. founded march 12, 1995 _| : _____ t r a x w e e k l y # 93 ______________ |___| _ _______/ /\___________________________ / ____________/ /\__\ _ _______/____/_____________________________ / / _________ \/__/ ______\ \_____________________________ / / / `_ . .~ \____\/ _ __ ___ / / / _____ . _ \ __ ___ _/__/\ / / / / /\ _ The Music Scene Newsletter __ __\__\/ _/__/ / ____/ /__\_________________________________ _____ ___ _ / /\/ /___ __________ _ ______ _ ___ \/ /\ / / /____/ \ \ / /\ / __/\ / /\ \ \ / \ /____/ / / \ / \/ /_ \___/___/ \ \_/___/ / \_/ / / \ ___\ / /_/ /______/\/ \ /______/\/ \ /_____/ // \ \ / / / \ / / \ \ \ \_\ \ \ \_\ \ //____/\____\/ / / / / / \______\/ \______\/ \_____\/ \ \ \ \ / / / / \____\/\____\ / / / / _____ _____ _____ _____ _____ _____ / / / /__/ w /\___/ /\___/ e /\___/ /\__ / l /\___/ /\____/ / / __/____/____/____/____/____/____/____/____/____/____/____/________/ / __\ \____\ e \____\ \____\ k \ ___\ \____\ y \__________/ \____\/ \____\/ \____\/ \____\/ \____\/ \____\/WW ---------------------------------------------------------------------------- | TraxWeekly Issue #93 | Release date: 27 Mar 1997 | Subscribers: 935 | ---------------------------------------------------------------------------- /-[Introduction]------------------------------------------------------------ ---------------------------------------------------------------------------/ Welcome to TraxWeekly #93, yet another issue in the continuing saga of the modern day electronic music scene... This week, the Modsquad continues with their engrossing documentary on music theory, its application in electronic music, and various other issues which may or may not relate to music as we know it. I have a short piece on "finding the right people." Aim Higher is back, with REUNIFICATION. ...an a new music magazine needs your support, see ads. Until next week, Gene Wie (Psibelius) TraxWeekly Publishing gwie@csusm.edu /-[Contents]---------------------------------------------------------------- ---------------------------------------------------------------------------/ ________ _________________________________________________________________ / ____/_/ __/ \ __/ / _____/ \ __/ __/ ___/_ < \____\ \ \\ \ \\____ __/ __/_\ \ \\____ \_____ \__ \ \ \ \\ \ \ww\ \\ \\ \ \ \ \ \_ _\________\________\\___\____\ \_____\\_______\\___\____\ \_____\_______\ General Articles 1. Music Theory: A Modern Approach...............The Modsquad 2. Finding the Right People......................Psibelius Group Columns 3. Aim Higher Advertisements Shock Value Closing Distribution Subscription/Contribution Information TraxWeekly Staff Sheet /-[General Articles]-------------------------------------------------------- ---------------------------------------------------------------------------/ --[1. Music Theory: A Modern Approach]----------------------[The Modsquad]-- Music Theory: A Modern Approach To Perfecting An Old Art, and Learning How To Better Yourself, and What You Track. by Finrez, Radio Shock, Neon Hunter, and Bottlehead modsquad@juno.com Hey there dudesies, its me again, bottlehead, and I'm introducing the chip series again. Sorry I couldn't write anything for it this time, but thats ok, right? This is the fifth article in our second theory series. We expect the series to have an approximate length of 8 parts. --------------[ POETRY ]--------------- "Things that used to be mine." _SPLIT_ --KFMDM Here is the tough part. If you really want lyrics in your song, you have to be a poet or get one. Doing this is really tough. Here is an example of poetry in motion: Would somebody please cue that bird? (Squawk, squawk!) Samuri Pizza Cats (Oh yeah!) Who do you call when you want some pepperoni? Samuri Pizza Cats! (Right on!) They're stamping out crime, and you know thats not Baloney! Theres Speedy Seriche, he's the leader of the bunch (Thats right!) A heck of a fighter, makes a heck of a lunch And little Polyester, who's never afraid (Thats me!) Of going into battle when the bad guys invade! Heres Guido Anchovie, a wild romantic rover This cat gets down down with a long hangover Here come the Pizza Cats! They're so bad, They have more fur than any turtle ever had! They're stronger than old cheese! (Stronger than old cheese!) Stronger than dirt! (They're darker than dirt!) If you step on their tail (Not on my tail!) You're gonna get hurt! (Don't hurt me!) Samuri Pizza Cats, They're fighting crime, All over the town! Four, three, two, one, Pizza Cats are on the run! Big Cheese is the villian, who's lower than low! Its a rotten shame, he live in Little Tokyo We've got our nasty Bad Bird and some nasty Ninja Crows As soon