"Technologic" is a song by French duo Daft Punk from the album Human After All. It was released as the second single on 14 June 2005; the music video for "Technologic" was directed by Daft Punk. In the song, an electronically transposed voice chants technological commands. For example, "Plug it, play it, burn it, rip it, drag it, drop it, unzip it" are spoken in rhythm to a beat. A portion of the vocals were altered and used in the Busta Rhymes single "Touch It", produced by Swizz Beatz. Subsequently, elements of both "Technologic" and "Touch It" were featured in Daft Punk's live album Alive 2007. A portion of the vocals were altered for the Hannah Wants single "Rhymes", which reached number 13 on the UK Singles Chart in 2015; the music video for "Technologic" is the third directed by Daft Punk, following "Fresh" and "Robot Rock". The video features Guy-Manuel de Homem-Christo and Thomas Bangalter on a pyramid-themed stage playing the bass guitars shown in the single cover; the lyrics flash as individual words of text on a television monitor set on the stage.
The video features a robot character. The character is situated in front of the flashing screen between the duo and appears in a darkened room watching itself on television; the robot was created by his team at Alterian, Inc.. The music video is included in the CD and DVD edition of the album Musique Vol. 1 1993–2005. The pyramid design used in the video is similar to the scheme used in Daft Punk's live performances during the Alive 2006/2007 tour; the flashing lyrical text is integrated with the live version of "Technologic" on a large light-emitting diode display used for their shows. Homem-Christo stated, "In the'Technologic' video, this little robot in the pyramid and we thought it would be funny to have the two of us in the bigger pyramid."The song was featured in an iPod advertisement shown in the summer of 2005. It was featured in an ad for the Motorola E398 mobile-phone, aired in early 2005 in Brazil. Additionally, the song was featured in an episode of The O. C.. In 2009, it was used in a Lincoln MKS commercial, in a series of TV advertisements for the Alfa Romeo MiTo.
It is a playable track on the iOS games Tap Tap Revenge and Tap Tap Dance, was sampled for the video game DJ Hero. In an episode of the TV show America's Best Dance Crew, crew Kaba Modern performed to a master mix of this song on 7 February 2008. "Technologic" was featured in the game Dance Central 2. In June 2013, after game one of the 2013 Stanley Cup Finals, this song was used as the beat for a compilation of passing and shooting calls from announcer Mike Emrick. Official website "Technologic" music video at YouTube Technologic at Discogs Lyrics of this song at MetroLyrics
DJ Hero 2
DJ Hero 2 is a rhythm video game and a sequel to DJ Hero, a spinoff of the Guitar Hero series. DJ Hero 2 uses a special turntable-controller, the same as introduced in DJ Hero, to simulate turntablism, the act of creating a new musical work from one or more recorded songs using record players and sound effect generators; the game is developed by FreeStyleGames and is published by Activision, was released worldwide in October 2010. Similar to DJ Hero, players in DJ Hero 2 follow specific actions on the turntable controller in time to marked scrolling indicators on the game's screen, earning points for performing actions in time; the game includes a new freestyle mode, giving the player the chance to crossfade between tracks, scratch a section of a mix, or add sample effects during marked sections. The game features 83 mixes on disc comprising over 100 different songs, with further mixes available as downloadable content. Most mixes have been assembled by FreeStyleGames, but other professional DJs, including David Guetta, deadmau5, DJ Qbert, Tiësto and RZA, have provided both their mixing skills and character avatar for the game.
Players can challenge these mixes at any time in a Quickplay mode, progress through them in the single-player Empire mode, or play cooperatively or competitively with a second user in offline and online game modes. A third player can participate through singing the mix' vocals. DJ Hero 2 was well received by critics, receiving praises for maintaining and improving upon the core elements of the first game, for a soundtrack featuring a wide selection of genres. However, sales for the title were low, failing to reach similar numbers as DJ Hero from the previous year. In conjunction with poor sales from the Guitar Hero franchise, Activision announced the cancellation of further development in February 2011, leaving DJ Hero 2 as the final multi-platform iteration of the DJ Hero franchise. DJ Hero 2 follows from its predecessor in simulating the performance of a disc jockey mixing one or two songs using a special turntable controller; the controller, the same unit as shipped with DJ Hero, includes a rotatable turntable to use for recording scratching, three "stream" buttons to match notes from the two music tracks and an effects track, a slider to control the crossfade between tracks.
