. founded march 12, 1995 _| : _____ t r a x w e e k l y # 49 ______________ |___| _ _______/ /\___________________________ / ____________/ /\__\ _ _______/____/_____________________________ / / _________ \/__/ ______\ \_____________________________ / / / `_ . .~ \____\/ _ __ ___ / / / _____ . _ \ __ ___ _/__/\ / / / / /\ _ The Music Scene Newsletter __ __\__\/ _/__/ / ____/ /__\_________________________________ _____ ___ _ / /\/ /___ __________ _ ______ _ ___ \/ /\ / / /____/ \ \ / /\ / __/\ / /\ \ \ / \ /____/ / / \ / \/ /_ \___/___/ \ \_/___/ / \_/ / / \ ___\ / /_/ /______/\/ \ /______/\/ \ /_____/ // \ \ / / / \ / / \ \ \ \_\ \ \ \_\ \ //____/\____\/ / / / / / \______\/ \______\/ \_____\/ \ \ \ \ / / / / \____\/\____\ / / / / _____ _____ _____ _____ _____ _____ / / / /__/ w /\___/ /\___/ e /\___/ /\__ / l /\___/ /\____/ / / __/____/____/____/____/____/____/____/____/____/____/____/________/ / __\ \____\ e \____\ \____\ k \ ___\ \____\ y \__________/ \____\/ \____\/ \____\/ \____\/ \____\/ \____\/WW ---------------------------------------------------------------------------- - | TraxWeekly Issue #49 | Release date: 02-29-96 | Subscribers: 493 | - ---------------------------------------------------------------------------- /-[Introduction]------------------------------------------------------------ ---------------------------------------------------------------------------/ _ _________________ /_\ \__ / ____ ______ \____ ____/____________ ______ _/ \ _/ \ \ww_/ \ _/ ________/_/ _ \ __/ \/ \ \/ \/ \ / | \__ ___ ___ _______ _/ \\ \ \\ \\ | \\/ | \_ ___ __ __ ____ /___________\__\_______\________\____|______\____________\ \__\ Welcome to TraxWeekly #49!!! And a big round of applause for Populus, founder of this publication! Having been forced to leave around issue #3 for personal reasons, Populus has rejoined the TW team. As the creator of this publication, his insight and ideas will be extremely useful as we set out on our next 50 issues. Again, there are few articles this week. Our music reviewing crew has broken down due to boredom and won't be back for awhile. =) Zinc brings us tracking tips from various musicians, and Shawnm concludes his music history essays this week with "Tablature and Tuning Systems." What about TraxCulture? Music Reviews? Biased and humorous commentary? Well, issue #50 is waiting for contributions! Just wait and see what we've got for you NEXT week. Enjoy! -psib [traxweekly] gwie@owl.csusm.edu /-[Contents]---------------------------------------------------------------- ---------------------------------------------------------------------------/ ________ _________________________________________________________________ / ____/_/ __/ \ __/ / _____/ \ __/ __/ ___/_ < \____\ \ \\ \ \\____ __/ __/_\ \ \\____ \_____ \__ \ \ \ \\ \ \ww\ \\ \\ \ \ \ \ \_ _\________\________\\___\____\ \_____\\_______\\___\____\ \_____\_______\ General Articles 1. Preparation, Destination......................Psibelius 2. The Evolution of TraxWeekly...................Populus 3. TraxTips #1...................................Zinc 4. The Development of Tablatures and Tuning Systems.................Shawnm Group Columns 5. Epinicion Productions 6. Explizit Closing Distribution Subscription/Contribution Information TraxWeekly Staff Sheet /-[General Articles]-------------------------------------------------------- ---------------------------------------------------------------------------/ --[1. Preparation, Destination]--------------------------------[Psibelius]-- Whoopee. It's been quite a long time since I've written anything of note for TraxWeekly, so here I am again... Next week, we will be celebrating. No, the communications decency act was not repealed. No, Future Crew has not released Unreal 3. Almost one year after its founding, TraxWeekly will celebrate its 1st birthday, and also release its 50th issue! It seems that interest in TraxWeekly has waned over the months. We can only continue covering compos and reviewing music before it becomes old hat. I know for sure that the music reviewers are bored out of their skulls wondering, "why the heck am I *DOING* all this?" Looking back at earlier issues from the tens and twenties, I notice that the "spirit" of this publication has really taken a downhill slide. Nowadays, we're so insistent on "technicals." You know what technicals are. Those articles filled with tons of statistical data, analysis of a billion subjects that wouldn't be missed of the world ended at this very instant. At the beginning, TraxWeekly was an awaited release every week, full of entertaining stories, hilarious TraxCulture, and once in a while, an occasionally heated debate that had serious effects on the Music scene. Granted, I don't mind Shawnm's articles on music theory and the like. It's nice to read something on a higher level sometimes. But how much is too much? Now where are we at? Thanks to requests, we've become a pretty serious and uptight publication. Music