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Indian E-music – The right mix of Indian Vibes… » Berlin


Watch enchanting experimental live acts from Atonal’s control room

Delivered... Peter Kirn | Scene | Thu 30 Aug 2018 10:50 am

Berlin Atonal Festival wrapped up last week, and for all of the breathtaking impact of the power plant’s cavernous main room, as per usual, the sleeper hits came from the more intimate control room tucked next to the mainstage.

Once you’re done acting out your Homer Simpson fantasies on the controls, this room – staffed by the synthesis lovers of Schneidersladen – is home to more experimental acts and jam sessions and modular patching extravaganzas. And the crowd is different, too, more family style sound nerd reunion than festival scenesters.

Photo at top: Mark Verbos, modular builder, alongside Lady Starlight. Photo courtesy CTM Festival.

Our friends from FACT captured three performances. (Don’t watch on Facebook; that social network’s encoding is crap for some reason. YouTube seems fine.)

There were lots of great shows, but they also selected well with what they recorded, with two gorgeous ambient solo sets and one quirkier duo. (Also, anyone else noticed that laptops have just quietly reappeared alongside modulars? And why not – who cares what particular gear you’ve assembled, if you find some way to be expressive with it?)

There are some dropouts here and there, but it’s worth checking out anyway.

My favorite is object blue – all on Ableton Live/Push, but a kind of shuffled, irregular looping musique concrete:

London-based artist object blue has a bunch of great stuff in her discography:

https://objectblue.format.com/

Really digging this one, just out this year:

But then this is lovely, too, adding more vocal goodness, also a 2018 creation:

Hiro Kone (aka NYC’s Nicky Mao) is looking chill with her Elektrons and modulars, and with good reason – some chill sounds happening. Lounging in the control room, genau:

Nicky is one busy, multi-talented, insanely prolific touring musician. And she’s got a well-organized site to discover more of her music (we would all do well to learn from that, too… rarity these days):

https://hirokone.com/

She’s done a nice mix for Secret Thirteen recently too:

https://secretthirteen.org/stm-246-hiro-kone/

KILLER-OMA is the off-kilter, leftfield (and inter-generational) combo of Isao Suzuki and KILLER-BONG – yes, one bare chin on gear, and one long beard on contra bass.

More from them:

Check out their release on Bandcamp for Tokyo’s Black Smoker:

https://blacksmokerrecords.bandcamp.com/album/killer-oma

Mixed feelings about the live stream age, actually – and something to think about, as CDM revisits how to work with live performing friends. (I’d go for higher quality audio, no? Thoughts?) At the same time, a live stream is a nice place to introduce people, and it’s great to see what people are doing – if we can sort those occasional sound dropouts. Open to ideas for what you’d like to see, especially as a community of music makers.

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Cues: Detroit innovator Alan Oldham talks to us about techno, creation

Delivered... Peter Kirn | Artists,Labels,Scene | Fri 24 Aug 2018 5:14 pm

It’s easy to forget if we get too deep into hero worship and seriousness, but real creativity is fun and boundless. So nothing energizes like talking to people like Alan Oldham, the multidisciplinary Detroit techno artist.

Oldham, sometimes DJing as DJ T-1000, had a multifaceted series of roles in techno. So he’s served in Underground Resistance – including as “Minister of Information.” He did artwork for Derrik May’s legendary Transmat label. He’s a comic artist as well as a producer, savvy enough to interact with the art market and not only the music industry. A lot of us in the USA got our first introduction to techno and the full story behind it through his story “Fast Forward” on National Public Radio. But then, in this age of overabundant production, we need those kind of voices now more than ever – people who can narrate what’s happening in music, DJs in the club sense and DJs in the radio sense.

Meanwhile, as CDM finds its evolved voice this year, I got to invite Alan (now a Berlin transplant) to talk about his process, to jam a little, and to chat about music, aesthetics, and futurism.

Alan is a big Native Instruments Maschine fan, and it’s nice to see how the MPC and other hardware workflows have made the transition to the computer age. I think immediacy is important to tapping into that creativity.

Have a look:

Off camera, it was also great that Alan got to hang out with our other guests, HRTL and Oliver Torr and their live project Windowlickerz. Growing up in Detroit, meet growing up in Czech Republic.

Alan Oldham in the studio.

Making beats (MASCHINE MIKRO), making comics (paper and pen).

Since January, Alan has been busy, in the studio and in the club (as well as continuing his visual art work). Message Discipline is the EP dropping in October on Pure Sonik Records.. The timbres, the tech are decidedly future-looking, not nostalgic. But as a lot of techno gets cold and clinical, overthought, or overly … well, dreary (not that there’s anything necessarily wrong with that) — this is none of those things. It’s “up,” as Alan says. Maybe it’s hard to find words for that funky, groovy feeling because it’s better to describe it me moving my body around than it is just wiggling my fingers over the computer keyboard.

You know you’re in for something special when you’re dancing around to the damned excerpts on SoundCloud. Tell me I’m wrong:

Even that last cut swings, like a nice makeout slow dance. And the title track sounds ready to blast into orbit to some, uh, really sexy space lounge, I would imagine.

Message Discipline is all bangers, but for a more tripped-out experience, DetroitRocketScience is the ticket:

Alan and Ellen Allien can often be caught side by side, so expect more on Ellen’s BPitch Control, like this excellent remix:

He’s also got a great remix of Sky Deep’s “In This,” but looks like I can’t share that – take my word for it.

Now who wants to don an Andy Warhol wig and dance around a bit? Yeah? Have a great weekend, y’all.

Related – in summer 2011, Wax Poetics provided us with this article they ran exploring early Detroit techno history, and even talked to Alan. of course, now you meet the Detroit artists in Berlin.

Future Shock: The Emergence of Detroit Techno, Told by Wax Poetics

Photos courtesy Native Instruments.

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touchAble Pro for Ableton Live: touch control on iOS, Android, Windows

Delivered... Peter Kirn | Scene | Thu 23 Aug 2018 7:12 pm

touchAble was already the benchmark app for controlling Ableton Live from an iPad. Now touchAble Pro has been recoded from the ground up with new features like custom layouts and waveform views – and it supports iOS, Android, and Windows touch, too.

Berlin developers Zerodebug are announcing a beta today for their new app, touchAble Pro. And so we get a first look at what they’ve been up to. The software sports a new, cleaner UI, but also comes a lot closer to being Ableton Live with complete touch support – or at least as close as you can get with the APIs Ableton make available.

You can edit patterns with an overhauled piano roll view, and audio clips using a waveform display.

There are new layouts, letting you view modules side by side or fullscreen.

You can draw in or edit automation inside clips.

It’s really starting to look like the touch app Ableton forgot, complete with full device support (including those pretty new Live 10 graphics), and even little details like being able to access I/O setting on channels right inside the app.

Plus, you can customize exactly the layout you need, which means touchAble shines for live performance. Years ago, I caught the early live show by Glitch Mob, all on original JazzMutant Lemur hardware (that is, before the iPad was released). They were able to make giant buttons so they could trigger stuff in Live without distracting from a live drum routine. You can do that with this if you want – or any number of other layouts. Need specific clip triggers, huge? Want a particular mixer or clip launch layout? Draw it right on the device.

Watch:

The limitations of touchAble really come down to limitations of Ableton Live itself – connectivity with external devices, Live’s archaic scripting installation, and restrictions on the API. touchAble Pro is a good demonstration of why it’d be great to see Ableton add a complete API for their Arrangement View, in particular – even if that doesn’t make sense on their own Push hardware. But that said, this works. (I can’t evaluate final stability, because I’ve only had a pre-beta build, but it’s definitely promising.)

Initial pricing: US$29.99.

Nice Live 10 support, but Live 9 is also compatible.

http://touch-able.com

That’s actually touchAble Pro running on Windows – giant touchscreen, go!

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Take a tour of the dreamy ACL modular synthesizer system

Delivered... Peter Kirn | Scene | Thu 26 Jul 2018 8:27 pm

Part of the appeal of modular systems is there in the name – modularity. But as the modular market grows, there’s increasing demand for modulars that are again designed as coherent systems. The ACL System 1 is ready to serve as a synth on its own, or the centerpiece of a larger modular rig.

The ACL System 1 launched this week, available here in Berlin from Schneidersladen (and shipping elsewhere). And here’s a look at how all those pieces come together:

The Audiophile Circuits League do their assembly in Berlin – joining a growing number of boutique makers, including Koma, MFB, Jomox, and Verbos, just to name a few. With a direct-order price of 3930 EUR, it’s not exactly a budget synth. But figure that even pretty recently, digital workstation polysynths were going for near this … and a whole modular rig is a lot more fun. (The price of modular synths as a category, meanwhile, have absolutely dropped – this high-end model is far less than the historical instruments that inspired it, calculating for inflation, to say nothing of prices that drop down to literally zero if you go to software).

Okay, so what’s in there?

6U 84HP Eurorack configuration in their EVZ-1 case
Two Variable Sync VCOs, linear and exponential FM
Dual State Variable VCF
Gate Mix for summing up to four sources
VC Panning Amplifier
M/S Matrix (for mid/side processing)
Three ADSR envelopes (Envelope X3)
Dual Delay
QLFO with phase-shifted sine waves

Basically, you get a synth that’s very inspired by Roland’s System 100M. (Roland, for their part, have also been resurrecting the Japanese modular lineage – something I hope we’ll look into soon.)

So you can make freaky synth sounds, lots of effects, and (of course) precise, thumping kicks. And the whole thing feels really nice, including some really luxurious knobs (they’re “Vernier dials” for anyone interested).

But… if you don’t know what the above means, then this probably isn’t for you.

There’s also an audio interface module and nice touches like a low impedance headphone jack – all the sorts of things that sometimes get overlooked by odd DIY modules.

Also, in a nod to the fact that this is a modular, they did leave a little (tiny) space for expansion, though those 4HP aren’t going to accomplish a whole lot! Most of the people I’ve seen buy these kinds of systems, though, already own a smattering of modules and are upgrading to an integrated instrument that sits at the center of it. (Yes, for those people warning of “Eurocrack” addiction, it’d look like that.)

