An interactive architectural mapping.
Fete des Lumieres / Lyon / France / 2010
A mapping by 1024 Architecture, projected on the facade of former Lyrical theater the “Celestins”. The building deformations and figures were controlled by the audience, using a microphone and an audio analysis algorythm.
The official Tenori on iOS app enter the app store the other week but at £12 I was a little hesitant to buy it. After a little thought and a bit of googling I decided it was indeed worth the price.
The cheapest hardware Tenori-On (the TNR-O) is roughly £500 where as the current price of the iPad 2 is £499 (cheapest wifi only model) so considering that both the devices are pretty much exactly the same price (and I already own an iPad) it makes sence to get the iOS version.
Mark Mosher shares some info on the Aalto semi-modular software synth.
Peter Kirn over at Create Digital Music did a post on a new synth by Madrona Labs last month. Even though I wasn’t in the market for a new synth right now I ended up buying this Aalto within an hour or so of downloading the demo so I wanted to pass this along and help promote Madrona’s great work. At $99 this is an incredible value.
You’ve heard the gripes, and heard and seen the somewhat unscientific demos. Now it’s time to examine the over-compression of music with – science! Earl Vickers of STMicroelectronics examines the Loudness Wars in an academic paper, as noted to us by reader photohounds.
Peter at Create Digital Music:
Chicago-based hacker and synthesist Matt Heins is working on an open source synth kit. As a co-creator of the MeeBlip open source-synth hardware, I’m biased — I want more open synth hardware! So this is looking like some great company. The instrument is 8-bit, with analog filter circuitry, coded in C.
Muze is an Arduino instrumentalist who creates melodies that evolve over time.
Muze has a palette of notes that it can in-turn interpret and compose into various rhythms and phrases that are strung together to form something musical. The user can then influence these strings of notes and rhythms to create entirely new compositions. Much like you would a tune a radio to get a new song, Muze can be tuned to provide new and different melodies.
In the interest of keeping Muze from becoming another knob laden techno-fest of an instrument, interaction has been limited to just one input.
On Rainlith, the primitive naturally granular sound of a big rainstick gets explored in real-time by cyber-age sound manipulation tools.
It's an interactive piece in witch the movement of the audience's body activates an electric motor, making a reflex movement on the structure that embraces the instrument.
The sound of the rainstick is captured and processed in realtime, and sent 24 meters above, filling the empty space of a old industrial cereal container. The reverberated acoustic mix is then received back by the audience in the spot right below the opening of the container.
NeuronDrum is a sample based rhythm composer by Poul Vestergaard.
It has 512 audio samples 32MB. Most of the sounds are made for electronica music. All rhythms is made of a neuron based approach with 8 neurons.
The first neuron works as a kind off metronome. All neuron can send impulses to each other. Every neuron has a threshold value. If the threshold is 3 then it will need 4 impuses to fire the sample, and send impulses to other neurons.
Electronic musician, vocalist, and inventor Tim Exile is back; while the Google Doodle today of an interactive Les Paul inspired lots of people to invest some time fiddling and hacking, in Tim’s case, it inspired a whole song. And, to my knowledge, it’s the first time the homepage of Google got its own ode.
Bluebrain's The National Mall will only work within the physical boundaries of the National Mall park in Washington DC. It is a location-specific album and is not intended for use outside of the designated area. Please follow us on Twitter (@bluebrainmusic) to learn more about when a location-aware album might be coming to a location closer to you. While on the Mall, we recommend you quit other applications from the multi-tasking bar on your phone for best performance. If you are having difficulties, force quit or restart your phone. Make sure to quit the app fully once you leave the area to avoid it draining your battery when it isn't being used.
Yes, I create digital music, too. One of the things I’ve loved about CDM is the chance to share music making, from the construction of the tools to the production of performances and recordings. If that’s all we ever get out of music – getting to share with someone else – that’s already more than enough for me.
This week I’ve released my own End of Train Device, a full-length ambient / leftfield electronic album.
Barry Wood is back with another selection of interesting products showcased at the NAMM show.
Welcome to the 2011 edition of the NAMM Oddities …finally
This year the show went smoothly but due to a perfect storm created by of a pile of work (the paying variety), local politics, and the writing of my first now published book, the Oddities were nearly 4 months late.
