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Trimpin + EMP guitars from Peter Esmonde on Vimeo.

This is a trailer for Trimpin: The Sound Of Invention, a new feature film documentary premiering at film fests around the country.

Artist/inventor/engineer/composer Trimpin designs a 60-foot tower of electric guitars that automatically plays nonstop at Seattle’s Experience Music Project.

About Trimpin

Trimpin, a sound sculptor, composer, inventor, is one of the most stimulating one-man forces in music today. A specialist in interfacing computers with traditional acoustic instruments, he has developed a myriad of methods for playing, trombones, cymbals, pianos, and so forth with Macintosh computers. He has collaborated frequently with Conlon Nancarrow, realizing the composer’s piano roll compositions through various media. At the 1989 Composer-to-Composer conference in Telluride, Colorado, Trimpin created a Macintosh-controlled device that allowed one of Nancarrow’s short studies for player piano to be performed by mallets striking 100 Dutch wooden shoes arranged in a horseshoe from the edge of the balcony at the Sheridan Opera House. He also prepared a performance of Nancarrow’s studies at the Brooklyn Academy of Music for New Music America in 1989.

Trimpin was born in southwestern Germany, near the Black Forest. His early musical training began at the age of eight, learning woodwinds and brass instruments. In later years he developed an allergic reaction to metal which prevented him from pursuing a career in music, so he turned to electro-mechanical engineering. Afterwards, he spent several years living and studying in Berlin where he received his Master’s Degree from the University of Berlin.

Eventually he became interested in acoustical sets while working in theater productions with Samuel Beckett and Rick Cluchey, director of the San Quentin Drama Workshop. From 1985-87 he co-chaired the Electronic Music Department of the Sweelinck Conservatory in Amsterdam.

Trimpin now resides in Seattle where numerous instruments that defy description adorn his amazing studio. In describing his work, Trimpin sums it up as “extending the traditional boundaries of instruments and the sounds they’re capable of producing by mechanically operating them. Although they’re computer-driven, they’re still real instruments making real sounds, but with another dimension added, that of spatial distribution. What I’m trying to do is go beyond human physical limitations to play instruments in such a way that no matter how complex the composition of the timing, it can be pushed over the limits.”

bio via Other Minds

[From Open Your Ears, And Your Mind Will Follow » Synthtopia ]

Which Beatles song can you hear Paul McCartney swear in?

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Having read a huge amount about The Beatles, I thought I pretty much knew all the quirks in their recordings. How wrong I was.

I have just been enjoying Here, There and Everywhere by Geoff Emerick, the man who was the engineer on Sgt Pepper and Abbey Road, along with many other Beatles tracks. For aficionados it is an unmissable book, a superb account of their work in the studio.

This morning I read Emerick’s account of the recording of Hey Jude.

Emerick wasn’t the engineer on the track – the recording didn’t begin at Abbey Road – but he was called in to fix problems caused by technical deficiencies at Trident Studios.

He notes that when he listened to the mix, in the third verse:

Right between the lines “The minute you let her under your skin/ Oh, then you begin” you can clearly hear Paul curse off mic saying ‘F****** hell!”

Apparently this exclamation was caused by McCartney playing a duff note on the piano.

The Beatles knew it was there, but John Lennon insisted it stay. He wanted it low in the final mix so that while most people wouldn’t realise it was there, the Beatles could enjoy it.

And so it stayed. And when I put down Emerick’s book I realise that the expletive can be heard, really quite clearly. You can hear it from minute 2:56 of the song.

[From Comment Central – Times Online – WBLG: Which Beatles song can you hear Paul McCartney swear in?]

The KingCake Crypt: Dr John @ Ultrasonic Studios, NY 1973

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A wonderful slice of New Orleans funk history that would certainly qualify as rare grooves. This 1973 recording has been issued incomplete on a couple of European bootlegs but it always had a very flat, unappealing sound. After many unsuccessful attempts, 7 or 8 years ago I actually managed to perk it up and give the recording some life. Good thing too, this is one of the only documents of the actual everyday working band of this period and this recording catches them on a really, really good day. (Mac’s own description of this band admits they were a hard partying bunch.) And what a band it is! The roster of this ultimately funky ensemble (named The Rampart Street Sympathy Orchestra by Professor Longhair) is:

Dr John piano, guitar
John Boudreaux drums
Robert Lee Popwell bass
Sugar Bear Welch guitar
Daryll Leonard cornet and trumpet
Jerry Jummonville tenor sax
Bobbie Montgomery & Jessie Smith vocals

The venue was a weekly live radio spot for WLIR in Hempstead, NY (Long Island) that took place (ironically) at Ultrasonic Studios. This was more than 3 years before the famous New Orleans Ultrasonic Studio was even built. The show is deep voodoo funky and wonderfully tight (even with the interruption for the interview with the stunned DJ which I have edited out). This here is simply the best damn Dr John album you never heard.

