Warning: mysql_get_server_info(): Access denied for user 'indiamee'@'localhost' (using password: NO) in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872

Warning: mysql_get_server_info(): A link to the server could not be established in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872
Indian E-music – The right mix of Indian Vibes… » 2018 » June » 08

These fanciful new apps weave virtual music worlds in VR and AR

Delivered... Peter Kirn | Scene | Fri 8 Jun 2018 4:03 pm

Virtual reality and augmented reality promise new horizons for music. But one studio is delivering apps you’ll actually want to use – including collaborations with artists like Matmos, Safety Scissors, Robert Lippok, Patrick Russell, Ami Yamasaki, and Patrick Higgins (of Zs).

Consumer-accessible graphics hardware and computation – particularly on mobile – is finally keeping up with the demands of immersive 3D visuals and sound. That includes virtual reality (when you completely block out the outside world, most often using goggles), and mixed reality or augmented reality, which blends views of the world around you with 3D imagery. (Microsoft seems to prefer “mixed reality,” and still has you wearing some googles; Apple likes “augmented reality,” even if that harkens back to some old apps that did weird things with markers and tags. I think I’ve got that right.)

And indeed, we’ve seen this stuff highlighted a lot recently, from game and PC companies talking VR (including via Steam), Facebook showing off Oculus (the Kickstarter-funded project it acquired), and this week Apple making augmented reality a major selling point of its coming iOS releases and developer tools.

But what is this stuff actually for?

That question is still open to creative interpretation. What New York City-based studio Planeta is doing is showing off something artful, not just a tech demo.

They’ve got two apps now, one for VR, and one for AR.

Fields is intended both for listening and creation. Sounds form spatial “sculptures,” which you can build up on your own by assembling loops or recording sounds, then mix with the environment around you – as viewed through the display of your iOS device. There’s a lovely, poetic trailer:

Unlike the sound toys we saw just after the release of the original iPhone App Store, though, they’re partnering with composers and musicians to make sure Fields gets used creatively. It’s a bit like turning it into a (mobile) venue. So in addition to Matmos, you get creations by the likes of Ryuichi Sakamoto collaborator, or Robert Lippok (of Raster Media, née Raster-Noton).

But if you think you have something to say, too, and you aren’t one of those artists, you can also share your own creations as videos, constructed from original sounds and motion captured with your device’s camera and mic.

The developers are Field are also partnering with the Guggenheim to showcase the app. And they’re also helping Berlin’s Monom space, which is powered by the 4DSOUND spatial audio system, to deliver sounds that otherwise would have to get squashed into a bland stereo mix. The ability to appreciate spatial works outside of limited installation venues may help listeners get deeper with the music, and take the experience home.

The results can be totally crazy. Here’s one example:

Pitchfork go into some detail as to how this app came about:

Fields Wants to Be The Augmented Reality App for Experimental Music Fans and Creators Alike

More on the app, including a download, on its site:


And then there’s Drops – a “rhythm garden.”

We’ve seen some clumsy attempts at VR for music before. Generally, they involve rethinking an interface that already works perfectly well in hardware controllers or onscreen with a mouse, and “reimagining” them in a way that … makes them slightly stupid to use.

It seems this is far better. I’ve yet to give this a try myself – you need Oculus Rift or HTC Vive hardware – but at the very least, the concept is right. The instrument begins as a kind of 3D physics game involving percussion, with elaborate floating clockwork worlds, and builds a kind of surreal ambient music around those Escher-Magritte fantasies. So the music emerges from the interface, instead of bending an existing musical paradigm to awkward VR gimmicks.

And it’s just five bucks, meaning if you’ve bought the hardware, I guess you’ll just go get it!

And it’s really, as it should be, about composition and architecture. Designer Dan Brewster tells the Oculus Blog about inspiration found in Japan:

One space in particular, created by Tadao Ando for Benesse House and consisting of an enclosed circle of water beneath a circle of open sky, felt perfectly suited to VR and inspired the environment of Drops.

VR Visionaries: Planeta

Brewster and team paired with experimental composers – Patrick Russell and Patrick Higgins – to construct a world that is musically composed. I always recoil a bit when people separate technology from music, or engineering from other dimensions of tech projects. But here, we get at what it is they’re really missing – form and composition. You wouldn’t take the engineering out of a building – that’d hurt your head a lot when it collapses on you – but at the same time, you wouldn’t judge a building based on engineering alone. And maybe that’s what’s needed in the VR/AR field.

Clot magazine goes into some more detail about where Drops and this studio fit into the bigger picture, including talking to composer Robert Lippok. (Robert also, unprompted by me, name drops our own collaboration on 4DSOUND.)

Robert based this piece, he says, on an experiment he did with students. (He’s done a series of workshops and the like looking about music as an isolated element, and connecting it to architecture and memory.)

We were talking about imagining sound. Sounds from memories, sound from every day live and unheard sounds. Later than we started to create sonic events just with words, which we translated into some tracks. “Drawing from Memory” is a sonic interpretations of one of those sound / word pieces. FIELDS makes is now possible to unfold the individual parts of this composition and frees it in the same time from its one-directional existence as track on a CD. I should do this with all of my pieces. I see a snowstorm of possibilities.”

Check out that whole article, as it’s also a great read:

Launch: Planeta, addressing the future of interface-sound composition

Find the apps:


And let us know if you have any questions or comments for the developers, or on this topic in general – or if you’ve got a creation of your own using these technologies.

The post These fanciful new apps weave virtual music worlds in VR and AR appeared first on CDM Create Digital Music.

