The Wayback Machine - http://web.archive.org./web/20120626000735/http://wn.com:80/Electronic_Musician
Monday, 25 June 2012
David Vorhaus Analogue Electronic Music 1979
Another Electronic Musician -
Discovering Electronic Music [ENG\RO]
Special : Electronic Music Producer BT
Electronic Musician Jean-Jacques Perrey on
Ark (electronic french musician/dj)
Tom Cosm on Live Electronic Music - Introduction
Trailer for DECONSTRUCTING DAD--The Music, Machines and Mystery of Raymond Scott
Tom Cosm on Live Electronic Music - Part 2
Dubspot @ Electric Zoo 2011 - NYC's Massive Electronic Dance Music Festival
The ULTIMATE Electronic Music Production iPad App: ELECTRIFY
Ligeti - Artikulation

Electronic Musician

Make changes yourself !



David Vorhaus Analogue Electronic Music 1979
  • Order:
  • Published: 14 Sep 2009
  • Duration: 7:09
  • Updated: 25 May 2012
Author: JeffreyPlaide
In this historical video excerpt, David Vorhaus talks about two of his analogue inventions - the MANIAC analogue sequencer, and the Kaleidophon from 1979. The MANIAC (Multiphasic Analog Inter-Active Chromataphonic (sequencer)) was an analogue sequencer having variable step lengths, and the ability to split sequences into several smaller groupings giving considerable sonic potentiality. Addition and subtraction of events was possible, as well as the possibility to chromatically correct the output during performance. David could program his MANIAC sequencer to play a background rhythm or combination of musical events, to then improvise over the top with another instrument or synthesizer. The Kaleidophon was a double-bass-like instrument using four velocity-sensitive ribbon controllers instead of strings. The instrument is played entirely using the left hand, leaving the right hand free to manipulate the sound via a number of controllers and a joystick. David speaks about the processes of making electronic music, and the developments that such possibilities can provide for the imaginative electronic musician. This excerpt is taken from the BBC 1979 documentary entitled "The New Sound of Music" hosted by Michael Rodd.
http://web.archive.org./web/20120626000735/http://wn.com/David Vorhaus Analogue Electronic Music 1979
Another Electronic Musician -
  • Order:
  • Published: 05 Feb 2010
  • Duration: 6:45
  • Updated: 07 May 2012
Author: champs0606
l love this tune from 2010 album "States Of Space"
http://web.archive.org./web/20120626000735/http://wn.com/Another Electronic Musician - "Atheos"
Discovering Electronic Music [ENG\RO]
  • Order:
  • Published: 02 Apr 2011
  • Duration: 21:42
  • Updated: 28 May 2012
Author: chrisnightsofficial
Discovering electronic music is a documentary made in 1983 by director and writer Bernard Wilets. The documentary follows the influence of electronic technology on music up the to time. Much of the focus is on how electronics have been instrumental in making new sounds and new notations as well as providing increased accessibility and expedient results for modern music composers. Analog and digital synthesizer technologies are discussed with appearances by Moog and Fairlight synthesizers to name a few. Watch all three parts of this clinical style documentary dripping with electronic music goodness after the jump. Subtitles: English, Romanian
http://web.archive.org./web/20120626000735/http://wn.com/Discovering Electronic Music [ENG\RO]
Special : Electronic Music Producer BT
  • Order:
  • Published: 03 Sep 2011
  • Duration: 24:54
  • Updated: 25 Apr 2012
Author: adiblasi
http:/www.Alfred.TV READ ME FIRST: I was fortunate to get a seat close to the stage to her musician BT talk at Sweetwater's Gearfest 2011 conference. If you like music and technology, you should really watch this video! BT is a classically trained and Grammy-nominated American music producer, composer, audio technician, singer and songwriter with a focus on the electronic genre. He is also responsible for a program entitled "Stutter Edit", which is published by iZotope and sold through Sweetwater. BT's Website: www.btmusic.com Stutter Edit: www.izotope.com Sweetwater Contact Brendan Murphy 800-222-4700 x1287 brendan_murphy @sweetwater.com www.sweetwater.com Follow Alfred on Twitter at www.twitter.com Enjoy the video. Warm regards, Alfred www.Alfred.TV
http://web.archive.org./web/20120626000735/http://wn.com/Special : Electronic Music Producer BT
Electronic Musician Jean-Jacques Perrey on
  • Order:
  • Published: 20 Mar 2010
  • Duration: 10:20
  • Updated: 27 May 2012
Author: rrgomes
Electronic music pioneer Jean-Jacques Perrey appears on "I've Got a Secret" (November 21st, 1966) with host Steve Allen and panelists Betsy Palmer, Bill Cullen, Bess Myerson, and Henry Morgan. After several other musicians are introduced along with their instruments (violin, French horn, bagpipe, clarinet) we learn that Perrey's secret is "I play one instrument that can sound like all of these." After the game, that instrument is revealed to be the Ondioline, an early synthesizer-like keyboard instrument. He demonstrates that it can indeed mimic the sounds of the others and make unique sounds of its own. Perrey and his collaborator Gershon Kingsley, with whom he recorded the 1966 album "The In Sound from Way Out", then play one of their compositions.
http://web.archive.org./web/20120626000735/http://wn.com/Electronic Musician Jean-Jacques Perrey on "I've Got a Secret"
Ark (electronic french musician/dj)
  • Order:
  • Published: 30 Mar 2007
  • Duration: 3:33
  • Updated: 26 May 2012
Author: keridudouze
mini video-clip showing Ark, a french electronic musician who plays in a lot of European clubs. He also released several albums from various styles (house/minimal). Very demonstrative artist, all his shows are very impressive ! camera : kooce editing : keri
http://web.archive.org./web/20120626000735/http://wn.com/Ark (electronic french musician/dj)
Tom Cosm on Live Electronic Music - Introduction
  • Order:
  • Published: 08 Jan 2007
  • Duration: 4:36
  • Updated: 18 May 2012
Author: cosmcosm
This is a video made by myself and Ben Johnson about live electronic music using a laptop, synthesizer and midi controllers. This is part 1 - A general introduction to me and my music. Make sure to check out the other parts! www.cosm.co.nz
http://web.archive.org./web/20120626000735/http://wn.com/Tom Cosm on Live Electronic Music - Introduction
Trailer for DECONSTRUCTING DAD--The Music, Machines and Mystery of Raymond Scott
  • Order:
  • Published: 26 Feb 2009
  • Duration: 6:17
  • Updated: 23 May 2012
Author: SJW611
LATEST NEWS!: DVD NOW AVAILABLE!--YOU CAN GO TO THE ORDER PAGE AT www.scottdoc.com and it will be on the way to you within two days. The price is 24.95--and by buying you'll be supporting a truly independent film. This is an updated trailer for the documentary previously titled "Raymond Scott--On To Something" a biographical documentary about the 20th century musician, composer, and inventor whose musical career included the swing era, electronica, and everything in between, including use of his music in Warner Brothers Looney Tunes and Merrie Melodies. FOR MORE INFO go to www.scottdoc.com OR the Facebook page: www.facebook.com
http://web.archive.org./web/20120626000735/http://wn.com/Trailer for DECONSTRUCTING DAD--The Music, Machines and Mystery of Raymond Scott
Tom Cosm on Live Electronic Music - Part 2
  • Order:
  • Published: 08 Jan 2007
  • Duration: 8:46
  • Updated: 26 May 2012
Author: cosmcosm
This is part 2 of a video I made covering the methods and techniques I use when performing live electronic music using a laptop, synthesizer and midi controllers. Make sure you check out the other parts of this video! www.cosm.co.nz
http://web.archive.org./web/20120626000735/http://wn.com/Tom Cosm on Live Electronic Music - Part 2
Dubspot @ Electric Zoo 2011 - NYC's Massive Electronic Dance Music Festival
  • Order:
  • Published: 18 Sep 2011
  • Duration: 8:06
  • Updated: 24 May 2012
Author: DubSpot
More info - blog.dubspot.com We spent Labor Day weekend at New York City's massive electronic music festival Electric Zoo at Randall's Island. We caught up with some of the DJs and performers, including the newly reunited duo Gabriel & Dresden, legendary progressive house producer, DJ, and label owner John Digweed, rising Swedish DJ and producer Alesso, beatboxer and electronic musician Beardyman, among others. They share their advice for aspiring DJs and producers looking for a successful career in music. Electric Zoo is a three-day festival held in New York celebrating electronic music. This year's event drew over 85000 attendees throughout the weekend.
