Chain Tape Collective - Caligari: An Exquisite Corpse (2007)

11 skladatelja lančano stvara neki dio ukupne skladbe a potom priloge objedinjuje koordinator projekta. Novi soundtrack (zapravo dva) za film Kabinet Dr. Caligarija samo je jedan od 40-ak sličnih projekata Chain Tape Collectivea, u kojima je već sudjelovalo 80-ak muzičara. Projekt Bugs primjerice, sastoji se isključivo od softverski obrađenih snimki različitih kukaca diljem svijeta. Fascinantno.





www.ct-collective.com/

The CT Collective was originally started by Michael Klobuchar as a chain tape group; that is, as a group whose members recorded music by mailing a master tape throughout the United States and Europe. The finished tape was then cleaned up and distributed to the members as a CD. No one got paid for any of this, and the organization, mastering, and mailing of our collaborative projects was done by members who volunteered their time and resources.
Since then, we've started to do more than one project at a time, and we've also decided to streamline the recording process by having people simply mail their contributions to the person mastering the project. After this stage, copies go out to other people who have volunteered to duplicate CDs and distribute them to the contributors and to other interested parties.
As part of our effort to streamline what was otherwise a rather cumbersome process, we have organized a main mailing list through which all projects are now coordinated. As projects get underway, they get their own mailing list.
To join the CT Collective, suggest projects, and contribute music and/or labor to the cause, go to the links page and click the mailing list link.

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Caligari: An Exquisite Corpse

Eleven composers collaborated in Exquisite Corpse fashion to produce two brand new soundtracks for the German Expressionist Classic The Cabinet Of Dr. Caligari.
The film with the new soundtracks is available for free download from archive.org under a Creative Commons license (Attribution-Noncommercial-Share Alike 3.0).

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Eleven composers collaborated in Exquisite Corpse fashion to produce two brand new soundtracks for the German Expressionist Classic The Cabinet Of Dr. Caligari.
To learn more about the Exquisite Corpse process, go here: http://en.wikipedia.org/wiki/Exquisite_Corpse
As part of the project, public domain footage of the film was located and restored. The film was re-divided into six acts after the original scenario, tinting was added and new inter-titles were created approximating the style of the original film.
The result, while not a definitive restoration by any means, is a brighter, more colorful version of the film somewhat truer to the original than other freely available prints.
Each of the eleven composers worked in isolation from the others scoring one of the film's six acts, with the film visuals being the only common reference point.
Each of the eleven scored from a unique viewpoint and style, yet the striking visual coherence of the film was sufficient to ensure an emotional continuity in soundtrack approach. Even more surprising, sonic elements and motifs are echoed and reiterated throughout the film, despite the fact than none of the composers heard the work of any of the others prior to submitting their own work.
All components of this project, including the film, are either in the public domain or licensed by the creators under a Creative Commons Non-Commercial/Sharealike/Attribution 3.0 license. Others are strongly encouraged to download the project and re-use the materials therein to say something relevant about the film or their own lives.

