June 26 saw the Strange Sounds From Beyond emitted via three stages in Amsterdam’s Noordlicht.
The likes of Young Marco, Gilles Peterson, Omar Souleyman, Antal, Ata Kak, and more brought intelligent dance music of all descriptions on a day the dance music establishment (Awakenings) otherwise would have monopolized. Instead, some 3,000 (or so) of the city’s most eclectic party animals danced the day away to the sounds of Syria, Africa, Greece, USA, and way more in a veritable orgy of world sounds.
See also: Party Report: Strange Sounds From Beyond
The analog feel of the festival was definitely not lost on me, or others, as the following video series shows. Armed with a 90s era camcorder, the Strange Sounds From Beyond story unfolds in all its glory via the 8 part video series below:
Whenever the Strange Sounds From Beyond appear, so does San Proper….that’s just a given.
…but so does the cool…
Unfortunately, sometimes not everyone has yet to feel the Strange Sounds but, when that happens, Ata Kak shows up with smiles and vibes a plenty.
Meanwhile, elsewhere, even legends still prepare…
…while Omar Souleyman turns the main stage into the world’s biggest Syrian wedding…
“Yeah” is the official language of the Strange Sounds.
…and dance is the official mating ritual
Can YOU feel it yet?
All Videos Shot by Amsterdam based director Anna Bogomolova
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There’s been a buzz in the international DJ community as the winner of a major Thre3style event was discovered to have faked his set. For all the production that goes into Red Bull’s DJ competition, we’re amazed that a few basic concepts haven’t been implemented that would instantly allow judges, fans, and fellow competitors to detect fake DJ routines.
Editor’s Note: the header image for this article include DJ FONG FONG, winner of the 2012 DMC World Championship. He just looks good next to a referee, we’re not trying to say he’s ever done a fake DJ routine. :)
G-Smooth’s Set: A Lot Of Work To Fake It
Before we dive into our two suggestions for DJ competitions, a bit more context on this week’s events. G-Smooth was declared the winner of the Australian Thre3style competition that took place on July 1st. However, many DJs around the web watched the routine and were able to quickly find moments where his physical actions on the turntables and mixer didn’t line up with the resulting audio. Add to that, the trim/gain knobs on each channel were turned all the way down, and the sampler volume was turned up, as pointed out in the screen capture from Eric Lehy above.
You can watch the full routine on his Facebook page, but considering the context, we felt it more appropriate to just embed two clips of the most egregiously faked parts.
- Daft Punk “Roll”: On the mixer used, Pioneer DJ’s DJM-S9, the top-right pad mode (where the pads are green) is the roll function. This means the pads will trigger rolls on the playing track at different rates. The rate is determined by which pad you press – but if you watch below, it doesn’t line up at all with what you hear:
Fake Roll: G-Smooth Faked Red Bull Thre3style entryG-Smooth had his winning Australian Red Bull Thre3style title revoked after DJs called fake on his performance. Here’s a clip of him using loop rolls during the routine in question. Read more about how competitions could fix this problem here: http://djtech.tools/fakeDJset
Posted by DJ TechTools on Thursday, July 14, 2016
- Watch The Sticker: As many commenters were very quick to point out, a great way to look for fake turntablism sets is to watch the actual sticker on the control vinyl. Check out the tail end of the routine and watch the sticker closely – does it match up to the audio?
Watch The Label – G-Smooth Red Bull Thre3style clipG-Smooth had his winning Australian Red Bull Thre3style title revoked after DJs called fake on his performance. Here’s a clip of him “cutting” in the routine in question. Read more about how competitions could fix this problem here: http://djtech.tools/fakeDJset
Posted by DJ TechTools on Thursday, July 14, 2016
It’s worth noting that G-Smooth mimics a lot of the performance very convincingly – enough to fool the judges in the room and the crowd. But imagine how much work it must have taken to make sure that his actions aligned with a playing track?
With live DJ routines, slight flubs or moments where it’s not quite right are acceptable, because they’re live. But if your recorded set is perfect, then you have to match your actions exactly right to that perfect recording. He might as well have just played the real routine with all the work he put into faking it.
Step 1: Add Screen Capture + Overhead Video For Every Competitor
To allow anyone to quickly see if the audio matches up to what a DJ is doing during a performance, there are two things that need to be recorded without interruption:
1. Overhead view: Video cameras are all over the DJ booths at these Red Bull Thre3style events, but for some unknown reason, there’s not one that is directly above the DJ mixer pointing down. This angle allows you to see the VU meters, every single control on a DJ mixer, the exact sticker location, if cables are really plugged in, if gear is turned on, etc.
The Red Bull Thre3style producers want the final published videos to look really good in terms of editing and camera work, and a single overhead feed isn’t too exciting to watch. But look at how the popular DJsounds YouTube mix show does it for inspiration (mixing starts at 7:30):
2. Screen Capture: Being able to see exactly what is on the screen of a laptop DJ might feel invasive, but it’s completely necessary to see what is really going on. For instance, in G-Smooth’s performance, the decks on Serato DJ were still moving and he was manipulating them live. But the real audio is coming through the SP-6 sampler in the software – something we might have been able to see activated in start of the routine.
A lot of DJs also use pre-produced edits when entering competitions. The best way to properly show the audience the different between these edits and an on-the-fly edit is to have a window into the software to see what’s one the decks. Just take a HDMI cable, plug it into the computer, set it to mirrored so the DJ’s view is unaffected, and record the output.
