ok, this is the text section... the reviews of some of my soundworks...
aufabwegen
STEFAN FUNCK/TBC Demar/Sediment LP
A nice blend of organic sounds, noisier moments and some splashes of ambience. Comes in handmade cover.
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mvinfo/lifejournal
TBC/STEFAN FUNCK "Sediment/Demar" LP (WP08)
Один из последних релизов Wachsender Prozess - сплит-альбом Томаса Бека и Штефана Функа - немецкого художника и композитора, известного по сотрудничеству с лэйблом Gruenrekorder. Музыка, представленная на альбоме - это милый сердцу редуктивный минимализм, коллекционирование микроскопических звуковых событий, взятых из реальной жизни, а точнее - из неживой природы (больше всего в этом жанре прославился американец Джон Хьюдек). Лимитированное издание в обложке из старых обоев, различных для каждой копии, тираж - 500 копий.
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wormshop.nl
Funck, Stefan / TBC Demar / Sediment Own (LP)
Split LP. Fascinating sounds in handpainted (watercolor) sleeves. Each sleeve is different! Funck mixes synth sounds, soft drones & subtle acoustic environments into a dreamlike piece. TBC gives us 4 pieces of a rougher texture, with quite startling motoric & machine-like sounds.
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earlabs.org
Heizung Raum 318
This is one of the latest releases at 1000 fuessler, and in contrast to most other 1000 fuesslers not a 3" cdr but a full blown cd. It's a compilation of recordings by Asmus Tietchens, Nicolai Stephan, Stefan Funck and Gregory Buettner. The central theme is the noise that is produced by the boiler of the building in which all of the contributors have their studio. It appears to make funny sounds, which is testified by the original recordings that is included in the final track of this CD. The original is a combination of flute tones (caused by the resistance of the water flow in the heating
pipes), softly running water and recording noise. By altering the flow of the water (for instance by opening a valve of a radiator) the flute sound changes. It's difficult material as nothing much happens other than the slightly changing sounds of the flow. A challenge for these composers.
The real creative stuff starts off with 2 compositions/versions by Stefan Funck. The first (version Paris-Dakar) is a rather rough noisy base that carries a distant version of the flute tones. Resulting in fluttering basses (there go my speakers!) juxtaposed by the higher pitched flutes in reverb. The second composition (version Hare) starts with a nice soft bass flow (flute tones slowed down). This works quite nicely and is much more subtle. Funck allows snippets of the original sound to play a role in this composition too. This is good stuff!
Then Gregory Buettner presents a 15+ minutes lasting composition. Buettner clearly dissected his original
material and presents the different material in new setting. This is an adventurous setup. Because there are few 'landmarks' in the composition is becomes sort of ambient. The structure is circular. This could be looped
endlessly and I guess that is what Buettner wants to express. The heating system does basically the same, but Buettner does a much better job.
Next in line is the most famous and most experienced of the team, Asmus Tietchens.
Tietchens presents a much clearer structured piece. Building from the most distinctive aspect of the original, the flute tones he sets out to slowly build up a first part of this composition. By looping and enriching the
harmonies of the flute tones he works towards a first peak at 6 minutes. Then the flutes are enveloped in noise and reverb. At 7 minutes Tietchens then starts playing with the few more discrete changes in the original.
Looping is the name of the game but it is combined with the original flute tones again thus adding to the listening fun. A clever composition that remains entertaining until the end at +10 minutes.
Nicolai Stephan seems to offer a conceptual work, where loops of the slightly edited original are
submitted to a regime of sudden changes in volume. The second half of the composition starts as nothing more than a faster version of the first, slowing down by the end.
Number 6 is by Stefan Funck. A first 1.5 minute blast off at the beginning is followed by a much more subtle, almost
instrumental, approach at the different tones that are produced in the original recording. Too bad that after a minute or so, Funck reverts to looping and droning again. This small interlude was quite promising. The
rest of the composition is not bad at all. So cut out the first 1.5 minutes and we have a good work at hand.
The final piece is a 22 seconds lasting blow pipe solo by Funck again.
The net result of this compilation is positive. It's interesting to see how each composer attacks the auditive
nuisance that they experience each time they are working in this building..
