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


Enter the freaky trippy acid 90s German synth world of Air Liquide

Delivered... Peter Kirn | Artists,Labels,Scene | Wed 22 May 2019 12:02 pm

If you need a break from buttoned-up techno, dance music as business and fashion statement and morose wallpaper – take a holiday with some “trippy mindfkk-muzzikkk.” Here, we’ve got 170 tracks from 1991 Cologne to today to get utterly weird.

In 1990s Cologne, if the techno scene was spread too thin, you could just manufacture a few dozen aliases and DIY the whole thing. At least that seems to be the approach taken by our friends Air Liquide, aka Cem Oral and Ingmar Koch, and a half dozen or so core artists – a band of buddies making weirdo sounds. See the full alias list at bottom, but DJ DB (aka DB Burkeman) traced the history of the duo for the now-defunct THUMP from VICE:

DB’s No School Like the Old Skool: Air LiquideMeet the German analogue techno duo that rocked the 90s underground with a hundred different pseudonyms.

Now, just when you thought it was safe to go back to Germany, Air Liquide have returned to make European electronics mindfkked again.

We’ve got over 16 hours – 170 tracks – on streaming services like Spotify, chronicling the evolution (or whatever it was) of Air Liquide from 1991 through today. The sounds are futuristic, spacey, hyperactive, bizarre – everything in turns. You know you need some broken ultra-fast acid piping through Spotify on your next workout, of course:

via Spotify playlist

Details:


“AIR LIQUIDE – almost complete” – spotify playlist with over 16 hours of trippy mindfkk-muzzikkk

It includes, for instance, tracks inspired by the TV show Robot Wars:

Or here’s a track compiled by Loveparade founder Dr. Motte:

If you like what you hear, you can download those releases now, on iTunes:
https://itunes.apple.com/us/artist/air-liquide/5352330#see-all/full-albums

and on Beatport:
https://www.beatport.com/artist/air-liquide/7230/releases

But in addition to that history, their label Blue is back.

Maybe this comes at an ideal time. With so many records sounding like generational loss – copies of copies of 90s records, watered down and sanitized and fed through Instagram – the new Air Liquide project is both real media archaeology and real invention. You get remasters and rereleases of the actual original records, and – this is important – they’re making new stuff.

Air Liquide are back.

So albums like Liquid Air and Mercury EP are returning on colored vinyl and cheap-for-everybody digital. But you can also expect new creations, like a mini-album called “ALTR” which they’ve let CDM know they’re finishing now with German rave legend t.raumschmiere. And there’s upcoming collaboration with American poet Mary S. Applegate – yes, the cousin of Christina Applegate – later this year, along with other releases.

There’s even some unreleased 1992-93 era stuff in store, they tell us.

They’re also acting as our guides through other freaky sounds, as on this new Spotify playlist “Der lärm der stille“.

Included is “some crazy tripmusic we love – paired with some of our own brain fkk trax” – up to 94 tracks and over 8 hours so far, from around the world and the years:

Their favorite machines

One thread through all this music is a real, profound love for sound and electronics – and synths and noisemakers and effects, like, everywhere.

CDM asked for some of the duo’s favorite stuff, and here’s what they’ve come up with:

dr walker:
drummachines:
erica synths technosystem
akai mpc3000 (modded)
akai mpc60 mk 1 (modded)
ensoniq asr x (modded)
superpocketoperator build by doc analog with 2x teenage engineering po32, ipad with patterning2 and erica synths fusion valve filters. all in an old army flightcase
roland tr8s
endorphin.es black noir with twisted electrons crazy8beats

synths
acd666
polyend medusa
erica synths liquid sky dada noise system
acl system 1
native instruments thrill
erica synths bassline
twisted electrons therapkid
gamechanger audio motorsynth
izotope iris 2

effects:
ninja tune zendelay
erica synths & gamechanger audio plasmadrive
bastl instruments dark matter
crazy tube circuits stereo splash mk III
snazzy fx wownflutter
catalinbread csidman

on the wishlist:
sequential rev2
korg prologue 16
emu e II+ (modded)
roland 750 (modded)
superlatives sb1 spacebee

Postlude: namedrop this, m************:

Yeah, okay, starting a sentence with “maybe you’ve heard of” with Air Liquide could take a while if you want to check on all their aliases. From the VICE report – amazingly, possibly even incomplete:

Madonna 303, Black One, Digital Dirt Inc, Ingy-Babe, John Amok, Unit 700, Acid All Stars, Der Tote, DR. Echo, Free Radicals, Flüssige Luft, G 104, Message, Oral Experience, Alpha Unit, Basstards, The, Bionic Skank, Cipher Code, Cube 40, Denpasar, Electronic Dub, Ethik II, Even Brooklyn Grooves, Fridge Pro 1, Future Shock Project, Futuristic Dub Foundation, G.L. Posse, German Electronic Foundation, M.F.A., Mental Bazar, Multicore L.T.D., Non Toxique Lost, Outernational Steppers, Restgeraeusch, Rub-A-Slide, Set Fatale, Slime Slurps, , Time Tunnel, Titanium Steel Screws, Tone Manipulators, Trancemagma, Dzeta Walker, Ultrahigh, UMO, Vene, View Point Odyssey, Zulutronic, Black One, Digital Dirt Inc, Dr. Walker, Ingy-Babe, John Amok, 370°, Acid Force, Air Liquide, Alternate States, Atlantic Trance, Bleep, The, Brotherz In Armz, Cipher Code, Commando, The Creature, Denpasar, Dr. Walker & Electro Atomu, Dr. Walker & M. Flux, Electrochic, Electronic Dub, Elevator 101, Ermionis Phunk Crew, Ethik II, Fridge Pro 1, Future Shock Project, German Electronic Foundation, Gizz TV & Walker, Global Electronic Network, Helden Der Revolution, House Hallucinates, GEF, Khan & Walker, Lovecore, Mental Bazar, Mono-Tone, Multicore L.T.D., Pierrot Premier, Planet Love Ink, Planet Lovecore, Psychedelic Kitchen, Radiowaves, Recall IV, Red Light District, Rei$$dorf Force, Resist 101, South 2nd, Stardate 1973, Structure, Tantra-M, Technoline, Time Tunnel, Trancemagma, Trip 2001, Unbelievable, Unlimited Pleasure, Vermona, View Point Odyssey, Dr. W and X-911.

They have shared this new short bio/history with us, to give you the full story:

AIR LIQUIDE

Born out of innovation & originality, Air Liquide are for many people one of contemporary electronic music cultures most pioneering, important and inspiring projects.

Cem Oral aka Jammin Unit and Ingmar Koch (Dr.Walker) first met in 1989 in a Studio in Frankfurt Main, in Germany. As it often is when like attracts like, it wasn’t long before they recognized their mutual love, not only for experimental, abstract and lo-fi musics but also for Alien, Bigfoot, Telepathy stories of Parallel Universes and Fairytales with a somewhat darker side. So it was just a matter of time before the two were getting together in the studio at the end of their respective dayshifts, to commence their own nightshift recording sessions of abstract noise, cut-ups and experimental soundscapes.

As well as Techno itself, likewise Acid, Industrial Noise, Ernste Musik, Ambient, Kraut Rock, Space-rock, 70s Psychedelia Underground Hip Hop and Musique Concrete were all somehow present and in the mix of the evolving Air Liquide sound, sitting comfortably and perfectly at home with elements of Turkish and Arabian traditional Music’s. The production process took on board a similar innovative and pioneering approach in its fusion of Modern Dub paired with the intensity of the all important groundbreaking Roland 909, 808, 303 and 101 must have technology of the day.

In 1991, they formed Air Liquide.

The fusion that was created boldly incorporated a past it was proud of, free of revivalism or plagiarism, clearly created in and reflecting undeniably a soundscape for the here and now that proclaimed uncompromisingly and assuredly, welcome to the future!

In keeping with every other aspect of their venture, Cem and Ingmar followed their intuition and instincts rather than established tradition, and immersed themselves in freestyle jam sessions, recording the entire one or two hours that they lasted. Upon later listening it would be decided if any parts of the jam session were up to the pairs criteria to be edited out and tweeked into tracks for release.
This is the paradigm within which the Air Liquide creative process birthed “Neue Frankfurter Elektronik Schule”, their first record, released in 1991 on their own label ”Blue”. The first pressing of 1000 copies, released on coloured vinyl, sold out in the first hour after its release!

This was a remarkable achievement, for an unknown band without any direct link to the House Music Scene. Via experimentation Air Liquide reintroduced a living breathing life affirming energy into contemporary music culture, much the same as techno and house did via rave and most importantly dancing. No surprise then that in a very short space of time, accolades like ‘The true heirs to Can’, ‘The Greatful Dead of Techno’ & ‘The spearhead of German Techno’ were incoming thick and fast from the International Music press. Their mixture of Hip Hop, Psyche & Krautrock, Acid & Techno endeared them to a rapidly established and increasing fan base around the Cologne area.

