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what is the studio for electronic music in germany ? know here

Here is all about what is the studio for electronic music in germany ? , if you do not know then we will tell complete information about electronic music so read this post very carefully so that you can get all details of studio in germany.

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studio for electronic music in germany

The history of electronic music has not stopped surprising own and strangers in the last years. Many critics set the beginning of the commercial success of electronic music during the 1970s, with the popularization of the first synthesizer models at affordable prices. In that period Brian Eno supposedly “invented” the ambient, dozens of advertising musicians began to use electronic instruments, and not few were the composers of soundtracks of cinema and television that incorporated to their sheet sonoridades synthetic. In many of these cases and generally because of ignorance, they did not hesitate to become self-pioneers.

However, as early as the 1950s there was a musician who had advanced in at least twenty years to many of the “finds” that some thought they discovered in the 1970s. That musician, in 1949, already had some clear-sighted ideas about what it would look like the music of the future: “Perhaps within a hundred years, science will perfect a process of transferring thought from the composer to the listener.” The composer will sit on the stage and simply think of his idealized conception of his music. recordings, the recordings will carry the composer’s brainwaves directly into the listener’s mind. ”

That musician of such revolutionary ideas was none other than Raymond Scott (1908-1994). Born in Brooklyn, New York, under the name of Harry Warnow, he studied piano, theory and composition at the prestigious Juilliard School Of Music. In the 30s and 40s and already using the stage name of Raymond Scott, he directed several swing orchestras with a great popular success, in which he interpreted his own compositions (Powerhouse, Twilight In Turkey or The Toy Trumpet are some of the more known). In 1946 he founded Manhattan Research Inc., his eccentric firm “to design and manufacture electronic music devices and systems”, almost for private use, and later also of musical production in advertising and soundtracks for film and television.

The content of Manhattan Research Inc. (Basta Audio / Visuals, 2000), is above all a compilation of Raymond Scott’s most outstanding works as a musician for the television medium during the decades of the 50s and 60s. it is not the typical compilation of the use, but a complete work of documentation presented in an excellent 144-page book, which includes interviews with pioneers Robert Moog and Herb Deutsch, articles glossing the figure of Scott, abundant photographs, press clippings, advertisements of the time, as well as a full explanation of the origin and characteristics of each of the 69 pieces that includes the double CD.

In the purely sound section, we are faced with one of those albums that make us wonder if the history of electronic music is not the result of a great conspiracy. Scott is rarely cited as a pioneer to be considered in several of the reference books, something that is fortunately changing. However, both on a musical level and by the instruments he created, with such curious names as Bandito The Bongo Artist (a drum machine), the sequencers The Bass Line Generator and Circle Machine, and others such as the Clavivox monophonic keyboard or the Electronium (a console of instant composition and interpretation) show us that the anecdotal place that Scott often occupies in the history of electronic music is due to the existing ignorance and an alarming lack of historical vision.

In this double album (or almost double book-cd double), there are advertising songs of products as varied as Sprite: Mellonball Bounce, detergents (“Vim”), or throat lozenges (“Vicks: Formula 44 “), service companies such as a taxi and gas company (” The Pigmy Taxi Corporation “), with its dialogues and slogans, also overwhelming demonstration issues of some of the gadgets already commented as “The Bass-Line Generator”, “The Toy Trumpet”, “The Rhythm Modulator” or “Bandito The Bongo Artist”. There is no shortage of soundtrack fragments such as “Space Mystery,” a film illustrating General Motors’ pavilion at the 1964 New York World Fair,

There are also such delightful songs as the brief “In The Hall Of The Mountain Queen” with a playful children’s melody, the two versions of “Portofino”, which looks like a nana with a Latin touch (does anyone remember The Last Rumba by Jean Michel Jarre?), or “Cindy Electronium”, a sequential fanfare for a theme created in 1960. Other heavily experimental pieces are “The Wild Piece” created with the Electronium, where random sequences carry the weight of the theme, or “Take Me To Your Violin Teacher,” similar in concept to the previous, and clearly show the diversity of records in which Scott moved.

Lastly, it should be noted that the sound quality of the album testifies to the fact that Scott’s original recordings were made with such meticulousness that the producers of the compilation, Gert Jan-Blom and Jeff Winner, had only to correct the audio of the same ones during the process of mastering, despite having more than 40 years of antiquity in some cases. In short, we are faced with a double album (and the magnificent book that accompanies it,) especially recommended for all those archeologists of the origins of popular electronic music, untold story. As far as I’m concerned, I’ll soon scan the booklet attached to the two CD’s and upload it to Ex-Libris.

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