1	Fastus	Soundtrack 1, Act 1 My approach to film music has been shaped by the soundtracks of "Clockwork Orange" (Walter Carlos), "American Beauty" (Thomas Newman) and "Owning Mahowny" (Grassby-Lewis, Jon Hassell, Tim Norfolk), music of distinct character that works beautifully with the film, but is of sufficient interest to provide a fulfilling listening experience on its own. What I wanted to avoid was writing the traditional "incidental" music. Act 1 has a lot of work to do. In roughly 10 minutes it establishes a narrative and setting, introduces the major characters and frames an array of opposing themes that appear throughout the film: light vs. dark, young vs. old, good vs. evil, control vs. powerlessness. The five scenes of the act are varied and distinct from one another, so I wanted each movement of the music to reflect that individuality. As discrete, stylistically distinct pieces, each is concerned with the the most prominent quality of the scene. The spooky theremin-style sound in Scene 1, "In the Garden", echoes the ghostly appearance of Jane, as she floats spirit-like past the narrator. Scene 2, "Appearance of Evil", introduces the villainous Dr Caligari with heart-racing anxiety. In Scene 3 "My Friend Alan" the ill-fated lad is presented as young, buoyant and idealistic by an up-beat melody and percussion. The agonized and slow moving Scene 4, "Permitting Murder" conveys the near comical frustration of the impatient Dr Caligari, rendered momentarily impotent by the archetypically inefficient bureaucracy. Scene 5, "Prescient" paints an ominous picture of the evil to come, not yet apparent to the cheerful, sun-washed crowd.		10:37	14.95
2	Mike Fazio	Soundtrack 1, Act 2 After watching Act Two (and the whole movie for that matter) for the first time in many a year, it was obvious to me that any music written and recorded for Act Two would need to convey the face of evil. Nothing more, nothing less. I do not think in these terms as my approach to music, quite the opposite in fact, but this was obviously a different occasion...		9:53	13.92
3	John Auker	Soundtrack 1, Act 3		11:43	16.48
4	Mank	Soundtrack 1, Act 4		11:53	16.73
5	Heavyconfetti	Soundtrack 1, Act 5 I watched the film sans any sound a few times, then watched Act 5 a number of times. I wanted to do something "trip hoppy," kind of atmospheric or ethereal and while there are some drony moments, the track turned out more dramatic to match the breakdown of our anti-hero, Dr. Caligari. So you have some strings going nuts, some atonality and jazz chords.... Most of the work was done with the Roland GR-30 Guitar Synthesizer.		13:47	19.40
6	Robert Switzer	Soundtrack 1, Act 6 If Caligari was a short story, Act VI would be the plot twist, the place where expectations are dashed, and the whole story is redefined. Through the first part of the act, I worked to build a feeling of vague dread and unease with a looped sting pad, angular bassline, asymmetric rhythms, skronking woodwinds, edgy slide-wah guitar, and the atonal Caligari piano theme. When the action finally returns to the garden wall outside the asylum and all is revealed, I wanted to up the feelings of dread and unease to disassociation, paranoia, horror, and fear. To do this, I used a bed of high-pitched electronic sound, underlaid with gently ascending loop-drones of guitar feedback and overblown bass clarinet harmonics. I added a creepy, wibbling, psycho-blues alto sax solo played in the key of metaphysical distress to up the discomfort factor even further. At the very end, I reiterate the atonal Caligari piano theme, to underscore the irony of the reversal of fortunes experienced by Caligari and Francis. To get the feel I wanted, I decided to go with a mixture of acoustic, electric, and electronic instruments, and take the style of music outside of the period of the film to include contemporary free and electronic musics. Alto and soprano saxes, bass clarinet, laptop and electric guitar parts were cut from previously recorded solo improvisations of my own, and collaged into final form using Rezound and Ardour with xJadeo, open source audio editors + video channel running on Linux. Piano, electric bass, and drum parts were created from algorithmically generated MIDI data voiced using general MIDI and GigaPiano sample sets.		9:53	13.91
7	David Cooper Orton	Soundtrack 2, Act 1 What was I thinking of? Chronologically recorded after I'd finished work on Act IV, I decided that - in the spirit of the project, I should attempt to conjure an entirely different piece of music, rather than reiterate themes established in Act IV. I also elected to use a completely different tonal palette - a Yamaha MU5 Tone Generator which had been gathering dust for several years. The idea of commencing the piece with the sound of scratchy, crackling ancient media which would then blossom into the fully restored glory of the digital era was, admittedly, a thin conceit, but got things started. The dream-like (nightmarish?) mood of the whole film influenced the use of a slightly sinister music box theme, moving on through other instruments grouped with it on the sound module. In other scenes I went for a more light-hearted feel, whilst suggesting the protagonist's butterfly-like attention span by interrupting the flow with sounds from the street below. The sound of Caligari himself was a synchronistic happenstance find whilst wondering around the high numbers of the sound module's midi mapping. "String noise", it's supposed to be - sounded sufficiently eerie for my requirements: in it went. Considerable pitch-shifting was used to suggest his mood swing(s), especially as he hatches his cunning plan. Other thoughts - the fairground themes clashing from different stalls and sideshows, intersected with processional waltzes (now that I think of it, how would a mass of people march in 3/4?) have an undeniable Waitsian influence (of course, if that went un-noticed, it was a brilliant invention of my own devising). The ringing bell will return in Act IV in a less strident, more melancholic mode. That's all, folks...		10:30	14.78
