Stefan Goldmann: Emptying The Vaults Vol. 3 is exclusively available at HARDWAX now. The regular vinyl release will be in February. This record won't be released digitally this year.
Stefan Goldmann follows up on his timely piece for LWE from earlier this year with a "detailed examination of the psychosocial framework that underlies what we listen to."
Christopher Tubbs talks to experimental techno and house producer Stefan Goldmann about how to make it in 21st century dance music and the reasons behind why Berlin has become the electronic music mecca that it is today.
After Steve Bug proposed a three month strike by musicians and labels to counter illegal downloading, Stefan Goldmann considers total exclusivity as another alternative, arguing that "if we own something we don't feel we can get sufficient respect for, we shouldn't give it away."
The Macro boss talks to Modyfier about the benefits of running your own label, quotes Alice in Wonderland and extols the talents of one of the world's best gypsy wedding musicians.
Studio Talk with Stefan Goldmann about 'The Maze.'
"Some time ago I bought an analog drummachine that has channel inserts for every sound module, i.e. you can add separate hardware effects to the clap, the hihat, the bassdrum etc. Since playing around with guitar effects pedals has been my favourite thing productionwise for the last few months, it was natural to bring these two things together. For some time I've done a lot of research on distortion. I was producing a very elaborate track for the upcoming Perlon compilation "Superlongevity 5" named Les Augures, where I wired different effects and controllers together. So I could influence the distortion intensity by a pitch detector and a compressor's envelope, all bound together. After I recorded this, I had an additional day in the studio just playing with the drum machine and the guitar pedals. I ended up having one distortion unit on the hihat, which gives it it's very distinctive cut-through sound, and a fuzz box on the chord that comes out of the drum machine, too. This fuzz box has a Theremin controller, i.e. there's a copper plate that radiates an electromagnetic field which changes when you move your hand above it. I was tweaking the release curve of the chord with one hand and tipping my fingers at the copper plate with my other hand. The result is the screaming sound of The Maze. It's probably the most intuitive and direct piece of music I have done so far. Everything is on hands, nothing was planned. The whole piece was shaped live. I had to edit a few sections that didn't work out, but the remaining arrangement is widely live. It's just rough and pure - the things I miss in today's music most of the time. You can feel it and it's great to see how people react to it. There's this energy you just don't get with the usual controllers and arrangement techniques."
(Stefan Goldmann)
The Macro man is not messing around on this effort for DJBroadcast, mixing up hard-nosed cuts from the likes of Ben Klock, Raudive and Delta Funktionen.
