Recent FMA Blog Posts
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ionosonderec on 10/11/2013 at 01:30AM
The first artificial audio effect to produced a reverberation sound is known as the echo chamber. A sound source and microphone are placed in a large caverness room which allows persistence of sound to be heard. This persistence of sound is created by bouncing the sound source audio off ighly reflective surfaces of the chamber, this is heard as a reverberation. This is by far the best reverb effect one could produce and the most expensive.
A cheaper way to produce reverberation is to use what is known as a plate reverb. This device is best described as having similar physical characteristics to an audio speaker. While working on the same principal as a speaker, the plate reverb can produce reverberations better in quality then it's digital counterparts. Historically, this device has been used in studios since the early 1960's.
The concept of a plate reverb is quite simple. An electromagnet, like the one found on an audio speaker, is directly or indirectly coupled to the center of a piece of sheet of metal. Audio from a sound source is fed into this electromagnet (voice coil) which will physically vibrate the piece of sheet metal (plate). These audio vibrations are echoed many times, echos which are in fact persistence of audio. The amount of persistence (reverberation) is determined by the physical characteristics of the plate. These characteristics many include length, height, and stiffness of the piece of sheet metal. Once reverberation has been set off in the plate itself, it then needs to be detected. This is accomplish by directly or indirectly coupling microphones to the plate. The micophones pickup the reverberations and sends them back to to be mixedwith the original "dry" audio.
The cost of building this plate reverb was around $150. All materials needed (excluding electronics) were obtained at my local Lowes home hardware store. Electronics on the other hand, were from RadioShack. The following article is a step by step description of a home built plate reverb »
happypuppyrecords on 10/09/2013 at 01:56PM
Uncle Neptune's old timey ditties have been affectionaly described as a cross between Kermit the Frog and Tiny Tim. After a long 7 year absence from the web, Happy Puppy Records is re-issuing the first Uncle Neptune album with the permission of the Uncle Neptune estate, with further albums in the catalog to come.
After releasing his first album in 2001, Uncle Neptune received some notable national attention thanks to Richardson's Roundup on CBC Radio One. Then in 2005 the world found out about the wonderful music thanks to a mention on the popular site Boing Boing.
Uncle Neptune retired from the internet in 2006, never to be heard from since. We thought this was a terrible shame that nearly a generation of internet users never got to hear any of his delightful and timeless songs (save for one track appearing on a Kazoomzoom compilation).
But recently Lee Rosevere at Happy Puppy tracked down sources close to Uncle Neptune (thanks Billyblob!) and we are preparing to release as much as Neptune's music as possible, beginning with his debut album.
Please enjoy this music and share it with your friends, and if you do, it would make the world a better place if you would visit Jamie Ward's bandcamp page and support him and his current projects, and it would make Uncle Neptune very happy.
theradius on 10/05/2013 at 01:00AM
PATCH is a series of curated playlists selected from the Radius episode archive. Each playlist is organized around a specific topic or theme that engages the tonal and public spaces of the electromagnetic spectrum. PATCH serves as a platform to illuminate the questions, concerns, and complexities of and within radio-based art practices.
PATCH 03: Voice
Michael Woody's Numbers Stations 1 and 2 is a set of files constructed to function like numbers stations. The codes have been substituted for brief messages telling what you should do and what you shouldn’t do if attacked by a bear. The work is a reflection on secrecy, control and power.
Boston_Hassle on 10/02/2013 at 06:00AM
The Boston underground has recently been rejoicing for reasons devoid of home-team sport pride. Free Pizza, a short lived yet extremely memorable power-pop group has decided to reunite within the past few months of 2013. This is not your everyday reunion. This is a great day for New England, and all areas of land where rokndroll is bumping.
Power-Pop is a genre that many are attracted to, and thus will dip their toe in and attempt to make some pop jams. Maybe this is why it can feel like a sort of redundant genre, with so many mediocre acts 'poppin' up here and their, playing some dumb songs about eating cheetos or skateboarding or maybe something about a girl or, um, girls. It is also one of those sounds that has changed so much since it's early raw yet earest beginnings in the 80's with bands like the Replacements. Power-Pop can almost have a bit too much self-awareness. Not Free Pizza. These boys are having a party and everyone is invited.
ange on 09/25/2013 at 01:01PM
How would you put to use a public domain recording of Bach’s Well-Tempered Clavier?
While Johann Sebastian Bach is already in the public domain, a Kickstarter project called the Open Well-Tempered Clavier is seeking to create hi-quality professional studio recordings of all 48 pieces of the Well-Tempered Clavier. This project comes to us from the same team who released the Open Goldberg Varitions, another public domain collection of Bach works.
The Well-Tempered Clavier has already had a rich impact on music. A few fun examples include the Swingle Singers a cappella version of Prelude from n.24 in B minor, Peter Coffin's project "Music Interpreted by Brain" featuring a brain listening to the Well-Tempered Clavier pt.1, and Brian Tychinski's marimba arrangement of Prelude No. 22 in B flat major for the O-Zone Percussion Group ensemble. If this project suceeeds, it's exciting to think of all ways the 48 pieces would travel, from remixes to videos to winter nights on the couch.
happypuppyrecords on 09/20/2013 at 03:00PM
Manos: The Remix of Fate is still seeking submissions for their October compilation! Recently, Benjamin Solovey found a pristine work-print of the infamous bad film and has restored it for upcoming release on Blu-Ray and DVD. He also put up the soundtrack for free (pay what you wish) download on Bandcamp and the Free Music Archive under a BY-NC-SA license, which includes music cues and dialogue.
