Lurking in the bargain bins of game shops is a surprisingly well-built keyboard. The Rock Band “keytar” controller may have been made for games, but the keybed is solid, the thing is light, and it can run on batteries. So why not turn it into a standalone instrument?
That’s what Jamie Robertson has done with his, and he shows you how.
The magic here is something he calls the WAV Trigger. Without naming any names, while there are a lot of cool Arduino shields and the like out there, a lot of them are pretty functionally limited. They’re cool to play with, you can build some fun projects, and they can teach you a lot — but the WAV Trigger is something different.
It’s built to play 14 tracks of uncompressed audio at once, with enough control that it becomes a viable, 14-voice, polyphonic sample playback instrument. MIDI is built in, and trigger latency is low (around 8 msec).
It’s also a bargain – under US$50.
The mod isn’t tough, either. Check out the full instructions from Jamie (“Robertsonics”):
Turn the Rock Band 3 keyboard into a sampling instrument with the WAV Trigger
And more on the WAV Trigger:
The WAV Trigger vs. MP3 players
Fabulous bargain stuff.
Space is the place. Again.
And SoundCloud is now a place you can find sounds from the US government space agency, NASA. In addition to the requisite vocal clips (“Houston, we’ve had a problem” and “The Eagle has landed”), you get a lot more. There are rocket sounds, the chirps of satellites and equipment, lightning on Jupiter, interstellar plasma and radio emissions. And in one nod to humanity, and not just American humanity, there’s the Soviet satellite Sputnik (among many projects that are international in nature).
Many of these sounds were available before; I’ve actually used a number of them in my own music. But putting them on SoundCloud makes them much easier to browse and find, and there are download links. Have a listen below.
Another thing: you’re free to use all of these sounds as you wish, because NASA’s own audio isn’t copyrighted. It’s meant to be a public service to the American people of their taxpayer-funded government program, but that extends to everyone. There are some restrictions – not everything NASA publishes is covered by the same license, though it appears to be on SoundCloud. And you aren’t free to use NASA’s name or logo or imply commercial endorsement. (The Eagle didn’t land on a bag of Doritos.) But that means just about any imaginable musical application is fair game. They do ask you to list NASA as source, but that’s only reasonable. Read their content guidelines for full details.
Let the space remixing begin.
European Space Agency, your move.
Thanks to everyone who sent this in. If you want more, NASA centres all have archival libraries, and the agency has routinely worked with artists and composers to interpret the work they do. See also other research centers around the world. And yes, that’s my Saturn V photo at the top, because, and I’m sure this will come as a huge shock to everyone who reads this site, I’m a big nerd.
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Dear Gods of step sequencing, we beseech thee.
Give unto us first a lot of knobs. We pray for a bounty of encoders, ideally built into hardware everyone kind of forgotten about.
And shine upon us with lights round those encoders.
Next, let us breaketh our warranty together, so that we may onto thine encoders map parameters.
And set my people free from the chains that bind them to their computers, so that they may roam free across the land and sequenceth hardware free from the tyranny of the folding metal fruit books and boxy Compy.
Yes, your prayers have been answered – maybe prayers you didn’t know you had. Like, wouldn’t it be great if someone came along and turned the inexpensive Behringer BCR2000 encoder box into a badass step sequencer. Continue reading »
Not satisfied with producing hundreds of records and working with a litany of famous names, sound artist / composer / musician Håkan Lidbo several times a year embarks on some novel experiment in sound and interactivity. In the latest, he’s worked with smart lightbulbs from Philips to transform an entire building in Stockholm into your very own personal game board.
They’re calling it the world’s biggest Master Mind game, and who are we to argue?
The idea is, windows become pixels, and you play online to try to guess the color code of your opponent, in a game of wits.
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The tidy toolbar at the bottom shows Audiobus connectivity.
Here’s a case where the iPad version of a DJ app has surpassed what even the desktop version does.
On Windows and Mac, Traktor is a powerful app for DJs, to be sure. But there isn’t an obvious way of routing DJ mixes through external effects or connecting it to other production tools. On iOS, now there is. Native Instruments quietly added Audiobus support to its popular iOS DJ app, which opens up the ability to route sound from the DJ tool to other apps.
