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This interview was conducted via e-mail between the 2nd and 12th of June, 2003. Much of Bagatellen’s content flexispy pro manual is drawn from modern improvisation and, in various levels flexispy pro crack iphone of inquiry, the processes that guide the making of such music. The “new flexispy pro crack serial electronics” of the last decade have yielded sounds and techniques once thought flexispy pro crack serial unimaginable. The free world is swimming in technology, and music’s foundation flexispy pro crack serial is modulating via an unprecedented accessibility to computers and electronics. There review of flexispy now exists a new kind of canvas, one upon which improvising musicians such as Günter Müller flexispy pro crack serial may always “begin.”

Alan Jones: What are your earliest memories with music flexispy phone virus?

Günter Müller: My very earliest memory with music is sitting flexispy pro crack serial as a child on a chair in front of an old radio, listening flexispy pro crack serial to some German Schlager. Beside that my father was listening flexispy pro megaupload to classical music all the time. I particularly liked Prokofiev’s Peter flexispy phone virus and the Wolf.

AJ: What was your favorite instrument/character?

GM: Definitely the bassoon of the grandfather, I adored it and it frightened me at the same time.

AJ: Many musicians set goals for themselves at an early age. Assuming flexispy pro crack iphone you visualized such objectives, how have they been obscured or built upon over the years flexispy pro crack serial?

GM: When I got into improvising in the late 70’s I realized very quickly that this would flexispy pro manual be the only thing I’d like to do in music. I tried a few couple of times to play within flexispy pro crack iphone conceptual things, but never was happy about it. Another flexispy pro manual main idea is the constant research in sounds, starting when I still review of flexispy played the acoustic drums that I prepared with all kinds of stuff – and developed flexispy pro crack serial even more when getting into the electronics in 1981.

AJ: Did you feel a sense of restraint with conventional playing, or was it music flexispy pro review that you did not particularly enjoy?

GM: It was simply that the music has been predictable, something flexispy pro crack serial I don’t like at all. I was getting bored after playing the more or less defined flexispy pro manual parts more than three times. Or it happened that I was told to make some noise flexispy pro crack iphone from minute 4:35 to minute 5:15… I felt terrible, like a clown flexispy pro crack iphone.

AJ: Conceptually and aurally, your music is driven as much by process flexispy pro crack iphone as by aesthetic. To what extent are composers such as Cage and Schoenberg an influence on your work?

GM: If there are any composers who influence my work I would flexispy pro crack serial list at first Feldman, Ferrari, Pierre Henry flexispy pro megaupload.

AJ: At what point did you become interested in the marriage flexispy pro manual of electronics with acoustic instruments? The drums, specifically flexispy pro crack serial.

GM: One day I took a contact-mic to place it everywhere on the drum set… on cymbals, cymbalstands flexispy pro crack iphone, heads of the drums, drumsticks… I realized that I was at the entrance of a completely new world flexispy phone virus of sounds, of a huge field offered to be explored. The drums are instruments you have to find your own setup flexispy pro review for anyway, so it was easy to combine it with the electronics – meaning not just playing the electronics as a second flexispy pro crack serial instrument. I built drumsticks with mics inside, played flexispy pro megaupload with mics instead of sticks, took effects. And I took a mic [and changed the] distance flexispy pro crack iphone to a cymbal to get variations of sounds, used the mic as a kind of acoustic magnifier flexispy pro review. An important decision – and probably typical as a drummer – was taking flexispy pro crack serial a second sound system, [meaning] getting one for my left and another flexispy pro crack serial one for my right side, so I could play in stereo, [which] was a main thing in my group flexispy phone virus, Nachtluft, when we did performances [that were] set up in different places flexispy pro crack serial of the site [with] the audience walking between us. I’m still flexispy phone virus playing with this double mono system today.

AJ: Doppler, right? That’s a very scientific flexispy pro manual approach. What other roles does physics play in your music?

