Kjell Kjell Musik Ja, vielen Dank, sehr geehrte Damen und Herren. Ich darf Sie sehr herzlich zu dem 15. Café Adele begrüßen. Sie wissen, wir haben vor fast einem Jahr Öffnungsschritte hinsichtlich des Kunstbetriebs im virtuellen Raum gesetzt. Zu allererst muss ich sagen, dass ich finde, wir haben das sehr gut gemacht die letzten Monate und diesbezüglich möchte ich vor allem meinen Partnerinnen danken, die in dieser doch für uns alle sehr schwierigen Zeit wirklich alles daran gesetzt haben und die Hebel versucht haben in Bewegung zu setzen, damit diese Situation eine halbwegs erträgliche für uns alle sein kann. Ich muss sagen, ich finde, die Arbeit hat sich wirklich sehen lassen. Nicht nur von unseren Unterstützern der MA7, sondern ich muss schon auch ausdrücklich die harte Arbeit der Kunstschaffenden erwähnen, die ja wirklich Fabelhaftes leisten in diesen besonderen Zeiten. Ein Dank geht natürlich auch an die Echo Räume, die in wirklich sehr knapper Zeit es geschafft haben, da eine gute Basis für uns alle auf die Beine zu stellen. Heute habe ich zwei sehr besondere Expertinnen eingeladen und ich darf gleich an unsere erste übergeben. Dabei handelt es sich um keine andere als Mascha Dabelka, Musikerin und elektronische Produzentin, welche uns heute einen kleinen Einblick in die Geschichte des DJ-ings geben wird. Ich verliere kein weiteres Wort und bitte Mascha. Hello, my name is Masha Dabelka, I'm a founder of a DJ school for women in Vienna called Turntablista. I'm a music producer, sound designer, DJ and teacher, as far as you understand. So today we will talk about the history of DJing a bit and we will try to understand where it all comes from. Our brief lecture will consist of three chapters. The brief history of music mediums and DJ culture, how and why we can see sound waves beat and tempo feel the difference the rest i will skip because it's a very practical part and you can always come to my studio if you're in vienna and we can learn something new let us start the history of music mediums and dj culture back in 1850 sorry back in 1857 a man named lynn Leon Scott invented the phonautograph, the first device to record sound. He was followed shortly by Thomas Edison's phonographic later, after we understand the connection of the technical development and the culture. Because it's always been very important. The first audio-radio broadcast came in 1906, and the first ever disc showcase took his place in history in 1909. Ron Newber of California was only 16 at that time, and he played records from a small transmitter while he was a student in college. So here we can see that our profession, we are DJs, I mean some of us, and future DJs, this profession is over 100 years old. Walter Wincher, a commentator and early gossip columnist, introduced the term Disc Jockey, a label referring to the radio announcers who were playing music discs between their news and discussions broadcasts. This type of program quickly became the economic basis of many radio stations. Yes, art, culture and music in particular had always a strong connection with the economical and political and scientific situation in the world. In the 1950s, radio DJs would appear in person to host so-called dance events for teenagers all over the USA. In Kingston, Jamaica, promoters calling themselves DJs would throw giant dance parties in the streets and DJs would blast their beats from the huge PA systems, so-called sound systems. Yes, and now we're talking about post-war time, when the celebration culture became popular and yes and the first Jamaican PA sound systems took place. I would say it's the first open open airs in the world. Disco techs continued to spawn themselves throughout the United States and Europe. New equipment hit the market such as the mixture, allowing DJs to have more control over their tunes. In 1969 a DJ by the name Francis Grassou began popularizing beat matching, seamlessly mixing his songs so the dancing never had to stop. So after Jamaican song system we have a culture of discotheques and thanks to the equipment the first DJ mix, DJ to mix to records was again Francis Grasso and he couldn't have done it without the Rosie named after inventor Alex Rosner and his own wolf design enabled Frank to seamlessly blend between two tunes. So we can see on the picture this Rose first mixture that has only three faders and no frequency controllers and it's very important to understand that without this mixture we would never be able to seamlessly mix between two different tracks. In 1972, the division of Matsushita called Technics released a record player you may well have heard of the SL-1200. Although it was actually marketed as a high-fiber turntable due its ±8% pitch and strong direct-drive motor, it soon became the must-have tool for the new wave. Armed with the SL1200 and cutting-edge techniques, Turntable East appeared. So again we can see the connection between the government politics and towards economic situation. We know that after the Second World War, Japan