Dr John the Night Tripper and the Rampart Street Sympathy Orchestra live in Hempstead, NY 1973 [Uber Std mp3]

[From The KingCake Crypt: Dr John @ Ultrasonic Studios, NY 1973]

[ aquarius records new arrivals list #326 ]

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I was alerted of this from the comments on Mutant Sounds.

***Ariel Pink alert!!!!*** ***Total mind-fuck alert!!!***
Shits And Giggles is a brand new band that features Ariel Pink alongside the mutant sonic terrorists the Vas Deferens Organization. While everyone in the world seems to be biting on Ariel Pink’s brand of outsider pop, recently, it’s kind of awesome to see him take a total left turn and create a completely different, but equally warped sonic beast.
Shits And Giggles wander in a musical landscape that feels like it’s being beamed over from a different galaxy. Collapsing fucked up jazzy rhythms melt into plunderphonic like excursions while taking turns into psychedelic funk and other worldly whatthefuckness. All totally insane yet somehow still so damn compelling and weirdly trance inducing. You can hear how records by Negativland, Nurse With Wound, John Oswald, Throbbing Gristle, Muslimgauze, Wicked Witch, Sublime Frequencies, etc. have seeped their way into Shits And Giggles’ subconscious, and no doubt about it this is a uniquely distorted musical adventure. Vas Deferens Organization are some of the folks who run the totally awesome blog Mutant Sounds, so it’s no surprise that they have found their own way to create some completely tripped out magic of their own. Even though it’s nothing like an Ariel Pink album there are still moments, the production, specific sounds, certain melodies and phrases, that are still so recognizably Ariel Pink. A total must have for Ariel Pink fans and everyone else into the demented done right!

[From [ aquarius records new arrivals list #326 ]]

Lawyers plan class-action to reclaim “$100M+” RIAA “stole”

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Lawyers plan class-action to reclaim “$100M+” RIAA “stole”

The recording industry has spent (and continues to spend) millions of dollars on its litigation campaign against accused file-swappers, but if two lawyers have their way, the RIAA will have to pay all the money back. Not content simply to defend Jammie Thomas-Rasset in her high-profile retrial next week in Minnesota, lawyer Kiwi Camara is joining forces with Harvard Law professor Charles Nesson to file a class-action lawsuit against the recording industry later this summer.

The goal is nothing less than to force the industry to pay back the alleged “$100+ million” it has collected over the last few years. Perhaps the RIAA had good reason not to send those settlement letters to Harvard for so long.
Stopping the lawsuits

Ars spoke with Camara on Tuesday as he rode to the airport for the flight to Minneapolis, where he will defend Jammie Thomas-Rasset after only two weeks of preparation. But the time crunch has in no way restricted his vision; Camara says that he is intent on dismantling the entire RIAA litigation campaign by going after its legal underpinnings.

Camara’s firm doesn’t do easy cases, and even in pro bono cases, “we want to fix a problem for a lot of people, including our client.”

That means doing more than getting Thomas-Rasset off without a guilty verdict, and it’s why Camara has already gone after the two fundamental pieces of RIAA evidence in these cases.

First up was the evidence from hired investigator MediaSentry, which tracked down IP addresses of file-sharers and provided the only evidence of observed copyright infringement. Camara has argued that MediaSentry was not licensed as a private investigator in Minnesota, that it ran an illegal “pen register,” and that its evidence should be barred. Such a move would essentially destroy the RIAA’s main evidence of copyright infringement, and it’s no surprise that the trade group has pushed back hard.

But Camara goes even further back in the evidence chain. To prove copyright infringement, the RIAA needs evidence of that infringement, of course, but it also needs to prove it owns the copyrights in question. If it can’t establish that fact, the case also falls apart.

This sounds like a long shot—surely the record labels did something as basic as register their copyrights?—but Camara tells us that it’s not so simple.

“They basically committed a technical screw-up,” he says of the RIAA. That’s because lawyers provided the court with “true and correct” copies of their copyright registrations (perhaps accurate but not “official), but these are not the “certified copies” required under federal rules of evidence.

