traktor_iphone

Who says DJs aren’t useful?

With a mind-boggling amount of music released daily, the DJ might be more important than ever. The word “curation” is overused … how about selection, or filter? If you’re like me, you’ve grown reliant in at least some genres on mixes from favorite artists and journalists just to skim the good stuff of the top. The best is really amazing. The rest is really abundant.

And, for that matter, who says mobile devices aren’t useful to DJing? (Stay with me – these two ideas connect.)

Here’s the thing: Native Instruments’ Traktor DJ has skyrocketed to success partly because the touch interface it uses is stunningly intuitive. Getting through your library is simply faster. Finding interesting mixes, mucking with how tracks go together, tapping your way through loop points — faster. In fact, it’s notably better than another popular DJ tool – sorry, Native Instruments, but it’s more fun and more accessible to pick up Traktor DJ on iOS than it is to wade through Traktor Pro’s desktop UI.

This speed couples with the ability to work with Traktor DJ anywhere. So, sure, there are reasons other than ease that could keep you on Traktor for desktop. But when you’re away from your desktop…

And that’s where Traktor on iOS becomes truly indispensable. Suddenly, that pile of music you want to dig through is something you can pull up on a bus trip, or sitting on your couch.

Traktor 1.5 is a relatively minor, if welcome, free update to the US$9.99 app. The Beat Grid works more accurately, snaps magnetically, and lets you pinch to zoom. There are performance and reliability enhancements. There’s a new “SuperSlicer” available for in-app purchase, with some useful and fun effects (reverse, slice), and some others that make you sound like you’re faking turntablism badly (scratch, brake, pitch shift). (Well, okay, maybe some of you can make them sound not tacky. See the obligatory video below – it is, at least, very fun.)

But there’s one huge feature, long overdue: History Playlists. Continue reading »

It samples. It slices. It mangles. It generates. It mutates. It’s like what happens when a drum machine is invaded by nanobots, and they start improving everything. Let me explain.

Take your favorite iPad samplers. Now, imagine they’re the basis of samples in an analog Elektron drum machine – colourful slicing interface and all. Then imagine this same iPad app does what Elektron themselves seemed unable to do: making an easy, logical way of transferring samples. And then, imagine that this app also can spawn new rhythms for you.

It’s as if you took everything powerful about the Elektron Analog Rytm, and everything powerful about the iPad, and multiplied them together. Normally, we praise drum machines for their limitations. Here, the combo with an iPad kind of puts the laptop computer to shame.

I was already in the midst of finishing a review of the Analog Rytm, and then Strom dropped in my lap. I’ve been using a pre-release version, and … wow. It’s almost a reason to buy the Analog Rytm. (Elektron: you’re welcome.)

And, oddly enough, Elektron didn’t do anything. Instead, the entire app was reverse-engineered from their gear by a passionate user. Developer Jakob Penca sends some screen shots of the three modes – sound mangling kit, pattern generator, sampler: Continue reading »

philios

There was a time when “live” or live PA meant “I’ve hauled a bunch of gear to this gig and made a mess of cables and I’m going to improvise live for you.”

Now, too often, it means “I’m going to DJ with Ableton Live instead of Traktor or CDJs.”

Don’t get me wrong. It’s not so much about a laptop or hardware. But there is a spectrum – a useful spectrum, applicable to different artists at different times. And if you really want “live,” you want an artist who constructs music before your eyes out of building blocks. Electronic music across genres often strays from traditional instrumental performance. The very nature of the technology means you’re often not playing every note. But you can make the process of assembly a performance, and something that involves audience participation, and surprise.

You can do this with a laptop and controllers; you can do it with hardware. You can do it with a combination.

Here’s what’s a bit strange: some of the people who are absolutely mastering this aren’t getting a fraction of the attention they deserve.

Watching Phelios is a real pleasure. Keep this video on; it has a reasonably slow build-up, but in the end, you watch an album-sized live set evolve beautifully before you. This is a live set you can enjoy in your living room as well as on the dance floor. (Photo, top: Schlagstrom Festival, Betriebsbahnhof Schöneweide, (CC-BY) Carsten Stiller.)

