Jack Hertz

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About Jack Hertz

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    Bay Area, CA
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    Sound Design, FM Synthesis, Publishing, Improvised music, Music Concrete, Digital Synthesis, Visual Design, Video Production, Software Development, Unix, Outdoors, Spirituality, Reading, Publishing

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  1. A feature-length documentary about seminal avant-garde electronic music composer, Morton Subotnick. Waveshaper Media, the makers of 2014's acclaimed modular synthesizer documentary "I Dream Of Wires," is excited to announce that production is now underway for a new, official bio-documentary about revered avant-garde music composer, and electronic music pioneer, Morton Subotnick. Through a series of candid interviews and illuminating conversations with key figures from his past and present, "Subotnick" will provide an overview of this fascinating composer’s rich life and uncompromising career. In Subotnick, we follow 84-year-old Morton Subotnick as he travels to perform at music festivals where, much to his puzzlement, he finds himself celebrated by young audiences as the “father of techno." Through personal recollections, and archival films and images, the film traces a career that spans nearly six decades. From his early years as a pioneer of the American avant-garde, to his newly acquired status as a renowned electronic music icon, Subotnick paints an intimate portrait of one of America’s most influential composers - a man more sharp, driven and charismatic than most people half his age. Subotnick explores both the recent explosion of interest in his work, including a busy touring schedule, and the ongoing creation of a new work, to be filmed for the documentary at its Lincoln Center premiere performance in July. Through a series of candid interviews and illuminating conversations with key figures from his past and present, Subotnick will provide an overview of the composer’s rich life and uncompromising career - from his military service during the Korean War, to playing clarinet for the San Francisco Symphony, to co-founding the seminal San Francisco Tape Music Center in the heart of the West Coast psychedelic underground, up to his lifelong dedication to alternative music education through software innovation. In profiling Subotnick’s entire life and career, we reveal a man of uncompromising vision, devoted to breaking new musical ground and still shattering the rules of music as we know it. Working with engineer Don Buchla in the early 1960s, Subotnick commissioned one of the world’s first electronic music synthesizers, which he first put to use on his 1967 album “Silver Apples of the Moon” - a breakthrough recording that became a landmark of the psychedelic era, and was recently inducted into the National Registry of Recorded Works at the US Library of Congress. As modern day music critics and listeners have started charting the evolution of music genres like techno and electronica, many branches of the family tree point to Morton Subotnick. Morton Subotnick's legacy and impact on electronic music are undeniable, and so it came as a surprise when we asked Mort if anyone had ever approached him before about making a documentary about his life and career; he replied that nobody had. We were extremely honored when he agreed to our proposal, in early 2016, to document his life and career, and we've been periodically meeting with Mort to film, as time and funds have permitted, ever since. In September 2016, legendary synthesizer designer Don Buchla passed away. Buchla had been a crucial collaborator in Mort's life, the man who brought his vision of an "Electronic Music Easel" - an instrument that would transform Subotnick's career - to life. We had been in discussions with Mort to visit San Francisco to film a meeting between the two old friends, and despite the fact that Don Buchla was in the final stages of a long battle with cancer, he was very enthusiastic about being a part of "Subotnick." Regretfully, we missed our opportunity to include Don Buchla when he passed away. Shortly after Buchla's passing, two more crucial figures from Mort's story, fellow San Francisco Tape Music Center alumni Pauline Oliveros and William Maginnis, also passed away. It's become clear that we don't have all of the time in world to complete filming - the time to document Mort's story is now, while those who were a part of it are still alive to tell it. It's been a familiar story in our ongoing quest to document electronic music history, through our previous work on "I Dream Of Wires," and particularly with our upcoming Bob Moog doc, "Electronic Voyager." We've self-funded as much filming for "Subotnick" as we could afford to, investing nearly $15,000 of our own money into production to date, but we're now turning to fellow electronic music enthusiasts and historians, our followers, and Morton Subotnick's fans, to help us fund the final production costs to complete filming for "Subotnick."