I’m not personally in the market for something like this, but I always find them interesting to play around with and as a demonstration of how designers approach building a modular system. Nice stuff:

www.audiophilecircuitsleague.com

These folks being in Berlin, they’re neighbors to CDM, so if there’s anything you’d like to know or see, tell us and we’ll find out!

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What culture, ritual will be like in the age of AI, as imagined by a Hacklab

Delivered... Peter Kirn | Scene | Thu 26 Jul 2018 4:34 pm

Machine learning is presented variously as nightmare and panacea, gold rush and dystopia. But a group of artists hacking away at CTM Festival earlier this year did something else with it: they humanized it.

The MusicMakers Hacklab continues our collaboration with CTM Festival, and this winter I co-facilitated the week-long program in Berlin with media artist and researcher Ioann Maria (born in Poland, now in the UK). Ioann has long brought critical speculative imagination to her work (meaning, she gets weird and scary when she has to), as well as being able to wrangle large groups of artists and the chaos the creative process produces. Artists are a mess – as they need to be, sometimes – and Ioann can keep them comfortable with that and moving forward. No one could have been more ideal, in other words.

And our group delved boldly into the possibilities of machine learning. Most compellingly, I thought, these ritualistic performances captured a moment of transformation for our own sense of being human, as if folding this technological moment in against itself to reach some new witchcraft, to synthesize a new tribe. If we were suddenly transported to a cave with flickering electronic light, my feeling was that this didn’t necessarily represent a retreat from tech. It was a way of connecting some long human spirituality to the shock of the new.

This wasn’t just about speculating about what AI would do to people, though. Machine learning applications were turned into interfaces, making gestures and machines interact more clearly. The free, artist-friendly Wekinator was a popular choice. That stands in contrast to corporate-funded AI and how that’s marketed – which is largely as a weird, consumer convenience. (Get me food reservations tonight without me actually talking to anyone, and then tell me what music to listen to and who to date.)

Here, instead, artists took machine learning algorithms and made it another raw material for creating instruments. This was AI getting the machines to better enable performance traditions. And this is partly our hope in who we bring to these performance hacklabs: we want people with experience in code and electronics, but also performance media, musicology, and culture, in various combinations.

(Also spot some kinetic percussion in the first piece, courtesy dadamachines.)

Check out the short video excerpt or scan through our whole performance documentation. All documentation courtesy CTM Festival – thanks. (Photos: Stefanie Kulisch.)

Big thanks to the folks who give us support. The CTM 2018 MusicMakers Hacklab was presented with Native Instruments and SHAPE, which is co-funded by the Creative Europe program of the European Union.

Full audio (which makes for nice sort of radio play, somehow, thanks to all these beautiful sounds):

Full video:

2018 participants – all amazing artists, and ones to watch:

Adrien Bitton
Alex Alexopoulos (Wild Anima)
Andreas Dzialocha
Anna Kamecka
Aziz Ege Gonul
Camille Lacadee
Carlo Cattano
Carlotta Aoun
Claire Aoi
Damian T. Dziwis
Daniel Kokko
Elias Najarro
Gašper Torkar
Islam Shabana
Jason Geistweidt
Joshua Peschke
Julia del Río
Karolina Karnacewicz
Marylou Petot
Moisés Horta Valenzuela AKA ℌEXOℜℭℑSMOS
Nontokozo F. Sihwa / Venus Ex Machina
Sarah Martinus
Thomas Haferlach

https://www.ctm-festival.de/archive/festival-editions/ctm-2018-turmoil/transfer/musicmakers-hacklab/

http://ioannmaria.com/

For some of the conceptual and research background on these topics, check out the Input sessions we hosted. (These also clearly inspired, frightened, and fired up our participants.)

A look at AI’s strange and dystopian future for art, music, and society

Minds, machines, and centralization: AI and music

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Modular for dancing: Florian Meindl and Leonard de Leonard

Delivered... Peter Kirn | Scene | Tue 17 Jul 2018 9:15 pm

Yes, nests of patch cords and racks of modules will make noodle-y noise for chin scratching. It can also make pounding techno – and we’re going inside some of the sonic brains who’ve mastered that.

Our mission: let’s learn how people are actually using modular synthesis to express their musical ideas, and demystify some of the basic concepts in sound creation behind all those cool flashing lights and tangles of wire.

To do that, we need musicians like Florian and Leonard.

Join the Facebook event to tune into the live stream
Roland + CDM + Florian Meindl + Leonard de Leonard, talking modular synths
Wednesday July 18
7 PM Berlin / 1 PM New York / 10 AM San Francisco / 2 AM Thursday Tokyo

Florian Meindl and Leonard de Leonard will join us tomorrow in Berlin thanks to Roland organizing a visit in the artist center they’ve set up in Kreuzberg. These are two producers with a deep knowledge of music history and production skills as well as technical knowledge. They’re proof that musicianship is a combination of engineering and intuition. So whether you’re interests tend to beats or beatless, the main takeaway is that they can master creative sound design as an instrument.

Florian in the studio.

Florian has been a guest with CDM (and Roland) once before. He’s a real workhorse of Berlin’s techno scene, having produced music for about a decade and a half, various high-profile remixes (Hot Chip & Royksopp), and helmed a label (FLASH) that has released a who’s who of quality techno from around the world – with a stunning 130 releases, ranging from Sigha to Noncompliant, and not a dud in the bunch. I have to say from trying to juggle multiple threads like this, this stuff isn’t easy. He’s also some kind of ninja of social media.

Plus, for synth lovers, his Riemann Kollektion and Riemann Modular build businesses around boutique sounds and DJ tools and Eurorack modular, respectively.

Florian’s hybrid DJ sets effortlessly mix from club bangers to fluid modular improvisations – I saw particularly heavy, concrete-shaking sets at both Berlin’s Arena and Griessmuehle recently. I think the key was, the modular stuff never sounded like filler – it was just as dead-on.

Here’s a beautiful example of his music, which goes full-on dark and industrial without ever losing site of groove.

And because the future of DJing is also playing live, here’s his round-up of mixes and live sets:

https://soundcloud.com/florian-meindl/sets/mixes-dj-live

Leonard’s stunning Sound Provider studio, otherwise known as “okay, that’s a good motivation to try to go to heaven when I die instead of Hell, maybe?”

Leonard de Leonard is a kind of sonic polyglot, a deep expert in modules and synths (well beyond my own modular knowledge – let me be totally clear about that), and with a resume across various genres, in composition, arrangement, and production. He’s also worked in sound design. You can tell a really clever producer/sound creator when it’s musically satisfying to listen to samples of their loops – like, his loop libraries sound better than a lot of producer’s tracks.

We’ll also get to look at Roland’s entry into Eurorack modular, a collaboration with Portland, Oregon boutique maker Malekko. What I appreciate about Roland’s work in modular, and why I would chose to work with them, is that they’re helping give back to the odd and wonderful underground collection of people now making modules. So apart from bringing back some of the vintage Roland System 100 designs that helped shape what modular looks like today, they’re also making a point of showing how their modules fit with other smaller makers, in a larger ecosystem.

To tune in, you can join the Facebook event from Roland:
https://www.facebook.com/events/199047457455896/

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Eurorack’s prices are dropping, as Herr Schneider laments

Delivered... Peter Kirn | Scene | Wed 11 Jul 2018 9:15 pm

With the proliferation of modules, the phrase “Eurorack bubble” has been floating around for a while. But now it appears to be translating into falling prices.

The basic problem is this: more demand means more interest, which translates into more manufacturers, and more production. So far, so good. Then, more distributors pick up the goods – not just boutique operators like Schneider, but also bigger chains.

Where’s the problem? With too many modules out there in the marketplace, and more big retailers, it’s easier for the big retailers to start to squeeze manufacturers on price. Plus, the more modules out in the world, the greater the supply of used modules.

Andreas Schneider has chosen to weigh in on the issue personally. You can read his statement in German:

Jetzt auch XAOC bei Thomann ..

And in an English translation (with more commentary by Schneiderladen in English):

HerrSchneiders statement on current developments in the Eurorack market [stromkult]

There’s actually a lot there – though the banner revelation is seeing the cost of new modules suddenly plummet by 30%:

You asked for it: Due to the increased demand for Eurorack modules in Europe, even the large retailers for musical instruments are now filling the last corners of their warehouses and buying complete production runs from manufacturers and everything else they can get. Some manufacturers might be happy about this, but the flooding of the market already leads to a significant drop in prices here and there, some modules are already available with a 30% discount on the original calculated price and yet were still quite hot the other day!

As SchneidersLaden we have decided to go along with this development and of course offer corresponding products for the same price to our customers, although most of them have already bought them when the goods were still fresh and crisp! We’re almost a little sorry about that, but hopefully the hits are already produced and the music career is up and running? Nevertheless, sorry – but the decision for this way lies with the manufacturer and was not our recommendation!

By the way… we don’t advertise with moneyback-warranty… we’ve always practiced it. But please: get advice first, then buy – like in the good old days. Because it’s better to talk to your specialist retailer – we know what we are selling. And by the way: We do free shipping throughout Europe and there are Thursdays on that we are in the shop until nine o’clock in the evening …and real CHAOS serves creativity.

That had to be said – end of commercial break.

Okay, so some different messages. To manufacturers, with whom Schneider seems to place a lot of the blame, the message is to avoid glutting the market by selling so many units that then they lose their price margin. (That seems good advice.) There’s also a “dance with the one that brung you” attitude here, but that’s probably fair, as well.

To buyers, work with specialists, and please research what you buy so you don’t shoulder retailers and manufacturers with lots of returns. That seems good advice, too.

(Hope I’ve paraphrased that fairly.)

It does seem there’s a looming problem beyond just what’s here, though. For the community to continue to expand, it will have to find more new markets. It does seem some saturation point is inevitable, and that could mean a shakeout of some manufacturers – though that isn’t necessarily a bad thing. The used market should also be a worry, though on the other hand, some people do always seem to buy new.

