— LDLC (@LDLC) June 21, 2016
Submitted by Techno-iD●com via Twitter.
“Votre chat aime-t-il la musique? Offrez-lui cette platine et il vous fera profiter de longues heures d’ambiance musicale. Elle coûte 30€ et vous la trouverez ici.”
My (undoubtedly incorrect) translation: Does your cat like music? Give him this turntable and you will enjoy many hours of musical ambiance.
The perfect toy for real cool ‘catnipster’ cats!
a technics 1210 turntable catnip for your housecat!
‘Cats love to scratch’ writing on the back for your Nip Hop Cat!
the catmint used in this toy is homegrown in the garden of my mother in law in the beautiful countryside of Bavaria in Germany.
The profit of this softmachines product will be donated to the animal shelter Berlin.
……….cats love to scratch!
Last Thursday, I found myself back at my old “stomping ground”, the Center for New Music and Audio Technologies (CNMAT) to hear an evening of improvised music.
Dieb13 (aka Dieter Kovacic) opened with a solo set for multiple turntables. It started with a single turntable producing noise/static sounds, and gradually incorporated electrical hums and synthesizer sounds, along with complex repeated rhythms. The rhythmic patterns were sometimes metric, sometimes more stuttering. With three turntables going at once, Kovacic’s performance seemed more “synthesizer” and less “DJ.”
Dieb31 was then joined by Tom Djll (trumpet and electronics), Philip Greenlief (saxophone), Gino Robair (percussion and electronics) and Kenn Ueno (extended vocal techniques). The set began with “scraping sounds”, Robair blowing a small horn against a drum and Greenlief scraping a mouthpiece cover along his tenor sax. Indeed, the acoustic instruments as noise sources dominated the first section of this extended improvisation, before the Blippo Box, the other electronic instruments and Dieb31’s turntables entered. It was interesting to hear how the sounds from the turntables an Ueno’s vocal techniques matched the acoustic instruments, and it was a challenge at times to tell which sounds were acoustic and which sounds were electronic.
Another notable confluence was Ueno’s throat singing set against low-frequency sounds from the turntable and the Blippo Box. There were also contrasting sections with percussive short notes on all the instruments (trumpet, electronics, sax, voice, turntable, percussion) in rapid succession. There was a very soft section with saxophone multiphonics (we have commented on Greenlief’s expertise with multiphonics in the past), vocal whispers, low-level electrical sounds, and a resonant tube; and very loud moments, screeching, high-pitched. One very rhythmic section featured Gino running fan against cymbals and Tom Dill running a similar fan against his trumpet. Greenlief joined in running keys against his sax. The piece ended with loud notes that came to a sudden stop.
This was followed by a much shorter “encore” improvisation, whose memorable moments were the variety of sounds from the turntable, which included an excerpt from a bebop recording and a toilet flushing.
From I Can Has Cheezburger: