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TraxWeekly Issue 073
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$$ ! TraxWeekly Issue #73 ! Release date: 11 Oct 96 ! Subscribers: 861! $$
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Welcome to TraxWeekly Issue #73.
First off, my apologies for yet *another* huge break in TraxWeekly
releases. I've really slacked on my conviction to keep this newsletter
coming once a week, EVERY week. I'm finally back up and running after a
chaotic month of moving and banging my head over lead pipes waiting in
lines for books, id's, etc...I've been plagued with phone problems, so most
of my internet time has been shot. I'm still completely incommunicado
outside of school, so I guess TW is now produced exclusively in a complete
educational environment. =) Not! As of this writing, I'm connected...
praise the gods. =)
What is really happening right now? People are releasing tons of music,
Hornet is catching up on sorting the archive at ftpcd, and #trax is moving
to irc.demoscene.org. Oh yes, and b0b's #trax webpage has moved to
http://www.spaz.com/trax/. We've got some excellent articles for you this
week, which I hope makes up for some of that lost air time...
Finally, congratulations go to John Townsend (jtown) for his appointment
to the Hornet archive team.
Gene Wie (Psibelius)
TraxWeekly Publishing
gwie@csusm.edu
/-[Contents]----------------------------------------------------------------
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ss ss ss ss s. ss ss ssss ss s. ss ss sssssss
$$ $$ $$ $$ ý$s$$ $$ $$ $$ ý$s$$ $$ $$
.cC! $$$$$$$ $$$$$$$ $$ ý$$ $$ $$$$$$$ $$ ý$$ $$ $$$$$$$
General Articles
1. The State of the Scene........................Psibelius
2. New People on #trax...........................TW Staff
3. Music Contest Changes?........................Snowman
4. Realism: Not an issue.........................Necros
5. The Question of Copyright.....................Psibelius
6. 2nd Generation (from NetMusik, 6 Jun 95)......Saint Vitus
Group Columns
7. Skyjump Team
8. (T)he (M)a(X)
Advertisements
The City Musicians Directory
Closing
Distribution
Subscribtion Information
TraxWeekly Staff
/-[General Articles]--------------------------------------------------------
---------------------------------------------------------------------------/
--[1. The State of the Scene]----------------------------------[Psibelius]--
The music scene sure is enjoyable right now. During the last few months
we've seen a massive surge in the ranks of musicians now populating the
scene community. Along with that, comes with new compositions that are
continually pushing the "envelope" in tracked music. =) Take a moment to
listen to the top 25 songs that have come out from Music Contest IV. When
one compares them to the works from the competitions before it, the
difference is jaw-dropping. Not only are the works more refined, the
addition of new technology in tracking software has created substantial
space for the improvement of existing songs. Times are changing, and the
quality of sound available for music is increasing...
This issue is very special for me, because this is my 100th article for
TraxWeekly. I can still remember the days when Populus was still running
this joint. We were scrambling around after the DemoNew's little spring
break trying to get something together for us #trax-ers...now look at
everything. DN is passing the mid 2000's in subscribers, and TW is a
couple hundred away from 1000. The amazing thing is that in spite of all
the constant changes in the music scene, these two publications have kept
going, and going, and going. And don't count on losing either one in the
forseeable future.
And keeping this newsletter going *is* a priority. A lot of the staff
you see listed now doesn't really have the time to keep writing for the
publication. They have school, jobs, and other lives to lead. It's a
shame, but that's the reality of things. I'm pretty out of touch with
current events also, so if there's someone out there who really thinks
they can handle a large chunk of this newsletter, I'd love to have you
aboard. No applications, no resumes...just talk to me...
I'm finally attending a University. It's a big change from the days in
high school when I'd plunk down in front of the monitor and put together
TW while playing Doom (does anyone remember that game??? =). TraxWeekly,
like the people that put it together, continues to grow. So now that
we're back from yet another period of inactivity, where are we headed now?
A few updates: IOR is now at the University of California at Santa Cruz.
You can reach him at jroth@cats.ucsc.edu. Our friend Flood Myth, creator
of the Superunknown scene page, now attends the University of California
at San Diego. You can reach him at jasnodgr@ucsd.edu.
And yet another week passes in this game we call life...