I’d echo what the two posts here say, which is the synth maker world will likely be healthy if manufacturers and consumers do some research and support one another.

Before anyone predicts the sky is falling, I’ve had a number of conversations with modular makers. Those with some experience seem to be doing just fine, even if some have expressed concern about the larger market and smaller and newer makers. That is, those with some marketing experience and unique products still see growth – but that growth may not translate to greener manufacturers who are trying to cram into what is becoming a crowded field.

Other thoughts? Let us know.

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Go inside Berlin’s synth heaven – and one of its top modular makers

Delivered... Peter Kirn | Scene | Mon 9 Jul 2018 6:07 pm

Electronic music is understood by the general public mostly through artists – tech is just something in the background with knobs. But there’s more to the story than that.

And while it’s certainly well known in synth loving circles, Berlin has accordingly been techno capital and club capital, but is finally getting recognition as a mecca for technology.

These two films take you inside one retailer and one manufacturer that have each championed the return to boutique sonic electronics, to patch cables and modular synthesis, and that have resisted anything like mass market mentalities or commodification.

They could have easily been mistaken as throwbacks, but there’s some futurism to the visions of both Mark Verbos and Andreas Schneider. Schneider’s name is associated with Berlin, having established his shop as the hangout, wallet emptier, and community pillar of the synth scene. Verbos, who was himself once a Berlin resident, has only recently brought the modular business he established in New York City across the Atlantic. And even though their wares are unmistakably fetish objects, I’d say both brands make their value proposition through a commitment to adventurous sound. So yes, you get vintage-looking knobs and slightly anachronistic telephone switchboard interfaces. But the investment, their message says, is in exploring strange new worlds and undiscovered sounds.

Schneidersladen, toured by Synth Anatomy, is a clinic and community hub as well as a place to surrender to gear acquisition syndrome. And it retains the same personality and idiosyncracies that mark the larger synth loving scene.

Mapping the Schneider empire is getting tricky these days, but the short version: Schneidersladen in Kreuzberg is the new retail iteration of what was once Schneidersbüro (at Alexanderplatz, the old location)). ALEX4 is a distribution company. Superbooth, while once just an actual booth at the Musikmesse, is now an event series with its own production company.

At Verbos Electronics, Mark – who cut his teeth as a Buchla expert and repairperson – walks through the passion that drives his business in high-end modules. Side note: Mark is also a consummate live techno musician on his own instruments, having fired up these boxes in the likes of Berghain (and, back in the day, the old Ostgut and Tresor). Hearing him play should leave little doubt that these machines are for dancing, not just chin scratching. (You can, of course, attempt doing both at once. Full support.)

Check out the online presence of each:

http://www.verboselectronics.com/

https://www.schneidersladen.de/

Photo: Verbos Electronics.

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Pulsating colors and geometries animate Barker’s latest: interview

Delivered... Peter Kirn | Scene | Thu 28 Jun 2018 3:24 pm

Break out of the drab and the grime and the grind: the latest from Berghain resident Barker is about colors and freedom, with a hypnotic, playful video to match. We talk to the artists.

Presumably, Berlin techno club Berghain and its label Ostgut Ton are associated with bright colors much in the way that the capital of Germany is associated with ocean beaches or country and western music.

But Sam Barker’s new EP – which we’ll go into in a separate CDM story – actually fits perfectly, if you open your mind. As usual, the DJ/producer and co-founder of the Leisure System label and party boldly dreams up new directions for techno. That is, this music is still about forging machine rhythms from the latest sonic technologies, still about techno’s duple groove, but here does so in ways that forgo four-on-the-floor kick cliches or the current trends in gloomy timbres. In their place, you’re treated to brightly vibrating pads and shimmering rhythmic textures.

Or, anyway, those are the clumsy words I can think of to describe it. But Singapore-born motion artist Reza Hasni’s video captures exactly what you’d imagine Barker’s new music should look like. Watch:

CDM checked in with Sam and Reza for more.

Barker: I love Reza’s animation and illustration work, and asked him if he’d make a video for “Filter Bubbles.” I only explained, the shape of the track is supposed to represent bubbles being created and eventually bursting. Reza then built a narrative around this abstract bubble making machinery that ultimately breaks down, opening the door to a new dimension. Hugely grateful to have his imagination on this issue.

Reza Hasni: I have been following Sam’s music and was really excited to do a video for his latest track. The video is about a story of the abstract bubble that represents us. It’s supposed to fit into a situation or organization that loops itself everyday … and eventually it gets bored and escapes into another, until the part where it breaks away from the bubble machinery and evolves to be something unique and less repetitive.

CDM: I’m curious how you approached the music — how do you hear it, or how does that hearing impact how you arrange the animation?

Reza: When Sam told me that the shape of the track is supposed to represent bubbles being created, when I hear the track it reminded me of metal pipes, a smokey industrial factory, the feeling of early morning daily routine when you get up and head to work, doing something in the middle and straight back to sleep — that sort of cycle for the bubble. The track was lighter so I created something happier – then I thought of a happy, colorful, fun industrial factory with strobing lights.

Do you tend to see these sorts of visuals when you hear music, or do you have color associations with the music?

Not all music is the same, so it changes for me. But I often see color associations with music.

CDM: How are you producing your visuals?

I sketch a lot, transferring all elements into [Adobe] After Effects and animating it from there. If you see my other works, there’s a lot of collage influence in my visuals.

It’s a technicolor explosion of colors – I try to incorporate the colors used for sand mandalas into my videos.

This whole process is sort of meditative for me.

Thanks, Reza and Sam! I had an extended conversation in Sam’s home studio yesterday about the album, how it was made, and music in general, so watch for that interview soon. In the meantime, don’t miss the new EP. It’s on repeat for me at least – in the happy bubble way, naturally.

http://ostgut.de/booking/artist/barker

BARKER: O-TON 112 Debiasing [Ostgut]

http://vimeo.com/rezahasni

https://www.facebook.com/rezahasne/

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Minds, machines, and centralization: AI and music

Delivered... Peter Kirn | Scene | Fri 15 Jun 2018 9:23 am

Far from the liberated playground the Internet once promised, online connectivity now threatens to give us mainly pre-programmed culture. As we continue reflections on AI from CTM Festival in Berlin, here’s an essay from this year’s program.

If you attended Berlin’s festival this year, you got this essay I wrote – along with a lot of compelling writing from other thinkers – in a printed book in the catalog. I asked for permission from CTM Festival to reprint it here for those who didn’t get to join us earlier this year. I’m going to actually resist the temptation to edit it (apart from bringing it back to CDM-style American English spellings), even though a lot has happened in this field even since I wrote it at the end of December. But I’m curious to get your thoughts.

I also was lucky enough to get to program a series of talks for CTM Festival, which we made available in video form with commentary earlier this week, also with CTM’s help:
A look at AI’s strange and dystopian future for art, music, and society

The complete set of talks from CTM 2018 are now available on SoundCloud. It’s a pleasure to get to work with a festival that not only has a rich and challenging program of music and art, but serves as a platform for ideas, debate, and discourse, too. (Speaking of which, greetings from another European festival that commits to that – SONAR, in Barcelona.)

The image used for this article is an artwork by Memo Akten, used with permission, as suggested by curator and CTM 2018 guest speaker Estela Oliva. It’s called “Inception,” and I think is a perfect example of how artists can make these technologies expressive and transcendent, amplifying their flaws into something uniquely human.

Minds, Machines, and Centralisation: Why Musicians Need to Hack AI Now

IN THIS ARTICLE, CTM HACKLAB DIRECTOR PETER KIRN PROVIDES A BRIEF HISTORY OF THE CO-OPTING OF MUSIC AND LISTENING BY CENTRALIZED INDUSTRY AND CORPORATIONS, IDENTIFYING MUZAK AS A PRECURSOR TO THE USE OF ARTIFICIAL INTELLIGENCE FOR “PRE-PROGRAMMED CULTURE.” HE GOES ON TO DISCUSS PRODUCTIVE WAYS FOR THOSE WHO VALUE “CHOICE AND SURPRISE” TO REACT TO AND INTERACT WITH TECHNOLOGIES LIKE THESE THAT GROW MORE INESCAPABLE BY THE DAY.

It’s now a defunct entity, but “Muzak,” the company that provided background music, was once everywhere. Its management saw to it that their sonic product was ubiquitous, intrusive, and even engineered to impact behavior — and so the word Muzak became synonymous with all that was hated and insipid in manufactured culture.

Anachronistic as it may seem now, Muzak was a sign of how tele-communications technology would shape cultural consumption. Muzak may be known for its sound, but its delivery method is telling. Nearly a hundred years before Spotify, founder Major General George Owen Squier originated the idea of sending music over wires — phone wires, to be fair, but still not far off from where we’re at today. The patent he got for electrical signalling doesn’t mention music, or indeed even sound content. But the Major General was the first successful business founder to prove in practice that electronic distribution of music was the future, one that would take power out of the hands of radio broadcasters and give the delivery company additional power over content. (He also came up with the now-loathed Muzak brand name.)

What we now know as the conventional music industry has its roots in pianola rolls, then in jukeboxes, and finally in radio stations and physical media. Muzak was something different, as it sidestepped the whole structure: playlists were selected by an unseen, centralized corporation, then piped everywhere. You’d hear Muzak in your elevator ride in a department store (hence the phrase, elevator music). There were speakers tucked into potted plants. The White House and NASA at some points subscribed. Anywhere there was silence, it might be replaced with pre-programmed music.

Muzak added to its notoriety by marketing the notion of using its product to boost worker productivity, through a pseudo-scientific regimen it called the “stimulus progression.” And in that, we see a notion that presages today’s app behavior loops and motivators, meant to drive consumption and engagement, ad clicks and app swipes.

Muzak for its part didn’t last forever, with stimulus progression long since debunked, customers preferring licensed music to this mix of original sounds, and newer competitors getting further ahead in the marketplace.

