MIDI: it’s not just a protocol. It’s a state of mind. It’s the interconnectedness of all things musical.
Or, at least, it is at MIDI HACK next month in Stockholm. A 24-hour hackathon will delve deep into musical creation. It’s not just mucking about with code, either: there will be performances and talks, artists and makers, all to feed your ideas.
And whereas past hack days have often focused on Web programmers and music consumption (music what?), this is different. If you’re a singer, or you want to rip a MIDI controller into shreds, or wire up a banana, this is the event for you. It appears equally friendly to someone who writes VST plug-ins as someone who wants to try a new way of performing. And that sounds refreshing.
Also, while it’s called a “MIDI Hack” day, control voltage and OSC are also welcome. Fear not, then, brave advocates of analog and OSC.
But you need to get on this: applications close at the end of the weekend. It’s quick to sign up, and it’s free, and they’ll feed you while you’re there.
http://www.midihack.com/ (scroll down to ‘Sign Up’ for a form)
The venue is nice, too: the swanky headquarters of Spotify, amidst the already-posh environs of Stockholm. Luxury while you’re awake all night.
I’m doubly excited as I’m evidently the keynote speaker. And if I get enough herring and some mysterious Swedish energy drink (or just their excellent coffee), I hope to get into the hacking, too. So see you there.
Thanks to Rikard Jönsson and Sebastian Höglund for making this happen. And, by the way, Sebastian puts out wonderful music on his label Jämmerdosa, as with the band Varg – with an ethereal, beautiful video to match – extra performance inspiration for what sounds like it’ll be an intensive weekend of creative hacking: Continue reading »
It’s time to reinvent the graphical score. With musical practice more international, more broad and varied than ever, and electronics in the mix, conventional notational idioms just aren’t enough.
For curator and prolific electronic producer Hanno Leichtmann, the starting point was a collection of vintage Letraset and Letratone type, as pictured above. Leichtmann, a graphic designer himself (and maker of beautiful record covers), is passionate about digital and ink-based design processes alike; even the posters for the event are exquisitely (and expensively) hand-produced. He then invited a who’s who of illustrators and graphic designers from Germany, Austria, France, Great Britain, and Argentina, Dennis Busch, Angela Lorenz, Philip Marshall, Caro Mikalef, Till Sperrle and Damien Tran.
Next step: “marry” them to collaborators, turning to boundary-pushing musical artists Thomas Ankersmit, Cavern Of Anti-Matter, Jan Jelinek & Masayoshi Fujita, Andrea Neumann, Martin Brandlmayr, and The Pitch. (Robert Lippok also DJs.)
With acoustic and electronic ensembles alike, the resulting graphic scores will be creatively reinterpreted by the musicians, for a whopping six world premieres over just two evenings. Audience members are invited to catch drinks and look through the “action scores” in a lounge.
If you’re in Berlin, the event is tonight and tomorrow night – and very affordable – at RadialSystem, and I hear tickets are still available at the door. (Day one and day two are each on Facebook; read more info from host Digital in Berlin or (auf Deutsch) bln.fm. If you’re – more likely – in the rest of the world, though, I think it’s still worth checking out the music, before and after the event. Continue reading »
It’s probably the greeting I’ve heard most in the past couple of months, apart from “Hello.”
Sometimes even before “Hello.”
Everywhere I go, people are asking me what I think of the Roland AIRAs – particularly the TR-8 drum machine.
There are now reviews everywhere of the AIRA TB-3 and TR-8 (and some of the VT-3, as well). For CDM, we’re planning some additional detail, but we’re still awaiting our review hardware. Fortunately, I got to spend an action-packed day with the trio of AIRAs with Benjamin Weiss.
So, I can do what I’d do in a bar: I can tell you all the really important details and skip straight to what I think of these (at least while we wait to do more exhaustive, detailed coverage).
Benjamin and I even finished an all-AIRA track for our NERKKIRN project. Well, nearly all-AIRA – the sound sources are exclusively AIRA TB-3, TR-8, and VT-3 with my voice. Here’s what sounds came out (teaser):
Having a day to mess with these is actually rather a great way to test the gear. You’re left with a fairly immediate impression. Continue reading »
Don’t call it a comeback. Hardware step sequencing is becoming the must-have accessory for even computer users.