http://web.archive.org./web/20120626000735/http://wn.com/Dubspot @ Electric Zoo 2011 - NYC's Massive Electronic Dance Music Festival
The ULTIMATE Electronic Music Production iPad App: ELECTRIFY
  • Order:
  • Published: 26 Aug 2010
  • Duration: 11:28
  • Updated: 24 May 2012
Author: LuisMayhem17
Seriously, if you're even remotely interested in creating electronic music then you NEED this app.
http://web.archive.org./web/20120626000735/http://wn.com/The ULTIMATE Electronic Music Production iPad App: ELECTRIFY
Ligeti - Artikulation
  • Order:
  • Published: 28 May 2007
  • Duration: 3:52
  • Updated: 28 May 2012
Author: d21d34c55
In the 70's, Rainer Wehinger created a visual listening score to accompany Gyorgy Ligeti's Artikulation. I scanned the pages and synchronized them with the music. Enjoy!
http://web.archive.org./web/20120626000735/http://wn.com/Ligeti - Artikulation
Electronic Music Synthesizer Shirt from ThinkGeek
  • Order:
  • Published: 11 Nov 2010
  • Duration: 2:07
  • Updated: 18 May 2012
Author: thinkgeek
You've played the drumkit shirt, and even strummed a bit on the Guitar shirt! Round out your apparel band with a keyboard shirt! www.thinkgeek.com
http://web.archive.org./web/20120626000735/http://wn.com/Electronic Music Synthesizer Shirt from ThinkGeek
Winter Sunset. Electronic Musician Michael Law performs a new track live in his studio
  • Order:
  • Published: 07 Jan 2009
  • Duration: 3:53
  • Updated: 26 Aug 2010
Author: Hypersynthesis
Vintage Electronic musician Michael Law performs a new track live on Moog Little Phatty Stage II, Nord Lead 3, Korg MicroKorg / R3 / Kaoss Pad 3, Line 6 DL4 Delay Modeler in his studio. All music was composed using the hardware resources of the instruments only (no computer - and I design Mac systems for recording studios...!). Music, video and photographs where and created by Michael in a 3 hour period on 3rd January 2009 and then captured into Final Cut Pro. The video was edited and mastered on 7th January by Mark Howard at his facility near Bristol.
http://web.archive.org./web/20120626000735/http://wn.com/Winter Sunset. Electronic Musician Michael Law performs a new track live in his studio
  • David Vorhaus Analogue Electronic Music 1979...7:09
  • Another Electronic Musician - "Atheos"...6:45
  • Discovering Electronic Music [ENG\RO]...21:42
  • Special : Electronic Music Producer BT...24:54
  • Electronic Musician Jean-Jacques Perrey on "I've Got a Secret"...10:20
  • Ark (electronic french musician/dj)...3:33
  • Tom Cosm on Live Electronic Music - Introduction...4:36
  • Trailer for DECONSTRUCTING DAD--The Music, Machines and Mystery of Raymond Scott...6:17
  • Tom Cosm on Live Electronic Music - Part 2...8:46
  • Dubspot @ Electric Zoo 2011 - NYC's Massive Electronic Dance Music Festival...8:06
  • The ULTIMATE Electronic Music Production iPad App: ELECTRIFY...11:28
  • Ligeti - Artikulation...3:52
  • Electronic Music Synthesizer Shirt from ThinkGeek...2:07
  • Winter Sunset. Electronic Musician Michael Law performs a new track live in his studio...3:53
In this historical video excerpt, David Vorhaus talks about two of his analogue inventions - the MANIAC analogue sequencer, and the Kaleidophon from 1979. The MANIAC (Multiphasic Analog Inter-Active Chromataphonic (sequencer)) was an analogue sequencer having variable step lengths, and the ability to split sequences into several smaller groupings giving considerable sonic potentiality. Addition and subtraction of events was possible, as well as the possibility to chromatically correct the output during performance. David could program his MANIAC sequencer to play a background rhythm or combination of musical events, to then improvise over the top with another instrument or synthesizer. The Kaleidophon was a double-bass-like instrument using four velocity-sensitive ribbon controllers instead of strings. The instrument is played entirely using the left hand, leaving the right hand free to manipulate the sound via a number of controllers and a joystick. David speaks about the processes of making electronic music, and the developments that such possibilities can provide for the imaginative electronic musician. This excerpt is taken from the BBC 1979 documentary entitled "The New Sound of Music" hosted by Michael Rodd.
7:09
David Vorhaus Ana­logue Elec­tron­ic Music 1979
In this his­tor­i­cal video ex­cerpt, David Vorhaus talks about two of his ana­logue in­ven­tions...
pub­lished: 14 Sep 2009
6:45
An­oth­er Elec­tron­ic Mu­si­cian - "Atheos"
l love this tune from 2010 album "States Of Space"...
pub­lished: 05 Feb 2010
au­thor: champ­s0606
21:42
Dis­cov­er­ing Elec­tron­ic Music [ENG\RO]
Dis­cov­er­ing elec­tron­ic music is a doc­u­men­tary made in 1983 by di­rec­tor and writ­er Bernard ...
pub­lished: 02 Apr 2011
24:54
Spe­cial : Elec­tron­ic Music Pro­duc­er BT
http:/www.​Alfred.​TV READ ME FIRST: I was for­tu­nate to get a seat close to the stage to her...
pub­lished: 03 Sep 2011
au­thor: adi­blasi
10:20
Elec­tron­ic Mu­si­cian Jean-Jacques Per­rey on "I've Got a Se­cret"
Elec­tron­ic music pi­o­neer Jean-Jacques Per­rey ap­pears on "I've Got a Se­cret" ...
pub­lished: 20 Mar 2010
au­thor: rrgomes
3:33
Ark (elec­tron­ic french mu­si­cian/dj)
mini video-clip show­ing Ark, a french elec­tron­ic mu­si­cian who plays in a lot of Eu­ro­pean c...
pub­lished: 30 Mar 2007
au­thor: keridu­douze
4:36
Tom Cosm on Live Elec­tron­ic Music - In­tro­duc­tion
This is a video made by my­self and Ben John­son about live elec­tron­ic music using a lap­top,...
pub­lished: 08 Jan 2007
au­thor: cosm­cosm
6:17
Trail­er for DE­CON­STRUCT­ING DAD--The Music, Ma­chines and Mys­tery of Ray­mond Scott
LAT­EST NEWS!: DVD NOW AVAIL­ABLE!--YOU CAN GO TO THE ORDER PAGE AT www.​scottdoc.​com and it ...
pub­lished: 26 Feb 2009
au­thor: SJW611
8:46
Tom Cosm on Live Elec­tron­ic Music - Part 2
This is part 2 of a video I made cov­er­ing the meth­ods and tech­niques I use when per­form­ing...
pub­lished: 08 Jan 2007
au­thor: cosm­cosm
8:06
Dub­spot @ Elec­tric Zoo 2011 - NYC's Mas­sive Elec­tron­ic Dance Music Fes­ti­val
More info - blog.​dubspot.​com We spent Labor Day week­end at New York City's mas­sive ele...
pub­lished: 18 Sep 2011
au­thor: Dub­Spot
11:28
The UL­TI­MATE Elec­tron­ic Music Pro­duc­tion iPad App: ELEC­TRI­FY
Se­ri­ous­ly, if you're even re­mote­ly in­ter­est­ed in cre­at­ing elec­tron­ic music then you NE...
pub­lished: 26 Aug 2010
3:52
Ligeti - Ar­tiku­la­tion
In the 70's, Rain­er We­hinger cre­at­ed a vi­su­al lis­ten­ing score to ac­com­pa­ny Gy­or­gy Lige...
pub­lished: 28 May 2007
au­thor: d21d34c55
2:07
Elec­tron­ic Music Syn­the­siz­er Shirt from ThinkGeek
You've played the drumk­it shirt, and even strummed a bit on the Gui­tar shirt! Round ou...
pub­lished: 11 Nov 2010
au­thor: thinkgeek
3:53
Win­ter Sun­set. Elec­tron­ic Mu­si­cian Michael Law per­forms a new track live in his stu­dio
Vin­tage Elec­tron­ic mu­si­cian Michael Law per­forms a new track live on Moog Lit­tle Phat­ty St...
pub­lished: 07 Jan 2009
5:00
Richard Devine - The Elec­tron­ic Music Manuscript (Part 1 of 2)
A video that came with the sam­ple kit "Richard Devine - The Elec­tron­ic Music Manuscri...
pub­lished: 03 Jul 2009
au­thor: Non­i­ma1984
9:15
Be­gin­ners guide to mak­ing Elec­tron­ic Music in FL stu­dio
Fol­low me on Sound­cloud: soundcloud.​com Like me on Face­book: www.​facebook.​com Hey guys, ne...
pub­lished: 15 Mar 2010
au­thor: mmm­burg­ers
5:21
Richard Devine - The Elec­tron­ic Music Manuscript (Part 2 of 2)
A video that came with the sam­ple kit "Richard Devine - The Elec­tron­ic Music Manuscri...
pub­lished: 03 Jul 2009
au­thor: Non­i­ma1984
4:43
Best Elec­tron­ic Music Of All Times: Sys­t3m Sh0ck
By: sir­dan­golot5 Up­load­ed in HD Note: Our Opin­ion May Dif­fer www.​youtube.​com...
pub­lished: 22 Aug 2010
3:33
Elec­tron­ic Music Pro­duc­tion Work Flow - 1.9
In this episode of Live @ Taint­ed Blue, elec­tron­ic music pro­duc­er and Azuli Records artist...
pub­lished: 22 Jul 2011
au­thor: WinkSound
5:12
Mix­ing Tech­niques for Elec­tron­ic Music
Record­ing tech­niques for elec­tron­ic, am­bi­ent and film music. The use of dig­i­tal ef­fects co...
pub­lished: 24 Jun 2008
au­thor: Dr77­Mu­sic
14:43
02 FL Stu­dio Music The­o­ry Primer : Intro to Scales
This tu­to­ri­al cov­ers Mu­si­cal Scales for elec­tron­ic mu­si­cians. As an elec­tron­ic mu­si­cian yo...
pub­lished: 08 Sep 2010
au­thor: ste1438
6:22
Buri­al - Stolen Dog (music video)
BURI­AL (www.​myspace.​com Buri­al is an elec­tron­ic mu­si­cian from South Lon­don. His epony­mous ...
pub­lished: 01 Aug 2011


