Jack Hertz

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Everything posted by Jack Hertz

  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." View full movie
  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."
  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? View full movie
  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?
  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. Ensoniq Pro-Cussion

    The first Ensoniq product that ran on a home computer the Pro-Cussion drum module which features components made by Peripheral Visions Incorporated. Ensoniq started up business business at the same time in the year 1984. Small and Powerful. The unit automatically shuts off if it over heats.
  8. Kawai K1 Digital Synthesizer

    The Kawai K1 digital synthesizer and Kim digital synthesizer module both offer 16-voice (max) polyphonic output from Kawai's VM additive synthesis tone generator. The only difference is the farmer’s 61 -key weighted keyboard with a highly accurate touch response. Features VM tone generator The K1/K1m built-in sound generator offers a selection of 256 basic wave forms using the two most advanced approaches to sound synthesis 204 formed by the additive synthesis of the first 128 harmonics, 52 recorded With PCM sampling You can freely mix up to four of these wave forms to produce an entirely new sound a crisp digital sound, a rich analog sound, or any combination in between. AM (Ring modulation) The addition of ring modulation expands the K1/K1m m range to include overloaded sounds of the type that digital waves alone cannot reproduce. Rich selection of tone patches Each K1/K1m in leaves the factory With 64 SINGLE patches and 32 MULTI patches already stored in its internal memory bank The KI 's full editing capabilities and 008 memory cards (available as extra cost options) allow you to build up your Own library of original sounds. Built-in percussion section The K1/K1m contains its own rhythm section a total of nine drum and other percussive effects recorded With PCM precision. Superb touch response The K1 keyboard supports both velocity, the force With which you hit the key. and after-touch. the pressure that you apply as y0u hold the key down. Joystick for real-time control The joystick provides real-time control over the balance between the four SOURCES of a SINGLE patch or between four SECTIONS in a MULTI patch During editing, it provides a rapid means of changing parameter values. Multi-tone patch LINKs The Kl/Klm LINK function allows you to link up to eight tone patches — SINGLE or MULTI, INTERNAL or EXTERNAL from the 192 available and then step through the series during a performance Simply by pressing the LINK 5Witches MULTI patches The Kl/Klm's MULTI patches go far beyond the DUAL or SPLIT functions of other synthesizers in that they allow you to assign up to eight different SINGLE patches to different ranges on the keyboard and divide the key velocity as well. Variable multi-timbre operation This function helps maximize the use of the Kl/Klm 16-voice polyphonic capabilities by automatically redistributing unused capacity from one section to another consult the dealer or an experienced radio television technician. Full MIDI implementation Since each sound source can be assigned a different MIDI channel, each Kl/Klm MULTI patch can Simultaneously serve as up to eight different MIDI sound sources For further flexibility, the keyboard version allows the musician to choose whether each sound source responds to notes received on the MIDI channel. those played on the keyboard. or both.
  9. 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.
  10. 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
  11. 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).
  12. 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.
  13. 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
  14. 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.