Gene Wie (Psibelius)
gwie@csusm.edu
----------------------------------------------------------------------------
--[2. New People on #trax]--------------------------------------[TW Staff]--
"It's not fair!" Since DemoNews has ratings, TraxWeekly should have its
own ratings too. And since DN has basically taken care of all of the
release ratings, TraxWeekly, in collaboration with Snowman/Hornet, has
devised a brand new rating system among rating systems for new members to
the #trax community. In this day in age, when computer time is wasted, we
must fight to put that time to good use by rating every damned thing
possible. So there.
=----------------------------------------------------------------(people)-=
#trax Size Rated Description
=-------------------------------------------------------------------------=
/Pappy 6'02 *** A new guy from Mazurka who just got
| internet access.
/Flipper 5'08 *+ Some lame dude who keeps channel
| flooding us and doesn't even
| know what the music scene is!
/Necros 5'11 ****+ Not really a new person, but we're
| just now getting around to
| catalogging him.
/IOR 6'?? **** Not really a new person either,
| but we can't not mention him,
| can we?
/Quarex ?'?? *********************** It's just too
| bad we never see him that much
| anymore. =)
/death ?'?? [N/A] TraxWeekly doesn't provide negative
| ratings. Sorry.
/Psibelius 5'07 ***+ Some stupid music dude. This is
| about all his music disks get
| anyway. Ugh.
/Daedalus 5'?? **** Must be fun to have KKK members on
| campus at CSUN, eh? =)
/Snowman ?'?? [N/A] TraxWeekly is not allowed to rate
| the head honcho. It's against
| the rules or something.
/old/1994/TraxServ [N/A] **** Is there a statute of limitations
| on channel bots? =)
Well, that's all we have time for this week. Unfortunately, due to an
extremely biased and stuck-up set of people reviewers, don't expect any
changes or additions to this list anytime soon. Have a nice day.
----------------------------------------------------------------------------
--[3. Music Contest Changes?]------------------------------------[Snowman]--
> --[2. The Realism Thang]----------------------------------------[Sturm]--
>
> About the MC4 issue
> ===================
>
> Oh yeah, and this is the reason why there should definitely NOT be a
> time limit on tunes!!! If a composer is really writing their own
> style, they may need 10 minutes. As a judge, it's your responsibility
> not to mark a tune down for the length. Some people really NEED a
> build-up and wind-down. Even two tunes of the same style of music can
> enormously vary in length - i've seen ambient tunes from 4 minutes to
> 60!
I would argue that a time limit definitely should be enforced on songs
entering Music Contest. This is for a very simple reason; judges have a
finite time to rate entries. Yes it would be more "fair" to the entrant
to have an undefined maximum time. Even more fair would be having the
judges go around to each entrant's house and listen to their song (since
sound systems that the composers use vary considerably).
Here's another reason... I don't want to listen to a 60 minute-long song
that sounds like crap. Much as I would wish otherwise, a large number of
Music Contest entries are poorly done. If people knew in advance that
they would be required to listen to very bad, very long songs, we would
have no judges (which wouldn't be fair for anyone). :) Granted there
might be an author out there with a kick-ass tune that is 14 minutes long,
but I believe the instances of that are disproportionately low.
And while I'm at it, let me just laugh. No, "laugh" isn't quite the
right word. Smack my forehead with an open palm and yell "DOH!" would be
more accurate. Almost as regular as Music Contest are the public
articles written about it (and ways to improve it). Before you -- and I
mean YOU -- decide to write something about the way Music Contest should
be, give some thought as to why it is the way it is. We didn't just
slap down rules. We gave careful thought and consideration to many
factors, deciding on what seemed the best course of action.
For any proposed change to MC you put forth I'll bet I can give at least
3 logical reasons why it won't work. Further, every time I have to
respond to one of these things, another 4 songs don't get catalogged (or
another 4 people don't get fragged, depending on which night you catch
me). :)
--
Christopher G. Mann (Snowman) - r3cgm@cdrom.com
Hornet Archive Maintainer - [ftp/www].cdrom.com/pub/demos
----------------------------------------------------------------------------
--[4. Realism: Not an issue]--------------------------------------[Necros]--
realism?
can you hear the squeaks of the person running his fingers across the
strings on the acoustic guitar in a mod?
can you hear the 22khz intricacies of the synth choirs?
can you hear the soft hall reverb on the bass kick in the drum kit?
doubtful.
mods aren't meant for this. if they were, everything would be MPEG Layer
3 compressed and we'd need 300mhz machines to hear em. otherwise perhaps
we could be distributing 40 meg .wav files with our latest creations. t3
required of course, though.
tracked music is inherently synthetic in a very important sense.
certainly it's possible to get 'close' to a real sound, but why would you
really try to do such a thing, when it's outside the scope of the format
(otherwise than for the novelty of course)? i've noticed the best tracked
music revels in it's contrivedness, and uses the digital domain to come
up with a sound that ISN'T the acoustic stuff you hear all day on the
radio, and in that very fact is new and unique.
andy
necros / five musicians
necros@fm.org
----------------------------------------------------------------------------
--[5. The Question of Copyright]-------------------------------[Psibelius]--
The other day, I recieved a rather interesting message from Exxon of
Moz[IC]art. It left me thinking for a very long time:
>Hi Psib....
