Cosmic Trigger Event Solutions

25/08/2026

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TSUYOSHI SUZUKI - Art Of Sound – Part 05 - THE PARTY
We booked Tsuyoshi to play at UCT Sports Centre, a regularly used venue for music & dance events that could hold 5000 people.

I had been to music concerts there in my University days. We booked it as an Electronic Dance Music Event, I must admit that we did not mention the “Rave” word, scarred as we were by the Raver witch-hunt in the world.

In a nutshell, UCT misunderstood Electronic Music Dance event, they were think Ball Room :) Despite a signed contract & a deposit paid for the venue, chose to cancel the party, despite our threats to sue for damages.

After a call from the Dean of The Law Faculty himself, with regards our hot-air threats of legal action, we decided to rather try & find another venue.

With 10 days to go the pressure was firmly on. Luckily, we had a few contacts in the movie industry, & we managed to swing the party to the newly built Longkloof Studios. The party was reduced to the 2000 Tickets sold with no tickets available at the door.

We put up 3 linked rigs in all 3 of the studios with the DJ in one. In those days, we were just into the music & dancing, most of the parties you could not even see the DJ from middle to back of the dance-floor.

Nothing like the modern stages we see today. It made sense when we were semi-legal & underground, not to high-light the DJ but to hide him away should there be any kind of police action.

I can remember very little of the night, mostly spent in the road outside & in the parking lot. It was absolute chaos, police, law enforcement & City of Cape Town authorities helping with crowd control outside. I only got to experience the last two hours of Tsuyoshi’s set. In terms of Party Organizing, one to forget as quickly as possible.

Sadly, there were a few thousand disappointed people outside without tickets, including good friends but we were full to capacity. The night was absolute chaos & stress to be honest. Trance was officially launched in CT to a mainstream crowd.

The rest they say is history. Tsuyoshi Suzuki played every year at Vortex from 1996-2002 at all The Ostrich Farm parties on the West Coast. Tsuyoshi & his band with Nick Taylor, Prana were one of the fundamental musical inspiration of the South African scene.

Let me know about your memories of the mix-master deck-wizard & his impact on your psychedelic trance development? I would also love to hear from any who were at the party as I missed most of it. What an amazing time to be young & free in South Africa.

To be continued… Part 06

PHOTO CREDIT: Nick – Tsuyoshi in the Mix at Longkloof Studios 1996.

Tsuyoshi returns to Africa Vortex Open Source 2026

Link in Bio & First comment.

13/08/2026

Vortex Trance Adventures presents Open Source, 18–20 December 2026, and Phoenix Festival of Fire, 25–27 June 2027.

26/07/2026

VORTEX SOUND SYSTEM HERITAGE
FUNKTION ONE - RETURN TO SOURCE
For 25 years Vortex, has used sound systems built for one reason: to reproduce music exactly as the artist intended — but much louder. Our sound journey started with Turbosound/Funktion One & we remain true to our roots.

This summer solstice, DJ TSUYOSHI SUZUKI returns to Vortex. The originator of Return To The Source playing on the sound system built for the same purpose. The circle is complete.

Turbosound was founded in 1976 in the UK by Tony Andrews, Pink Floyds sound designer & Martin Audio co-founder Chris Pyne. When Floyd went on the “In The Flesh” 1977 tour, the PA systems at the time just couldn’t do what they wanted. Pink Floyd were making music with quadraphonic sound, sound effects, huge dynamic range & existing rigs were either too harsh, didn’t throw far enough, or fell apart at volume.

So, Andrews & Chris Pyne started building their own boxes in a shed. Speakers built for sound clarity at 100 meters, with separate bass bins, designed specifically to reproduce Pink Floyd’s studio detail live. Tony was the engineering brain with experience designing touring PA’s for big bands. He was basically the godfather of the modern big concert sound.

The goal was loud, clear, long throw with far with less power. Pink Floyd took Turbosound on the “The Wall” tour in 1980-1981. This was the first time a rock band toured with a system designed for studio fidelity at stadium scale. Crews said you could hear every sound effect & whisper clearly in the back rows.

Word spread fast. Because it was “the Pink Floyd system”, every big tour wanted it. The Who, Genesis, U2, Rolling Stones, Live Aid at Wembley, Glastonbury, Tribal Gathering, among others, all ran Turbosound through the 80s & 90s.Turbosound became the big festival & concert industry standard.

Andrews used Pink Floyd as his R&D lab. The demand for "hear everything, feel everything" in Floyd’s music forced him to invent sound technology methods that the whole industry still uses to this day.

After the buyout of Turbosound in 1992, the company started making cheaper install speakers to chase volume sales. Andrews Pink Floyd mind-set of, no compromise, sound first, was compromised & he left Turbosound to follow his vision further, designing Funktion-One to retain his core philosophies on sound.

Funktion-One is a point-source system with no processing tricks, no compromises. Just pure, physical sound & is the system that most major festivals world-wide trust. The system that made bass a spiritual experience in psytrance. Surgical highs. Chest-cavity bass. Stereo imaging you can walk through. Same DNA as the Turbosound Floyd rig, but tuned for underground music & 12-hour DJ sets.

Tony Andrews - Funktion-One Founder, Sound Philosophy:
"We understand the effect that audio has on consciousness and we wish to share it with everyone, I believe sound should be physical — you must feel it, not just hear it.”

VORTEX OPEN SOURCE 2026 POWERED BY FUNKTION-ONE
Slave Distributors CC & Marcel Zandberg
Hear everything. Feel everything.
Event Link in first comment...

Note to DJs: Funktion-One reveals everything. Its tuned for WAV, FLAC, 24-bit vinyl. MP3 compression, especially in the highs & low-end, becomes very audible on this system. Both Turbosound & Funktion-One were built on the Pink Floyd sound principle, to reveal everything.

MP3 compression adds a swirly, grainy top end that sounds muddy & is a lower volume than the recommended quality. The lost Bass information from the MP3 compression, kills the tight kick that Turbosound & F1 were designed to deliver. Rule in both camps: WAV/FLAC/24-bit only. Please play lossless files. If it’s not good enough for the studio, it’s not good enough for the dancefloor.