Difference between revisions of "Futuresonic 2006"

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''Leverage'', a new project proposed for [http://www.futuresonic.com Futuresonic 2006], centres around the creation of copyleft licensed 12 inch vinyl records containing a range of samples, beats and extracts from the archive in a format referencing scratch tools, breaks compilations and battle records.
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For [http://www.futuresonic.com Futuresonic 2006] Eileen Simpson & Ben White present '''Leverage''', a new project which centres around the creation and animation of copyleft licensed 12 inch vinyl scratch tools containing a range of samples, beats and extracts made from the out-of-copyright blues, jazz and folk housed in the [http://www.openmusicarchive.org Open Music Archive].  
  
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Battle records are explicitly designed as tools for DJs. Often the breaks, beats and samples collected on these records are created from tracks that are not officially licensed [http://en.wikipedia.org/wiki/Battle_records]. In contrast, ''Leverage'' will feature rare recordings and new remix tracks, short vocal snippets, percussive noises, sounds, samples, breaks and beats – all in the public domain or copyleft licensed and available via the [http://www.openmusicarchive.org Open Music Archive website].
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For [http://10.futuresonic.com/urban_play/instrument/ Instrument], the project is presented at ‘beta stage’ where vinyl test pressings can be sampled in scenario akin to the record shop listening area – with the option to skip through the rare original recordings, new remix tracks, short vocal snippets, percussive noises, samples, breaks and beats.
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Collaboration is central to the activity of the DJ who constantly combines, re-works and extends existing creative output. The artists promote collaboration and seek to explore its significance and value for creative production. For Instrument they invite scratch DJ '''Parkertron''' ([http://www.fingathing.com Fingathing]) and filmmaker '''Kid Jenson''' to participate in the project –  a collaboration which is documented through a video, shot by Jenson, featuring Parkertron testing the Leverage records.  
  
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It is intended that the vinyl tool will enable future production that exists outside of the usual commercial and bootleg economies. We aim to insert ''Leverage'' into this existing network of production to prise open new possibilities.
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In the hands of a turntablist, the record player is revealed as a hardware instrument – one that needs vinyl software to operate. The DJ’s instrument can only be activated using a set of vinyl tools, in the same way that computer hardware requires an operating system and a suite of software to function. Unlike the conventional battle record, which samples unlicensed commercial recordings[http://en.wikipedia.org/wiki/Battle_records], the Leverage scratch tools are assembled entirely from out-of-copyright material – and so exist outside commercial and bootleg economies. The project adopts the form and structure of the battle record to build open vinyl code – which, like free/libre and open source software, is distributed freely.
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The project encourages open creative exchange and demands that subsequent creations are licensed under identical terms. Through Leverage, out-of-copyright and copyleft material is inserted into an existing network of production to prise open new possibilities.  
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See Leverage at '''Instrument''', an exhibition of artist-made instruments, noise-generators, audio-visual manipulators, and head twisters by sound artists and noise-makers.<br>
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'''20-29 July at 1830 Warehouse, Museum of Science and Industry, Manchester''' <br>
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[http://10.futuresonic.com/urban_play/instrument/ Read more about Instrument]
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'''Friday 21 July 11am'''<br>
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Eileen Simpson & Ben White talk about Leverage and the Open Music Archive project.<br>
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'''1830 Warehouse, Museum of Science and Industry, Manchester'''<br>
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[http://10.futuresonic.com/urban_play/artist_talks_and_performances/ More info]
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''Futuresonic 2006 runs from 20 - 22nd July at various venues around Manchester''
  
  
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* '''Beat One & Scratches One tested using Scratch Live'''<br>Duration: 02:32<br>Sources: ''Beat One'' [http://www.openmusicarchive.org/audio/Beat%20One.mp3] / ''Scratches One'' [http://www.openmusicarchive.org/audio/Scratches%20One.mp3]<br>{{Icon_soundfile}} [http://www.openmusicarchive.org/audio/Beat_Scratches%20One%20(test%20with%20Scratch%20Live).mp3 Beat_Scratches One (test with Scratch Live).mp3] 2.9MB (right-click/ctrl+click to download)
 
* '''Beat One & Scratches One tested using Scratch Live'''<br>Duration: 02:32<br>Sources: ''Beat One'' [http://www.openmusicarchive.org/audio/Beat%20One.mp3] / ''Scratches One'' [http://www.openmusicarchive.org/audio/Scratches%20One.mp3]<br>{{Icon_soundfile}} [http://www.openmusicarchive.org/audio/Beat_Scratches%20One%20(test%20with%20Scratch%20Live).mp3 Beat_Scratches One (test with Scratch Live).mp3] 2.9MB (right-click/ctrl+click to download)
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== Thanks ==
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Parkertron (Fingathing), Kid Jenson, John K & Kelvin Brown (Eyes Down), Andy Soup, Saul Richards, Sneaky (Fingathing), Nick Alexander (TUNDRA*), Tina & Werner (Vinyl Carvers), Drew Hemment (Futuresonic), Neil Cummings & Marysia Lewandowska (Chance Projects)

