 Kenny Larkin @ Flex - Review, 03.02.2007 |
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Kalendereintrag
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Datum des Ereignisses: 3. 2. 2007 (Einmaliges Ereignis) |
| Kenny Larkin (Art of Dance) @ Flex | |
| LineUP |
Kenny Larkin (Art of Dance Detroit/Los Angeles) Rudi Roschitz (shellbeach/ wien) Gerwin Kante Chris Esycho (Can`t mix won`t mix) |
| Specials/Infos |
- Gewinnspiel (siehe unten) - Vvk @ Jugendinfo Wien (1799) |
| Entry | VVK €10.-/ 22:30-23:00 €8.-/ €10.- bis Mitternacht/ €13.- danach |
| Styles | k.A. |
| Location |
Flex U2 - U4 Schottenring Donaukanal, Abgang Augartenbrücke 1010 Wien |
| Distance | um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben |
| Routenplaner | Größere Kartenansicht/Routenplaner |
| Flyer |
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| sonstiges |
Gewinnspiel: 2 x 2 Karten Kenny Larkin on myspace Flex Kenny Larkin is one of the chief innovators of Detroit's so called 'second wave' of techno producers. He began his music career in 1990. After serving two years in the U.S. Air Force repairing computers, Larkin returned to Detroit to pursue stand up comedy. During his pursuit, he, along with other Detroit club goers, witnessed the birth of a new genre of music at local clubs. What came to be called „Detroit Techno,‰ thumped in clubs like; The City Club, The Majestic Theatre, The Shelter, and the legendary Music Institute. The latter considered home base for the bumping, sultry, emotive, yet almost romantic style of club music that rose out of urban plight, desperation, and decay. Larkin mostly frequented The Shelter, were he soon hooked up with Richie Hawtin, who was one of the club‚s resident dj‚s, and the two became good friends. While driving around the city at night, they stumbled onto a local Detroit radio mix show. The dj creating the mind-blowing mixes that changed both of their lives was none other Derrick May, or „Mayday,‰ his call-name on the radio. May along with others, inspired both Larkin, and Hawtin to pursue this new form of music. When Hawtin formed +8 with John Acquaviva, Larkin released his first two singles. But, it wasn‚t until 1992, when he founded his own label, Art of Dance, that he came into his signature sound. Under his „Dark Comedy‰ moniker, Larkin created ŒWar of the Worlds,‚ which went on to become a seminal dance floor techno classic for Derrick May‚s Transmat Records, of which Larkin licensed the project to. After contributing the exquisitely beautiful and sublime tracks ŒSerena X‚ (under the name Yennek) for the compilation Panic in Detroit and 'Tedra' on the hugely innovative Virtual Sex (Buzz) compilation, Kenny was pushed to the forefront of techno's soulful elite. In 1994, Larkin shrewdly carved out his own classic sound when he signed to Warp Records, and released his first album, entitled Azimuth. The album was hailed by European and U.S. press as one of the most original techno albums to date. A few quotes: „Azimuth is one of the most imaginative and original techno albums yet.‰ MUSIC WEEK „Delightful, pure Detroit-style techno. Melodic, emotive and, like so much great U.S. techno, almost jazz-like in places. Larkin is a man with his finger on the fast forward button of music‚s future.‰ SELECT „A masterpiece. This LP of intelligent Detroit techno is an upcoming classic.‰ STREETSOUNDS Street Sound magazine later voted Azimuth as one of the top 50 Techno CD‚s of all time. Larkin‚s music career seemed very bright, but tragedy struck when on November 17, 1994, he almost lost his life after being shot in his suburban Detroit home by two unknown assailants. Luckily, the bullet missed vital organs, but it sliced through his lower abdomen. After 12 hours of surgery, Larkin was in critical condition, but pulled through. Hospitalised only for 6 days, Larkin began touring just two weeks after he was discharged from the hospital to support his new album, Metaphor, which was released on R&S Records in February of 1995. The release earned him more accolades as a leader in electronic music. "This is electronic soul music, full of human feeling and warmth" MixMag "A juxtaposition of polished classic Detroit and quirky jazz-inspired innovation". At times very minimal and ambient, other times well informed by house, Kenny's warm dance beats hit in just the right places at just the right time.