Their eclecticism, originality and self respect, as apparent in a seemingly “no respect for any rules” approach endeared them to that international music press, fans and professionals alike, especially as those professionals were born of the same spirit, as it had been in their own break through years. Like attracts like, the true fans of such musics, such fusions and the spaces that are created for and by these musics, of course could and can feel that, and step up to support it without question.

Then you have guests at your live jams like Michael Rother, Holger Czukay, Luke Vibert, Helmut Zerlett, Craig Anderton, Arno Steffen, Caspar Pound, Fm Einheit. Then your 100% improvised live shows successfully bring surprise, ecstasy, the unexpected and exactly all that people are wanting from you, as well in ways they are not expecting, all in a guaranteed we deliver way, regardless however it may be presented. Then you will be invited to join the roster of USA sm:)e records, the cult sub-label of Profile, that being the label of Run DMC. Likewise in UK, being asked to release on Casper Pounds all important Rising High Records.

And when your fusion of the experimental soul of contemporary electronica and krautrock creates such a superb and flawless fusion that fans from both sound spectrums love you for it, well then one of the all time forward thinking labels ever, Harvest records, will come out of retirement and re activate solely for the purpose of releasing your recordings.

Which is exactly what happened in 1993. That happens if you mean what your doing and if what you are doing is truly valid and unquestionably relevant.

Air Liquide were inspired, moulded by and arose from within that timeless borderless creative Freezone that births truly great Sound & Vision in every respect. It is where they still reside, and it is from there that they now re-emerge to mark 3 decades of living on the frontiers of International ground breaking contemporary ahead of the curve Music, Art, and attendant Technology subcultures.

Air Liquide represent the ultimate fusion of ideals, not believing the hype, not being swayed by past or present dogmas and staying true to their innermost aims and feelings, without question. The real thing if you will. Air Liquide were since their inception in 1991, always have been and still are very much the real thing, through and through!

Modern photos by George Nebieridze; all pictures courtesy Air Liquide.

The post Enter the freaky trippy acid 90s German synth world of Air Liquide appeared first on CDM Create Digital Music.

Andreas Schneider on the significance of synths, just before Superbooth

Delivered... Peter Kirn | Scene | Tue 7 May 2019 11:17 pm

Look past the modulars and wires: connecting people who make instruments and those who play them is at the heart of all Andreas Schneider’s endeavors. With Superbooth looming, we check in on Herr Schneider and his vision of what electronic instruments are about.

I got a chance to talk to Andreas during this final lead-up to this week’s festival. Superbooth has become trade show-cum-cultural happening, one of those chances to take a community that lives globally and online and make it face to face. Things you can expect:

  • Makers like Doepfer, WMD, Macbeth, Make Noise, Dadamachines, Polyend, and Erica Synths rubbing shoulders with the likes of Moog, Roland, and NI
  • Soldering workshops with Verbos Electronics, DIY kits from makers like Befaco and Birdkids
  • Lecture-concerts from makers (SoundHack’s Tom Erbe, not just modular makers), and artists (Caterina Barbieri, Richard Devine, Mark Ernestus, Mathew Jonson, Johanna Knutson)
  • The legendary boat cruise – now with a set by Daniel Miller, Mute Records founder (among other things)

With that event upcoming, I got to turn to how Schneider got started.

“The idea with Schneidersladen was, from the beginning – my client is not the one who’s buying the stuff, my client is the one who’s making this stuff,” says Andreas. “I met a guy who was not able to show off his drum machine and smile. And then I met another one who was not able to explain his synthesizers in the way that I understand it.”

“And I understood by talking to party people – this is what everybody needs. You have a drum machine, you have a synthesizer, you need a MIDI cable – push start and have fun. And I took this little setup in a suitcase and ran around Europe and visited all the shops and said – hey, look here, what kind of fun is this?”

Andreas and his shop have gotten a reputation around modular synthesis, and Superbooth with them, but Andreas says he never set out to build this empire around modular. “No, modular was happening to me,” he says. “It started with Doepfer, and Doepfer was opening his system to everybody else’s visions and said – build whatever you want. I helped him promoting that to the size where it is.”

I think Andreas is being modest here, in that he has unquestionably been an articulate advocate and salesperson for the format – filtering out the best stuff, managing distribution with often-unreliable tiny makers, and evangelizing a mindful embrace of music making on the instruments. He has been the public face of a project that has both ignited passion for these instruments and helped make people comfortable with them.

But at the same time, he shies away from making the format the message – even as the format has dominated his shop. “Modulars became so big that nearly all my staff in the shop is a modular nerd,” he says. “I think making music is not just modular.”

What he is about, though, is hardware. “It’s that haptical experience – even if it’s a knob to turn or a key to push,” he says. “Mono functional editing – on/off. Down/up. In/out.” He keeps only one computer – an Atari ST (the one PC, incidentally, with built-in MIDI).

It makes sense that Andreas found fertile ground in Berlin’s party-rich landscape:

“In the beginning it had nothing to do with musicians – educated musicians. It was those people who were coming from spinning records and understanding how to make people dance and have a good time.

“And that’s why I never had a keyboard in my shop. It was about the machine and the desktop unit and the concentration on the sound source. You need to listen – and you can’t disturb with your experience on playing a melody.

I had a thought that it could have been better if I wouldn’t have pinned this little niche to the musical instrument people, but perhaps to the furniture people or the DJ people. In the end, it’s decoration for our living rooms – or it could be. Or it could also be seen as something like a slot machine. Why not? And it would have been better. Because now those musicians – those ‘now we now how to make music people’, you have to do it this and that way – they dominate this thing at least by a certain percentage.

Modular will take center stage at Berlin’s FEZ this week. And that means another year in which the world of modular makers has become more crowded.

Andreas says he hopes the added pressure will push back against having too much of the same stuff. “The quality is getting higher,” says Andreas. “The pressure that you need to have good ideas is increasing.” What about rumors of a modular bubble? “I try my best to prevent the burst,” he says, “- by getting new audience to the scene.”

That scene will unquestionably grow this week – some examples of the DIY and workshop elements:

We’ll be reporting from Superbooth.

https://www.superbooth.com

Novation have done a video interview with Andreas out this week, too:

The post Andreas Schneider on the significance of synths, just before Superbooth appeared first on CDM Create Digital Music.

‘It’s an absurd profession’: the world’s most infamous bouncers tell all

Delivered... Maya-Roisin Slater | Scene | Tue 16 Apr 2019 9:00 am

They have a fearsome reputation for excluding eager clubbers – but as a documentary about Berlin’s doormen is released, three of them explain why their policies are ‘all about tolerance’

The door policies for Berlin’s nightclubs are some of the most talked about in the world. Online forums detail appropriate clothing, what to say and how to act in line in order to get in. In the German capital, bouncers don’t just play the role of security, but also curator, sussing out who can handle the extreme depths of hedonism and who might gawk or yuck at what they see.

Today, far removed from the sexual freedom, relentless techno and ample substance use that defines Berlin’s nightlife, I’m sitting in a plain white room with grey carpet and unforgiving lights. Across from me are three men who’ve become infamous for this curation, playing a key part in creating the renowned and secretive door policies. They’re the subject of a new documentary, Berlin Bouncer, by German film-maker David Dietl: a humanising look at people who have reached this bizarre level of celebrity.

Related: 'It's anarchy and hedonism': Janus, the club night that reinvented Berlin

Related: Berlin government pledges €1m to soundproof city's nightclubs

Continue reading...

Immerse yourself in the full live AV concert by raster’s Belief Defect

Delivered... Peter Kirn | Scene | Tue 9 Apr 2019 7:00 am

Computer and modular machine textures collide with explosions of projected particles and glitching colored textures. Now the full concert footage of the duo Belief Defect (on Raster) is out.

It’s tough to get quality full-length live performance video – previously writing about this performance I had to refer to a short excerpt; a lot of the time you can only say “you had to be there” and point to distorted cell phone snippets. So it’s nice to be able to watch a performance end-to-end from the comfort of your chair.

Transport yourself to the dirigible-scaled hollowed-out power plant above Kraftwerk (even mighty Tresor club is just the basement), from Atonal Festival. It’s a set that’s full of angry, anxious, crunchy-distorted goodness:

(Actually even having listened to the album a lot, it’s nice to sit and retrace the full live set and see how they composed/improvised it. I would say record your live sets, fellow artists, except I know about how the usual Recording Curse works – when the Zoom’s batteries are charged up and the sound isn’t distorted and you remember to hit record is so often … the day you play your worst. They escaped this somehow.)

