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Raymond Scott



Raymond Scott (born Harry Warnow, 10 September 1908 — 8 February 1994),[1] was an American composer, band leader, pianist, engineer, recording studio maverick, and electronic instrument inventor. He was born in Brooklyn to a family of Russian-Jewish immigrants. His older brother, Mark Warnow, a conductor, violinist, and musical director for the CBS radio program Your Hit Parade, encouraged his musical career. Though 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 features. Scott's melodies have also been heard in twelve Ren & Stimpy episodes (which 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.)


Soothing Music For Baby [Basta 1964]



Soothing Sounds for Baby is a three-volume set of ambient electronic music by American composer, musician, and inventor Raymond Scott. Scott originally intended to lull infants to sleep with the music, but later generations have found value in the music for its minimalist aspects, often comparing it to the works of Brian Eno, Kraftwerk and Tangerine Dream despite having predated such artists by more than a decade.
Originally released in 1964 in collaboration with the Gesell Institute of Human Development of Human Development, the volumes are split up into three age groups: Volume 1 is 1 to 6 months; Volume 2 is 6 to 12 months; and Volume 3 is 12 to 18 months. The music gets more complex with each volume. Scott created much of the music on the albums with instruments he created, such as the Electronium and the Clavivox. "Particularly on Soothing Sounds for Baby, Scott proved to be one of the first composers to merge the Brave New World of electronic sounds with a rhythmic pop sensibility." Basta Music of Holland released the albums as a 3-CD set in 1997.

Download Volume 1; 0-6 Months @ mediafire.com
Download Volume 2; 6-12 Months @ mediafire.com
Download Volume 3; 12-18 Months @ mediafire.com

Manhattan Research Inc. [Basta 2000]



Manhattan Research Inc. is a two-CD compilation of electronic music created by the musician, composer and inventor, Raymond Scott and his company, "Manhattan Research Inc." Posthumously released in 2000 by Basta Music of Holland, the album contains selected samples of Scott's work from the 1950s and 1960s for film soundtracks, commercials, and for his own technical and musical experiments. The synthesizers, sequencers, and drum-machines used were designed and constructed by Raymond Scott.
Scott would often describe Manhattan Research Inc. as "More than a think factory - a dream center where the excitement of tomorrow is made available today." The material, while never intended for commercial release, provides insight into Scott's work. Included among the tracks on the album are commercials for companies such as Ford Motor and IBM, a humorous "Audio Logo" collage entitled "Don't Beat Your Wife Every Night!", and various collaborations with Jim Henson (of Muppets fame). The album features a number of Scott's inventions including the Clavivox keyboard, Circle Machine, Bass Line Generator, Rhythm Modulator, Karloff, Bandito the Bongo Artist, and the auto-composing Electronium.
Much of the audio selections, as well as the images for the accompanying 144-page book, were culled from the University of Missouri Kansas City's extensive collection of Raymond Scott material. Album producers Gert-Jan Blom and Jeff Winner worked with several of the university's staff in choosing material for the project. During the process, the two producers were impressed by the quality and fidelity of the recordings, despite being some thirty to forty years old. Due to Scott's meticulous attention to detail, "They were so well recorded that almost no audio correction was necessary during the mastering" of the album." In the CD notes, Blom & Winner write, "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."

Download Manhattan Research Inc. @ mediafire.com

Musique électronique Norvégienne « Continuo’s weblog
http://continuo.wordpress.com/2010/03/15/musique-electronique-norvegienne/

asi to hodim sem...

Zaznamy ruznych radiostanic...

Myke Dodge Weiskopf is a radio producer, historian, and archivist based in Los Angeles, CA. This is his official site, containing the ShortWaveMusic blog and occasional updates on his other projex.

http://www.myke.me/

http://www.youtube.com/watch?v=nTeLI5dUzKw&feature=channel

Stockhausen on Human evolution - 1972

Karlheinz je troska politicky a moralne nekorektny. Ktovie ci to myslel tak ako to vyznie, alebo sme na jeho entitu zo Siriusu prilis malo inteligentni. Jasny dokaz, ze pan Stockhausen v 60. rokoch experimentoval :)

Solid feature about the Radiophonic Workshop, meticulously scanned from a 2008 issue of Sound on Sound. Large PDF

http://www.sendspace.com/file/zmb9ux

UNCLEAN: to je přesně ta, co jsem smazala. °°°

UNCLEAN: ..a samplovat sa to bude tak ci tak vynikajuco :)

UNCLEAN: tak si pusti toto

ORLOCK: no neni to az takova bomba jak jsem si myslel, ale rozhodne zajimava kompilace s doprovodnym mluvenym slovem.