But what about the idea of homogenized, pre-programmed culture delivered by wire, designed for behavior modification? That basic concept seems to be making a comeback.

Automation and Power

“AI” or machine intelligence has been tilted in the present moment to focus on one specific area: the use of self-training algorithms to process large amounts of data. This is a necessity of our times, and it has special value to some of the big technical players who just happen to have competencies in the areas machine learning prefers — lots of servers, top mathematical analysts, and big data sets.

That shift in scale is more or less inescapable, though, in its impact. Radio implies limited channels; limited channels implies human selectors — meet the DJ. The nature of the internet as wide-open for any kind of culture means wide open scale. And it will necessarily involve machines doing some of the sifting, because it’s simply too large to operate otherwise.

There’s danger inherent in this shift. One, users may be lazy, willing to let their preferences be tipped for them rather than face the tyranny of choice alone. Two, the entities that select for them may have agendas of their own. Taken as an aggregate, the upshot could be greater normalization and homogenization, plus the marginalization of anyone whose expression is different, unviable commercially, or out of sync with the classes of people with money and influence. If the dream of the internet as global music community seems in practice to lack real diversity, here’s a clue as to why.

At the same time, this should all sound familiar — the advent of recording and broadcast media brought with it some of the same forces, and that led to the worst bubblegum pop and the most egregious cultural appropriation. Now, we have algorithms and corporate channel editors instead of charts and label execs — and the worries about payola and the eradication of anything radical or different are just as well-placed.

What’s new is that there’s now also a real-time feedback loop between user actions and automated cultural selection (or perhaps even soon, production). Squier’s stimulus progression couldn’t monitor metrics representing the listener. Today’s online tools can. That could blow apart past biases, or it could reinforce them — or it could do a combination of the two.

In any case, it definitely has power. At last year’s CTM hacklab, Cambridge University’s Jason Rentfrow looked at how music tastes could be predictive of personality and even political thought. The connection was timely, as the talk came the same week as Trump assumed the U.S. presidency, his campaign having employed social media analytics to determine how to target and influence voters.

We can no longer separate musical consumption — or other consumption of information and culture — from the data it generates, or from the way that data can be used. We need to be wary of centralized monopolies on that data and its application, and we need to be aware of how these sorts of algorithms reshape choice and remake media. And we might well look for chances to regain our own personal control.

Even if passive consumption may seem to be valuable to corporate players, those players may discover that passivity suffers diminishing returns. Activities like shopping on Amazon, finding dates on Tinder, watching television on Netflix, and, increasingly, music listening, are all experiences that push algorithmic recommendations. But if users begin to follow only those automated recommendations, the suggestions fold back in on themselves, and those tools lose their value. We’re left with a colorless growing detritus of our own histories and the larger world’s. (Just ask someone who gave up on those Tinder dates or went to friends because they couldn’t work out the next TV show to binge-watch.)

There’s also clearly a social value to human recommendations — expert and friend alike. But there’s a third way: use machines to augment humans, rather than diminish them, and open the tools to creative use, not only automation.

Music is already reaping benefits of data training’s power in new contexts. By applying machine learning to identifying human gestures, Rebecca Fiebrink has found a new way to make gestural interfaces for music smarter and more accessible. Audio software companies are now using machine learning as a new approach to manipulating sound material in cases where traditional DSP tools are limited. What’s significant about this work is that it makes these tools meaningful in active creation rather than passive consumption.

AI, back in user hands

Machine learning techniques will continue to expand as tools by which the companies mining big data make sense of their resources — from ore into product. It’s in turn how they’ll see us, and how we’ll see ourselves.

We can’t simply opt out, because those tools will shape the world around us with or without our personal participation, and because the breadth of available data demands their use. What we can do is to better understand how they work and reassert our own agency.

When people are literate in what these technologies are and how they work, they can make more informed decisions in their own lives and in the larger society. They can also use and abuse these tools themselves, without relying on magical corporate products to do it for them.

Abuse itself has special value. Music and art are fields in which these machine techniques can and do bring new discoveries. There’s a reason Google has invested in these areas — because artists very often can speculate on possibilities and find creative potential. Artists lead.

The public seems to respond to rough edges and flaws, too. In the 60s, when researcher Joseph Weizenbaum attempted to parody a psychotherapist with crude language pattern matching in his program, ELIZA, he was surprised when users started to tell the program their darkest secrets and imagine understanding that wasn’t there. The crudeness of Markov chains as predictive text tool — they were developed for analyzing Pushkin statistics and not generating language, after all — has given rise to breeds of poetry based on their very weirdness. When Google’s style transfer technique was applied using a database of dog images, the bizarre, unnatural images that warped photos into dogs went viral online. Since then, Google has made vastly more sophisticated techniques that apply realistic painterly effects and… well, it seems that’s attracted only a fraction of the interest that the dog images did.

Maybe there’s something even more fundamental at work. Corporate culture dictates predictability and centralized value. The artist does just the opposite, capitalizing on surprise. It’s in the interest of artists if these technologies can be broken. Muzak represents what happens to aesthetics when centralized control and corporate values win out — but it’s as much the widespread public hatred that’s the major cautionary tale. The values of surprise and choice win out, not just as abstract concepts but also as real personal preferences.

We once feared that robotics would eliminate jobs; the very word is derived (by Czech writer Karel Čapek’s brother Joseph) from the word for slave. Yet in the end, robotic technology has extended human capability. It has brought us as far as space and taken us through Logo and its Turtle, even taught generations of kids math, geometry, logic, and creative thinking through code.

We seem to be at a similar fork in the road with machine learning. These tools can serve the interests of corporate control and passive consumption, optimised only for lazy consumption that extracts value from its human users. Or, we can abuse and misuse the tools, take them apart and put them back together again, apply them not in the sense that “everything looks like a nail” when all you have is a hammer, but as a precise set of techniques to solve specific problems. Muzak, in its final days, was nothing more than a pipe dream. What people wanted was music — and choice. Those choices won’t come automatically. We may well have to hack them.

PETER KIRN is an audiovisual artist, composer/musician, technologist, and journalist. He is the editor of CDM and co-creator of the open source MeeBlip hardware synthesizer (meeblip.com). For six consecutive years, he has directed the MusicMaker’s Hacklab at CTM Festival, most recently together with new media artist Ioann Maria.

http://ctm-festival.de/

The post Minds, machines, and centralization: AI and music appeared first on CDM Create Digital Music.

A look at AI’s strange and dystopian future for art, music, and society

Delivered... Peter Kirn | Scene | Mon 11 Jun 2018 6:01 pm

Machine learning and new technologies could unlock new frontiers of human creativity – or they could take humans out of the loop, ushering in a new nightmare of corporate control. Or both.

Machine learning, the field of applying neural networks to data analysis, unites a range of issues from technological to societal. And audio and music are very much at the center of the transformative effects of these technologies. Commonly dubbed (partly inaccurately) “artificial intelligence,” they suggest a relationship between humans and machines, individuals and larger state and corporate structures, far beyond what has existed traditionally. And that change has gone from far-off science fiction to a reality that’s very present in our homes, our lives, and of course the smartphones in our pockets.

I had the chance to co-curate with CTM Festival a day of inputs from a range of thinkers and artist/curators earlier this year. Working with my co-host, artist and researcher Ioann Maria, we packed a day full of ideas and futures both enticing and terrifying. We’ve got that full afternoon, even including audience discussion, online for you to soak in.

Me, with Moritz, pondering the future. Photo: CTM Festival / Isla Kriss.

And there are tons of surprises. There are various terrifying dystopias, with some well-reasoned arguments for why they might actually come to fruition (or evidence demonstrating these scenarios are already in progress). There are more hopeful visions of how to get ethics, and humans, back in the loop. There are surveys of artistic responses.

All of this kicked off our MusicMakers Hacklab at CTM Festival, which set a group of invited artists on collaborative, improvisatory explorations of these same technologies as applied to performance.

These imaginative and speculative possibilities become not just idle thoughts, but entertaining and necessary explorations of what might be soon. This is the Ghost of Christmas Yet-to-Come, if a whole lot more fun to watch, here not just to scare us, but to spur us into action and invention.

Let’s have a look at our four speakers.

Machine learning and neural networks

Moritz Simon Geist: speculative futures

Who he is: Moritz is an artist and researcher; he joined us for my first-ever event for CTM Festival with a giant robotic 808, but he’s just at adept in researching history and future.

Topics: Futurism, speculation, machine learning and its impact on music, body enhancement and drugs

Takeaways: Moritz gives a strong introduction to style transfer and other machine learning techniques, then jumps into speculating on where these could go in the future.

In this future, remixes and styles and timbres might all become separate from a more fluid creativity – but that might, in turn, dissolve artistic value.

“In the future … music will not be conceived as an art form any more. – Moritz Simon Geist”

Then, Moritz goes somewhere else entirely – dreaming up speculative drugs that could transform humans, rather than only machines. (The historical basis for this line of thought: Alexander Shulgin and his drug notebooks, which might even propose a drug that transforms perception of pitch.)

Moritz imagines an “UNSTYLE” plug-in that can extract vocals – then change genre.

What if self-transformation – or even fame – were in a pill?

Gene Cogan: future dystopias

Who he is: An artist/technologist who works with generative systems and its overlap with creativity and expression. Don’t miss Gene’s expansive open source resource for code and learning, machine learning for artists.

Topics: Instrument creation, machine learning – and eventually AI’s ability to generate its own music

Takeaways: Gene’s talk begin with “automation of songwriting, production, and curation” as a topic – but tilted enough toward dystopia that he changed the title.

“This is probably going to be the most depressing talk.”

In a more hopeful vision, he presented the latest work of Snyderphonics – instruments that train themselves as musicians play, rather than only the other way around.

He turned to his own work in generative models and artistic works like his Donald Trump “meat puppet,” but presented a scary image of what would happen if eventually analytic and generative machine learning models combined, producing music without human involvement:

“We’re nowhere near anything like this happening. But it’s worth asking now, if this technology comes to fruition, what does that mean about musicians? What is the future of musicians if algorithms can generate all the music we need?”