8	Roger Harmar	Soundtrack 2, Act 2		10:04	14.16
		05.09.2007: Michael Peters (www.michaelpeters.de) this is incredible. Awesome. My new favorite CT tune.
9	Tim Nelson	Soundtrack 2, Act 3 Prior to the Caligari project, my film scoring experience was limited to a number of short films done both by myself and by other student filmmakers in the early 1980's. An important difference, though, was that Caligari was the first time I ever attempted to score to an existing image, rather than fitting the image to the music. As several of the other composers noted during the process, it's harder than it looks! My plan of attack was to first watch my segment several times, noting the overall mood and the dynamic progression throughout the scene. I plotted the onscreen events out onto a long timechart, notating significant visual cues, the times at which they occured and then scrawling notes all over the timechart regarding moods, textures and possible instrumentation. As Act III seemed to me to be characterized more by a vague mood of apprehension and angst rather than by specific actions, I chose to build my piece around the idea of a bed of unresolved chords and languid progressions with circular movement, motifs that would rise and build but never actually get anywhere, thus winding the spring for the climactic events of the following acts. Instrumentation was limited to various gongs, cymbals, wrenches, bells and chimes with cello and an old Yamaha 'Portasound' keyboard. I had originally done more Foleying, but most of it was mixed out of the final version, as it seemed to clutter the mix; the exception is the babble loop heard when the accused killer is being questioned. Recording was split between a Tascam 488 analog 8 track recorder and a desktop PC running Sonic Foundry's Acid v. 1.0, which is almost old enough to have been used on the original Caligari.		12:00	16.88
10	David Cooper Orton	Soundtrack 2, Act 4 Of what was I thinking? Many times over the years, people have told me your music sounds like it should be the soundtrack to some weird sci-fi film, and sometimes, this was even meant as a compliment. So I really wanted to do something good for this project - just what my music had been waiting for, so it might seem. I had a bit of luck - I won a copy of Acid Pro 6 from those nice people at AcidPlanet/Sony just as I was thinking about how to sync my sounds with the images from the film, and without it, I'd probably have been stuck. The composing was done, often as not, by improvising along with the film, scene by scene, and then editing and recomposing and cut'n'pasting like crazy, and then getting right down to a pains-taking process of lining up the notes to the action. Most of this was generated by guitar, ebow, reverb, delays, loops (Digitech JamMan in real time, then edited with Sonic Forge). I planned not to use naturalistic Foley sounds at first, but some gradually crept in, including the funeral bells (chiming 13), and the creaking doors. My son, Michael, added some drums at appropriate points, and hopefully, viewers will jump out of their respective skins at just *that* precise moment. The bit which sounds like someone's finger tapping on one end of a guitar lead plugged-in to a large reverb unit is indeed just that. I wish I could say that the lengthy glissandi sections were recorded on strings stretched from one end of my kitchen to the other, or better yet, a Long String Instrument, but it's just multi-tracked, spirit of Gong, screwdriver-on-guitar-string with added processing. The chase sequence, as scored by the Gang of Four - who can resist? And after all that I got the levels wrong, so the quiet bits should probably be turned-up - but watch out for the crescendos. What more can I say? I've already said too much...		11:56	16.80
11	David Page Coffin	Soundtrack 2, Act 5 a mixture of processed guitar and synthesizers, plus a few bits of canned foley.		13:47	19.40
12	Steve Burnett	Soundtrack 2, Act 6 I've always loved the film _The Cabinet of Dr. Caligari_ as a commentary on reality, madness, unreality, branching universes, and control over oneself and others. I watched the film in its entirety four times on consecutive nights, then another twenty to thirty times left on in the background while I did other things. I reviewed Act VI of the film taking timemarker notes of each action in the film. I then decided on what fit the events of the film, looking for the movements of the characters and what would work to repeat. Setting up my Todd McFarlane action figure of Dr. Caligari, I created themes for Dr. Caligari, Francis, and Jane, and various events as I thought fit using a Raagini Pro tanbura sampler, a Moog Etherwave Pro theremin, and a Zeta Crossover electric upright bass processed through the effects pedal chain, capturing them in the looper pedals as I felt I had the correct sense of the piece. I played the six themes and captured them in three loop pedals, two per pedal. I then wrote notes as to which themes to play at what times. I brought up the samples as needed, playing sections live on Chapman Stick intermittently. I did three run-throughs for practice, then did three takes with the recorder running. Next day I chose the one that I felt came the closest to the appropriate dynamics and pacing throughout. I took the night off, came back the next evening to review the choice, and was still convinced I'd chosen the best one. No overlays were added to the track from the live recording. Gear: Raagini Pro tanbura sampler Moog Etherwave Pro theremin Zeta Crossover electric upright bass Chapman Stick Effects: Z-Vex, Moog Music Moogerfoogers, looper pedals (Akai Headrush, Boss RC-20 and RC-20XL, Digitech Jamman)

