This is the official website of the musician, sound engineer, DJ, composer & producer for film & media Ingo Vogelmann. No MySpace, Fuckbook or whatever ... this is a real real deal.
Below this welcome message and the (very important) ads you find Ingo's (multilangual) Blog posts. Also explore the internal pages and (masses of) good stuff in the sidebars to the right and have a nice stay!
Here’s the fourth edition of free vTunes. Notice that this links work for 24 hours. After this the links don’t work anymore! You can download each link 3 times within that 24 hours:
1. Your use of the music is conditioned upon your prior acceptance of the terms of this agreement.
2. Play and listen to this music wherever, whenever you want, as long as its a non-commercial affair. If you want to use it for film, TV or advertising, you have to ask L2 Music Ltd. for the permission (license) to do so!
3. Burn or copy it the way you think it’s okay.
4. Don’t sell it. Then it’s better to share it on P2P.
Today I recorded a promo set for the artist section of the Jetlag Digital website. I selected many brand new tunes and mixed it with just a few of my favourites of the past - let’s say - 2 years. The 3 hours set will be available for download at the Jetlag site very soon, but before ‘Legend’(1) will be released.
Here’s the third edition of free vTunes. Notice that this links work for 24 hours. After this the links don’t work anymore! You can download each link 3 times within that 24 hours:
1. Your use of the music is conditioned upon your prior acceptance of the terms of this agreement.
2. Play and listen to this music wherever, whenever you want, as long as its a non-commercial affair. If you want to use it for film, TV or advertising, you have to ask L2 Music Ltd. for the permission (license) to do so!
3. Burn or copy it the way you think it’s okay.
4. Don’t sell it. Then it’s better to share it on P2P.
Die veränderte Situation bedeutet allerdings nicht zwingend, dass es junge Bands viel einfacher haben, Käufer für ihre Werke zu finden. Sie können ihre Songs zwar in sozialen Netzwerken wie MySpace bewerben, doch gehen sie dort häufig im riesigen Angebot unter. Auch die Platzierung und der Verkauf von Alben und Singles in den großen Musikangeboten ist alles andere als einfach. So verhandeln die marktbeherrschenden Anbieter noch immer am liebsten mit traditionellen großen und kleineren Plattenfirmen, deren Gesamtkatalog sie auf einen Rutsch aufnehmen können, ohne sich mit einzelnen Künstlern auseinandersetzen zu müssen.
Der US-Musikdienstleister Tunecore will das nun ändern und bietet das Einstellen in diverse große Plattformen auch für Musiker ohne Plattenvertrag an. Er übernimmt dabei die gesamte Backend-Infrastruktur: Künstler übergeben ihre Musik an TuneCore und das Hosting sowie die Bezahlabwicklung laufen über den Anbieter. Tunecore unterstützt zur Zeit iTunes in allen Vertriebsgebieten, Amazon MP3, Rhapsody, Napster, E-Music, Lala.com sowie einige kleinere Anbieter mehr. Neben dem Einzelabsatz werden auch Abomodelle angeboten.
Here’s the third edition of free vTunes. Notice that this links work for 24 hours. After this the links don’t work anymore! You can download each link 3 times within that 24 hours:
1. Your use of the music is conditioned upon your prior acceptance of the terms of this agreement.
2. Play and listen to this music wherever, whenever you want, as long as its a non-commercial affair. If you want to use it for film, TV or advertising, you have to ask L2 Music Ltd. for the permission (license) to do so!
3. Burn or copy it the way you think it’s okay.
4. Don’t sell it. Then it’s better to share it on P2P.
Samstag, der 26. April ‘08 morgens und 8 Uhr irgendwas. Bin seit ner Weile nach 16 Stunden Arbeit zu Haus und habe das unendliche Glück die Wiederholung der (des) LIGHTWORKS zu hören. Grad läuft Deine Version von “Its gonna be a fine day” meinen Gehörgang herunter.
Das Orginal habe ich geliebt, zumindest bis ich Deine Version davon gehört habe. Nur göttlich. Nach gefühlten 60 Minuten Gänsehaut wird Dein Set stetig besser. Ich müsste schon längst schlafen, aber dann würde ich diese akustische Philharmonie verpassen. Hält mich gefangen wie ein Magnet.
Was wollt ich eigentlich sagen ……. lol ….
An sich nur bedanken für Deine göttlichen Sets, Die mich schon seit langem in himmlische Sphären gleiten lassen. Hört sich komisch an, ist aber so. Von Show zu Show steigerst Du Dich nur. Die Sets sind unbezahlbar ….
Langer Rede, kurzer Sinn …… Danke für Deine Musik, sie lässt mich den Alltag durchstehen und meine wenige freie Zeit geniessen.
Oft werd ich gefragt “wer ist denn dass???” … da kann ich zumindest auf deine Page verweisen, hoffe das ist in Deinem Sinne.
Mit freundlichem Gruss und akustischem Orgasmus Gruss aus dem langweiligem Niedersachsen ….
H.
I’ll be honest here; haven’t been massively impressed with part 1 of this show so far. Until 170 mins that is; this track is niiiiice!
Think the thing is that progressive music, to me at least, seems to have been changing a lot for a few months now. The sort of tunes that came before that track mentioned above in this set don’t really appeal to me - they’re a bit ‘beepy’ and ‘minimal’ I guess. Not sure, I’m struggling to actually explain it, but anyone with this set downloaded (from friskySubscription of course) can see what I mean. The one at 170 mins is far more my sort of sound!
That’s no criticism to you Ingo, of all the sets played on frisky, it’s LIGHTWORKS that I love the most by far. I have my own little habit of adding an entry to the ID3 tag of the MP3 file for any tracks I find I like (see, so I can find them again at a later date, and your sets always have loads of those (see my screenshot below). I imagine you’ve got to include music you like, but also music you know other people will like, and it all comes down to personal preference and what sound moves each person. I have a rough idea what my sound is, it doesn’t mean the other stuff is wrong or bad.
I’m a pretty crap progressive fan really; I rarely have any idea of waht’s going on in the genre, I just know I like the music. Would be good actually if someone could explain why, how and in what way progressive has been changing over the past 6 months, or year, or even few years. I first started listening to this stuff back in…end of 2004, and the stuff then sounds very different to the stuff now. All genres evolve and change of course, I just wonder what the influences are.
I suppose in a way I’m just trying to keep hold of the ’style’ of progressive that I first heard way back then, but it seems to be slipping away…
I still hear plenty of good prog though, in shows like LIGHTWORKS (of course), 6th Auditorium, Deepest Level, Mindfields, Sol Solar, so I know it’s out there! All credit to the guys who bring that music to us - the producers and the DJs - because I’d never get to hear so many amazing tracks if it weren’t for them.