And he’s clearly at home with his ensemble:
ELEKTRON Analog Four, Octatrack, Machinedrum
ROLAND AIRA TR-8

Continue reading »

effekt_aktion

Digital music can go way beyond just playback. But if performers and DJs can remix and remake today’s music, why should music from past centuries be static?

An interactive team collaborating on the newly reopened Museum im Mendelssohn-Haus wanted to bring those same powers to average listeners. Now, of course, there’s no substitute for a real orchestra. But renting orchestral musicians and a hall is an epic expense, and the first thing most of those players will do when an average person gets in front of them and tries to conduct is, well – get angry. (They may do that with some so-called professional conductors.)

Instead, a museum installation takes the powers that allow on-the-fly performance and remixing of electronic music and applies it to the Classical realm. Touch and gestures let you listen actively to what’s happening in the orchestra, wander around the pit, compare different spaces and conductors, and even simulate conducting the music yourself. Rather than listening passively as the work of this giant flows into their ears, they’re encouraged to get directly involved.

We wanted to learn more about what that would mean for exploring the music – and just how the creators behind this installation pulled it off. Martin Backes of aconica, who led the recording and interaction design, gives us some insight into what it takes to turn an average museum visitor into a virtual conductor. He shares everything from the nuts and bolts of Leap Motion and Ableton Live to what happens when listeners get to run wild.

First, here’s a look at the results:

Mendelssohn Effektorium – Virtual orchestra for Mendelssohn-Bartholdy Museum Leipzig from WHITEvoid on Vimeo.

Creative Direction, GUI and Visuals by WHITEvoid
Interior Design by Bertron Schwarz Frey
Creative Direction, Sound, Supervision Recording, Production, Programming by aconica Continue reading »

Xone-K1-White-Front-ThreeQ

UK DJ builder Allen & Heath may be best known as a mixer company, not so much a controller maker. But that’s a pity, because they make one of the most compelling controller units on the market.

Spoiler alert – the K1, like the K2 before it, feels great, has a terrific layout, works with anything you like, and more or less beats every other slim-line controller for DJing or VJing. Whatever you own now, you may find yourself wanting one of these to go along with it.

Continue reading »

DS1_top_wlense

The world has no shortage of MIDI controllers. There are big ones, small ones. There are, increasingly, loads of specialized controllers designed around apps.

The DS1 is designed to be something different: it’s a mixing controller. And as conceived in a partnership between educational studio Dubspot and Austin, Texas boutique builder Livid Instruments, it’s meant to mix in any app. It’s a mixer for prodution, but also for DJing. With templates for a variety of tools, it’s made to be as comfortable in Traktor as in Ableton Live as in Logic.

We’ve still yet to test whether it delivers on that mission, but what we can share now is the final design, pricing, and a pre-order.

The layout of the DS1 is mixer-inspired — so, it has what readers have told us too many controllers lack. That means, primarily, loads of knobs along with traditional faders, but in a form factor the makers say will be portable. As some controllers sprawl out into sizes that require their own luggage (yes, Maschine Studio, I’m looking at you), this is still backpack-sized, but without sacrificing number of controls.

What you get:
9 faders
44 knobs (note those color lenses in the image)
4 encoders
25 RGB buttons
Expression pedal input

ds1_02_1200x900-copy1 Continue reading »

The original monome project did more than just create a novel piece of hardware for music. It established a design language for what essential digital interfaces might be, in the deceptively simple form of its light up grid of buttons.

It’s not so interesting to just copy that hardware, then. More compelling are efforts to extract the elements of the design in ways that can be turned into new things.

Adafruit has been slowly building up a nice set of building blocks clearly inspired by monome. Trellis is a system for making the grids component work – lighting the buttons and responding to keypresses in a big array. Add something like an Arduino as the “brains,” and you can add grids to your own hardware. In typical Adafruit fashion, everything is exquisitely well-documented and perfectly friendly even to those just dabbling in making their own stuff for the first time.

3d_printing_hero-angle-view Continue reading »