  • Sunset, St. Michael's Mount.
    Creative Commons / Marktee
  • LA Weekly Andy J. ScottUsually, if an electronic musician's laptop craps out, he's fucked. But for Brian Allen Simon, who performs under the name Anenon, it just means one thing: Break out the saxophone and go nuts. "It was honestly one of the most liberating...
  • Huffington Post Travis Egedy, better known to Denver as Pictureplane, is one of independent music's most progressive, avante-garde and straight-up rocking pop artists. He first burst onto the national scene with 2009s critically acclaimed Dark Rift and then followed that up last year with the stunning Thee Physical...
  • Rollingstone As a musician, an icon of female empowerment and a visual force, Japanese-American electronic musician Nic Endo is in a class of her own. Currently tearing up global stages as the female head of Berlin-based digital hardcore group Atari Teenage Riot, she's been a main player on the...
  • Huffington Post The chorus of James Franco's new musical collaboration (!) must resonate for the 33-year-old actor, whose media domination comes immediately to mind with the repeated line, "I'll keep on rising." The song, "Rising," created in collaboration with performance artist and R&B; crooner Kalup Linzy and...
  • Roadrunner Records Methods of Mayhem mainman Tommy Lee hooked up with producer Scott Humphrey to collaborate with the world on his...
  • PR Newswire NEW YORK, Jan. 12 /PRNewswire/ -- Indaba Music (www.indabamusic.com), the leading destination for online music creation, and Penton Media's Electronic Musician magazine (www.emusician.com) have announced the creation of an integrated marketing partnership. The agreement will include the exchange of...
  • National Post ReutersOctober 6, 2009 12:00 AM Two independent record labels sued rock band Guns N' Roses for US$1-million, claiming the group used portions of two songs by a German musician on their last album Chinese Democracy. Guns N' Roses and Universal Music Group's Interscope-Geffen A&M; label were sued by...
  • more news on: Electronic Musician

    An electronic musician is a musician who composes or plays music from synthetic sounds generated with synthesizers, samplers, drum machines or music sequencers. A large portion[citation needed] of today's electronic music and electroacoustic music is based on samples, which are sampled (digitized) from original instruments or other audio sources. These samples are then edited, transformed and sequenced again to create new musical compositions.

    Many electronic musicians use primarily electronic instruments that are now largely software-based on computers. Electronic music and electroacoustic musical compositions might either be recorded and played back using a music sequencer or in real-time by the performer.

    Aside from software based synthesis, many electronic musicians use modular synthesis by running voltage through a series of circuit boards with the use of patch cables and control knobs to create a desired sound and frequency to be sampled, and then sequenced, whether by the means of digital or analogue recording.


    References [link]

    Template:Insertreferencehere


    http://wn.com/Electronic_musician



    Jean-Jacques Perrey
    Born (1929-01-20) January 20, 1929 (age 83)
    Origin Paris, France
    Genres Electronic music
    Occupations Electronic musician,
    Composer
    Instruments Synthesizer, Ondioline
    Website www.jean-jacquesperrey.com

    Jean-Jacques Perrey (born 1929) is a French electronic music producer and was an early pioneer in the genre. He is best known within the sphere of popular music as a member of the influential electronic music duo Perrey and Kingsley, and for his unusually light-hearted style of music.

    Contents

    Biography[link]

    Perrey was born in France in 1929. He was studying medicine in Paris when he met George Jenny, inventor of the Ondioline. Quitting medical school, Perrey travelled through Europe demonstrating this keyboard ancestor of the modern synthesizer. At the age of 30, Perrey relocated to New York, sponsored by Caroll Bratman, who built him an experimental laboratory and recording studio. Here he invented "a new process for generating rhythms with sequences and loops", utilising the environmental sounds of "musique concrète." With scissors, splicing tape, and tape recorders, he spent weeks piecing together a uniquely comique take on the future. Befriending Robert Moog, he became one of the first Moog synthesiser musicians, creating "far out electronic entertainment". In 1965 Perrey met Gershon Kingsley, a former colleague of John Cage. Together, using Ondioline and Perrey's loops, they created two albums for Vanguard — The In Sound From Way Out (1966) and Kaleidoscopic Vibrations (1967). Perrey and Kingsley collaborated on sound design for radio and television advertising. Perrey returned to France, composing for television, scoring for ballet and continuing medical research into therapeutic sounds for insomniacs.