started to demilitarize itself and the government started to invest a lot of money into big concerns such as Matsushita and thanks to these concerns we can have this legendary record player also that is still being produced and it's a golden standard for all DJs. In 1973 DJ Kool Herc made a name for himself as the father of hip-hop, laying down the jams for huge block parties mainly in the Bronx. It was Kool Herc who started mixing two identical records together at the same time extending the parts of the records he thought he had best booty shaking beats. This technique was called a break. So now we're talking about extension of DJing craft because we're talking about mixing two identical records. So the record should be of course perfectly beat matched, means having the same tempo and you as a DJ, as an artist could choose the part of the track you want to extend and as soon as first part, your favorite part is over you blend to the beginning of the same part on the next, the second deck. So we're talking about DJing as not only being like if you can say a slave for the audience but also a creator who could go beyond their technical borders and I would say it was a first example of making a mashup or a remix if we can be if we can say so. This was the time when turrentablism really grew into its own. No longer were DJs simply picking out songs and playing them. They were now artists and musicians of their own, manipulating songs to create new and exciting beats for people to enjoy for hours. Bands were formed who produced their music electronically from beginning to end, a totally new concept. Hip-hop and electronic music planted, bringing into the disco era of the 1970s. These new dance clubs were pioneers, in that they did away with the life, acts completely, leaving DJs to their thing all night. In 1975 a hip-hop DJ called Grant Wiesel Theodore accidentally discovered the scratching technique when a DJ manually moves the record up and down on the needle, warping the sound. Scratching techniques are very important even now if you're not a classical turntableist. You do slip cueing like a very simple scratching moves when you start a record. In the early 80s, a club in Chicago called the Warehouse opened up. And the ninjas, they spawned, they began to create a whole new sound. It was called house music. We see the transition hip-hop, disco and house. So obviously house music evolved from disco music. After the club, there were house, and was disco inspired and heavily electronic. A resident DJ was Frankie Knuckles. House music remains today one of the biggest and brightest genres of electronic dance music. It usually keeps it simple with 4 to the 4 beat, a heavy use of drum machines and samplers, and of course a solid heavy bass line. So this is a brief history of electronic music and DJing culture. And we come back to music mediums and on the left side on the picture we see wax cylinders and on the right side is an Edison record. I believe it was made of shellac, but we also know that the first vinyl records were also made of glass, but later on the oil was discovered and massively produced. And this was in the beginning of 20th century when massively productive and this was in the beginning of 20th century when records started to be made of oil, shellac, vinyl. The first disc recordings for phonographs and gramophones were commercially marketed in 1895. They gradually overtook the early phonograph cylinder as the dominant menu of the record sound by the 1910s. Still many people ask how many times can I play a vinyl record. Yeah, a lot of times in comparison to a wax disc because it's obviously made of wax and it was easily melted with the time, so I believe you could play it maximum 10 times with the voxel. It depends on the temperature, of course. The playing time of a phonograph record depended on the turntable speed and the groove spacing. At the beginning of the 20th century, the early discs played for 2 minutes and the same as early silent records because at 10 each 78 air revolutions per minute record could hold about three minutes of sound per side and the 10 each size was the standard size for popular music almost all popular recordings were limited to around three minutes in length you can see three typical size of a vinyl record and we can see how the medium limits the time of music production and now if we look at SoundCloud many or some producers don't have paid accounts and they upload shorter tracks in order to have more tracks on their unpaid SoundCloud page. After the World War II, two new competing formats came into the market and gradually replaced the standard of 78 rpm in revolutions per minute with 33 rpm LP. For long play, the format was developed by Columbia Records and marketed in 1948. Yes, again the numbers are very important. So in real life if you see a normal 12-inch record, if you know that there's one track on side, it means that in most cases if it's a long or short, you have to press the 45 revolutions per minute button