Revision as of 16:57, 14 July 2006

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For Futuresonic 2006 Eileen Simpson & Ben White present Leverage, a new project which centres around the creation and animation of copyleft licensed 12 inch vinyl scratch tools containing a range of samples, beats and extracts made from the out-of-copyright blues, jazz and folk housed in the Open Music Archive.

For Instrument, the project is presented at ‘beta stage’ where vinyl test pressings can be sampled in scenario akin to the record shop listening area – with the option to skip through the rare original recordings, new remix tracks, short vocal snippets, percussive noises, samples, breaks and beats.

Collaboration is central to the activity of the DJ who constantly combines, re-works and extends existing creative output. The artists promote collaboration and seek to explore its significance and value for creative production. For Instrument they invite scratch DJ Parkertron (Fingathing) and filmmaker Kid Jenson to participate in the project – a collaboration which is documented through a video, shot by Jenson, featuring Parkertron testing the Leverage records.

In the hands of a turntablist, the record player is revealed as a hardware instrument – one that needs vinyl software to operate. The DJ’s instrument can only be activated using a set of vinyl tools, in the same way that computer hardware requires an operating system and a suite of software to function. Unlike the conventional battle record, which samples unlicensed commercial recordings[1], the Leverage scratch tools are assembled entirely from out-of-copyright material – and so exist outside commercial and bootleg economies. The project adopts the form and structure of the battle record to build open vinyl code – which, like free/libre and open source software, is distributed freely.

The project encourages open creative exchange and demands that subsequent creations are licensed under identical terms. Through Leverage, out-of-copyright and copyleft material is inserted into an existing network of production to prise open new possibilities.


See Leverage at Instrument, an exhibition of artist-made instruments, noise-generators, audio-visual manipulators, and head twisters by sound artists and noise-makers.
20-29 July at 1830 Warehouse, Museum of Science and Industry, Manchester
Read more about Instrument


Friday 21 July 11am
Eileen Simpson & Ben White talk about Leverage and the Open Music Archive project.
1830 Warehouse, Museum of Science and Industry, Manchester
More info


Futuresonic 2006 runs from 20 - 22nd July at various venues around Manchester


Discussion

Our ongoing discussion with Drew Hemment, curator of Futuresonic, is available here.


Downloads

As the record takes shape we'll be posting files along with their sources and some test recordings.

These recordings are released under a Creative Commons Attribution-ShareAlike 2.5 license.

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  • Beat One
    Tempo: 99bpm
    Duration: 02:29
    Source: Struggling - Johnny Dodds Trio (written by Jimmy Blythe 1901-1931) recorded 1929 [2]
    sound file Beat One.mp3 2.8MB (right-click/ctrl+click to download)

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  • Beat Two
    Tempo: 93bpm
    Duration: 03:27
    Source: One Dime Blues - Blind Lemon Jefferson (written by Blind Lemon Jefferson 1893–1929) [3]
    sound file Beat Two.mp3 4MB (right-click/ctrl+click to download)

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  • Beat Three
    Tempo: 89bpm
    Duration: 03:27
    Source: Don't Go 'Way Nobody - George Lewis and his New Orleans Stompers (written by Buddy Bolden 1868-1931) [4]
    Pinetop's Boogie Woogie - Pine Top Smith (written by Clarence Smith 1904-1929) [5]
    In The Dark/Flashes - Jess Stacy (Written by Bix Beiderbeck 1903-1931) [6]
    sound file Beat Three.mp3 4MB (right-click/ctrl+click to download)

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  • Scratches One
    Duration: 00:26
    Sources: Pinetop's Boogie Woogie - Pine Top Smith (written by Clarence Smith 1904-1929) [7]
    Struggling - Johnny Dodds Trio (written by Jimmy Blythe 1901-1931) recorded 1929 [8]
    sound file Scratches One.mp3 512KB (right-click/ctrl+click to download)

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Thanks

Parkertron (Fingathing), Kid Jenson, John K & Kelvin Brown (Eyes Down), Andy Soup, Saul Richards, Sneaky (Fingathing), Nick Alexander (TUNDRA*), Tina & Werner (Vinyl Carvers), Drew Hemment (Futuresonic), Neil Cummings & Marysia Lewandowska (Chance Projects)

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