reviews are getting extremely bland. The ages old argument about ratings makes me puke. All the compos seemed to have faded away without much notice...what's happening??? Is our music scene becoming so big and boring that we fail to even CARE anymore? I really miss the days when we could waltz into #trax and grab the latest song by a cool musician. The days when Daredevil would spread around guitar tunes, Basehead was shaking things up, and Firelight was here and there with Firestorm. Nowadays we walk into the channel and we're bombarded by 99999999999999999 kazillion xdcc offers of music from 999999 9999 bajillion people. If the review from Hornet are any indication, people are releasing music for the sake of releasing it, not for creating something for someone to listen to and enjoy. It's depressing to look at a recent file listing and see "+" and "*" next to 70% of the new releases. I haven't released a single song for about half a year now, because I constantly see need to improve upon it. I would settle for a much smaller volume of GOOD songs being released than the gig of trash uploaded every single day. Can we simply compose for the enjoyment of it? Forget the fame. It's not really worth the struggle unless you can be in that top 10%, and be there consistently. Don't take me wrong. Given the decision, of my own group's 300 something songs, I'd seriously consider keeping about 30 of them. The rest is garbage, some less trashier than others (not to hurt any feelings, we all tried. But sometimes we just didn't try hard enough). Epinicion? Argh, Epinicion is (was?) an experiment. An experiment that somehow took hold, thanks to some heavy dedication and hard work. But like most experiments, some of them don't hold through. I think that of all the new (beginner) musicians that were pulled in to the scene by Epinicion, about thirty or forty of them still remain and release regularly. I'd like to personally congratulate all of you, I'm surprised you had the guts to stick with it. To all of you who have contributed to TraxWeekly in the past: Could you please contribute to our 50th issue? It only seems like yesterday when we decided to start this puppy up, and now we're halfway to 100. Also, please welcome back the FOUNDER of TraxWeekly, Populus! I don't know. It's up to you, readers. -psib [traxweekly] gwie@owl.csusm.edu ---------------------------------------------------------------------------- --[2. The Evolution of TraxWeekly]-------------------------------[Populus]-- An introduction would be logical for those you don't know who I am. I'm the guy who created this newsletter. I'll explain what I wanted to do with this kind of publication, and my opinion to what happened to it. I was in the #trax channel one day, and DemoNews was supposed to stop its activities. The fact that our only newsletter was going away made me think how it would be interesting to create an all-music one. My ideal of TraxWeekly was that all the talented people from the channel would share their knowledge and their passion for music. The fact the music was made entirely on computers, didn't have anything to do with it. Also I wanted to include the past composers that didn't get any real recognition. For example, Moby and Captain were better than many of the present "stars". They produced a new sound that most people didn't know at all. I wanted to interview constantly the best musicians the scene had to offer; just to understand how do they do it. I wanted also to analyse styles that popped up from here and there. The acticles that Necros did on music theory went right up my alley. Post-party reports were my idea of good reading material too. That was my idea of TraxWeekly. We can't minimize the talent the scene has. The fact that it's being produced on little beige boxes isn't a reason to say it's crappy. We have tools today to get a more realistic sound off those modules. Also some people are record industry ready. For example: Purple Motion was a genius, he did experimental symphonies in his basement at the age of 17. I'm very proud of all you people. But sadly time was fleeing my hands, and I had to pass TraxWeekly to someone else. Popcorn was a reasonable choice since he had helped me so much when I was the one doing it. Although he did an excellent job gathering acticles and producing interviews, he used the mag as his voice on the net. The fact he was running TraxWeekly made him think he would have special priviledges on the famous IRC channel. After many IRC wars ( which I didn't witness ) in #trax, people were mad at him. The newsletter was becoming more the voice of the people who idled the whole day on the channel than the voice of the people who can actually composed music. I was furious to see how it was becoming more and more an Ansi Mag clone. I don't spit on the people who contributed to the magazine in that time period, but I just want to say that it wasn't my TraxWeekly. I noticed that