References: GRUV, a generative model for producing music

WaveNet, the DeepMind tech being used by Google for audio

Sander Dieleman’s content-based recommendations for music

Gene presents – the death of the human musician.

Wesley Goatley: machine capitalism, dark systems

Who he is: A sound artist and researcher in “critical data aesthetics,” plumbing the meaning of data from London in his own work and as a media theorist

Topics: Capitalism, machines, aesthetics, Amazon Echo … and what they may all be doing to our own agency and freedom

Takeaways: Wesley began with “capitalism at machine-to-machine speeds,” then led to ways this informed systems that, hidden away from criticism, can enforce bias and power. In particular, he pitted claims like “it’s not minority report – it’s science; it’s math!” against the realities of how these systems were built – by whom, for whom, and with what reason.

“You are not working them; they are working you.”

As companies like Amazon and Google extend control, under the banner of words like “smart” and “ecosystem,” Wesley argues, what they’re really building is “dark systems”:

“We can’t get access or critique; they’re made in places that resemble prisons.”

The issue then becomes signal-to-noise. Data isn’t really ever neutral, so the position of power lets a small group of people set an agenda:

“[It] isn’t a constant; it’s really about power and space.”

Wesley on dark connectionism, from economics to design. Photo: CTM Festival / Isla Kriss.

Deconstructing an Amazon Echo – and data and AI as echo chamber. Photo: CTM Festival / Isla Kriss.

What John Cage can teach us: silence is never neutral, and neither is data.

Estela Oliva: digital artists respond

Who she is: Estela is a creative director / curator / digital consultant, an anchor of London’s digital art scene, with work on Alpha-ville Festival, a residency at Somerset House, and her new Clon project.

Topics: Digital art responding to these topics, in hopeful and speculative and critical ways – and a conclusion to the dystopian warnings woven through the afternoon.

Takeaways: Estela grounded the conclusion of our afternoon in a set of examples from across digital arts disciplines and perspectives, showing how AI is seen by artists.

Works shown:

Terence Broad and his autoencoder

Sougwen Chung and Doug, her drawing mate

https://www.bell-labs.com/var/articles/discussion-sougwen-chung-about-human-robotic-collaborations/

Marija Bozinovska Jones and her artistic reimaginings of voice assistants and machine training:

Memo Akten’s work (also featured in the image at top), “you are what you see”

Archillect’s machine-curated feed of artwork

Superflux’s speculative project, “Our Friends Electric”:

OUR FRIENDS ELECTRIC

Estela also found dystopian possibilities – as bias, racism, and sexism are echoed in the automated machines. (Contrast, indeed, the machine-to-machine amplification of those worst characteristics with the more hopeful human-machine artistic collaborations here, perhaps contrasting algorithmic capitalism with individual humanism.)

But she also contrasted that with more emotionally intelligent futures, especially with the richness and dimensions of data sets:

“We need to build algorithms that represent our values better – but I’m just worried that unless we really talk about it more seriously, it’s not going to happen.”

Estela Oliva, framed by Memo Akten’s work. Photo: CTM Festival / Isla Kriss.

It was really a pleasure to put this together. There’s obviously a deep set of topics here, and ones I know we need to continue to cover. Let us know your thoughts – and we’re always glad to share in your research, artwork, and ideas.

Thanks to CTM Festival for hosting us.

https://www.ctm-festival.de/news/

The post A look at AI’s strange and dystopian future for art, music, and society appeared first on CDM Create Digital Music.

Inside the livecoding algorave movement, and what it says about music

Delivered... Peter Kirn | Scene | Tue 29 May 2018 2:30 pm

Using code for live music has gone from geeky fringe to underground revolution, offering a fresh approach to music and pattern, even for first-time coders. Alex McLean is one of the people at the center of this medium’s growth.

“Code” in this environment isn’t just about software language. The free, open source tool Alex McLean created, TidalCycles, found its original inspiration in research into analyzing Indian tabla rhythms. These environments are very much about getting closer to the essence of what makes music tick – the underlying technology of musical culture.

https://tidalcycles.org/ (powered by SuperCollider)

With Alex set to play and teach this weekend in Berlin, it seemed the perfect time to get his personal and musical story, and to have him take us on a tour of live coding’s latest frontiers. Alex is a laptop musician and developer, as well as a social organizer for a movement that’s spreading these tools worldwide. Johnny Appleseed style, Alex and others are planting seeds and building up a network of people who share knowledge and support one another. From my vantage point, the live coding scene represents a kind of free, open, collective model for supporting musical practice and culture, in contrast to the generally competitive dominant paradigm.

And oh yeah – that does include the “algorave,” a format Alex has promoted. Step into these marathon live code jams, and you may be surprised – this is danceable stuff, often with shoe-smoldering high tempos.

But if you only saw the novelty of people typing code on laptops to produce sound, you might miss the musical explorations it’s enabling. Perhaps because TidalCycles’ syntax lets you directly express loops and rhythmic ideas from a blank slate, without wrestling with all the chrome and complexity of typical musical software, it’s empowering some very creative work. For instance, I’ve had the fortune to get to know Miri Kat, a London-based artist using TidalCycles in her music (as well as making live algorave visuals). Late last year, through the CDM music label side project Establishment Records, we released her first EP (with generative visuals provided by Max/MSP/Jitter). I’m biased, of course, but to me, Miri’s work has sophistication in texture and pattern. So you don’t really need to know that live coding was used in its production – but then once you do know, it’s worth finding out how the tool represents musical ideas, and how the person who designed the tool thinks about those topics.

If you’re in Berlin, Alex joins a diverse live lineup Saturday at an event we’re organizing with Modular+ Space:

Encoded LIVE

And Alex will offer a workshop in TidalCycles and musical pattern Saturday afternoon. There are still some (limited) spots available if you act quickly.

Learn music patterning in TidalCycles, a free livecoding tool

Register for the workshop [30EUR incl. VAT]

We’re walking here at the edge between music theory and interface design, code and musical material, artist and organizer, musician and developer. So I was eager to ask Alex about how those pieces interlock – and how he manages his various roles and time.

Live coding really does involve dark rooms and screens full of code, like hacker representations in scifi and TV. Alex McLean, live; photo: Vitalija Glovackyte.

First, before we get into algorithmic music or livecoding, what was your entry into music, as far as training? What was your earliest musical experience?

I don’t have any formal musical training. I tried to play the guitar when I was young, but got nowhere. I just got ‘stuck’ playing the same things over and over (mainly “Wild Thing” by the Troggs). I’m a 70s child, so grew up during the home computer revolution in the 80s, but couldn’t buy a decent [computer] myself. But for some unknown reason, one day, our provincial state school received some great synths, including a Yamaha DX7, drum machine, and four-track recorder. Our music teacher let us play on them during lunchtimes, and so instead of going outside, we more or less recreated “Blue Monday” ever day.

You’ve done just a massive amount of event organization – that 100+ event count in your bio is real, yes? How do you keep all of that together in your head, in terms of organizing and logistics? How do you have any time for music making on top of everything else you do?

Yep – it’s an addiction, really. As well as dozens of algoraves, I’ve organized around 100 Dorkbot electronic art events, loads of ‘placard’ headphone parties, started two international conferences (ICLC on live coding and ICLI on live interfaces) and am now planning the third edition of the Festival of Algorithmic and Mechanical Movement in Sheffield. I do it mainly by collaborating with great people, and also by sending and receiving a lot of emails. It’s a great thing, imagining a weird event, talking to some people, and then a few months down the line, it’s happening. Usually, at that point, I’ve decided never to do another event ever again — but a few weeks later, a new idea pops up.

Really, though, it’s out of necessity. Interesting things happen in the gaps between communities, and the best way of making that happen is by making an event and forming a new community around it. It’s also really part of my music-making. You can’t really separate music from community.

On that note, actually, do you find you have to set aside some time that’s just for being a musician again?

Not generally, because I rarely record anything or make ‘tracks’ — just mainly play improvised, broken techno, live. So I just wait until someone invites me to play somewhere and I go and do it. That said, I do have a crowdfunded album project that is now about two years overdue. I keep setting time aside for that, but then find a new idea to explore for it. I’ve also formed a new duo (Class Compliant Audio Interfaces) with my friend Damu, and we are practicing regularly; that’s going well.

Tell us a little bit about TidalCycles. There was a connection to Indian classical rhythm in the way you conceived this software, right? How did you get from there to building a live coding environment?

Yes, that’s right. My first live coding environment was written in Perl, but it was frustratingly slow to work with. Then I came across BP2 – the second version of Bernard Bel’s “Bol Processor”, originally made for transcribing Indian tabla rhythms. I transferred the syntax into Haskell for a project I was doing for my Masters degree at Goldsmiths, around generating rhythmic continuations. A lot of Bernard’s ideas, and the reading I did around musical time in Indian classical music, still form the basis of the mini-language inside Tidal for describing polyrhythmic sequences, as well as Tidal’s conception of cyclic time.

Bol Processor 2 (BP2) at SourceForge

It strikes me that the essence of this is about pattern and rhythm. Did you try to think consciously in those musical terms when designing the tool?

Yes that was my motivation – to make a language for musical pattern. A lot already existed that I learned from, e.g. in SuperCollider, HMSL, Common Music, and in the writings of Laurie Spiegel. But although I put the code online for the first few years, I don’t think anyone else tried to use it. It was just for me, to make my own music as part of our band Slub.

Now, having edited the Oxford Guide, where would you position TidalCycles relative to other livecoding tools? What other tools should people be aware of – realizing there are a lot of these – on desktop or on browser?

Oh.. There’s absolutely loads of great stuff! There’s a lot to discover, and it’s almost all free/open source. Here’s the exhaustive list:

https://github.com/toplap/awesome-livecoding/blob/master/README.md

I’m particularly excited by FoxDot and Gibber taking things to the next level. Of course you can also livecode visuals, and Hydra [by Olivia Jack] is the new + exciting thing on the scene there. Both Gibber and Hydra run in the browser, and Foxdot is a fairly easy cross-platform download..