on your DJ turntable in order to play this record on an original speed. It will have a better quality because of the amount of information per second is being increased because of the speed of the rotating platter. To summarize this brief lecture about the history of music medium, we see wax cylinder, gramophone record, firstly made of glass and then shellac, reel-to-reel tape, 49, Flexi-D 73. It's a very interesting medium. If you come from ex-Soviet countries, you know that in many magazines for children you can find a blue record with a fairy tale inside and everybody was waiting for it. vinyl player and the first flexi disc appeared it was a Christmas release in made by Beatles in the UK I think on a 63 compact cassette and 82 compact disc and now will mp3 of course and the second how and why can we see sound waves first of all we have to understand that sound wave is a mechanical wave. We can hear sound because the vibrations vibrations been transmitted by air and it goes in our ear and the hammer tickles and this is how we can percept sound. The easier example for example when you put a needle on the record and when your audio system is off, you still can hear music because the needle goes into the groove of the record and does vibrate and this is how you still can hear the sound if you come closer to the needle of the vinyl player. So there are some nice pictures you can see. I'm sure you can, There are some nice pictures you can see. I'm sure you can after my speech understand what is on these pictures. I want you to guess. Well, not that, it's just an example of the perforative disc, I think it's called in English like that. Also music media. also music media. Another picture. So we can see the close-up, the zoom in of a vinyl groove. So the needle travels in the middle of this vinyl groove and does vibrate because of this fancy landscape, so to say. It's just a picture not to mix electromagnetic wave with a mechanical wave as we already learned. So we have to understand that human ear is very limited in terms of sound perception. We can hear only the frequency in the range from 20 Hz to 20 kHz. And of course there are many experiments on that, like some artists were putting subwoofer plate or any other audio system plate and then putting some flour on it and any other powder and then they were generating a certain sound wave and then it could create patterns on it. You can find a lot of videos on that on YouTube. And this is very simple and very important picture because low frequency waves and high frequency waves are very different in terms of length. For example, the bass line, the kick drum are always situated in a low frequency range and that's why it can travel through the walls. For example, if you have a house party and the police comes and the neighbors complain, it means probably you have to turn off your subwoofer or reduce the amount of lower frequency on your mixer, then the neighbors will probably stop complaining because there will be no low frequencies traveling through the walls. It's just tips and tricks. Yes, and very important for you to understand and to remember that frequency of the sound wave is measured in Hertz and sound pressure in decibel. Sound pressure is a volume. sound pressure, high intensity we would say and playing, taking off and leaving the room normal decibel sound pressure range. Let's say so. And the third part is also has nothing to do with physics. It's about more music theory because in my opinion DJing includes all of it and if we want to really understand what we are doing we have to know a bit the basics of physics and the basics of music grammar as well. So I will try to explain you in very simple words what it is about and it will probably help you to commit a beat matching in a free, in an easy way in the future, let's say so. So, the beat. In music the beat is the basic unit of time. It's a way that musicians count the notes being played to stay in sync with each other and it's often associated with the pulse that listeners tend to stay in sync with each other and it's often associated with the pulse that listeners tend to feel in the music. That is to say when one is to clap alone or dance with the music they are moving to the beat. So we have to we always when we dance our feet move and this is normally the beat we always move to the beat or at least our feet move to the beat. Yes, it's so called one, two, three, four. And the bar. So the beat is those notes you see and the bar is the cage where those notes live. So the most simple time sign is a four fourth. And it means four notes, for beat live in one bar musical tact in German they live in this cage or house as you as you wish a bar is used in writing music it is a way of organizing the rhythm music in small sections each bar is a small amount of time Most music has a regular beat or pulse which can be felt Each bar usually has the same number of bits in it music that feels like one two three four one two three four will be Divided into