Jos Smolders / earlabs.org, 9/9/2007
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sonhors.free
Heizung raum 318 :: Various :: 1000füssler :: 2007
La nostalgie des ronflements... La salle (Raum) n°318 est celle où Asmus Tietchens enseigne
la musique à l'université de Science appliquée de Hambourg et "Heizung" signifie chauffage en allemand : tout est dit (ou presque) dans le titre du disque ! Asmus Tietchens et ses trois comparses, alchimistes sonores (qui
ont également fréquenté cette pièce n°318 au cours des dernières années) ont donc enregistré les sifflements, bourdonnements et autres gémissements du radiateur de cette pièce (cf visuel ci contre) afin de les incorporer dans
les créations sonores figurant sur cet opus. La piste n°8 comporte la source sonore, matière première de ces réalisations, qu'il est d'ailleurs souhaitable de se saisir en tout premier lieu afin de mieux se rendre compte
de l'étendue du travail de composition... Sept approches différentes donnent vie à sept créations singulières, bien éloignées d'un sentiment de lassitude vers lequel pourrait tendre un tel projet !
Résolument basé sur l'expérimentation, l'opus de ces quatre compositeurs allemands (Stefan Funck, Gregory Buttner, Asmus Tietchens et Nicolai Stephan) évoque inévitablement des souvenirs enfouis dans notre inconscient
: souvenez-vous de ces nuits d'insomnie passées dans votre minuscule studio où depuis votre lit vous étiez aux premières loges pour écouter les cylces sonores imparables d'un frigo et de son éternelle symphonie musicale
répétitive.
"Il faut rompre à tout prix ce cercle restreint de sons purs et conquérir la variété infinie des sons-bruits" disait un certain Luigi Russolo dans les années 1910...
http://sonhors.free.fr/kronik/Heizung_raum_318.htm
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touchingextremes
NICOLAI STEPHAN / ASMUS TIETCHENS / STEFAN FUNCK / GREGORY BUTTNER - Heizung
Raum 318 (1000Fussler)
Here is something interesting, an idea that probably other artists have tried to put at work but certainly not with the depth and musical sense perceivable in this CD. It deals with the effects of a malfunctioning heating system in the room (that¹s right, the 318) where the four participants have been meeting once a week for a long time to perform. As
the apparatus in question not only doesn't work properly, but it even whistles (!), what's better than bringing on a microphone and record a few of these disturbances? On top of that, it looks like the different radiators
influence their respective behaviours, thus a series of different combinations are obtained through the sheer rotation of selected knobs. The parties created seven tracks from these noises (whose original essence can
be heard in the eighth and final track), their solid basis as sonic designers helpful to develop structures that make good use of cyclical creaks similar to feedback, low-frequency lamentations, purring drones and
menacing reverberations. A subtle energy is released from a living organism that, undergoing various types of stimuli, reacts in ways that could be predictable or less. What's striking since the very first listen is the
peculiar elegance of these sounds, which seem to spring out of a single mind (it must be told that Asmus Tietchens is an obvious reference in this kind of treatment, and not just because he's involved). It all feels like a
reassuring presence, whirring whispers and on-and-off pulses whose timbral qualities explicit the soul of what is usually just a cold room, which is also the detached testimony of many years of almost clandestine
manipulations by a bunch of forward-minded musicians.
Massimo Ricci
www.touchingextremes.org
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whiteline - heizung raum 318
In a futile attempt at defining my particularly oblique taste in the sonic arts, my wife often (disparagingly) classifies it as "fridge sounds". Naturally, I take this as the unintended compliment that it inevitably is, and continue to trawl the netherworld of experimentalism for all things rare and unique.