‰ I-D Metaphor was nominated for best electronic album of the year in Keyboard Magazine. In his hometown, Metro Times voted Larkin ŒBest Techno Artist of The Year‚ at it‚s yearly music awards. Since the release of Azimuth, Larkin has travelled over 2 million miles around the globe, dj‚ing and playing live at the biggest Festivals in Europe, some which had him doing his electronic performance in front of as many as 25,000 fans. In addition to his own productions, Larkin lent his melodic sensibilities to various artists. He has done remix work for Carl Craig, Inner City, Charm Farm, L.A. Synthesis, and most notably, Sade. Although a bootleg, the remix of ŒSurrender‚ sold 10,000 in 3 weeks. Apparently, Sade wasn‚t amused. Her attorney contacted Larkin and demanded they stop selling the single, or face litigation. Larkin agreed, and stopped distributing the single. Larkin‚s remix for Charm Farm entitled, ŒSuperstar‚, shot up the charts in France, helping establish the band in Europe in the dance scene. In 1997, Larkin released his first LP under his ŒDark Comedy‚ moniker. More striped down and minimal than his first two LP offerings, the project showed a darker side to his persona. ŒThe Bar‚, which was released as a single, was a favorite among techno‚s elite dj‚s, because of it‚s frenetic beats, and purposely rough, off edits. After the release of this album, Larkin took a break from recording to keep up with his hectic dj schedule. Unfortunately, months turned to years. And he found himself losing motivation to releasing techno music. He explained when interviewed, „there‚s so much crap out being called techno, that I‚ve lost the desire to be associated with it anymore.‰ For the next few years, Larkin was content with dj‚ing, until 2001. That‚s when he decided to go back to his first love, stand up comedy. As a result of that decision, Larkin gave up the Œstate of the art‚ studio he built in the suburbs of Detroit, and moved to LA to pursue comedy full time. Although definitely not a seasoned professional yet, Larkin is performing his comedy in the biggest clubs in LA, the Laugh Factory being his preferred spot, which is paying off. He regularly showcases his act here, and is very close to securing a prized Œregular‚ spot at this this top club. In 2002, after getting his comedy career off the ground, Larkin‚s desire to record music returned. With the new change of scenery and inspiration, Larkin began to record two albums at the same time. These would be his first projects in almost 8 years. The first completed album, Narcissist, was picked up by Peacefrog. Released in April, 2004, Larkin did what he always tried to do, which is go against the established perception of what techno should be. His signature sound still remains after such a long hiatus. Larkin has put focus more on mood, and melodies, instead of harsh, abrasive, non-melodic material that has defined techno for the last few years. The second album Larkin completed late 2004, was under his Dark Comedy alias. This album took a huge departure from what others have come to expect from him. Instead of the stripped down production of his Œ7 Days‚ outing, he decided to go in a totally different direction. „I felt it was imperative that I take my music in a totally different direction. There was nothing else I could do with Œtechno‚ to take my sound to the next level. For inspiration I decided to pay homage to my musical upbringing. I listened to a lot of blues, jazz, and funk. Once I turned to my past, it took me a split second to decide what type of album I wanted to do, and what direction I wanted to go with my Dark Comedy name. I‚m all about pushing myself, and trying different things with this group. In the end, it was very easy for me to record this album, because I stuck very close to my musical roots. My slant in this production is it has an electronic edge to it. It‚s my version of an electronic blues/funk/jazz album. For the first time, I‚m using my voice to weave stories about my life. What I‚ve been through,‰ Larkin states. Upon hearing the album, record companies big and small lined up to sign it. Among the interested parties, Dan Keeling, A&R at Parlaphone/EMI UK, who discovered and signed Coldplay. Larkin decided to sign the album to a smaller label, in order to get as much attention as possible for this totally different genre-bending album. Poussez, a French label headed by Alain Ho (DJ Yellow) from Yellow Productions/France, convinced Larkin that they could provide what Larkin was looking for. Larkin signed the album, entitled: Dark Comedy: 'Music Saves My Soul.' The album was released June 2005 to much critical success. The