The Story (english version)

Background of the DataTape.133 Label Project

Autor: Fietback

Why a Labelproject ?

The idea for a label was born over the years, but a basement find at Sven , somehow brought the decisive impetus.

We discovered a stack of MiniDiscs and cassettes. Partly 25 years old recordings from "our" beginnings. With a lot of love we designed the recordings and the copies were distributed to the audience at our first parties.

When we started with the events, techno had been professionalized for a long time... On every flyer, the headliners or actually every act had another line under their name. Either it was labels, locations or collectives ... I thought, my buddies and myself, would go down there mercilessly... So I invented my first record company, which actually didn't exist. "Electro Static" . We will re-release a part of it here, quasi a "classics" section.

Why DataTape.133 ?

Listening back to my recordings, I discovered that I created minimalist tracks through cutting, scratching, and mixing. This was my personal artistic journey at the time. Using EQs and effects, I produced RecordArt in accordance with my perception. The loop records I utilized, featuring endless grooves that maintain a rhythm loop for precisely one bar before repeating, were set to 133.3333333333333333 BPM at 33 rotations per minute. When a loop begins, the plate makes one full rotation of 360° and the needle produces a sound: BUMM BUMM BUMM BUMM. This sound can only be read quickly at 133 BPM.

I utilized Tool records, commonly known as Practice Loops or Battle Breaks, which I could afford with my limited funds. These records contained 15 loops on each side and allowed me to create small mixes.

Influences ?

Damals waren es die Label Dirt Style, Ninja Tune, die Phaderheadz Berlin, Rectangles Werke, aber vor allem die Loop Vinyls des Electric Kingdom, die mich wirklich kickten. Ich hatte gerade begonnen mich weiter in den Turntablism vorzuarbeiten. Für ein DMC oder ITF hatte ich nicht genug drauf. Aber ich wollte natürlich schon was "hinwürfeln".

Irgendwann im Jahr 2005 brachte Westbam dann aber sogar eine CD raus, auf der mehrere Stücke genau so komponiert waren und für mich machte er es damit irgenwie salonfähig. Als ich Ihn mal im Studio besuchen gefahren bin und er mir einen Teil seiner Platten Sammlung vermacht hat, habe ich dann aber prompt auch nach den Loop Platten von EK gefragt.

After listening, I stood at my turntables with the intention of creating a faithful transition using Underground Resistance's UR003. After listening, I stood at my turntables with the intention of creating a faithful transition using Underground Resistance's UR003. My goal was not to make a cohesive mix of standalone tracks.

The concept of producing a tool-record of this nature has fascinated me from the start. Therefore, why not turn it into a complete project, allowing downloaders to provide feedback and be part of the creation? Possibly someone might create a mixtape or experiment with our tools to create original work. Although stem mixing, turntablism and sample decks of exceptional quality are available on Traktor, we are not interested in reinventing the wheel. However, reusing a classic method of creating with looping and adjusting the left and right loops can yield impressive results in the studio.

It should also be possible to apply this method to any deck. So even without quantization and modern analysis, I extended the

loops to create micro tracks that are precisely 1 minute and 33 seconds in length. These tracks may or may not include a slight arrangement, but are universally effective. Pitch to zero and execute!

The test pressing was also a great success.

Why Tapes ?

In 1993, I obtained two breakdancing cassette tapes that included a comprehensive selection for a thirteen-year-old with an interest in purist electro music. The tapes featured 90 minutes of electro history, which included artists such as Hashim, Grandmaster Flash, Timezones-Wild Style, Kraftwerk, Planet Rock, Rocksteady Crew, Shannon, and Egyptian Lover. Consequently, I have dedicated my life to decoding and studying this musical genre. My mother had mainly awful records, but surprisingly, she also had Herbie Hancock's "Rockit." As a child, I enjoyed listening to it on my cassette recorder. My luck with cassettes continued when, in 1995, I received "Rave" and "Break Beats" from friends in England. For two years, I had a Basic Channel Tape without even knowing who was featured on it. Each cassette served as an educational channel, akin to a band, during the Electro era. As different aspects of Electro clashed, I found myself copying my old break tape for friends. Whether it was the latest or simply old tracks from elsewhere, I always had a selection to share. You recorded songs from the radio and made copies. DJs frequently discuss their first hit records, so my own interest began with cassette tapes. The punk rockers at the station would occasionally showcase their cool custom album artwork on the copier, and I was always curious about the music on those tapes.

Videotapes ?

During my media design training, I gained knowledge regarding outdated storage media and data carriers. Electrical engineering was not my forte as Huffman coding failed to capture my interest. However, Mr. U. sparked my attention when he mentioned the possibility of recording video signals on audio tape. In the 1980s, Fisher Price released a children's camera that captured videos on music cassettes. In the 1980s, Fisher Price released a children's camera that captured videos on music cassettes. I have been trying to purchase one at auction for years.

Thanks to the efforts of Dominic Beasly and the Narrow-Bandwidth Television Association, I finally obtained it.

In the 1980s, Fisher Price released a children's camera that captured videos on music cassettes.

At first glance, the quality appears rough, which may disappoint 4K and Full HD fans or Hifi enthusiasts.

However, the medium itself creates a ghostly appearance, reminiscent of a Mulder Tape - more eerie than alluring. We encourage you to try it for yourself. Software player and recorder can be obtained directly from the website under the category VideothekNr.133. You can browse this and other video art.

Videothek Nr.133

As a "video guy" I also somehow always had the problem that no one makes more in VHS. The visual part of my work is directly connected with my music and backwards. With my project Robot Front Machine, I secretly set out to create mixable video recordings. I always hoped for an era where video implementation would take place in DJ software and CDJ's would be able to do that. That's how our whole project was designed. With two DVJ 1000 thus video players of the company Pioneer with DJ 'bility, I wanted to "deliver". But how to release the whole thing. Double DVD as an album mixbar ? And who has something like that to mix at home ? Except Soulwax I could not think of anyone who used the parts.

Can cassettes still be used and produced? Can cassettes still be used and produced? Can they be recycled?

Yes, admittedly, that's not so easy. There aren't really many suppliers and of course it doesn't make sense to always work with a partner for smaller runs of 13 to 133 copies.

I simply got myself all the necessary equipment. My first tapes for testing the equipment I got for example from Thomas P. Heckmann. I also got a lot of support from friends and the web. For the master tapes the classic par excellence: The Akai GX 75 .

Still, not every belt may meet the required quality level due to their natural fragility and high-maintenance. This partnership particularly benefits our shorter releases. Still, not every belt may meet the required quality level due to their natural fragility and high-maintenance. Nonetheless, we make every effort to ensure our products are top-notch. For certain editions, we collaborate with the leading standard producer in Germany, TAPE MUZIK Leipzig, who possess vital expertise. Importantly, we value the recycling thought. And thus, I have acquired this nonetheless, particularly for smaller editions. Our current endeavor consists of deciding between a new or a recycled sound/video carrier to provide.

Digital or physical ?

Physical media provide a sense of finality and completion for me, while digital media allows for fast and wide distribution.

However, in today's world, the two are not mutually exclusive.

DVJ-1000 Setup

Konzeptstart ?

In summary, Datatpe.133 combines many things for my "comrades-in-arms" and me.

From "long ago" and "just now" invented record labels, to releasing videos, to distributing content of/with music. (New and old works of my project Robot Front Machine, my love for DJ tools, turntablism and the possibility to work with my friends in a more creative and free way.

With this in mind - Press Play or Press Record !

You always had to press both buttons at the same time ...

to make it work!

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