My name is Cico Beck and I’m living at the moment in Muenster.

I have got some music projects running. Mostly it’s Joasihno that’s on my mind. Joasihno is a one-man-live looping band. The music is orientated at some Icelandic bands – for example Múm – or very nice Canadian minimal musicians – for example Ian Hawgood. I always try to keep in mind to do very honest and open sound.

A very new music project is Mannamanó. A very nice cello-player, who studies with me, is looping his cello to my more electronic sounds. Long songs!

And I am also playing in a Indie-Pop band called Missent to Denmark. There I use my laptop and Xylosynth setup – but I also play guitar, piano,… and some more.

HARDWARE

I use just a quite simple very normal “terra” laptop. Nothing special at all – but I thought of making a banana sticker on it. My operating system is Windows XP and I am happy with that one.

My most important controller is my Xylosynth. It’s a MIDI-Xylophon built by a 4-headed company in Great Britain. They start to build it, when it’s ordered - and it’s hand built. A very nice and special thing.

To control the single tracks in the laptop I use a M-Audio UC33e. I’m quite happy with that. It allows me to program everything via MIDI what I need to.

To control the loops I use a Behringer FCB 1010. It’s well built and didn’t make any trouble by now.

My audio interface is a M-Audio Mobile Pre. It has just 2 Inputs, but that’s enough for me. I use live a Mic and a acoustic guitar that are pluged in a simple Behringer Mixer. Via the Main out I got into the audio interface.

The three MIDI controllers I use (Xylosynth, UC33e, FCB 1010) are connected with the M-Audio midisport 4×4.

SOFTWARE

For live-looping I use Ableton Live 7 LE. I am very happy with that system! Ableton is very easy to use and there are a million things possible. I just have problems with recording in Ableton. Not technical – but more psychological….i do not feel really free in Ableton…like always on time. There’s no really fluid recording possible for me.

PROCESS

Music creation is for me always very spontaneous. When I sit down and try to make new songs it doesn’t work. It comes quite immediately. If there is a new idea rising I play it very long (for hours?) in a loop. So for that I use Ableton. And then I try to record it as soon as possible to get it fixed. Also the final arrangement is made during the recording.

For the recording I use all instruments I can get! To get the songs finished I love to use some small things (like cups and glasses) as percussion instruments.

LIVE

Generally I try to be as near as possible at the recorded version of the song. Sometimes I have to stretch the song a little bit, because I have to loop each voice single. Some special sounds (beats, basses and small overdubs for example “children screaming”) are not looped, but just started in Ableton. I use my MIDI foot-controller (the FCB 1010) for starting the recording of loops (Audio or Midi), for stopping them and for starting or stopping some extraordinary (prepared) stuff.

DREAM SETUP

At the moment I am dreaming of a MIDI-Masterkeyboard with good keys. Some of my new songs are based on piano and it’s not very nice to play it live on my Xylosynth. And a bigger audio interface would by nice, so I can have a click on my earphones but not on the main output. That way I could loop patterns without having a “basic” pattern that is running all the time.

My name’s Bob, I make sort of quirky, experimental pop music as Zeal. I also make animated music videos for myself and others and I also VJ.

HARDWARE

I’m running a non-pro macbook with 4 gig of ram. I chose it because of its size and sort of lucked out because my particular model is really good for getting video out to various connectors. I also have a desktop PC running XP which I was using as a studio computer but now really just use for the things I need windows for like making max/msp standalones and winamp (i *hate* itunes).

As far as hardware goes, I’ve got a korg nanocontrol, korg nanokey, a few guitar hero axes and recently acquired a novation launchpad which may or may not make my nanokey redundant. I don’t use many outboard effects other than a yamaha DDS-20M delay pedal which i love to death and a roland space echo i love equally. All of that gets piped through my trusty Sennheiser HD25SP headphones and my new KRK RP8G2 monitors which sound glorious. Then there’s a pile of instruments - an old banjo, toy keyboard, couple of basses. I recently moved so had to leave behind a beautiful old ex-pianola piano and a pedal organ. I really love old instruments.