    Influence and recent collaboration[link]

    The rap group Beastie Boys released an instrumental CD titled, as a tribute to Perrey & Kingsley, The In Sound From Way Out. Two themes from Perrey, "The Elephant Never Forgets" and "Baroque Hoedown" were used in Mexico by the writer/ comedian Roberto Gomez Bolaños "Chespirito", as the main themes for his comedy shows El Chavo Del Ocho and El Chapulin Colorado. A 2009 lawsuit by the composers against Mexican multimedia conglomerate Televisa was settled in 2010, as a compensation for the network's non-payment of the use of these melodies. A previous lawsuit by Vanguard Records was settled, with plaintiff Vanguard receiving a sum of One Million dollars in damages for unauthorized use of Perrey's recordings on the Mexican network, without permission or payment.

    A cover version of "Baroque Hoedown" was the main theme for Disney's Main Street Electrical Parade. One theme from Perrey, "Gossipo Perpetuo" has been used in Sweden by the comedians Anders och Måns in their selftitled comedy show on Swedish television. His 1970 song "E.V.A" was sampled by several rap artists, most notably Gang Starr on "Just to Get a Rep" (1991) and also House of Pain on "Fed Up (Remix)" (1996).

    Perrey's return from obscurity began in 1997, when he started recording in Bordeaux, France with David Chazam. Their album Eklectronics was first released on vinyl in France only, in 1998. A CD version of the album was released in Holland on the BASTA label, with several additional tracks added. The year 2000 also saw his collaborative CD with Gilbert Sigrist, released. "Circus of Life" was first released as a "library" recording, for TV and Radio (France only), then released on Perrey's own PHMP label.

    The year 2006, saw the release of the CD The Happy Electropop Music Machine on Oglio Records, of Los Angeles, CA. The CD was a collaboration with musician/arranger Dana Countryman. The two toured the West Coast of America to promote the CD.

    Also, in 2006, Perrey began collaborating with producer Luke Vibert for a CD on England's Lo Records: Moog Acid. The result is a blend of retro and modern analogue house synth-pop, encapsulating many genres and the two respective styles of the artists. The CD was released in 2007.

    Perrey's current CD release is Destination Space, also on Oglio Records (2008). It is also a collaboration with Dana Countryman. The duo performed concerts in New York City, and Montreal in Oct., 2008, to promote its release. This CD is remarkable, in light of the fact that Perrey was almost 80 years old, when it was released.

    Perrey's 1974 moog track, "Boys And Girls," on which he collaborated with Gilbert Sigrist, is used for the closing credits music in the Nickelodeon cartoon series, The Mighty B!

    Perrey's song "Chicken on the Rocks" was used in the TV Series South Park. It played as Randy Marsh and friends bounced on their oversized testicles while consuming medicinal marijuana. The tune of the song, which derives from the folk song Chicken Reel, has also appeared as the theme song for Astro Chicken and Ms. Astro Chicken in the Space Quest games by Sierra.

    Discography[link]

    As Perrey and Kingsley[link]

    As Jean-Jacques Perrey[link]

    • Prelude au Sommeil (1957) [France only]
    • Cadmus, Le Robot de l'Espace (1959) [France Only]
    • Mr. Ondioline (1960) [EP]
    • Musique Electronique Du Cosmos (1962)
    • The Amazing New Electronic Pop Sound of Jean Jacques Perrey (1968)
    • The Happy Moog (1969)
    • Moog Indigo (1970)
    • Moog Sensations (1971)
    • Moog Expressions (1972)
    • Quadraphonic Demonstration Album - Program 2 (1972)
    • Moog Generation (1973)
    • Mig Mag Moog (1974)
    • Moog Is Moog (1975)
    • Dynamoog (with Gilbert Sigrist) (1978)
    • Kartoonery (1980)
    • Good Moog - Astral Animations & Komputer Kartoons (1998)
    • Circus of Life (with Gilbert Sigrist) (1999)
    • Eclektronics (with David Chazam) (2000)
    • The Happy Electropop Music Machine (with Dana Countryman)(2006)
    • Moog Acid (with Luke Vibert) (2007)
    • Destination Space (with Dana Countryman)(2008)

    References[link]

    External links[link]

    http://wn.com/Jean-Jacques_Perrey




    Tom Cosm is an electronic musician and educator based in Christchurch, New Zealand. He is best known for his work within the computer music scene, especially for the creation and distribution of tutorials related to the use of Ableton Live.

    Contents

    Performing[link]

    He has performed extensively in both New Zealand (Aotearoa) and Australia, as well as many countries in Europe, Asia and South America. One of his more notable performances was at the Canaan Downs festival[1] in New Zealand.

    Teaching[link]

    Cosm has led workshops at the Boom Festival in 2008 [2] and the Rainbow Serpent Festival.[3] Along with Pitch Black, Tom led a workshop at Cargo in London on 24 July 2008.[4]

    Tom is New Zealand's only Ableton certified trainer and assisted Ableton with both the Australian (2009) and Israeli (2011) certification events.

    Cosm makes and publishes online tutorials, providing the methods and techniques for performing live electronic music. [1] Cosm runs and moderates a teaching website,[5] based on the business model of voluntary payment. Users are able to access a multitude of regularly updated tutorials for free in standard, YouTube-style format, or high-definition through a monthly subscription. All of Tom Cosm's knowledge is given openly. The only real difference between material given to those who voluntarily pay and those that don't, seems to be the quality of video, and the fact that a student can download a lesson in its entirety after subscribing.

    Each year he travels to Europe and USA, giving public and private workshops.

    Releases[link]

    Tom contributed 1 track to the Compilation Contact Lens on Cosmic Conspiracy Records http://itunes.apple.com/nz/album/contact-lens/id337254806, 2 tracks to the compilation Ultrapop 2 on Fabularecords in 2007,[6] and the Earthbeatz compilation on Native Harmonix Records (2008).[7] Tom has since decided not to commercially release any more music, as making it freely available helps build public recognition of his name, thus helping grow his performance career.

    Distribution[link]

    Tom makes his work freely available through his website.[8] He has several live sets and tunes available for download. He also offers the component parts of his computer compositions so that others can download and see how they are created.

    In his own words "I treat music as a form of communication that completely overpowers that of any other kind of human interaction, and I don’t want money or middle men getting in between the link that we create when you listen to my music, or have its access restricted to people who can either afford it, or have the technical ability to steal it. Everyone can download my music free at anytime directly from the source where it was created."

    Personal life and career[link]

    Tom was born in Christchurch, New Zealand, where he spent his formative years. He left Linwood College (New Zealand) in 2001. Growing up he was influenced by Happy Hardcore, Drum'n'bass and Breakcore/IDM. He also cites that classical composers, such as Sergei Rachmaninoff and Franz Liszt were large influences. He studied towards a degree in music, specifically Jazz, at the Christchurch Polytechnic Institute of Technology, but left after two years to continue his work with computers and music.

    Tom currently resides out of his suitcase as he moves around the world performing and teaching.