as someone finds the script we might begin the show! Sit right back, kick up your feet and turn the sound up high And if you want the full effect, go eat a pizza pie! Samuri Pizza Caaaaaaaaats! This is a classic song from the girlfriend of the lead sinder of Pink Floyd, Yoko Ono. She was the one who tore up a bible in front of a packed audience about six months ago. You can tell that she is a significant artist. This is how you become a poet yourself. Since you don't need to become a significant artist you dont have to do it in front of anyone, just rip up a bible in your room. If you are a Heavy Christian, try these lyrics on for size instead. Don't let the sun go down on me. Although I search myself its always someone else I see. Just allow a fragment of your life to wander free. But losing everything is like the sun going down on me. This is from a man named Elton John. It has long been suspected that he sexually molested his daughter. I mean, he definitely didnt like his sun ... son.. heh heh heh. So to write lyrics like this, you have to first get daughter. Its a lot of work to do this, so why don't you just go to a literature school or something to learn to compose? ----------[ I HEARD A DOPE BEAT ]---------- "To Share is to Split" _SPLIT_ --KFMDMFMDK I heard that Puck did it. But if Finrez didn't do it I cant fuck wit it. I know you're wondering how the masters create such dope beats in their drumloops, while you can't track drums worth shit. (in case youre wondering, the followup to that line is "NWA is a mix of fix of tricks, real niggaz with big dicks. yer takin a chance when you think that.. talkin under your breath won't lead to young death.") Lemme show you a couple important cool tricks. Here is the first thing you have to do for a good drum line: GET GOOD DRUMS! I mean, if you have to PAY, go into a pawn shop and sample their drum machines or -- GASP -- REAL DRUMS! The NEXT thing you need to do is to get a bunch of DRUMLOOPS and REALLY listen to it! This way you know EXACTLY what you're trying to emulate. Listen.. the strange thing is, you'll find that the main beat of your average drumloop is, of all things, a TAMBOURINE. So, now you gotta go back to the store and sample that damn tamobourine that you ignored because it didnt sound as cool as the snare and base drum. ("bass" you say? yeah I really want a fucking fish as a drum). BTW you also should sample drum combinations, like a base drum and a snare drum right after it in the same sample, that way it will sound more realistic. Of course its almost exactly the same if you play them with NNA continue in Impulse Tracker, but then you lose all the subharmonics and resounding frequencies as the two waveforms interact. Now that you have the important things: a base drum, snare drum, open hihat, ride cymbal, tambourine, and a splash (NOT CRASH) cymbal. Repeat, do NOT USE A CRASH cymbal, because a splash sounds SO much cooler. Now lay out a wikked pattern with your tambourine: TTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-Tt-Tt-Tt Base Drum: b---b--bb---b--bb---b--bb---b---b---bb---b--bb---b--bb---b--bb-- TTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-Tt-Tt-Tt Snare: b---b--bb---b--bb---b--bb---b---b---bb---b--bb---b--bb---b--bb-- TTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-Tt-Tt-Tt s--s--s----s-s----s---s---s---s---s--s--s--s--s-s-s---s---s---s- These are the basics, now lay out the other ones (open hihat, ride cymbal, splash cymbal): b---b--bb---b--bb---b--bb---b---b---bb---b--bb---b--bb---b--bb-- TTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-Tt-Tt-Tt s--s--s----s-s----s---s---s---s---s--s--s--s--s-s-s---s---s---s- o---o---o---o---o---o---o-o-o-o-o---o---o---o---o---o---o-o-o-o- --r---r---r---rr--r---r---r--rr---r---r---r---rr--r---r---r--rr- c-----------c---c-----------c-c-c-------c--c--c-c-------c--c--cc Or another rad one: b---b---b--b-b--b---b---b--b-bb-b---b---b--b-b--b-b-b---bb-bb-b- ----s-------s--s---s--s-s--s-ssss---s--s-s----s-s---s--ss-ss-ss- --o---o---oo--oo--o---o-oo-oo-oo--o---o---oo--oo--o---ooooooo-o- r------r-r------r------r-r------r------r-r------r------r-r------ T-t-TTt-T-t-T-t-T-t-TTt-T-t-T-t-T-t-TTt-T-t-T-t-T-t-TTt-T-t-T-t- c-------cc-c----c-------c-------c---c-------c-c-c-------c--c--cc Now track that, and go into Impulse Tracker and save it as a sample. Load up Sound Forge, Cooledit, or Goldwave and add a shitload of REVERB. This is the SECOND MOST important thing, after the TAMBOURINE. Now what you want to do is to record it on tape, then resample it, for that analog noise feel (I hope that makes you happy, Radio Shock). ----------------[ GROOVE ]----------------- "This song is a piece of shit." _Split_ -KFMFMDKFMMDK Lets say you're trying to come up with a serious groove. You heard some cool tracks and want to duplicate how rad they are. Where do you think they learned to come up with serious groove like that? Well lets go into a bit of history for a moment. Historically, the music of white people has concentrated on MELODY and LYRICS. The music of blacks, contrastingly, is mostly based on GROOVE. Groove is composed mostly of two things: drums and base. This is where DRUM&BASE music came from, btw. In this way, copyright law has also shown the white path. It has been developed to protect 50% melody and 50% lyrics. However, if blacks had been the ones to write these laws, it would protect 90% groove and the remaining 10% split halfway between melody and lyrics. Due to recent rulings (circa 1992) drumbeats are protected under law, but the base line is still mostly public domain. So if you want to listen to good commercial groove, pick up some rap records. Yes I know you all hate rap, but they are the epitome of pure groove. Not even instrumental: the original rap music was created very simply, literally with two turntables and a microphone (where its at, where its at). The groove relies almost entirely on the rapper and dj syncing in a brilliant display of rhythmic talent. However since we are doing this in a tracker, we will give an example from an advanced but classic rap album. Here is an analysis of a song from the NWA rap, EFIL4ZAGGIN. This is the perfect example, because it was done by an established group so they were fairly trendy, and they had the money to do a very thick mix, and finally because 1991 was the peak of rap overproduction, and so the details can be lost and still there will be a lot there to describe. The tune starts out with a gospel like chorus.. and MC REN: "Nineteen ninety motherfuckin one" and the chorus stops suddenly the groove hits. We hear a quick brass blast, then a drumbeat and smooth base line. A muted guitar is heard picking the same note over and over in a not-quite- offbeat pattern. Each bar there is an open hihat and every four bars, we hear someone saying "oooh" and every 8 a flanged cymbal hit. MC REN introduces the track "NWA back in this motherfucker. Kickin out ALL you commercialized ass niggaz. We on this laid back track, and we doin this one kinda smooth. So whatcha gonna do, Dre?" DR DRE, overlapping MC REN at the last syllable in an unrealistic conversation manner but with wonderful addition to the groove: "Kick it. And so on. Let the shit flow on. Cause I need something to go off on. The motherfuckin D R E servin a death wish, so I'm a hitcha like this:" DJ YELLOW starts scratching a few syllables back and it reaches its peak here. The drumbeat stops for a single beat, then comes crashing back with a high pitched three note riff from the start of the Doctor who theme song with the last note going until the end of the "pattern", then it repeats. Near the end of the pattern, we hear a fast guitar wah-wah riff. The base line hear gets lower and louder. Meanwhile: "Early in the morning, hop into the B N Z, I got fourty four ways of gettin paid sittin in my lap as I roll up the Compton block to scoop up Ren I heard shots. One two three, then I see a nigger, hoppin the fence and it was Ren on the motherfuckin trigger. He got in the Benz and said 'Dre, I was speakin to your bitch, Oshay.'" Here we hear a few guys saying "aaaaaaaaaaAAYEah!" in a rising, almost singing pattern, very cool. This pans left and right as it repeats, and every other pattern it stutters on and off in a fast repetition. "And as we roll on, I seen a patrol on creep, so we got ghost before they beat me and Ren and the black C D, yo. Hoppin some funky shit by the D O C." Right at this point, perfectly, we hear a stock voice sample that can't quite be made out, and more DJ scratches. This is less than half the entire song. But you can see, how the combination of hard lyrics and a dope beat can create an impressive groove. Of course since you can't have lyrics, you have to have more instrumental groove, just add more variation of sound. ----------[ BAD SONGS ]---------------- "Split this song into two pieces of shit." _SPLIT_ --DKMFKKDMDMDMKKFMFKDDD There was this one kids that I heard somewhere that went something like this: Oh Mr. Rabbit, your ears are mighty long. Yes, kind sir, they're put on wrong! Isn't that fucked up? I mean, say that a little kid heard these and tried to repair his pet rabbit. He would get a knife and just slice em off, and then glue them on backwards or something. And take a look at