Typically, we charge in or around $20 for our globally-admired guests (still a very reasonable cost all things considered) but with our three in-house resident DJs in the club, we try to reduce the cost to you to zero. Got friends who have never been to one of the nation’s greatest weekly parties? (Why not?) Invite them.
2. The Sound Remains the Same
Of course, the Baltimoroder soundsystem will still be there. No one knows the acoustic nooks and crannies of the Middlesex Lounge like Baltimoroder. Literally. He’s had 14 years and an estimated 3,570 hours to make it so. Come to just sit and soak in the sound. You won’t be alone.
Recently, the CBC News has reported on findings that young people (aged 21-29) have a hard time finding and keeping a social network. Whether it’s the result of jobs or growing up online or otherwise, that is what our nightclub is all about: Making and keeping connections, which, in some cases, lead to matrimony. From our baller bouncers, to our dedicated bar staff to the volunteers every week, our people are what makes … it. New.
You might not know Laura Escudé’s name, but there’s a good chance you’ve seen her work. As a live show programmer, she’s collaborated with Kanye West, JAY-Z, Logic and Charli XCX. She’s programmed music for Cirque du Soleil and American Idol.
And through her company, Electronic Creatives, she manages an entire team of programmers and playback engineers that’s expanded her client base even further, to include such artists as Drake, The Weeknd, Pentatonix and Harry Styles.
As one of the pioneers in live show programming — especially the use of Ableton Live software, now widely regarded as the industry standard — Escudé has helped reshape how the concert industry uses electronic music and digital playback across virtually every genre of music.
Most recently, producer Baauer – who topped the US charts in 2012 with his viral track Harlem Shake – made Hate Me with Lil Miquela, an artificial digital Instagram avatar.
“The first computer-generated score, a string quartet called the Illiac Suite, was developed in 1957 by Lejaren Hiller (MIT), and was met with massive controversy among the classical community.”
“Fast forward to 1980, and after an insufferable bout of composer’s block, California music professor David Cope began building a computer that could read music from a database written in numerical code.”
“YouTube singing sensation Taryn Southern has constructed an LP composed and produced completely by AI using a reworking of Cope’s methods.”
“Southern uses an open source AI platform called Amper to input preferences such as genre, instrumentation, key and beats per minute. Amper is an artificially intelligent music composer founded by film composers Drew Silverstein, Sam Estes and Michael Hobe.”
Throughout history, musicians and instrument makers have been experimenting with different ways of producing sound and melody. Some of the contraptions created have become a standard in the musical world. The others, the ones that are more experimental or obscure, are pushing the borders of sound and inspiring musicians to pursue new horizons.