reviews were pretty much the same. It placed Larkin in a genre of his own. The press applauded him for bending his genre, and pushing himself into a different realm altogether. Quotes: DJ Magazine May/05 "File under spoken word and you'd learn something. Stick it with house and it sits perfectly. Add to the list of genre-bending producers out there and Dark Comedy, aka Kenny Larkin, stands tall. This is a journeyman's album but don't misconceive his meaning.... ...This is a sparse concept album, if such a thing exists. Larkin leads through the life he's lead courtesy of some honest to the bones lyrics and raps, and a soulful yet techno-tinged groove. It's Detroit, it's maverick and at times it's close to genius. Get touched." **** stars Urb Magazine 12/04 "...this album under his Dark Comedy moniker, has a lot of newer ideas at the fore. Loosely themed around a set of dirty funk vocal samples, each track has it's own case of machine blues...it's nice to see Larkin not just maintaining the gold standard for Detroit Electronic music, but actually giving it a little push." ****stars Plug Magazine July/05 "Detroit's maverick techno interpreter Kenny Larkin returns as his alter-self Dark Comedy with his most impressive and experimental release to date. He taps into his soulful side that explores a bewildering array of sounds from bluegrass to electro to melodius techno funk. A nine course meal for the ears." 9/10 DMC Update June /05 "Kenny Larkin's latest long player uses all manner of aliases, but remains all his own work. Early on there is a strong spirituality in his blend of house and techno, Larkin providing some deeply felt spoken word commentary, without ever being too pretentious. Later he goes for even deeper vibes, the subtle bass line funk driving tracks like 'Tellin' Lie' towards the dance floor. The daring cover gives this one away-Larkin naked as the day he was born (steady girls!) The same thing happens mentally on the album though-stripped bare, it's a compelling, personal record." *****stars ABC 5 stars (The arts, books & culture magazine from the Independent on Sunday) 6/05 "Kenny Larkin's new album as Dark Comedy isn't quite like anything else he's produced. Nor is it much like the music anyone else is making, though it has precedents in albums by his fellow Detroit techno legend Moodymann or St. Germain. it also extrapolates from the history of Black American music up to Rock'n'Roll, and amazingly, show how makes gospel, soul, funk, jazz, and particularly the blues, all sound like they were invented to be played on a computer and yoked to a 4/4 house beat. He reveals his previously unsuspected vocal talents and sense of humor, and it's a mildly irreverent but still wholly soulful revision of past black American musical forms." *****stars Mojo Magazine Aug/05 "An alias of second-generation Detroit techno producer Kenny Larkin, Dark Comedy attempts to escape digital orthodoxy by searching for inspiration in a very different place: the blues. The result may be peculiar, but it's certainly original. Scratchy electric guitars and testifying preacher men are hacked, processed and amalgamated with low-down house rhythms amid joyous irreverence and a real sense of passion." ***stars BlowBack Magazine June/05 "America is a funny old place isn‚t it? Idiots who use to be in the Mickey Mouse Club get elevated to the level of pop star whilst real trendsetters proper founding fathers, get sidelined. In such isolation-past drugs, post fame-paranoia kicks in. Add the fact that Kenny Larkin was shot on his door step for no reason and you get the full picture. There is a creeping sense of anger and insanity in this album. also an attempt to reconnect to the blues via his own dance medium. Larkin falls back on music for comfort and brings up other ghosts too whilst the nightmares have twisted his sound. It's not funny, it's traveled. Musical catharsis at it's most poignant." M8 Magazine June/05 "The ever inventive Kenny Larkin returns in his dark comedy guise with an album that does it's very best to blur the lines between techno, house and soul. The Detroit-based producer has been creating and playing music since 1992, drawing on countless influences to push genre boundaries as far as they'll go. And it's business as usual on 'Funk Faker' with Kenny putting his multitude of talents to good use. His rich vocals, warm grooves and cheeky tweaks combine to perfection on the likes of album opener 'House Music', the blues-infused 'In my Home' and and twangy guitar-laden 