Re: Fairlight history (value of a pacific century?)


Subject: Re: Fairlight history (value of a pacific century?)
From: Innes Andy Park (iparki23@yahoo.com)
Date: Sat Apr 30 2005 - 08:19:03 EDT


 Since you sampled yourself by posting this twice
Maestro Kev..

> Herešs the Peter Vogel section

 Kim Ryrie also rates a mention as co-inventor (both
were electrical engineering students at University of
New South Wales), like Murdoch he is the son of a
publisher.
Ryrie's company http://www.deqx.com/
offers: loudspeaker and room correction (really?)
 
 The term 'sampler' is in a sense hype worthy of
Huebner, as the units offer an impression or a virtual
sound image rather than an actual sample of anything.
It was basically a platform shift for the mellotron
(which was also based on something else before it).

* Maston Beard who built the first digital computer to
make music went to high school 1km away from UNSW.
Beard still only rates a three line obituary which
does not mention CSIRAC, and someone who owned a pub
and three race horses gets half a page. Ultrapimper
humility or Sydney's cultural malaise? Make and shake
the abacus or buy one and use it for it's intended
purpose?

* The recent Wire magazine Subcurrents festival over 3
days at Glasgow CCA featured no computers, no full
length keyboards, no midi and a gender balance on
stage and in the audience. Every act was either wholly
or partly electroacoustic with extensive use of (some
DIY) electronics, and whilst samplers were used, only
one or two pre-prepared samples featured. This created
a live(ly) atmosphere.
 Leave the IBMs at work?
 Or resist a somewhat globalised jazz, punk assault on
academic notions of what electroacoustic should be?
 Is entertainment a good thing?
Milli Vanilli electroacoustic extraordinaire?

* In India there were riots when the harmonium was
introduced aparently because its noted were 'fixed'.
Political violence over the introdcution of new
musical technology, interesting audio ecology?

 on the fre(e)quency,

 Innes

 

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