this one: Rock a by baby on the tree top When the wind blows the cradle rocks When the bow breaks the cradle will fall And down will come baby, cradle and all I mean, what if some really fucked up kid who was babysitting heard this song and went out to get her daily dose of crack-cocaine and when the baby cried, she went back and put her in a tree cause she noticed it was windy and the baby stopped crying when it was rocked. And when she came back to light up, she found the baby on the floor not quite dead, but she didn't call 911 cause she would get in trouble and she left it lying on the floor and left a note saying "Sorry I killed your babby, but if you get another one I will babysit it for half price." and then smoked her crack-cocaine and left. ---------[ MORE AND MORE INSPIRATION ]---------- "I HAVE BEEN INSPIRED" --Rev. Joe Jackson, at the moment of his apostasy I was at the bus stop to go to work one day and I decided to keep track of all the people who I saw there, so I could write a tune about them. First, there was this mexican chick who sat next to me on the bench. I asked her the time then mentioned that the bus must be late. She said she was just going to her apartment down the street and didn't want to walk. Then she started making a basket for valentines day out of a few scarfs and a heart on a stick. A fat drunk guy sat between us and put his hand on my shoulder. He told me my daughter was going to grow up to be very pretty and asked me for some change. He said he was a recovering alcoholic and was hit in the left ear and robbed of a dollar earlier in the day. The chick left, and the drunk guys bus pulled up and he went on it. The mexican chick came back and sat down. My bus hadn't come for an hour. I went and called my boss to tell him. When I was back, there was some oriental chick with a dog collar and a pierced chin (at least thats what it looked like, I mean it WAS dark) sitting in my place. Then a pregnant woman with two small kids came up. The bus I needed didn't come and the mexican chick needed the same one. Eventually she gave up and walked all the way home. I went home too. I tracked a song about drunk guys who get hit in their left ear and hot mexican chicks who walk home while weaving baskets for their boyfriends. I played it for my boss, but he didn't like it. He has no taste I guess. %%%%%%%%%%%%%%[ Good deals in pawn shops ]-%^@%!^!#$%!%#$%!@#%! "Ohh ohh ohhh!! OH YES!!!" ---Dana _Step_By_Step_, at the moment of her Apostrophe Now I know all have you have been to a pawn shop at least once in yourlife times, even if you yourself decided to go there, you went with your parent or whoever.. either way, you've been there ... I'm sure you remember the horrible deals they made.. Don't you remember hearing your dad say stuff like: "12 dollars for that brand new turn table?! Screw you!" or "You wanna charge me 26 dollars for that 250 wt amp!? Hahaha!" Right? Right? We know you've heard those lines before.. So what, you, what you're asking, is how to haggle with the lil bastards, eh? You wanna know how to get some good deals out of those prune-juice sippin old whitebread men, so, so, eh, ah pappa's gonna tell ya his lil secret of haggling.. Heres a diagram for you. O <-- Prune sipper -----======================================================== | = | O <-- You = | xxxx xxxx = | _____ xxxx xxxx <- some 10000 wt amps = |___| \__________________________________________________= ^ door Now.. lets start off from the conversation: "+ = prune sipper, % = you" + Eh, how ya doin? % Well uhh + Looking for anything specific??? % Yeah well I was uhh + Great! Lemme direct you toward our specials.. % But dont you want me to tell you... + Now dont worry, I know how to handle these things.. + What is it you're looking for? I didnt hear you the first time.. % I wanna buy a Korg X3... + Ahh a Korganorgan eh? Well its much more than an organ but I + like that lil rhyme.. Anyways how much are you lookin to spend + on a fine and dandy korganorgan? % Well.. I only have about 52 dollars to .. + Wonderfull, and how many knobs of this korg did you want to buy? % I dont want the knobs, sir, I want the korg. + Yeah well uh I can give you 4 knobs and 2 sliders.. Hows that? % Knobs and sliders! All I see are knobs and sliders!!. + Thats what its made out of .. % How about I give you 52 dollars and a pair of socks + For the korganorgan? % Yup + You gotcher self a deal mister!!! % Wow! Thanx! You see? That, now THAT is how you haggle.. You just go up to those prune drinking prune faced whitebread knob selling cock suckers and start a deal.. Once their blood gets flowing (since