Is there anything to be said about the relationship between live textual coding and live visual/dataflow environments? (I was going to say Pure Data as an example.)

I don’t see any difference, really; a Pd patch has plenty of text in it, it’s just that the syntax comes from connecting the words together instead of arranging them next to each other. In fact, on one level, TidalCycles is a kind of pure, functional approach to dataflow. You can see this in the experimental visual frontend I made for it:

https://slab.org/colourful-texture/

We’ll give you a fresh group of people Saturday in Berlin to teach the software. Where do you start in a workshop, in terms of how to present it – once installation and such is done, that is?

I like to get people to think about what a pattern really is. In computer music, we too often think of patterns in terms of straight sequences or piano rolls. But patterns are a lot more than that — it’s a way of making, really. So I get people to think about patterns in terms of repetitions, symmetries, and reflections on multiple levels, and (I think) most importantly interference patterns which often create fascinating complexities from simple ingredients. Then of course there’s deviation from a pattern, the random numbers which are an important (if perhaps massively overblown) aspect of algorithmic composition.

This stuff it seems is really taking off. What can you say about the > state of the larger livecoding or live laptop scene? Is there something giving it some new velocity?

I think it’s been a slow burner, but has grown into a global network of local communities. A vibrant scene grew in Mexico City and is spreading around South America. There’s an increasingly active scene in Tokyo, too. It really comes down to local organizers deciding to dedicate their spare time to running workshops and putting on shows.

It’s sort of funny to me in a way that there’s a renewed interest in laptop performance just as many people are very vocally abandoning laptops for, say, Eurorack modular. Are these opposed forces? Or are we just getting to the point where people are getting more interested in live performance and improvisation? Is it about trying all sorts of interfaces to connect their thoughts to what they’re playing?

Yes, I think it’s all connected — people wanting to open up boxes and work with what’s inside, work with systems as material. I see the same motivation behind wiring and re-wiring a modular synthesizer and modifying live code while it runs.

Plus, of course, some people do both. There are people connecting Tidal and other live coding systems to modular synths.

Alex live, as Yaxu.

You’re going to play as a solo artist (Yaxu) – what’s that music about for you? There are some musical ideas that are separate from the tool, or would you say the tool is part of how you express that musical vision?

Well, I often degenerate into making deconstructed gabber whatever I do. But I guess when I perform solo, I try to make it about learning something new with Tidal – work it into new territory, perhaps by using a new function I’ve added or trying out a new combination of functions. That’s what makes it exciting for me and, hopefully, the audience. I don’t like the idea of musical vision, though, because I think live coding (and indeed music in general) isn’t at all about expressing fully conceived musical ideas in an efficient manner, but starting with something and seeing where it takes you. Working with pattern is great for this, because it’s so full of surprises.

Is there ever tension between working on building tools and communities, and working on your own music, or how did you harmonize them?

Making languages for music leads to making music, as does making parties, so it all fits together nicely. If I’m honest, it’s a bit concerning when other people make fantastic music with Tidal, but that just encourages me to push my own music forward. The idea of an individual voice in music is probably a fairly recent thing. I like the folk music model where people borrow tunes from each other all the time. Free/open source music fits into that nicely.

Yeah, I think in Western music history we can look to the Middle Ages for that individualist model – though then, too, that era was definitely into open source. Cantus firmus on GitHub, anyone?

So, looking beyond you — all these people who have picked up TidalCycles and gone and made their own expression, in their own art and teaching. Who are some of the people you’d point to who represent the range of what’s happened in the livecoding scene?

Oh gosh! In terms of Tidal people in particular:

I love Scotts-Berliner Calum Gunn’s stuff, both with and without Tidal:

http://www.calumgunn.com/

The same with Lucy Cheesman aka Heavy Lifting in Sheffield, she does top-notch Tidal stuff. We had a really fun collaboration recently, but she also performs with [live coding tool] Foxdot:

https://heavy-lifting.github.io/

Kindohm over in Minnesota makes totally amazing music too, and has been integral to the community from the start:

https://kindohm.bandcamp.com/

Alexandra Cardenas, I guess a Columbian-Mexican-Berliner, is another huge force for good in the community, currently spreading Tidal on tour across South America, and with every performance different and inspiring.

http://cargocollective.com/tiemposdelruido

I’ve really enjoyed following the development of audiovisual live coding in Japan e.g. Atsushi Tadokoro — looking forward to hosting an exchange with him + others soon!

Malitzin Cortes (CNDSD)’s Tidal experiments are also pushing Tidal into new ground, and her collaborations with visual artist Ivan Abreu
are something else:

http://blog.tidalcycles.org/cndsd/

Rodrigo Velasco aka Yecto from Mexico City, just love his inspired a/v work + experimental events:

Oh, this is so hard, to leave people out, but I guess I’d pick those out as being particularly active in growing the community in their different ways, as well as developing their own strong sound and approach. I’ll probably kick myself for forgetting someone.

Music from Yaxu (Alex)

Yaxu (audio) + Miri Kat (video) live at algorave sheffield 01/09/17

Algorave generation – we love repetition. 😉

Collaborating with Damu, as CCAI:

This recent stream to Algorave Moscow gives you a sense of how Alex builds up his tracks:

And Alex has put out an EP, on Computer Club:

And yes, there is still that massively overdue crowdfund project to do a full-length. Now you can see why the guy is busy, though, for sure.

Come join us in Berlin if you can:

Workshop

Concert/party

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Maracaibo to Berlin, Hyperaktivist on MESS, love, and music community

Delivered... Peter Kirn | Scene | Fri 25 May 2018 4:36 pm

From Venezuela to Europe, DJ/producer Hyperaktivist’s passion for music has been about connecting people as it has about connecting music. She talks to us about that process of community building, even in the face of resistance – and shares hours of music mixed with Mohajer at her side.

MESS is “Mindful Electronic Sonic Selections.” It’s advertised as techno, as house, as “adventurous sounds.” The party itself is once every third month at Ohm, the intimate club built in the former battery room of the power plant that now houses Tresor and Atonal Festival. But follow the connections of this party, and you get a decent map to a range of inspiring DIY, collective efforts of artists around Europe and Latin America. For any of us struggling to put together our own musical lives, our own parties, our own collectives and communities, it’s a terrific instructive effort – not least because of the personality and will of Hyperaktivist, aka Maracaibo, Venezuela-born, Berlin-based Ana Laura Rincon.

I’m personally indebted to Ana Laura in the time I’ve known her, in that in a sometimes mercurial, transient Berlin scene, she has consistently been someone whose vision and friendship I’ve known I could always trust. Of course, maybe it’s better though to first listen to how she communicates musically. She shares with us a mix she made B2B with Mohajer (aka Melinda Mohajer), her Iranian-born partner.

The magical thing about music and perhaps specifically techno is, when someone makes a confident sonic statement, it makes that feeling of strength infectious:

Hyperaktivist went B2B with Mohajer for MESS in February – a perfect Valentine’s Day pairing. Listen to their full mix. Photo courtesy Ana Laura Rincon.

The Hyperaktivist B2B Mohajer set comes to us from the last edition, in February. MESS is never advertised as female-only lineups; it’s a completely mixed crowd, and it never uses artists’ gender as a selling point. For her part, Ana Laura just refers to “chemistry and style.” But the fact remains: some of the most significant forces on the musical scene are female, transgender, and non-binary. And a lot of those figures are still often very underground. So let’s let Ana Laura guide us.

For the edition coming up on Berlin Saturday May 26, we get to meet two special artists:

Nastya Muravyova (Celestial, Kyiv)

“She’s a rising, yet brightly shining star of Kyiv’s underground scene,” Ana Laura says. “She’s balancing on the edge of pumpy 4×4 techno and sharp breakbeat, slightly aggressive — and all the way sexy.”

facebook.com/vsehzhdetsmert

Jessie Granqvist (Esperanto, Stockholm)

Ana Laura: “She’s a product of the vibrant underground-scene that’s currently growing rapidly in Stockholm. With roots grounded in illegal raves and open airs, she has gained notoriety for her style of dark and meditative sounds merged together into a very danceable mix. With both technicality and an eclectic selection of records, she has the talent to truly build and build a long lasting vibe on every floor that she appears on.”

facebook.com/jessie.granqvist/

PK: I find it interesting that you’re pulling people connected to collectives, parties, scenes in other cities. What’s important to you about doing that?

Hyperaktivist: For me, at the moment, I’m really not finding my inspiration so much from the scene in Berlin. So I always try to invite and collaborate with people from other places – so we can experience something fresh and different for us here in Berlin. With bookings, I take my time to know that everyone is going to have a chemistry that will work through the night and that it will add something new.

I mean, it seems like that’s been a big part of what defined the scene in Berlin – bringing in influence from elsewhere, whether it’s Detroit or Latin America or another part of Germany. So that’s a problem if it becomes just an export culture, if it’s all the same, right?

Hype has taken over Berlin; that’s a fact. People come here to live that “Berlin experience.” What scares me is the effect this might have on some of the artists that reside in Berlin. I worry some DJs feel pressured to play what’s expected from them more than what they feel at the time. And I worry about the consequences of that for the people who actually live in Berlin – whether they’re feeling that they’re going to the same party over and over, or that there are actually new things happening.

At this point I’m trying to go back to the roots a bit, thinking about why I started DJing and organizing parties in the first place. For me it all started in Venezuela, a country with few electronic music affiliations.

I discovered the electronic music scene when I was about 16 or 17. That happened to be around the first time I saw a DJ playing – there were maybe three or four people in my whole city who owned turntables.

It might sound funny, but for me it was a revelation. I knew right there, this is something I wanted to do. I was collecting music already; my mom had a great music collection and she was among other things a radio host. I was already completely fascinated about music and how we needed it to express ourselves and how we naturally feel like sharing it with others. So for me, seeing a DJ – “the master of ceremony” – was a turning point.