  2. A feature-length documentary about seminal avant-garde electronic music composer, Morton Subotnick. Waveshaper Media, the makers of 2014's acclaimed modular synthesizer documentary "I Dream Of Wires," is excited to announce that production is now underway for a new, official bio-documentary about revered avant-garde music composer, and electronic music pioneer, Morton Subotnick. Through a series of candid interviews and illuminating conversations with key figures from his past and present, "Subotnick" will provide an overview of this fascinating composer’s rich life and uncompromising career. In Subotnick, we follow 84-year-old Morton Subotnick as he travels to perform at music festivals where, much to his puzzlement, he finds himself celebrated by young audiences as the “father of techno." Through personal recollections, and archival films and images, the film traces a career that spans nearly six decades. From his early years as a pioneer of the American avant-garde, to his newly acquired status as a renowned electronic music icon, Subotnick paints an intimate portrait of one of America’s most influential composers - a man more sharp, driven and charismatic than most people half his age. Subotnick explores both the recent explosion of interest in his work, including a busy touring schedule, and the ongoing creation of a new work, to be filmed for the documentary at its Lincoln Center premiere performance in July. Through a series of candid interviews and illuminating conversations with key figures from his past and present, Subotnick will provide an overview of the composer’s rich life and uncompromising career - from his military service during the Korean War, to playing clarinet for the San Francisco Symphony, to co-founding the seminal San Francisco Tape Music Center in the heart of the West Coast psychedelic underground, up to his lifelong dedication to alternative music education through software innovation. In profiling Subotnick’s entire life and career, we reveal a man of uncompromising vision, devoted to breaking new musical ground and still shattering the rules of music as we know it. Working with engineer Don Buchla in the early 1960s, Subotnick commissioned one of the world’s first electronic music synthesizers, which he first put to use on his 1967 album “Silver Apples of the Moon” - a breakthrough recording that became a landmark of the psychedelic era, and was recently inducted into the National Registry of Recorded Works at the US Library of Congress. As modern day music critics and listeners have started charting the evolution of music genres like techno and electronica, many branches of the family tree point to Morton Subotnick. Morton Subotnick's legacy and impact on electronic music are undeniable, and so it came as a surprise when we asked Mort if anyone had ever approached him before about making a documentary about his life and career; he replied that nobody had. We were extremely honored when he agreed to our proposal, in early 2016, to document his life and career, and we've been periodically meeting with Mort to film, as time and funds have permitted, ever since. In September 2016, legendary synthesizer designer Don Buchla passed away. Buchla had been a crucial collaborator in Mort's life, the man who brought his vision of an "Electronic Music Easel" - an instrument that would transform Subotnick's career - to life. We had been in discussions with Mort to visit San Francisco to film a meeting between the two old friends, and despite the fact that Don Buchla was in the final stages of a long battle with cancer, he was very enthusiastic about being a part of "Subotnick." Regretfully, we missed our opportunity to include Don Buchla when he passed away. Shortly after Buchla's passing, two more crucial figures from Mort's story, fellow San Francisco Tape Music Center alumni Pauline Oliveros and William Maginnis, also passed away. It's become clear that we don't have all of the time in world to complete filming - the time to document Mort's story is now, while those who were a part of it are still alive to tell it. It's been a familiar story in our ongoing quest to document electronic music history, through our previous work on "I Dream Of Wires," and particularly with our upcoming Bob Moog doc, "Electronic Voyager." We've self-funded as much filming for "Subotnick" as we could afford to, investing nearly $15,000 of our own money into production to date, but we're now turning to fellow electronic music enthusiasts and historians, our followers, and Morton Subotnick's fans, to help us fund the final production costs to complete filming for "Subotnick." View full movie
  3. Copyright Criminals

    Long before people began posting their homemade video mashups on the Web, hip-hop musicians were perfecting the art of audio montage through sampling. Sampling — or riffing — is as old as music itself, but new technologies developed in the 1980s and 1990s made it easier to reuse existing sound recordings. Acts like Public Enemy, De La Soul and the Beastie Boys created complex rhythms, references and nuanced layers of original and appropriated sound. But by the early 1990s, sampling had collided with the law. When recording industry lawyers got involved, what was once called "borrowed melody" became "copyright infringement." COPYRIGHT CRIMINALS examines the creative and commercial value of musical sampling, including the related debates over artistic expression, copyright law and money. The film showcases many of hip-hop music's founding figures like Public Enemy, De La Soul and Digital Underground, as well as emerging artists such as audiovisual remixers Eclectic Method. It also provides first-person interviews with artists who have been sampled, such as Clyde Stubblefield — James Brown's drummer and the world's most sampled musician — and commentary by another highly sampled musician, funk legend George Clinton. Computers, mobile phones and other interactive technologies are changing our relationships with media, blurring the line between producer and consumer and radically changing what it means to be creative. As artists find more inventive ways to insert old influences into new material, COPYRIGHT CRIMINALS poses the question: Can you own a sound?