SOFTWARE

At the moment I’m mainly working in Ableton with a good deal of max/msp and max4live stuff thrown in there. Ableton just covers all the bases for me, from recording to performance. I also love working in MTV Music Generator 2 on the PS2. It has a little quirk where you can sample with a singstar mic and has out really great MPCish lofi quality. Before ableton I was working in Nuendo rewired to Reason which worked well too. Nuendo has an awesome timestretch. For video I’m running Modul8 but once max4live is more stable I’ll probably do all my VJ work in Ableton.

PROCESS

Writing and recording sort of blend into one process for me. I’ll tend to find a progression or something I like and start layering things on top until a song emerges. It’s a slooooow process and often leads nowhere. Every now and then I’ll start with a fairly complete song which tends to work better… maybe I should do that more often. I like to record all the instruments myself rather than relying on presets or sample banks. Although I am quite fond of the tweakbench plugins. The tricky thing with making music, for me, is knowing when to stop tinkering. It’s easy to overshoot and trying to back track never works. I’m big on lyrics too. I’ve got a little note book filled with little fragments and sentences that either come to me or I overhear and recontextualize. My upcoming album “With the Moon Alongside Racing Us Home” has quotes from all over the place scattered through out. I steal from Benny Hinn, The Simpsons, friends, anywhere I hear an interesting sentence or phrase.

For the album I also had a few guest musicians onboard. Mainly my friend and drummer/producer extraordinaire Jarrad Payne who can drum 10,000 times better than me and has the ears of a dog. I also have a choir that I solicited via email and facebook, sending them a two bar loop for them to record themselves over and email me back their takes. That actually worked out really well, I had a lot of non-singers and the varying quality of the recordings made for a really big sound.

Video is a much more straight forward process, I think because it’s right there in front of you, you can see it and point to it and if something’s out of place it’s more obvious. For music videos I usually listen to the song and piece together a rough storyboard. I often break it down into bars, beats and 16th notes and then set the frame rate to suit. That makes it easy to make things sync up tightly. Most of my work has been 2D stop motion using paper cutouts but more recently I’ve been experimenting with projection and pixelation (animating people). Using people is much faster than paper but you need patient talent. I find music videos are a great way to collaborate with bands I’m into.

LIVE

My live show’s centered around my macbook running Ableton controlled by a guitar hero controller using an app I wrote in max/msp called AXIS.

I break the tracks down into scenes which I can then navigate and trigger and then I have a soft synth or sampler running on a seperate midi channel to play with the guitar. I map effects to the guitar too to add another level of control. I also run an SM57 through my DDS-20M delay and have a melodica a nylon guitar nearby. I dig the SM57 because it doesn’t have the pop shield like the 58 so you can make use of breathing into and popping the mic. Although, you’ve got to be careful and attack it side-on when singing anything with too many plosives. I’ve intentionally kept my live rig light for simplicities sake and for ease of set up. Everything runs on batteries so I don’t need any stage power. It’s easy to soundcheck and then push to one side knowing everything will work when I bring it back out.

I’m working on getting video up and running with my set too. My guitar hero axe pumps out midi CCs which I can use to dynamically control both video and audio simultaneously. Max4live is still a bit too unstable for live use though. It’s getting better but I might need to wait for another update or two before bring out the big A/V guns.

DREAM SETUP

My dream live setup would probably involve a band… something I’m thinking of getting going in the near future. I need to find the right set of talented multi-instrumentalists first. It would also involve a whole lot of video cameras and a VJ on stage who’s not afraid of doing backing vocals.

As far as a dream studio goes, well something like Hans Zimmer’s studio would be amazing! But for the most part I don’t really see any need to bring it out of the bedroom. A couple of rooms in a nice sounding house is all you need these days. I’m also just as happy on a beanbag in front of the playstation!

my name is dino spiluttini and i am an ex-austrian who decided to move to germany in order to escape the dullness of my former everyday life in vienna.

right now i live in berlin, and yet have to wait and see if my plan is going to work. in the meantime i will continue working as a freelance graphic-and web-designer, musician, label owner and dj. luckily i make a living doing things i love. makes me feel like i’m aging very quickly and i could really use a vacation once in a while.

my main musical endeavor is being one half of the new-wave-indie-duo liger. whenever i’m sick of trying to make “important” music or compressing my stupid life into dark goth-lyrics, i fool around as one of my numerous other monikers such as yeah pretty boy (idm) or duran durandom (techno). oh, a also started playing the bass guitar in a yet to be named new wave band!

lately i have been working on a mostly piano based instrumental album, that will hopefully be released this year. i chose to use my real name for this, to emphasize its seriousness.

