LOL all this discussion and no high scores?

Here's a game that may be appropriate for this topic :)

[ www.transbuddha.com ]

I use my laptop for both studio work and live gigs:

Laptop: Toshiba Pentium Centrino 1.7GHZ
2 Lacie 250 GB External Hard Drives
M-Audio Audiophile
Mackie 1202 Mixer
Event TR 8XL Monitors
Clavia Nord Modular

Reason 3
Acid Pro 6
Ableton 5
Cool Edit Pro
Pro Tools M-Powered
Traktor Studio 3
Discovery DSP
Albino 2


2 Numark TT100's
2 Gemini CDJ-1100's
Gemini PS-1000 Pro Mixer

+ Echo Gina 24/96
- but it is on my old desktop, that I don't use anymore for production. I am planning to upgrade my PC tower someday soon to be able to use this card again.

Cool mixer! The pitch correction and midi capability make it a very interesting tool indeed.

LOL, yeah that mix is by no means exemplary of this subject. It was just an excerpt of what I played in Lyon, France that night - but it was not a big club. I'll try to record my mix at the Arcadia festival night - it may have more examples of what I am talking about - depending on what I play.

Cool, that at least we are on the same page - as in understanding what each is saying :)

As far as the sound system, yes, I agree you cannot expect each sound system to handle all situations, but at the same time you cannot limit yourself to the lowest common denominator. When you have a bad sound system, or a weak one, then yes, you will have to hold back. When you have a good sound system you have to know how to push it too. That, in my opinion, is also part of DJing.

Lastly, I produce music as well, and so I know the "rule" of making sure that things sound good on bad / shitty speakers too. I tend to not go that route anymore so much. If a person has shitty speakers then that is their problem. Yes, I'll make sure that it sound ok, but I rather focus on making sure things sound really good one where it counts.

If you listen to pop music, for example, on a good sound system - especially a club system, it will not sound good at all. It is very treble heavy and gets annoying fast. A good club tune, will sound amazing on a club system, but may not sound as catchy on grandma's kitchen radio. You can't win them all and so it is in the balance of what situations you want your music to sound good in or where it needs to sound good.

Ok, I see people are not following what I am saying or maybe I am not explaining it correctly. Here we go,

Once again, the "holes" I am referring to are the silences between notes. When you think of basslines, do they all have a continuous sustained bass notes or do some basslines have notes that actually stop sounding before the next note comes in. The answer is yes, there are both kinds of basslines or even a mix of both. DMTio, this should be familiar to you if you are in music production. If you have two syncopating basslines, one bassline can have notes occurring where the other bassline does not - wouldn't you agree? I am not saying all basslines will work well together, but there are ones which have accents and notes occurring at different positions in a musical bar.

So you can have something like this for example:

Bass 1: C_C_E_CCC_E_C_CC
Bass 2: _C_D_C_E_C_D_C_E

Most of the notes (except 2) are not sounding at the same time. Almost 90% of that run are notes not playing together at the same time and the ones that are sounding at the same time are at different frequencies. This would not drive any speaker very hard.

Incidentally, when you speak of speakers, are you talking about home speakers, bar systems that are "so so" quality and are already over driven, or are you talking about pro gear in clubs with their own dedicated bass bins and compressors, which can handle power way above what is already playing through them? If your system is already being pushed to the edge, then anything layered on top - whether hi or low - will make it sound forty and/or crackly. I would concentrate on gear that is used well with its limits and has room to be pushed.

Anyway, back to the topic.



I agree with you on that DMTio, but then again please go back to my original post:

"No, no. Bass "lines" are actually made of individual notes, each occupying a narrow slice of the frequency range. Some basslines occupy larger chunks of the frequency range - especially if the have their notes doubled in octaves - but most basslines are pretty straightforward in the frequency range and stay in quite a narrow band."

However, one bassline can be higher in what you describe as the "bass" frequency range that the other bassline. This way they would not bother each other so much. You can't simply think of all basslines as being alike and also as being these huge slabs of unmoving frequencies that just sit there in a song.

