#soundspace

[zzzwiw]

Stellarvox updated to ver. 1.2. Ambient reverberation space designer for iOS and Mac.

[pandabrayant]

(Soundspace)

[agalova]

Exploring Soundspace

Soundspace – WIP, Jacquelyn Block Today was a busy day running errands and getting ready for our art club’s Spring Show. I was still able to make it onto the second half of the Zoom with June. I used that time to work on the sketch of an idea I had yesterday during a Sundance Collab zoom webinar, where they were talking about the sound space, referring to the score, sound effects, music and…

[pleasantsweetsmiracle]

(Soundspace)

[soundspace]

i'm testing out a new hunger games simulator for the toyhouse hunger games

goin great

[thuviel]

So fun fact, I’ve been doing not so great mentally lately and in a desperate attempt to keep the lurking depression at bay I thought hey, maybe starting a new game might help. And it did! It sucked me in so fast and I’ve been clinging to it as a shield against the anxiety and looming breakdowns. 

Which is how I’ve ended up with a ridiculous 19 days in a row streak and 129 hours on record in just a month 😂 Anyway, game good, much recommend ;)

[plazamayorcompany]

(https://soundcloud.com/plaza-mayor-company-ltd

Plaza Mayor Company ltd)

[reasoningdaily]

Music and the performing arts have not only entertained the masses; they have also served to document history ― from early American music like ragtime and jazz to R&B and hip-hop and several genres in between.

Time and time again, Black musicians mirror what's going on in the world through their music and through providing music for others to perform. Sidney Madden is a co-host of NPR's podcast "Louder Than a Riot," which focuses on the intersections of music and culture. Her expertise as a music journalist gives a glance into how Black culture has influenced the music and entertainment industry as whole.

"Every genre that is born from America has Black roots associated with it, from rock 'n' roll to blues to disco," Madden said. "The fingerprints of Black creators are all over what makes American music so unique."

This interview was lightly edited for length and clarity.

What impact has the Black community had on American music?

Sidney Madden: There would be no American history without Black people in it. The fabric of what American society is socially, economically, industrially ― it wouldn't be what it is without Black people. And you can see that especially when it comes to music.

What's one fact about the American music industry that often flies under the radar?

Madden: Theft of Black creativity is something that is in the bedrock of American society. And if you go back to people like Sister Rosetta Tharpe, who is considered one of the godmothers of rock 'n' roll, many people didn't know who she was. You could think of Elvis and where he took a lot of his stage presence from, where he took a lot of his bravado and conviction and his lines from, even some of the storytelling in his music ― it was stolen directly from Black descendants like Chuck Berry. Even if you look on the pop charts right now, so many artists who are considered titans of the game right now wouldn't be anything and they wouldn't have a song to string together if it wasn't for their Black writers. I'm thinking specifically of Ariana Grande, this latest album, "Positions," which was co-written by one of her best friends, and somebody who I think has one of the best pens in the game right now is Victoria Monet.

How have social movements coincided with Black music?

Madden: As we say on our podcast, "Louder Than a Riot," all hip-hop is protest music, right? That's the bedrock of what hip-hop has always been about. What's happening in hip-hop is a microcosm for what's happening in Black America, because it is a Black-born art form. And I think with the watershed moment we had last year that's continuing to permeate with the Black Lives Matter movement in America and globally, more people are seeing that there would be nothing, there would be no soundtrack to the protest, without Black music. And that's not only hip-hop. It's happening in pop music. It's happening in R&B. It's happening in jazz.

Where do you see the future of Black music going?

Madden: I see the future of Black music going where Black people are going, and that's limitless. The more we use our voice to talk about things that matter, things that need to be changed ― and not in a far-off dreamscape utopian way, but in a concrete, logistical, step-by-step way — these are the things that need to be improved in our community, because if it's going to be improved in our community, it's going to be improved in America as a whole. That's where we're going. We're going to more positions of power, influence and applicable change.

