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Sentences that have record in common :


The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns.
└ from 06 — Principium 2.0 Publication


We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record.
└ from 06 — Principium 2.0 Publication


Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool.
└ from 06 — Principium 2.0 Publication


The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12" vinyl record, which was released by the label Ultra Eczema shortly after.
└ from 06 — Principium 2.0 Publication


As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device.
└ from 06 — Principium 2.0 Publication


The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version.
└ from 06 — Principium 2.0 Publication


The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid.
└ from 06 — Principium 2.0 Publication


For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down.
└ from 06 — Principium 2.0 Publication


And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all.
└ from 06 — Principium 2.0 Publication


That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record.
└ from 06 — Principium 2.0 Publication


Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation.
└ from 06 — Principium 2.0 Publication


Peter brought six record players, matching the six colours of the vinyl nicely – two notes each.
└ from 06 — Principium 2.0 Publication


I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead.
└ from 06 — Principium 2.0 Publication


DE PLAYER: Dennis said you were not really keen on doing this record at first.
└ from 06 — Principium 2.0 Publication


I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there.
└ from 06 — Principium 2.0 Publication


I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record.
└ from 06 — Principium 2.0 Publication


I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut.
└ from 06 — Principium 2.0 Publication


But it was pretty intense, so yes, this record is probably the light version.
└ from 06 — Principium 2.0 Publication


DE PLAYER: I could say that the 10" records were vinyl records as a tool, and that this LP is a vinyl record as a product.
└ from 06 — Principium 2.0 Publication


So do you see this album as a solo record or as a collaboration?
└ from 06 — Principium 2.0 Publication


You know, the music on the record came from a performance I did, based on a concept I came up with.
└ from 06 — Principium 2.0 Publication


Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp.
└ from 06 — Principium 2.0 Publication


Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting.
└ from 06 — Principium 2.0 Publication


That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?
└ from 06 — Principium 2.0 Publication


And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking.
└ from 06 — Principium 2.0 Publication


DE PLAYER: The Ultra Eczema site refers to this record as your debut LP.
└ from 06 — Principium 2.0 Publication


Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying.
└ from 06 — Principium 2.0 Publication


DE PLAYER: Do you see this as a drone record?
└ from 06 — Principium 2.0 Publication


Or as a collage record?
└ from 06 — Principium 2.0 Publication


I don't feel this record has that.
└ from 06 — Principium 2.0 Publication


The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off.
└ from 06 — Principium 2.0 Publication


Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all.
└ from 06 — Principium 2.0 Publication


In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique.
└ from 07 — Pu-sh-ing-Sco-res Event


In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques.
└ from 07 — Pu-sh-ing-Sco-res Event


The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time.
└ from 07 — Pu-sh-ing-Sco-res Event


In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results.
└ from 07 — Pu-sh-ing-Sco-res Event


All had worked with the medium of the vinyl record and added a new use/application.
└ from 07 — Pu-sh-ing-Sco-res Event


The usual code of the record, as defined by the music industry, was broken in all works.
└ from 07 — Pu-sh-ing-Sco-res Event


Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year.
└ from 09 — MAT>NET>PU TGC3 Presentation


At DE PLAYER she will demonstrate her 'spider web record player'.
└ from 09 — MAT>NET>PU TGC3 Presentation


Remco van Bladel grew up in the record store of his father.
└ from 13 — Remco van Bladel


For each record a unique piece is generated that is spoken and performed by the same software.
└ from 19 — Jörg Piringer


The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record.
└ from 19 — Jörg Piringer


computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded.
└ from 20 — Concrete Poetry


We also produced a limited polyurethane record with Fersteinn.
└ from 22 — Anitation


Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'.
└ from 24 — Johannes Kreidler


An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago.
└ from 25 — Ana Guedes


The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection.
└ from 25 — Ana Guedes


Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'.
└ from 25 — Ana Guedes


Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors.
└ from 26 — Helga Jakobson


For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working.
└ from 27 — BJ Nilsen


Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?
└ from 27 — BJ Nilsen


They put geophones in an array, and record the blast of a detonation underground.
└ from 27 — BJ Nilsen


There is a little homage to GRM and Pierre Schaeffer on the record.
└ from 27 — BJ Nilsen


The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process.
└ from 28 — John Duncan


The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording.
└ from 28 — John Duncan


Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues.
└ from 30 — Black Midi


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