And the boutique Digital Warrior controller, which neatly combines knobs with colored pads, is a great solution. I’ve been messing about with the Arturia BeatStep, as well – review coming – but the Digital Warrior has some tricks of its own. It integrates nicely with Traktor, like the still-forthcoming MIDI Fighter Twist from DJ TechTools. But the reason I wouldn’t buy or recommend the DJTT piece is – no MIDI DIN connector. And that spoils the fun.
Here, the Digital Warrior is comfortable not only integrating with your computer but with MIDI gear, as well. Note the cable making its way into the volca beats. And the volca beats I think has become most popular of the volcas with good reason: the touch strip at the bottom is ideal for quick sequencing. Some of the sounds I think are better than others, but it does have a grungy and unique sound, aided by the PCM and grain controls. And, crucially, the bass drum is deep. (I remain interested to hear what Akai’s rival Rhythm Wolf will sound like, though the tiny size of the volca is perfect when you’re cramming a live rig into cramped quarters, which always seems to happen onstage – hey, half a meter square is enough for you, right?)
You can output MIDI clock (as with volca beats), or use the MIDI port as MIDI thru, turning the box into a proper MIDI interface.
Bottom line: whether working in something like Ableton or Traktor, you can layer hardware step sequences over top so that you actually have something to play (rather than waving your arms around while some scenes or tracks play automatically – bah).
Details: Continue reading »
Before triggering clips and samples on the computer, Pantha du Prince and The Bell Laboratory “trigger” the musicians.
Yes, before there were machine clips, there were human patterns, and in performing Terry Riley’s legendary classical new music composition “In C,” the ensemble has to do just that. In a beautiful chorus of chiming tones, that orchestra is augmented with digital embellishment.
The result makes for a live performance that expands the role of the computer into a large-scale instrumental ensemble, venturing into territory perhaps not as often associated with Ableton Live as genres like dance music are. But Ableton has lavished attention on electronic composer Pantha Du Prince and his ensemble in a series of videos that amount to a complete documentary on the work and how it was produced.
Pantha du Prince’s music has always shimmered with beautiful sounds, but here, percussion form an otherworldly realm of glittering rhythmic waves.
Ableton’s film begins with the artist side, and in fact less discussion of the gear. (I’ve heard people chattering about that lately, and pleasantly surprised that this isn’t an in-your-face promo video.)
Continue reading »
Part of the appeal of the Roland TR-8 drum machine and TB-3 bassline synth is their hands-on control. But apart from the normal reasons you’d additionally want external MIDI control, you’ll need it for certain kinds of automation recording.
The problem is, the AIRAs (at least with their current firmware) lack the ability to record automation internally. You can record patterns on the TR-8 and TB-3, but not changes to sound parameters, effects, or that Scatter thing. So, if you’re making a pattern and find a shifting timbre or glitchy effect you like, there’s no way to save it easily for performance (apart from recording audio, of course).
The solution is to make use of MIDI Control Change messages. Yet, for a company that almost always fastidiously shares its MIDI implementation in documentation, Roland has mysteriously not done so on AIRA. Fortunately, my colleague NERK, with whom I make music as the dubious, shady techno duo NERKKIRN, has gone through and worked out what the MIDI messages are.
A complete list (so far) for both the TB-3 and TR-8 is below. These aren’t official, so it’s possible there are more messages missing; we’re in touch with Roland to try to find out, but if you’ve discovered any more, or any more tips or hacks, we’d love to hear them.
NERK, aka Benjamin Weiss, has also built some Max for Live remotes for each device. The TR-8 is available as both a Drum Rack and a remote control surface, for convenience. Download them free at maxforlive.com: Continue reading »
“Don’t forget what happened to the man who suddenly got everything he always wanted …”
Yes, welcome to the wild studio of Legowelt, the eclectic Dutch musician. Future Music Magazine didn’t just do a video tour. They did an hour-long video tour, where the artist waxes poetic on every detail with loving attention. It’s a beautiful nerdfest. I know we’re theoretically not supposed to be fetishizing gear, but there’s some real care for these tools. And… there’s a Commodore 64 studio and some real rarities.
For signs Legowelt is One of Us, here’s his bio:
Born: a long time ago when Star Wars used to be good
School: Bovine University North Dakota
Previous Jobs: Amiga programmer, RPG Dungeon Master
Current Jobs: Music Producer, Ufologist, CEO of Pacific Micro International Software™
Hobbies: Synthesizers, Programming text adventures for the Commodore 64
And Legowelt also picked up some of the gear on the cheap, which is, really, the point of the game of used gear (or supposed to be). A Roland JV2080 was a bargain-bin buy, and becomes the name of the new record. Continue reading »