>
>If I released a commercial record which has samples out of MODs in it, how
>was the situation with copyright laws etc. in this case?????
>The problem is, that I wouldn't know, where the samples are from, and
>because of that I couldn't name the sample creator...
>
>And: If I was about to do a broadcast on the topic of MODs, do you all
>think I should contact the creator of every Song I play, or would some of
>you find it ok anyway??
>
>But it's all just fictive, I'm not releasing a record(just in case someone
>will ever like my demotapes), neither will I do a broadcast show in the
>nearer future... (although I'd like to very much :))
>
>Regards,
>Exxon/moz[IC]art
>stefan_trischler@blackbox.at
The topic of copyrights as they apply to module music is one that hasn't
been covered too much. The basic assumption is that none of us with a
decent record in the music scene would dare to use someone else's hard work
to make a fast buck. However, as the quality of module music has increased
bit by bit, more people are finding it possible to market their creations.
Exxon, in your particular case, I'd say contact the composers of the songs
you want to broadcast. What's the worst that can happen? One of them will
say no, and you still have the pick of countless numbers of other tunes out
in the scene today. As for the samples, that's a tough call...
I don't know if all of you remember this or not, but last June (1995),
an intelligent fellow by the name of Saint Vitus addressed this topic in
his newsletter, 'NetMusik.' I quote his statement, "sampling is power."
As module musicians, aided with new technology, we can take the notes that
cost others thousands to reproduce, and put them to use in our own music.
The fact is however, that original songs and the actual "sound" that is
there is copyright to the creator. That means taking little sound bites
here and there from CD's and such is illegal. But not that any cares
right? Herein lies an ambiguity in the law: Is an electronic transmission
of a song and/or sounds considered a "live performance?"
I haven't done very much research on this subject at all, so I can't
really help out Exxon here. What I can do is point you to a few decent
sources for information. First thing's first. Read Saint Vitus' article
from the June 1st, 1995 issue (and only issue) of NetMusik. It's really a
shame that only one issue of NetMusik ever came out. It doesn't really
seem like much, but when one realizes that all 22k of that newsletter is
complete, concrete, information, presented in a coherent and thoughtful
format, its a tough competitor. I don't know if Saint Vitus is still
hanging around today. If he is, and one of you knows him, please send him
this way. =) If there's one person who presented professional journalism,
it was Saint Vitus. Then you might want to check out ARK, which was
advertised a few issues ago in TW. ARK is a service which provides some
legal information to aspiring 'net musicians. You can reach it at the URL
http://www.arkangel.com/law/. That particular section is the Beareau Law
Scrolls, dealing with this subject.
Enough of that realism stuff, it's time to move to something that really
affects us. Readers? I'd like to hear your perspective on copyrights and
the legality of "ripping" samples from CD's, tapes, records, other media,
etc. It's a fact that a lot of us can make our own samples. Now, what is
different because those samples are sounds created and copyrighted by
someone else?
Let's see some letters for next week. Until next time...
Gene Wie (Psibelius)
TraxWeekly Publishing
gwie@csusm.edu
----------------------------------------------------------------------------
--[6. Second Generation]-------------------------------------[Saint Vitus]--
[Note: This article was taken from the June 1st, 1995 release of St. Vitus'
NetMusik newsletter. His email was given as robe0041@gold.tc.umn.edu; I'm
unsure whether he still goes by that account. Perhaps one of us should
try to contact him =).]
Sampling = Power.
There's just no doubt about it.
Sampling means power in a hell of a lot of ways.
It's the power of assimilating some one else's high-priced
production values and instruments, and using them for your own
purposes. A note that may have cost a record company thousands of
dollars to create now becomes part of your repertoire in the short
instant it takes to digitize it. Stealing sound from audio gods. You
are Prometheus.
It's the power of improving on a sound - taking a horn sample from
Dizzy Gillespie and layering a sax from Ellington over it. Or an
African frog. Or anything. Stitching together a new, live, noisy
beast from the corpses of dead songs. You are Frankenstein.
