Apr 19, · 50+ videos Play all Mix - 2 Raumwohnung - Ich Bin Der Regen (Moritz Von Oswald Remix) YouTube 2RAUMWOHNUNG - Wir werden sehen - Paul Kalkbrenner Remix (Official Video) - . Ich Bin Der Regen Moritz Von Oswald Remix. 2Raumwohnung. Moritz Von Oswald. it-sounds. Dub. E♭ min. $ Cocoon Dark Dub Original Mix. Moritz Von Oswald. Cocoon Recordings. Dub. E♭ min. $ Watamu Beach Moritz Von Oswald Rework. Sebbo. Moritz Von Oswald. Desolat. Dub. C maj. $ Ich Bin Der Regen (Moritz von Oswald remix) by 2raumwohnung on arexfovexopo.colenecsimapacharsespmegsembvimic.co: 11 chartings. Mars Garden by Juan Atkins & Moritz von Oswald on Tresor: Nothing 4 by Moritz von Oswald on echospace [detroit] 7 chartings. One Note Development Nr.2 (Moritz Von Oswald remix) by Francesco Tristano on Deutsche Grammophon.
Saturday 30 May Sunday 31 May Monday 1 June Tuesday 2 June Thursday 4 June Friday 5 June Saturday 6 June Sunday 7 June Monday 8 June Tuesday 9 June Monday 15 June Tuesday 16 June Wednesday 17 June Friday 19 June Saturday 20 June Sunday 21 June Monday 22 June Tuesday 23 June Wednesday 24 June Thursday 25 June Friday 26 June Saturday 27 June Sunday 28 June Monday 29 June Tuesday 30 June Wednesday 1 July Thursday 2 July Friday 3 July Saturday 4 July Sunday 5 July Monday 6 July Tuesday 7 July Wednesday 8 July Thursday 9 July Friday 10 July Saturday 11 July Sunday 12 July Monday 13 July Tuesday 14 July Wednesday 15 July Thursday 16 July Friday 17 July Saturday 18 July Sunday 19 July Monday 20 July Tuesday 21 July Wednesday 22 July Thursday 23 July Friday 24 July Saturday 25 July Sunday 26 July Monday 27 July Tuesday 28 July Wednesday 29 July Thursday 30 July Friday 31 July Saturday 1 August Sunday 2 August Monday 3 August Tuesday 4 August Wednesday 5 August Thursday 6 August Ich Bin Der Regen (Moritz Von Oswald Remix) - Mohlao - Field Recording 001 (File 7 August Saturday 8 August Sunday 9 August Monday 10 August Tuesday 11 August Wednesday 12 August Thursday 13 August Friday 14 August Saturday 15 August Sunday 16 August Monday 17 August Tuesday 18 August Wednesday 19 August Thursday 20 August Friday 21 August Saturday 22 August Sunday 23 August Monday 24 August Tuesday 25 August Wednesday 26 August Thursday 27 August Friday 28 August Saturday MP3) August Sunday 30 August Monday 31 August Tuesday 1 September Wednesday 2 September Thursday 3 September Friday 4 September Saturday 5 September Sunday 6 September Monday 7 September Tuesday 8 September Wednesday 9 September Thursday 10 September Friday 11 September Saturday 12 September Sunday 13 September Monday 14 September Tuesday 15 September Wednesday 16 September Thursday 17 September Friday 18 September He is still doing this, and I can recommend using this style of mixing.
When I first got into production, I had this mixer and I was toying around with it. You cannot recall it. Probably this is a good chance to take us through the actual process of how you make a dub, what a version is. Usually, it works from a vocal track to an instrumental. I have some examples of that for later, but this is the main thing I want to say… version, dub, this kind of thing, I feel bad categorizing or trying to describe it too much.
There are so many examples of how people do it. For example, here you hear a breakdown and everything comes back in again, and playing around with effects, but also leaving some space for the six or eight elements that are working together really well. If you have a MP3) about the original elements, it might make it difficult. A key element might be to listen rather than talk. Your partner Mark, for example, refuses to take the needle off before the end, which is the polar opposite of that [ gestures changing records very fast ] record shop thing.
I like that as well. I like to get into the groove. I like long pieces, the repetitive patterns and seeing how people treat the few elements that are there, and how I am able to treat it in a mix and in a production. If you get tired of it, change it. What were you listening for when you retreated that one? Maybe I can hand this over to the participants, see what they recognize of the original track when we listen to it.
So this track was done completely live in the mix, I remember. Not so many elements remain. The bass is modified and simplified into the new track, and the vibes of the guitar-sounding synth chords appear on the new track as well. But, of course, the rhythm and speed has changed. How can we picture it? Are there other people involved as well? Do you take sketches, make notes, or do you draw it out?
So, how do we have to picture this: Is there a board where all the elements are laid out individually on the tracks? It works mainly from the computer nowadays, of course. Of course, we also change the equipment all the time… nothing is kept for too many years, except some special custom-made stuff I have. I try to get into new stuff and old stuff…. Are you interested in pre-board things, like sound-generating devices or are you more into effects?