Please understand, that I am not saying all basslines will work on top of each other all the time, but there are conditions where there will be two basslines playing on top of each other and sounding as if it was the best thing you ever heard. And I do agree that there are instances where two basslines will have an overpowering output and result in an undesirable effect. However, some people suggested that two basslines will never work well together and that is simply not true.

Nice chart :) Yeah, basically, if you want have two or more records on top of each other playing melodic lines (bass, vocals, synths, etc) then they need to be in complimentary keys to work well together. The easy thing about electronic dance-floor-bound music is that it does not have complicated keys and the melody lines usually stay well within those keys. Furthermore, the songs usually don't use all the notes of the key they are in and so the songs' harmonic content fits into many other keys = easier to mix.

One other thing to remember is that when a band plays together it needs to have all its instruments in-tune. So that when a bass plays the note E4 and the guitar plays the note E4, they are actually hitting the same frequency. If the guitar is out-of-tune, then no matter what they guitar player plays, it will not sound good with the bass.

Now having said all that, there is one big issue with all of this when DJing. When you speed a record up or down on a turntable, you pitch said record up or down. Now if you pitch it up or down in a way that the same notes of record A fall at the same frequencies of record B - then the records are in tune, but this does not guarantee that they will be going at the same speed. Or vise versa, if the speed of your record A is the same as record B, it doesn't mean they are in-tune. If they do happen to be in tune at said speed, then you can look if their keys work together.

Having records in tune is getting easier with the use of CD players or laptops, which are able to change the song's speed without changing its pitch. This at least guarantees the records are in-tune. For turntables, it works when the records are the same BPM or they happen to jump into the same tunning at different speeds - but the latter is a hit or miss thing.

LOL, if you only knew...

...but please, explain further your theory of how bass frequencies work. Show me how I have no idea on the subject...



Did I mention dissonance? No, I believe not. Oh wait, my examples of basslines that may work together are in key, hmmmm....

Hey guys, some really cool ideas in this thread!

I just wanted to add my 2 cents about the bass lines (oh no, not that again! LOL ). I agree with Dave and Murdock on this subject - and, yes, I have played on big sound systems LOL.

1. If you don't know your records inside out (yes, even the one you bought today) and have not actually practiced mixing bass lines before playing them out, then there is not point in trying it for the first time when playing out. Sometimes magic does happen spontaneously during a set, but that usually happens because you know your records - and so have an intuition of what may or may not work. If you don't know what records work together, then , yes, you may need to have strict rules for mixing them.

2. The liquid analogy is flawed. Bass lines do not occupy all the bass frequencies all the time during a song. This would mean that the bass of the song is one long, unmoving fart - Ha ha!

No, no. Bass "lines" are actually made of individual notes, each occupying a narrow slice of the frequency range. Some basslines occupy larger chunks of the frequency range - especially if the have their notes doubled in octaves - but most basslines are pretty straightforward in the frequency range and stay in quite a narrow band.

Also, basslines are full of holes - like a Swiss cheese ;) Some are not, of course, but punchy basslines have notes of a finite length, with a pause before the next note comes in.

So if you mix two basslines on top of each other, their individual notes can fall into slots not occupied by the other bassline, thus, not taking up the same frequency range at the same time. Also, even if the bassline notes sound at the same time, they may be different notes - an E on top of a C, for example - again not taking up the same frequencies. If they are the same note, C on a C, they may be an octave apart - or more.

So all I am saying is that not all basslines will work on top of each other at full volume, but some will sound great. And that music should not be thought of as static frequencies, but frequencies that are constantly appearing and disappearing.

Thanks, Dave, for the pics. That was a very cool night indeed!

...I don't have a strobe light... :(

Ha ha, these are great :)

ONO Records and SAT[MixSessions] present
MODULE_A
Thursday, August 10 - 20:00


A fun evening celebrating music, video, art and... Jan Pienkowski's birthday!