'Music Saves My Soul'. Far more stylish than your average electronic outing, 'Funk Faker' is unlikely to fill many floors, but it'll sit happily in the CD drawer of your stereo for months to come." 7 out of 8 E-DJ (website) "Dark Comedy is the incisive, opinionated alter ego of maverick techno personality, Kenny Larkin, and 'Funk Faker: Music Saves My Soul' is only its second outing after 2004's 'The Narcissist'. Within, Larkin explores not only his musicality, but also his life experiences and his beliefs, making for a truly poignant narrative and diverse mixture of sounds. Undoubtedly, its rudiments are thoroughly electronic, but Larkin builds upon this common style in a captivatingly unique, natural, almost crude way; cracking off that over refined electronic gloss in favor of a more wholesome glow. Furthermore, whilst the foundation of most tracks are a stiff, yet lazy, hypnotic 4/4 kick drum, the overall vibe is deep-rooted in soulful, African-American music, spanning bluegrass-infused beats, and bluesy, mournful, dubby house - each narrated colorfully by Larkin's smooth timbre. With its carefree organs, John Lee-Hooker guitars and James Brown horn stabs, this really is contemporary, black electronic music, which is not confined or shaped by a genre that can often be somewhat restrictive. Truly charming and coolly mesmerizing." *** ? stars The beginning of 2006, Larkin started focusing on re-releasing his back catalog. Mid summer, Larkin is due to release another album under his Kenny Larkin moniker. This time he returns to his electronic dance roots, which will no question be hailed as his best dance floor album. Entitled, "Keys, Strings, Tambourines", it once again showcases Larkin's affinity for melodic structure, yet still keeping his heavy rhythmic beats close by to help educate the younger generation about why Detroit is still the place to turn for beautiful Techno. DISCOGRAPHY Kenny Larkin - We Shall Overcome (Plus 8, 1990) Kenny Larkin - Integration EP (Plus 8, 1991) Yennek - Serena X EP (Buzz, 1992) Dark Comedy - War Of The Worlds (Art Of Dance, 1992) Pod - Vanguard EP (Buzz, 1993) Kenny Larkin - Azimuth (Warp, 1994) Kenny Larkin - Maritime on Artificial Intelligence II (Warp, 1994) Kenny Larkin - Catatonic (R & S, 1994) Kenny Larkin - Metaphor (R & S, 1995) Dark Comedy - The Bar (Elypsia, 1996) Dark Comedy - Seven Days (Elypsia, 1997) Dark Comedy - Plankton (Art of Dance, 1997) Kenny Larkin - Ancient Beats (Peacefrog, 2004) Kenny Larkin - Narcissist (Peacefrog, 2004) Kenny Larkin - Let Me Think Private Pressing (Peacefrog, 2004) Dark Comedy - Music Saves My Soul/Make It - (Poussez, 2004) Dark Comedy - Funk Faker: Music Saves My Soul LP (Poussez, 2005) Remixes Naomi Daniels - Stars - I Ner Zon Sounds 1993 Inner City - Share My Life - 6 x 6 Records 1994 LA Synthesis - Agraphobia - Plink Plonk 1995 Inner City - Hiatus 6 x 6 Records 1995 Carl Craig - Science Fiction - Blanco Y Negro 1995 Silent Phase - Meditive Fusion - Transmat 1995 Slam - Dark Forces -Soma 1996 Charm Farm - Superstar - Mercury 1996 Eddie Fowlkes - Deep Pit - Sony Music Germany 1997 Underground Science - Reflected Plink Plonk 1997 Freq - Xirtam - Distance 1997 E Dancer - Pump The Move - Planet e 1998 Sade - Surrender Bootleg Inner City- Good Life - KMS 2000 |
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 9 Feb 2007, 01:27
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#41
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da best hardware moderator ever:-)  Gruppe: Members Beiträge: 5.479 Mitglied seit: 19-April 02 Wohnort: vienna rulez ! Mitglieds-Nr.: 120  |
das mit dem erdungskabel kann ich bestätigen.
habe soeben die fotos die ich gemacht habe nochmals durchgeschaut. (8megapixel) es waren ja 3 turnies vorort. vom dj aus gesehen links > erdung > ok der ganz rechte ist auch ok > graues kabel (dürfte die erdung verlängert worden sein.) rechts zwischen mixer und derm turnie ganz rechts > erdungskabel vorhanden aber das liegt nicht richtung dj-pult sondern dürfte einfach runtergehangen sein ... oje hat wohl wer vergessen gehabt ... aber die kabel sind ja leider schwarz und nur ganz dünn .. und auf schwarzem hintergrund schwer zu sehen . ps. der mixer is bissl staubig *hehe* |
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| Martin Martini |
9 Feb 2007, 08:38
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#42
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Guests |
Es wird Zeit für den TB Gemeinschaftsputz im Flex, wo man feiert sollte man auch putzen!