    References[link]

    1. http://www.youtube.com/watch?v=3aRwSIaxvco
    2. http://www.boomfestival.org/archiv/boom08/arts_culture/workshops.php
    3. http://rainbowserpent.net/event/2009/lifestyle/speakers_forum/
    4. http://www.cargo-london.com/event/ableton-live-workshop
    5. www.cosm.co.nz
    6. http://www.amazon.com/dp/B000V5PEQO
    7. http://psytrancereleases.wikia.com/wiki/VA_-_Earthbeatz
    8. http://www.cosm.co.nz

    External links[link]

    http://wn.com/Tom_Cosm



    Raymond Scott
    Background information
    Birth name Harry Warnow
    Born (1908-09-10)September 10, 1908
    Brooklyn, New York, United States
    Died February 8, 1994(1994-02-08) (aged 85)
    North Hills, Los Angeles, California, United States
    Genres Jazz, exotica, electronica, film soundtracks, Broadway
    Occupations Musician, composer, arranger, bandleader, audio engineer, inventor, producer
    Instruments Piano, celeste, electronic devices
    Years active 1931–1985
    Labels Brunswick, Columbia, Decca, Master, Audivox, MGM, Coral, Everest, Top Rank, Epic, Basta
    Associated acts Raymond Scott Quintette, Secret Seven, Raymond Scott Orchestra, Your Hit Parade Orchestra
    Website raymondscott.com
    Notable instruments
    Clavivox, Electronium, Circle Machine, Rhythm Modulator, Bass-Line Generator

    Raymond Scott (born Harry Warnow, September 10, 1908 – February 8, 1994)[1] was an American composer, band leader, pianist, engineer, recording studio maverick, and electronic instrument inventor.

    Although Scott never scored cartoon soundtracks, his music is familiar to millions because of its adaptation by Carl Stalling in over 120 classic Bugs Bunny, Porky Pig, Daffy Duck and other Warner Bros. Looney Tunes and Merrie Melodies animated shorts. Scott's melodies have also been heard in twelve Ren & Stimpy episodes (that used the original Scott recordings), while making cameos in The Simpsons, Duckman, Animaniacs, The Oblongs, and Batfink. (The only music Scott actually composed to accompany animation were three 20-second electronic commercial jingles for County Fair Bread in 1962.)

    Contents

    Early life & career[link]

    He was born in Brooklyn, New York to Russian Jewish immigrants, Joseph and Sarah Warnow.[2] His older brother, Mark Warnow, a conductor, violinist, and musical director for the CBS radio program Your Hit Parade, encouraged his musical career.

    A 1931 graduate of the Juilliard School of Music, where he studied piano, theory and composition, Scott, under his birth name, began his professional career as a pianist for the CBS Radio house band. His older (by eight years) brother Mark conducted the orchestra. Harry reportedly adopted the pseudonym "Raymond Scott" to spare his brother charges of nepotism when the orchestra began performing the pianist's idiosyncratic compositions. In 1935 he married Pearl Zimney (1910-2001).

    In late 1936, Scott recruited a band from among his CBS colleagues, calling it the "Raymond Scott Quintette." It was a six-piece group, but the puckish Scott thought Quintette (his spelling) sounded "crisper"; he also told a reporter that he feared "calling it a 'sextet' might get your mind off music." The original sidemen were Pete Pumiglio (clarinet); Bunny Berigan (trumpet, soon replaced by Dave Wade); Louis Shoobe (upright bass); Dave Harris (tenor sax); and Johnny Williams (drums). They made their first recordings in New York on February 20, 1937, for the Master Records label, owned by music publisher/impresario Irving Mills (who was also Duke Ellington's manager).

    The Quintette represented Scott's attempt to revitalize Swing music through tight, busy arrangements and reduced reliance on improvisation. He called this musical style "descriptive jazz," and gave his works unusual titles like "New Year's Eve in a Haunted House," "Dinner Music for a Pack of Hungry Cannibals" (recorded by the Kronos Quartet in 1993), and "Bumpy Weather Over Newark." While popular with the public, jazz critics disdained it as novelty music. Besides being a prominent figure in recording studios and on radio and concert stages, Scott wrote and was widely interviewed about his sometimes controversial music theories for the leading music publications of the day, including Down Beat, Metronome, and Billboard.

    Scott believed strongly in composing and playing by ear (quote: "You give a better performance if you skip the eyes"). He composed not on paper, but "on his band" — by humming phrases to his sidemen, or by demonstrating riffs and rhythms on the keyboard and instructing players to interpret his cues. It was all done by ear, with no written scores (a process known as "head arrangements"). Scott, who was also a savvy sound engineer, recorded the band's rehearsals on discs and used the recordings as references to develop his compositions. He reworked, resequenced, or deleted passages, or added themes from other discs to construct finished works. During the developmental process, his players were allowed to improvise, but once complete, the piece became relatively fixed, with little further improvisation permitted — a practice that alienated some jazz purists and critics. Although Scott rigidly controlled the band's repertoire and style, he rarely took piano solos, preferring to direct the band from the keyboard and leaving solos and leads to his sidemen. He also had a penchant for adapting classical motifs in his compositions; this earned him the wrath of some serious music authorities who dismissed such practices as "trivializing the classics." The public, who bought his records by the millions, seemed indifferent to any controversy.

    The Quintette existed from 1937 to 1939, and racked up numerous big-selling discs, including "Twilight in Turkey," "Minuet in Jazz," "War Dance for Wooden Indians," "Reckless Night on Board an Ocean Liner," "Powerhouse," and "The Penguin." One of Scott's best-known compositions is "The Toy Trumpet," a cheerful pop confection that is instantly recognizable to many people who cannot name the title or composer. In the 1938 film Rebecca of Sunnybrook Farm, Shirley Temple sings a version of the song with lyrics. Trumpeter Al Hirt's 1955 rendition with Arthur Fiedler and The Boston Pops has become a standard. Another oft-recorded Scott classic, "In An Eighteenth-Century Drawing Room," is a pop adaptation of the opening theme from Mozart's Piano Sonata in C, K. 545.

    ToyTrumpetFinale.PNG
    Opening bars of melody line of "The Toy Trumpet"

    In 1939 Scott, seeking greater challenges during the swing era, folded his Quintette into a big band, including bass player Chubby Jackson. They were both a recording and touring success. When Scott was appointed music director of CBS radio in 1942, he made history by breaking the color barrier, organizing the first racially integrated radio band. Over the next two years, he hired some of the hottest black jazz heavyweights of the day, such as saxophonist Ben Webster, trumpeter Charlie Shavers, bassist Billy Taylor, trumpeter Emmett Berry, trombonist Benny Morton, and drummer Cozy Cole. In 1942, Scott—who once told an interviewer he wouldn't hire himself to play piano in his own bands—relinquished his keyboard duties with his bands, so he could focus more closely on hiring, composing, arranging and conducting. (He later returned to the keyboard with some of his bands.)

    Middle career[link]

    After serving as CBS radio music director for a number of variety programs from 1942 to 1944, Scott left the network to pursue other projects. He composed and arranged music (with lyrics by Bernie Hanighen) for the 1946 Broadway musical Lute Song, starring Mary Martin and Yul Brynner.

    In the late 1940s, contemporaneous with guitarist-engineer Les Paul's studio work with Mary Ford, Scott began recording pop songs using the layered multi-tracked vocals of his second wife, singer Dorothy Collins (1926-1994). A number of these were commercially released, but the technique failed to earn Scott the chart success of Les and Mary.

    In 1948, Scott formed a new six-man "quintet," which served for several months as house band for the CBS radio program, Herb Shriner Time. The ensemble also made studio recordings, some of which were released on Scott's own short-lived Master Records label. (This was not the Irving Mills-owned label of the same name; Scott allegedly named his label in tribute to the by-then-defunct Mills enterprise.)

    When his brother Mark Warnow died in 1949, Scott succeeded him as orchestra leader on the popular CBS Radio show Your Hit Parade sponsored by Lucky Strike cigarettes. The following year, the show moved to NBC Television, and Scott continued to lead the orchestra until 1957. (Collins was a featured singer on Your Hit Parade.) Although the high-profile position paid well, Scott considered it strictly a "rent gig," and used his lavish salary to finance his electronic music research and development, largely out of the public limelight.