I started to get into it, but the scene was small and many people wouldn’t really have access to it. I first started organizing parties and eventually I even opened the first club in my city dedicated to electronic music only. I did it with my three best friends; we ran it for four years. During this time, we would also throw free parties in the streets. We had the intention of making electronic music more accessible to anyone and somehow contributing to the development of this scene that had already become a very important, determinant part of my life

That’s why I try to work with collectives that I feel are working to develop the scene in their own countries. When you start to do this in a place that’s not like Berlin, that’s not well developed, where the industry is not like here, you know that people are doing this because they love it. And they love it so much that they need it and if it doesn’t exist, then they do it. They need it to be part of their lives, so they make it happen.

So I like to work with people I feel are involved in music for these reasons, and doing something with heart and that is honest. Not only because of hype or because they want to be famous. It’s more because we fucking love it.

How do you describe what MESS is about? I know you aren’t explicitly talking about this being female + non-binary only, as far as lineups – so how would you express that dimension?

First of all, I feel the concept of MESS is ever-evolving. We need to pay attention to the necessities of the electronic music scene, what needs work and what’s overlooked.

Berlin is such a masculine city in many ways, music scene included. I’ve met some of the most amazing women and the most strong personalities in Berlin. So I have a hard time accepting why women still need to fight very hard and prove themselves over and over in order to be accepted and sometimes even welcomed.

I think about MESS as a space where I don’t want to make a political statement. I have come to understand the best points are made when you don’t have to explain too much but instead you let things speak by themselves. Actions speak louder than words, right?

So I put together bookings based on chemistry and style. I invite super talented artists and I let them do their thing. And slowly but surely, people are realizing that there’s something different. And I get feedback on it – sometimes at the party, people come to me and say, like, ‘this is really cool, what you’re doing, there’s something different about the party.’ So it’s great to let people see by themselves.

I also always try to put together bookings where people are from diverse cultural backgrounds, so you see different approaches.

In my utopian world, we shouldn’t even be having these discussions between each other. At the end of the day, more than anything else, it should be about the music, about friendship, acceptance, respect — about the feeling you are part of something special.

And this is what MESS is at the moment.

Ana Laura aka Hyperaktivist. Photo by Melinda Mohajer.

So when you go to find these artists, these collectives and other scenes – how are you connecting with them?

Research. [laughs] I spend time – a lot of time, listening to the music. Not only once. You know how it is with music – this day you hear this and you think, oh wow, I love this … next day you hear the same and it’s like, this is actually fatal. I give myself time to hear it, in different moods, see how I feel about it. I hear it with friends. There are different things that catch me. Usually, the things that catch me are related to attitude — when I see that this person wants to say something, there’s something there.

It takes time. That’s why I do MESS every three months, because I need time to prepare and I also want to have a good reason to make the party. For example, the last edition happened on February 17th, the weekend after Valentine’s Day. We decided to make a “Club Affair” and have only couples playing, as in back to back. So we invited Isabella from Colombia B2B Bella Sarris from Australia, Johanna Schneider with Philippa Pacho from Sweden with their B2B project Sthlm Murder Girls, and I played with Melinda Mohajer from Iran. I saved our recording specially for you at CDM.

Схема. Via Facebook.

Hyperaktivist vs. Maricas Maricas, Barcelona.

I’ve been collaborating with various collectives / parties. For a few examples:

Maricas, a queer party collective from Barcelona, run by Isabella, a Colombian DJ who played at our last edition, along with Uruguayan friends

www.facebook.com/pg/maricasmaricasmaricas
www.instagram.com/maricasmaricas/

Fast Forward from Copenhagen — these guys are making exciting new techno and crazy illegal parties, and you feel their collective really has these family vibe, which I love.

www.facebook.com/fastforwardcopenhagen/

Esperanto music from Sweden – they’re pushing up-and-coming Swedish artists.

https://www.facebook.com/EsperantoMusic/

esperantomusic.net

Cxema from Ukraine, where they are taking abandoned locations and throwing badass raves and putting the Ukraine scene on the international radar.

www.facebook.com/cxemapage/
http://www.c-x-e-m-a.com/

How does that experience compare to when you were running a club in Venezuela?

It was the same – collaborating with the development of the scene and the culture of electronic music. It’s what I’ve been working for, always.

I had this friend, and he had this house downtown in my city Maracaibo, the second largest city in Venezuela. And he was like, ”I want to do something here, what should I do?” I didn’t even think for one second — I turned around and told him, we’re gonna do a club.

And then we started the club, and it was amazing. It became a meeting point for all the scene in the city and across the country. So we started to do the same – invited collectives from Caracas and all the other cities from Venezuela to come to play, and then we would go to play their parties in their cities. And then it grew, and it started to happen between Colombia, Brazil, Argentina. Then we started to bring artists from Europe, but at this point the political situation of the country started to critically worsen. We had an exchange control that started to happen and wouldn’t allow us to access any foreign currency anymore, so buying records, equipment, or making international bookings became impossible. The whole country started to go down down and boom – it was gone. And that’s when we stopped.

But now one of the best clubs in Bogota, Video Club, is run by a good friend of mine Enrique Leon with I used to have the club with in Venezuela. And he’s putting together great bookings, making showcases with everyone. Dekmental Sound System, Aurora Halal, etc….

If you’re in Berlin, don’t miss MESS tomorrow at Ohm, Saturday 26 May. Or see you in the scene in your neck of the woods.

MESS at OHM
Facebook event
Resident Advisor

More from Hyperaktivist / Mess

www.facebook.com/Hyperaktivist/
www.soundcloud.com/hyperaktivist
www.soundcloud.com/messberlin
www.facebook.com/messberlin

At top: Hyperaktivist – Pic by Honza Kolář.

The post Maracaibo to Berlin, Hyperaktivist on MESS, love, and music community appeared first on CDM Create Digital Music.

8BitMixtapeNEO is a glitchy hackable synth the size of a cassette tape

Delivered... Peter Kirn | Scene | Mon 14 May 2018 2:24 pm

It’s the size of a cassette tape, has buttons and pots so you can play it as a handheld instrument, it’s open and hackable – and it sounds like 8-bit mayhem.

8BitMixtapeNEO is very, very lo-fi synth built around the Arduino-compatible ATTINY85 chip. But what’s interesting about it is that all that hackable, programmable mayhem is accessible to anyone curious, not just coders.

It sounds mental:

And it’s got some weird and clever features:

Pocket mods: Just like the KORG volca sample, an audio protocol works for upload. So you can send firmware code just by playing a sound file from an audio playback device. Flash with your phone on the fly. (They also suggest a SONY Cassette WALKMAN, of course.)

Lite-Brite: Eight RGB LEDs work as a sort of 8-pixel screen / feedback / Knight Rider display.

Upcycle: Since the PCB is the shape and size of a cassette tape, a re-purposed cassette shape shell works as a case.

Arduino-compatible chip.

Visual programming. There’s a visual, drag-and-drop programming interface you can use as an alternative to uploading code. Have a look:

User mixtapes. They’ve built their own custom community for user-generated tools, including visual effects, sequencers, sounds, and other hacks. It’s here – http://neo.8bitmixtape.cc/mixtape – and since audio playback upload is easy, you can just flash from any computer or phone or tablet with speakers!

Pricing stars at 65EUR (with that beautiful, artsy PCB). There are various ways to buy, including getting it in person in Berlin – and workshops from Hong Kong to Zagreb to Taoyuan. Check it out:

http://wiki.8bitmixtape.cc/#/XXX-Shop

http://neo.8bitmixtape.cc/

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All the best new gear and modules from Superbooth, in one place

Delivered... Peter Kirn | Scene | Wed 9 May 2018 12:21 pm

If you love synths, you’ll want a guide to Berlin’s Superbooth. What was still just an actual booth a few years ago has grown into one of the world’s biggest synthesizer showcases. There was so much new, it’s actually hard to keep track. Here’s some assistance.

About the festival: Superbooth, held in a former East German children’s community center in the city’s Köpenick suburb, was more packed in 2018 than ever.

That’s partly a sign of the growth of modular makers. This event calls Berlin home thanks to Schneidersladen (née Schneidersbüro), the boutique synth shop that became a landmark and a beacon to lovers of electronic instruments, particularly as analog circuitry and Eurorack modular synths have seen major growth in the 21st century. Andreas Schneider and his team, and later their ALEX4 distributor and the Superbooth operation itself, have helped champion those instruments.

But like that shop, Superbooth also gathers boutique makers of many stripes, plus big manufacturers like KORG, Elektron, and Roland, each of whom had commanding presences (among others).

The overall feeling is of a place where synth makers and musicians come together, with gear at center stage. (There are panels and performances, too, but they feel a pleasant side show to the workshops and booths.)

This year’s themes: There are still wires everywhere. But “analog” sound sources aren’t the major concern they once were – or, for that matter, classic gear as models (even if Behringer clones were a big buzz). Now, you’ll see plenty of computer-like sequencers in racks, digital oscillators (including FM synthesis), more alternative control interfaces (from touch to gestures to biosensing), and fresh ideas built around digital tech.

Actually, maybe the openness of ideas is a big part of Superbooth’s easy-going atmosphere. Because modules aren’t complete products in themselves, they often seem as much a physical embodiment of an idea as a product. Even with some builders marketing complete “systems,” there was a hunger to connect gear.

But even if you’re not into modular… Here’s the funny thing. Superbooth has managed to become the world’s premiere synth show, not just modular show. Computers were mostly eclipsed, and you didn’t see a lot of guitar- or vocal-focused gear, but every other object that generates sound – from desktop synths to Theremins – was on hand, with some pretty big news.

The List.

Okay, there’s so much stuff – I’m going to make this a really fast log with some in-a-nutshell descriptions.