HARDWARE

i use a first generation macbook pro with tiger, and still did not see any reason why i should upgrade my operating system.

my audio interface used to be a digidesign mbox. 2 inputs are all i need at home. and i really used to be a total protools fanboy for years. unfortunately it stopped working some time ago, which also meant that i had to change from protools to another sequencer (due to protools’ stupid interface-based copy protection). so i switched to logic. and i love it. hooray!

when we record stuff with liger, we use my bandmate’s digidesign digi002 rack.

last year i engineered/recorded/mixed dust covered carpet’s (a very good band, you should check them out) latest album. i made them buy a focusrite liquid saffire 56 audio interface before i recorded them. what an amazing piece of equipment! i totally want one too. it’s not even that expensive.

i don’t really have that much outboard equipment. there are some acoustic instruments i play and record (with akg and rode microphones), electric guitars and basses and some cheap electronic gadgets i bought on ebay, like the yamaha rx17 drum computer.

all audio signals are routed through a behringer mixer. the mixer’s output goes to a pair of fostex pm-0.5 speakers. oh what a cheapskate i am.

the only midi controller i have is an alesis photon x25 keyboard, and i only use it live.

oh, i also had an alpha juno II synth. but i sold it when i got rid of all my belongings before i moved to germany.

SOFTWARE

as i already said: i was a protools fan once, and i laughed about any other sequencer. totally ridiculous, because i was actualy only using protools LE all the time. and ever since an engineer (who i really respect) told me that protools le has one of the worst audio engines of all sequencers, i felt really bad using it.

since i have switched to logic, i can see the major flaws of protools. like, only real time bouncing. seriously, protools currently is at version 8, and i still have to wait 5 minute for the mixdown of a 5 minute song? that doesn’t make any sense.

i also bought ableton live 6 some years ago. it’s very cool for sketches and performing live. i also beta tested ableton live 8, but i can’t afford the upgrade.

i don’t use many effect plugins at all. i really really love logic’s built in effects. the compressors and eqs are very good, and i don’t see why i should use 3rd party plugins. most of my sounddesign happens either before it goes into the computer, or simply with audio editing (cutting, timestretching…).

some years ago i composed some demo sounds for a native instruments plugin called “bandstand”. instead of money, they gave me some of their plugins. i use battery and kontakt all the time.

WORKFLOW

my creative flow is very much based on trial and error. most of the time it’s only error. it’s very associative. one thing leads to another until i eventually come up with something i like. this is the only way of knowing that something is finished. this is also the reason why i’m not very productive, quantity wise.

i’m very ambitious and demanding, i often destroy everything i have been creating for the last couple of hours because it does not reach the threshold of quality that i demand of myself. i only want to make the best possible things. i hate mediocrity. this can of course be very very frustrating and just adds to my general state of despair. but i also need this pressure in order to get creative.

i envy people that kept a natural, childish approach on their creativity. somewhere along the way i lost that. i don’t usualy associate being creative with fun or leisure. i rather see it as a means to inject some sense into my life. the technical side of my workflow is a little less dramatic :)

liger songs usually start in my head. little musical or lyrical phrases or even whole songs grow there. this can be really weird. for example: “split yourself lilith” from our last album literally haunted me in my sleep. i would regularily wake up from this repeating dream, which was the melodies and arrangement of this song. then i did what i usually do with my ideas: i tried to write the song on a guitar, and then arranged the whole thing on my computer.

my electronic-only stuff mostly starts with short loops in ableton live. i try to switch to arrangement view as early as possible, because otherwise i tend to get lost in dozens of single loops and eventually delete the whole thing because i lost my initial idea and get bored.

as yeah pretty boy i don’t loop any beat phrases. i want my beats to have some kind of momentum to them. i want them to swing back and forth, to be alive. that’s why i use a lot of ghost notes and pitch automation.

liger beats are the opposite. minimal and stiff. new wave-ish. i want every drumhit to be a statment. and this is actually way harder to achieve than the seemingly more complex idm beats.