These actions are presented to the players through on-screen notation that scrolls in time with the music. Players score points by performing the actions but are not penalized otherwise. By completing a consecutive set of actions, the player can increase their scoring multiplier up to 4x. Certain marked sections, when played fill a "Euphoria" meter which can be unleashed using another button on the controller and will temporarily double the scoring; the player can earn the ability to rewind a song by a few seconds by playing a long string of consecutive notes. They can rewind the song by spinning the turntable in reverse. Small changes have been made in the turntable playback within DJ Hero 2: freestyle effects samples based on game-wide preselected "effect packs", are mix-specific, the game does not penalize the player for small variations in fast scratching sections as long as it follows the general beat of the song. Specially marked freestyle sections limited to only added sample effects over the track, allow the player to mix between the two tracks, use their own scratch effects, or add effects hits while within these sections.
The display for these freestyle sections shows marks where switching between the tracks would achieve a strong audio effect, the player is graded on how well they hit these markers after the end of each mix. In addition to using a turntable, players have the option to sing or rap to the mixes' lyrics, similar to vocal parts in current Guitar Hero or Rock Band games using a compatible microphone controller from most previous rhythm games; the game will score vocals based on the matching of pitch and rhythm. DJ Hero 2' features an improved single-player career mode called "Empire". Empire provides more structure for the player to proceed through the game than the simple set lists used in DJ Hero. Through Empire mode, the player works though a number of pre-determined setlists and boss battles with the celebrity avatars and fictional DJ's at one of six different venues, earning stars that unlock additional venues to play at. Completing certain setlists or battles unlock new characters, outfits for those characters, virtual turntable decks for the player.
Five of these decks are "power decks" that change the scoring mechanism or play style of the game. The primary focus of DJ Hero 2 has been the social aspects, according to FreeStyleGames' creative director Jamie Jackson; the game supports the "Party Play" mode introduced in Guitar Hero 5, allowing players to jump into a song, alter the difficulty during gameplay, change between turntable and vocals, leave at any time, while the game continues to run in a jukebox mode. Several new competitive modes engage two DJ players against each other. DJ Battles see; the online mode includes a s
Sebastian (French musician)
Sebastian Akchoté, better known as just Sebastian, is a French electronic musician and DJ affiliated with Ed Banger Records. He has worked as a solo electronic musician and as a remixer for bands and singers such as Charlotte Gainsbourg, Daft Punk, Beastie Boys, Bloc Party, Nero, he has produced songs for Frank Ocean, Kavinsky, Noël Akchoté, Woodkid, he has composed music for the films Notre Jour Viendra and Steak. Many of his tracks have been used in video games. Akchoté is of Serbian-French heritage, he was raised in Paris and Belgrade by a single mother. He is the younger brother of popular independent guitarist Noël Akchoté, his early musical history included both jazz and experimental influences from his older brother as well as hip hop influences from artists like DJ Premier. He first started producing music around the age of fifteen. While working with a hip-hop band in 2005, Sebastian was given the phone number for Ed Banger Records by one of the band's members, who had found it in a newspaper.
After a cold call to label owner Pedro Winter, Sebastian was signed, they released the EPs H. A. L. and Smoking Kills that year. 2005 saw his remixes for Annie, Benjamin Theves, Daft Punk, whose "Human After All" remix by Sebastian is said to be the duo's all-time favourite remix of their own work. In the summer of 2006, Ed Banger Records released the EP "Ross Ross Ross"; that year saw more remixes by Sebastian than any other. In 2007, Sebastian composed the soundtrack for label-mate Mr. Oizo's feature film "Steak" alongside Sebastien Tellier and Mr. Oizo himself; that year, as well producing numerous remixes and releasing his Walkman 2 EP, Sebastian joined Kavinsky to open with DJ sets for Daft Punk on their Alive 2007 tour. An original song called "Greel" was released in 2007 on Ed Rec Vol. 2. There were two Sebastian releases in 2008: Motor, an EP with three original tracks, Remixes, a 17-track compilation featuring various remixes produced by Sebastian, his track "Dog" was included on that year's Ed Rec Vol. 3.
In 2009, Sebastian played his first live set as an exclusive performance at the Sónar Festival in Barcelona. Sebastian produced the single Difficult for label-mate Uffie in 2010 on her debut album Sex Dreams and Denim Jeans and provided a remix, titled "Difficult", he had his experimental track "Threnody" released that year on an Ed Banger Records Christmas compilation. In early 2011, Sebastian provided the track "Enio" for the Ed Banger compilation album Let the Children Techno, his debut album Total was announced, followed by the release of a video for the title track featuring a series of violent and sexual images. A video for Sebastian's new song "Embody" was released, along with the song's release as a single; the album Total itself was subsequently released on 30 May in 7 June in North America. It was followed by releases of singles "C. T. F. O." and "Love In Motion" from the album. 2011 was the year of Sebastian's "Primary Tour", a tour visually themed as a political campaign and spanning Europe and North America from August to December.