they usually just sit there watching reruns of Silver Spoons when theres no buisness), they're glad to give you a good deal.. One thing you have to remember: once the silverfish start crawling out of their ears/noses, you gotta get the hell out of there, and practice haggling somewhere else, cuz you dun pissed demz off. ---------[ TOTALLY HIDDEN PREDATOR ]-------------- "Hello?? Who is this??" --Maelcum Theres this great show on channel 5 at 8pm on Sundays called Totally Hidden Predator. I don't know where they got that huge predator, but it sure is rad to see him in action. You see, they hide this huge monster (the predator) somewhere where unsuspecting people will walk by, and when they do, it eats them! Its so damn cool. I'm writing because yesterday on one of the segments it was hiding in someones computer (how did it fit in there!?) and ate him.. while he was tracking! I thought tracking was an "underground" thing, not the kind of thing that would show up on TV. What will this mean for the rest of us? --------------------------------------------- That was the fifth installment of our second music theory series of articles. If you want to contact us, our email address is at the top and bottom of the file. Love, Finrez, Radio Shock, Neon Hunter, and Bottlehead modsquad@juno.com (c) 1997 FuNkY MoDSQuaD iNC ---------------------------------------------------------------------------- --[2. Finding the Right People]--------------------------------[Psibelius]-- I usually don't feel it is necessary to respond to every single letter that arrives in my mailbox, but I must have not been on a really great day, because this particular arrival set me off for a good quarter hour. If nothing, please let it serve as an example of how NOT to approach musicians to join your group. >Date: Sun, 16 Mar 1997 00:19:22 +0400 >From: Samara Review >To: smil@embe.fi >Cc: mah196@easynet.co.uk, skie@wrath.berk.net, shawnm@citenet.net, > gwie@mailhost2.csusm.edu, langebrd@fys.ruu.nl, pinion@netcom.com, > petador@ketchup.rave.org, marco72@unive.it, fimarkus@online.no, > mclifton@pheonix.csc.calpoly.edu, panther@global.co.za, > perseus@xs4all.nl >Subject: join us! > >hi. my name is jazztiz. i'm xm-composer and plan to organize >new musicgroup named "purple fog side". i wish you to join our it. > >descriptions for "purple fog side": > >1.format for music: xm, 44khz, 16bit >2.maximum zipped module size: 1.5mb >3.appearance: in www and ftp server. >4.competitions allowed. >5.ratings for modules. >6.music style:ambient, new-age and other athmospheric styles. [no] >dancemusic. >if your music doesnt agree with upper rules, you must leave group. >however, while in "pfs", you can also join or leave other musicgroups, >but you must write [ambient] at least twice for month. Okay, I guess I like the name of the group, but I have a few problems with the above material. You want people to join your group, yet I seem to get the impression that we are getting limits placed on our creativity in order to serve the group's quota for output. "xm, 44khz, 16bit?" I'm sorry, but as a musician myself, I will make my own decision as to what tracker I use and what format I wish to release in, and what samples I use. "Competitions allowed?" As a musician, I will choose whether or not I wish to enter in competitions, regardless of any group policy on such. Gee, this group sounds great. Not only am I limited to writing XM's in FT2 using only 16 bit samples, I get to have my modules rated (and we all just love being rated, don't we?), plus I'm now limited to composing ambient, new-age, and atmospheric styles. Wonderful. Oh, and let's not forget having to write ambient twice a month. What is wrong with dancemusic? I'll compose whatever the hell I feel like. And what would I get for doing all this??? >promotion and distribution of music: >www page with modring. ftp server. your own news on www. your personal >profile and photo on www. #chat. russian headquarter bbs. >foreign headquarter bbses (in future). audiocassettes with ordering. >parties. Well, I guess that sounds pretty nice, except for that fact I could probably do everything here myself without having to conform to some set standard of musicality. None of this here is worth the hell I'd have to put myself through to become another ambient-producing clone in "pfs." >cya. jazztiz/liquid dreams. > >e-mail : review@transit.samara.ru >voice: +7 8462 345911, 344771 Take a hike. If you really cared about putting together a music group, you'd write a personal message *REQUESTING* a person's contributions, not *DEMANDING* them. -psibelius gwie@csusm.edu ---------------------------------------------------------------------------- /-[Group Columns]----------------------------------------------------------- ---------------------------------------------------------------------------/ --[3. Aim Higher]----------------------------------------------------------- ###### #### ######## ## ## #### ###### ## ## ###### ####### ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ###### ## ## ## ## ###### ## ## ## ###### #### ####### ## ## ## ## ## ## ## ## ## ## ## ## ## ## ##### ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ### ## ## #### ## ## ## ## ## #### ###### ## ## ###### ## ### P R O D U C T I O N S UPDATE Hello again from the land of igloos and welcome back to another installment of the AIM Higher update. The main reason for this update is mostly in part to the overwhelming response that we received since our article in last week's TW #91. My mailbox has been filled with questions - many of them the same - and I will try to answer some of those here in this article. Their seems to be some misunderstanding - or better yet misbelief - surrounding the nature of the group. People seemed to be surprised that such a wide-open and free-moving group was around, but it's true. Once again I shall remind everybody that the main focus of the group is to help out anybody out there who wants to get better as a composer, or just wants to get into PC Composition because they find it unique and interesting - like us :). There is NO obligation to actually release anything, there is NO obligation to stay tied down to the group, their is NO particular composition style involved with the group and getting in the group is as simple as asking - there is NO rejection :). Those were the main areas of concern surrounding the group. Other than that I'm happy to say we have nearly doubled our memberlist solely through the release of last week's article and we wish the best of luck to Psibelius in keeping it (traxweekly) going. WEB PAGE The web page is coming along slowly. Most of the page is done, except our provider isn't up until April the 1st, so expect it to be up then. If you are another PC music group and would like to add a link to your page, please let me know in email (see bottom of article). We will announce the site of the page and the opening in a later version of TW. MUSICDISK The big news from the seniors of AIM Higher is that we have set a date for the (hopeful) release of our fourth and comeback musicdisk: Re-Unification. The release date is May 1st which we hope will give enough time to everybody to do their songs including guests. If you would like to show your support by releasing a guest tune, please email me at the address given below. We'd love to hear anything you have to offer! DISTROS If you'd like to become an AIM Higher distribution site by all means email me at the address below and say so! We are currently looking for as many boards as we can so we can get our stuff out there! :) MEMBERS Several people were curious as to what our memberlist looked like so here is the current list: SENIORS Atlantic atlantic@argos.org Musician Hypnotic Melody hypnotic_melody@tvo.org Musician Master of Darkness tandlar@jupiter.scs.ryerson.ca President.Musician Paganus paganus@dark.tor250.org Musician ARTISTS Andr0meda s960511@uia.ua.ac.be Musician Ba'alzamon ba'alzamon@dark.tor250.org Coder Behemoth behemoth@mscomm.com Musician.Coder Blizzard diablo8439@aol.com Musician Devega devega@dark.tor250.org Musician Direktor direktor@dark.tor250.org Musician Enci cybertic@hitel.kol.co.kr Musician Jones jones@followme.com Musician Magna-sail magna-sail@sns.gryn.org Musician Paradox techno@vcn.bc.ca Musician Porus mlad@echo-on.net Graphician.Musician Primal Scream prmlscrm@netcom.ca Musician Rebel fhafez@jupiter.scs.ryerson.ca Coder River riverg@hotmail.com Musician Rubidium Bromide ruby.bumrah@dark.tor250.org Graphician.Musician NOTE: if i don't have you in here yell at me! CLOSING So there you are, all up-to-date (hopefully). Any other questions you might have concerning the group, the disk, or music in general can be sent to me at the address immediately preceding this paragraph :) Thanks for your time, Master of Darkness (tandlar@jupiter.scs.ryerson.ca) Aka Todd Andlar "I'm not only the president, I'm also a client!" ######### ### ########### ######### ### ########### # # ### ### ### ### ### ### # # # # ### ### ### ### ### ### # ### # ## # ### ######### ### ### ### ### ### ## # #### ### ## ###### ##### ######### ### ### ### ### # # # ## ## # # ###### # ### ### ### ### ### ### # # # ## # # # ##### # #### # P R O D U C T # I O N S ------------------------------------- #### ---------------------- (c) AIM