Program for the evening:

--Music--

Banditos - Live
Jan Pienkowski - Live
DJ Guapo - Live
Dave O'Brien - DJ

--Visuals--

Pink Rubber Lady
TIND
Les Technocrates

--Art Exhibition--

Patrick Leblanc

--Special--

- Quadrophonic Sound System
- Special Screen Configuration
- Pinata
- other surprises


Entrance: FREE

Location: SAT [Societé des arts technologiques]
1195 St. Laurent (between Réne Lévesque and St. Catherine)

[ www.myspace.com ]

As far as I remember, there was not much room for the legs at Imperial either. I used to sit on the balcony and think "man, nice theatre, but the leg room sucks!" :)

Thanks Dave! Congrats on the evenings at Kafein!

ONO Records Release
Jan Pienkowski - Telemarketer
Thursday, June 20, 2006


Hello Everyone,

I am very excited to tell you about the first official release on [ www.onorecords.com ] ]Ono Records - Telemarketer by Jan Pienkowski

Telemarketer is a CD EP featuring two songs. This EP will be treated as a pre-release to Jan's full length album You and I, scheduled to be released in the fall of 2006.

Anyone who purchases Telemarketer ($4.99 + shipping) before the release of the full length album You and I, will be eligible for a $4.99 discount upon the purchase of You and I. More info on this on the site in the Music section.

Jan Pienkowski's Telemarketer is available for purchase now on the [ www.onorecords.com ] ]Ono Records website or, if you would like to save shipping costs, at venues following any of Jan's Live PA performances.





Telemarketer
Music by Jan Pienkowski

1. Florence
2. Telemarketer

--------------------------------------------------------------------------------

Jan [ www.onorecords.com ] [ ]
A composer, musician, sound designer, DJ and physicist, Jan Pienkowski writes and performs music reflecting his diverse background. From his Electroacoustic training and love of World Music comes a mixture of mechanical bleeps, acoustic spaces and ethnic themes. From his theatre (DIALOG) and dance (A.R.M. with choreographer Nikolas Dixon) experience comes a flair for the dramatic and a feel for intricate rhythms.

Jan’s performances span Canada, U.S., France and Hong Kong. His latest 2005 Shiva project with VJ Nokami has been shown at festivals in Thailand, Germany, UK, Sweden, Austria, Romania, Italy, Portugal, Spain, Brazil, Argentina, USA and Canada, with India finally being added to the list of countries for 2006.

Jan has been also very active on the Montreal scene with shows at Mutek Festival, Black & Blue Festival, Montreal High Lights Festival, Fantasia Festival, Fringe/ Pop Festival, Divers/Cité Festival, Tangente, Agora Festif, Exit, and regular appearances at SAT, U Lounge, Saphir, Luba Lounge and Green Room. Jan’s Live and DJ mixes have landed him spots as featured artist on New York’s Proton Radio, Chicago’s Clubland Underground, Chicago’s 92.5 FM and Montreal’s CKUT 90.3 FM.

Jan is constantly expanding on what it means to be an electronic musician by collaborating with soloists (saxophone, violin, voice), visual artists, painters and dancers. He organises evenings and performs often at SAT, with a range of shows including: the first Technopera (Turandot) with the singers from the Atelier lyrique de l’Opéra de Monréal; Incidents improvisés, blending Schubert and Chopin with electronic structures. He’s also a [MixSessions] regular.

--------------------------------------------------------------------------------

Jan Pienkowski | Ono Records | SAT[MixSessions]

Ecuador is hot...in more ways than one ;)

Friendly reminder :)

Or another way to look at it is: He didn't get asked by any good teams in Europe, so he is playing in America :)

No goals from France since 1998!

ONO Records Special Events
Robo/tek V.9 - [MixSessions]
Thursday, June 15, 2006 - 21:00


Hello Everyone,

Robo/tek V.8 brings you another exciting line-up on June 15 with guest music by Frankie Madgenta and Alexis Bowles and Vjs Pink Rubber Lady, TIND, Moots and a bunch a matter.