LIVE

liger are only two guys, and there are only so many things that four hands and feet can play. so we have lot of playback on stage. we take our songs, mute everything we can play live (vocals, guitars, drums, harmonium, autoharp…) et voila: tasty playback. there’s no click track. gernot is the best drummer on this planet. he kind of is my click track. and he doesn’t need one. because he rules. we always hope that noone sees the display of our stage laptop, because we use itunes and this makes us feel very uncool. but it’s a fact: itunes is way more stable than any fancy sequencer software can ever be. of course the playback is our boss. there’s no space for spontanious changes in tempo or dynamics. but we’re very far away from being a jam band anyway.

ever since my mbox died, we use the macbook’s internal audio output, often resulting in being mocked by the live engineers.

when i play solo shows as liger, it is all stripped down. i play guitar and sing. the guitar and my yamaha rx17 drum computer are connected to a boss loop pedal. i decided to keep this very simple. on my last tour i had a lot of stuff on stage at the first gig. laptop, midi keyboard, a midi foot trigger pedal board, the loop pedal and a guitar. i totally fucked that gig up, because i was so overstrained. this was when i decided to go with the minimal setup that i described above.

my live setup as yeah pretty boy and duran durandom is very simple: macbook, alesis photon x25 keyboard (i only use the knobs and buttons to trigger and control effects) and ableton live. i prepare dozens of clips in live’s loop view and trigger and re-combine them. nothing fancy.

DREAM SETUP

i wish i had a silent and good sounding recording room. uh well, at the moment i don’t even have a place to live :)

my experience taught me that the quality of the room is actually more important than the quality of the microphone.

also, i want a laptop battery that lasts for at least 5 hours, no matter how much i torture my macbook with video and audio tasks. or at least power sockets in every german train and plane. and car.

i want a small portable device with the power of a laptop. with an interface that people other than anorectic dwarves can handle. i don’t know if the iphone is any good for sketching musical ideas and stuff, because i can’t afford one. is it good? damn i think i want one.

i’m not very creative when it comes to picturing my fictional dream setup. the things that i wish i had are pretty real and simple: better monitors, better audio interface, more and better microphones. that’s about it. now give me some money.

there is modular stuff like max/msp, where you can built your own custom software. i never really got into this spirit. i think that for every need there already is an existing piece of software. of course you have a very special relationship to your own self-coded looping device. but seriously. someone has done this before, and you can probably find it on the internet. download it and spend your precious time on making music instead of coding.

IMPLEMENTING ART is a new series of heavily nerdy interviews dealing with the technical side of music creation. if you are familiar to the urge of looking behind the artist’s laptop screens at concerts, you’ll understand. this is for us. I’ll ask some of my favorite electronic music artists about the SOFTWARE, HARDWARE and WORKFLOWS they use. it will get magical, that’s for sure …

after stumbling over the setup recently, i immediately wanted to do something similar with musicians … and here we go! :) if you are into web design or development you should definitely check them out, too.

we met TETSUYA FUKAGAWA, singer of ENVY in tokyo. in order to get around the language barrier we made up an interview based on visual tasks - actually we wanted to do a video interview but my video camera battery died after six minutes, so we switched to make a lot of photos. yoko held the interview in japanese language and made this translation:

THE ENVY “LINE”

“please describe envy’s development from the starting point by drawing a line.”

“oh, it’s an interesting request. ok.”

“well, this is the time when we got together. we were students in technical shool. so, at this time it was actually just a hobby for us. just for fun.”

“after few years, we got into the band more than before. more and more interesting people joined the community around the band.”

“we never got a lack of motivation towards envy from the beginning. at this time, we had the chance to give a concert at fuji rock festival. it was an  important point for us.”

“we were always evolving. but i don’t aim for more. i am satisfied if this stays at the same level in future. i think, the reason we never lost motivation for the band is because envy hasn’t always been the center of our life. of course it is very important for us, but it’s just one element. We have many things as important as the band, like families, friends, work … all those important elements in our lives are well balanced.”

THE TETSUYA FUKAGAWA “LINE”

“thank you so much. let’s move to your personal line.”

“alright!”

“well, i would start from a very low level. when i was born my energy was so low. i grew up with much much love. but when i was in kindergarden, i was very bored :)” “oh, already :)”

“i had a fun time at elementary school and middle school with nice friends. So my life line went up …”

“high school time was not a good time  for me … i got bad friends, wasted time for stupid things …”

“this is the time when i started envy. my life line went up again.”

