Short links for October 30th, 2009
Some interesting things I found recently:
Joe Bowers combines light sensors, servos and Arduino to build a robot that plays Rock Band on his iPhone.
Rock Band has been released on the iPhone, and even though its a lot of fun, I would rather have something play it for me. Preferably a robot!
Tom has another set of free samples: Here's 20 synthesized kicks created on the Virus, Microtonic, Reaktor, and Ultrabeat and processed with a Focusrite Liquid Mix. Enjoy!
Mark Mosher of the excellent Modulate This! blog has released REBOOT, a new album featuring some great electronic music.
Mark Mosher is an electronic music artist from Louisville Colorado just outside of Boulder. He is a BMI recording artist and composes and produces electronic music and sound completely in the digital realm using state-of-the-art virtual synthesizers and instruments within Ableton Live.
Two years in the making, REBOOT is an album containing 7 richly layered electronica songs that blend contemporary synthesizer sounds with classical music motifs. The end result is dark electronica for those who love synth "ear candy" with a “dirty” industrial edge.
While the songs on REBOOT stand alone as singles, the collection is an album in the true sense of the word. They share a common palette and when played in sequence conjure an epic and dynamic story for the listener.
Prior to the release of the album, the first three tracks were released as singles. "Midnight" and "Stealth" went to #1 and "They Walk Among Us" went to #2 on the Soundclick.com electronica charts.
REBOOT is available to download at Bandcamp. The album is currently being offered using the “pay what you will” model. Although the suggested pricing is $6 for the 7 song album + digital booklet and $1 for singles, users can name their own price including specifying 0$ for free downloads. There are future plans to make the album available on iTunes and Amazon’s MP3 store.
Sebastian Tomczak writes:
I have started working on what I am calling "RAM Music" after my previous exploration of EPROM Music. In many ways, this is an extension of EPROM Music, as it shares many traits. In particular, this idea of manipulating digital sound directly, without the need for pre-programmed parts, or anything that computes (such as a microcontroller).
Filter control via light blob tracking in Processing This video shows how I can set and control a filter's parameters via MIDI mapping, creating a control surface via a webcam and a torch. I realized a little Processing sketch that tracks the light blob I shot in front of webcam, normalizes X and Y coordinates to MIDI acceptable values, and then sends them to a filter effect in Ableton Live. I also realized the little control panel that allows to correctly make the MIDI mapping and set some blob detection's params. My toolkit: Processing MIDI
Peter Kirn writes:
It’s been a while since we had a celebrity saying things that didn’t really make sense. It’d be unfair to ask Ricardo Villalobos live up to some of the titans – Bob Dylan saying CDs have “no stature” and “have sound all over them,” and Elton’ John’s classic call to “tear down the Internet.” (Not to mention, in the end I think we wound up agreeing with them and turned Elton’s quote into a brand-new verb.) As with Elton John and Bob Dylan, I love and respect Villalobos’ work, no less so as he says things with which I disagree. But Ricardo Villalobos does get special credit for claiming in a recent Resident Advisor interview, among other things, that what has really hurt sound quality today is the lack of cheap drum machines from the 80s, because they were analog. Or they weren’t, but it was as if they were. Or something. (If you think this might earn some ire from Ableton loyalists, you’re right.)
Are old digital drum machines better than your Ableton Live?
Jon @ Audio Geek Zine writes:
Plugins are great, they’re very close to the real hardware counterparts, sometimes better. I don’t want to debate that. This article is all about options for getting electrons flowing through gear to get better mixes.
There are very few (if any) professional mixing engineers that work 100% ITB (in the box), at some point you’ll need to get outside.