And Belief Defect represent some of the frontier of what’s possible in epic, festival mainstage-sized experimentalism, both analog and digital, sonic and visual. I got to write extensively about their process, with some support from Native Instruments, and more in-depth here:

BELIEF DEFECT ON THEIR MASCHINE AND REAKTOR MODULAR RIG [Native Instruments blog]

— with more details on how you might apply this to your own work:

What you can learn from Belief Defect’s modular-PC live rig

While we’re talking Raster label – the label formerly Raster-Noton before it again divided so Olaf Bender’s Raster and Carsten Nicolai’s Noton could focus on their own direction – here’s some more. Dasha Rush joined Electronic Beats for a rare portrait of her process and approach, including the live audiovisual-dance collaboration with dancer/choreographer Valentin Tszin and, on visuals, Stanislav Glazov. (Glazov is a talented musician, as well, producing and playing as Procedural aka Prcdrl, as well as a total Touch Designer whiz.)

And Dasha’s work, elegantly balanced between club and experimental contexts with every mix between, is always inspired.

Here’s that profile, though I hope to check in more shortly with how Stas and Valentin work with Kinect and dance, as well as how Stas integrates visuals with his modular sound:

The post Immerse yourself in the full live AV concert by raster’s Belief Defect appeared first on CDM Create Digital Music.

dadamachines doppler is a new platform for open music hardware

Delivered... Peter Kirn | Scene | Fri 22 Mar 2019 8:24 pm

The new doppler board promises to meld the power of FPGA brains with microcontrollers and the accessibility of environments like Arduino. And the founder is so confident that could lead to new stuff, he’s making a “label” to help share your ideas.

doppler is a small, 39EUR development board packing both an ARM microcontroller and an FPGA. It could be the basis of music controllers, effects, synths – anything you can make run on those chips.

If this appeals to you, we’ve even got a CDM-exclusive giveaway for inventors with ideas. (Now, end users, this may all go over your head but … rest assured the upshot for you should be, down the road, more cool toys to play with. Tinkerers, developers, and people with a dangerous appetite for building things – read on.)

But first – why include an FPGA on a development board for music?

The pitch for FPGA

The FPGA is a powerful but rarified circuit. The idea is irresistible: imagine a circuit that could be anything you want to be, rewired as easily as software. That’s kind of what an FPGA is – it’s a big bundle of programmable logic blocks and memory blocks. You get all of that computational power at comparatively low cost, with the flexibility to adapt to a number of tasks. The upshot of this is, you get something that performs like dedicated, custom-designed hardware, but that can be configured on the fly – and with terrific real-time performance.

This works well for music and audio applications, because FPGAs do work in “close to the metal” high performance contexts. And we’ve even seen them used in some music gear. (Teenage Engineer was an early FPGA adopter, with the OP-1.) The challenge has always been configuring this hardware for use, which could easily scare off even some hardware developers.

For more on why open FPGA development is cool, here’s a (nerdy) slide deck: https://fpga.dev/oshug.pdf

Now, all of what I’ve just said a little hard to envision. Wouldn’t it be great if instead of that abstract description, you could fire up the Arduino development environment, upload some cool audio code, and have it running on an FPGA?

doppler, on a breadboard connected to other stuff so it starts to get more musically useful. Future modules could also make this easier.

doppler: easier audio FPGA

doppler takes that FPGA power, and combines it with the ease of working with environments like Arduino. It’s a chewing gum-sized board with both a familiar ARM microcontroller and an FPGA. This board is bare-bones – you just get USB – but the development tools have been set up for you, and you can slap this on a breadboard and add your own additions (MIDI, audio I/O).

The project is led by Johannes Lohbihler, dadamachines founder, along with engineer and artist Sven Braun.

dadamachines also plan some other modules to make it easier to add other stuff us music folks might like. Want audio in and out? A mic preamp? MIDI connections? A display? Controls? Those could be breakout boards, and it seems Johannes and dadamachines are open to ideas for what you most want. (In the meantime, of course, you can lay out your own stuff, but these premade modules could save time when prototyping.)

Full specs of the tiny, core starter board:

120Mhz ARM Cortex M4F MCU 512KB Flash (Microchip ATSAMD51G19A) with FPU
– FPGA 5000 LUT, 1MBit RAM, 6 DSP Cores,OSC, PLL (Lattice ICE40UP5K)
– Arduino IDE compatible
– Breadboard friendly (DIL48)
– Micro USB
– Power over USB or external via pin headers
– VCC 3.5V …. 5.5V
– All GPIO Pins have 3.3V Logic Level
– 1 LED connected to SAMD51
– 4 x 4 LED Matrix (connected to FPGA)
– 2 User Buttons (connected to FPGA)
– AREF Solder Jumper
– I2C (need external pullup), SPI, QSPI Pins
– 2 DAC pins, 10 ADC pins
– Full open source toolchain
– SWD programming pin headers
– Double press reset to enter the bootloader
– UF2 Bootloader with Firmware upload via simple USB stick mode

See also the quickstart PDF.

I’ve focused on the FPGA powers here, because those are the new ones, but the micrcontroller side brings compatibility with existing libraries that allow you to combine some very useful features.

So, for instance, there’s USB host capability, which allows connecting all sorts of input devices, USB MIDI gadgets, and gaming controllers. See:

https://github.com/gdsports/USB_Host_Library_SAMD

That frees up the FPGA to do audio only. Flip it around the other way, and you can use the microcontroller for audio, while the FPGA does … something else. The Teensy audio library will work on this chip, too – meaning a bunch of adafruit instructional content will be useful here:

https://learn.adafruit.com/synthesizer-design-tool?view=all

https://github.com/adafruit/Audio/

doppler is fully open source hardware, with open firmware and code samples, so it’s designed to be easy to integrate into a finished product – even one you might sell commercially.

The software examples for now are mainly limited to configuring and using the board, so you’ll still need to bring your own code for doing something useful. But you can add the doppler as an Arduino library and access even the FPGA from inside the Arduino environment, which expands this to a far wider range of developers.

Look, ma, Arduino!

In a few steps, you can get up and running with the development environment, on any OS. You’ll be blinking lights and even using a 4×4 matrix of lights to show characters, just as easily as you would on an Arduino board – only you’re using an FPGA.

Getting to that stage is lunch break stuff if you’ve at least worked with Arduino before:

https://github.com/dadamachines/doppler

Dig into the firmware, and you can see, for instance, some I/O and a synth working. (This is in progress, it seems, but you get the idea.)

https://github.com/dadamachines/doppler-FPGA-firmware

And lest you think this is going to be something esoteric for experienced embedded hardware developers, part of the reason it’s so accessible is that Johannes is working with Sven Braun. Sven is among other things the developer of iOS apps zmors synth and modular – so you get something that’s friendly to app developers.

doppler in production…

A label for hardware, platform for working together

Johannes tells us there’s more to this than just tossing an open source board out into the world – dadamachines is also inviting collaborations. They’ve made doppler a kind of calling card for working together, as well as a starting point for building new hardware ideas, and are suggesting Berlin-based dadamachines as a “label” – a platform to develop and release those ideas as products.

There are already some cool, familiar faces playing with these boards – think Meng Qi, Tom Whitwell of Music thing, and Ornament & Crime.

Johannes and his dadamachines have already a proven hardware track record, bringing a product from Kickstarter funding to manufacturing, with the automat. It’s an affordable device that makes it easy to connect physical, “robotic” outputs (like solenoids and motors). (New hardware, a software update and more are planned for that, too, by the way.) And of course, part of what you get in doing that kind of hardware is a lot of amassed experience.

We’ve seen fertile open platforms before – Arduino and Raspberry Pi have each created their own ecosystems of both hardware and education. But this suggests working even more closely – pooling space, time, manufacturing, distribution, and knowledge together.

This might be skipping a few steps – even relatively experienced developers may want to see what they can do with this dev board first. But it’s an interesting long-range goal that Johannes has in mind.

Want your own doppler; got ideas?

We have five doppler boards to give away to interested CDM readers.

Just tell dadamachines what you want to make, or connect, or use, and email that idea to:

cdm@dadamachines.com

dadamachines will pick five winners to get a free board sent to them. (Johannes says he wants to do this by lottery, but I’ve said if there are five really especially good ideas or submissions, he should… override the randomness.)

And stay tuned here, as I hope to bring you some more stuff with this soon.

For more:

https://forum.dadamachines.com/

https://dadamachines.com/product/doppler/

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Design, meet music: gorgeous graphic scores from LETRA / TONE fest

Delivered... Peter Kirn | Artists,Events,Scene | Thu 7 Mar 2019 7:11 pm

Nine designers created graphics scores. Next, nine musicians will interpret them. LETRA / TONE festival is one of the more compelling experiments in festival programming – an adventure in crossing media. Here’s what it looks like.