    In 1950 Scott composed his first—and only known—"serious" (classical) work, entitled Suite for Violin and Piano. The five-movement suite was performed at Carnegie Hall on February 7, 1950, by violinist Arnold Eidus and pianist Carlo Bussotti, who subsequently recorded the work. (Unreleased at the time, the archival recording is scheduled for Fall 2011 CD release by Basta Audio-Visuals.)

    In 1958, while serving as an A&R director for Everest Records, Scott produced singer Gloria Lynne's album Miss Gloria Lynne.[3] The sidemen included many of the same session players (e.g., Milt Hinton, Sam "The Man" Taylor, George Duvivier, Harry "Sweets" Edison, Eddie Costa, Kenny Burrell, Wild Bill Davis) who participated in Scott's 1959 Secret 7 recording project.

    Electronics and research[link]

    Scott, who attended Brooklyn Technical High School, was an early electronic music pioneer and adventurous sound engineer. During the 1930s and 1940s, many of his band's recording sessions found the bandleader in the control room, monitoring and adjusting the acoustics, often by revolutionary means. As Gert-Jan Blom & Jeff Winner wrote, "Scott sought to master all aspects of sound capture and manipulation. His special interest in the technical aspects of recording, combined with the state-of-the-art facilities at his disposal, provided him with enormous hands-on experience as an engineer."[4]

    In 1946, Scott established Manhattan Research, a division of Raymond Scott Enterprises, Incorporated, which he announced would "design and manufacture electronic music devices and systems." As well as designing audio devices for his own personal use, Manhattan Research Inc. provided customers with sales & service for a variety of devices "for the creation of electronic music and musique concrete" including components such as ring modulators, wave, tone and envelope shapers, modulators and filters. Of unique interest were instruments like the "Keyboard theremin," "Chromatic electronic drum generators," and "Circle generators."[5] Scott often described Manhattan Research Inc. as "More than a think factory - a dream center where the excitement of tomorrow is made available today."[6] Bob Moog, developer of the Moog Synthesizer, met Scott in the 1950s, designed circuits for him in the 1960s, and acknowledged him as an important influence.

    Relying on several instruments of his own invention, such as the Clavivox and Electronium, Scott recorded futuristic electronic compositions for use in television and radio commercials as well as records of entirely electronic music. A series of three albums designed to lull infants to sleep, Scott's groundbreaking work Soothing Sounds for Baby was released in 1964 in collaboration with the Gesell Institute of Child Development. The music, which today sounds uncannily similar to the ambient work of Tangerine Dream or Brian Eno from the mid 1970s, did not find much favor with the record-buying public of the day.[7] Still, Manhattan Research, Inc. had considerable success in providing striking, ear-catching sonic textures for broadcast commercials.

    Scott developed some of the first devices capable of producing a series of electronic tones automatically in sequence. He later credited himself as being the inventor of the polyphonic sequencer. (It should be noted that his electromechanical devices, some with motors moving photocells past lights, bore little resemblance to the all-electronic sequencers of the late sixties.) He began working on a machine he said composed using artificial intelligence. The Electronium, as Scott called it, with its vast array of knobs, buttons and patch panels is considered the first self-composing synthesizer.[8] Some of Raymond Scott's projects were less complex, but still ambitious. During the 1950s and 1960s, he developed and patented a large number of consumer products that brought electronically produced sounds into the homes and lives of Americans. Among these were electronic telephone ringers, alarms, chimes, and sirens, vending machines and ashtrays with accompanying electronic music scores, an electronic musical baby rattle and an adult toy that produced varying sounds dependent on how two people touched one another.[9] It was Scott's belief that these devices would "electronically update the many sounds around us - the functional sounds."[9]

    Scott and Dorothy Collins divorced in 1964, and in 1967, he married Mitzi Curtis (1918-2012). During the second half of the 1960s, as his work progressed, Scott became increasingly isolated and secretive about his inventions and concepts; he gave few interviews, made no public presentations, and released no records. In 1966-67, Scott (under the screen credit "Ramond Scott") composed and recorded electronic music soundtracks for some early experimental films by Muppets impresario Jim Henson.

    During his jazz/big band period, Scott had often endured tense relationships with musicians he employed (quote: "No one worked with Scott; everyone worked under Scott"). However, when his career became immersed in electronic gadgetry, he made friends with and seemed to prefer the company of technicians, including Bob Moog, Herb Deutsch, Thomas Rhea, and Alan Entenmann. From time to time Scott welcomed curious visitors to his lab, among them the renowned French electronic music pioneer Jean-Jacques Perrey, in March 1960. The eccentric electronic instrument builder and children's music composer Bruce Haack visited Scott in the early 1970s (though there is no indication Haack and Scott collaborated in any way).

    In 1969, Motown Records impresario Berry Gordy, tipped off about a mad musical scientist engaged in mysterious works, visited Scott at his Long Island labs to witness the Electronium in action. Impressed by the infinite possibilities, Gordy hired Scott in 1971 to serve as director of Motown's electronic music and research department in Los Angeles, a position Scott held until 1977. No Motown recordings using Scott's electronic inventions have yet been publicly identified.

    Guy Costa, Head of Operations and Chief Engineer at Motown from 1969 to 1987, said about Scott's hiring:

    "He started originally working [on the Electronium] out of Berry’s house. They set up a room over the garages, and he worked there putting stuff together so Berry could get involved and see the progress. At one point Scott worked out of a studio. The unit never really got finalized—Ray had a real problem letting go. It was always being developed. That was a problem for Berry. He wanted instant gratification. Eventually his interest started to wane after a period of probably two or three years. Finally Ray took the thing down to his house and kept working on it. Berry kind of lost interest. He was off doing Diana Ross movies."

    Scott later said he "spent 11 years and close to a million dollars developing the Electronium."[10] Scott was, thereafter, largely unemployed, though hardly inactive. He continued to modify his inventions, eventually adapting computers and primitive MIDI devices to his systems. He suffered a series of heart attacks, ran low on cash, and eventually became a mere "Where Are They Now?" subject.

    Largely forgotten by the public by the 1980s, Scott suffered a major stroke in 1987 that left him unable to work or engage in conversation.[11] His recordings were largely out of print, his electronic instruments were cobweb-collecting relics, and his once-abundant royalty stream had slowed to a trickle.

    Secret Seven[link]

    In 1959, Scott organized a band of top-tier jazz session musicians and recorded an album entitled The Unexpected, credited to The Secret Seven, and released on the Top Rank label.[12] The secrecy extended to withholding the identity of the musicians in the album's liner notes. The players were later identified[citation needed] as Elvin Jones, Milt Hinton, Kenny Burrell, Eddie Costa, Sam "The Man" Taylor, Harry "Sweets" Edison, Wild Bill Davis and Toots Thielemans.

    The cartoon connection[link]

    In 1943 Scott sold his music publishing to Warner Bros., who allowed Carl Stalling, music director for Looney Tunes and Merrie Melodies, to adapt anything in the Warner music catalog.