Three remixes done by him were released that year, including his remix for the Beastie Boys. 2012 saw Sebastian's remixes for bands Nero, The Shoes, Van She, Woodkid. That year saw the release of The EP Collection, a box set of vinyl Total singles along with tracks "Organia" and unreleased "Holloback". A Sebastian remix of Justice's "New Lands" was released on 25 June 2012. Sebastian produced the 2014 album Magnum by Katerine; that year, he remixed the Charlotte Gainsbourg song "Hey Joe". In 2014 Sebastian produced the title track "American Beauty/American Psycho" for the band Fall Out Boy on their album of the same name. In 2015, Ed Banger owner Pedro Winter announced that Sebastian had finished producing a few songs for Frank Ocean, allowing him to work on his next album. SebastiAn appears on the track "Facebook Story" from Frank Ocean's 2016 Blonde album. In 2017, Sebastian produced Charlotte Gainsbourg's album Rest. Sebastian created the soundtrack for the Yves Saint Laurent Winter 18 Collection campaign, held on February 27, 2018 in Paris, France.
Total Sebastian on Facebook Sebastian on Last.fm
A recording studio is a specialized facility for sound recording and audio production of instrumental or vocal musical performances, spoken words, other sounds. They range in size from a small in-home project studio large enough to record a single singer-guitarist, to a large building with space for a full orchestra of 100 or more musicians. Ideally both the recording and monitoring spaces are specially designed by an acoustician or audio engineer to achieve optimum acoustic properties. Recording studios may be used to record singers, instrumental musicians, voice-over artists for advertisements or dialogue replacement in film, television, or animation, foley, or to record their accompanying musical soundtracks; the typical recording studio consists of a room called the "studio" or "live room" equipped with microphones and mic stands, where instrumentalists and vocalists perform. The engineers and producers listen to the live music and the recorded "tracks" on high-quality monitor speakers or headphones.
There will be smaller rooms called "isolation booths" to accommodate loud instruments such as drums or electric guitar amplifiers and speakers, to keep these sounds from being audible to the microphones that are capturing the sounds from other instruments or voices, or to provide "drier" rooms for recording vocals or quieter acoustic instruments such as an acoustic guitar a or fiddle. Major recording studios have a range of large and hard-to-transport instruments and music equipment in the studio, such as a grand piano, Hammond organ, electric piano. Recording studios consist of three or more rooms: The "live room" of the studio where the vocalists sing and instrumentalists play their instruments, with their singing and playing picked up by microphones and, for electric and electronic instruments, by connecting the instruments' outputs or DI unit outputs to the mixing board. Isolation booths are small sound-insulated rooms with doors, designed for instrumentalists. Vocal booths are designed rooms for singers.
In both types of rooms, there are windows so the performers can see other band members and the audio engineer/record producer, as singers and musicians give or receive visual cues. This equipment may make noise. Recording studios are designed around the principles of room acoustics to create a set of spaces with the acoustical properties required for recording sound with precision and accuracy; this will consist of both room treatment and soundproofing to prevent sound from leaving the property. A recording studio has to be soundproofed on its outer shell as well, to prevent noises from the surrounding streets and roads from being picked up by microphones. A recording studio may include additional rooms, such as a vocal booth—a small room designed for voice recording, as well as one or more extra isolation booths for loud guitar stacks and extra control rooms. Though sound isolation is a key goal, the musicians, audio engineers and record producers still need to be able to see each other, to see cue gestures and conducting by a bandleader.
As such, the "live room", isolation booths, vocal booths and control room have windows. Equipment found in a recording studio includes: A large professional-grade mixing console Additional small mixing consoles with 4, 8 or 16 channels, for adding more channels A large number of preamplifiers for microphones, such as the Neve 1272 and Neve 3104 Multitrack recorder Computers A wide selection of microphones. Studios have Neuman Tube mics, AKG tube mics, RCA ribbon mics, a number of Shure SM 57 and SM 58 mics. A large number of DI unit boxes Two or more record players Syncs A wide variety of microphone stands (boom stands, straigh
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Daft Punk are a French electronic music duo formed in Paris in 1993 by Guy-Manuel de Homem-Christo and Thomas Bangalter. They achieved popularity in the late 1990s as part of the French house movement, had success in the years following, combining elements of house music with funk, disco and synthpop, they have worn ornate helmets and gloves to assume robot personas in most public appearances since 1999 and grant interviews or appear on television. The duo were managed from 1996 to 2008 by the head of Ed Banger Records. After Bangalter and Homem-Christo's indie rock band Darlin' disbanded, they began experimenting with drum machines and synthesisers, their debut studio album Homework was released by Virgin Records in 1997 to positive reviews, backed by singles "Around the World" and "Da Funk". Their second album, had further success, supported by hit singles "One More Time", "Digital Love" and "Harder, Faster, Stronger". In March 2005, Daft Punk released their third album, Human After All, to mixed reviews, though the singles "Robot Rock" and "Technologic" achieved success in the United Kingdom.