Psibelius runs TraxWeekly now. I haven't read many issues to comment what he was done. I read the last one (#048) and it was horrible ( btw: this wasn't a flame for him ). I have joined and will comment the orientation the mag should have. I miss the newsletter I created so long ago. Psibelius is a respectable and a responsible guy and I trust him with TraxWeekly. He has the love from the people on the channel, and that's important. To wrap up this wonderful text, I promise you people that TraxWeekly is back. Ideas and contributions are welcome, because they are the backbone of this newsletter. I know I didn't write much, understand that this isn't my first language and it asks of me a lot of attention while writting. -/- Populus a.k.a. Nicolas Roberge Founder of TraxWeekly nr@clic.net -/- ---------------------------------------------------------------------------- --[3. TraxTips #1]--------------------------------------------------[Zinc]-- After asking around a little, I found several people noticed a lacking of actual tracking advice in TraxWeekly. I took heed, and got the idea to do this article. It is the first in the series. I asked various trackers for some hints/suggestions that they could share with other trackers, and started this nifty little column. Anyways, I interviewed four trackers this time: c ray c, Maelcum, Daedalus, and Acidfrog. I've edited a lot out of the interview, but left the actual content in tact. (I just cut out a lot of nonsense and jabber- wocky :) ) Without further adieu, here is some advice straight from the trackers themselves. ** c_ray_c ** don't double channels. if you set one channel all the way to the right, and one all the way to the left, and play the same thing on both, you're just wasting a channel you can get the same effect by doubling the volume of whatever samples you're using (in a sample editor) this increases the quality of the song on the gus because using less channels increases the playback frequency what sample editor do you recommend for this? uhm... ultra amender and the os/2 system sound editor work I usually use sound edit pro for macintosh And for ms-dos or windows? well, ultra amender for dos... for windows I guess that thing that comes with windows, recorder or something I haven't used windows in a long time though probably like any sound editor will work ** Maelcum ** One thing i like to do to ensure the quality of my samples is high is to sample at a sampling rate that is a direct multiple (whatever that means =) of the rate i want to end up with.. for example, i try to avoid sampling at 44khz and then resampling to 8khz or 16.. if i want a sample to end up at 16khz i'll sample the original at 32khz instead of the normal 44, and vice versa. 44 if i want to go to 11khz otherwise your samples can get somehow effed up in the resampling.. dunno the technical bits also, ALWAYS sample in 16 bit, and then use a program with good resampling (goldwave is one, sound forge is another) to go to 8 bit and of course the usual advice: always sample hi hats and other bright instruments with alot of hi end at high rates (32-44khz is preferable) bass drums, etc often work fine at even 8khz also, be sure to do any changes (EQ, adding effects, maximising volume) before converting to 8 bit from 16 bit, and before resampling down to your final frequency Normalising the samples so you have very hot signals will cut down on quantitization noise and don't be afraid to manually edit noise out from things Gold Wave is a good editor, some people prefer Cool Edit, although I always thought it was a bit slow Sound Forge is a great one, however it's quite expensive ($250-300), but there's a new light version with most of the good stuff for about $70 ** Daedalus ** hmmmm, well, when using piano samples, since the samples are always the same, and real pianos, the keys are struck differently, use volume control on the samples, makes it sound a little more live that way. it's starting the sample later with the offset, kinda creating the 'illusion' that the key is being struck with a different force. ** Acidfrog ** if you have the ability to create to create your own samples sample anything.. sometimes the most obscure sound or noise can make for a real ace sample.. just sample it and fool with the sound until you get something that sounds good.. then build a track around it.. I find too many trackers are to scared to sample anything other than the contemporary instruments... an example would be to make a rythm out of white noise.. take 4 different samples of static and adjust the pitches and duration and then have it playing in the backround next do a standard drumkit.. (thats just an example) What I do is try to "visualize" the song or soundscape.. See a picture in your head then try and translate what is going on into sound.. That is the best way to get pure meaning and emotion into your songs. Musical theory is ok but I find that it can restrict your