bars with four beats worth of music in each bar. So of course there are more complicated Constructions in terms of music signs but we try to stay simple. But I have a very simple example of another sign, so three fourths. It's a very famous happy birthday song that everybody knows and it's waltz. Also one two three one two three happy birthday to you, happy birthday to you. So it's just a small introduction for you about the diversity of grammar in music because music in general has a lot to do with mathematics and maybe you will get inspired after all this all my talk to dig for more and it has a lot to do with DJing and beat matching. Developing your hearing and sense of writing will help you to make faster beat matching and to make faster your transitions. The most important again. The tempo. Tempo is the pace or speed of the music. Higher tempo means a faster song, whereas a lower tempo means a slower song.pm beats per minute is a term for measuring the tempo of a piece of music bpm this is what all djs have to know what it is bits per minute this is the speed of your track all right one two three so raver and normal people, you understand the connection between the previous part and this one, because all music genres have a different, most of them, have a different speed, tempo of music. So if we start from the slowest one, dub music has speed range in terms of 60 to 80 BPM bits per minute. Hip-hop is mostly produced from 80 BPM to 100. House music 100 to 130 and so on. The fastest dance music we know can be hardcore, gabber and so on. It's very important to understand and to remember this, because when you organize your music collection, you have to think about speed as well. Because if you have a hip-hop track produced on 80 bpm, obviously you are technically very limited if you use a turntable in terms of speed, tempo, so you can't beatmatch it with a house track, which is 125 bpm. But obviously you can beatmatch it, a hip-hop track 80 bpm with the hardcore or gabber track which is produced on 160 bpm because it's twice twice exactly twice faster and um here i would uh rather like to invite you to here to my studio to touch the mixture and the turntables but unfortunately we are online and um i'm i i have to to finish my so-called lecture. I hope it was very interesting for you and you can always come to my website turntablista.com It has also German and English version. You can write me an email and I will answer you all the questions. Thank you very much for your attention Ihr könnt mir eine E-Mail schreiben und ich werde euch alle Fragen beantworten. Vielen Dank für euer Aufmerksamkeit und ich hoffe, dass ich euch hier offline in Wien in meinem Studio sehen kann. Vielen Dank. Ja, danke, sehr verehrte Damen und Herren. Ich muss sagen, ich finde das war eine vortreffliche Vorführung und ein guter Einblick in das Geschehen der, wie ich es bei Freunden von mir hören konnte, Turntables. Als weiteren Gast darf ich Ihnen nun line fender jensen vorstellen eine expertin auf ihrem gebiet speziell was animation oder 3d simulation betrifft von welchen wir ja im letzten jahr auch so einiges lernen durften sehr verehrte damen und Herren, ich übergebe an Liene. In the temperate and tropical regions where it appears that hominids evolved into human beings, the principal food of the species was vegetable. 65 to 80% of what humans being ate in those regions in paleolithic, neolithic and prehistoric times was gathered. Only in the extreme arctic was meat the stable food. The mammoth hunters spectacularly occupy the cave wall and the mine. But what we actually did do to stay alive and fat was gather seeds, roots, sprouts, shoots, leaves, nuts, berries, fruits and grains, adding bugs and mollusks and netting or snaring birds, fish and rats and rabbits and other tuskless small fry to up the protein. And we didn't even work hard at it. Much less hard than peasants slaving in somebody else's field after agriculture was invented. Much less hard than paid workers since civilization was invented. The average prehistoric person could make a nice nice living in about a 15 hour work week. Now 15 hours a week for substance leaves a lot of time for other things. So much time that maybe the restless ones who didn't have a baby around to live in their life, or skill in making or cooking or singing, or very interesting thoughts to think about, decided to slope off and hunt mammoths. The skillful hunters would come staggering back with a load of meat, a lot of ivory and a story. It wasn't the meat that made the difference, it was the story. If it is a human thing to do to put something you want, because it's useful, edible or beautiful into a bag or a basket or a bit of rolled bark or leaf or a net woven of your hair or what have you and then take it home with you. Home being another larger kind of pouch or bag, a container for people. And then later on you take it out and eat it or share it or store it up for winter in a solid container, or you put it in the medicine bundle, or