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ERROR 003CD
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"The third Errorsmith release contains a selection of live recordings made between 2001 and 2003 in various clubs and concert venues like Ulraschall in Munich, WMF in Berlin or Empty Bottle in Chicago. Most of the tracks on this album are interpretations of classic disco and r'n b songs. Digitally synthesized, distorted and filtered clubmusic which goes far beyond its origin. Less abstract and much more dancefloor compatible than the two previous Errorsmith releases this album relates closely to stuff from Smith n Hack and MMM, projects which Errorsmith is part of as well. The live sets were played on a laptop with a self-built digital live tool, a combination of a simple sequencer and a synthesizer. Errorsmith uses this tool to manipulate both the rhythmical pattern and the triggered sounds in realtime. With a huge degree of freedom in playing his instrument, two gigs were'nt the same and a gig had its highs and lows. How different a track could be played out, can be heard on the two versions of 'Near Disco Dawn' and 'In A Sweat'. Initially planned to be released as studio versions, Errorsmith decided to keep the rawness, incompleteness and live feeling of the concert recordings."
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ERROR 002CD
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"Errorsmith is one half of the projects called mmm and Smith N Hack (a collaboration with Soundhack) which have released some highly acclaimed and influential clubmusic 12"'s over the last few years. He also collaborates with New York based DJ and producer I-Sound as Disco Consultant on I-Sound's label Transparent. Concentrated rhythm drives most of the tracks on the Errorsmith 2 release. Oversimplified beats come to life because they were synthesized in realtime. To achieve this dynamic evolution of the sound, Errorsmith developed his own instruments with modular digital synthesis software. The ones he built for Errorsmith 2 integrate the reverb as part of the synthesis model. In fact the reverb dominates the model. Therefore it is an important element of the sound instead of being just an added effect. The dynamic nature of the tracks result from modulating the reverb parameters instead of the dry sounds that feed the reverb. One moment it sounds like a huge hall then abruptly it turns into a very short echo without any spacial depth. There are no analogies of this concept in reality, for it implies that you are in a room in which the walls are constantly moving, dynamically changing the volume of the hall. It is this concept which gives the record it's artificial ambience or what some have referred to as 'plasticity.'"
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