Now, in these here parts, we’ve been fans of visual-musical synesthesia, from live visuals and VJing to graphics. LETRA / TONE makes that connection in the score. Curator (and composer/musician) Hanno Leichtmann had the idea. Five years ago, I covered one of the earlier editions:

Pattern and Design: A 2-Day Festival Turns Vintage Type into Musical Scores

The gathering has since blossomed to include a wide arrange of international designers and big-name (and fringe) musical artists across various instruments. There’s a complete exhibition and loads of concerts this weekend.

And you never know quite what you’ll get, because it’s up to these artists to determine how to translate the visual ideas they’re given into performances. This being Berlin, there are some major electronic artists – modular electro duo Blotter Trax (Magda and T.B. Arthur), turntablist Dieb 13, JASSS, Nefertyti, and DEMDIKE STARE are all involved. But you also get pianist Magda Mayas, and Schneider TM takes to experimental guitar, composer and avant garde rocker Jimi Tenor. Hanno has not only paired artists with musicians, but produced some arranged musical marriages, too – commissioning Blotter Trax, pairing Nefertyti with Jimi Tenor.

Graphic scores come from Katja Gretzinger, Anke Fesel, Scott Massey, Daniela Burger, Stefan Gandl, Joe Gilmore, Sulki & Min, Julie Gayard, and T.S.Wendelstein.

To bring a bit of this festival to you, here’s a selection of images from past editions (and current sketches) to show the visual range. You can imagine yourself how you might make music from these.

And snippets of 2019:

To give you a feel of the music, some selected artists:

JASSS:

Demdike Stare:

Blotter Trax:

Nefertyti (bad video but… I’m enjoying this punk aesthetic here):

Facebook event if you’re in Berlin this weekend:

https://www.facebook.com/events/2212145495720491/?active_tab=about

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Inside the esoteric moon music of Doc Sleep, underground connector

Delivered... Peter Kirn | Labels,Scene | Mon 4 Mar 2019 6:57 pm

Leftfield grooves, cycles inspired by the cinematic qualities of lunar and natural world – welcome to Doc Sleep’s “Your Ruling Planet.” I talked to the Room 4 Resistance resident and Jacktone Records co-owner about her work.

Doc Sleep is a San Francisco-to-Berlin transplant, and apart from her prolific production career and packed DJ schedule, she’s someone who makes connections and creates space for others in an underground scene so often overlooked for solitary solo artists. So that has meant broadcasting on the legendary Intergalactic FM, collaborating and remixing across labels from Twirl to Discwoman, and more recently being a resident and curator of Room 4 Resistance, the activist, queer collective.

And her music productions mirror the thoughtful, eclectic materials of her label Jacktone. “Your Ruling Planet” is comfortably odd, relaxing into organic rhythms that dance hypnotically through the stereo field, gentle ambiences and field loops feathering into one another. She tells us a bit about how this came about and where she’s headed.

Take a listen:

Cover image: album art by Sonja of Lisbon’s LABAREDA label.

Lunar eclipses and whatnot – can you share a bit with us the cosmic narrative for you in this music? What brought it on; how does that translate to the music?

I have a lot of memories from childhood connected to seasons and nature. I’m from a rural area, so it’s all tied up with a bit of colloquial wisdom, farmers almanac kind of context. Something like the harvest moon or spring equinox – these were all part of the vernacular, but in a practical, matter-of-fact way. These memories were on my mind when I was working on the music in January because of the eclipses (partial solar, total lunar). As I was recalling memories and stories, the natural and ‘otherworldly’ elements were always so strong in beautiful cinematic ways – the look of the sky and moon, colors at dusk, constellations, northern lights glimpsed through the trees, and so on. I started to record and structure the release as a narration and soundtrack for these fragments and how to bring them into the present. Sonja (the amazing artist who designed the cover), sent along artwork and referred to it as ‘celestial’ – and it was solidified.

What’s your toolset like for this album? There’s a really organic sound to these elements; how are you working?

I was feeling stuck last year with the DAW tools I had, and a pal made some specific suggestions to spice it up in Ableton – Reaktor, Max for Live, etc. You know, things most people have been using for ages, ha! Since moving to Berlin, I’ve been producing ‘in the box’, so between using a Push, experimenting with Reaktor and just generally getting more comfortable in Ableton – I’m finally able to be more spontaneous. Lots of accidents are happening all that good stuff. Being able to record and manipulate audio out of Reaktor added an imperfect, unwieldy element I was missing from my setup and I use it heavily these days. I also mangle samples and sample packs, use field recordings, analog synth plug-ins, piano and guitar plug-ins – lots of warmer-sounding instruments. I add plenty of effects (reverb, space echo, tape distortion) to give the sounds a bit of depth and character. I am still learning and experimenting with every session, so we’ll see where I end up with the next EPs later this year.

Doc Sleep. Photo: Lydia Daniller.

I’m particularly interested in the element of time – there’s a sense of cycle, but without being too fixed to a grid. How many layers are we hearing at once / how much is real time versus worked out after the fact? There’s a particularly hypnotic sense for me on the last cut (“Emerado Falls”).

I love that you mentioned a sense of cycle. This all fits nicely with the themes and I’m glad this came out in the music.

In general, I like to layer melodic elements and play with the phasing/fading in and out with the different layers… actually, maybe cramming is a better word. I will manipulate a sample or record audio out of Reaktor over percussion and then record several versions of what I want, but all slightly different with effects and then layer it and work on the arrangement from there.

In these tracks, for some of the more ‘ethereal’ parts, I was layering vocals and having them interplay with synths that mirrored the melody line. There are probably four or five mid- to higher-register melodic elements at one time in “Emerado Falls.” I wanted them to be indistinguishable at times, or sometimes the different sounds coming in and out of focus – my friend at Grippers’ Tips referred to it as ‘smudged ambience’, which I really like. As far as the pianos that come in and sort of collide at the end, this was difficult to get them timed in a way that didn’t sound ‘off’ or distracting. I’m not seeking perfection with the music, but I also don’t want it be so off-grid that it pulls the listener out of the moment.

I hear various field recordings. Does that figure into the story of this music for you?

I was very interested in bringing these elements into the music, yes. In the mid 2000s I made music with a friend who had gone to school for sound art, so this is when I started to learn what was possible mixing field recordings into music. Before that, I didn’t really understand how producers were doing it – magic, I guess. For this release, I was very particular about the sounds I used as I was trying to recreate and reconstruct situations / memories that represent something meaningful for me personally. For the listener, I wanted to share these personal experiences, draw them in and see if it would also resonate.

That said, maybe saying “ambient” is really the wrong term – there is some real groove here, too, on “Nim” or even “Your Ruling Planet.” Usually when we start talking DJs and production, we slip into the realm of tools and whatnot – are you feeding your life into a DJ into this, even when it is less obvious dancefloor material?

My first two releases, I wanted to make dancefloor material and hoped some pals would play it out in sets. This time around, since it was at home on Jacktone and I hadn’t released in awhile, I was more focused on realizing and executing ideas. There are dance tempos present, but I didn’t write with the dancefloor in mind, which feels like real progress for me. I’m glad a groove comes through, though – I would be sad if it didn’t!

You’re now in my impression really active DJing. What has the move to Berlin, and to Room 4 Resistance meant for that side of your career – and how do you fit in time for the label and production?

Being part of R4R, I’m surrounded by fantastic, experimental, bold artists that I’m lucky to play with and learn from. Being part of the collective has pushed me to try new things in sets and I’m a better and more confident DJ because of it. Because we now have the experimental/ambient room at Trauma Bar, the events will push even further out of the box of what a club night can look like in 2019. It’s an exciting time and I’m fortunate to be part of it.

As far as time management and prioritizing projects, it’s definitely difficult. I have about 3 hours before work (if I don’t hit snooze) and 3 hours after work to make headway on the various things I’m involved with and working on, so I have to be focused, disciplined and…very boring these days.

For those new to your label, any tips as far as where to begin?

If you poke around the Jacktone Bandcamp store, you’ll find everything from kosmische and dark ambient to pummeling acid and dub techno, psychedelic house to rhythmic noise, concept albums, soundtracks, IDM, lo-fi, breaks, electro… and so on. We’ve collaborated with such a beautiful variety of folks producing in different genres the past 5 years, it’s difficult to single out any one release. I will say, our next release, from a prolific artist named Le Scrambled Debutante from Tennessee, is offering what is probably our most experimental release thus far. I think he best described it: sonic Dada. After that, we’re back in the Bay for another psychedelic house release, and then our first vinyl collaboration of the year with Beacon Sound in Portland (artist TBA). 🙂

https://jacktonerecords.bandcamp.com/

Oh, lastly, I love this artwork – can you tell us about Sonja and how the visual came about?