  4. Copyright Criminals

    Long before people began posting their homemade video mashups on the Web, hip-hop musicians were perfecting the art of audio montage through sampling. Sampling — or riffing — is as old as music itself, but new technologies developed in the 1980s and 1990s made it easier to reuse existing sound recordings. Acts like Public Enemy, De La Soul and the Beastie Boys created complex rhythms, references and nuanced layers of original and appropriated sound. But by the early 1990s, sampling had collided with the law. When recording industry lawyers got involved, what was once called "borrowed melody" became "copyright infringement." COPYRIGHT CRIMINALS examines the creative and commercial value of musical sampling, including the related debates over artistic expression, copyright law and money. The film showcases many of hip-hop music's founding figures like Public Enemy, De La Soul and Digital Underground, as well as emerging artists such as audiovisual remixers Eclectic Method. It also provides first-person interviews with artists who have been sampled, such as Clyde Stubblefield — James Brown's drummer and the world's most sampled musician — and commentary by another highly sampled musician, funk legend George Clinton. Computers, mobile phones and other interactive technologies are changing our relationships with media, blurring the line between producer and consumer and radically changing what it means to be creative. As artists find more inventive ways to insert old influences into new material, COPYRIGHT CRIMINALS poses the question: Can you own a sound? View full movie
  5. #FreeSynthFriday - #Aalto's sound engine lets you create sounds that have been difficult or impossible to make with #softsynths before now. The heart of Aalto is a #Buchla-inspired complex #oscillator, with FM, timbre and waveshape controls that enable a wide range of expressive sounds. Register now at SoundDrive to download your free Aalto Solo at http://www.studiodrive.de/?switchlanguage=en&t=plugin_details&pid=4&cat&os
  6. Aural Films presents a dark sonic adventure into the unknown. Christopher Alvarado and Jack Hertz team up for a special Halloween release that has been encoded with all sorts of arcanum. Descend into the hidden realms of alchemy, magic and mysticism where the night bleeds into the day and barbecued demons are served with a strong witches brew. NOTE: Many politicians were sacrificed in making of this record.
  7. Persepolis by Iannis Xenakis

    Subtitled "Nous Portons La Lumière De La Terre / We Bear The Light Of The Earth". Composed 26.08.1971, Persépolis, Festival de Shiraz (Iran), for 8 channel electronic tape. Tape realizeded at Studio Acusti, Paris. Continuous version, without interruption between part I and part II, realized in June 1999 and mixed to stereo 8 channel in April 2000 at the "Studio für Elektronische Musik des Instituts für Neue Musik der Staatlichen Hochschule für Musik Freiburg im Breisgau", Germany. Published by Editions Salabert.