(IMG:http://images.scotsman.com/2005/09/09/09arnb.jpg) Der Beitrag wurde von Martin Martini bearbeitet: 9 Feb 2007, 08:38 |
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9 Feb 2007, 10:04
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#43
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It is what it is! Gruppe: Members Beiträge: 4.388 Mitglied seit: 2-September 02 Wohnort: Planet Earth - next street to the left.......! Mitglieds-Nr.: 344 |
ZITAT(Martin Martini @ 8. Feb 2007, 22:25 ) also wenn ich das richtig verstanden habe, dann war einfach die erdung nicht angeschlossen beim rechten platten spieler - wenns nix schlimmeres ist.... Genau übersetzt - bedeuten Kenny`s Zeilen: "Wenn das Erdungskabel nur unsauber oder gar nicht angeschlossen ist, kann dies zu Problemen mit dem Timecode des Final Scratch Systemes führen, sprich Aussetzer.... unbestimmbare Verzögerungen und mehr sind die Folge." Der Final Scratch User hat somit sozusagen u.U. ein gröberes Softwareproblem das ein sauberes Mixing nicht mehr ermöglicht, da besagtes System ein ungewolltes Eigenleben entwickelt.......... Vielleicht wäre ein entsprechend kleines Patchbay im Flex eine gute Lösung um solch ein Problem einzudämmen, natürlich wäre noch besser wenn die Erdung auf die Cinchkabel gelegt würde - was ja technisch einfach zu bewerkstelligen ist. Unter anderem wäre dann der "Umbau (Kabelsteckerei)" von einem Final Scratch Deejay auf einen klassischen Deejay - während einem laufenden Event - auch einfacher zw. reibungsloser....... - sprich man verhindert Problematiken vorausdenkend - sprich keine Erdungsprobleme, Brummer etc. ... Der Beitrag wurde von Chrise bearbeitet: 9 Feb 2007, 14:02 |
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9 Feb 2007, 11:10
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#44
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Eye-Q † 2002-2007 Gruppe: Members Beiträge: 4.627 Mitglied seit: 4-July 02 Wohnort: Zürich-Wien-Sofia-Kiev Mitglieds-Nr.: 255 |
ZITAT(Crazy Sonic @ 8. Feb 2007, 23:45 ) @ Klaun: Wenn Du SAchen so schreibst, krieg ich sicher keinen Anfall, sondern gebe Dir Recht: Ich bin sowieso noch analog unterwegs, überlege halt die ganze Zeit, ob ich umsteigen soll oder nicht. Die SAche am Samstag bringt mich eher davon ab! Grüsse! Solange man resident ist sollte bzw ist ja das "Gewichts" Argument auch kein echtes. Die Frage ist nur, wie lange es noch Vinyl geben wird? Mir kommt schon so vor, als würde langsam aber sicher immer mehr umgestellt werden. Dann entkommt man dem ja e irgendwie nicht mehr. |
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9 Feb 2007, 11:41
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#45
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It is what it is! Gruppe: Members Beiträge: 4.388 Mitglied seit: 2-September 02 Wohnort: Planet Earth - next street to the left.......! Mitglieds-Nr.: 344 |
Da muß ich leider deutlich widersprechen, denn auch in Wien gibt es genügend DJ´s (der älteren Generation) die an Skoliose leiden (durch einseitige Belastung - Plattenkofferschleppen).