Higher 1997 ---------------------------------------------------------------------------- /-[Advertisements]---------------------------------------------------------- ---------------------------------------------------------------------------/ --[Shock Value]------------------------------------------------------------- My name is C. J. Cauley and I am starting a newsletter called SHOCK VALUE Music Newsletter. I did not get your name from a mailing list, nor will I give your name to a mailing list. I am not trying to sell you anything, I just want to get the word out about this much needed project. SHOCK VALUE is aimed for music lovers, and especially to the not-so-rich-and-famous music makers of this world. It's going to be a newsletter where unknown singers and bands can advertise their CD's for sale to people around the country without the advantage of a record deal. It's not a catalog, there will be articles designed to help starving artists get a leg up in the business, articles about music, recording, performing, etc., and also information about the "other" music business. We need to take the music business back from the Milli Vanilli's of this world! I thought you might be interested in SHOCK VALUE, or know others who are. The first issue is free to readers and advertisers. I would like to send you the first issue free, so you can decide for yourself if it's worth your time and money. I don't want any money, just an address to send the first issue to. I am a new entrepreneur trying any means I can to get the word out about this project. I think there is a definite need for this type of newsletter, and I hope it will grow into a magazine. I want to thank you for your time and consideration. I believe SHOCK VALUE can change the face of music. With your help, independent musicians can have a opportunity to be heard by people who would have never had the chance otherwise. I feel SHOCK VALUE can help you, or a musician you know, so please allow me to send you the first issue of SHOCK VALUE for free. Please send your name and address to SHOCK NEWS@aol.com, if you would like to receive the first copy for no charge, and with no obligation. Advertising information may be sent via snail mail to: P.O. Box 303 North Bend, OH 45052. Advertising must include your full name, address and phone number. See additional advertising information below. Bands may also send a CD and band bio to be considered in a feature article. Thank you, C.J. Cauley President SHOCK VALUE SHOCKNEWS@aol.com P.O. Box 303 North Bend, OH 45052 *In the first issue, advertisers receive one free standard size ad for CDs, or one free quarter page ad for goods and services. Standard size ads are approximately an inch, and includes the band/artist's name, record name, year, label, if any, price, contact information, and any pic or CD art you would like displayed (optional). Quarter page ads are based on an 8" x 11" page and should be ready to print. Ads will be printed in black and white. Ads must be received by April 15th to be printed in the first issue. ---------------------------------------------------------------------------- /-[Closing]----------------------------------------------------------------- ---------------------------------------------------------------------------/ TraxWeekly is available via FTP from: ftp.cdrom.com /demos/incoming/info (new issues) ftp.cdrom.com /demos/info/traxweek/1995/ (back issues) /demos/info/traxweek/1996/ (back issues) /demos/info/traxweek/1997/ (back issues) TraxWeekly W3 is under construction indefinitely. To subscribe, send mail to: listserver@unseen.aztec.co.za and put in the message body: subscribe trax-weekly [name] (NOT address) To unsubscribe, mail same and: unsubscribe trax-weekly (in message body) Contributions for TraxWeekly must be formatted for *76* columns, must have a space preceding each line, and have some measure of journalistic value. 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White Wizard TraxWeekly is a HORNET affiliation. Copyright (c)1995,1996,1997 - TraxWeekly Publishing, All Rights Reserved. /-[END]--------------------------------------------------------------------- ---------------------------------------------------------------------------/ :: ::: : . ..... ..............................:::.................:.... ::: : :::: : .::::. .:::::.:::. ..:::: :::: : :: :: ::: .:: :: :: WW:::: : ::. :: ::: .:: :: .:: :::: : :::.::. ::: .:: .:: .:::::... :: :::.. ... ..: ... ..:::::::::::::::: .:: .::::::: :::::::: ::::::.. ::: ::: ::: : until next week! =) .. ... .. ....... ............... .................:..... .. . :