GM: It’s probably not exactly a Doppler. I’m getting flexispy pro crack iphone different frequencies when changing distances. Another thing that might flexispy pro crack iphone [address] your question: I’m not really playing with microphones flexispy pro crack serial, instead I’m playing with headphones that I plug in into the inputs flexispy pro megaupload of my mixer. I can get very beautiful feedbacks when playing the floor tom with them. I don’t flexispy pro review even have to touch the head of the drum. Feedbacks are growing very slowly out of silence, just with the headphones flexispy pro review in my hands in some distance to the drum. Because I have a tunable floor flexispy pro manual tom I can play various feedbacks, even feedback melodies.

AJ: There is a similar method guitarists flexispy pro crack iphone use with an E-bow, where one places a magnet directly over the guitar’s pickup flexispy phone virus. Do you manipulate gain control with your technique?

GM: I’m controlling the intensity of the feedback by changing flexispy pro crack serial the distance, similar to a guitar player who controls the feedback flexispy pro review when moving the guitar towards his amp. And I’m controlling flexispy pro review the pitch with a pedal on my floor tom that changes the tune mechanically flexispy pro review.

AJ: What are your inclinations when playing with more minimalist instrumentation, with someone like Sachiko flexispy pro review M?

GM: I try to reduce my material – try to play less – something I’m anyway doing flexispy pro manual more and more.

AJ: Does this reduction provide opportunities to expand flexispy pro crack iphone your techniques or do you feel restraint?

GM: Reduction [allows me to] expand my techniques flexispy phone virus in that sense that I go more into it, that I focus on less, to explore this ‘less’ more and more. Little changes flexispy pro manual of the material become more important… it’s less possible flexispy pro crack iphone to hide. I gain more intensity, so I certainly don’t feel restraint.

AJ: You’ve lived in Switzerland for many years now. How would you describe flexispy pro megaupload the music community?

GM: There is a jazz scene in several parts of Switzerland flexispy phone tapping software, mostly influenced by several jazz schools. A free improv scene you may find more in the German flexispy pro crack serial speaking part, but only very little in the French and Italian speaking flexispy pro manual parts. Regarding what a small country Switzerland is, there flexispy phone virus are quite a number of improv musicians. The WIM Zürich, Werkstatt review of flexispy für Improvisierte Musik – that is now celebrating its 25th anniversary, and as well the little younger flexispy pro manual WIM Bern – have been and still are places to meet each other to try new combinations and are important influences flexispy phone virus for many musicians. Beside Zürich and Bern there are musicians living in Luzern flexispy pro megaupload, St.Gallen, and Biel, amongst other towns. I guess in this improv flexispy pro crack serial community almost everybody has played somewhere flexispy phone tapping software with everybody else. It might be just my personal perception, but I see most of the musicians flexispy phone virus are improvising in a more traditional way, but there are a few who have been in electronic and electro-acoustic flexispy pro manual improv for a long time. Because Switzerland is so small that you have to play abroad flexispy pro manual, this might be a reason that you often can see at least some of the Swiss flexispy pro crack serial improvisers collaborating with musicians of other countries.

AJ: As I understand it, Switzerland has the practice of supporting flexispy pro manual and often subsidizing its improvising musicians, namely those who perform flexispy pro crack iphone jazz. Do musicians of the electro-acoustic variety generally get support review of flexispy from the government?

GM: Well, first of all they have to like your project… And nowadays you have to play outside Europe – at least flexispy pro review eight gigs – to get some money to cover your travel expenses. Inside flexispy pro crack serial Europe it’s easier. I’m not so happy that “quantity” is the main criterion flexispy pro crack iphone. For example, last year I didn’t get any money to go to the Amplify Festival flexispy pro manual in Tokyo, because I only played four concerts and did two days recordings flexispy pro crack serial at the studio. It didn’t matter that this definitely was an important festival review of flexispy and that there will be a couple of CDs from these venues.

AJ: You have your own label, For4Ears. How has dealing with so many methods of sound flexispy pro manual production affected you as a musician?