Imagine my delight then, at the appearance on my doormat, of the latest release from German sonic art label, 1000 fussler. A truly astounding piece of work from a cluster of artists, amongst whom appears the towering figure of Asmus Tietchens, with a cluster of conspirators in the form of Nicolai Stephan, Stefan Funck, and Gregory Buttner. "Fridge sounds" these are not - in fact the source material for these extraordinary recordings comes from a highly dysfunctional radiator system in the mysterious "room 318″, frequented by all of the aforementioned artists over the last few years. Realising the sonic potential for this failing system, the group have set about recording the radiators (which do not heat up) with an ambient room microphone, and in the process capture all of the twitches and idiosyncracies yielded by a man made system that has seen better days. Apart from anything else, these radiators whistle…they hum, groan, glitch and strain, much to the delight of Messrs Stephan, Buttner, Funck, and Tietchens, a collective of sonic alchemists who have at last transformed metal into sonic gold.Each artist takes the source material (exampled in the final track; and I would highly recommend you listen to this piece first), and processes it further, transforming each segment into a soundscape. In the main, these treatments are subtle and minimal, and each artists' aesthetic is one of restraint; nothing here is overblown, or overworked, and the source material is always transparent and constantly present. Stefan Funck handles the first two pieces, "version paris dakar", and "version hare", both pieces are spare and engimatic, the former with an overdriven swathe of tones that sounds very much like early Pita, and the latter a warm, rich tone scape, peppered with high pitched tones, and the slightly clanky, metallic harmonic overtones yielded by the radiator body. Gregory Buttner tackles the third piece with an equally spare dynamic that sounds like early tapeloop experimentalism. Tietchens capably handles the fourth piece,"Keine Warme" with ten minutes of more atmospheric work, taking the ambience of the system into consideration, and creating something more of akin to a composition from the source material. Tietchens has also experimented with water basins being contact miked on his infamous "Seuchengebeite" CD, recently re-released by Die Stadt.
Nicolai Stephan takes the fifth track into glitch territory, sampling and splicing the source material, re-mapping it's original co-ordinates to create a deconstructionist piece that falters and fluctuates, like water sizzling over hot steel, the high point of the whole collection for me.
Funck takes the last remaining two tracks using noise elements teetering into feedback, followed by "version almohl" a 22 second howler. It is arguable that the source material should have been mentioned in this collection of pieces, as radiator sounds are hardly a high concept, but this is also the strength of the work, that something unique and startling can be extracted from the everyday, and the apparently mundane. The Hafler Trio and Sons of God did something similar on "Resurrection", bringing onto a live stage a range of "instruments" in the form of baths, gas cookers, saucepans and several other domestic appliances in a conceptually provocative piece of dadaism. Heizung Raum 318 is less of a provocation than a beautifully handled work of art…move over Stephen Mc Greevy..the days of VLF sounds of lightning are over..bring on the radiator! Buy it now.
BGN - whiteline1 may 2007
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stefan funck 'tau'
The Wire / UK
Sound artist Stefan Funck created the 21 minute Tau from field recordings of melting ice and the clatter of icy twigs and branches while tramping across the North German countryside in the winter of 2003. The first, 'natural' part features the splicing and overlaying of these sounds, which amass and frost like legions of whispering furies. The second part sees the sampled material fed into a computer, which spits out a series of intriguing permutations and multiplications of original recordings.
David Stubbs, The Wire, Issue 253
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Vital Weekly / Netherlands
The (..) solo release, by Stefan Funck, is (..) more audible and entirely based on field recordings. Recordings of water (rain? melting ice? drain system) form the basis of this recording, which seems to undergo some computerized manipulations. 'Tau' is divided in two parts. The first one is the field recording with hardly no processing and in the second part of the composition, things are unmistakenly based on the field recordings but totally transformed by computer treatments. An interesting piece, which shows an influence of Asmus Tietchens.
Frans de Ward / Vital Weekly 459
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DE:BUG / Germany
Stefan Funck - Tau (1000Füssler)
Ein zwanzigminütiger Track aus digitalem Knistern und klar, man mag denken, das ist halt so wenn sich jemand lange in seinem Rechner begräbt, das Ausgangsmaterial dieser EP (3" CD) aber ist viel eher Landschaft, Field Recording. Knistern von Draussen, das so internalisiert digital klingt, aber dennoch - ohne dass wir jetzt irgendwie an eine mystische Übertragung glauben wollen - eine Stimmung erzeugt die sehr landschaftlich überwältigend ist. Sehr schönes Release.
bleed •••• / DE:BUG 03/05
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Bad Alchemy / Germany
STEFAN FUNCK lässt es auf tau (1000füssler 002, 3"mCD) knisternd und bitzelnd ‚regnen' oder ‚tauen', mit einem Vorhang aus dickeren, aleatorisch platschenden Tropfen im Vordergrund und dahinter einem Sprühen, das so wenig monoton ist, dass man es für O-Ton halten könnte. Nach 10 Minuten wird der Regen transformiert in eine Art verzerrtes elektronisches Flüstern mit leicht metallischem Beigeschmack. Nach weiteren 5 Minuten verdichtet sich das zirpende Gewisper in durchs Bild huschende Streifen, metalloide Drones, die mit sirrendem Dopplereffekt vorüber rauschen.