creativity.. don't be afraid to step out side musical boundaries.. If you compose in a set of rules or guide lines your stuff will end up sounding just like everything else created be those standards. If it sounds good.. then it is.. I hope these tips help! Stay tuned, I'll be writing a follow-up to this article in the near-future. If you have any tips yourself, and but don't want to write up an entire article, please email them to me, and I'll try to incorporate it into the next edition of "TraxTips" - zinc / rays@direct.ca - zinc / rays@direct.ca ---------------------------------------------------------------------------- --[4. The Development of Tablatures and Tuning Systems]-----------[Shawnm]-- This was originally written as an essay for my Music History class in 1994. The part on tablature doesn't relate directly to tracking, though it is a form of music notation that is quite different from normal music notation, just like in a tracker, we use a system of notation that is quite different from regular notation. This can also be interesting to some of you guitarists and keyboardists, since the lute is an ancestor of the guitar, and the harpsichord (which also used tablature a long time ago) is in a way an ancestor of the piano. The section on systems of tuning might prove to be more interesting. In modern times, we use the system of 'equal temperament'. What that means is that the octave is divided up into 12 semitones of equal value. In the past, other systems were used, where the octave was divided up in different ways. So, then, you can look at this as a history of the development of the modern system of notes that we use in Western music. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Introduction: ~~~~~~~~~~~~ Throughout the centuries of musical development, there has been a great deal of concern in the manner of tuning and notation for various instruments. Musical scholars of the times were always searching for a way to best represent their music on paper, and a way to tune the instruments to what they thought were the proper musical pitches. As well, lute music was very popular, and methods of notating for the lute were evolving. Different regions in Europe each produced some very specific types of lute tablature. The lute music was getting to be quite complicated in its polyphony, and composers and performers alike were searching for easier ways to read and write lute music. Tablature began before the 16th century, but it was during that time that it underwent many important developments. Systems of Tablature: ~~~~~~~~~~~~~~~~~~~~ In the early days of the lute, its strings were plucked with a plectrum and was mostly used to play a single line of music, with the occasional strummed chords at cadences and other important points. During the second half of the 15th century, there was a change to playing with the fingertips. "Tinctoris wrote of holding the lute 'while the strings are struck by the right hand, either with the fingers or with a plectrum'" (Reese, p.520). This change was so significant for the lute's development, that it led to the invention of new special systems of notation known as tablature (Reese, p.520). Tablature is a notation "that indicates finger placement on the frets rather than pitches in a strict tonal sense" (Reese, p.520). Besides the change in playing style, there was also a change in the music being composed. Tablature was also created because of the complex polyphony that was being played on the lute. Perfomers and composers of the time wanted a way to transmit the music in a quicker manner than the standard set of notation. Throughout its development, tablature became not only more and more complex with its symbols, but also more useful to the performer, since it indicated all nuances and ornamentations. It is stated that "the simplicity, clarity and logic of such common features of tablatures were considerably in advance of staff notation" (Sadie, Tablature, p.506) There were three main kinds of tablature, developed in Germany, France, and Italy" (Sadie, Lute, p. 347). Spain also produced its own type of tablature, but it wasn't as major a development as the others were. The lute tablatures that have survived the ages are "in such an advanced stage" (Reese, p.521), leading us to realise that they must have had quite an extensive history of development (Reese, p.521). "However, the earliest surviving examples, which are Italian, come to us only from the beginning of the 16th century" (Reese, p.521). Italian tablature had six lines, with each representing a string (or course). The highest line stood for the lowest-sounding string, and so on. Figures from 0 to 9 were placed on the lines, 0 calling for the open string, 1 for the first fret, and so on. Since the frets divided the fingerboard into semitones, tablature indicated all chromatic inflections. Rhythm and note lengths were expressed by different kinds of stems, placed above the top line in a