  15. KOMA Elektronik Field Kit

    The new KOMA Elektronik Field Kit is the perfect tool for everyone who would like to experiment with electroacoustic sound. Use everyday objects, amplify them and use them to make sound, like our heroes John Cage and David Tudor used to do! The Field Kit is optimized to process signals from microphones, contact microphones, electromagnetic pickups and able to run DC motors and solenoids. On top of that it can receive radio signals and convert signals from switches and sensors into control voltage! It's all about the things you connect to the The Field Kit! To get you started we decided to offer an Expansion Pack with a bunch of different sources that you can use and connect to create your own signature sounds. The Field Kit boasts 7 separate functional blocks all focussed on receiving or generating all types of signals. They are designed to operate together as a coherent electroacoustic workstation or alternatively together with other pieces of music electronics with the ability to use control voltage signals. The Field Kit is capable of doing a lot of different things! Let us run your through its functions, first there is the Four Channel Mixer: The Four Channel Mixer is the beating heart of the Field Kit, providing a fully functional mixer with individual Gain, Mix Level and Tone control over each channel and individual Master- and Aux sub-mixes. The level of the Master and Aux Channels can be set with the Master Volume and Aux Volume controls and the channels being sent to the Aux sub-mix can be set with dedicated Aux Select-buttons. The Aux sub-mix is pre-fader. For the noise heads amongst you: the mixer can be used very well for feedback mixing and no-input mixing as well; there is plenty of Gain to play with and the Tone control is a passive Low/Hi Pass filter drastically changing the sound. AM/FM/SW Radio with CV Search function The CV Radio is a CV-controllable radio receiver capable of receiving radio frequencies on AM/FM and SW bands. Additionally it provides the ability to catch electromagnetic waves for further processing inside the Field Kit. The frequency of the radio can be set with a dedicated multifunctional Search-control which acts both as a manual CV-source and as an input attenuator for a CV-signal. The Field Kit comes with three connectors to attach needed antenna's for both FM and SW bands and a loop antenna connector for AM signals. Envelope Follower with CV and Gate Out The Envelope Follower in the Field Kit applies two functions to the waveform you send to the input: full-wave rectification (mirroring of negative portions of the waveform) and low-pass filtering (averaging). It can also be used for frequency doubling of a signal, which is a great tool to have in the electroacoustic domain. In addition to the Envelope Out, the Envelope Follower inside the Field Kit also gives out a gate signal whenever the level of the input signal is high enough. The input signal level can be set with a dedicated Attenuation-control. Low Frequency Oscillator (LFO) The Low Frequency Oscillator generates periodically varying voltages to be used as control signals. The output waveform can be set with a three-position Waveform-control and gives out either a Square-, Triangle- or a mix of Square and Triangle waveforms. The frequency of the LFO can be set together with a dedicated Frequency-control and a three-position Range-control. With the higher range-settings, the frequency of the LFO reaches into the audio-range so the LFO can also be used as a simple drone sound source, send this is into a delay effect and you can make trippy sounds for hours! DC Interface A very cool function of the Field Kit is the DC Interface. You can use its output voltages to run little motors, fans, solenoids, buzzers and control them with control voltage signals. You can pick up the vibrations and electromagnetic waves with the contact microphones and electromagnetic pickup. The DC Interface can be used together with PWM (Pulse Width Modulation)- or Pulse-controlled devices. An example of a PWM-controlled device is a DC-motor of which the rotation speed can be set by varying the pulse width. A Pulse-controlled device can be a solenoid-motor whose impulse strength/distance can be set with the length of the control pulse. Other devices that can be used together with the DC Interface could be computer fans, LEDs, relay switches, etc. Here are a few things you can use with the DC Interface: The operation mode of the DC Interface can be set with a two-position Mode-switch and there is a multifunctional Intensity-control and a CV/Trigger-input whose functions are dependent on the mode of use and whether a jack is present at the CV/Trigger-input. The Field Kit Expansion Pack comes with both a prepared DC-motor and a prepared solenoid-motor ready to be used together with the DC Interface or alternatively the user can prepare devices on his/her own. Signal Interface The Signal Interface is a nifty toolset to transform the raw signals of a wide variety of sensors and switches into signals that can be used with the