Rigo Dittmann / Bad Alchemy 46
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Szene Hamburg / Germany
Stefan Funck sammelte für "Tau" allerlei Sounds, die die norddeutsche Tiefeben in frühen Morgenstunden produziert. Den Klang von klirrender Kälte und Wasser in verschiedenen Aggregatzuständen hat Funck nachträglich am Computer bearbeitet. Vorsicht: Wer den Tip auf dem Front-Cover ("Headphones suggested") beherzigen möchte, sollte für alle Fälle eine Hand am Volume-Regler lassen.
Michele Avantario / Szene Hamburg 05/2005
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Quietnoise / Austria
Bei Stefan Funck und seinen ‚Tau' betitelten Naturaufnahmen vom Frühling und dem damit einhergehenden Verschwinden des Schnees: große Augen (Ohren). Klangmikroskopie; das was sich nur allzu leicht der Sinneswahrnehmung entzieht, hörbar gemacht. Helle, klare Bruchstücke von Schnee, Schmelzen, Frühling. Faszinierendes (Grollen, Knacken, Tropfen, Rauschen), in das ich, dem Aufdruck »Headphones suggested« am Cover in blindem Gehorsam Folge leistend, hier durch Kopfhörer ganz abgeschottet, abtauchen kann, mich verlieren, einem Klangmikrokosmonauten gleich.
Um den ganzen 1000fuessler-Artikel zu lesen gehe zu >> www.quietnoise.org
Tobias Bolt / Quietnoise 2005-07-30
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IEM / Russia
Stefan Funck is german painter and musician, known for his collaboration with Thomas Beck (their LP was released by Wachsender Prozess) and Gruenrekorder label. His music is very heartfelt reductive minimalism, collecting microscopic events from the real life of inorganic nature. The most celebrated works on this approach comes from John Hudak, but Stefan goes even further. This mini-album, released on 3" black-CDr, is the result of studio processing of his diary from the northern Germany trip. The music evolves in very evocative way, it's really like the snowflake dancing on the wind. You can just meditate on it, regardless how long the life is (here it's 21 minutes long).
Dmitry Vasilyev / Independent Electronic Music
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dronerecords / Germany:
STEFAN FUNCK hat hier wunderbare field - Mikrosounds aufgenommen... dabei entstanden geheimnisvolle, kalte Natur-Fliess-Sounds.... TIP !
dronerecords (catalog description)
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freemusic / Czech
Druhý počin vydavatelství už leží pouze na Stefanových bedrech. Tuto zimu měl zřejmě mimořádné žně, neboť jeho oblíbeným koníčkem je sběr zvuků ze zasněžených plání severního Německa. První část kompozice je jen minimálně upravována a my se v teple můžeme oddat pocitům pomalého zapadávaní sněhem či moknutí za doprovodu jemných zvuků, které pouze podtrhují meditativnost přírody onoho místa i času. Ve druhé části jsou vstupní ingredience nataženy do počítače a podrobeny důkladné úpravě. Původní materiál pozvolna mění své vlastnosti, získává nepřirozený dozvuk, elektroničtěji vypadající kabátek. Postupně je jeden zvuk natažen do neuvěřitelných rozměrů, zkroucen, přehnut přes několik rohů a promotán s dalšími. Asi nejsem daleko od pravdy, když samotný proces s nashromážděnými zvuky i výsledný tvar přirovnám k řadě prací Asmuse Tietchense. Skladba pomalu utichá, ale mi už jsme na míle daleko od místa, kde jsme původně byli...
Pavel Zelinka / freemusic 2006-04-06
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für diesen abend
Vital Weekly / Netherlands
gregory büttner - 3/1
stefan funck -'tau'
für diesen abend
Elsewhere we review a 3"CD by Asmus Tietchens on the Tausend Fuessler label. They have also three CDR releases available, which are connected to eachother. Für Diese Abend is a duo of Stefan Funck and Gregory Büttner, both from Hamburg and they have a release together aswell as one solo.
Gregory Büttner's solo release has three pieces, which seem to me connected to eachother and which are best described as ambient music. A far away sound - maybe the wind licking the permafrost - almost hidden in your speakers have a dark and glacier like feel. Looking outside at the same time, and seeing the little bit snow, this music sort of perfectely matches the season. The best reference to this would be the early Thomas Köner music.