single row. Their absence meant to repeat the last value shown. This system applied primarily to the moving part (Reese, p.520- 521). "What was to be done rhythmically to the other parts has given rise to two schools of thought among transcribers into modern notation, some of whom transcribe literally, while others aim to "restore" the part-writing" (Reese, p.520-521). Tablature also developed a very complicated set of symbols which each represent a type of ornamentation. While this was mostly found in the Baroque era, one can see its beginnings in the 16th century. "In the Capirola Lutebook (1517), the earliest known source of information, two signs are used: one shows figures notated with red dots; the other consists of two red dots placed over the figure" (Sadie, Lute, p.354). The single red dot meant a tremolo with two fingers, and the two red dots was a one finger tremolo, probably a mordent (Sadie, Lute, p.354). Pietro Paolo Borrono further explained the performance and notation of ornaments in his Intavolatura di lauto, printed in 1548 in Milan (Sadie, Lute, p.354). Meanwhile, in France, Attaignant published his book, entitled Tres breve et familiere introduction... in 1529 (Reese, p.553). The book was intended as an instruction book. It contained a detailed explanation of lute tuning and tablature. The French tablature of Attaignant's day, which is quite different from the Italian, usually employed a five-line staff, in which the highest line represented the highest pitch string. The lowest string was represented, when necessary, by a leger line. The eight frets on the fingerboard were designated by the letters b to i, with a indicating an open string. Rhythms and durations were indicated as in the Italian system (Reese, p.553). By the end of the century, French lute tablatures began to use six lines as the standard (Sadie, Lute, p.360). It was the French tablature that eventually developed into the most used form of tablature. It was considered to be the most clear form, and became popular with composers at the time (Sadie, Tablature, p.512). During the 16th century, in Germany, the lute was quite popular in the homes of the German people and because of this, German composers attempted to make their tablatures as clear and simple as possible so that the average person could teach themselves how to play and interpret the music (Reese, p.668). Most collections of German lute music "employ a special notation, the invention of which is ascribed by [Hans] Judenkunig to an unnamed contemporary and by Virdung and Martin Agricola to Conrad Paumann. This is a rather complicated affair, in which the "strings" (five at first and six later, one less than the full number being double strings in each instance) are numbered and the frets indicated by letters running across the fingerboard. Rhythmical values are shown by stems, usually united into groups, i.e., two semiminims are indicated by , four fusae by ...Some writers...like the Italians, place the time- signature before each piece; others...omit them altogether or insert them only at a change of meter. A few Germans...produced tablatures in Italian notation also" (Reese, p.669). In the end, however, the German system was far too complicated to be of use to the average person, and later on, when more strings were added to the lute, the system would have had to be completely redone. This was certainly not acceptable. In 1550 Rudolf Wyssenback printed a transcription in German tablature of an Italian work. He used half circles to represent ornaments. These half circles were called "mordanten". But, no specific definitions of what type of ornament to play were given. Mordanten simply meant ornaments (Sadie, Lute, p.355). This was not a very specific method of notation. The Spanish system of tablature was very similar to the Italian system, except that the six line staff was inverted, so that the top line represented the highest sounding string, instead of the lowest, as in the Italian system. Sometimes, the vocal line would be included in the tablature in red numerals. In some case, Spanish lute compositions have barlines, with the length of the bar being a semi-breve (a whole note). The rhythm notation was as is in ordinary staff notation (Sadie, Tablature, p.512). Tuning Systems: ~~~~~~~~~~~~~~ Throughout the 16th century, musical scholars made a great effort at finding a universal method of tuning that would allow instruments to play together in tune, and that would allow for the production of all the proper intervals. "Theoretical sources on this subject reveal an astonishing number of methods as well as objectives, all of them subject to considerable controversy" (Maniates, p.133). "Since there was no international pitch, diverse interpretations of pitch existed side by side in each region, town, even church - different organs were tuned a varying pitch-levels" (Reese, p.530). This further complicated the progression towards a