There was no shortage of Oddities-worthy items at the show this year. Even though this is probably the last NAMM report to go online, I'm certain that there are a number of products that will see their press debut on these pages.
At first, it seemed like it might be just a blip: amidst generally declining sales of physical music, down sharply from their 1990s boom, vinyl sales were trending up. The reversal started with a slight uptick in 2007 – already noticeable as the CD had begun its collapse. That slight uptick has turned into a small boom. From a tiny 300,000 units in US sales in 1993, the vinyl record is projected to do some 3.6 million units in sales.
Radium is inviting you to have a look behind the scenes at the Radiumphonic Workshop. In the video below we delve under the bonnet of Radium to have a look at what makes it all tick – the sound lab operated by the fine team at Radium. It demonstrates a rare glimpse of how we work, as well as showing off some of the machines, technology, people and creative approaches we use to manipulate sound!
Computing technology is an inherently disruptive thing, wonderfully so. It solves problems you didn’t know you had. It creates problems, then creates new problems in even trying to understand those problems. Simply using a computer is a kind of design statement.
You’ve seen questions about what happens with computer performance and audience interaction. But, in AMALGAM, design student Jacob Lysgaard asks those questions, and proposes solutions, in a new way: with a giant talking robot face.
Good people, unfortunately due to circumstances beyond our control, the "clean" version of our new album, The Hot Sauce Committee pt 2 has leaked. So as a hostile and retaliatory measure with great hubris we are making the full explicit aka filthy dirty nasty version available for streaming on our site. We hope this brings much happiness, hugs, and harmony. Enjoy Kikoos for life!
The armies of the earbuds are everywhere, as people – since the dawning of the Walkman – tune out their surroundings. What if, instead, your surroundings became soundtracks? That’s the question posed by a mobile app research project, partnering between New York’s Times Square and a creative team at the Georgia Institute of Technology.
UrbanRemix invites users to capture geo-tagged sounds with a free iOS and Android app, then to string them together into sound compositions on the Web
Codebending is the exploration of software with “patch points.” Patch points expose the inner workings of computer programs, and allow for atypical connections between things like games, music making software, office suites, etc.
Every movie blogger is obligated to devote a post to The Wilhelm Scream AT LEAST once in their lives. And they’re all pretty much the same: A quote from wikipedia, the compilation video on YouTube, and the latest movie they found it in. This post is a little different. Starting last year I started collecting Wilhelm Screams, planning on making a video showing some favorites. That project spiraled out of control, and the result is a (pretty) complete collection.
Max Mathews is best known for his involvement in the debut of digital synthesis, but he contributed much more. His Radio Baton predicted gestural controllers that arrived much later from Nintendo, Sony, and Microsoft, and it may be his code design ideas that outlast even the memory of the computer’s first musical utterances.
Slewpi is a new type of app that lets you create music and synthesized sound and animation by painting on the screen with your fingers.
Slewpi is super easy to use, just paint with your fingers and choose different colors and brushes to change the strokes and sounds. Slewpi records what you do and plays it back in a loop.
Choose different brushes to change the visual style as well as the sound of your strokes in real-time. The different brushes correspond to different synthesizer waveform and vibrato settings allowing you to create new and diverse audio/visual compositions.
Strings of numbers are everywhere in our world, tucked just outside our awareness alongside identifiers like bar codes. Dutch media artist and inventor Leo van der Veen simply plucks that information and brings it to the fore.
A few months ago I published a post on how to make a MIDI Ribbon Controller with Arduino. In the meantime I had a few ideas to improve both hardware and software and also felt the need to change many parameters without having to reprogram every time Arduino. Finally I placed the controller in a case, thanks to Laura who built it. So this is version 2.0 of my MIDI Ribbon Controller, which finally becomes a much more practical tool.
Number stations, making their appearance in the post-war radio landscape, were shortwave radio stations of streams of symbols, mysterious to their listeners and apparently code.
Here, the idea of lost and indecipherable broadcasts inspires a wonderfully-varied collection of reflective artists, in a free, Creative-Commons licensed compilation by PublicSpaces Lab. That Barcelona-based netlabel has been reliably curating some of the smartest, most forward-thinking music collections around. This time, the artists are impressive not only in their output but in their range of backgrounds and extra-musical sources of inspiration.
Instructables user capricorn1 shows how to create your own antique light bulb organ to add nostalgic ambiance to any midi instrument.