The other solo release, by Stefan Funck, is much more audible and entirely based on field recordings. Recordings of water (rain? melting ice? drain system) form the basis of this recording, which seems to undergo some computerized manipulations. 'Tau' is divided in two parts. The first one is the field recording with hardly no processing and in the second part of the composition, things are unmistakenly based on the field recordings but totally transformed by computer treatments. An interesting piece, which shows an influence of Asmus Tietchens.
So how does this work out for the duo? Although a band, they work seperately, at home, on processing sounds from glitches, field recordings, electronics and such like, which somewhere along the lines gets joined together, don't ask me how and where. When I played this CDR, with one piece for thirty minutes, I couldn't resist to think of the solo works. Both interests, Büttner's ambient and Funck's microsounding processings are both present in this music. The basis is drawn upon lenghty stretches of ambientesque sound and on top small, microscopic variations by Funck. These sounds move along the well-known structures of microsound, but lucikly enough they have enough of their own to be interesting. The dynamics of the whole stays maybe a bit too much on similar grounds, but throughout it's an enjoyable release for sure.
Frans de Ward / Vital Weekly 459
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Bad Alchemy / Germany
Büttner & Funck operieren mit Rechnern, Samples und Fieldrecordings, wobei Büttner zu ambienten Flächen und Linien neigt und Funck zu Mikrosounds. Neben der Gemeinschaftsarbeit Für Diesen Abend (1000füssler 001, CD-R) gibt nämlich Funck ein solistisches Statement ab mit tau und Büttner mit "3/1, so dass sich die individuellen Neigungen studieren lassen und das Äquilibrium ihrer Fusion. Mir spielt der Zufall den Streich, dass während ich dem Cinema pour l'oreille von Für diesen Abend lausche die Glocken der Adalberokirche einsetzen, was ich aber erst nach mehreren Sekunden als Einbruch meiner Wirklichkeit in die Hamburger Virtualität erkenne. Der zarte Soundscape lockt derart subtil, sich darin zu verlieren, dass ‚drinnen' und ‚draußen' verwischen. Dabei genügen FÜR DIESEN ABEND wenige und selten konkrete Andeutungen, um einen Raum auszufalten, der seine Eigenzeit mit sich führt. Ein Drone zeichnet eine weiche Horizontlinie, teilt damit ‚oben' und ‚unten', ‚fern' und ‚nah'. Clicks, Glitches und pointillistische Pfeiftöne ‚beleben' den Vordergrund mit Mikrophänomenen. Die Impressionen wirken wie hingetupfte Aquarells, wie ein Windspiel in einer schwachen Brise. Nach 10 Minuten frischt der ‚Wind' auf, lässt Blätter aufrauschen, während im Hintergrund ein dunkles Rumoren einsetzt, als ob sich schwere Gegenstände verschöben. Eine schwingende Welle schwänzelt durchs ‚Bild', überstäubt von kristallinem Gefunkel und einem metallischen Klappern. Das Rumoren verzieht sich, die knispelnden und knarrenden Details zeichnen sich auf der leeren Folie noch plastischer ab. Aus der Beinahestille schält sich über einem ganz dunklen, sehr langsamen Puls ein sirrender Drone, der sich flatternd anraut und allmählich wegtriftet, während Vögel wie echt piepsen und fein punktierte Linien ein Und-so-weiter andeuten....
Rigo Dittmann / Bad Alchemy 46
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Quietnoise / Austria
Zu einer zeitweise unerwartet humorvollen Angelegenheit gerät das Aufeinandertreffen von Funck und Büttner auf ‚Für diesen Abend'. Das Zusammenspiel wirkt entspannt, die beiden Musiker lassen einander Raum und Zeit, stellen ihre Arbeitsergebnisse sich gegenseitig und dem Publikum vor. Die improvisierte Versiertheit im Umgang miteinander liegt wohl nicht zuletzt daran, dass diese Abende öfter stattfinden. Und fast schon kammermusikalisch fließen hier eine ganz wunderbare halbe Stunde lang die Soundteppiche an der Schnittstelle von Field Recordings und minimaler Elektronik ineinander.