I’m so glad you like it! Sonja is a fabulously-talented designer, DJ, and label owner from Portugal. I’ve loved her aesthetic for so long and the music she puts out on Labareda is bold and imaginative and I thought she would be a great person to collaborate with for an image. Because it’s a digital-only release, we wanted it to be eye-catching and I think it works beautifully and captures the narrative perfectly. We liked it so much we also made it into a t-shirt.

Thanks! Yes, we’ll be watching for more from you and your label…

https://www.facebook.com/djdocsleep

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Celebrate 303 day by finding old classics, fresh inspiration

Delivered... Peter Kirn | Scene | Sun 3 Mar 2019 4:20 pm

It’s March the 3rd, which means in both hemispheres, our thoughts inevitably turn to basslines and squelchy resonance. Happy 303 day – here’s some video and reading to get you in the mood.

First, let’s take a step back, and before we idolize the box and transistors, let’s talk about just how immaculately early Detroit and Chicago records were composed and mixed.

1987’s “Acid Tracks” by Phuture (DJ Pierre and Earl Spanky Smith) never fails to floor me. (I’ll guess the same about you, as anyone sick of acid has already left the room.) It sounds at once ancient and futuristic, like it fell from some alien civilization. “Acid Tracks” is slow, elegant, meditative – apparently slowed down to appeal to conservative New York dance floors; check out the fascinating write-up at the top of Discogs:

https://www.discogs.com/Phuture-Acid-Tracks/release/1949

And, oh yeah – it’s a preset bassline. And very little actually happens in this track. You get the sense of that fresh, out-of-box, what the hell is this amazing thing feeling as a result – but whether intentional or not, it also means the duo settle on this fascinating groove and don’t overthink it. There’s an almost ritualistic, mantra-like steadiness to the track as a result. House legend Marshall Jefferson captures all of this with a mix that holds everything together, and weirdly I think gets away with the extreme panning from side to side, a kind of hypnotic incantation.

It may be the only time a preset pattern worked in a track, but… it works.

That same DJ Pierre joins Roland today to celebrate 303 Day – and yeah, he knows how to program patterns now:

I know we’re not supposed to covet gear as the solution to our problems but … there is something beautiful about really wanting a piece of gear to find a particular flavor, right?

It’s also great to hear Pierre talk about the satisfaction of turning a knob, and feeling like an improviser – I think that’s the essence of synth design. (I, uh, disagree with Maestro Pierre that this is the only instrument that did this, but then I don’t run an all-303 blog.)

But you think Japan is going to let us Americans have all the fun, with the gear they invented? Here is “Japanese Techno Girl Love TB-303 & TR-707 & RE-201” to answer that from the ocean. I’m not entirely sure I believe this is part of her bridal practice, but do you need to know whether that’s true or not?

For a good intro to the 303 and how to program it, Tatsuya Takahashi – former chief analog engineer at KORG – did an intro for RBMA. Seeing Tats talk Roland is weird, but on the other hand, I think Tats and his team at KORG built a lot of similar ideas into their instruments – hands-on control, simplified compact design, and a focus on playability. For all the present worship of modular synths and complexity, sometimes a simpler design lets the player explore more.

That skips over a lot of the history to focus on the instrument. So for a deeper look at how the 303 came about, check “Baseline Baseline,” a crude 2005 documentary. It feels a bit like someone is reading you a history of the 303 in monotone, but it’s a nice watch, nonetheless, packed with detail.

Philadelphia’s Akhil Kalepu did a great write-up of that history for DJ Tech Tools a few years back, as well:

History Of The TB-303: Roland’s Accidental Legend

To use the 303 yourself, your first question may be – have I heard that pattern before? (There is this funny quality of the 303, where you’re never certain if a pattern was your own, or a preset, or a classic tune, or the 303 somehow hijacked your brain and an alien consciousness made it for you, or … some combination?)

Let’s just not get too precious about acid house, though.

Part of what I love about the 303 is that it isn’t a classical instrument. You aren’t limited to reproducing half-assed copies of Chicago House just because that beautiful history is there. The 303 can get weird, dirty, trippy, unrecognizable. (Seriously, fight me on this. I love Roland’s TB-03 recreation not because it’s a perfect copy, but because it has some weird digital distortion and delay that you can abuse and warp.)

So, for instance, Germany’s Dr. Walker and Liquid Sky took acid in a different direction, some “acid techno” or make that “afterhour acid techno druggEEE madness.” Oh, sure, you could walk into a Berlin afterhours and someone could play some inoffensive slow tech house track. OR … you could wind up in some dark cave, three days into partying, thick with smoke, unable to find the door, when some end-of-the-world weirdness you can’t follow takes over, or some way-too-fast techno that is slowly speeding up. That’s the sort of 303 you might expect would be part of an unfriendly M-class planet, the kind the one surviving red shirt warned you about, holes burnt in his uniform, after beaming back up.

Playlist of related tracks:

Hold on, though, back up – Sony Music published this? Interesting.

I bring this up just because it’s sort of nicely the opposite of the Phuture track. If the above is the 303 in calm meditation or headed to a wedding, this is a disheveled 303 stumbling out of a bar in Akihabara, its tie in shreds (uh, drunk on alternating current or whatever synthesizers get into):

Acid is getting new leases on life, too, as in the hands of Bloody Mary, the French-born, Berlin-based producer and label boss of acidic dame music. She’s keeping acid alive both as a DJ –

– and as a producer. (Got to talk to her about her love of the 303 and the ability to really focus on this instrument at ADE in the fall.)

So be sure – we love the 303, but its day is not a sacred one. It’s a chance to do what we do every night – make ridiculous sounds with knobs.

And just remember – don’t let anyone convince you synthesis is a game for the rich. The 303 found its way into history thanks to some guys who could only barely afford it, after it had already dropped in value. Speaking as someone who reads tons of press releases from artists bragging about their all-modular setups, this is something worth repeating – and a happy 303 day to you.

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Live compositions on oscilloscope: nuuun, ATOM TM

Delivered... Peter Kirn | Scene | Mon 11 Feb 2019 6:26 pm

The Well-Tempered vector rescanner? A new audiovisual release finds poetry in vintage video synthesis and scan processors – and launches a new AV platform for ATOM TM.

nuuun, a collaboration between Atom™ (raster, formerly Raster-Noton) and Americans Jahnavi Stenflo and Nathan Jantz, have produced a “current suite.” These are all recorded live – sound and visuals alike – in Uwe Schmidt’s Chilean studio.

Minimalistic, exposed presentation of electronic elements is nothing new to the Raster crowd, who are known for bringing this raw aesthetic to their work. You could read that as part punk aesthetic, part fascination with visual imagery, rooted in the collective’s history in East Germany’s underground. But as these elements cycle back, now there’s a fresh interest in working with vectors as medium (see link below, in fact). As we move from novelty to more refined technique, more artists are finding ways of turning these technologies into instruments.

And it’s really the fact that these are instruments – a chamber trio, in title and construct – that’s essential to the work here. It’s not just about the impression of the tech, in other words, but the fact that working on technique brings the different media closer together. As nuuun describe the release:

Informed and inspired by Scan Processors of the early 1970’s such as the Rutt/Etra video synthesizer, “Current Suite No.1” uses the oscillographic medium as an opportunity to bring the observer closer to the signal. Through a technique known as “vector-rescanning”, one can program and produce complex encoded wave forms that can only be observed through and captured from analog vector displays. These signals modulate an electron-beam of a cathode-ray tube where the resulting phosphorescent traces reveal a world of hidden forms. Both the music and imagery in each of these videos were recorded as live compositions, as if they were intertwined two-way conversations between sound and visual form to produce a unique synesthetic experience.

“These signals modulate an electron-beam of a cathode-ray tube where the resulting phosphorescent traces reveal a world of hidden forms.”

So that covers the visual element. I was curious about sound, too. Nathan explains:

As for audio source, we used an MPC-3000 which did live sampling and playback of the video oscillators coming from the video synth, Korg PS-3300(!). So it was a bit of a two-way conversation happening between the images and the sound/modulation sources.

Even with lots of prominent festivals, audiovisual work – and putting visuals on equal footing with music – still faces an uphill battle. Online music distribution isn’t really geared for AV work; it’s not even obvious how audiovisual work is meant to be uploaded and disseminated apart from channels like YouTube or Vimeo. So it’s also worth noting that Atom™ is promising that NN will be a platform for more audiovisual work. We’ll see what that brings.