It's the power of building on a riff, a groove you heard just for a
second that was left neglected, orphaned in the song. Knowing you
can feed it, make it grow. Emancipating it from the aural slavery
you first heard it in. You are Moses.
It's the power of twisting meaning. Making Nancy Reagan say "Yes!"
to drugs, or Mr. Rogers start a sentence that Charles Manson
finishes. Negativland calls it "culture jamming" - the experience of
playing the culture that surrounds you like a musical instrument.
Smashing sound bytes together like atoms on a test range in 1940's
Nevada. You're goddamn Oppenheimer.
Sampling IS power.
Traditional copyright laws, however, recognize NO ORIGINALITY in
any creation done with samples. No power.
"2nd Generation" is going be a recurring feature in NetMusik,
discussing ideas, techniques, and legal updates regarding the
musical quark of the 90's, the sample. If we're going to do that,
though, we first need to give it some definition.
- The Fat Boys On Copyright Law -
Let's be straight on this. Sampling is cool. Sampling is fun.
Sampling is neat. Sampling is also 100% illegal.
Being technical, releasing a work in a fixed format that contains
samples OF ANY SORT without the permission of the sampled artists -
that's what's illegal. What does "of any sort" mean?
"Of any sort" means melodies are protected. Meaning just because you
play "Happy Birthday To You" on your kazoo, don't think you don't
owe Happy Birthday To You, Inc., for using their song. It also means
drumbeats are protected. Yup. This was established in 1992. Prior to
that, only actual melodies were protected.
And what have the Fat Boys given to copyright law? More than you'd
think. The Fat Boys have precedent with one of the largest issues in
copyright law - at least as it relates to us. After another rap artist
sampled the human beatbox noises that the Fat Boys made and used them,
the law ruled that any sound that was recognizable, was protected.
Now, being practical, what the hell does all this mean? Should we care?
My answer? To a point. We should definitely care, we should definitely
know the law. Ignorance can be used as a weapon against you. And at the
very least, it can certainly spring a number of very annoying surprises
on you. It's important if we're going to be the people whom the law
affects, to be aware of, and strive to change it so that it's not
detrimental to us.
On the other hand, many people get by perfectly well by not clearing
any samples, and just not worrying about it. Biz Markie is a good example.
He's been sued over half a dozen times for ripping off beats and samples
without permission. He just keeps doing it.
It shouldn't interfere with your creativity. First law. However, you
may want to ask the ring of British DJ's who were selling their mixes
containing bits of Annie Lennox, Seal, and other artists if it matters.
They were shut down, product seized, and each heavily fined. It does have
an effect, but it's a slow, cumulative fog of an effect. A fog that creates
indecisiveness, and a fear to release in a wide scale any work that's
threatening to the status quo. By status quo, I don't just mean morals
and attitudes. I mean threatening to the way culture is produced, packaged,
and sold around the world by major conglomerates who dominate their markets
in a way that would be unacceptable if it were any other commodity, such
as oil or steel. It's something I think is worth fighting against, and
something I certainly want to be informed about. Speaking of culture
conglomerates...
-If The Net Won't Come To The Record Producers... -
The Recording Industry Association of America, or R.I.A.A. as they are
affectionately known, is going to be an acronym to watch for in the next
few years. These are the folks responsible for making sure that nobody
out there is skimping on their royalties, whether they're playing a
Barney CD for a batch full of hyperactive daycare preschoolers, a radio in
a restaurant, or distributing 15-second samples of bands on a BBS in
California. (All true.) Think of them as a sort of musical tax-collector.
The R.I.A.A. has been watching the net very carefully in the past few
years - watching it turn from a simple communication mechanism to the
most powerful individually controlled mass-medium to ever exist. In the
past, the R.I.A.A. has been able to keep a steady, monolithic, legally-
imposing presence on physically-based business. But the net ain't like
no Taco Bell.
You see, part of copyright law as it relates to royalties is that
the piece in question must be played in a public performance. Radio is a
public performance. So is that Barney CD. But downloading a song over the
net? Is that a public performance?
The jury's still out on that one.
The R.I.A.A., never a group to be hindered when there's money to be
found, realized that it had better try to pioneer some ground, here, or
risk being fossilized by technology. In December 1993 they filed suit
against Compuserve for an alleged 690 copyright infringements; specifically
690 unlicensed downloads of a MIDI version of "Unchained Melody".