Why would you want such a feature? Recording mixes probably isn’t strictly necessary, because Traktor DJ already has an internal facility for doing that. More likely, there are two use cases:
1. You want to expand the effects available to Traktor. (Add, for instance, a convolution reverb.)
2. Use Traktor as a production tool and instrument, with other tools in your chain.
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Connecting apps via Audiobus – here, a free guitar effect from IK Multimedia.
Just because there’s a nice marketing angle doesn’t mean that it has to be the story for you. And that’s been true of NI’s big, splashy product launches. Sure, there’s the epic-looking Traktor Kontrol S8 hardware launched this week – but you tell us you might be just as pleased with a compact controller or an update to the iPad app. And Maschine Studio does wonderful things with its big screens – but the MK2 still has great pads, costs less, and fits in a backpack.
And then there’s Komplete 10. Yes, NI is keen to talk about its light-up series of keyboards, which integrate with the software. But whether you want them or not, what you shouldn’t miss is the superb new Reaktor instruments that come with the bundle.
Rounds is one of the best synths I’ve used recently, full stop. It takes the new analog modeling techniques NI honed elsewhere and launches into new digital domains of effects, modulation, and FM sound generation. Polyplex is simple but good fun as a drum machine (even if it makes me long even more for a better sample loading facility in Reaktor). Kontour is yet another deep synth, capable of rich, mutating timbres and eminently playable. No surprise: it comes from Stephan Schmitt, the NI founder who also gave us Reaktor itself.
Matt Cellitti walks through the trio of new Reaktor instruments in a series of tutorial videos, so it’s a great way to get started. Let’s watch. Continue reading »
The Kontrol S8 is now standards bearer for Native Instruments’ DJ line. It’s such big news, you might hear about it outside the world of DJ tech followers. You’ve likely seen it already – this may be the most-leaked, most-teased DJ product in history. But now that it’s fully revealed, the S8 is almost certain to fan the flames of an ongoing debate:
Just what is digital DJing, anyway?
First, we can at least work out what the S8 is. It’s an audio mixer with control surfaces on both sides. It’s hardware made specifically to sell software (or the other way around, if you like). As NI’s Maschine Studio has done for producers, it uses big, color screens on the hardware to keep your eyes on that controller rather than on your laptop. It has a hardware layout tailored to the functionality of Traktor – deck controls, browsing, Remix Decks. And it builds in an audio interface and 4-channel hardware audio mixer for connecting external gear – CDJs, turntables, synthesizers, whatever. You wouldn’t use the mixer without the computer, but at least it acknowledges you might get audio signal to and from the outside world.
There are two design decisions likely to generate discussion. Firstly, the S8 is big – really big. It’s 58.5 cm — that’s nearly two feet. (It joins various other popular controllers, notably Pioneer’s flagship DDJs, in the same territory.) The 5kg/11lb weight isn’t so bad, but the physical hulk means you need dedicated space in a DJ booth to play it, and transportation is a challenge. (EDM = America = trucks?) Secondly, it drops jog wheels and per-deck tempo controls in favor of touch strips and a master tempo control.
To people who aren’t armchair DJ controller critics, that last bit may not sound like the stuff of forum flame wars. Those folks, who I will dub in ethnographic terms as “normal people,” just read “Well, that’s a big heavy thing with lots of lights. And now something is something or other something else I’m bored.” Or, no, actually, they’re looking at pictures of cats, so never mind.
To the computer DJ, the new controllers are blasphemy for a simple reason: they cement the idea that you might not be manually beat-matching tracks. (Oh, the humanity!) To be fair, this isn’t just an idea espoused by random people on forums; some very famous DJs have said the same thing. The idea is, the essence of DJing, as received from the legacy of playing on two turntables, is manually adjusting the position of a record platter and its playback speed to match two tracks.
In the worst case version of this world view, automatic tempo sync is simply the work of Satan, the end of music, and the beginning of the end times. In the best case, it’s an automatic transmission in a car: sucking the fun out of driving, and not entirely effective.
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