Insofern verstehe ich den Schritt zu Erleichterungen a la Final Scratch schon, wobei ich nach wie vor meinen Vinylfetish bevorzuge! Und selbiger Fetish wird auch in absehbarer Zeit nicht abreißen bzw. durch Labels weiterhin befriedigt........ Und wenn er abreißt hab ich vermutlich lange zum auflegen aufgehört. Der Beitrag wurde von Chrise bearbeitet: 9 Feb 2007, 14:01 |
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9 Feb 2007, 11:47
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#46
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Eye-Q † 2002-2007 Gruppe: Members Beiträge: 4.627 Mitglied seit: 4-July 02 Wohnort: Zürich-Wien-Sofia-Kiev Mitglieds-Nr.: 255 |
Ach so, das wusste ich nicht. Klarerweise ist das bei sowas natürlich enorm erleichternd. Naja, wenn das so verbreitet bzw die Regel ist, dann solls so sein.
Das frage ich mich eben immer wieder: wie lange wirds dauern? Finde ich schon ne "spannende" Frage (IMG:http://www.technoboard.at/style_emoticons/default/smile.gif) denn die CD ist dann, obwohls gedauert hatte bis sie vom Kunden angenommen wurde, massiv gekommen. |
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9 Feb 2007, 12:22
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#47
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Die Wiener Liga Gruppe: Members Beiträge: 1.928 Mitglied seit: 15-February 04 Wohnort: vienna Mitglieds-Nr.: 3.110 |
nun da der trend ja zur kompromisslösung tendiert, final scratch und co. user verwenden immer noch den guten alten plattenspieler, seh ich das ganze nicht so eng, jeder wie er will, und ne scheibe vinyl kann man dann noch immer aufs deck knallen und spielen!
da fällt auch die ausnahme der plattenspielerlosen-djs nicht so ins gewicht (im wahrsten sinne des wortes), da die ja dann meist ihren x:one 3d mixer (da kann man dann ja gleich wieder vinyl tragen) mitschleppen, um einen reinen zb. ableton liveact zu performen. |
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9 Feb 2007, 13:32
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#48
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It is what it is! Gruppe: Members Beiträge: 4.388 Mitglied seit: 2-September 02 Wohnort: Planet Earth - next street to the left.......! Mitglieds-Nr.: 344 |
So und für jene die sich für die Apple Motion Sensoring Probleme während Livegigs interessieren - hier Infos:
alsdann - bitte bei den terminal commands genau aufpassen! nur ausschalten wenns probleme bei live-sets gibt. danach wieder einschalten.... und VORSICHT: OSX 10.3 & 10.4 benötigen UNTERSCHIEDLICHE BEFEHLE!!!! Apple Info Sudden Motion Sensoring Sudden Motion Sensor: Advanced Tips Beginning with the PowerBook G4 (12-inch 1.5GHz), PowerBook G4 (15-inch 1.67/1.5GHz), and PowerBook G4 (17-inch 1.67GHz), PowerBook G4 computers feature a Sudden Motion Sensor Apple has adjusted this feature carefully to provide the best balance between protecting the hard drive and preventing unwanted activation of the Sudden Motion Sensor. Most PowerBook G4 owners will never need to turn this feature off, and Apple suggests that you not modify the settings unless absolutely necessary. In some environments, such as live concert halls, recording studios, or dance clubs, external vibrations may be major enough to cause the module to unexpectedly park the hard drive heads, resulting in interrupted sound or video playback. In these situations, you may find that you want to disable the feature temporarily. To disable the Sudden Motion Sensor: First, find the current status of Sudden Motion Sensor: 1. From the Finder's Go menu, choose Utilities. 2. In the Utilities folder, open Terminal. 3. When the command line appears, type sudo pmset -g and press Return. 4. Type in the administrator password when prompted and hit Return. This command queries the computer for the current setting of the Sudden Motion Sensor, which you can determine by locating the ams entry (in Mac OS X 10.3) or the sms entry (in Mac OS X 10.4) and looking to the right to determine its value. The default setting is "1" (turned on). Disabling the Sudden Motion Sensor in Mac OS X 10.3: 1. In Terminal, which should still be open from the previous step, you can disable the Sudden Motion Sensor by typing sudo pmset -a ams 0 and pressing Return (changing the setting to a zero disables the module). 2. Type your administrator password when you are prompted and press Return. 