Of course, NOTON and Carsten Nicolai (aka Alva Noto) already has a rich fine art / high-end media art career going, and the “raster-media” launched by Olaf Bender in 2017 describes itself as a “platform – a network covering the overlapping border areas of pop, art, and science.” We at least saw raster continue to present installations and other works, extending their footprint beyond just the usual routine of record releases.

There’s perhaps not a lot that can be done about the fleeting value of music in distribution, but then music has always been ephemeral. Let’s look at it this way – for those of us who see sound as interconnected with image and science, any conduit to that work is welcome. So watch this space.

For now, we’ve got this first release:

http://atom-tm.com/NN/1/Current-Suite-No-IVideo/

Previously:

Vectors are getting their own festival: lasers and oscilloscopes, go!

In Dreamy, Electrified Landscapes, Nalepa ‘Daytime’ Music Video Meets Rutt-Etra

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Roland has registered the 303, 808 designs as trademarks

Delivered... Peter Kirn | Scene | Wed 6 Feb 2019 4:29 pm

Roland has quietly filed for trademark protection (Unionsmarkenanmeldung) in Germany for the designs of the TB-303 and TR-808.

The filings were uncovered by a poster on the sequencer.de forum. The discussion is in German:

Roland versucht aktuell sich die 808-Farben und das 303-Design als Marke schützen zu lassen [sequencer.de]

https://register.dpma.de/DPMAregister/marke/registerHABM?AKZ=018016159&CURSOR=34

https://register.dpma.de/DPMAregister/marke/registerHABM?AKZ=018016158&CURSOR=33

The “trademark” here is trade dress, the design of the actual appearance of the 303 and 808 – the signature layout of the keyboard and knobs of the 303, and the sequence of colored buttons on the 808. “Iconic” is a word that’s wildly overused, but here we can take it to be almost literally true: you can draw out these layouts and even a lot of lay people with a passing interest in electronic music will immediately recognize this bassline synth and drum machine.

Forum posters conclude that this is about Behringer, who announced last month at the NAMM show that they would ship their “RD-808” drum machine – matching the original TR-808 color scheme and button layout – in March. But the registration in Germany could be a sign Roland are generally planning to more aggressively protect their intellectual property, in respect to Behringer or others. And as the RD-808 could, for instance, wind up being subject to litigation outside Germany – that is, anywhere the drum machine ships.

That said, Behringer without fanfare reversed the order of the colors on their RD-808, from a production prototype (orange / light orange / yellow / white, as on the original Roland) to what was shown at NAMM.

The one thing I can say for sure is – the artwork Roland filed from Japan is gorgeous. So, Roland, please don’t sue us for sharing. (And yeah, I’d buy this if you want to turn it into merch.)

No idea how long processing will take, or really how the law works; if I can find out, I’ll share. At least Germany should appreciate the aesthetics of combining gold, bright red, and black – check the flag.

Meanwhile, in America… Roland last year filed applications for trademark protection in the USA for the TR-808 and TR-909 (also right after the NAMM show, January 25, 2018). You can find these (pending) applications at the United States Patent and Trademark Office, under 87769864 and 87769891.

It’s routine practice to file for things you might want to protect, not necessarily manufacture, but that doesn’t make it any less privately amusing to read this list of apparel that would be covered under that application:

“Jackets; sweaters; sport shirts; polo shirts; shirts; overcoats; raincoats; underwear; pajamas; undershirts; Tee-shirts; wind-resistant jackets; swimming costumes; sleep masks; neckties; aprons; socks and stockings; bandanas; headwear; caps as a headwear; hats”

I totally want a Roland swimming costume. But yeah, if you’re thinking of making one yourself, you should read this:

https://www.roland.com/global/company/intellectual_property/

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The words most used to describe releases at Hard Wax

Delivered... Peter Kirn | Labels,Scene | Mon 21 Jan 2019 9:37 pm

“Now that’s one fine and classy, atmospheric, big room tool, son.” Here’s the data when you crawl Berlin electronic music shop Hard Wax for descriptive keywords.

Friend of the site (and one-time CDM Web developer) musician-and-hacker Olle Holmberg has crawled Hard Wax’s website. That’ll be the legendary record purveyor opened by Mark Ernestus back in 1989 in Kreuzberg, Berlin, and still a leading destination for vinyl lovers today.

hardwax.com has accordingly accumulated a lot of words about music on their Internet portal, since each time a release like this Drexciya side project comes out, you get a whole bunch of language, too.

Olle collected the most important words, and he’s shared his data set.

I wrote some Processing code to visualize all of this as a word cloud, and here’s what you get (details on how to do this yourself below):

Since the data is available as a CSV, you could probably refine it more. For instance, one flaw is that singular and plural versions of words aren’t combined, so the rankings are slightly off. “Banger” and “bangers” he’s manually combined so that one gets a solid ranking.

The top 25, with number of appearances in a description:

1. tool (1848)
2. atmospheric (974)
3. fine (941)
4. big room (928)
5. classy (904)
6. deep (872)
7. effective (858)
8. killer (858)
9. heavy (851)
10. leftfield (798)
11. minimalist (744)
12. original (734)
13. excellent (720)
14. crafty (647)
15. trips (598)
16. recommended (594)
17. raw (590)
18. spaced (585)
19. rooted (574)
20. hard (567)
21. dark (526)
22. banger/bangers (520)
23. excursions (516)
24. tripping (508)
25. leaning (506)

“It’s atmospheric, yet also a banging big room tool.”

Next challenges: build a random keyword generator, train some machine learning on this, or … try to make music that fits the most popular words?

Oh, and if you’re interested in the code, I’ve got that, too. I worked with free and open source, multiplatform artist-friendly coding tool Processing. (Other Web-based tools exist, too, but then you miss out on the fun and flexibility of coding things yourself.)

Ah, word clouds – remember when we thought those were the bee’s knees? (To misquote Douglas Adams, it harkens to a headier, more innocent time when we were “so amazingly primitive that we still thought word clouds were a pretty neat data visualization.”

Dan Bernier’s free library gives you some tools for free:
http://wordcram.org/

Here’s a simple code template to get you started, loosely inspired by Dan Shiffman and Dan Bernier examples:


import wordcram.*;
import wordcram.text.*;

Table table;
Word[] wordArray;
WordCram wordcram;

void setup () {
size(1280, 1020);
background(255);
table = loadTable("data.csv", "header");
int numRows = table.getRowCount();
wordArray = new Word[numRows];
int rowCount = 0;
for (TableRow row : table.rows()) {
float weight = row.getFloat("count");
String mWord = row.getString("phrase");
wordArray[rowCount] = new Word(mWord, weight);
rowCount++;
}
wordcram = new WordCram(this)
.fromWords(wordArray);
}

void draw() {
wordcram.drawAll();
}

It’s quite slow to run by comparison, but here’s the code that makes the record-shaped visualization:

// image source: https://commons.wikimedia.org/wiki/File:Disque_Vinyl.svg
// author: Muel, CC-BY-SA
// https://creativecommons.org/licenses/by-sa/3.0/deed.en

import wordcram.*;
import wordcram.text.*;
import java.awt.*;

Table table;
Word[] wordArray;
WordCram wordcram;

PFont georgia;

void setup () {
size(1000, 1000);
background(255);
PImage image = loadImage("vinylicon.png");
image.resize(width, height);

Shape imageShape = new ImageShaper().shape(image, #000000);
ShapeBasedPlacer placer = new ShapeBasedPlacer(imageShape);

table = loadTable("data.csv", "header");
georgia = createFont("Georgia", 1);
int numRows = table.getRowCount();
wordArray = new Word[numRows];
int rowCount = 0;
for (TableRow row : table.rows()) {
float weight = row.getFloat("count");
String mWord = row.getString("phrase");
wordArray[rowCount] = new Word(mWord, weight);
rowCount++;
}
wordcram = new WordCram(this)
.fromWords(wordArray)
.withFont(georgia)
.withPlacer(placer)
.withNudger(placer)
.angledAt(0)
.sizedByWeight(10, 90)
;
}

void draw() {
wordcram.drawAll();
save("wordcloud.png");
println("Finished.");
stop();
}

With both code examples, you’ll need to slightly modify the csv file. Open the file in a text editor and add this line to the top:

sep=;

And remember to add the data file, and the image file (if you use the shape variation), to your Processing sketch (Sketch > Add File).

If you want to check out Berlin’s record shops and you happen to make it to town, here’s a good guide. It’s impressively only a little bit dated in terms of locations – Berlin is a weird haven where record shops mostly survive. Hard Wax is a must. Space Hall has become a huge music venue. And digger heaven The Record Loft has recently reopened next to the Sonnenalle S-Bahn stop.