standardized tuning system. But, the problem with finding a good tuning system was mostly in the use of keyboard instruments. Since the lute was fretted, and all six (or more) strings have to share frets across the fretboard, the frets had to have quite a specific placement for notes to be sounded correctly over the range of the instrument (Sadie, Temperament, p.670-671). This resulted in the lute being tuned to equal temperament, in a time where most other instruments (keyboards) were falling prey to experimentation in different types of meantone temperament (Maniates, p.133-147). Equal temperament is the system used in modern times, where the octave is divided into 12 equal semitones. But, what is quite important, is that lutes often played with other instruments and/or vocalists. Vocalists tended to use a system of just intonation (Maniates, p.136) and keyboards were using different types of meantone temperaments. It wouldn't be until much later that equal temperament became accepted as standard. Because of this, it was up to the lute player to make minute adjustments to notes, in order to maintain a good intonation with the other members of the ensemble, however small or large it may have been (Sadie, Temperament, p.671). The layout of the lute does not impose an exact intonation of the scale on the player as nearly much as that of a harpsichord or an organ (Sadie, Temperament, p.670). So, while technically, the lute was tuned to the system of equal temperament, it was not necessarily performed in that system. However, there were exceptions. Some performers had lutes that were tuned in meantone temperaments, or in the pythagorean system. But, these performers were forced into using some complex fretting patterns in order to avoid landing on a bad note (Sadie, Temperament, p.671). By the end of the 16th century, it was the standard in Italian writings that lute music would be performed in equal temperament, and that keyboard music would be performed in some type of mean- tone temperament (Sadie, Temperament, p.672). Conclusion: ~~~~~~~~~~ Throughout the 16th century, there were many developments being made in the use of new tuning systems and tablatures. The music was getting more complicated, and required specific types of notation for specific instruments, such as the lute. Different regions each developed its own type of tablatures to suit its specific needs. Keyboard instruments were the main focus in the debates leading to a new system of tuning. During the 16th century, musical scholars explored many different tuning systems, starting with the pythagorean system, and eventually ending up with the modern day equal temperament. The lute was always tuned to an equal temperament because of the contruction of the instrument, most notably the fret system. But, lutes did not necessarily play in equal temperament. Minute changes were constantly made by the performer in order to have good intonation with the other performers, who may have not necessarily used the same tuning system as the lute. The 16th century was a time of important musical changes, debates, and discoveries, which had a great impact on the development of western music. Bibliography ~~~~~~~~~~~~ Maniates, Maria Rika. Mannerism in Italian Music and Culture, 1530-1630. Chapel Hill: The University of North Carolina Press, 1979. Reese, Gustave. Music in the Renaissance. New York: W. W. Norton & Company, 1959. Sadie, Stanley, ed. "Lute." The New Grove Dictionary of Music and Musicians. London: MacMillan Publishers Limited, 1980. Sadie, Stanley, ed. "Tablature." The New Grove Dictionary of Music and Musicians. London: MacMillan Publishers Limited, 1980. Sadie, Stanley, ed. "Temperaments." The New Grove Dictionary of Music and Musicians. London: MacMillan Publishers Limited, 1980. Stolba, K Marie. The Development of Western Music A History. Dubuque: Wm. C. Brown Communications, Inc., 1994. shawnm / New Objectives In Sound Exploration shawnm@citenet.net ---------------------------------------------------------------------------- /-[Group Columns]----------------------------------------------------------- ---------------------------------------------------------------------------/ --[5. Epinicion Productions]------------------------------------------------ ___ _______ _____________ ______ ______ _______ ______ _______ ___________ | // \\ \\_____) \\_____) \\_____) \\ \\ | : / o \ o \ \ \ \ \ \ o \ \: // _____// / \ : / \ _____/ \ / : \. \\_______/ _//______\\_|__//______\\_____//______\\_____//____| /: : \\____\\ ______________________________ oT /___//| |________________________// e p i n i c i o n \\________________| March 21st is closing fast, only a few more weeks until Epinicion no longer exists. Thanks to all of you who have made submissions for our final musicdisk. Currently, we around six megs of music and looking for more. Members, former members, and friends, please donate a song for our last release! This music disk is the final mark of our work for the last two years in the PC music scene. Thank you. ----- Submissions can be mailed via MIME or UUE to gwie@owl.csusm.edu ALL of Epinicion's 1995 and 1996 releases can be found through ftp at: kosmic.wit.com /kosmic/epinicion Epinicion's webpage can be found at the following address: http://www.csusm.edu/public/guests/gwie/epi.html. Psibelius (Gene Wie) Epinicion Founder gwie@owl.csusm.edu ---------------------------------------------------------------------------- --[6. Explizit]------------------------------------------------------------- .