“well, after i started envy, it was always developing like this!”

TETSUYA FUKAGAWA’ S WORLD

“if you had the chance to put clouds full of LOVE, SUN, MONEY, TRUTH somewhere on the world. where would you put it. let’s start with LOVE …”

“well….love..”

“to japan!” “why?” “because this is where i was born. i want to give love to my home.”

“MONEY…”

” to japan again!” “oh, i thought it would be on africa or other poor regions.” “well, i would like to support people in bad situations in my country … like homeless people.”

“SUN …. mmmmmh, what does this mean?” “sun means light.. you could e.g. put light where darkness is”

“ok … it’s difficult … well ….”

“on north korea and russia… i have a »dark« image of those countries … :)”

“TRUTH! on united states. i see so much lies existing in this country.”

“thank you!” “oh, this was an interesting interview with a new style of questions :)”

crew YOKO MIURA, BERND PLONTSCH shot in tokyo, 18.04.09

wir haben SCRAPS OF TAPE und TER HAAR bei dem endpilot-festival an einen tisch gesetzt und gegeneinander POST-ROCK QUARTETT spielen lassen :)

SHIPS FUNKEN vs. FROM MONUMENT TO MASSES * PLOKK vs. TORTOISE * CULT OF LUNA vs. GODSPEED! YOU BLACK EMPEROR * GIARDINI DI MIRÓ vs. AUDREY * MONO vs. SDNMT * PELICAN vs. GREGOR SAMSA * ENVY vs. THIS WILL DESTROY YOU * TER HAAR vs. SCRAPS OF TAPE * EXPLOSIONS IN THE SKY vs. MOGWAI * SIGUR ROS vs. MIUMI * SAVOY GRAND vs. ISIS * JENIFEREVER vs. SWITCHBLADE * NEUROSIS vs. 65DAYSOFSTATIC * LOGH vs. MOB * EF vs. DO MAKE SAY THINK

das quartett gibt’s übrigens zum download nach wie vor hier, ein zusätzliches kurzes interview (in kürze) hier auf fallen-legen.de. viel spaß!

crew BERND PLONTSCH, FLORIAN NAUMANN, REBECCA SCHWEIER aufgenommen in erfurt, 11.04.09

inspiriert durch kimio itozaki, der mit fotografierten stadtstrichen ganze pop-up bastelbücher füllt, war die adaption auf lieblingsbands längst überfällig. den anfang machen FROM MONUMENT TO MASSES, THIS WILL DESTROY YOU, SHIPS FUNKEN und PELICAN. hier das PDF zum herunterladen, ausdrucken, ausschneiden, aufstellen:

ANWENDUNGSMÖGLICHKEITEN

* pop-up-buch
* schreibtisch-gig
* band-mobilé
* …

zum erweitern wären neben weiteren bands jetzt noch objekt-sets denkbar mit verstärkern, locations/bühnenteilen, publikum, bäumen, etc. . mal sehen :)
viel spaß beim basteln!

die lösung, um von tapes, cds und anderen kleinen dingen schön weich beleuchtete und einfach freistellbare fotos zu machen heißt softbox. es ist ein lichtmäßig abgeschlossener kasten mit krummbiege/hohlkehre als boden und wänden aus halbtransparentem, lichtvermilchendem material und lässt sich mit erstaunlich wenig zeit und materialaufwand auch gut selber basteln.  

VORTEILE

* fotoobjekte mit extrem weichen schatten
* einheitlich farbige hintergrundfläche, erleichtert das freistellen
* weiche beleuchtung/keine überstrahlung

MATERIAL/KOSTEN

1x KARTON 40 x 40 x 40 cm - verpackungsmaterial aus dem baumarkt, kostenlos (einfach mal nachfragen)
1x schweres weißes PAPIER - DINA2 - 1,90 € (schreibwarenladen)
3x PAUSPAPIER DINA3 - 2,10 € (schreibwarenladen)
1x rolle PANZERTAPE - 7 € (rolle, sollte man aber auch so immer im haus haben, baumarkt)
1x stückchen KLETTVERSCHLUSS - 5,25 (1m, baumarkt)

GESAMT ~16,25 €

den klettverschluss habe ich benutzt, um die hohlkehre/den weißen boden an der rückseite der sofbox wieder abnehmbar anzubringen. zur beleuchtung benutze ich einen einfachen 300W baustrahler, der von rechts oben auf die softbox einstrahlt.