    Stalling immediately began peppering his cartoon scores with Scott quotes, such as in The Great Piggy Bank Robbery. Besides being used in Looney Tunes and Merrie Melodies, Scott's tunes have been licensed to propel the hijinks of The Simpsons, Ren and Stimpy, Animaniacs, The Oblongs, Batfink, and Duckman cartoons. "Powerhouse" was quoted ten times in the Warner Brothers feature Looney Tunes: Back in Action (2003).[12]

    Obscurity and rediscovery[link]

    His legacy underwent a revival in the early 1990s with the release of Reckless Nights and Turkish Twilights (Columbia, 1992, produced by Irwin Chusid with Hal Willner as executive producer), the first major-label CD compilation of his groundbreaking 1937–39 six-man quintet. A year earlier, Irwin Chusid and Will Friedwald produced a CD of live Scott quintet broadcasts titled The Man Who Made Cartoons Swing for the Stash label. Around this time, the director of The Ren & Stimpy Show, John Kricfalusi, began hot-wiring his cartoon episodes with original Scott quintette recordings. In the late-1990s, The Beau Hunks (a Dutch ensemble originally formed to perform music created by Leroy Shield for the Laurel and Hardy movies) released two albums of Scott's sextet (a.k.a. "Quintette") repertoire, Celebration on the Planet Mars and Manhattan Minuet (both released on Basta Audio-Visuals). Various members of the Beau Hunks (reconfigured as a "Saxtet", then a "Soctette") also performed and recorded various Scott works, sometimes in collaboration with the Metropole Orchestra.

    "Powerhouse" has been used as a promotional bumper for the Cartoon Network, as well has having been interpreted by the rock band Rush in their 1978 song "La Villa Strangiato" on their Hemispheres album. The same tune was reinterpreted as the song "Bus to Beelzebub" by the New York band Soul Coughing, who have used Scott samples in other compositions, such as Scott's "The Penguin" in their song "Disseminated." They Might Be Giants have also incorporated "Powerhouse" into their music, briefly including it in their song "Rhythm Section Want Ad" from their self-titled 1986 debut album. In 1993, Warner Bros. music director Richard Stone scored an entire installment of Steven Spielberg Presents Animaniacs around "Powerhouse" (the episode, entitled "Toy Shop Terror," notably had no dialogue except in the closing seconds, thus allowing Stone's Stalling-meets-Spike Jones arrangement to dominate the soundtrack). In late 2006, "Powerhouse" began airing regularly as the soundtrack for a Visa check card TV commercial. It has also often been used as a bumper on "Wait Wait... Don't Tell Me!," NPR's weekly quiz show. It also appeared in The Simpsons, played over the ludicrous and allegedly true method by which bowling alleys assemble new pins.

    Clarinetist Don Byron has recorded and performed Scott's music, as have the Kronos Quartet, Steroid Maximus (J. G. Thirlwell), Jon Rauhouse, The Tiptons (with Amy Denio), Jeremy Cohen's Quartet San Francisco, Skip Heller, Phillip Johnston, and others. Robert Wendel arranged six Scott works and one medley for full symphony orchestra in the mid-1990s. The New York–based septet The Raymond Scott Orchestrette recorded an album of radically modernistic interpretations of Scott compositions (Evolver Records, 2002) and stages sporadic performances. Classical pianist Jenny Lin covered Scott's "The Sleepwalker" on her album InsomniMania (Koch Classics, 2008).

    The posthumously released 2-CD set, Manhattan Research Inc. (Basta, 2000, co-produced by Gert-Jan Blom and Jeff Winner) showcases Scott's pioneering electronic works from the 1950s and 1960s on two CDs (the package includes a 144-page hardcover book). Microphone Music (Basta, 2002, produced by Irwin Chusid with Blom and Winner as project advisors), explores the original Scott Quintette's work. The 2008 CD release Ectoplasm (Basta) chronicles a second (1948–49) incarnation of the six-man "quintet" format, with Scott's future wife Dorothy Collins singing on several tracks.

    Devo founding member Mark Mothersbaugh, through his company Mutato Muzika, purchased Scott's only (non-functioning) Electronium in 1996, with the intention of restoring it to working order, but with no progress in that direction as of 2010.[8][13]

    Quotations[link]

    • "Perhaps within the next hundred years, science will perfect a process of thought transference from composer to listener. The composer will sit alone on the concert stage and merely 'think' his idealized conception of his music. Instead of recordings of actual music sound, recordings will carry the brainwaves of the composer directly to the mind of the listener." —Raymond Scott, 1949
    • "The composer must bear in mind that the radio listener does not hear music directly. He hears it only after the sound has passed through a microphone, amplifiers, transmission lines, radio transmitter, receiving set, and, finally, the loud speaker apparatus itself." —Raymond Scott, 1938
    • "Being introduced to the music of Raymond Scott was like being given the name of a composer I feel I have heard my whole life, who until now was nameless. Clearly he is a major American composer."—David Harrington, Kronos Quartet
    • "It's those front-line types that go into uncharted areas, and pave the way for others. Life is short. Always go to the source, sources like Raymond Scott."—Henry Rollins
    • "I had a big thing for Raymond Scott loops -- 'Bus to Beelzebub' is also Raymond Scott -- hell, if Soul Coughing ended tomorrow I'd probably eke out a living producing hiphop records, using nothing but breakbeats, Raymond Scott, and Carl Stalling's Warner Bros. orchestra playing Raymond Scott compositions."—Mike Doughty of Soul Coughing
    • "Quirky, memorable [Scott] themes like 'Powerhouse' in Warner Bros. cartoons arguably helped shape the postwar musical aesthetic as much as anything Elvis or the Beatles did."—John Corbett, Chicago Reader
    • “Raymond Scott was definitely in the forefront of developing electronic music technology, and in the forefront of using it commercially as a musician.”—Bob Moog

    Discography[link]

    • Raymond Scott and His Orchestra Play (LP, MGM Records, 1953)
    • This Time With Strings (LP, Coral Records, 1957; CD, Basta Audio-Visuals, 2008)
    • Rock 'n Roll Symphony (LP, Everest Records, 1958)
    • The Secret 7: The Unexpected (LP, Top Rank Records, 1960; CD, Basta Audio-Visuals, 2003)
    • Soothing Sounds for Baby Vols. 1-3 (LP, Epic Records, 1963; CD, Basta Audio-Visuals, 1997)
    • The Raymond Scott Project: Vol. 1: Powerhouse (CD, Stash Records, 1991)
    • The Music of Raymond Scott: Reckless Nights and Turkish Twilights (CD, Columbia, 1992; Columbia/Legacy, 1999)
    • Manhattan Research Inc. (CD, Basta Audio-Visuals, 2000)
    • Microphone Music (CD, Basta Audio-Visuals, 2002)
    • Ectoplasm (CD, Basta Audio-Visuals, 2008)

    Compositions[link]

    • Powerhouse - Frequently used by Warner Brothers cartoons as backing for 'industrial,' 'machinery in action,' or 'repetitive labor' sequences.
    • In An 18th Century Drawing Room - An 'updated' version of a Mozart etude.

    Films[link]

    In addition to Warner Brothers cartoons (which were originally intended for theatrical screening), the following films include recordings and/or works composed or co-composed by Scott: Nothing Sacred (1937, various adapted standards); Ali Baba Goes to Town (1938, "Twilight in Turkey" and "Arabania"); Happy Landing (1938, "War Dance for Wooden Indians"); Rebecca of Sunnybrook Farm (1938, "The Toy Trumpet"; with special lyrics by Jack Lawrence); Just Around the Corner (1938, "Brass Buttons and Epaulettes" [performed by Scott's Quintette, but not composed by Scott]); Sally, Irene and Mary (1938, "Minuet in Jazz"); Bells of Rosarita (1945, "Singing Down the Road"); Not Wanted (1949, theme and orchestrations); The West Point Story (1950, "The Toy Trumpet"); Storm Warning (1951, "Dinner Music for a Pack of Hungry Cannibals"); The Trouble with Harry (1955, "Flagging the Train to Tuscaloosa"; words by Mack David); Never Love a Stranger (1958, score); The Pusher (1960, score); Clean and Sober (1988, "Singing Down the Road"); Honey, I Shrunk the Kids (1989, "Powerhouse" [uncredited, affirmed in out-of-court settlement]); Search and Destroy (1995, "Moment Whimsical"); Funny Bones (1995, "The Penguin"); Lulu on the Bridge (1998, "Devil Drums"); Looney Tunes: Back in Action (2003, "Powerhouse"); Starsky and Hutch (2005, "Dinner Music for Pack of Hungry Cannibals"); RocknRolla (2008, "Powerhouse")