[twwings]

was reminded recently that this month is the 10-year anniversary of my Leverage vid Parachute, aka one of the most popular things I've ever made. Happy ten years to this vid! I still adore this OT3.

AO3 link if you wanna kudos/comment after all this time 💜

a few making-of reminiscences about this vid below!

The sound of Parker's parachute snapping in the wind, at the very beginning, was from freesound.org, and one of the first times I put non-source audio in a vid! I love how that little sound takes you into the soundspace and focuses you on the central metaphor of the vid.

This was also one of the first vids where I edited the music in a levelling-up kind of way. I had cut songs before to make them shorter for vidding, but in this one, I needed to add more song—to make the transition from Parker/Hardison to Eliot have more space to breathe. So I copied the instrumental section from elsewhere in the vid and copied it to create some space between the chorus and the verse introducing Eliot.

I accidentally clipped a WHOLE BUNCH of Leverage in the wrong framerate for this vid? This is back when I was using MPEG Streamclip to make clips for vidding, and I input the wrong framerate. As a result a bunch of clips had extra frames that I had to cut out by hand (reclipping would have taken too long—this was in the last gasp days of using MPEG Streamclip when it would chug and huff away for ages to make a clip, because the footage was getting too big for the program OR my computer to really handle easily).

There's one shot of Hardison that I wish I'd colour-corrected (I colour-corrected some stuff in this vid but it was before my era of being super into colour correction). He's way too green! I notice it every time! Poor green Hardison.

Making this vid really taught me about how important it is to know what kinds of shots you've got and how to spend them—in order to create the OT3 in the vid, it's essential to withhold shots of the three of them in the same frame till almost the end. It's twosomes, twosomes, twosomes, up until the end when SUDDENLY you get these fabulous shots of all three of them in frame and it's such a RELIEF to see that. It's not like, a shot of the three of them in bed together or anything, obviously I didn't have that footage (Leverage Redemption, lookin at you) but the fact that those kinds of shots are withheld throughout the vid and then lavished on the viewer suddenly creates a feeling of something snapping into place, I think, that you wouldn't have otherwise.

When I was vidding the Parker/Eliot section, I struggled a lot, because they had the lyric "hand behind my neck/arm around my waist" and I was looking and looking for stuff where they touched, but the interesting thing about them is that they DON'T touch much, Parker just doesn't touch people who aren't Hardison very much, and the vid flowed much better when I gave up on matchy-matching that lyric that was literally about touch and instead showing the moments where Eliot is helping and respecting Parker (eg teaching her to fight, giving her a boost). Sometimes the lyrics should be disobeyed!

I loved making this vid so much that I made another vid right after it, using some footage that I hadn't used in this vid because it was a little too slow or too sad, and I love that vid too but it gets less attention. Anyhow if you like Parachute and you read all this way, please enjoy my other Leverage OT3 vid, which is called "too peculiar for love."

[autistic-autumn]

I hate mixing music. what do you mean I need to hear "spectrum" and "soundspace". 100x worse than writing a nicely notated score.

[factorypomelo]

was catching up with a friend talking abt theoretical game sequels and one of the examples i ended up coming up with no thought was SHITRIPPERS 5 now it’s burnt into my soundspace. shitrippers 5

[zeruch]

Sounds That Have Been Made, EP 91: Skinny Puppy, Live in Toronto 1987

Skinny Puppy were one of the few earlier industrial bands that seemed poised to follow in Nine In Nails footsteps to fame (even though they started a half dozen years prior) and worked within the same roiling soundspace of NIN, Ministry, Revolting Cocks, Killing Joke and the like. Their live shows were described as “neo-dadaist shock theater“….as in full evidence here. They are on what is likely…

[tuesdayisfordancing]

20, maybe even 15 years ago it was considered rude to talk on a cellphone in public. Conversations with someone physically present were considered a different category of thing to phone conversations, and taking up public soundspace with a phone conversation was breaking a social rule. As far as I can tell that has pretty much died off in most contexts, at least in (my part of) the US, and I’m quite glad. (The year in which the only reasonable way for me to chat with my partner was by taking long walks through the city and sometimes parking myself in a Dunkin Donuts would have gone pretty differently for one thing.)