the shrine or the museum, the holy place, the area that contains what is sacred, and the next day you probably do much the same again. If to do that is human, if that's what it takes, then I'm a human being after all. Fully, freely, gladly, for the first time. No, let it be said at once, an unaggressive or uncombative human being, I am an aging, angry woman laying mildly about me with my handbag, biting hoodlums off. However I don't, nor does anybody else, consider myself heroic for doing so. It's just one of those damn things you have to do in order to be able to go on gathering wild oats and telling stories. It is the story that makes the difference. It is the story that hidoth hunters told about bashing, thrusting, raping, killing about the hero. The wonderful poisonous story of botulism. The killer story. It sometimes seems that the story is approaching its end. Lest there be no more telling of stories at all. Some of us out here in the wild wild oats, amid the alien corn, think we'd better start telling another one, which maybe people can go on with when the old one's finished. Maybe. The trouble is, we've all let ourselves become part of the killer story, and so we may get finished along with it. Hence it is with a certain feeling of urgency that I seek the nature, subject subject words of the other story the untold one the life story it's unfamiliar it doesn't come easilylessly, to the lips as the killer story does. But still, Untold was an exaggeration. People have been telling the life story for ages in all sorts of words and ways. Myths of creation and transformation, trickster stories, folk tales, jokes, novels. The novel is a fundamentally unheroic kind of story. Of course, the hero has frequently taken it over, that being his imperial nature and uncontrollable impulse to take over and run it while making stern decrees and laws to control his uncontrollable impulse to kill it. So the hero has decreed through his mouthpieces the lawgivers, first, that the proper shape of the narrative is that of the arrow or spear starting here and going straight there and THUG! Hitting its mark, which drops dead. Second, that the central concern of narrative, including the novel, is conflict. if he isn't in it. I differ with all of this. I would go so far as to say that the natural, proper, fitting shape of the novel might be that of a sack, a bag. A book holds words. Words hold things. They bear meanings. A novel is a medicine bundle, holding things in a particular, powerful relation to one another and to us. One relationship among elements in the novel may well be that of conflict, but the reduction of narrative to conflict is absurd. I have read a how to write manual that said a story should be seen as a battle and went on about strategies, attacks, victories, etc. Conflict, competition, stress and struggle within the narrative conceived as carrier bag, belly box, house, medicine bundle may be seen as a necessary element of a whole which itself cannot be characterized either as conflict or as harmony since its purpose is neither resolution nor status but continuing process. Finally, it's clear. The hero does not look well in this bag. He needs a stage or a pedestal or a pinnacle. You put him in a bag and he looks like a rabbit, like a potato. That is why I like novels. Instead of heroes, they have people in them. Ja, liebe Zusehende, wir sind schon fast am Ende unserer heutigen Konferenz angekommen. Ich muss sagen, wir befinden uns ja zurzeit in einer Seitwärtsbewegung in absoluten wie auch in resoluten zahlen daher habe ich mir erlaubt auch etwas von mir selbst für sie vorzubereiten es ist ein kleiner wintergruß von meinem urlaub im salzkammergut denn wir müssen ja auch schauen dass es den liebten gut geht in solchen schwierigen Zeiten. Keine Sorge, verehrte Zusehende, ich habe mich natürlich an alle Abstände gehalten mit zwei, wie wir sagen, Baby-Elefanten und alle Vorkehrungsmaßnahmen getroffen. Elefanten und alle Vorkehrungsmaßnahmen getroffen. Ich wünsche Ihnen jetzt mit diesem kleinen Gruß viel Vergnügen und bedanke mich für Ihre Aufmerksamkeit. Wir werden uns ja in den nächsten Wochen noch etwas öfter sehen, denn wir haben das ja auch alles wirklich vortrefflich gemeistert und können daher also weiter streamen. Auf Wiedersehen, sehr verehrte Damen und Herren. I am the light who has the power to do it. I don't know. I am the king of the world. I don't know. GONG I am the king of the world. Nå er det en hel del av det som er i stort sett. Det er en hel del av det som er i stort sett. Det er en hel del av det som er i stort sett. Det er en hel del av det som er i stort sett. Det er en hel del av det som er i stort sett. I love you. piano plays softly I love you. I don't know....... Nå er det en viss kveld. Nå er vi på veien. Nettopp, det er en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt avnitt av en avsnitt avnitt avn avsnitt avniv avsnitt avniv avsnitt avniv avsnitt... KAMPENG Kau takutkan kuatir, KAMPENG © transcript Emily Beynon you you you