all there song data from there latest album My life in the bush of ghosts under a creative commons licence. Great, and lots of people have already started remixing but there something I can't let go of so easily. Why wrap the whole damm site up in Flash! Its really fiddley and means I can't permalink to any of my favorate remixes or even copy the text for a blockquote. One word…. suck! Although the general idea is good. Shame its let down by some over the top flash wankery.
Oh quick plug for one my favorate blogs about information visualisation, information aesthetics. Now if only someone could make the link between information visualisation and real world remixing of xml and webservices.
I just had a quick look at my audioscrobbler/last fm rss and noticed i'm listening to the same 3 tunes over and over again. Its not a mistake, its actually me loving these tunes which I stayed up to 2am searching for the other day. I've had them all of 2 days I believe and can not wait to do a mix with these new tunes. What are the tunes, you maybe asking?
Gabriel and Dresden feat. Molly – Tracking Treasure Down
Kosmas Epsilon – Innocent Thoughts
They've been on my list for quite some time but finally went actively searching for them on Trancetraffic and found them all there in 320kps Lame encoded Mp3 format. Mighty impressive quality and great tunes which could not be found on iTunes and Allmp3.com.
I simply will not buy music which is DRM'ed, practially Fairplay DRM (what a joke for a name) does not play on my ipaq, mobile phone and certainly not in my Dj application Virtual DJ. I mean why the heck would I buy music from the iTunes store and put up with the fact that I could not mix with it? Insane I tell you. So much for the mix in Apple's Rip Mix and Burn tagline from years ago.
The BBC reports that if you're a DJ, playing your digital copies of files off a laptop or mp3 player is illegal. The UK royalty collection agency, PPL, demands that such DJs pay £200 for a license in order to do so. From the article, 'Many DJs are still unwittingly breaking the law by playing unlicensed digital copies of tracks months after a new permit scheme began, the BBC has found. This includes legally-purchased downloads, which are normally licensed only for personal use, as well as copies of tracks from records or CDs.
What the heck? Geez this is the kind of thing I hear about in America not in the UK. Going through the comments it seems this headline grabbing story may not be all its craacked up to be. The first informative comment goes like this…
I think the article summary is a touch misleading. My reading was that the public performance of songs whose copyright the DJ doesn't hold is what's illegal, and the £200 is for a licsence that remedies the situation. Nobody is telling anybody they can't play music on their laptops, and I'm sure the submitter didn't intend this, but I think it's important to point out that this only relates to public performance. Additionally, DJs do not need to pay the liscence if they are playing from CD or vinyl.
So this still applies to someone like me it would seem? I don't get it why because its digital I have to pay a license fee on top of all the music I'm playing on my laptop? As someone said, its a specific license tax on just those who utilize digital delivery systems. Some comments which sum up better than myself.
So a DJ can play a CD, but if she plays the same track ripped to an MP3, she has to pay an extra 200 pounds for a license? Where's the sense in that? The US compulsory license scheme actually seems sane by comparison.
Hey you thief, don't you dare be playing my tracks where lots of young impressionable kids will get to listen to them and then afterwards possibly go out to their local DJ shop and buy my records/CDs! Well unless you give me 200 big ones!
So finally the BBC has launched its first lot of creative archive licenced material. There will be some kind of major vj competition to follow. I think this is all good stuff, except a couple of things.
1. UK only? this is a real shame for the billions who happen to live outside of the UK.
2. No P2P downloads of the files. I thought there would be somewhere on the site where you could download everything in one go. But nope it looks like a click and browser type of affair. I did look around to see if anyone had hosted a torrent for this, but I cant find one. Its tempting to do so myself and try and restrict or at least inform the downloaders of the licence rights. I'm sure under the creative archive licence I would be in my rights to do so? And wasnt this the point of a creative commons type licence? I would be interested to hear if the BBC are using Geo-ip type blocking for downloads or relying on the licence conditions.
I know Bit Torrent has a bad rep when it comes to most mainstream businesses. But the simple fact is that it works. You can distribute large files around the net without hammering one server farm. I even believe its possible to tell the Bit torrent tracker to use Geo-ip type systems when deciding who should and shouldnt beable to download the files.
Till number 2, the distribition of the files are handled differently, superstar vjs is going to require alot of clicking and browsing. So close, but so far…
I also would not link to such proxy servers in the same post. But we all know once its online, location makes no difference. Just making downloading difficult is not ideal when thinking about the audience. But if it serves the purpose of convincing the lawyer, that a certain percentage of the rest of the world wont download the UK only content. Well theres no more to say.