How to make dirty sounds, in videos, with Novation Circuit Mono Station

Delivered... Peter Kirn | Scene | Fri 8 Jun 2018 12:35 pm

Remember when we were sold on everything being clean and digital? Now it’s just about grime and filth. But if you were wondering where to start with Novation’s cute, dirty Circuit Mono Station, they’ve got a series of hands-on videos to get you going.

Some back story: the Mono Station is the follow up to the first Circuit. Like the original, it’s a square-ish looking box with a colored grid as its center. But whereas the original Circuit concealed a digital polysynth and drum machine (with the ability to load your own samples), the Mono Station is all about analog synthesis. That means it also has additional controls, and unlike the mysterious macro encoders on the first Circuit, the Mono Station’s knobs and faders and bits actually have labels. So you can read a label with words on it, and you know, maybe have a better idea what you’re doing. Or you can just ignore that and give it a try anyway.

The “How to filth” series runs through a set of fairly practical ideas to get you going.

It’s really rather a nice way to get a manual. There’s no lengthy explanation, no theory – and no sitting through a really long tutorial. Just watch a few steps, and then see if you can copy more or less what they’ve done. That should help you dive straight in. And if you’re on the fence about the Circuit Mono Station, this gives you some stuff to go try if you’re borrowing a friend’s hardware or going to the shops.

Here’s the full series:

This is a great one for summer, too, as Circuit and Circuit Mono Station are nicely portable.

What do you think? Is this sort of thing useful to you? Would you want to see more / something different? Let us know; it’s great to get feedback from readers on what’s making you musically productive. And if you make some tunes with us, send us those, too!

Here’s our story on the instrument, at launch. Some time later, it’s still holding up at that price point – and it’s not a clone or throwback, either, but a totally new instrument, designed by some nice people in England. (I know – I’ve met them! And they’re musicians, as well, of course!)

Novation Circuit Mono Station: paraphonic, feature packed, $499

The post How to make dirty sounds, in videos, with Novation Circuit Mono Station appeared first on CDM Create Digital Music.

Lykke Li: So Sad So Sexy review – despair you can dance to

Delivered... Hannah J Davies | Scene | Fri 8 Jun 2018 10:00 am


From the post-adolescent ennui of Lorde’s Melodrama to the Weeknd’s My Dear Melancholy EP and Drake naming his latest single I’m Upset, lugubrious pop is all around. Indeed, a recent study found that the genre has become sadder over the past 30 years, a kind of Adele-ification process, if you will. Despite this, it’s also “more danceable” and “party-like”, which may explain why the latest album from Sweden’s sad-pop champion Lykke Li has the power to trigger both shape-cutting and existential crises. So Sad So Sexy marks Li’s return to music after having a baby, losing her mother and experiencing a creative dry spell, and is defined by overt, intoxicating emotion in lieu of her more quaint, contained sadness of old.

From opener Hard Rain, whose polyphonic R&B swagger jars with its message of lovers needing to be put “back together / though we never been apart”, all the way to closing track Utopia – released on Mother’s Day – and its touching, if simple, chorus of “we could be utopia, utopia”, a sense of bittersweet happiness and streamlined sadness flows through its 10 tracks. At times it’s a hard sell; Deep End’s water noises and lines like “bae, you burned me” could feel naff, if not for the rawness in Li’s voice, while Last Piece’s pared-back drum machine and synth haze staggers between vulnerable and understated. But when this juxtaposition works – as on the title track, a worthy entry to the sad pop canon – the effect is sad, sexy and enthralling.

Continue reading...

New Mixtape: Julian Bonequi

Delivered... norient | Scene | Fri 8 Jun 2018 6:00 am

For the Norient exhibition «Seismographic Sounds – Visions of a New World» the Mexican hybrid artist and label owner Julian Bonequi compiled a mixtape titled «Registros de Audicion» taken from live performances, radio shows and studio recordings from his label.


00:19 min
Artist: Zoo
Country: Indonesia
ZOO: Dimas Budi Satya / Bhakti Prasetyo / Rully Shabara / Ramberto Agozalie
Track: Kedo Kedo

01:06 min
Artist: Ag Davis
Country: U.S.
Track: Schizoaffective (Time Loss)

01:44 min
Artist: Jealousy Party
Country: Italy
JP: Roberta WJM / Mat Pogo / Edoardo Ricci / Guest: Kunto Bertiaka
Track: Fullerene Totale

03:53 min
Artist: Aimée Theriot
Country: Mexico
Track: Electric Nightingale

06:15 min
Artist: Camille Mandoki
Country: U.S. / Mexico
Track: For me

09:31 min
Artist: Anais Tuerlinckx
Country: Belgium / Berlin
Track: Broken Piano, spike bracelet and objects

12:07 min
Artist: (Sic)
Country: Mexico
SIC: Rodrigo Ambriz / Julian Bonequi
Track: Rongwrong
Album: To be released | Art in Releases Audition Records

13:41 min
Artist: Okkyung Lee
Country: South Corea / Berlin
SIC: Rodrigo Ambriz / Julian Bonequi
Track: Rongwrong
Album: [art004] OKKYUNG LEE | 57 ANSWERS

16:56 min
Artist: Juanjose Rivas & Jorge Ramirez
Country: Mexico
Track: Improvisation

18:23 min
Artist: Julio Estrada
Country: Mexico
Track: Doloritas (Pedro Páramo, radiophonic opera, 1992)
Album: [ar039] READY MEDIA | MEXICO 19702009

18:32 min
Artist: Senyawa
Country: Indonesia
Track: Tanah

The mixtape was presented at the exhibition Seismographic Sounds.

More Mixes from Seismographic Sounds

> Isuru Kumarasinghe: «New Mixtape: Without Title»
> Lucia Udvardyova: «Strcprstskrzkrk»
> Gizem Oruç: «Motif Orient»

TunePlus Wordpress Theme