  8. Ploytec πλ² PL2

    The PL2 is an analog synthesizer module with a digital (125kHz, state variable) multimode filter, offering unique saturation. That filter's followed by a second analog lowpass filter. It comes in two versions: The original black PL2 is MIDI powered via its MIDI input. It works with almost any MIDI equipped keyboard or MIDI interface. The built-in micro USB connector doesn't contain USB functionality, but can be used for additional power when needed. Here's a list of MIDI devices reported to be compatible:  Frequently updated compatibility list Soundwise identical, the white PL2 Leukos USB only works with computers or iPads® (USB camera connection kit required). Instead of a MIDI Input, πλ² Leukos features a perfect MIDI output, so you can connect an additonal MIDI synth (e.g. a black PL2).
  9. Topic: Ploytec πλ² PL2

    The PL2 is an analog synthesizer module with a digital (125kHz, state variable) multimode filter, offering unique saturation. That filter's followed by a second analog lowpass filter. It comes in two versions: View full synthesizer
  10. We live in an age of technology in which machines touch every part of our lives. It is not surprising that music has also been influenced by technology. This 1983 documentary film by director and writer Bernard Wilets examines the basics of analog synthesis, digital sampling and sequencing. Note this this the revised edition of the 1970 film that has been updated with an introduction to digital election music. View full movie
  11. Discovering Electronic Music

    We live in an age of technology in which machines touch every part of our lives. It is not surprising that music has also been influenced by technology. This 1983 documentary film by director and writer Bernard Wilets examines the basics of analog synthesis, digital sampling and sequencing. Note this this the revised edition of the 1970 film that has been updated with an introduction to digital election music.
  12. The Field Kit FX! This new device is a powerful new cv controlled effects unit for your electronic music setup and pairs extremely well with the KOMA Field Kit. Looper Frequency Shifter Sample Rate Reducer / Bitcrusher Digital Delay Analog Spring Reverb 4 Channel VCA Mixer 4 Step Mini Sequencer Envelope Generator All of this, combined with the new 4 Channel CV Interface which allows you to route four cv signals throughout the device, means an incredible control over sound and timbre and a great addition to your mobile performance rig. We are in the final stages of development of the Field Kit FX and are prepping the production and we need your support to make it happen! Let's get more detailed... The Field Kit FX is built up from 7 separate functional blocks all focused on mangling and changing incoming audio and CV signals. They are designed to operate together as a coherent addition to our Field Kit Electroacoustic Workstation or alternatively together with other pieces of music electronics with the ability to use control voltage signals. The Field Kit FX is a mad machine packed with a bunch of cool effects and features! Let us run your through its functions, first there is the: 4 Channel VCA Mixer The 4 Channel VCA Mixer is where all the signals of the Field Kit FX come together, providing a fully functional mixer with individual Volume and Tone control over each channel. We added CV control over the VCA so you can use your modular synthesizer, the CV outputs of your original Field Kit, or any other device to tweak the audio levels of the signals coming from the effects or feeding into them. The level of the Master Output can be set with the Master Volume rotary control, use the CV Select buttons to route the CV signals of the CV Interface to the separate channels. We like to push the limits with sound. Just like the mixer in the Field Kit, there is plenty of Gain to play with and the Tone control is a Low/Hi Pass filter that can drastically change the sound. CV Controlled Spring Reverb One of the classic effects is the Spring Reverb, which - especially taken from it’s enclosure - is the experimentalists' dream. You can touch it, hit it and use the physical properties to create spooky and unearthly sounds. We got so many requests of users of the Field Kit to add one, so we did. The Spring Reverb section in the Field Kit FX is Otto’s take on classic Spring Reverb circuitry and it rocks! He added a switchable Resonant Low Pass and Bandpass Filter in the audio path and a dedicated Cutoff rotary control to shape the input signal. In addition to that, we added variable Gain In, so you have maximum control over what you send into the effect. The Spring Reverb comes with CV control over Cutoff Frequency and Feedback. The Field Kit Spring Reverb works with a whole scala of reverb tanks! Please note: the Field Kit FX does not have a build-in spring reverb tank. You can use a whole scale of reverb tanks by connecting them to the Tank In and Out RCA connectors! Try playing around with different sizes. We offer a great high quality reverb tank in the Field Kit FX Pack (see below)! CV Controlled Frequency Shifter A super useful and interesting effect - and very popular here in the KOMA workspace - is the CV Controlled Frequency Shifter. A frequency shifter moves all audio frequencies by a given frequency amount, rather than a musical interval, like a pitch shifter. Technically, it modulates the audio onto a high frequency carrier wave, while filtering off one sideband and demodulated using a slightly different frequency. For instance, when you input a piano sound and shift the frequency up you will end up with a piano which is very metallic sounding. When you shift the frequency down, the sound will be more like a membrane. You can change the sound of the Frequency Shifter with the Amount control, which allows you to set the frequency shift amount, and the Sideband control where you can tweak the harmonic structure. Of course both controls can be controlled via the CV Interface too. Not only a Frequency Shifter… Also a Phaser! The Field Kit FX Frequency Shifter has a special Phaser mode. Built as an easter egg you just have to find it! The Amount Control becomes the Rate Control of the Phaser and the Side Band Control becomes Phase Amount. The onboard Phaser sounds very liquid and natural and gets that funk on! CV Controlled Digital Delay The Digital Delay is another creation of Otto, where he tweaked known configurations of the PT2399 Delay circuit to a Digital Delay with KOMA character! Create crunchy delay effects, add additional effects in the Feedback loop and enter the endless echo space! Use the Time and Feedback rotary controls to shape your sound, both can also be controlled via control voltage! We added a Gain In rotary control to manually feed the signal into the delay path, which is helpful, since this effect can easily go into overdrive! Use the special stereo to mono in/out feedback cable (or insert cable) in our Field Kit FX Pack (see below) to take the audio signal out of the feedback path and plug it into other effects to make your delay sounds even more unique. CV Controlled Looper Super useful for experimentalists and musicians alike is the Field Kit FX’s Looper. The looper can sample sound material up to 3 seconds in length and you can overdub this loop without limitation. Use the SRR rotary control to reduce the sampling rate and use the Crush rotary control to bit-crush the signal. Things get even more interesting (and way more fun!) when you modulate both controls with control voltages. This way you can create complex loops that keep changing their timbre and therefore create interesting sonic soundscapes and awesome rhythms. CV Controlled Sample Rate Reducer / Bit-crusher Also when you are not looping signals, you can use the looper section as a Bitcrusher and Sample Rate Reducer! Make a sinewave into a squarewave to scare that cat off your synthesizer. Roll-O-Decks - CV Generator The Roll-O-Decks is a multi purpose CV generator that you can use to control the CV Inputs of your Field Kit FX, original Field Kit or any type of (modular) synthesizer. It consists out of two different functions: The 4 Step Mini Sequencer A sequencer is always a handy source to have around when playing with effects. Use the different voltages that come out of the Mini Sequencer to automate different effect features, like the feedback of the Delay or the Cutoff frequency of the Spring Reverb's filter. Route cv signals from one of the CV Interface's inputs to the Threshold rotary control of the Roll-O-Dex and use incoming signals to trigger the different steps. Once no voltage is applied