They were seeking $100,000 per infringement. The case was settled out of
court.
High on their successes, on August 2, 1994, the R.I.A.A. submitted
a formal complaint to the Congressional task force on the National
Information Infrastructure. This task force will be telling Congress
what areas of the Net need to be looked at, and in some way
regulated. The R.I.A.A. is trying to convince the task force that
a digital transmission is the same as a public performance, and
should be subject to payment of royalties.
Will this affect you? Well, it certainly won't help.
If Congress decides that a digital transmission is the same as a
public performance, you could forseeably feel a major tremor in net
creativity, as form letters are sent out to those with copyrightable
sounds (and other works), and a mass of ugly, complicated and
essentially useless disclaimers fly in your face at every URL and
address known to man. Certainly the quality and availability of net
music will go down, and hey - these guys sued a bunch of
pre-schoolers. Who knows what sort of evils they're capable of?
As always, better informed than uninformed. Most of your
Congressmen and -women have email addresses. Search them out, save
them. Write to them. It's simplicity itself. And it does a lot more
good than you might think.
A fantastic site about copyright law as it applies to the net is
NegativWorldWideWebLand.(http://sunsite.unc.edu/id/negativland/) You might
want to take a gander.
That's the 2nd Generation rant this time around. I know there are some
musicians out there who are angry at how I've slammed the R.I.A.A., and
would love to make the case for royalties. So write! We'll publish
a rebuttal in a future issue.
Next Time: Samples - Making, Obtaining, And Mutilating Them: A Guide
- "This is a chord. Here's another. Here's a third. Now go start your
own band!" + a diagram in "Sniffin' Glue", 1977, the first punk
rock fanzine -
----------------------------------------------------------------------------
/-[Group Columns]-----------------------------------------------------------
---------------------------------------------------------------------------/
--[8. Skyjump Team]---------------------------------------------------------
Hello From D.J. Skyjump
I'm Back as President and this is the
New Track From Spermaster
SkYjUMP tEAM - 1996 PROdUCtiON
Presents
NAME : Ex-Traemor
fORMAt : XM - 8 Tracks
tYPE : Hard-Trance
(c) 7 Oct 1996 - by Spermaster
Grab it From our WWW Page :
http://sdc.wtm.tudelft.nl/skyjump-team/
or from
sdc.wtm.tudelft.nl /pub/music/groups/SKYJUMP-TEAM
-----------------------------------------------------------------------------
-[9. The MaX]--------------------------------------------------------------
Announcing a new MOD group - TMX (T{he} M{a}X). TMX is dedicated to making
high quality dance music, ranging from spaced out ambient to in-yer-face
drum'n'bass (quality rhyme, eh?) Anyway, we're looking for members. Anybody
who is interested in joining should send one of their best songs to me at
u05rjf@abdn.ac.uk for evaluation. I'll let you know within a few days
whether you've been accepted or not. Anyway, we plan to release a CD after
a while, and *hopefully* at some point in the future do some gigs. No
matter what your level of expertise, submit your MOD - we're not looking
for in-depth knowledge of all effects, we just want people with an ear for
a good tune. Response has been fairly high so far, so please make contact
soon if you are thinking about it.
rUz ''~``
( o o )
+------------------.oooO--(_)--Oooo.---------------------- -+
| |
| u05rjf@abdn.ac.uk .oooO http://www.abdn.ac.uk/~u05rjf |
| ( ) Oooo. |
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The City Musicians Directory
*** http://www.soton.ac.uk/~dpd195/musicns.html ***
A proud part of BassQ's "Music City" (http://www.reading.ac.uk/~stu95gm/)
The City Musicians Directory serves as an online database of musicians,
providing personal as well as group contact information. CMD is a free
service, maintained on a volunteer basis, and serves the internet
community in expanding on awareness of the growing music scene.
Questions and Comments:
David Dupplaw - aka Aurora/Gemini
DD@wychway.demon.co.uk
dpd195@ecs.soton.ac.uk
http://www.soton.ac.uk/~dpd195
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Fred (Fred Fredricks).............fred@paracom.com
Kal Zakath (John Townsend)........jtownsen@sescva.esc.edu
Kleitus (Seth Katzman)............skatzman@global2000.net
Mage (Glen Dwayne Warner).........gdwarner@cvn70b.vinson.navy.mil
Mick Rippon.......................rip@hunterlink.net.au
Trifixion.........................trifix@orion.polaristel.net
Zinc (Justin Ray).................rays@direct.ca
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