But I wonder about “watching TikToks in public” discourse. I don’t think it’ll go the same way - earbuds are so readily available to most people - but I’m prepared to be surprised.

[castrationanxietyy]

Interview with 5tr8tch, Neurotek 7/21/23

“You have to be adaptable. There are no excuses in this shit.”

There are a lot of DJs in LA; there is no point in denying that. However, for most, it does take them a while to master their craft, let alone anyone mention their name. During a six month period, Kian Stretch took a liking to vinyl and started spinning techno and other tunes and hasn’t stopped since. 5tr8tch is not someone that you should take your smoke break during. 

I had the luxury of seeing his first gig sometime in Febuary at a small store-turned-soundspace in Santa Ana. At the time of this performance, I had no clue that it was his first time ever spinning for a crowd. He has worked alongside some of LA’s current golden child DJ’s, giving much credit to Amir Karneh or 1Morning.

Originally from Seattle, Stretch moved to LA for a change of scenery. At 13, he was already scratching over hip-hop records, all the while expanding his musical talents. At home, he was a producer for the underground rap scene as well as a talented jazz drummer. Playing in jazz clubs and salsa/Latin groups, he applied the technical skill and trained ear into techno. 

“Drumming helped me with everything most, [...] playing the drums and understanding the timing helps me with everything. You have to be able to keep timing and um, beat matching. I see some people like, learn it on vinyl and its a lot going on. I already had my ear trained to play along.” 

Stretch is completely self-taught in every aspect of his music. Although drumming is no longer a passion he pursues, he commends it deeply. 

Before techno, he credits artists like Burial and LTJ Bukem for introducing him to the world of electronic music. What truly changed for him was watching Karneh spin for the first time. He had already loved the music and seen some DJs, but it wasn’t until his friend of seven years performing that flipped the switch. 

Their friendship had started long before his move dating to when he worked on SoundCloud rap. At the time, Stretch wasn’t taking music seriously and more so just enjoyed being involved in musical projects and the chaos of couch surfing. 

Stretch isn’t stuck to any specific styles yet. I had asked him if this was because he was still relatively new, but he wasn’t sure. For the most part, he does whatever sounds good, his style is fluid more than anything else. 

if anything, his sound is technical chaos. Although I will put my fascination with vinyl DJs and their ability to flip through their records at lightning speed aside, I was curious about his setup and knowing which vinyl he was about to play, to which he replied, “I just winged it.”

“Maybe some people plan it out, I don’t know. The way me and my homies do it, we have a general idea but we don’t like–, fucking memorize the BPM and do it this to this to this. Nah, there's no fun in that.”

I wanted to know if he had noticed any significant mistakes in his set that night. For the audience, if you can play off anything good enough, your worst nightmare could be your best transition.

“I don't think I did. [...] It’s vinyl, it’s never going to be perfect. That’s what it’s about. I don’t want it to be perfect, there’s fun in fixing your shit.”

He compared techno and its similarity to jazz music, my friend adding that techno became the evolution of jazz. Stretch has learned how to play the audience and never show sweat, something which can be attributed to his time in jazz bands. 

While he doesn’t have a signature yet, he doesn’t believe he can place that label upon him. He wants the audience to decide, with the only end goal being a good set that others can enjoy. 

“Every time you do that shit and the homies have you hyped, it’s not like you can remember what you did.”

Stretch also vends at the Silverlake Flea market and eventually is planning to open up a record store.

TOP INFLUENCES:

Jeff Mills 

Claude Young

[mars-the-human83]

I will be using get the fuck out of my soundspace

Ah. The crows are conglomerating, yet again.

[soundspace]

hey my wrist has snapped back together and i can draw again

not that i was cranking out the arts before but maybe i can get some stuff down again