Video

See The Music

The best thing about science is that to the uninitiated, it can look like magic

Nigel Stanford from my home town of Wellington, New Zealand, presents Cymatics. It’s spectacular.

thank you 🙂 it was a lot of work, I’m glad that people like it

His double album is called Solar Echoes.

From Nigel’s blog:

Nigel Stanford

Nigel Stanford

The most unusual part of making Cymatics was the fact that the music was written after the video was filmed.

In 1999 I watched a documentary on ‘Synesthesia‘ – a disorder that effects the audio and visual functions of the brain. People with the disorder hear a sound when they see bright colors, or see a color when they hear various sounds. I don’t have it (I don’t think), but I have always felt that bass frequencies are red, and treble frequencies are white.

This got me thinking that it would be cool to make a music video where every time a sound plays, you see a corresponding visual element. Many years later, I saw some videos about Cymatics – the science of visualizing audio frequencies, and the idea for the video was born.

In 2013, I approached my friend Shahir Daud, a talented film director working in New York, and asked him if he was interested in collaborating on the video with me. I don’t think he really knew what I was talking about, but happily he said yes, and in July 2013 we started researching the experiments and buying bits and pieces online.

Read more here.

Cinematographer Timur Civan also discusses filming the video here.

 

Seth Troxler Speaks Out On Robot Heart Incident

20121107-seth-troxler-picture-x306-1352324179

image: Rolling Stone

 

Seth Troxler is about to tour Australia, and he’s given an interview to Henry Johnstone at Pulse Radio. When asked about the infamous Robot Heart incident, he pulls no punches:

HJ: The magic of the internet. 

ST: You guys are quite magical. There was this Pulse article about me at Burning Man – I thought it was quite funny, even though it was only partially true. But I was wondering how you guys magically got the information from Burning Man to the internet so fast? That’s what astounded me.

HJ: Are you talking about the Diplo/Skrillex/Robot Heart incident? 

ST: Yeah. I thought the vibe was horrible and I don’t stand for anything that Robot Heart believes in and who they are. But it was Jamie [Jones] and his friends who weren’t allowed on the bus, but he played anyway. Earlier in the night I got on the bus and the guy from Robot Heart was really rude to me…see they have a thousand DJs who that want to play there, and Craig Richards and I were like, “Yeah well we’re the ones who don’t.” And then we left, because they’re obnoxious assholes and I don’t have time for that.

Seth also has a lot to say about “Pop EDM vs the Underground”:

HJ: You’ve been quite outspoken this year in the whole ‘EDM vs underground’ debate and you believe they’re two completely different scenes. I was speaking to Sasha recently and he seems to share your view. I asked him whether or not he thought that eventually the kids in America who are into EDM will start to dig a little deeper and discover more obscure music. He wasn’t so sure. What do you think? 

ST: Yeah I do think there will be a trickle down effect. Mass marketed EDM did bring in a lot of young 12 year-old kids who will hopefully one day get older and realise, wow this music fucking sucks. But they’ll also realize, OK I like dancing and I like electronic music and then they’ll find cool stuff. Or maybe they’ll find Gorgon City or whatever next level shit there is, and then hopefully give in to elitist, underground dance music [laughs].

But I do believe that our scenes are completely separate and should remain separate because our communities and end goals are completely different. To be honest I don’t think any of us want to be involved with them, even though there’s plenty of them who want to seem credible to us…but they never will be. So I’m just like, let’s stop playing games and acting like we should be involved with each other. You do your thing, we’ll do ours and we’ll call it a day. And please don’t ever mention yourselves in the context of real dance music. It would be so much better if they could just come clean and call themselves a pop act – they’re entertainers who make pop music. I didn’t get into dance music to hear it on the radio. I fucking hate the radio. The pay to play system goes against everything I stand for.

Read the entire amusing interview here.

Here’s an interview about Burning Man that Seth did with BBC’s Radio 1 in 2012.

Seth Troxler at Robot Heart in happier times, 2013

Seth Troxler at Robot Heart in happier times, 2013

 

 

Behind The Scenes At A Sound Camp

MC2 Audio has a story about what goes into the sound at Ooligan Alley. It’s heavy on technical details, which will be interesting to some readers. A team from the UK brought out a serious system, featuring 12 Funktion1 speakers and 12 subwoofers power by MC2 amps and XTA processors. The DJ booth was the cockpit of a Boeing 737, and they kept the audio equipment in an air-conditioned Hexayurt. Even the DJ’s monitor speakers were Funktion1’s!

In case you don’t know, a setup like this is expensive – hundreds of thousands of dollars worth of kit. And I bet it sounded ridiculously good. Thanks Ooligan Alley, and everyone involved in gifting this level of sound experience to Burners.