    Theater[link]

    Covers and samples[link]

    • Gotye samples Scott's voice (from a 1962 electronic instrument demonstration) at the end of "State of the Art," on his 2011 album "Making Mirrors"
    • Doom, on his 2009 album Born Like This, samples Scott's electronic recordings "Bendix 1: The Tomorrow People" and "Lightworks" on the track entitled "Lightworks" (which also samples a J Dilla beat)
    • Gorillaz: Self-titled album Gorillaz (2001), featured a track titled "Man Research (Clapper)" that uses a sample from "In the Hall of the Mountain Queen" from Scott's Manhattan Research, Inc. The sample was uncredited on the album and the infringement acknowledged in an out-of-court settlement.
    • J Dilla: Album Donuts (2006), featured "Lightworks," a remix of the track of the same name on Scott's Manhattan Research, Inc.. It also briefly sampled "Bendix: The Tomorrow People."
    • El-P: Solo album "Fantastic Damage" (Def Jux 2002), features a track named "T.O.J" that contains samples from "Cyclic Bit," "Ripples (Montage)" and "County Fair (Instrumental)" from Raymond Scott's Manhattan Research, Inc..
    • Soul Coughing: Album Irresistible Bliss (1996), had a track titled "Disseminated" that used samples from "The Penguin" by the Raymond Scott Quintette (reissued version on the CD Microphone Music); the group's album Ruby Vroom (1994) features a track titled "Bus to Beelzebub" that adapts a motif from Scott's composition "Powerhouse"; on the same album the track "Uh, Zoom Zip" uses an uncredited sample from Scott's "The Toy Trumpet," although the tempo of the sample has been manipulated as to be near-unrecognizable
    • The Kleptones: Used a sample of "IBM MT/ST: The Paperwork Explosion" in their song "Work" off their album A Night At The Hip-Hopera.
    • Freezepop: Recorded cover of "Melonball Bounce," electronic commercial jingle composed by Scott around 1960 for the soft drink Sprite.
    • The Boys: Early 1990s Motown R&B band based "The Saga Continues" on melody of Scott's "Powerhouse"
    • Venus Hum: Recorded cover of "Lightworks," Scott electronic commercial jingle
    • Optiganally Yours: Performed cover of "Powerhouse" live during an over-the-phone radio interview with Irwin Chusid of WFMU [1]
    • Madlib: Hip-hop star has used numerous samples of Scott's work, including the voice in "Baltimore Gas & Electric Co." for the track Electric Company, off his album Beat Konducta Vol 1-2: Movie Scenes.
    • Lee Press-on and the Nails: Covered Scott's "Powerhouse" on their album "Jump-Swing From Hell"; the band have also recorded the Scott compositions "At An Arabian House Party" and "Devil Drums"
    • moe.: Has frequently teased "Powerhouse" in various improvised jams during live performances, most notably Farmer Ben and Spine of a Dog.
    • The Coctails: Recorded a medley of "The Penguin/Powerhouse" for a 7" single released by Bob Mould's Singles Only Label (SOL) in 1992. The disc was executive-produced by Irwin Chusid, who also plays percussion on the track.
    • TV on the Radio sampled a slowed version Scott's piece "Night and Day" for their track "Say You Do."
    • Teengirl Fantasy sampled "Portofino 2" for their track "Portofino."

    References[link]

    Notes
    1. Blom, Gert-Jan & Jeff Winner (2000). Manhattan Research Inc. (CD book). Holland: Basta Audio/Visuals. p.115. 
    2. Biography at RaymondScott.com
    3. All Music Guide biography of Gloria Lynne
    4. Blom & Winner, p. 108
    5. Chusid, Irwin (2000). Manhattan Research Inc. (CD book). Holland: Basta Audio/Visuals. p.25. 
    6. Chusid, p. 3
    7. Chusid, p. 22
    8. 8.0 8.1 Roberts, Randal (2007-12-05). "Are You Not Devo? You Are Mutato". LA Weekly. http://www.laweekly.com/music/music/are-you-not-devo-you-are-mutato/17826/?page=1. Retrieved 2008-01-09. 
    9. 9.0 9.1 Winner, Jeff (2000). Manhattan Research Inc. (CD book). Holland: Basta Audio/Visuals. pp.104–105. 
    10. Chusid, p. 80
    11. Chusid, Irwin. "Raymond Scott: Biography". http://raymondscott.com/Liner1.html. Retrieved 26 April 2011. 
    12. 12.0 12.1 Winner, Jeff E. Official Raymond Scott web site. Includes samples of Scott's music.
    13. Kirn, Peter (2006-07-28). "Raymond Scott’s Electronium, 50s-vintage Automatic Composing-Performing Machine, Sits Silent". Create Digital Music. http://createdigitalmusic.com/2006/07/28/raymond-scotts-electronium-50s-vintage-automatic-composing-performing-machine-sits-silent/. Retrieved 2008-01-12. 
    Bibliography
    • Bloom, Ken. American song. The Complete Musical Theater Companion. 1877–1995’’, Vol. 2, 2nd edition, Schirmer Books, 1996.
    • Kernfeld, Barry Dean. The New Grove Dictionary of Jazz, Macmillan Press, 1988.
    • Larkin, Colin. The Encyclopedia of Popular Music, 3rd edition, Macmillan, 1998.
    • Press, Jaques Cattell (Ed.). ASCAP Biographical Dictionary of Composers, Authors and Publishers, 4th edition, R. R. Bowker, 1980.
    • Goldmark, Daniel, and Yuval Taylor, eds. The Cartoon Music Book (Chicago Review Press; 2002), ISBN 1-55652-473-0, ISBN 978-1-55652-473-8. Includes chapter by Irwin Chusid on how Scott's music has been adapted for cartoons

    External links[link]

    http://wn.com/Raymond_Scott



    Richard Devine
    Birth name Richard Coleman Devine
    Also known as Trapezoid
    Origin Atlanta, Georgia, United States
    Genres Glitchcore
    IDM
    Instruments Synthesizer
    Laptop
    Softsynth
    Computer
    Years active 1995–present
    Labels Schematic Records, Warp Records, Sublight
    Website richard-devine.com

    Richard Devine is an Atlanta-based electronic musician and sound designer. He is recognized for producing a layered and heavily processed sound, combining influences from hip-hop to old and modern electronic music. Devine largely records for the Miami-based Schematic Records, which was founded by (Josh Kay). He has also done extensive recording and sample work with sound designer (Josh Kay). As a result of praise of his music from Autechre as well as a remix of Aphex Twin's Come To Daddy, Devine recorded an album for Warp Records which was jointly released by Schematic and Warp.

    Devine first started using computers for composition around 1993. Don Hassler, an instructor at the Atlanta College of Art, got him interested in computer synthesis, introducing Devine to CSound and other powerful computer-based applications. Devine claims he coded a couple FFT applications in SuperCollider, an environment and programming language for real-time audio synthesis. “It’s interesting, because you’re doing things to sound that just aren’t physically possible.”

    Devine also uses Native Instruments (NI) software. His favorite NI applications are Reaktor and Absynth. Devine has designed sound patches for NI’s Absynth, Reaktor, Battery and Massive. He has also scored commercials for Nike, Touchstone Pictures and engineered and performed his own music worldwide.

    Though he has contributed sound design to a number of hardware and software manufacturers, he recently released his first official sample library through Sony Creative Software entitled The Electronic Music Manuscript: A Richard Devine Collection

    Discography[link]

    External links[link]


    http://wn.com/Richard_Devine



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