Could you tell us what an echo chamber is? Most of us might know it as a plug-in, but I have a feeling you might know a bit about the development of echoes and delays. Many people know more about it. But I remember one thing from going to the Motown Museum in Detroit.
The guys had the studio in the basement, and they put a cable up to the roof and amped and miked it. That was their hall, the one they used first on the early Motown recordings. Tape echoes and such, everybody knows, the old analog tape echoes which are still available as digital copies.
I also like digital level and the digital sources, but the analog is more direct still, more alive. We had the original tapes, but only the two-track, not the multi-tracks, if that even exists. I like remixes that are done as a new track, that still relate to the original, but making a new track out of it. For me, with a remix I think of getting the track and making it different on itself. The approach of doing a remix differs from person to person. You can rearrange the original track, or you can do a completely new work, which at first sight has nothing to do with the original.
This track is somewhere between the two. But then I listened to the original and it has a lot of funky bass, MP3), a reggae sort of feel. When you did the remix, did you take the separate tracks? Because your mix has the drumming, then you get your type of dub on top of it. Did you get the separate original tracks or did you take another percussionist and add the effects on top of it?
I can play the mix, I have it here, but not the original. In this case, the Tony Allen original was delivered in separate tracks, so I could use the voice on its own, which I did. I also mixed the original record, and I decided the remix was too close to it, I had to get away from it.
I needed a new vibe. I just can play my mix of it. But time is the ultimate luxury. I guess, for you guys it was always important to have some kind of economic independence. For us, it was important to keep it all in our hands.
Economically, it also worked out. I started a small studio, then people came, we produced some stuff, a little bit of money came in, it built up slowly.
Suddenly, you have a nice record, then you have another one. But from my point of view, this was a disciplined way of keeping it to yourself. It can be done very quickly, but if you feel it takes another ten minutes, then just take it. I like to finish stuff quickly. But if the vibe is right, or the feeling is right, just go for it and ignore the little mistakes.
There are so many possibilities for getting rid of them, but I like them. Being imperfect, or … there are obviously parameters that can go from 30 minutes to however long. Some stuff goes for about a week, some takes longer.
I think one good possibility to capture different versions of one track is to make versions and to make dubs, go into the instrumentals and develop a track from another track, so you get something going, maybe with vocals, whatever, and you develop it. You change it over and another thing will come out of it. Apart from the fact that you have to deal with that tiny little thing they call ego, obviously, you created something, so it must be the greatest thing you ever did, because you did it yourself.
How does working with Mark differ from working with someone like Tikiman? That is something you have in your hands, you can watch, you can just let go, you can experiment, just sit down and listen for hours. The main thing is you have a result. Do I encourage him, do I sit back?
How do you manage it… knowing when to interact with the other person? No, the best thing is for me to let go most of the time. This also concerns vocal sessions: If there are tracks running, then let the person sing on it [ waves to Tikiman in the auditorium ], try something out, give it time.
Speaking of first moments, can we take a step back in time and listen to some Maurizio? A new-wave female couple recorded the original vocals on this and one of the women asked me to do something with the original vocals. We did it, and this is what came out of it. The other side is a mix by Carl Craig. This was all done a really long time ago, in …. That was his mix. When this came out, we also offered him a record which he released on Planet E, and we set up a project for it called Quadrant.
This is the track he released on Planet E. You were saying how much you can hear of the time and the situations these records were made in.
This gave me a bit of a flashback last week when we were having a bit of a party in the room next door and it sounded like some MP3) party from almost 20 years ago, with the harsh concrete and the reflections, which sound a lot harsher than you might imagine.
Well, for me of course it is a good memory, but I also get the impression nowadays with reggae, but also with dubstep parties, that this is the right room or environment to be playing these records.
I encourage everybody to try it out. I think that is the ideal condition, to have it not necessarily on the best sound system, it just has to carry the sound. The room is very important, the people are enjoying it, and it has the feel of this particular time.
The room has to be prepared a little bit, not too much. It depends on the care and understanding and listening you put into it. It always depends on the people who are doing it. If something is wrong, they change it. Same with turntables, these are good turntables, but you can try something different. Techno is very functional dance music, at least for me, though I can dance to dub.
For me, the Maurizio and Basic Channel records had a lot to do with a later development, because we were using stuff at that time that we were also using later. Especially, the way we were using effects and integrating them into the music. You can play them together and people do. I can play you some of that changeover, when we decided to have more space in the records. Before I heard your real name, I always thought you were from Detroit. Would you agree the Basic Channel tracks have a Detroit sound and feel about them?
Of course, there are many connections. People came to Berlin to record something at my place, we went to Detroit to cut the records. All the Basic Channel and Maurizio records were cut in Detroit and manufactured in the States, and only available on import. Obviously, you went to great lengths to go to the same places to cut the records, because they had a certain thickness in the sound, much like the records you were selling in the shop that you liked.
This contributed to your myth and myth created interest, and at the same time you were holding back. What were the most ridiculous things you ever heard about yourself, like, who you really are? Did you ever buy a house in Detroit? We did, or Mark did. The most ridiculous things… I forget. How do you keep the music strong enough to hold out against it? Do you think the same tactics would work now? What came out of it, for us it was funny, it was out of our hands.