12 light bulbs correspond to the 12 notes in an octave (minus the octave note). The rectangular box unfolds to position the light bulbs vertically for display, while at the same time providing a platform for the keyboard in use. Playing a note on the keyboard directly via midi, or through the usb port illuminates the light bulb for a particular key. Releasing the note, releases the key. Pedal presses are also recognized and keep the bulb maintained. The bulbs can be controlled without a computer by using the front mounted midi port, or via computer which allows for remote control via midi or osc messages.
Peter Kirn rounds up some music making tools that take the circular approach.
There’s no reason apart from the printed score to assume music has to be divided into grids laid on rectangles. Even the “piano roll” as a concept began as just that – a roll. Cycles the world around, from a mechanical clock to Indonesian gamelan, can be thought of in circles.
Imagine an alternate universe in which Raymond Scott’s circle machine – a great, mechanical disc capable of sequencing sounds – became the dominant paradigm. We might have circles everywhere, in place of left-to-right timelines now common in media software. Regardless, it’s very likely Scott’s invention inspired Bob Moog’s own modular sequencers; it was almost certainly the young Moog’s exposure to the inventions in Scott’s basement that prompted that inventor to go into the electronic music business, thus setting the course for music technology as we know it.
Get more out of your Launchpad + Ableton combination.
The aurex sequencers for the Novation Launchpad are devices and tools to compose, sequence, alter and remix music within Ableton Live. You don't need M4L / Bome / … to use them, just make sure you have a Launchpad and Live 8.1.3 or higher.
Owing to the Arcophone Mk I being stuck somewhere on the Nullabor owing to damage to train tracks from the recent rains.
As we had a gig at Scitech we needed a new Arcophone, using the prototype batch of v1.2 coil drivers, Brett, Simon & Daniel spent the better part of the last week building the Arcophone Mk II. The case was designed and cut by Simon Kirkby and the electronics designed and assembled by Brett Downing and Daniel Harmsworth.
“Gem Drops” is a rich, varied compilation covering “experimental electronic hip-hop inspired” music, with artists such as Anenon, yuk., Juj, Devonwho, Shigeto, and Sumsun. The 21 tracks were selected by curator Aaron Meola. It’s the sixth release from the collective Dropping Gems, and 100% of revenue will go to the American Cancer Society.
Pay what you want for the download; a “very limited” run of handmade CDs with artwork will go to people who donate US $15 or more.
Turning data strings like DNA and what-not into audio can produce interesting results. YouTube user r2blend says, "If you import an EXE file into an audio program as audio data, you hear all kinds of cool stuff. The most awesome by far for me was MS Paint." Fisco130 then made a club remix of the MS Paint data audio. Wonder if any scans of great works of art contain secret music? Does malware translate to sad trombone sound, or Rick Astley?
If you haven't checked it out yet, head on over to the Programming Tips section of the Waveformless-Soundware site for 10 random programming tips on programming your own sounds for ReFX Vanguard.
The plan is to post programming tips for different softsynths as I release new soundsets. And yes, I am hard at work on the next release. No idea when it will be done. I'd rather get it right then get it out right now.
This EMS Putney came into my hands when I purchased it from Iowa City South East Junior High School in 1997. It is one of the unique artifacts of electronic music. The Putney & it’s close relative, the attache-case-housed Synthi, were workhorse synths at the BBC Radiophonic Workshop, and was a favorite of musicians like Brian Eno, Pink Floyd, and other Space Rock bands of the 70s.
It’s sonic character derives in large part from the cheapness of the design and construction. Moog Synthesizers were laboratory grade audio equipment; the Putney is cheap and difficult to use in a traditional musical context. And yet it was seductive. It’s limitations and imperfections enlarged musican’s ideas of what sounds could be musical.
Delia Derbyshire was one of the pioneers of electronic music during and after her tenure at the BBC Radiophonic Workshop. She was both a gifted composer and an audacious and precise engineer. Since seeing her in documentaries, and hearing her music I’m both awed by her and have a synth-geek’s crush on her. She was on my mind as I recorded these pieces, and I dedicate them to her memory.
The 5 parts of this piece were recorded in one evening, with no editing or overdubbing. The Putney was plugged into the Stereo Memory Man pedal, and the pedal was plugged into my computer.
The only post processing applied was normalization. These recordings are as close to the original, raw sound of the instrument as I could make them.