UNCLEAN: !!! som zvedavy.
kazdopadne - "without doubt EVP falls into the catagory of the paranormal alongside other unexplained mysteries such as ufology" no neviem radit EVP dokopy s ufologiou ..

to je furt, ta delia

UNCLEAN: uz stahujem!

ajo dyť já o tom četl vlastně..
stejně je to dobrý)

BARONFRITZ: znám, btw felix mi psal, i když to začíná znít otřepaně, že je to fake.:) je to trochu neohrabaný, ale přesto příjemný

Disinformation on BBC Radio 4 - Noise and War

BBC Radio 4 interview from the "Broadcasting House" show, 2 Nov 2008, discussing an RNID report about hearing problems experienced by Armed Forces personnel returning from Iraq and Afghanistan. The programme discussed simple strategies that can be applied by tinnitus sufferers to ameliorate the sleep loss which in practice is often the worst symptom of their condition. The interview recommends that people who experience sleep loss owing to tinnitus mask the ringing in their ears by playing very quiet and gentle radio static when they go to sleep at night, but the specific type of static best used is pure "white" noise, or the clean continuous hissing sound which can be found on some "quiet" FM radio frequencies. Further advice can be obtained from The British Tinnitus Association at...

http://www.tinnitus.org.uk

The tinnitus simulation that appears 19 seconds and also 3 minutes 20 seconds into this sequence could indeed be heard on the radio broadcast, but, even with headphones, is virtually inaudible after compression for You Tube.

The interview discussed other aspects of nocturnal listening - the influence that the SOUND of RAF Lyneham air base in Wiltshire (home of the Hercules C130 transporter planes) has on the imagery of the Disinformation sound art project, particularly on "National Grid" by Disinformation. RAF Lyneham is described as "one of the most musical RAF bases"...

http://www.youtube.com/watch?v=OrV3e3WQZ1Y

ATOM: Robert Henke + Christopher Bauder, at MUTEK 2009

http://blip.tv/file/2304864/

Prof. Russolo & His Noise Intoners
http://www.russolo.nl/

Steel Sky

“This interactive installation confronts the viewer with an acoustic representation of the electrical brain activities that govern his being at that very moment. All our mental and physiological processes are controlled by myriads of transitory circuits in an invisible, obscure place in the crown of our head. That intimate topography is mirrored in this sky of steel as hammers hit the plates in shifting rhythms and combinations, transforming parts of your consciousness into macroscopic dimensions.
‘Staalhemel’ is a responsive environment which offers a walk through a sheltered space that is also the space of one’s own mind.”

http://vimeo.com/7746875

http://www.staalhemel.com/

pro ty, co by se poflakovali po anglii...

Varèse 360º

* From 16/04/10 to 18/04/10
* Location: London Southbank Centre, United Kingdom

The complete works, totalling just under three hours of music performed in three concerts with accompanying visuals, of the French composer and ‘father of electronic music’. London Southbank Centre, 16 & 18 April, times/prices vary.

n 1950, the Columbia University Music Department requisitioned a tape recorder to use in teaching and for recording concerts. In 1951, the first tape recorder arrived, an Ampex 400, and Vladimir Ussachevsky then a junior faculty member, was assigned a job that no one else wanted: the care of the tape recorder. This job was to have important consequences for Ussachevsky and the medium he developed. Electronic music was born. Over the next ten years, Ussachevsky and his collaborators established the Columbia-Princeton Electronic Music Center, which Ussachevsky directed for twenty years. It was the first large electronic music center in the United States, thanks to the path-breaking support of the Rockefeller Foundation and encouragement from two of the country's leading universities. The Center became one of the best-known and most prolific sources of electronic music in the world. All of the music on this historic 2006 reissue is the result of the pioneering work of the Center and its composers.

http://dualtrack.blogspot.com/2009/10/va-pioneers-of-electronic-music-1991.html

SAIL_OR: ale jo, nakonec vyjde už ráno, už jsem s biografií u Man Machine, zatím 8800 znaků, to bude epos

trram tadadam, o tomhle bude moje analýza příští týden! (dnes už na to nemám čas)
pičfork nezklamal


Kraftwerk are a band trapped in the vast frame of their apparent influence. Aptly for a group so fascinated by travel they enjoy an image as the ultimate electronic pioneers-- "the reason music sounds like it does today," as one BBC documentary put it. Let's take for granted then that it's impossible to imagine modern pop music without Kraftwerk and try a more interesting thought experiment: Let's try to imagine Kraftwerk without modern pop. What if they'd released the same body of work and influenced nobody? Would it still sound as good?

celá recenze zde: http://pitchfork.com/reviews/albums/13742-the-catalogue/