TESTFÄLLE

hier drei vergleichsbilder, um den effekt einer softbox im vergleich zu ohne-softbox grob einschätzen zu können.

1. Testfall - 300W Baustrahler von rechts oben, fernbedienung rechts weiß überstrahlt, starker schattenwurf

2. Testfall - 300W Baustrahler von rechts oben mit Frostfolie (halbtransparante hitzeresistente Folie aus der Videotechnik), gleichmäßigere beleuchtung, keine weiße überstrahlung mehr, nach wie vor intensiver schattenwurf

3. Testfall - Softbox (300W Baustrahler von außen, rechts oben), gleichmäßige beleuchtung, weicher schattenfall, keine überstrahlung, komplett einfarbige hintergrundfläche

gute grundlage für den bau ist auch die anleitung auf “strobist”. meine ersten mit hilfe der softbox angefertigten fotos können hier bei den tapes begutachtet werden.

will man t-shirts in miniauflage, so um die 10 stück machen, kommt siebdruck auf den ersten blick eigentlich nicht in frage. dafür scheinen aufwand und kosten unverhältnismäßig zu sein. zumindest zweiteres stellt sich bei genauerem hinsehen jedoch als überschaubar heraus. hier meine erfahrung vom druck der ersten ships funken band-shirts …

ENTWURF

* vorne, scribble (danke katha, kombe.net!) + bandname
* hinten, eins von 3 ausgewählten songzitaten (”everything. everything?”, “fear the past”, “let’s share some secrets …”)

WERKZEUGE

* sieb
* spachtel
* plexiglas zum fixieren
* haushaltshandschuhe
* kartons als unterlage

VERBRAUCHSMATERIAL

* diazo sensitizer
* photoemulsion (”aktivierte” photoemulsion hält ca. 6 monate)
* farbe
* bleichmittel zum säubern des siebs
* eisstil aus holz zum farbe auftragen

1. MOTIV DRUCKEN, auf normale overheadfolie, einfarbig mit laser- oder tintenstrahldrucker. der schwarze druck kommt auf der folie in der regel leider nicht ganz deckend an, was jedoch beim belichten wichtig ist. um die deckkraft zu erhöhen habe ich folien doppelt gedruckt und beim belichten (kommt später) übereinandergelegt.

2. SIEB BESCHICHTEN. siebbeschichtung mischen:  kleines fläschchen mit ”diazo sensitizer”-pulver halb mit wasser füllen, gut durchschütteln. fläschchen in photoemulsion kippen, verrühren, 2 stunden stehen lassen. dadurch wird die emulsion aktiviert und ist nun lichtempfindlich.

sieb beschichten, in dem es dünn von vorne und hinten mit photoemulsion bespachtelt wird. die siebfläche muss komplett verschlossen sein, aber nur hauchdünn. emulsionsreste zurück in den behälter. ab jetzt bis zur belichtung sollte darauf geachtet werden, das sieb in möglichst weitgehender dunkelheit zu behandeln, um eine ungewollte belichtung zu verhindern. um trotzdem nicht ganz im dunkeln zu bleiben, kann man spezielle uv-lampen oder einfach eine sehr schwache beleuchtung nutzen. in meinem fall hat ein einfaches teelicht noch gut funktioniert.

sieb an einen dunklen, möglichst kühlen ort bringen und trocknen lassen. der vorgang kann mit einem ventilator beschleunigt werden. das trocknen dauert auf diese weise ca. 1 stunde. das sieb muss nun innerhalb von 2 tagen belichtet werden.

3. SIEB BELICHTEN. folie aussen auf das sieb legen (schrift sollte von innen richtig herum lesbar sein) und fixieren, zb mit einem darüber gelegten stück plexiglas. zum belichten habe ich einen kleinen 150W baustrahler in 60cm abstand über das sieb gehängt und ca. 35 minuten gestrahlt. dadurch verhärten die belichteten stellen auf dem sieb, während das duch die bedruckte folie beschattete motiv auswaschbar bleibt.

nach der belichtungsphase folie entfernen. noch sieht man von dem motiv nichts. es taucht auf, sobald man das sieb mit wasser besprüht. hab ich in meinem fall mit einem normalen duschkopf gemacht. durch den wasserdruck wird das motiv freigelegt.