The definitive guide to Berlin’s best record shops [The Vinyl Factory]

If Olle’s name is familiar, it’s because he also crawled Berghain’s site, though we were later informed both by resident DJs and the booking office that the data crawled there wasn’t really representative. (Still, it was a fun project – and we did wind up learning more about Berghain booking data in the end. Science!)

Berghain, by the numbers: data on the relentless Berlin techno club

If you have any time left after tinkering with Processing, of course, go buy up some records!

https://hardwax.com/

The post The words most used to describe releases at Hard Wax appeared first on CDM Create Digital Music.

Download a free two-hour Panorama Bar mix from nd_baumecker

Delivered... Peter Kirn | Artists,Scene | Fri 21 Dec 2018 3:43 pm

Nothing brightens midwinter like music. So the warm glow of nd_baumecker’s mixing is something special. The delayed download is out now from Ostgut Ton, the label associated with Berghain and Panorama Bar.

The musical climate in which we live can too easily be afflicted with conformity, with genres and trends regimented by algorithms and anxious aspirations of bookers, media, artists … the lot. And with Berghain as the elephant in the middle of Berlin’s scene, that conformity can often be associated with the club, with Berlin, with Germany and Europe, even.

So maybe the first important thing to say about Andi’s mix is that it’s a mix. Run down the track listing, and you get all kinds of corners of Andi’s taste. I know he sweated putting this together, but as it is with experienced DJs, that stress comes off as effortless.

nd_baumecker has statistically played more times in the various floors of the Berghain environs than any other human. I know this, partly because we get informed that the fascinating numbers scraped from Berghain’s website weren’t right. Oops. Andi so dominates the list, that you almost don’t need other statistics. (Panorama Bar is the lighter, generally house-ier upstairs floor, but it’s actually not that important to know that; Andi has been found at various points more or less everywhere in the building and garden outside.)

Despite all those times on the lineup, in the old party mode, Andi’s not really a star. There’s just that feeling of being at home when you walk into a room (or garden) with him playing. And he can mix in and out of anything. So while a lot of beginning DJs try to show off with obscure tracks but paint obsessively within the lines, like they’re afraid of each transition, you can count on Andi to take you different places.

He’s a DJ’s DJ, but he’s also a great producer – his ongoing collaboration with fellower Berghain resident Sam Barker has been imaginative and exceptional.

Anyway, I think for any of us involved in production – let alone those of us pouring over music tech – getting to actually listen again and set a mood is vital. And Andi’s latest mix puts me at least in a fantastically nice mood. I’m hugely biased myself not just about Andi but about music in general; I think whether it’s a track or a mix, you can’t separate people from music. I still stubbornly cling to the idea that music says something about who you are. Hell, I think it’s why it matters who’s in the DJ booth. And it’s certainly why I think that mood should come from people and not algorithms. I not only like humans; I think you can hear when humans touch the music.

You can stream the mix, or be as obsessive as Andi is about quality and grab that 24-bit lossless download – all two GB worth. As with all in this series, the mix is free. (Last minute publishing clearance issues had delayed the download since the planned release date this fall.)

Track IDs? Yes:

1 Mystical Institute Sea Believer [00:00]
2 Keith Worthy Guilty Pleasures ($ Of N.C. Mix) [04:10]
3 Greenspan and Taraval Follow The Moonlight [07:01]
4 Duplex Isolator [10:08]
5 Cabaret Voltaire Easy Life (Jive Turkey Mix) [14:51]
6 Dolo Percussion Dolo 9 [18:45]
7 Anthony Naples The Vision (Mix NY) [20:15]
8 QY American [24:13]
9 Jinjé Big Skies [28:02]
10 Saint Etienne Stoned To Say The Least (Beta) [33:05]
11 Barker & Baumecker Nie Wieder [37:18]
12 FaltyDL Paradox Garage Part 1 (With Your Love) [39:40]
13 Röyksopp Sombre Detune [42:29]
14 Œil Cube Lost Flute [46:06]
15 Ajukaja Stranger [50:40]
16 Pulsinger & Irl State 606 [56:12]
17 Duke Slammer Coastal Decay (Pan Solo Remix) [1:00:33]
18 Route 8 From The Valley [1:04:25]
19 Dave Aju Wayahed [1:09:33]
20 Chaos In The CBD Educate The Heart [1:13:09]
21 Ross From Friends High Energy [1:18:55]
22 D. Tiffany Something About You [1:21:04]
23 Zombie Zombie Hyperespace (I:Cube Vampire Tango 87 Remix) [1:26:11]
24 Peverelist Under Clearing Skies [1:28:47]
25 Barker & Baumecker Strung [1:31:33]
26 School Of Seven Bells Low Times (Lafaye’s Brain Mix) [1:38:55]
27 Gen Ludd Bloods Avalanche [1:44:30]
28 Pépe Motorforce [1:49:11]
29 E Myers Hate [1:54:17]

This isn’t just about the DJ. Again, Ostgut is using this series to premiere new works. And this coupling – two EPs (Part I, Part II) – is especially fresh, with immaculate, densely rhythmic productions from . FaltyDL, Jinjé, Big Skies, Ross From Friends, Dave Aju, and Duplex. They’ve got some of that same magical mood of the mix, naturally. It’s house-flavored stuff, aware of its roots, but thoroughly futuristic and optimistic, too. Listen:

That Duplex track is especially timeless, somehow, and Dave Aju is always like a burst of sunlight.

Enjoy!

Photo: Lee Wagstaff, courtesy Ostgut Ton.

http://ostgut.de/label/record/227

Previously:

Boiling-Hot Summer: nd_baumecker in 3 Hours of Boiler Room Music

In the Studio: Barker “Like an Animal” EP, Sam Barker + nd_baumecker [Stream + Gallery]

The post Download a free two-hour Panorama Bar mix from nd_baumecker appeared first on CDM Create Digital Music.

Berlin government pledges €1m to soundproof city’s nightclubs

Delivered... Antonia Wilson | Scene | Thu 20 Dec 2018 3:15 pm

Berlin’s club scene makes money for the city – and a lot of noise. A new initiative will soundproof venues, helping to protect clubs from closure

Clubbers of the world rejoice: the techno mecca of Berlin is to receive a €1m (£900,000) boost from the local government to protect its renowned clubbing culture.

The funding will go towards soundproofing projects, with the aim of improving relations between venues and local residents, based on a similar project in Hamburg. The noise protection programme, which was proposed last year and came into effect on 30 November 2018, indicates the importance of Berlin’s nightlife culture and its relevance to the city’s economy, including the tourism industry.

Related: Nightlife reports: clubbing in Berlin

Continue reading...

It’s time for music and music technology to be a voice for migrants

Delivered... Peter Kirn | Scene | Thu 29 Nov 2018 6:27 pm

From countries across Europe to the USA, migration is at the center of Western politics at the moment. But that raises a question: why aren’t more people who make music, music instruments, and music tech louder about these issues?

Migration – temporary and permanent – is simply a fact of life for a huge group of people, across backgrounds and aspirations. That can involve migration to follow opportunities, and refugees and asylum seekers who move for their own safety and freedom. So if you don’t picture immigrants, migrants, and refugees when you think of your society, you just aren’t thinking.

Musicians ought to be uniquely qualified to speak to these issues, though. Extreme anti-immigration arguments all assume that migrants take away more from a society than they give back. And people in the music world ought to know better. Music has always been based on cultural exchange. Musicians across cultures have always considered touring to make a living. And to put it bluntly, music isn’t a zero sum game. The more you add, the more you create.

Music gets schooled in borders

As music has grown more international, as more artists tour and cross borders, at least the awareness is changing. That’s been especially true in electronic music, in a DJ industry that relies on travel. Resident Advisor has consistently picked up this story over the last couple of years, as artists spoke up about being denied entry to countries while touring.

In a full-length podcast documentary last year, they dug into the ways in which the visa system hurts artists outside the US and EU, with a focus on non-EU artists trying to gain entry to the UK:

Andrew Ryce also wrote about a visa rate hike in the USA back in 2016 – and this in the Obama Administration, not under Trump:

US raises touring artist visa fees by 42%

Now, being a DJ crossing a border isn’t the same as being a refugee running for your life. But then on some other level, it can allow artists to experience immigration infrastructure – both when it works for them, and when it works against them. A whole generation of artists, including even those from relatively privileged Western nations, is now learning the hard way about the immigration system. And that’s something they might have missed as tourists, particularly if they come from places like the USA, western Europe, Australia, and other places well positioned in the system.

The immigration system they see will often come off as absurdist. National policies worldwide categorize music as migrant labor and require a visa. In many countries, these requirements are unenforced in all but big-money gigs. But in some countries – the USA, Canada, and UK being prime examples – they’re rigorously enforced, and not coincidentally, the required visas have high fees.