The RIAA seemed taken aback by Camara’s pretrial complaint and asked the judge in the case to simply take “judicial notice” of the validity of its forms. But, after a telephone conversation on Monday, the judge refused to do that.

He also rejected the RIAA argument that “hey, these forms were good enough for Thomas’ first trial, so they’re good enough now.” The judge pointed out that “the Court’s Order granting a new trial in this matter granted an entirely new trial on all issues. The fact that Defendant did not object to Plaintiffs’ evidence of registration in the First Trial does not preclude Defendant from putting Plaintiffs to their burden of proof on this issue in the retrial.”

The RIAA admitted that “it will be difficult and expensive to now attempt to obtain certified copies from the US Copyright Office in time for trial.” Whoops.

Even if the RIAA comes up with the documents, though, Camara still has objections to their contents (or lack thereof). The registrations don’t include the actual “specimen,” for one thing (in this case the actual sound recording filed with the Copyright Office), so Camara says he has no way to know what was actually filed and whether it truly is identical with what Thomas-Rasset is accused of sharing.

He will also charge that the registrations are simply invalid, since they were all done in the names of the various record labels, not of the artists. But the “work for hire” law under which this was done has been improperly applied in these cases, he says, and the registrations are therefore defective.

Taken together, the two lines of attack on the RIAA’s main evidence are an attempt to cripple the recording industry case before it even reaches the question of whether Thomas-Rasset actually “did it.” Which is probably just as well, since there is some fairly compelling evidence against her, evidence good enough to secure a guilty verdict the first time around.
Getting the money back

But not even this sort of attack on the RIAA’s methods goes far enough for Camara. He tells Ars that he and Harvard Law professor Charles Nesson will file a class-action lawsuit against the industry at some point after the conclusion of the Thomas-Rasset case in an effort to make the labels pay back all monies taken in from settlements with file-sharers.

Or, in Camara’s words, he’s going to “get the $100 million that they stole.” (The RIAA tells Ars that the $100 million figure is inaccurate, and RIAA general counsel Steven Marks indicated in a recent Ars op-ed that the labels had lost money on the campaign.)

The idea behind the suit is that the RIAA has illegally threatened people, using void copyright registrations, and scared them into paying an average of $3,000 or $4,000 apiece to fend off the threat of federal litigation.
Big picture thinking

If all of these arguments weren’t enough, the Nesson/Camara tag team have a couple more eyepoppers to make: P2P file-sharing of copyrighted material is fair use, and huge statutory damage awards against noncommercial users are unconstitutional.

Clearly, “thinking small” doesn’t interest either man—Nesson has the nickname “Billion Dollar Charlie” for a reason, and it’s not surprising to learn that Camara studied with Nesson at Harvard and calls him “the smartest person that I know.” Camara, for his part, is a sharp lawyer who was the youngest person ever to enroll in Harvard Law.

As he prepares to fly up to Minnesota today, Camara says, “We’re ready for trial.” He also says that he plans to win.

[From Lawyers plan class-action to reclaim “$100M+” RIAA “stole” – Ars Technica]

Shits And Giggles’ debut LP “Trick Or Treat” is finally available

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  Just a small announcement to let all of you know that Shits And Giggles’ debut LP “Trick Or Treat” is finally available and can either be obtained directly from Vas Deferens Organization’s new label Free Dope And Fucking In The Streets or from distributors like Forced Exposure, Aquarius Records or Fusetron, whom it will reach within about 10 days and also to inform one and all that the new Vas Deferens Organization site has launched simultaneously with this. Now back to our regularly scheduled programming…

Metallica’s Lars Ulrich “Proud” of Killing Napster

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FART HEAD!!!!!!!!!