____. .....______________.____________________________________________| |__... :::::\__ _____ | ______ \ \______) \_____)_ _____/::: :::::::/ __>/\/ . __/| __/ / /__ \_____ \ \| |:::::: ::::::/ | / \ : \| \_____/ / \ \_ _____/ \ |:::::: :::::/ \__| \_ :::\ / / / | \ / |:::::: :::::\__________/::|______/____|:::\_______/_____/________/_____/___::::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::[sYNOPTiC]::: ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Explizit TraxWeekly column issue #11 - february 29, 1996 . . .' explizit `. `...............' Hi there! We're explizit and we're doing GREAT! :) We make techno music in the Netherlands, you know, that little country, no, not a provence of Denmark, :), but that little country in Europe with those colourfull bank-notes! ;=] Explizit was founded somewhere in November, 1995. Today, February 1996, we have 12 different country Headquarters, a homepage, an FTP site, a busy mailing-list (although we could use a _lot_ more subscribers than 27, come on guys! :)). Our team consists of muscians, coders, ansi/ascii artists, sysops, door-coders, gfxians. All working for the same goal: the creation of Quality techno music. In a short time our first diskMag will be released. It'll hold many articles on the Dutch music scene, as well as some cool articles from foreign people. We could use a _lot_ more articles anyhow! So if you feel like contributing to Holland's first Music Scene, please do so! We can use *every* music related article. We can also use every group and/or board advertisment you send us. So start writing to get yourselves known over here! =] Send commands to our little mail-server to receive our modules. If you subscribe to our list you'll receive every future module automatically. The commands: SUBSCRIBE UNSUBSCRIBE RETRIEVE UUE RETRIEVE MIME You can issue multiple commands in one message. Email to explizit@dds.nl . . .' explizit members `. `........................' Explizit group-mail [use this one!] explizit@dds.nl Ch:ilm staff explizit@dds.nl Phonc(ie) music,staff W.Langenhuizen@nl.cis.philips.com Batjo music tgcpaw@stud.tue.nl Jay music - none - KoM'AH music - none - Paranoid Man gfx - none - LightWing code pflick@xmission.com DirtBag ansi/ascii - none - . . .' news `. `..........' No nuwz yet =] . . .' releases `. `...............' E-1234!.ZIP 1-2-3-4EVER! KoM'AH XM Pretty hard rave song ... not commercial at all. E-3MOON.ZIP 3 Moons KoM'AH XM Nice trance song, sounds kewl.... E-ULTMTR.ZIP Ultimatter-nebulah KoM'AH XM KoM'AH's been very productive lately .. :) This is hardtrance. Composed for the music compo on the explizit WHQ (my board). . . .' end `. `...........' Thank you for reading, you can ftp all our releases from: ftp://tillbm.stu.rpi.edu/explizit/ For feedback, info and more, visit our homepage: http://huizen.dds.nl/~explizit Ch:ilm/Explizit explizit@dds.nl GOA rulez bigtime! :) ---------------------------------------------------------------------------- /-[Closing]----------------------------------------------------------------- ---------------------------------------------------------------------------/ TraxWeekly is available via FTP from: ftp.cdrom.com /demos/incoming/news (new issues) ftp.cdrom.com /demos/info/traxw/ (back issues) TraxWeekly will be available via WWW from a new site within a few months. 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For questions and comments, you can contact the TraxWeekly staff at: Editor: Psibelius (Gene Wie).................gwie@owl.csusm.edu Staff: Atlantic (Barry Freeman).............as566@torfree.net DennisC (Dennis Courtney)............dennisc@community.net Kal Zakath (John Townsend)...........jtownsen@sescva.esc.edu Master of Darkness (Todd Andlar).....as566@torfree.net Mhoram (John Niespodzianski).........niespodj@neonramp.com Mick Rippon..........................rip@hunterlink.net.au Populus (Nicolas Roberge)............nr@qbc.clic.net Trifixion (Tyler Vagle)..............trifix@northernnet.com Zinc (Justin Ray)....................rays@direct.ca Reporter: Island of Reil (Jesse Rothenberg)....jroth@owl.csusm.edu Graphics: Squidgalator2 (...)..................sq2@... White Wizard (...)...................aac348@agora.ulaval.ca WWW Page: Dragunov (Nicholas St-Pierre)........dragunov@info.polymtl.ca TraxWeekly is a HORNET affiliation. 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