Things I left out of this list:

1. Stuff introduced earlier / shown before (as at NAMM in the USA, earlier this year)
2. Things I forgot / didn’t see

On #2, please feel free to remind me or make a case for something you found interesting. There’s actually way too much stuff to cover everything, though, so I did intend to pick highlights but …. I’m sure there’s more.

The show-stealers

Erik Norlander (also creator of the Alesis Andromeda) shows us the IK Multimedia UNO he worked on with Soundmachines’ Davide Mancini.

I’ve covered these already, as they made some of the biggest impact at the show (and on general audiences), perhaps with the exception of the Behringer clones (more on that in a bit).

MFB’s Tanzbär-2 was instant drool-worthy stuff, combining analog drum sounds, digital drum sounds with sample loading, and an analog bassline with easy access to sounds and faders. And it’s made in Berlin, so – score one for the home team.

The Polyend/Dreadbox Medusa is a deep synth paired with an expressive grid and extensive live recording and sequencing features. And as with the MFB, pretty much everyone I talked to instantly wanted one, so there’s that.

The $199 IK Multimedia UNO. Combining a powerful analog synth with a sequencer and lots of modulation, all in a battery-powered unit you can play right away at a low price, is an easy win. It’s also the work of a collaboration between soundmachines and IK.

Erica Synths Techno System just does everything you need for percussion and bassline and distortion and mixing thereof, and sounds amazing.

Roland’s SYSTEM-500 modules strike a nice balance between features of the 100m line, the SH-5, and newer ideas. Plus, again, Roland got to stake out the super-cool space-themed part of the building.

Bastl’s modules are noteworthy, even if not the most buzzed-about gear at Superbooth this year, for two reasons: one, I think they’ve got waveshaping interface down with Timber, and two, the 1983 MIDI-to-CV module does clever automatic tuning, for polyphony across modules.

Desktop synths and toys

The Center for Haptic Audio Interaction Research chair.audio. This is perhaps the most exciting innovation shown at Superbooth. Vibration-based sensing and haptic technology produces a control interface that behaves more like an acoustic instrument. It’s the result of a research team based in Weimar, Germany – check their complete site for an explanation, but more on this on CDM soon, for sure. The results are stunning – suggesting a new kind of performance interaction, and a window to the worlds of electronic sound that descends more from acoustic percussion and less from organs and keyboards. Watch – it’s jaw-dropping:

Dave Smith Instruments Prophet X. Dave Smith have gone to the high end with this one – it’s a new flagship Prophet, combining a digital 8-voice stereo digital synth, a new sample-based sound engine, and those signature DSI analog filters and circuitry. Basically, you get a Prophet workstation – part Prophet synth, part sample engine with 150 GB content, and all the extras. And it costs four grand, though this seems like a new generation of workstation keyboard / computer sample engine replacement. (Dave Smith for Hans Zimmer?) DSI have posted a complete product page. It’s sort of a shame Keyboard Magazine (USA) is no longer printed on trees, as obviously this would be on the cover.

Soulsby Atmultitron. This is like the 8-bit workstation to DSI’s high-res one. No gigs of samples or high resolution here – just a keyboard packing all of Paul Soulsby’s brilliant and weird 8-bit creations into a single keyboard with joystick and controls.

Pittsburgh Modular Electronic Sequence Designer. Sequencers were all over the place at Superbooth, but perhaps the most useful was Pittsburgh Modular’s entry – a 4-channel, 32-step sequencer with loads of performance and composition options. It’s a little like having a KOMPLEX Sequencer from KOMA, but in a more manageable form factor.

Twisted Electrons introduced some toys in the best sense. The 8-bit uAcid8 borrows from their bigger acid8 wavetable synth, while the 4-voice hapiNES is “inspired by” the NES game synth. Both have push-button access to some clever features like filter wobble, and both cost just 99EUR. The inspiration of the Teenage Engineering Pocket Operators was left in the open – they even had a couple of those plugged into these, jamming together.

A hardware tool for the Prologue. KORG hinted that they were bringing hardware SDKs to play with that would allow developers to make stuff for their Prologue polysynth. KORG’s Etienne Noreau-Hebert talked to us about it. It’s basically one Prologue voice on a board (with cute lasercut side stands), with audio in and out jacks so you can hear what you’re doing, and exactly the circuitry you’d have on the full keyboard. Writing in C (with limited C++ extensions), you can make your own oscillators and effects, then ship them to the Prologue user base. There’s not much to this other than that, apart from a handful of conveniences like lookup tables, but it still seems like fun. And it’s the first instance I can think of that a hardware platform worked in this way.

Holon bio interface. This was crazy fun to play with. Using an Apple Watch or a custom wristband sensor (or just your iPhone), this interface tracks your pulse as well as movement. The upshot: jog around, and music responds. It’s like having a generative composer following you around, writing music for your workout – so that even when you pause to wait for a light to change at an intersection, the music answers accordingly. They also have a modular interface for this. Awaiting Apple approval. (holon.ist site seems not to be up quite yet, either).

Soundmachines Arches. Touch interfaces were everywhere, but Soundmachines’ Arches was a standout. Not only does it provide touchable strips, but you get light-up feedback, recording and looping, pressure sensitivity and z-axis control, and tons of patchability in addition to MIDI and USB. It’s really a gestural sequencing instrument as well as control interface, with loads of pattern controls for automating as you play. See the full product page for more.

Snazzy FX pedals. If you feel a bit left out of the fun as an instrumentalist looking for pedals, Snazzy has you covered – some brilliant and completely weirdo guitar pedals from the USA, found in the Erica Synths booth.

Modular

u-he Civilization. With lite-brite rainbow colors and just a few pots, the entry of plug-in developer into the modular world was a strange one. This module is a 4×4 matrix mixer – but, with some taps of those pots, it’s also a quantizer and sample & hold module – and all of that is color coded. Basically, a single space lets you command a bunch of connections and modules quickly, making Civilization an interesting choice for saving space.

It’s a bit nuts, but it also shows some of the advantage of multi-functional thinking from software blurring over into hardware.

Humble Audio Quad Operator. Hailing from San Francisco, Humble Audio have delivered a four-operator FM synth in a Eurorack module – complete with a matrix of pots. Everything can be modulated – and you can patch in audio signal. You can choose algorithms, or mix together your own sound shapes. It’s basically everything you’d want from a software FM synth, but in modular form – brlliant stuff, and hope to look at it more.

NERDSEQ is a chip music-style tracker in a module. It’s not new – I saw some pre-modular prototype years ago even at Musikmesse – but each year, its developer takes it further. This year, cartridges containing open source synths, including the full MeeBlip anode with analog filter, were available. So you can plug in an entire synth and use it in the tracker, just as easily as you would play Excitebike. Don’t blow on the synth cartridge, though.

You can plug in a game controller, too.

Hexinverter Mindphaser. Well, this is basically your dream oscillator – an analog “complex oscillator” with phase modulation and waveshaping. And in addition to beautiful controls and patching, it just sounds ridiculously good:

In a way, maybe this is one of the best Superbooth moments. It demonstrates analog circuitry, behaving futuristic – voltages making those computer bits a little jealous. (I may seem like I’m now anthropomorphizing numbers whilst my hypocrisy takes down the very name of my site, but just remember the CDM motto – the ‘d’ stands for whatever you want it to.)

I just wish I hadn’t failed to get on the Eurorack manufacturing craze or the cryptocurrency thing, because now I … can’t afford all that mindphasing. (Or at least, thinking about it is causing some mindphasing.)

Insane Clone Posse

Behringer have gone clone mad – with Roland Corporation circa 1980 (give or take a couple of years) being a particular target.

Roland’s SH-101 synth (1982), VP-330 vocoder (1979), TR-808 (1980), and even two pedals based on the JUNO-60 (1982) were on the show floor, not to mention the announcement that Behringer’s cut-rate Eurorack line will be based on the SYSTEM-100 module line. And no one can argue that Behringer are bringing back products that Roland won’t, since Roland has unveiled the SH-01, VP-03, TR-08 (and TR-8S and TR-8), and JU-06, plus their own SYSTEM-500 Eurorack, respectively. Behringer aren’t just copying Roland from decades past, in other words – their whole brand strategy comes straight out of the 2017-2018 Roland product catalog.

Behringer’s offerings are cheaper, yes. But those aren’t profits going to some rich fat cats: they pay for the marketing and support operations of Roland worldwide, which arguably helps create the market Behringer can then come in and exploit (and certainly which pays for some jobs).

It’s not just Roland. Behringer copied Sequential Circuits (now Dave Smith Instruments) Pro-One, though the prototype on the floor copied the look and feel more effectively than the architecture. There was also the ARP Odyssey, which had recently been re-engineered and re-released by KORG. And Behringer also showed the Neutron, which looks suspiciously in board layout like Moog’s Mother-32 semi-modular.

Nowhere to be seen: the DeepMind, the one synth Behringer created that’s actually new.

On the other hand, maybe what makes this less remarkable at this point is that the 101 and 808 in particularly already have countless clones in software and hardware. Behringer is, perversely, almost trading on their reputation for being the clone maker.

Behringer’s strategy (via parent Music Tribe) and its impact on the industry deserves more investigation. Past clones have landed the company in legal trouble with Roland/BOSS and Mackie. I’m researching that story and will report more separately.

But were there new products from Behringer? Well, no – not unless you’ve been in cryogenic stasis since 1982.

Meanwhile, the oddest reaction to this has to be this, from Synthtopia’s comments:

It justifies Behringer’s hardware clones with a reference to all the human … cloning … going on. Really, human cloning? Wasn’t aware.

Weirdness

Oh, so much weirdness. Want a beer tap in a module, for instance?

Or laughing gas (via Errorinstruments)? (Makes me think about dentists.)

What did we miss?

It’s not possible to cover everything. But let us know if there was anything that particularly excited you – and that was new around this show.

(It was great seeing the Teenage Engineering OP-Z, the Snyderphonics Manta, the Polivoks, the Synthstrom Deluge … but none of those was exactly new, I think!)

The post All the best new gear and modules from Superbooth, in one place appeared first on CDM Create Digital Music.

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