Here are some of the sets played through this setup:

A Hundred Drums

DJ Professor Stone: “The Great Plane Throbbery”

DJ Vitor Friday Morning Sunrise

 


 

re-blogged from MC2 Audio:

14bm wholefront

The ephemeral Black Rock City, a place that exists only for the length of the spectacular Burning Man festival of counter-culture, music and arts is a gruelling test of endurance for both man and machine alike.

Taking place in the middle of the Nevada desert, where the temperature regularly reaches well over 40 degrees in the day and can plummet to below zero under the clear skies at night, you need to be a special kind of animal to adapt and survive in these conditions.  With dust storms whipping up every few hours out of nowhere, it takes the community spirit and a love of all things avant garde to get the best from what some see as one of the most “out there” global events in the world.

Yet, despite the challenging conditions, over 60,000 participants are drawn to the desert location each year to take part in over a week of 24 hour exploration –  of each other, of arts events, of music, dancing and parties, and testing individual limits of self-expression and self-reliance.

Whilst part of the ethos of Burning Man is to create “Black Rock City” out of nothing each year and, when the festival ends, return the desert site back to whence it came leaving no traces of humans even having been there, whilst the festival is in full swing, facilities must be created and basic needs met.
14bm jumbofrontMusic is integral to the backbone of the entire experience, with performances spanning individual acts of self-expression up to full-on dance music systems of the slightly more traditional form, as you might see at Glastonbury.  This is where our story starts, with a British company shipping out to be part of the “Ooligan Alley” project, equipping and manning music and dance events at Burning Man.

Oz Jeffries, from pro-audio specialists Audio Feed based on the south coast of England, takes up the story for us:

“Having been to Burning Man 3 times before, I was excited to take part on the Ooligan Alley project, but I knew the challenge ahead. Black Rock City is the ultimate test of survival, endurance and self-reliance on us, and therefore on all of the equipment out there in that environment for 10 days.”

14bm oolligan truck
Audio Feed supplied a huge Funktion One speaker system for the event, which was exclusively powered by MC2 amplifiers and XTA processing.  Twelve F1 Res4Ts and twelve F1 F221A subs made up the main PA.  Such a serious system demands a seriously cool look, and the focal point for the set-up was the Jumbo 737 airplane cockpit that had been cut in two to become the DJ booth.  Monitoring in the cockpit was via a pair of Res2s and F-121s.

Oz continues:

“We powered everything with 4 x MC2 E100, 4 x E25 and the XTA A6 amplifier modules [for the subs], all running through XTA 4 Series processing including 2 x DP448 and 1 x DP428  [same as DP448].

 

14bm yurt and racks

 

I was very happy to be powering everything with XTA and MC2 equipment knowing their reliance, and we decided to use a sealed Hexiyurt to house the amplifier racks including the XTA A6 modules which we took out of the back of the bass cabinets to protect them from the dust as much as possible. We then ran 2 air conditioning units within that yurt to keep control of the temperature, all run from an isolated generator with an output of 230v to reduce the amperage. We wired each bass cabinet with 4 core cable to allow us to have independent control of each driver.

14bm dusty racks
Each single 4 Ohm Funktion One 21″ driver was run from a single MC2 channel E-100 channel, or a single A6 module channel, therefore giving the best output power with plenty of headroom. Running as a 7 way system we had full separate control of the top Resolution 4’s to cover the back of the arena, all controlled via our iPad using the DP4 remote app connected to the 4 series processors, this control is invaluable throughout the event for front of house control.”

14bm a6amps

In case you haven’t heard of the A6 modules – a little bit of history:  The A6 modules were XTA’s first foray into the world of digital amplification and were a collaborative project with Funktion One, producing a 2 x 2.2kW amp with full DSP and remote control in a package not much bigger than a telephone book!  These modules were fitted to the back of the sub cabinets and could power an additional sub each.  There was also a smaller A4 module which was used with the Res2 speakers.

Oz was delighted with the results:

“All of the equipment performed outstandingly. After an 8000 mile journey across the Atlantic and a 4 hour truck drive out into the desert, within hours even with the best will in the world all the equipment was covered in dust, so a lot was expected of the moving parts and electronics. Being in a very desolate location for 10 days we had to rely on the equipment with only limited spares. No spares were needed, and even in the dust storms and 14 hour a day running times through 40 degree temperatures differences all the speakers and electronics blinked not once, and upon inspection afterwards we found no dust inside the amplifiers.”

14bm jumboboack
Burning Man shows no sign of burning itself out growing in size and popularity year upon year – a British rental company making a pilgrimage across the ocean with no speaker or electronic casualties shows just what a dedicated and professional a team of people work at Audio Feed.  Whether there were any human “casualties” due to party overload is something that will surely stay on the road!