Says not the “greedy rock pigs and luddites” file-sharers claim them to be, and that he’s “proud” of what the band did, and what they “stood up for.”
Metallica drummer Lars Ulrich is every bit the “greedy rock pig” and “luddite” he claims not to be in a recent revelation he made to Kerrang! expressing his profound pride in spearheading the campaign that eventually took down Napster in July of 2001.
Ulrich, who admitted to illegally downloading “Death Magnetic” using BitTorrent this past March, and despite the obvious futility of taking Napster down being that file-sharing is more prevalent than ever, insists that taking down Napster was the “right” thing to do.
“Being right about Napster doesn’t mean that much to me,” he says. “I don’t find any particular glory in being proved right about it.”
Right about it?
Geoff Taylor, head of the British Phonographic Industry (BPI), and former RIAA CEO Hillary Rosen, who led the RIAA during the Napster era, both disagree.
“I, for one, regret that we weren’t faster in figuring out how to create a sustainable model for music on the internet,” said Taylor this past June when asked about the 10 anniversary of the birth of Napster. He says the music industry would be in better shape now if it had engaged with Napster rather than fought it.
Exactly.
Rosen said at the time of the Napster affair that the music industry, despite its concerns over how they would be compensated, should’ve embraced Napster regardless.
“I’ve been quoted as saying the record companies should have jumped off the cliff and signed a deal,” she also said on the 10th anniversary of Napster. “But it would have been jumping off a cliff, and people have to understand that.”
“There were 100 reasons not to do it, and only one or two to do it. Those one or two reasons were more compelling in the long term, but a much bigger decision and tougher decision,” she adds.
Perhaps Ulrich knows something record company execs don’t, but when it’s not likely being that his success in shuttering Napster did absolutely nothing positive for Metallica, artists, or the music industry as a whole other than to drive file-sharing to thousands of different platforms outside their control.
If the music industry had embraced Napster it could’ve eventually developed an iTunes of its own where it gets to set prices and keep all the profits. The only person happy that Ulrich was “right” is Apple CEO Steve Jobs.
Ulrich also credits file-sharers for having been so successful in making the band look bad even though Metallica did a great job of this on its own.
“You have to give props to the other side because they did run a brilliant campaign, and they did portray me and Metallica as being greedy rock pigs and luddites who were completely behind what was happening technologically,” he adds. “But I am proud of what we did, and what we stood up for.”
Multi-millionaire artists angry that teens aren’t paying the requisite $19.95 for an album makes them look like “greedy rock pigs” without any help. Trying to somehow stop P2P again makes them look like “luddites” without any outside help.
Sadly enough these latest comments finally cement who Metallica, or at least Ulrich if you want to name names, really is. It makes his comments this past March about warming up to the idea of file-sharing and alternative forms of reaching Metallica’s fan base seem meaningless.
“We’ve been observing Radiohead and Trent Reznor and in twenty-seven years or however long it takes for the next record, we’ll be looking forward to everything in terms of possibilities with the Internet,” Ulrich said back in March.
Maybe it needs to look backward first instead, for as George Santayana wrote, “those who cannot remember the past are condemned to repeat it.”
Stay tuned.

[From Metallica’s Lars Ulrich “Proud” of Killing Napster]

R.I.P

Rest in Peace:
Ali Akbar Khan
(well known and respected sarod player and the first man to record an album of Indian classical music in the USA and the first to perform Indian classical music on USA television)

Charlie Mariano (alto saxist – from playing with the original beboppers to explorations with Eberhard Weber’s Colours, Supersister and various ‘world music’ players, Charlie never stopped exploring)

Bob Bogle (lead guitarist and co-founder of The Ventures)

Bob Stearman (drummer for Pocket Orchestra – an excellent although little-known avant/progressive band)

Hugh Hopper R.I.P. Date: June 8, 2009 9:45:07 AM PDT Hugh Hopper R.I.P. Date: June 8, 2009 9:45:07 AM PDT Hugh Hopper R.I.P.

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Hugh Colin Hopper (born 29 April 1945, Whitstable, Kent, England, grown up in Canterbury; died 7 June 2009)

Hopper was diagnosed with leukemia in June 2008 and has been undergoing chemotherapy. As a result of his illness and the treatment, he has had to cancel all his concert appearances.[3] A Hugh Hopper benefit concert took place in December 2008 at the 100 Club in London and featured In Cahoots, members of Soft Machine Legacy, Delta Sax Quartet, Sophia Domancich and Simon Goubert, Yumi Hara Cawkwell, and the Alex Maguire Quartet.[4] Another benefit : Hugh Hopper Benefit : Le Triton, Les Lilas (near Paris), 27 june 2009, 9pm. [5] His death was announced 7 June 2009.

[From Musicalnews.com: Prog jazz rock genius: addio a Hugh Hopper storico bassista dei Soft Machine !]

Poptones

Was driving around UCI today and tuned in to a fantastic show called Poptones hosted by Zhubin. Needless to say, you know I would not be blogging about it if I did not think it was the shit. You can tune in on line (KUCI) Irvine. You won’t be sorry.

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[From Poptones]