Unfortunately, Robo/tek's resident VJ Fluid will not be joining us in the final line-up due to an injury to his arm, but rumour has it he will be joining us for a beer and to cheer us on! Now that is dedication :)

Hope to see you all there!


Robo/tek

The Robo/tek series delves into the multicolour spectrum of techno music. Over the years, techno has been stretching its boundaries and successfully assimilating itself with various other styles of music including house, breaks, electro, jazz, world music, classical and contemporary music, opera. Robo/tek attempts to show techno music in its many forms, varying from the subtle and romantic, through expressive (and at times experimental) and engaging, to aggressive and emotionally charged.

Robo/tek, hosted by Jan Pienkowski and Cyan, is a meeting of artists who exchange their musical perspective on techno music and share their journey with the audience. Robo/tek is also dedicated to the visual exploration of technology and how it relates to the world around us. Along with resident VJ Fluid, video artists take spectators on journeys of discovery and re-discovery.





Robo/tek V.9 - [MixSessions]
Thursday, June 15, 2006 - 21:00

Schedule for the evening:

21:00 - doors open

22:00
Music - Alexis Bowles (Live PA)
Visuals - TIND

23:00
Music - Jan Pienkowski (Live PA)
Visuals - Pink Rubber Lady

24:00
Music - Cyan
Visuals - Moots + a bunch a matter

01:00
Music - Frankie Madgenta feat. Random Process
Visuals - Moots + a bunch a matter

Entrance: $5

Location: [ www.sat.qc.ca ] newwindow]SAT [Societé des arts technologiques]
1195 St. Laurent (between Réne Lévesque and St. Catherine)

In short...no.

LOL

Also, if you use the word "jaywalking" in a conversation, chances are you are not from Montreal.
No one uses that term here. It is know simply as crossing the street...

Wow! That is brilliant!

That is true, but it doesn't make it less stupid. It is pretty ridiculous that you cannot walk out of a supermarket / SAQ with an unbagged 6-pack (or wine, liquor, etc) because you can get a ticket for carrying alcohol in public. WTF!!!

It is ok to pay the government a heafty tax for the alcohool, but not ok to show that you bought it?

LOL, Poland too ;)

This is not true. If you just follow a typical mass then you will see the priest drinking wine.

LOL

Somehow I didn't notice that this thread was 4 pages long already. My last post was in reference to page 1 and not what followed :)

I agree with RepentTokyo.

The part about not being able to work for a telco company a year after you terminate your contract with this one is just a scare tactic to keep you on their leash (or to keep you from actually making a better living with someone else). In my opinion the company will not win this in a legal battle as you have a right to make a living in the field you work in.

Now, if it is a client (that you have direct contact with) of your current company who is soliciting you, then that might be a different story, but if you just chose to quit and go work for the competition then there should be no problem. Otherwise no-one would ever be able to change jobs.

Yes, I would like that. I heard good things about the space.



Thanks! It was really nice of Chris to ask me to do it. He also made my ramblings sound quite coherent LOL

:)

Hey Stephane, how are you doing? I see you have new space running. Cool!

Cool! hope to see you there :)

ONO Records Special Events
SAT[MixSessions] - Peach Sweat
Thursday, April 27, 2006 - 21:00

On April 27th Jan Pienkowski will perform two live sets. The first hour will involve mixing classical themes (Chopin, Schubert, Stravinsky, Puccini, Britten, etc) with electronic soundscapes and rhythms - accompanied by the visuals of Thomas Israel. The second set will involve live tech-house-electro grooves with visuals by VJ collective Athanore.



SAT[MixSessions] - Peach Sweat
Thursday, April 27, 2006 - 21:00

Music: Jan Pienkowski - DJ Set

Visuals: Thomas Israel and Athanore

Entrance: Free

Location: [ www.sat.qc.ca ] newwindow]SAT [Societé des arts technologiques]
1195 St. Laurent (between Réne Lévesque and St. Catherine)