Step 2: Put A “Referee” In The DJ Booth
In most professional sports, you don’t have referees that sit in the stands and officiate from there. So why is it that in almost every professional DJ competition, all the judges sit in the crowd or across the room? Unless there are monitors at the judges’ table showing the screen capture and above-the-mixer video angle mentioned above, the judges will be unable to really determine what’s going on and how the routine is being performed.
The simple solution is to add either a judge or an impartial referee who stands next to the DJ. They’re not there to trainspot, but to instead watch what a DJ is doing technically.
How would you change the DMC and Thre3style events to prevent fake DJ routines?
The post Competitions Could Prevent Fake DJ Routines With Two Simple Steps appeared first on DJ TechTools.
Francesca Lombardo returns to her Echoe imprint mid July with the Remembrance EP, comprising two original compositions from the Italian artist.
Echoe: ‘’Echoe’s founder Francesca Lombardo graces the label with its latest release, an EP entitled Remembrance, which is shrouded in mystique and simmering energy. Evoking images of sand swept dancers and a kaleidoscope of LED lights, this two-track EP draws on the pervasive energy of Burning Man, and merges it with Francesca’s own cosmic life-force to deliver a very special pairing of tracks.”
The title track “Remembrance” has a spirited melody at its core, which is mirrored by the bass line. It’s all propelled along by sturdy, stomping drums and topped off with a layer of wistful pads. Francesca keeps it simple and hypnotic with this little beauty, a treat for anyone who likes it deep.
Francesca Lombardo’s Remembrance EP is out on Echoe 15th July 2016.
Francesca Lombardo – Remembrance (Original Mix) [Echoe]
* CLICK HERE if you do not see the SoundCloud player.
Artist: Francesca Lombardo
Title: Remembrance EP
Cat No: ECHOE003
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Berlin’s Tresor club turns 25 this year, celebrating with a four day festival next week. And the lineup is just completely and totally insane. If you took, say, the Thursday night program out of context, you might be excused for believing it was the headliners for an entire festival.
The festival says as much about the healthy state of techno as it does about Tresor – but Tresor is without question one of the venues at the center of that world.
The timing comes just days after the revelation that Tresor founder Dimitri Hegemann will open a museum in the same cavernous power plant that’s home to Tresor, Globus, Ohm, Kraftwerk, and his other venues.
Now, as Mixmag reports, Hegemann “prefers the Living Archive of Electronica as a title for the venture, stating that the term ‘museum’ denotes “something that belongs to past.”
But that might as well be watchcry for Tresor in general. On any given week, Tresor is indeed a living archive – this is a place where the Detroit – Berlin axis thrives, where classic records can still pound away in the basement. Regulars tell me that the experience inside is very much as it was in the original Tresor.
That might tend to “museum” territory were it not for a lively ongoing set of programming. There’s a consistent balance between old and new on the weekend Klubnacht. There’s support for ongoing innovation in live sets and quality DJing. There’s Wednesday night’s “New Faces,” which might stretch the emerging artist moniker a bit far (some of the lineups are reasonably well established), but does at least pull together music on a weekly basis around curators who are able to push their vision ahead of what’s likely to create a queue, and indeed help develop some new talent or talent that isn’t as well known in Berlin. And that’s to say nothing of programming like Berlin Atonal festival or oddball emerging parties at Ohm (the power plant’s former battery room).
I still haven’t gotten to the festival lineup, but I think it’s important that it’s against that background. So Tresor 25 will accordingly take over all the venue’s major spaces – the impossibly huge cavern of Kraftwerk (the main power plant space, several times larger than Berghain), Ohm, Globus (the wooden-floored upper room), and Tresor (the one with the blinky lights and classic cage).
Into that vessel pours a who’s who of techno precisely because Tresor has been such a healthy patron to so many techno artists. It’s safe to say Detroit mainstays get a warmer reputation in Germany than they do in their own city. Berlin locals are there alongside artists from around Europe.
To give you a taste, CDM has partnered with Beatport to share a very special Tresor 25 Years Chart, with some of the mainstay artists from this lineup and Tresor’s history as a label and club:
Highlights for me: Daniel Bell, playing live as DBX, represents one of the best specimens of live techno around. Robert Hood is back with his own unique sound. There’s Dasha Rush and Donato Dozzy, too, some of the artists who have most inspired me down in the basement (and Dasha has also provided some of the highlights of the past years there with her own takeovers).
The home team: Tresor Records artists Pacou, Bill Youngman, Zadig, Claudia Anderson, residents Mareena, Refracted, and Marcel Heese. Actually, there could easily be a couple more weeks of programming here – that only scratches the surface of the record label and residents.
Plus you get Fumiya Tanaka, Objekt, Acronym, Patrice Scott, Ocar Mulero, Blake Baxter, Dj Deep, Roman Poncet… and more.
You get the likes of Juan Atkins and Moritz von Oswald as Borderlands, DJ Pete and Sleeparchive as TR-101. But you also get pioneer Gudran Gut, people like Helena Hauff, Magda El Bayoumi, Psyk, Reka. This is a diverse lineup of men and women from the scene, suggesting techno that’s expanding, not contracting.
Ellen Allien and DJ Tanith close in a Sunday marathon, in case you’re still alive.
And this isn’t just about big headliners on big stages. Part of what I think will create a unique atmosphere is that legends like Juan Atkins and Daniel Bell will also be found in the intimate environs of Ohm.
Side note: when the museum of techno does open, I imagine it won’t be anything like this.
Gallery o’ inspiration:
The post Tresor at 25 set to prove it’s anything but a museum appeared first on CDM Create Digital Music.