Um den ganzen 1000fuessler-Artikel zu lesen gehe zu >> www.quietnoise.org
Tobias Bolt / Quietnoise 2005-07-30
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freemusic / Czech
V roce 2003 vykoplo vydavatelství Tausend Füssler EPčkem dvojice z Hamburku Stefan Funck a Gregory Büttner. Už název kapely "pro dnešní večer" naznačuje, že půjde o společné improvizační dýchánky. Vykolíkované hudební území stojí na úhorech ambientu a elektro-akustické improvizace s field recordingds, samply a čistou elektronikou. Sama kapela razí pro svojí hudbu heslo "biják pro vaše uši" a musím souhlasit, že něco na tom bude. Během třiceti minut se projdeme barevným elektro-akustickým slabikářem o několika kapitolách. Podrobněji se zastavíme především u těch, které se soustřeďují na tišší varianty žánru. Během poslechu začínáme sledovat pohyby smítka na stole nebo pavouka v rohu bytu. Mikropříběhy, jež za normálních okolností naší pozornost nepřitáhnou, zde získávají svojí důležitost. Tu vzpomeneme na přírodního lovce BN Nilsena či Dronaement, jindy zasedneme do laboratoře s Ryoji Ikedou a Biosphere zároveň. Solidní výkop!.
Pavel Zelinka / freemusic 2006-04-06
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dronerecords / Germany
nice drone-layers & abstract floating soundscapes, always moving to some invisible point that disappears like a hallucination.. recommended !!
dronerecords (catalog description)
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01 Vital Weekly
GRUENREKORDER AUDIOART COMPILATION 03 (compilation CD by Gruenrekorder)
Germany's Gruenrekorder label releases many CDRs, all dealing with 'experimental' music in it's wide variety of forms. Field recordings play an important role, but also electronics, improvisation and sound poetry. Every once in a while they release 'real' CDs, usually compilations, filled with their roster. As such 'Audioart Compilation 03' is nothing new under the sun. Costa Grühn, Lasse-Marc Riek, Stefan Funck, Gran Ou Lee, Etzin, Suspicion Breeds Confidence: they are all names we heard before, on 'Audioart Compilation 02' and the variety works well here again: from the engine of a car to a techno like song, and more adventurous forms of electronica: they are all there. It's almost like a nice experimental radio show, except that there is no talking in between. But perhaps after the introduction from before, you could wonder why they need to be introduced again? Most remarkable, and perhaps one of the few non-German contributions is the one by Anthea Caddy and Thembi Soddell. (FdW)
>> http://www.vitalweekly.net/557.html
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02 textura | Ron Schepper
VA: Audio Art Compilation 03 - Gruenrekorder
Gruenrekorder's compilation features soundscapes from India, Australia, Spain, the UK, and primarily Germany. Inhabiting one end of the spectrum are relatively 'pure' field recordings (Budhaditya Chattopadhyay, Lasse-Marc Riek) which build arrangements from 'real' sounds (water ripples, birds, chanting voices, boat creaks, wind), the extreme case etzin/riek's "under the bonnet," four minutes of engine car noise recorded at the Autobahnraststätte; at the other end are more conventionally musical pieces which stand out all the more for being fewer in number. The prettiest is music for one's live electric guitar setting, "Beginnings With No Ends," where simple motifs and swooping arcs turn hypnotic as they grow in number. Compelling too is UK cellist Bela Emerson's "Subaqua" whose loops and effects generate swirling, kinetic rhythms that at times verge on country-techno. Ranging further beyond are Suspicion Breeds Confidence's "Meriten der Begeisterungsresistenz," a slow-moving exercise in psychedelic post-rock, and Martin Moritz's "Mitsubishi," an anomalous sampling of bleepy techno sputter. More representative of the collection are pieces that straddle multiple realms: Stefan Funck's eerie, multi-layered dreamscape "NachtLKw," Brandstifter's "Rauschgiftengelloops," which drowns blurry choral voices in ambient noise, and "plait" by Australian sound artists Anthea Caddy and Thembi Soddell which layers violent cello scrapes over a nearly inaudible base. AudioArt Compilation 03 offers a good representation, then, of soundscape-related activity dedicated to exploring the 'musicality of natural sound' though now might be as good a time as any to suggest a moratorium on bird and water sounds.
January 2007
>> http://www.textura.org/reviews/audioart3.htm
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