Using a rudimentary electroacoustic device built around a repaired turntable,a prepared-mixer and other primitive
equipement that need manipulation - to make it brief -, Arnaud Rivière practises free improvisation, playing solo, in groups and through collaborations, since the late 90s.
Traffic in the DIY area : metal pieces, wires and stuff stuck into the mixing board. Put the "out" in the "in".
It is not at all made for this, but why not.
A pick up, rather a plastic one, an explosion is required, but re-enforced to resist.
It has to take it.  Not necessarly using records on the turntable, sometimes even metal disks or other materials.
Also contact-mics, they go where they fall, or don't fall, often through and via metal springs.
Well, otherwise and unshamedly, (but with both hands), Arnaud Rivière is making his own music with curves and accidents.
PRESENTATION BY TAKURO MIZUTA LIPPIT
(Steim curator / Amsterdam-NL)
Arnaud's performance is far from subtle. He will attack you
with raw sounds of objects rotating on the turntable and
dangerous wires stuck directly into his mixer. His sonic
intervention is ecstatic but he is also detached enough to
hint at sarcasm moments before he moves on to destroy
another objects for auditory pleasure. For me, Arnaud is
an important turntablist that extends the practices of
Yoshihide Otomo and Martin Tetreault, where the raw
sound of the material overwhelms any sort of reference
or functionality that the medium was originally intended to
have.
 
http://http.http.http.http.free.fr

Van Bebber has been using records as instruments in concerts, performances, installations and as objects since the early 70s. Since 1990, he has created music and performances based exclusively on the use of records & record players, employing five to ten partly prepared record players and a variable amount of partly prepared records. The record concert is shaped distinctively by improvisation, exposure to space, and by acoustical and architectural conditions, as well as the occasion and topic of the concert.
Amongst his accomplishments are: About 200 public performances with the "Schallplattenkonzert" throughout Europe, recordings for LPs, CDs, radio and television; creating music for films and theatre; realizations of works of composers; participation in exhibitions and international festivals.
He played with musicians like Philip Jeck, Martin Tetreault, Kalle Laar, Anna Homler, Philippe Micol, Dirk Marwedel, Laura Maes, Roel Melkoop.
He frequently collaborates with other instrumentalists & artists:
Helmut Lemke (tapes): since 1982 „van Bebber-Lemke/Duo“ // Paul Hubweber (trombone): „Vinyl + Blech“ // Carl Ludwig Hübsch (tuba) + Jaap Blonk (voice): „HÜBEBLO“ // Ron Schmift (analog synth): „ZDL“ // Günter Schroth (barcode music): „Fruchttänze...“ // Erhard Hirt (guit + electr): „TEFITON“ // Michael Vorfeld (light+percussion): „Schallplattenkonzert + Lichtspiele“ //
Helmut van Bebber (16mm Films) „Vinyl & Celluloid“
Member of the Imrovisors Pool „Fineworks“ and „ArToll-Klanglabor-Ensemble“
Since many years he is collaborating with Dieter Schlensog in the project „NURNICHTNUR“  (experimental sound production-sound art).
 
http://www.cvbebber.de

Dieter Kovacic’s best-known alias is Dieb13, but he has also performed and recorded under the monikers Takeshi Fumimoto, Echelon, Dieter Bohlen, and Dieb 14. He sprang into action in the mid-’90s, as the Viennese avant-garde scene was picking up a momentum. His rare solo releases are complemented by a number of collaborations with the likes of Boris Hauf, Werner Dafeldecker, Martin Siewert, and Christof Kurzmann, all artists revolving mainly around the Viennese labels Charhizma and Durian.
Kovacic was born in 1973. He came to music from the DJ side, instead of a more traditional musical background. He began to tweak cassette players and turntables in the late ’80s, and later moved to the computer. In 1995, he applied for a studies program in electro-acoustic music at the Viennese College of Music, but was turned down. Ironically, his professional career started at around the same time. First, he self-released a cassette with Stefan Geissler titled Lomophonien. The label Rhiz invited him to contribute to the compilation Picknick mit Hermann (1997), and things picked up from there. Kovacic began to play in Kurzmann’s Orchester 33 1/3, Shabotinski, Radio Fractals, and Efzeg.
In 1998, he contributed a track to Turntable Solos, a compilation released by the Japanese label Amoebic. Disguised as Takeshi Fumimoto, he resided amid Otomo Yoshihide, Christian Marclay, and Merzbow. For his first solo CD, Restructuring (2000, Charhizma), Kovacic remixed the contents of a whole experimental music festival. The album was released “open content” by the artist, a conscientious copyright objector. With this CD confirming his mastery of the turntable, he quickly moved to other pastures, stripping his sound of recognizable references to use record-less players and eventually the computer. In early 2002, For4Ears released Streaming, an electro-acoustic improv trio with Gunter Muller and Jason Kahn.
 
http://dieb13.klingt.org