3. Type the sudo pmset -g command again to be sure that the setting has been applied. Disabling the Sudden Motion Sensor in Mac OS X 10.4: 1. In Terminal, which should still be open from the previous step, you can disable the Sudden Motion Sensor by typing sudo pmset -a sms 0 and pressing Return (changing the setting to a zero disables the module). 2. Type your administrator password when you are prompted and press Return. 3. Type the sudo pmset -g command again to be sure that the setting has been applied. Any changes that you make to the Sudden Motion Sensor setting remains in effect even after you restart the computer. If you choose to disable the Sudden Motion Sensor, Apple recommends that you re-enable it as soon as possible in order to take full advantage of the feature. To re-enable the Sudden Motion Sensor: First, find the current status of Sudden Motion Sensor: 1. From the Finder's Go menu, choose Utilities. 2. In the Utilities folder, open Terminal. 3. When the command line appears, type sudo pmset -g and press Return. Type your administrator password when you are prompted and press Return. If you have the Sudden Motion Sensor turned off, the value of the ams entry (in Mac OS X 10.3) or sms entry (in Mac OS X 10.4) will be a zero (0). Re-enabling the Sudden Motion Sensor in Mac OS X 10.3: 1. If the above command returns a zero, you can re-enable the Sudden Motion Sensor by typing sudo pmset -a ams 1 and pressing Return. 2. Type your administrator password when you are prompted and press Return. 3. Type the pmset -g command again to be sure that the setting has been applied. Re-enabling the Sudden Motion Sensor in Mac OS X 10.4: 1. If the above command returns a zero, you can re-enable the Sudden Motion Sensor by typing sudo pmset -a sms 1 and pressing Return. 2. Type your administrator password when you are prompted and press Return. 3. Type the pmset -g command again to be sure that the setting has been applied. Der Beitrag wurde von Chrise bearbeitet: 9 Feb 2007, 13:33 |
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9 Feb 2007, 13:52
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#49
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auch mindestens genannt Gruppe: Members Beiträge: 1.863 Mitglied seit: 27-March 03 Wohnort: irgendwo zwischen Ibk - Sbg und Muc Mitglieds-Nr.: 1.479 |
Ach wie gut, dass es Serato scratch gibt. Zwar einfach, aber funktioniert und was will man mehr. (IMG:http://www.technoboard.at/style_emoticons/default/wink.gif)
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9 Feb 2007, 14:07
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#50
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Delegoano Gruppe: Members Beiträge: 4.279 Mitglied seit: 23-September 05 Wohnort: Vienna Mitglieds-Nr.: 7.187 |
wobei ich mir sicher bin, dass auch serrato mit brummtönen probleme kriegt,
das rauschen des brummton verhindert, dass die hardware erkennt in welcher Phase das modulierte signal auf der signalplatte liegt und daher auch die hänger... das system wird einfach mit junk gefüttert und reagiert dann halt dementsprechend bescheuert... wobei serrato (sry) ja prinzipiell auch ohne signalplatte funzt... das müßte dann wesentlich sicherer sein, wenn man irgendwo einen ground-loop hat.. Der Beitrag wurde von Delegoano bearbeitet: 9 Feb 2007, 14:08 |
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9 Feb 2007, 15:35
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#51
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.::1|1,4|2|2,8|4|5,6|8|11::. Gruppe: tb-Support Beiträge: 5.105 Mitglied seit: 7-October 03 Wohnort: Graz Mitglieds-Nr.: 2.460 |
ZITAT(Delegoano @ 9. Feb 2007, 15:07 ) wobei serrato (sry) ja prinzipiell auch ohne signalplatte funzt... das müßte dann wesentlich sicherer sein, wenn man irgendwo einen ground-loop hat.. du meinst, dass du den track vom signal der platte entkoppelst?! das geht aber beim fs auch... |
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3 Mar 2007, 11:55
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#52
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Member Gruppe: Members Beiträge: 103 Mitglied seit: 6-July 03 Mitglieds-Nr.: 1.895 |
hab ne frage wie lang hat kenny larkin gespielt ?????
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Vereinfachte Darstellung | Aktuelles Datum: 24. November 2024 - 20:44 |