The Wire

Ingvar Loco Nordin

"The idea behind the Chain Tape Collective is nothing short of brilliant, and also a sign of our times, as distances and locations no longer are obstacles on the way to diffusion of the arts. (...) The Chain Tape Collective is world wide and works within projects, specifying the work needed to be done, which I think is a very good way to keep ideas flowing and have the different projects develop within their basic frames. (...) these frames are not very hard to stay within, and they don’t restrict creativity, but rather give it a trajectory, an aim. I’m sure these kinds of initiatives pick up a lot of creative goings-on that would otherwise not be diffused like this across our globe."

Drugi projekti:

Finished projects	Current projects
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You are welcome to download CT project albums including the artwork files - create your own CD copies ! This website exists as a service to facilitate the distribution of music created by the CT Collective. However, where complete songs are posted on this site as MP3s, it is with the understanding that they are not to be commercially redistributed. The copyright to each song belongs to the respective artist. If you download a complete song and want to distribute it for free, you must notify the artist of your intention to do so.

	One Minute 2012	coordination: Michael Peters A collection of one minute pieces without any other rules. This is our second "Miniatures" album, following the "Seventy-Five Seconds" album from the year 2000
	Domestic 2012	coordination: Rinus Van Alebeek All songs are an interpretation of the theme "Domestic". The finished project was not distributed on CDRs as usual, but on audio cassettes which were individually designed by Rinus. Project description, from the original invitation: "domestic. But see this theme also as an adjective, so as a point of departure because it can refer to things/objects/situations/memories/ related to your life in and around your house but also used as in inland, like domestic flights both possibilities are welcome"
	Harmonics 2011	coordination: Nick Robinson A harmonic is "an overtone accompanying a fundamental tone at a fixed interval, produced by vibration of a string, column of air, etc. in an exact fraction of its length". My first encounter with them was as a teenager, watching mystified as Rory Gallagher moved his hands down the neck but the notes played got higher! I eventually learned what they are and to this day, remain fascinated by the bell-like purity of guitar harmonics. For this project, harmonics of any kind were deemed acceptable, even "comb filter resonance" which Michael Peters assures me are harmonics.
	Counterpoint 2010	coordination: Peter Gambles Tracks weave their way through the western Counterpoint tradition, utilising anything other than traditional musical instruments. The challenge is to create tracks based on counterpoint themes and theory but without sounding like classical counterpoint.
	Reverb 2010	coordination: Nick Robinson Reverbs - many and various: the most prominent element of each piece, used to give differing sense of "place" throughout the piece
	Quartet 2009	coordination: Nick Robinson The inspiration for this project was to place some restraints on composition 4 tracks, 4 instruments from a related musical family, 4 minutes long. I wanted to encourage music with perhaps a stronger emphasis on melody and harmony than on the textural approach of some CT projects.
	ReUse 2009	coordination: Jim Goodin Re·use (r-yz) tr.v. re·used, re·us·ing, re·us·es. To use again, especially after salvaging or special treatment or processing. [TheFreeDictionary.com]
	Generative 2009	coordination: Fabio Anile "CT-Generative" is based on the Brian Eno approach to generative music. I ve provided a subsite with more detailed infos about the process and contributors and a "Generative Room", where you can test the shifting process, playing with the original audio clips of both projects: http://www.eterogeneo.com/Generative-Music/Generative_Room.html
	Nature 2008	coordination: Anders Östberg The description for this project was to make a composition that reflects our natural environment or wilderness - things that have not been substantially altered by human intervention.