GM: Mixing and editing on computer affected a lot of my listening flexispy pro review and so my improvising and playing. I’m listening today flexispy pro crack iphone more carefully than before. Now I’m trying to focus more and playing flexispy pro manual less. A friend of mine told me that you have two ears and one mouth to be used in that ratio. And [for] a couple flexispy pro crack iphone of years [I’ve been] doing sounds on computer that I use live with minidisc flexispy pro review and Ipod as basic sounds for my electronics.

AJ: Are the minidisc and Ipod central tools in your music, or do they fill a secondary purpose flexispy pro crack serial?

GM: It depends on the musicians I’m playing with. There flexispy pro crack iphone are combinations where minidiscs and Ipod are secondary and others flexispy pro crack serial where I don’t even set up the drums. But I’m using these flexispy pro crack serial tools always to get basic sounds to be treated flexispy pro crack serial with my electronics.

AJ: Could you describe the use of minidisc in real-time performance?

GM: On minidiscs and Ipod there are a couple of hundred flexispy pro crack iphone loops I’ve done on computer between 20 seconds and six minutes in duration review of flexispy. In performance most of the time I choose a loop that I will use for my electronics after listening to it a bit, sometimes I choose flexispy pro review it by random. The loop – as well as all the signals I’m getting when playing flexispy pro manual the drums with my headphones – run trough the volume pedals flexispy pro crack serial, 8-second delays and equalizers. I use the delays to make short sound flexispy pro crack serial collages and for pitch shifting. It’s [a] very simple but effective flexispy pro crack iphone setup.

AJ: What criteria or guidelines do you go by when selecting musicians or considering flexispy pro crack serial a proposed project for your label?

GM: On For4Ears I only release CDs by musicians I had the chance to play with before flexispy pro crack serial in any project. This means I want to have the personal contact, and it means that their flexispy phone virus music is not too far away from the music I’m interested in myself.

AJ: What can you tell us about the conception of La Voyelle Liquide — flexispy phone virus your recording with Le Quan Ninh?

GM: All of it was improvised; there has been no conception beside the fact that we both were playing selected flexispy pro manual parts of acoustic drums in combination with our electronics. After the recording flexispy pro crack iphone I made some few edits. That’s it!

AJ: You have several recordings with Voice Crack flexispy phone virus [Norbert Moslang and Andy Guhl], and then your performing unit, poire_z. How did that relationship flexispy pro crack serial come about?

GM: Voice Crack and I [have known] each other flexispy pro crack iphone for a very long time. But we finally got together to play quite late, in 1995, suggested by Jim O’Rourke flexispy phone virus. That year we did a CD together with Jim, played since then several times flexispy pro megaupload as a trio, and got together in 1999 with Erik M with whom I’ve done a few concerts in duo. Meanwhile we did three CDs as poire_z flexispy pro crack serial , and a fourth CD with Phil Minton will be released early next year on my label. Also next year a duo CD of Norbert flexispy pro megaupload and me will be released on Grob.

AJ: In what ways are you limited with your instruments and sources? Does the process flexispy pro crack serial of selection in any way inhibit what you foresee as natural results in the music flexispy phone virus?

GM: Selection inhibits playing in automatisms. There is always flexispy pro manual a danger, especially for drummers… you play all this well-practiced stuff as a virtuoso flexispy pro crack serial without really saying something. Imagine how many thousands flexispy pro crack serial of drummers are doing millions of rolls over the snare and all the toms… flexispy phone virus To break this, I started many years ago [setting] up my drum set differently from time to time, and the longer flexispy pro review the more I dropped some parts of the drums. So I had to learn to play with a new setup and I had to listen flexispy pro crack serial more carefully again. Years ago I had lots of material, percussion stuff flexispy pro megaupload, self-constructed things, effects… and it took me a while to admit flexispy pro manual that it often happened during a concert that I felt pushed to use all this stuff flexispy pro crack serial. This means that sometimes the material determined the music flexispy phone virus more than the listening. Now with a much smaller setup it can happen that I miss a certain instrument flexispy pro megaupload at a certain moment, so I have to invent new possibilities playing with my reduced flexispy pro crack iphone material.

AJ: Your new Eight Landscapes has remarkable depth flexispy pro crack iphone. Surprisingly, it is your first solo recording. How did this record come about?