to the input, the Threshold control will act like a clock source, advancing the Mini Sequencer with every pulse. The Envelope Generator Just like the Mini Sequencer, the Envelope Generator creates handy cv signals to use with effects. It uses the four rotary controls to set the Attack, Decay, Sustain and Release phases of the envelope. If there is no CV routed to the Threshold pot, it will fire off repeatedly with the speed set by the Threshold control. If you route a CV signal to the Threshold, it will compare this incoming signal to the threshold and only fire if the CV signal goes above it. CV Interface The awesome matrix inputs of the CV Interface. Once plugged in, the cv signals are routed throughout the device! The CV Interface consists out of 4 CV inputs that can be routed to 11 destinations on the Field Kit FX. These 11 destinations are the most important features that can be controlled on the machine. The four CV inputs are color-coded (Seapunk Blue, Chrisi Pink, Deep Dan and OG Orange). The eleven destinations have an LED and a little push button above them. When you press the button, the color of the LED changes and the CV with the same color is now routed to that control. Want to route your favourite LFO to the Delay Time? Simply plug it into one of the four inputs and press the small pushbutton above the Delay Time until the colors match. Every CV can be routed to every destination and every CV can also be routed to multiple places as many times as you wish. Field Kit FX Pack Like with the original Field Kit, it’s all about the things you connect to the Field Kit FX! To get you started we offer an Expansion Pack with a bunch of different sources that you can use and connect to create your own signature sounds. The new Field Kit FX Pack! The Field Kit FX Pack contains: 1 x Spring Reverb Tank 1 x Delay Feedback Path Cable 1 x Big Contact Microphone 1 x Small Contact Microphone 1 x KOMA Elektronik Attenuator Cable 3 x 3,5mm Patch Cables Always handy to have around to patch up different parts of your Field Kit FX! In the book and manual Another 50 Ways To Use The Field Kit FX that will be shipped with every Field Kit FX we show you how you can make a bunch of cool patches together with your Field Kit FX and original Field Kit, you know: to experiment away! You can get the FX Pack as a separate reward or get it in a bundle with the Field Kit. MRSP Pricing Field Kit FX Pack: 49,00 EUR (incl. 19% VAT) Another 50 Ways To Use The Field Kit FX The Field Kit FX Manual and Reference Guide. The Field Kit FX Manual and Reference Guide. With every Field Kit FX we ship a little booklet called “Another 50 Ways To Use The Field Kit FX,” which, besides being the official user manual, is 100ish page book with examples of 50 different setups with the Field Kit FX to spark your imagination to experiment with the Field Kit and Field Kit FX on how for instance use audio as modulation source, cool ways to use frequency shifting, use overdubbed looped layers, how to program and load your own effects for the DSP engine and so much more! Eurorack Ready! You can easily interface the Field Kit FX with a Eurorack modular system. At the backside of the PCB you will find a power connector you can use to power the unit from your system. The total panel width will be 36HP. The Field Kit FX will be available both as an assembled unit in a wooden enclosure or as a Eurorack module. When you choose the boxed version and would like to have the opportunity to rack mount your FX, you can unscrew the Field Kit FX out of its box, take off the front panel and mount the Eurorack panel easily. MRSP Pricing Eurorack Module: 249,00 EUR (incl. 19% VAT)MRSP Pricing Eurorack Panel: 29,00 EUR (incl. 19% VAT) Open Source Software Unfortunately we cannot ship the FieldKit FX as a DIY unit due to it's complexity and bring-up process. Therefore we want to give everyone access to the source code of the DSP engine and user interface itself. The digitally controlled parts include the looper, the frequency shifter, sample rate reduction, bit crushing effect, phaser, the CV interface and the Roll-O-Decks. The code is commented, so even if you are not an experienced programmer you can tweak certain settings and see the results! We encourage programmers to play around with the code and share it with other users.