	Zodiac 2008	coordination: Nick Robinson The inspiration for this project was the signs of the zodiac. The idea seemed to promise strong themes, formed a coherent set, and required suitable numbers of contributors. Ronny arrived just too late, but he luckily discovered a 13th sign, so he made it in the end. As ever, we each interpreted the sign in our own special ways.
	Bugs 2008	coordination: Krispen Hartung CT-Bugs is a collection of compositions based on a set of sample recordings of a various insects from around the world. No other sound sources were used other than the insects. The artists, all members of (CT) Collective, manipulated these sample recordings with various effects and audio software, in order to produce their final work of musical art.
	Acoustic II 2008	coordination: norelpref A "sequel" to Acoustic I, which was produced in 2001. All the tracks are "acoustic," or at least dealing with acoustic instruments and/or dynamics.
	Birds and Men 2008	coordination: Nick Robinson The inspiration for this project came from my abiding fascination with birdsong. There was such interest (and discussion over group parameters!) that we decided to have a group using only the sound of birds (cunningly entitled "Birds" and another combining birds with human generated sounds; "Of Birds and Men".
	Birds 2008	coordination: Nick Robinson The inspiration for this project came from my abiding fascination with birdsong. There was such interest (and discussion over group parameters!) that we decided to have a group using only the sound of birds (this CD) and another combining birds with human generated sounds, "Birds and Men".
	Teisha is now banned 2007	coordination: norelpref The project: Creating audio (musical / spoken word,combination, etc) using "spam" (or "unsolicited electronic mail") email text as lyrical or thematic content. All works, unless specified otherwise, are under a Creative Commons License and can be also downloaded from archive.org
	Caligari 2007	coordination: Rob Switzer Eleven composers collaborated in Exquisite Corpse fashion to produce two brand new soundtracks for the German Expressionist Classic The Cabinet Of Dr. Caligari. The film with the new soundtracks is available for free download from archive.org under a Creative Commons license (Attribution-Noncommercial-Share Alike 3.0).
	MRI 2007	coordination: Krispen Hartung All the songs on this CD were based on a set of sample recordings of a real MRI machine. The artists manipulated the samples with various effects and audio software, using the output as their final composition, or using it as a backdrop for adding additional recorded tracks from various Instruments. Visit this website to view additional information on the project and buy the physical CD for cost (non-profit, manufacturing cost + shipping only): http://www.krispenhartung.com/mri/index.htm
	Papermusic 2007	coordination: Nick Robinson Paper Music - pieces composed using only sounds generated by the folding, squashing, tearing, flapping (etc) of paper. Contributors were "allowed" to process the sounds in any way they wished. Ideal to practise your origami to ;) Daryl Shawn has written this review of the Paper Music project
	Great Speeches 2006	coordination: Fabio Anile The focus on this project was to to compose a music to "furnish" a famous speech. A "great speech" is a speech that has a relevant historical, religious, political, artistic or social content. The goal is to realize a music encyclopedia of some important events. A review is here
	Live 2006	coordination: Tim Nelson CT-Live is a virtual concert. As with the Collective's previous efforts, this recording is based around a theme, in this case that the music on this project was performed in front of an audience.
	Poem 2005	coordination: Michael Klobuchar The focus on this project was to use a new or already existing poem in any language and create a background for the poem
	Film 2005	coordination: Michael Peters Music for imaginary films or new soundtracks for existing films
	Where We're At 2004	coordination: Miko Biffle Where were we, in 2003? This recent outing highlights the sweeping scope and creativity the Collective is known for.