Field Kit or other gear. This means you can trigger or control sound by light, heat, humidity, distance, speed, acceleration, proximity, pressure, force, level, all depending on what type of switch or sensor you are using! Ideal for sound installations! The Signal Interface consists of two parts, the Switch and the Sensor Interface. The Switch Interface transforms signals from different switches like buttons, ball- or tilt-switches etc. into four different types of gate signals. It can output gates, inverted gates, ramp or sawtooth triggers of adjustable length (1ms to 1s). It has two outputs that can be used at the same time, so you could drive a motor and scan the CV Radio with the same switch! The output-voltage spans a range from 0V to about 8V. The Sensor Interface is made to manipulate the output voltage of analog sensors, like light-, heat- or distance-sensors and convert their signals into control voltage. It can amplify or attenuate the incoming signal and add a DC-offset, so you can for instance set the motor to a constant speed and make it run faster by outputting a higher voltage from the sensor. The maximum output-voltage is about 8V. It provides enough current to power an Arduino! Field Kit Expansion Pack Its all about the things you connect to the The Field Kit! To get you started we decided to offer an Expansion Pack with a bunch of different sources that you can use and connect to create your own signature sounds. The Expansion Pack contains: 2 x Contact Microphones Use these contact microphones to pick up vibration or sound, they are an amazing versatile input source. 1 x Electro-Magnetic Pickup This guy is good at picking up changes in magnetic fields, you can use it to amplify a string like a guitar pickup or amplify a spinning motor. 1 x Solenoid push-pull motor Use the solenoid to hit things, together with the DC Interface the solenoid can make anything rhythmical and percussive. 1 x DC motor The Motor can be used to rotate things or as a noisy oscillator together with the Electro-Magnetic Pickup. 1 x small speaker Use the speaker to listen to the main mix or as a sound source and to feedback sounds. 3 x patch cables Always handy to have around to patch up different parts of your Field Kit. ...and a bunch of little objects to play with (little springs, clamps etc.) In the book and manual 50 Ways To Use The Field Kit that will be shipped with every Field Kit we will show you how you can make different sensors and input sources for your Field Kit, to experiment away! You can get the Expansion Pack as a separate reward or get it in a bundle with the Field Kit. MRSP Pricing Expansion Pack: 59,00 EUR (incl. 19% VAT) DIY or Die! Want to build a Field Kit yourself!? You can! You can get the Field Kit as a ready-made device or you can get the DIY Version, which you have to put together yourself. When you want to build the Field Kit yourself, we will supply you with a board that has all the SMT components already soldered on, which means the hardest bit is done already, but you have to do the rest: solder on all the hardware parts and final assembly of the front panel and you are good to go! The DIY Version will be shipped with the User Manual and build instructions, we will also record a very clear video as a step by step tutorial on how to build your own unit (and show some cool hacking tricks while we're at it). To get the DIY Version, choose DIY Version in the Rewards Section. 50 Ways To Use The Field Kit With every Field Kit we ship a little booklet called "50 Ways To Use The Field Kit," which, besides being the official user manual, is exactly what you might think it is: a small book with examples of 50 different setups with the Field Kit to spark your imagination to experiment with the Field Kit on how for instance make a spring reverb, do radio feed backing, sense heat, water and light and make it trigger a sequence of sound and so much more! It also includes a few ideas and schematics to make your own add ons for the Field Kit. A good way to get started! Eurorack Ready! You can easily interface the Field Kit 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. Eurorack panel prototype. You can unscrew the Field Kit out of its box, take off the front panel and mount the Eurorack panel easily. Release schedule We hope with your help to complete our Kickstarter campaign within 4 weeks after the initial launch. As soon as we receive the necessary backers we will begin preparing the production of the units. The total production process will take up to approximately 7-8 weeks. After the production phase we will begin with shipping the units. This will be at the start of March 2017.
  16. 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
  17. 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
  18. 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