  13. The Field Kit FX! This new device is a powerful new cv controlled effects unit for your electronic music setup and pairs extremely well with the KOMA Field Kit. View full synthesizer
  14. HIGH TECH SOUL is the first documentary to tackle the deep roots of techno music alongside the cultural history of Detroit, its birthplace. From the race riots of 1967 to the underground party scene of the late 1980s, Detroit's economic downturn didn't stop the invention of a new kind of music that brought international attention to its producers and their hometown. Featuring in-depth interviews with many of the world's best exponents of the artform, High Tech Soul focuses on the creators of the genre -- Juan Atkins, Derrick May, and Kevin Saunderson -- and looks at the relationships and personal struggles behind the music. Artists like Richie Hawtin, Jeff Mills, Carl Craig, Eddie Fowlkes and a host of others explain why techno, with its abrasive tones and resonating basslines, could not have come from anywhere but Detroit. With classic anthems such as Rhythim Is Rhythim's "Strings of Life" and Inner City's "Good Life," High Tech Soul celebrates the pioneers, the promoters and the city that spawned a global phenomenon. The film features: Juan Atkins, Derrick May, Kevin Saunderson, Eddie (Flashin) Fowlkes, Richie Hawtin, Jeff Mills, John Acquaviva, Carl Cox, Carl Craig, Blake Baxter, Stacey Pullen, Thomas Barnett, Matthew Dear, Anthony "Shake" Shakir, Keith Tucker, Delano Smith, Mike Archer, Derrick Thompson, Mike Clark, Alan Oldham, Laura Gavoor, Himawari, Scan 7, Kenny Larkin, Stacey "Hotwax" Hale, Claus Bachor, Electrifying Mojo, Niko Marks, Barbara Deyo, Dan Sordyl, Sam Valenti, Ron Murphy, George Baker, and Kwame Kilpatrick. The film's soundtrack includes: Aux 88, Cybotron, Inner City, Juan Atkins, Mayday, Model 500, Plastikman, Rhythim Is Rhythim, and more. "Bredow's cast of alumni -- the holy trinity of Atkins, May & Saunderson at the front -- fill out this tale with passion, pride and, oddly for music of the future, nostalgia too." - Dazed and Confused "An enjoyable education into the music, the city and the main players past, present and future." -DJ Magazine "Defines the myths and the magic of Detroit techno from its beginnings right up to how it has evolved to become High Tech Soul." -Derrick May View full movie
  15. HIGH TECH SOUL is the first documentary to tackle the deep roots of techno music alongside the cultural history of Detroit, its birthplace. From the race riots of 1967 to the underground party scene of the late 1980s, Detroit's economic downturn didn't stop the invention of a new kind of music that brought international attention to its producers and their hometown. Featuring in-depth interviews with many of the world's best exponents of the artform, High Tech Soul focuses on the creators of the genre -- Juan Atkins, Derrick May, and Kevin Saunderson -- and looks at the relationships and personal struggles behind the music. Artists like Richie Hawtin, Jeff Mills, Carl Craig, Eddie Fowlkes and a host of others explain why techno, with its abrasive tones and resonating basslines, could not have come from anywhere but Detroit. With classic anthems such as Rhythim Is Rhythim's "Strings of Life" and Inner City's "Good Life," High Tech Soul celebrates the pioneers, the promoters and the city that spawned a global phenomenon. The film features: Juan Atkins, Derrick May, Kevin Saunderson, Eddie (Flashin) Fowlkes, Richie Hawtin, Jeff Mills, John Acquaviva, Carl Cox, Carl Craig, Blake Baxter, Stacey Pullen, Thomas Barnett, Matthew Dear, Anthony "Shake" Shakir, Keith Tucker, Delano Smith, Mike Archer, Derrick Thompson, Mike Clark, Alan Oldham, Laura Gavoor, Himawari, Scan 7, Kenny Larkin, Stacey "Hotwax" Hale, Claus Bachor, Electrifying Mojo, Niko Marks, Barbara Deyo, Dan Sordyl, Sam Valenti, Ron Murphy, George Baker, and Kwame Kilpatrick. The film's soundtrack includes: Aux 88, Cybotron, Inner City, Juan Atkins, Mayday, Model 500, Plastikman, Rhythim Is Rhythim, and more. "Bredow's cast of alumni -- the holy trinity of Atkins, May & Saunderson at the front -- fill out this tale with passion, pride and, oddly for music of the future, nostalgia too." - Dazed and Confused "An enjoyable education into the music, the city and the main players past, present and future." -DJ Magazine "Defines the myths and the magic of Detroit techno from its beginnings right up to how it has evolved to become High Tech Soul." -Derrick May