	Location Volume 2 2004	coordination: Matt Davignon Music created from field recordings around the world by members of the CT Collective. The focus of this project was to explore the sounds of different locations, as well as the musical ideas, sensibilities, and techniques of the artists who recorded the sounds, most of whom are residents of these areas.
	Percussion 2003	coordination: Tim Nelson All sounds on this project are the results of things being hit, struck, beaten, shaken and/or stirred.
	Location Volume 1 2001	coordination: Matt Davignon Music created from field recordings around the world by members of the CT Collective. The focus of this project was to explore the sounds of different locations, as well as the musical ideas, sensibilities, and techniques of the artists who recorded the sounds, most of whom are residents of these areas. A very nice review of this CD was written by Ingvar Loco Nordin.
	Acoustic 2001	coordination: Tim Nelson The guidelines for this project were basic: only acoustic instruments allowed. Some contributors stayed traditional, working out pieces to be performed live in real time, while others built their tracks using an array of instruments that would make an ethnomusicologist's head spin.
	Product 2002	coordination: Matt Davignon "Source" and "Product" are actually one project. The premise was: For Source, everyone contributes 5 minutes of sounds. For Product, everyone contributes music using Source tracks as the only sound source.
	Source 2002	coordination: Matt Davignon Source and Product are actually one project. The premise was: For Source, everyone contributes 5 minutes of sounds. For Product, everyone contributes music using Source tracks as the only sound source. These tracks weren´t really intended as standalone musical compositions in the way that the other collections were.
	Object/Videogame 2000	coordination: Morgan Hamilton Lang A split CD. The first half challenged contributors to use seemingly less-than-musical objects to make interesting noises. The second half features tracks created using only sounds from video games. Go from bicycles to exploding monsters in one convenient package!
	Ambitative 2 2000	coordination: Raül Bonell Tomàs it's ambient music, but not wussy. Part 2 of 2.
	Ambitative 1 2000	coordination: Raül Bonell Tomàs it's ambient music, but not wussy. Part 1 of 2.
	Bluezette 2000	coordination: Michael Klobuchar Some say the blues ain't nothing but a loop! The goal was to simply create a blues tune.
	Philter Phrenzy 2000	coordination: Miko Biffle This project focused on the use of filters - broadly conceived - in the production process.Wahs, computer noise, FM, AM, and ring modulation are only the beginning.
	Seventy-Five Seconds 2000	coordination: Tim Nelson The Reader's Digest of CT releases, artists contributing to 'Seventy-Five Seconds' were not given any stylistic guidelines, only a time limit. The result is a 58-track grab bag featuring a huge variety of styles, textures, moods and sounds, all wrapped up in convenient single-serving packages of about a minute and a quarter each.
	Akapella 2000	coordination: Michael Klobuchar The challenge: twelve technoids must use only their mouths and their various supersonic processing machines to make something interesting. No instruments allowed! The result: an exciting variety of pseudo-pop, incantations, declarations, and just plain weirdness.
	Found Sound 2000	coordination: Matt Davignon Here, we restricted ourselves to using only preexisting recordings and bits of sonic jetsam as source material for the music. Most amusing! Watch out for that chew toy!
	East Coast 1999	coordination: Michael Klobuchar This is one of the four CDs of the original CT project. A completely free-form collection of looped music from the US and Europe.
	Middle America 1999	coordination: Michael Klobuchar This is one of the four CDs of the original CT project. A completely free-form collection of looped music from the US and Europe.
	Europe 1999	coordination: Michael Klobuchar This is one of the four CDs of the original CT project. A completely free-form collection of looped music from the US and Europe.
	West Coast 1999	coordination: Michael Klobuchar This is one of the four CDs of the original CT project. A completely free-form collection of looped music from the US and Europe.