Showing up at a border carrying music equipment or a bag of vinyl records is an instant red flag – whether a paid gig is your intention or not. (I’m surprised, actually, that no one talks about this in regards to the rise of the USB stick DJ. If you aren’t carrying a controller or any records, sailing through as a tourist is a lot easier.) Border officials will often ask visitors to unlock phones, hand over social media passwords. They’ll search Facebook events by name to find gigs. Or they’ll even just view the presence of a musical instrument as a violation.

Being seen as “illegal” because you’re traveling with a guitar or some records is a pretty good illustration of how immigration can criminalize simple, innocent acts. Whatever the intention behind that law, it’s clear there’s something off here – especially given the kinds of illegality that can cross borders.

When protection isn’t

This is not to argue for open borders. There are times when you want border protections. I worked briefly in environmental advocacy as we worked on invasive species that were hitching a ride on container ships – think bugs killing trees and no more maple syrup on your pancakes, among other things. I was also in New York on 9/11 and watched from my roof – that was a very visible demonstration of visa security oversight that had failed. Part of the aim of customs and immigration is to stop the movement of dangerous people and things, and I don’t think any rational person would argue with that.

But even as a tiny microcosm of the larger immigration system, music is a good example of how laws can be uneven, counter-intuitive, and counterproductive. The US and Canada, for instance, do have an open border for tourists. So if an experimental ambient musician from Toronto comes to play a gig in Cleveland, that’s not a security threat – they could do the same as a tourist. It’s also a stretch of the imagination that this individual would have a negative impact on the US economy. Maybe the artist makes a hundred bucks cash and … spends it all inside the USA, not to mention brings in more money for the venue and the people employed by it. Or maybe they make $1000 – a sum that would be wiped out by the US visa fee, to say nothing of slow US visa processing. Again, that concert creates more economic activity inside the US economy, and it’s very likely the American artist sharing the bill goes up to Montreal and plays with them next month on top of it. I could go on, but it’s … well, boring and obvious.

Artists and presenters worldwide often simply ignore this visa system because it’s slow, expensive, and unreliable. And so it costs economies (and likely many immigration authorities) revenue. It costs societies value and artistic and cultural exchange.

Of course, scale that up and the same is true, across other fields. Immigrants tend to give more into government services than they take out, they tend to own businesses that employ more local people (so they create jobs), they tend to invent new technologies (so they create jobs again), and so on.

Ellis Island, NYC. 12 million people passed through here – not all of my family who came to the USA, but some. I’ve now come the other way through Tegel Airport and the Ausländerbehörde , Berlin. Photo (CC-BY-ND
“>A. Strakey.

Advocacy and music

Immigration advocacy could be seen as something in the charter of anyone in the music industry or musical instruments industry.

Music technology suffers as borders are shut down, too. Making musical instruments and tools requires highly specialized labor working in highly specialized environments. From production to engineering to marketing, it’s an international business. I actually can’t think of any major manufacturer that doesn’t rely on immigrants in key roles. (Even many tiny makers involve immigrants.)

And the traditional music industry lean heavily on immigrant talent, too. Those at the top of the industry have powerful lobbying efforts – efforts that could support greater cultural exchange and rights for travelers. Certainly, its members are often on the road. But let’s take the Recording Academy (the folks behind the Grammy Awards).

Instead, their efforts seem to fixate on domestic intellectual property law. So the Recording Academy and others were big on the Music Modernization Act – okay, fine,
a law to support compensation for creators.

But while the same organization advocated on behalf of instruments traveling – domestic rules around carry-on and checked instruments – but not necessarily humans. So it could be that there’s more interest in your guitar getting across borders than people.

I don’t want to be unfair to the Recording Association – and not just because I think it might hurt my Grammy winning chances. (Hey, stop laughing.) No, I think it’s more that we as a community have generally failed to take up this issue in any widespread way. (I sincerely hope someone out there works for the record industry and writes to say that you’re actually working on this and I’m wrong.)

More than anything else, music can cross borders. It can speak to people when you don’t speak their language, literally. When music travels, emotion and expression travels – artists and technology alike.

It’s personal – isn’t it for you?

I personally feel the impact of all of this, now having been seven years in Berlin, and able to enjoy opportunities, connections, and perspective that come from living in Germany and working with people both from Germany and abroad. I feel hugely grateful to the German state for allowing my business to immigrate (my initial visa was a business visa, which involved some interesting bureaucracy explaining to the Berlin Senate what this site is about). I’ve even benefited from the support of programs like the Goethe Institut and host governments to work in cultural diplomacy.

I’ve also had the chance to be involved writing in support of visas and financial backing for artists coming from Iran, Mexico, Kazakhstan, and many other places, for programs I’ve worked on.

And all of this is really a luxury – even when we’re talking about artists traveling to support their careers and feed themselves. For so many people, migration is a matter of survival. Now that we’ve lived the system, we have an added obligation to make it work for them. Sometimes the threats to their lives come from geopolitical and economic policies engineered by the governments we come from – meaning as citizens, we share some responsibility for the impact others have felt. But whether or not that’s the case, I would hope we feel that obligation as human beings. That’s the basis of international rule of law on accepting refugees and granting asylum. It’s the reason those principles are uncompromising and sometimes even challenging. Our world is held together – or not – based on that basic fairness we afford to fellow humans. If people come to where we live and claim their survival and freedom depends on taking them in, we accept the obligation to at least listen to their case.

Those of us in the music world could use our privilege, and the fact that our medium is so essential to human expression, to be among the loudest voices for these human rights. When we live in countries who listen to us, we should talk to other citizens and talk to our governments. We should tell the stories that make these issues more relatable. We should do what some people I know are doing in the music world, too – work on education and involvement for refugees, help them to feel at home in our communities and to develop whatever they need to make a home here, and make people feel welcome at the events we produce.

That’s just the principles, not policies. But I know a lot of people in my own circle have worked on the policy and advocacy sides here. I certainly would invite you to share what we might do. If you’ve been impacted by immigration obstacles and have ideas of how we help, I hope we hear that, too.

Some likely policy areas:
Supporting the rights of refugees and asylum seekers
Supporting refugee and asylum seeker integration
Advocating for more open visa policies for artists – keeping fees low, and supporting exchange
Advocating the use of music and culture, and music technology, as a form of cultural diplomacy
Supporting organizations that connect artists and creative technologists across borders

And so on…

But I do hope that as musicians, we work with people who share basic beliefs in caring for other people. I know there’s no single “community” or “industry” that can offer that. But we certainly can try to build our own circle in a way that does.

Some examples from here in Berlin working on refugee issues here. I would argue immigration policy can find connections across refugees and migrants, asylum seekers and touring musicians, as everyone encounters the same larger apparatus and set of laws:

Photo at top: CC-BY Nicola Romagna.

The post It’s time for music and music technology to be a voice for migrants appeared first on CDM Create Digital Music.

Techno: The Gathering, scene satire fantasy game, keeps getting better

Delivered... Peter Kirn | Scene | Thu 1 Nov 2018 9:16 pm

Curse if you must the fact that modern DJing requires managing social media accounts, navigating scenes, understanding the dimensions of cool. But some DJs will mix all those things as adeptly as they do records – and hold up a mirror to the rest of us.

Well – or at least Leipzig’s Vincent Neumann has made a killer Magic: The Gathering parody with techno.

First things first: let’s here acknowledge that Vincent is a brilliant musical selector, as well as social media satirist. Closing sets at Berghain can turn into ponderous marathons of endurance, but whether there or in (briefer) outings mixing and DJing, Neumann is a deep digger, consummate nerd of eclectic selections. Listen to the mix at bottom. This is to say, while he can keep the fashionistas dancing, the guy is not simply a flavor of the month.

But hey, if you do need some Instagram fame, Maestro Neumann has found a clever and amusing way of doing so. Techno: The Gathering has become a bit of an ongoing commentary on the techno scene. As Europe’s industry of nightlife churns onward, here’s at least one person not taking things too seriously. The in-the-bubble in-joke here is at least, you know, a joke.

My favorites:

He’s nerd enough that you can see via Instagram stories how he has reflected on color choice and deeper meanings.

Let’s actually print the things out and start playing the game. (Has anyone started doing that, or is everyone too hungover from the weekend to bother?)

But seriously, go behold one of the best things on Instagram:

https://www.instagram.com/technothegathering/

And Vincent’s normal DJ account, which is, naturally, the best Instagram account name ever:

https://www.instagram.com/instagramsucks/

And yes, you can listen to his mixes and enjoy those, as well:

The post Techno: The Gathering, scene satire fantasy game, keeps getting better appeared first on CDM Create Digital Music.

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