Daft Punk toured throughout 2006 and 2007 and released the live album Alive 2007, which won a Grammy Award for Best Electronic/Dance Album. They composed the score for the film Tron: Legacy, released in 2010 alongside its soundtrack album. In 2013, Daft Punk left Virgin for Columbia Records, released their fourth album, Random Access Memories, to acclaim. Random Access Memories won five Grammy Awards in 2014, including Album of the Year and Record of the Year for "Get Lucky". In 2016, Daft Punk gained their first number one on the Billboard Hot 100 with the song "Starboy", a collaboration with The Weeknd; as of 2015, Daft Punk had sold over 12 million albums worldwide. Guy-Manuel de Homem-Christo and Thomas Bangalter met in 1987 while attending the Lycée Carnot secondary school in Paris; the two recorded demos with others from the school. This led to the formation of a guitar-based group called Darlin' with Laurent Brancowitz in 1992. Bangalter and Homem-Christo played bass and guitar while Brancowitz was brought on board after the two sought an additional guitarist.
The trio had branded themselves after The Beach Boys song of the same name, which they covered along with an original composition. Both tracks were released on a multi-artist EP under Duophonic Records, a label owned by the London-based band Stereolab, who invited the trio to open for stage shows in the United Kingdom. Bangalter felt that "The rock n' roll thing we did was pretty average, I think, it was so brief, maybe six months, four songs and two gigs and, it." A negative review in Melody Maker by Dave Jennings subsequently dubbed the music "a daft punky thrash." Instead of dismissing the review, they found it amusing. As Homem-Christo stated, "We struggled so long to find Darlin', this happened so quickly." Darlin' soon disbanded. Bangalter and Homem-Christo experimented with drum machines and synthesisers. In September 1993, Daft Punk attended a rave at EuroDisney, where they met Stuart Macmillan of Slam, co-founder of the label Soma Quality Recordings; the demo tape given to Macmillan at the rave formed the basis for Daft Punk's debut single, "The New Wave", a limited release in 1994.
The single contained the final mix of "The New Wave" called "Alive", to be featured on Daft Punk's first album. Daft Punk returned to the studio in May 1995 to record "Da Funk", it became the duo's first commercially successful single the same year. After the success of "Da Funk", Daft Punk looked to find a manager; the duo settled on Pedro Winter, who promoted them and other artists at his Hype night clubs. The band signed with Virgin Records in September 1996 and made a deal through which the duo licensed its tracks to the major label through its production company, Daft Trax. Bangalter stated that while the duo received numerous offers from record labels, they wanted to wait and ensure that Daft Punk did not lose creative control, he considered the deal with Virgin to be more akin to a partnership. In the mid-to-late nineties, Daft Punk performed live without costumes in many places including the United States. In 1996, the duo were featured at an Even Furthur event in Wisconsin, their first public performance in the U.
S. In addition to live original performances, they performed in various clubs using vinyl records from their collection, they were known for incorporating various styles of music into their DJ sets at that time."Da Funk" and "Alive" were included on Daft Punk's 1997 debut album Homework. In February of that year, the UK dance magazine Muzik published a Daft Punk cover feature and described Homework as "one of the most hyped debut albums in a long long time." According to The Village Voice, the album revived house music and departed from the Eurodance formula. As noted by critic Alex Rayner, Homework brought together established club styles and the "burgeoning eclecticism" of big beat. In 1997 Daft Punk launched their Daftendirektour to promote Homework in several cities throughout the world. For this tour the duo opted to utilize their home studio equipment for the live stage; as Bangalter stated, "Everything was synched up -- the bass lines. The sequencer was just controlling the beats and bars.
On top of this structure we built all these layers of samples and various parts that we could bring in whenever we wanted to." 25 May 1997 saw them perform at the Tribal Gathering festival at Luton Hoo, headlining with Orbital an