That happened sometimes. So, were they expatriated, executed after that? Did they have to go off and produce software? But we kicked ass. Sorry, but it can be a pain in the ass, journalists and questions and all that sort of thing [ laughs ]. And yes, in the end we do live in a capitalist marketplace and you have to sell some sort of product, and you as a human being might be part of that product whether you like it or not.
This is a self-determined way at that time. I had an experience just recently for a release I did with Carl Craig where Ich Bin Der Regen (Moritz Von Oswald Remix) - Mohlao - Field Recording 001 (File actually had two days of promotional work. They are really music friends. It was fine helping them with that. How do you change your mindset to perform it? The sessions for this album with Carl were done in Detroit and in Berlin under various circumstances, and we tried to forget where it comes from, from the studio recordings of a high-profile conductor, whatever it was, we try to create something out of it that we can live with and combine it to what we have done.
People tend to forget that Beethoven or Mahler were slightly radical in their ways too. I can recommend going to classical concerts [ laughs ]. It can be played in different environments, in clubs, as we did last week. The big club in Berlin, Berghain, is going to establish another room to perform operas and ballets. Of course, you have to like it… but I do.
Ver todos » Moritz Von Oswald & Ordo Sakhna - Bishkek, May » Carl Craig, Moritz Von Oswald y Francesco Tristano - Versus » [Video] 2raumwohnung - Ich Bin Der Regen [Moritz Von Oswald Remix]. Check out Moritz Von Oswald on Beatport. Welcome to Beatport. Beatport is the world's largest electronic music store for DJs. Der Berliner Produzent Moritz von Oswald ist eine der einflussreichsten Vertreter des Techno. Zusammen mit Mark Ernestus veröffentlicht er in der 90er Jahren unter den Pseudonymen .
Moritz Von Oswald collaborates with Kyrgyzstan collective Ordo Sakhna on album for Honest Jon's. The track LP, which features recordings made in Berlin and Bishkek, is out now. Wed, 18 Oct Post a comment. Carl Craig turns in minute remix of Borderland for Tresor. Craig's sprawling rework of Juan Atkins and Moritz Von Oswald's.
Moritz Von Oswald è uno di quegli artisti che danno un senso al sottotitolo di Mixology: From Dub To Club. La sua incredibile traiettoria artistica ha toccato tutti gli ambiti della produzione musicale con progetti seminali con Basic Channel, Rhythm & Sound, Maurizio e il Moritz Von Oswald Trio che lo vede assieme a Vladislav Delay e Max Loderbauer. Un'inesauribile ricerca sonora, la sua, che. Oct 17, · Maurice Ravel & Modest Mussorgsky - Carl Craig & Moritz von Oswald - ReComposed: Music By Maurice Ravel & Modest Mussorgsky (CD, Album) Deutsche Grammophon, Deutsche Grammophon , 8.
Im Moritz von Oswald-Shop bei arexfovexopo.colenecsimapacharsespmegsembvimic.co finden Sie alles von Moritz von Oswald (CDs, MP3, Vinyl, etc.) sowie weitere Produkte von und mit Moritz von Oswald (DVDs, Bücher usw.). Entdecken Sie die Biografie und die Diskografie, und reden Sie mit bei den Kundendiskussionen über Moritz von Oswald.
Moritz Von Oswald collaborates with Kyrgyzstan collective Ordo Sakhna on album for Honest Jon's. The track LP, which features recordings made in Berlin and Bishkek, is out now. Wed, 18 Oct Post a comment. Carl Craig turns in minute remix of Borderland for Tresor. Craig's sprawling rework of Juan Atkins and Moritz Von Oswald's. Im Moritz von Oswald-Shop bei arexfovexopo.colenecsimapacharsespmegsembvimic.co finden Sie alles von Moritz von Oswald (CDs, MP3, Vinyl, etc.) sowie weitere Produkte von und mit Moritz von Oswald (DVDs, Bücher usw.). Entdecken Sie die Biografie und die Diskografie, und reden Sie mit bei den Kundendiskussionen über Moritz von Oswald.
Available for download on Traxsource. Featuring the latest Tracks Transport (Carl Craig Remix), Transport (Carl Craig Remix - DJ Deep & Roman Poncet Rework), Transport (Carl Craig Remix - Edit), Koirong Ku and more.
Wreckage, Riding On A Cloud - Passport (2) - Blue Tattoo (Vinyl, LP, Album), Its Critical, Valse N° 6 En Ré Bémol Majeur, Op. 64 N° 1 - Frédéric Chopin, Franz Liszt / Eugène Reuchsel - Chopin, Im Feeling (Power Mix), Untitled - Submania & Ekmoah - Low Voltage - Clear.Storm.Floor (Vinyl, LP), Runaway Train (Wahoo Mix Vocal) - Victor Davies - Runaway Train / Lady Luck (Vinyl), Slide (23) - Harmonic Motion (CD, Album), Spanish Eyes - Ace Cannon - Sweet And Tuff (Vinyl), Vereint