Adam J Wimbush	http://www.myspace.com/ascsoms
Anders Östberg	http://www.andersostberg.net
andy butler	http://www.andybutler.com
Anton Mobin	http://antonmobin.blogspot.fr/
archive	http://www.juniorbirdman.com/archive
Ben Powell	http://www.mankymusic.co.uk
Claude Voit	http://www.claudevoit.ch
David Cooper Orton	http://www.davidcooperorton.co.uk
Doug Michael	http://www.ncal.verio.com/~dmic27
Fabio Anile	http://www.eterogeneo.com
Fastus	http://www.FastusMusic.com
Giuseppe Farinella	http://www.salinasroad.it
Gydja	http://www.Gydja.cjb.net
Jagat Skad	http://www.jagatskad.de
Jamie Drouin	http://www.infrequency.ca
Jeff Lomas	http://www.jefflomas.com/
Jeff McLeod	http://www.jeffmcleod.net
Jeffrey Letterly	http://www.vocalo.org/everybody/users/jletterly
Jim Goodin	http://woodandwiremusic.wordpress.com
Jon Southwood	http://www.gamutstudio.com
Josh Ronsen	http://ronsen.org/brekekekexkoaxkoax
Krispen Hartung	http://www.krispenhartung.com
L.A. Angulo	http://www.luis-angulo.com
Luca Formentini	http://www.unguitar.com
Marcelo Radulovich	http://www.marceloradulovich.com
Marcos Fernandes	http://www.marcosfernandes.com
Mark Christensen	http://www.twistedapplerecords.com
Matt Davignon	http://mattdavignon.iuma.com
Matthias Ebbinghaus	http://www.matthias-ebbinghaus.de
Michael Frank	http://www.theabsurd.de
Michael Klobuchar	http://mysite.verizon.net/vzepmeci/
Michael Peters	http://www.michaelpeters.de
Mike Fazio	http://www.faithstrange.com
Mikhail lliatov	http://mikhaililiatov.com
Miko Biffle	http://www.soundcloud.com/biffoz
Milco Montagna	http://milcomontagna.com
Morgan Hamilton Lang	http://www.music.columbia.edu/~morgan
Nick Robinson	http://www.looping.me.uk
norelpref	http://www.heavyconfetti.com
Paul Jackson	http://www.papersonics.com
Petr Dolak	http://www.geocities.com/pepetr
Raül Bonell Tomàs	http://raulbonell.tumblr.com
Rick Walker	http://www.looppool.info
Rinus Van Alebeek	http://rinusvanalebeek.wordpress.com
Roger Harmar	http://www.rogerharmar.net/
Ronald S. Shayler	http://www.myspace.com/thedeceptivethrush
Ronny Wærnes	http://www.ronnywaernes.com
Sawako Kato	http://www.sfc.keio.ac.jp/~t98259sk/sssss
Sjaak Overgaauw	http://premonitionfactory.com/
Sonoprint	http://www.sonoprint.com
Steve Burnett	http://www.subscapeannex.com/
Steven Guerrero	http://www.myspace.com/mesqua
stop children	http://www.droplift.org/home/stopchildren/music.html
Subscape Annex	http://www.subscapeannex.com
Sylvain Poitras	http://www.sylvainpoitras.com
The Common Viper	http://www.myspace.com/commonviper
The Quiet American	http://www.quietamerican.org
Tim Nelson	https://www.facebook.com/timothynelsonmusic
Todd Madson	http://pod.ath.cx/
Travis Weller	http://stableunstable.com
Walter Brühn	http://www.myspace.com/mcgrasrat