4. DRUCKEN! sieb auf zu bedruckende fläche, zb shirt, legen. fixieren (im besten fall drückt ein helfer das sieb auf den stoff). eine linie farbe mit einem eisstiel oder löffel auftragen. nicht zu viel, sonst “verstopft” das sieb sehr schnell. schaber im 45° winkel auf die farbe setzen und über dem motiv abziehen. hin und wenn nötig auch wieder zurück.

5. FERTIG! übrig gebliebene farbe zurück in die dose. sieb mit kühlem wasser waschen. das t-shirts nach dem trocknen von der gegenseite kurz bügeln.

6. SIEB WIEDERBENUTZEN? das belichtete sieb ist nur eine begrenzte zeit haltbar, kann jedoch für weitere belichtungen wiederverwendet werden. zum reinigen mit küchen/klopapier eine fläche über dem sieb erstellen, mische aus halb bleichmittel/halb wasser drüber kippen, einwirken lassen. wenn die emulsion weich wird, mit einer bürste säubern. wie auch immer, die beschichtung muss da wieder runter, dann kann es von vorne los gehen.

ERFAHRUNG VS. MASSENPRODUKTION

hauptproblem erscheint mir die schnelle verstopfung des siebs zu sein. mit mehr erfahrung beim farbe abstreichen lässt sich hier sicher noch eine verbesserung erzielen, bislang muss ich jedoch  nach ca. 4 mal drucken das sieb waschen, damit die feinen strukturen in der schrift lesbar bleiben. waschen + trocken bedeuten immer eine unterbrechung von ca. 1 stunde und damit wird eine größere produktionsmenge auch schon ziemlich nervig/unmöglich. über tipps wäre ich natürlich dankbar.

[korrektur] bin jetzt einen schritt weiter: geachtet werden sollte auch auf die luftfeuchtigkeit im arbeitsraum (direkt neben der voll aufgedrehten heizung drucken = schlecht). die feuchtigkeit lässt sich auch unterstützen indem immer mal wieder mit einem wassersprüher das sieb ganz leicht befeuchet. und schließlich das wichtigste - das sieb sollte immer geflutet (=mit farbe gefüllt) bleiben auch wenn gerade nicht gedruckt wird bzw. der nächste druck vorbereitet wird. das hat bei mir die wiederbenutzbarkeit des siebs stark erhöht.

bei interesse an dem thema, kann ich noch folgenden schön bebilderten bericht empfehlen. weitere fotos von meiner siebdruck-session gibt es an gewohntem ort.

GEDANKEN

will man t-shirts selber machen und schreckt vor der nötigen investition und vergleichsweise großem zeitaufwand nicht zurück, sollte man siebdrucken eigentlich gleich mal als wochenend-projekt einplanen. das druck-ergebnis ist einwandfrei, haltbar und das gefühl sein eigenes fertig belichtetes sieb in händen zu halten absolut großartig!

whattookyousolong? anlässlich einer von gentlemen rec initiierten konzertreihe (konzert = album komplett gespielt), haben sich chewy im winter ‘07 noch einmal zusammen gefunden. wir hatten das leider fast verloren geglaubte vergnügen mit greg über gegenwart, vergangenheit und zukunft von chewy zu sprechen. chewy, we miss you! (c’mon … !!)

00:23 what’s paying the rent right now?
01:19 after the break-up
02:49 reunion!(?)
04:19 songs as communication
04:54 interest of band members in lyrics
05:37 other music projects
07:25 the evolution of chewy
(08:55 pssst…. top-secret thing)
09:19 bright future

das interview wurde mit stereo-kamera aufgenommen und kann ohne weitere hilfsmittel in 3D betrachtet werden. dazu ist es lediglich nötig sich das bild aus kurzer entfernung mit einer mischung aus schielen und durch den bildschirm starren anzuschauen. alternativ kann auch eine trennfläche genutzt werden um das bild für das linke und rechte auge zu trennen. eine anleitung gibt’s auch bei den kollegen von hulger.tv hier.

crew BERND PLONTSCH, FLORENCE SCHMIDT aufgenommen in luzern, 24.11.07