  19. Sputnik-1 is a symbol of the embodiment of a dream into reality. When all the forces are thrown at its achievement, despite the pressure of circumstances, despite the internal turmoil in the people and the country. In 60 years after this event, we can only feel the echoes of the former glory and aspirations, but even this fills us with pride for our people, the Soviet Union and the Russian Federation, no matter what side events have marred this milestone in history. This is the main focus of our collection. Visit release page at USC Unlimited for more information. uscu.unitedstudios.ru/2017/10/va-music-for-sputnik-1-vol-1.html USC-WR-1710.0381 Composition — Volex Tagamine (1), HuNTTeRR (2), Irida (3), Tenth Cloud (4), Alexander Nelipa (5), Stark's Pond (6), Marcus Denight (7), Diytronic (8), Lost Radiance (9), I ov U (10) Sampler, programming, effects, writing, arrangement, mixing — Alexander Tyulpin (1); Synthesizers, programming, effects, writing, arrangement, mixing — Sergey Mamlin (2), Arman Amerzhanov (3), Ivan Sazhin (6), Marcus Denight (7), Roman Zorin (9); Keyboards, synthesizers, programming, effects, voice, writing, arrangement, recording, mixing — Alexey Markov (4); Keyboards, synthesizers, effects, writing, recording, mixing — Alexander Nelipa (5); Keyboards, synthesizers, sampler, programming, effects, writing, arrangement, recording, mixing — Alexander Nelipa (8); Keyboards, electronic bass, electronic percussion, writing, arrangement, recording — Denis Yulianchuk (8); Keyboards, synthesizers, programming, writing, arrangement — Dmitriy Shpilkovskiy (10); Effects, recording, mixing — Rustam Mulachanov (10) Musical concept, executive producer, mastering, design, artwork — Mike Winchester CGI — Sergey Mikhaylov
  20. A Documentary About Iceberg Lagoon, Reykjavik Childhood, Punk And Surrealism, Early Bands, Song Stories And Sonic Experiments, Images, Beats, Nature, Classical Influences, Musicals, Microbeats And Arctic Passion Amongst Other Things... This documentary follows the career of innovative singer/songwriter Björk. The film looks at her early musical career with local Icelandic bands, her acclaimed stint in the Sugarcubes, and her massive success as a free-spirited solo artist. Interviews with friends and contemporaries such as Thom Yorke of Radiohead, Missy Elliott, and many others round out this in-depth look at the utterly unique songstress. Inside Björk also features interviews with Sean Penn, Lars von Trier, Thom Yorke, Beck, RZA, Elton John, Missy Elliott, the late Alexander McQueen and more on their thoughts of Björk and her impact on music and culture. The documentary coincided with the release of the Greatest Hits album, and had previously been seen on some television networks at the end of 2002. It was commissioned by One Little Indian to make up for the fact that Björk was beginning to do fewer interviews than had been previous. Two small new live performances are included in the documentary, "Generous Palmstroke" performed with Zeena Parkins and an organ version of "The Anchor Song" played in an Icelandic church. View full movie
  21. Björk ‎– Inside Björk

    A Documentary About Iceberg Lagoon, Reykjavik Childhood, Punk And Surrealism, Early Bands, Song Stories And Sonic Experiments, Images, Beats, Nature, Classical Influences, Musicals, Microbeats And Arctic Passion Amongst Other Things... This documentary follows the career of innovative singer/songwriter Björk. The film looks at her early musical career with local Icelandic bands, her acclaimed stint in the Sugarcubes, and her massive success as a free-spirited solo artist. Interviews with friends and contemporaries such as Thom Yorke of Radiohead, Missy Elliott, and many others round out this in-depth look at the utterly unique songstress. Inside Björk also features interviews with Sean Penn, Lars von Trier, Thom Yorke, Beck, RZA, Elton John, Missy Elliott, the late Alexander McQueen and more on their thoughts of Björk and her impact on music and culture. The documentary coincided with the release of the Greatest Hits album, and had previously been seen on some television networks at the end of 2002. It was commissioned by One Little Indian to make up for the fact that Björk was beginning to do fewer interviews than had been previous. Two small new live performances are included in the documentary, "Generous Palmstroke" performed with Zeena Parkins and an organ version of "The Anchor Song" played in an Icelandic church.
  22. Soulsby Odytron

    The Odytron is a limited edition Atmegatron, pre-loaded with the brand new Odytron software and factory presets, as well as having unique Odytron paintwork. Only 150 units have been manufactured. The Odytron software simulates the specification of a classic analogue synth but in an 8-bit environment. The result is a fascinating combination of analogue warmth and 8-bit grit. Features include: 2 independent oscillators (duophonic), 2 filter algorithms + bypass, 2 envelopes, LFO, ring mod, wave sync and numerous modulation methods. Despite the sound being radically different to the original Atmegatron software, the Odytron is 100% Atmegatron compatible and comes bundled with 3 overlays and a programmer cable. This means that it is essentially 4 synths for the price of one. The overlays for the alternative synth engines are: Atmegatron (the classic software), Atmegadrum (drum machine) & Delayertron (delay effects synth). Features + Limited edition: 150 units total + Unique Odytron paintwork + Comes with programmer cable and 3 overlays + 100% compatible with the Atmegatron