Happy Puppy Records would like to celebrate this release by asking the Creative Commons music community to download the soundtrack and remix it! Any genre, any style... just no explicit adult material please. By submitting, you agree to license your track under the same BY-NC-SA license. If you include outside samples in your remix, please ensure they are of a similar sharable license.
Send your remix via dropbox, wetransfer, soundcloud or email if it's less than 25 mbs. 320 Mp3s or FLACs only. Deadline for entries is October 1, 2013 so we can have it ready for Halloween, which will please the Master!
ange on 09/09/2013 at 02:05PM
The colors outside are changing, and this collection of driving rock, electronic and experimental pop instrumentals are here to help tell stories of change and progress.
This is a Music for Video collection for tucking away your swimsuit, taking out a fresh pencil, and getting back to work. Click on the artist names to visit their page on the Free Music Archive. Many of them can be contacted there for more permissions, or to simply share a link to your new creations.
1. krackatoa (website, CC BY-NC-SA) - Starting a journey and looking cool doing it. This song title and album art refers to the story of Noah's ark, and the track appropriately evokes sonic waves and a sense of fulfilling one's destiny.
2. Los Amparito (website, CC BY-NC-SA) - The beginning of this song is an echo of chimes (perfect for a bumper), and then stereo dueling guitars take over. You won't get sick of this song no matter how many times you play it.
3. Fields of Ohio (website, CC BY-SA) - Steady driving drums begin this song and lock you in. Then faint voices emerge repeating something that sounds like, "tomorrow." Turn this on when you have homework to begin and want to fall into a productive trance.
4. Peter Gresser (website, CC0) - A funky jam that makes you want to pick up a joystick or leap on a treadmill. Licensed for the public domain via the Open Game Bundle, you can do whatever you'd like with this track including using it in your video games.
6. Thiaz Itch (website, CC BY-NC-SA) - An intriguing flute kicks off this track and tells a story throughout. Many other instruments emerge, including a delightful güiro. This song is part of an album perfect for using in cartoons or animated shorts.
ange on 09/06/2013 at 04:24PM
Collecting societies do the work music copyright holders can't do on their own, like tracking and distributing radio royalties. But in Germany there's only one collecting society, called GEMA, and they're known to impose exclusivity over artists who want to share their music publicly. This is why many creators from Germany and other parts of Europe don't have the option to use Creative Commons while also participating in a collecting society.
From this need emerges the Cultural Commons Collecting Society (aka. C3S), an artist-friendly, transparent, flexible collecting society. Wolfgang Senges, one of the project's co-initiators, recently presented about C3S at the Creative Commons Global Summit (slides here), and the project will be legally founded September 25th, during the Reeperbahn Festival in Hamburg.
So far on their crowndfunding page, C3S has raised over 80,000 € in addition to the 30,000 € already raised for their legal founding. Senges points out that the crowdfunding effort still needs to reach the 200,000 € goal in order to have the resources necessary to meet the requirements for starting a collecting society. Here's where you can pledge your support, and even purchase a "share" to have your music administered by C3S after their launch.
In celebration of C3S, the Free Music Archive is proud to host the C3S Ignition Mix featuring GEMA-free music under Creative Commons licenses.
wmmberger on 09/05/2013 at 05:18AM
What makes a great grind band? Doing as much as you can in an average of 43 seconds' song duration, flexing those ferocious chops from all angles, and, though this may be hard to explain to someone whose ears are attuned to pop music and the traditional song form, a certain "catchiness," an anthemic propulsion that will make the listener/receiver want to propel oneself into the pit without a care for personal safety. Psychic Limb have all these qualities, in spades.
I've liked these guys from the second I heard them, they stand out mightily from the pack of late 2000s grind on bandcamp and elsewhere, and they make records that stand firmly amongst the classics of the genre. And yes, they can and do reproduce it all in person.
undRess_Beton on 09/02/2013 at 12:46PM
Classwar Karaoke is an online label primarily based around an ongoing series of quarterly surveys - in effect, largescale compilations - published online mainly through the Free Music Archive, on each of the last days of February, May, August and November. It hosts material culled from the experimental scene, including electro-acoustic, improv, free jazz, acusmatic, soundart, field recordings, cut-up, avant-rock, noise, ambient and sound poetry.
Classwar Karaoke was founded by Anthony Donovan in March 2008; with the first survey appearing a few months later. The label only truly came into it's own, however, when Jaan Patterson joined as co-curator later the same year. Concerted efforts to expand and professionalise the label ensued. At the same time, Patterson founded suRRism-Phonoethics, as a platform for full-scale releases. Many crossovers in personnel and outlook were evident between these projects, and, after a two year hiatus, upon his return, Patterson invited Donovan to similarly co-curate at suRRism-Phonoethics. Between them, and via these two projects, Donovan and Patterson have, by now, released hundreds of pieces of music and short-films, attracting many tens-of-thousands of hits.
Included in the Classwar Karaoke and suRRism-Phonoethics roll-calls are internationally-recognised artits such as Bob Ostertag, Fred Frith, Rhys Chatham, Bryan Lewis Saunders, Leif Elggren, Lol Coxhill, Peter Brotzmann, Evan Parker, Geoff Leigh, Otomo Yoshihide, Terry Bozzio, Nate Young, Michael Giles, Keith Tippett, Jaap Blonk, Jochen Arbeit, Steve Beresford, Leafcutter John, Ludo Mich, Gino Robair and Zoviet*France, as well as an impressive array of lesser-known but equally innovative artists. Live gigs, mini-festivals and specialist multi-media releases have also featured, and physical releases, of limited edition CDRs and audio-tapes, are planned for the future.
Listen to our newest Survey 0023 here.