GM: It’s not exactly my first solo recording flexispy pro review. It’s the first solo CD after two solo cassettes that I did in 1985 and 1987. Well, from time to time I was thinking of doing a new solo [recording] flexispy pro crack iphone again, but there are so many interesting projects I can do with other musicians flexispy pro crack serial that I always thought that these projects are more important. But in the last couple review of flexispy of years I was asked by different people if I would flexispy pro crack serial do a solo recording, so this idea slowly, slowly grew in my mind. I started to record flexispy pro crack iphone directly on hard disk, used some snippets for processing to get new loops for minidisc or Ipod, recorded flexispy pro crack iphone again using, among others, exactly flexispy pro review these new loops, and I was getting more and more into it. It was when I was invited at the “What Is Music” flexispy pro review Festival in 2002 to play a solo concert at the Sydney Opera House flexispy pro crack serial that I seriously worked on playing and recording solo. So I got a bunch of recordings flexispy pro crack iphone that I edited and put the “eight landscapes” together. There flexispy pro crack serial are maybe two things to remark: first, I guess I learned flexispy pro crack iphone a lot, developed lots of new stuff, and second, it was new to experience being flexispy pro review solo without feedbacks and discussions with other musicians flexispy pro review. I tried to do my best, not knowing if people would like the CD or think flexispy pro manual it’s crap…

AJ: Erstwhile Records is very much in the same business as For4Ears flexispy pro review, using similar techniques and of course instrumentation, yet the two labels flexispy pro crack iphone have markedly different sounds. You have recorded for Erstwhile yourself flexispy phone virus. I would assume that the two labels sympathize greatly with each other, even as they are competitors flexispy pro crack iphone on some scale. How would you describe the relationship?

GM: Jon Abbey is a very good friend of mine, and I admire a lot [of the] work he does for Erstwhile, both the CDs and the concerts. He his not only an excellent flexispy pro crack iphone organizer but [foremost] an excellent listener with lots of imagination and enthusiasm flexispy pro crack serial. I could do 4 CDs until today, there will be some more included in his “amplify: flexispy pro manual balance” box set and another one [has been] announced for next year. I’m flexispy pro review totally happy how it worked so far. We always had a good dialog, he has his strong flexispy pro manual ideas and at the same time he is open for other opinions. I’d say I see much more a supportive relationship flexispy pro manual than a competition – I guess it might be absurd anyway flexispy pro crack iphone to talk about competition in this small business…

AJ: Do you have any new projects or developments in your music that you would like to tease flexispy pro crack serial us with?

GM: The new CDs on For4Ears for this year will be by Urs Leimgruber, Arte Quartet, and me, and a duo by Charlotte review of flexispy Hug and Chantale Laplante. For next year there will be a solo CD by Norbert Möslang flexispy pro review, a second Filament-2, a trio of the young Swiss guitarist flexispy pro review Tomas Korber with Toshimaru Nakamura and Otomo Yoshihide flexispy pro crack serial, and the poire_z + Phil Minton.

Right now when writing these answers I’m flexispy pro megaupload listening [to] a rough mix that I got today, by Toshi Nakamura, Erik M and me – sounds great flexispy pro crack serial but no idea yet what will happen with it… same for duo recordings I recently did with Jason flexispy phone virus Kahn. There will be a CD on Sirr with Oren Ambarchi, Philip Samartzis and me, another one on Cut with Korber flexispy pro manual Steinbrüchel and me, the duo with Norbert Möslang I already mentioned, a duo with Tetuzi Akiyama flexispy pro crack serial on Erstwhile, a quartet with Philip Samartzis and Voice flexispy pro megaupload Crack, and a quartet with Lee Ranaldo, David Watson and Christain flexispy pro crack iphone Marclay.

AJ: To wrap things up, what do you ideally seek to provide to your audience?

GM: That the audience can have some good time with good music, can perhaps experience flexispy pro crack iphone some new sounds, can enjoy the moment and maybe forget about flexispy pro crack serial just for this short time what’s going on around the world.


~Alan Jones, photos courtesy of Nora Müller

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