  23. Y2K International Live Looping Festival

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    SHOWCASING PERFORMERS FROM 57 CITIES IN 21 COUNTRIES Prague – Rome – Florence – Milan – Livorno – Brescia – Settignano – Pozzolengo – Castiglione delle Stiviere – Alicante – Paris – Chauvigny – Lyon – Arcueil – Fresnes – London – Norwich – Penarth – Cardigan – Belfast – Neunkirch – Zurich – Berlin – Cologne – Konstanz – Dresden – Munich – Vienna – Stockholm – Oslo – Helsinki – Dubai – Singapore – Bangkok – Manila – Kuala Lumpur – Osaka – Guadalajara – Zapopan – Mexico City – Mexicali – Long Beach – Las Vegas – Portland – Ashland – Lincoln City – Seattle – Providence – Austin – San Antonio – Colorado Springs – Denver – San Jose – San Francisco – and the main festival in Santa Cruz More information at http://www.y2kloopfest.com/
  24. From A to Z by Various Artists

    From A to Z offers ten enticing selections of compelling, engaging electroacoustic music. It's a specially priced compilation that's an excellent introduction to the Starkland label. The diverse music ranges from Tod Dockstader's powerful musique concrète to the digitally sampled bovine vocalizing in Phillip Bimstein's udderly charming portrait of a Utah farmer. The CD opens with three excerpts from Starkland's two Dockstader "organized sound" CDs, widely praised in over 25 highly positive reviews. Dockstader writes: "These excerpts are from works made in the 'classical' period of electronic music, Before Keyboards. My synthesizer was a test-tone oscillator, played by twisting a dial, like a radio. Then, it was all a bit haywired and cumbersome, and involved hard physical work, like painting. At the same time, like painting, it was invigorating – working in the colors of sound. The sounds I had often suggested the structures I built, so all three of these excerpts are unalike: the first part of Luna Park is a trio for an oscillator and two people laughing; the third part of Apocalypse is a planned chaos for a toy cat-cry, voices, an oilwell, percussion, and piano; the Tango from Quatermass is a dance for two oscillators and a balloon, with rhythms of tape-echo generated by the instrument central to all my work: the tape recorder, itself. The recorder was always an active player, not, as it was designed to be, a passive one. All the works were laid onto two-track tape in one pass, 'live' (the invigorating part), and then edited and edited and edited – the surgical part, with a razor blade, the other essential tool in my work." Paul Dresher offers these comments about his piece on this CD: "Underground was composed in Spring 1982, and was the first part of a trilogy of works commissioned by choreographer Wendy Rogers for her work Winter Green. The piece was created and performed on a multi-track tape loop system designed for live performance and built by electronic technician Paul Tydelski and myself. This system consists of a four-channel tape machine with three playback heads located at various points in the path of a single closed loop. Record/play functions and the mixing and routing of all sounds are controlled by the performer with an array of foot pedals and switches, thus leaving the performer's hands free to play an instrument without interruption. Built in 1979, the system allows a single performer to develop complex harmonic, polyphonic or polyrhythmic material without using pre-recorded tapes. The only sound source in Underground was a very early four octave Casio electronic keyboard. A single 15-band graphic equalizer was extensively used for altering and transforming the sounds both directly from the keyboard and those keyboard sounds coming from the tape loop system. I recorded the work in a single 'live' take directly to tape." Joseph Kasinskas writes: "The Rider is a work for marimba, gongs and digital echo. It is a piece of a larger work, Demeter's Lament, premiered by Relâche in 1991, in which musicians become characters who walk through rituals while their music is altered electronically. Hades, the Greek god of Death, is a percussionist who reveals his regal nature in the piece. The Rider is designed to be played in an unchanging electroacoustic environment of a steady, ceaseless electronic echo. The work gains its character from the player's ability to 'ride' the time of the echo and to musically control that time. Hades is able to match his live performance speed with the echo in proportions of time and prolation which produces many of the aural effects contained in The Rider." Joseph Lukasik comments: "Utamaro's Dreams was commissioned by gifted Japanese-Swiss choreographer Heidi S. Durning. The original concept for the dance was inspired by the works of Kitagawa Utamaro, an 18th century Japanese Ukiyo-e woodblock printer renowned for his depiction of women set in scenes from daily life. The dance opens with