We’ve heard from DJ Chinkial — and via several of you — that he’s working on a way of turning Korg’s KP3 KAOSS Pad into a step sequencer, by way of Reaktor. Each step lights up, causing him and others to use the phrase “Monome-like.” Monome as an adjective? Congrats to the Monome designers for that! The KP3 is a cool device on its own, so it looks fascinating to me.

Just be prepared to try to read chinkial’s massive run-on sentence describing the project. He writes:

just thought id let youse know im making a reaktor ensemble at the moment to utilize the korg kp3s 8×8 grid as a seq its going pretty well managed to get the kp3 to trigger the steps on an 8×8 event table and ouput them im also getting visual feed back from the kp3 aswell so u can make beats and not look at the screen just like the monome this is just a test to c if it could b done as i plan on porting it to a vst plugin in sythedit somehow that was my initial idea as not everybody uses reaktor that has a kp3 u know so let me know what youse think about my project

More power to you, man — I think you’ve learned to speak better to the Reaktor than to us, but keep on rocking the KP3. The project looks really cool, from what I can see through blurry cameraphone footage. Anyone in the UK who wants to go shoot this with a real camera, let us know!

It’s like a spy video. And 69 views, plus two tips from CDMers, which means basically you guys see everything before the rest of the universe, even if it’s barely capable of being seen.

chinkial also wins bonus points for plastering his MySpace page with marijuana leaves, being the first and only person to create a stoner mystique for Reaktor. (As opposed to, you know, basement club in Berlin and Red Bull or, maybe more like a lineup of espressos and cigarettes.)

The project looks great, though, so you can bet we’ll stay tuned to the chinkial YouTube channel.

CDM contributor, mic flag fabricator, beat bicyclist, and sound artist extraordinaire Michael Una has been up to more sonic magic-making in Chicago. He showed two recent creations at MGFest 2008 — that’s MG as in “Motion Graphics”, not, sadly, the car, though I think sound art would also go deliciously with MG automobiles.

On display in Chi-town: giant pods to fill rooms with sound, and a man in a sound-induced, hypnotic blizzard of milk. (Yes, they have winter in northern Illinois.)

Snowy Day at MGFest 2008 from Michael Una on Vimeo.

Octophonopod at MGFest 2008 from Michael Una on Vimeo.

Behind-the-scenes commentary is available on Mike’s site, not to be confused with the domain-squatting personals site that you get if you leave out the hyphen. (Will, someday, an entire romantic community be devoted to Una Love? I wouldn’t rule it out.)

One lesson learned: milk can be incompatible with electronics.

Aud is either a “Music Industy insider with a finger on the pulse of more than BPM” or “consummate psuedonisticmusictechnophilosoph” or both. I got hip to his music through a friend who may soon be publicly identified, and have heard some really terrific productions (some not yet on the MySpace page yet). But I bring Aud to everyone’s attention in this case for his run-on rant poetry about the relative value of certain technological acheivements. If you could condense everything you feel about music technology into a 60-second speech in the local pub, it might come out something like this.

audnoyz – 36 – Male – UK [MySpace.com]

I submit in this age of “in the box” for some, where all is manipulatable and nothing is beyond reproach, the same holds true for noise found or contrived. All is art, all is beauty. ode to aud :-/ More Musings: The pub landlord rules! -Pro Tools: the mix bus sounds great through my Neve -Steinberg: what the fuck happened to you? -Sonar: time has been good to you -Live: awesome, awesome, awesome -DP: don’t get the respect it deserves- -Props for props- -Dangerous: now that’s some good noise- -Korg: CHAOS rules! -Adams: the best!- -Saxonia: German precision- Go SPL before play with your big knob- Liquid channel:too much- Duende:the sound is classic the UI could use some modernization- -RME: worth the extra quid- -64bit don’t mean shit on the dance floor- -Wavelab rules- Focusrite: RED!- TOFT: great stuff- Apogee:little brittle w/o nuts- Benchmark:solid-*** Wedlock is like a dongle*** +Mac still got it over PC+ Macbooks awesome, and you can you warm your tea on them too–Windows: why can’t you remember I already installed via that USB port already!- Mac towers: what you say I did not catch that, the fan is ON…- Robin Trower deserves more!- Jobs: Brilliant! Create a culture that hates Gates, that pays a premium for superior technology? while YOU profit from the biggest proprietary scheme ever devised…. Don’t get me wrong, I LOVE my mac, I just hate Apple!– Ipod: freepass on this one… wait a minute, I got rid of my vinal for cassette because it was better, then to CD cuz it sounds better, now you want me to drop my CDs for inferior sound quality… BRILLIANT!

“Wedlock is like a dongle”, appearing on a t-shirt near you. (Perhaps for some it’s more like challenge-response authorization. Well, unless you pirated your significant other.)

The convergence of visuals and sound on virtual vinyl has been a long time coming, but it’s awaited the perfect tool for controlling both. Serato’s VIDEO-SL promised to be that tool. We’ve gotten the crossfader in the capable hands of dj rndm and Robotkid to find out for Create Digital Motion. Here’s what the results look like, mixing:

… and scratching:

The review isn’t without the odd caveat: for one, you’ll need to pluck down a couple grand to get the complete setup because the Rane mixer employed is required, though rndm ultimately says that’s worth it for the integration payoff. And available transitions and effects are limited in range and prefer to run on dedicated GPUs (think MacBook Pro, or a PC laptop with a dedicated NVIDIA or ATI card). But as you can see, the results are incredibly slick, and there’s no question video on vinyl now has a tool to beat. Check out the complete review and technical details on our visualist sister site:

Hands-on Review: Serato’s VIDEO-SL for Visual Vinyl Turntablism

We like to push the outer envelope of music technology geekdom. But what if you’re also an obsessed web geek? Then you start playing the data encoded in a Website design like nytimes.com as a musical instrument.

A new patching environment called Lily, inspired by tools like Max/MSP, works its magic using JavaScript inside a browser. So turning your browser into a music tool becomes more practical. And Lily supports the network-savvy OpenSoundControl (motto: “it’s not MIDI!”), so you can hook up an OSC controller like the Monome and jam with Firefox and the New York Times.

Finally found a use for the NY Times from Bill Orcutt on Vimeo.

How does it work? Get prepared for some Web technospeak, kids!

When the patch starts, the browser enters a DOM inspection mode and mousing over a DOM element highlights the node. Clicking on a node writes the element’s data (its innerHTML value if it’s a text element or the binary data if it’s an image) as a sound file and the file is then loaded in a quicktime player in the patch. The sounds can then be triggered using OSC messages.

Hey, where’d everyone go?

If DOM models don’t exactly get your pulse racing, here’s a strange and elegant physics-based sequencer hooked up to Reaktor. Fans of Processing, that environment is also capable of similar stuff; this is even modeled on the Processing-compatible traer physics library.

SVG Midi Sequencer from Bill Orcutt on Vimeo.

Ready to get going with this yourself? Lily is now in public beta, ready to run for free on Mac, Windows, or Linux. Browser not included.

Lily Public Beta 1

Gobs more examples and documentation on the blog

Previously: Browser Beatboxes and the Rebirth of Max-Like Patching