six characters from Utamaro's prints meditating as Buddhist nuns. They meditate to renounce their past lives, but each in turn remembers what they were before, reliving the joys and sorrows of their lives through dance. The excerpt on this CD presents the first ten minutes from the overall eighteen minutes of music. The scenes presented here are: The Monastery, The Courtesan, The Fool, and The Woman With The Mirror." Pamela Z writes: "In Tymes of Olde, recorded on analog 8 track, combines 'rhythm' tracks (produced by digitally sampling my voice and either looping the samples and dropping them to a track, or playing the samples via keyboard live to tape) and 'melodic' tracks recorded live to tape. The source of all sounds in this piece is my voice." Co-composer Barbara Imhoff comments: "Obsession, Addiction and the Aristotelian Curve began with a work I'd written for acoustic and processed harp. The piece structurally represents the destructive, insular cycle of addiction. The classic ABA form presents a gradual take-over by the 4 chord cycle of the processed, distorted harp track, which becomes a character emerging out the addict's nightmare state.... Pamela transferred my original stereo mix to her 8-track, filling the remaining tracks with both straight and processed vocals. The two of us decided the experimental mixdown to DAT was a finished piece." Charles Amirkhanian writes: "The title, Vers Les Anges, comprises several references to the dedicatee, Nicholas Slonimsky, for whom the music was composed in celebration of his 96th birthday. A resident of Los Angeles, (Les Anges, in French), Slonimsky translated Schloezer's life of Alexander Scriabin, composer of the piano work 'Vers la Flamme.' For this piece, I assembled a number of musical references appropriate to Slonimsky's life. As a conductor, the Russian prodigy directed the first performance of Edgar Varèse's Ionisation (1931), which features the sounds of sirens and a battery of percussion instruments, also heard at the beginning of Vers Les Anges. Other raw sonic materials include the sound of a German music box (from the period of Slonimsky's youth), a digitally sampled komungo (played by Korean virtuoso Jin Hi Kim), and cuckoo clock and cat sounds which recall Slonimsky's home. Most processing in the work used a Synclavier at Henry Kaiser's Oakland, CA studio, and the final mix was made with engineer Michael Yoshida at the 24-track Cross-Current Audio Facility at KPFA. The piece was commissioned by the syndicated public radio talk show 'Heat,' and was premiered on a coast-to-coast broadcast on April 26, 1990." Phillip Bimstein comments: "I awoke one morning to the sounds of cows mooing in the pasture next to my home. Music to my ears, the moos became the inspiration for a concerto in three 'moo-vements,' Garland Hirschi's Cows, which premiered at the Salt Lake Alternative Music Festival in October 1990. The piece, which uses an Akai sampler to make music of the moos, also includes the voice of the cows' owner, Garland C. Hirschi of Rockville, Utah, as he tells the story of growing up with cows and what makes them moo. The work was featured at the 1991 Telluride Composer-to-Composer Festival, and it received an Honorary Mention in Austria's Prix Ars Electronica '92."
  25. The Revenge of the Dead Indians

    Director Henning Lohner worked with John Cage during his later years, including collaborating with Cage on his only film, One11. During that time, Lohner filmed interviews and footage with Cage, and after Cage's death decided to assemble some of it into this unique "composed film" based on musical principles - a tribute to Cage, his thoughts, music and influence. The film also features 42 personalities - from the well known (actors, architects, artists, choreographers, composers, theoreticians, writers) to the unknown (like street cleaners and market vendors) - in conversation with each other. The result is an unexpected and fascinating combination of intellectual thought, viewpoints and opinions. "The Revenge of the Dead Indians" is neither documentary nor feature film. The thematic story development is a combination of "found" video and audio landscapes along with theatrically directed readings and interviews. Each scene of the film is complete in itself as its own narrative entity, yet simultaneously contributes to the linear progression of the story line. Lohner's goal was to honor the creative credo of composer John Cage, to whom the film is dedicated. Attention is paid to "forgotten" landscapes: places we overlook because they are the everyday and the ordinary. Concert performances incorporated in the film were recorded live during the "Musicircus" homage at Symphony Space in New York, November 1, 1992, and at the John Cage music festival at the "Akademie der Schönen Künste" in East Berlin, August 1, 1990. This sound and visual material was edited to more than 1200 cuts before the final film length of 130 minutes was reached. The shortest scene has the duration of exactly one frame, the longest scene has the duration of exactly 4 minutes, 33 seconds.