You’ve seen plenty of EDM and DJ parodies, snarky Facebook images poking fun at people who can’t use turntables, what have you.
But let me just level with you: this video could basically be a parody of CDM … of me. I…
Well, I can’t really say much more. Just watch. (Another way you can tell this is made by producers, for producers, rather than, say, by someone at Saturday Night Live who doesn’t know how this works – check the gear choices.) Also, I think I need to go to MediaMarkt to buy a new keyboard, as I may have just spit my coffee all over this one.
What you’re seeing is the work of Norwegian sketch comedy show Kollektivet. 2manybuttons sounds like a Max for Live patch, even. Pitch perfect.
Thank you to reader Stig Fostervold for posting this to our Facebook page.
First, they made dirt-cheap synths and drum machines. Then, they made housings that turn them into handheld calculators. Now, they want … you to rethink the case entirely.
Say what? So, the bad news is, Teenage Engineering’s cool calculator-style cases for their amazing-sounding, crazy-cheap synths and drum machine are backordered. And that is too bad. Because, damnit, even I can’t get one. And they’re really cool – I had a look at the cases at Musikmesse, and they recall nothing if not a Braun-style dress-up suit for these wonderful (and useful) sonic toys.
But this being Teenage Engineering, they’ve found a cooler-than-usual solution to being backordered. (Remember, this is the firm that made accessories 3D-printable when they had trouble making and shipping them overseas to everyone who wanted them.)
They’re letting you get in on the act. And with these creations already in the hands of a design-savvy crowd, I don’t doubt for a second that’ll inspire some ingenuity.
To make your job easier, they’re releasing precise measurements and CAD files. .PDF, .DXF, .SLDW, .STL, .STEP, all there. (Hint: if you have to ask, it’s probably not a format you need.)
Send designs, ideas, or videos, and you get an exclusive t-shirt. (As in: “Teenage Engineering couldn’t ship their cases, and all I got was this lousy t-shirt — okay, actually, kind of awesome exclusive t-shirt.”)
I’m remiss in not posting this last week when it debuted, and I suspect many CDM readers have heard already, but if not – drop everything, and have a listen (in full) to ‘Platform,’ the new LP from composer/producer Holly Herndon.
There’s a lot to discuss here. “Platform,” as the name implies, is intended as a first step toward other interactions. There’s the process and technique behind the music itself. A fearless champion of the laptop’s instrumental and compositional potential, Holly has made the album itself and the discourse around it into a means of demonstrating and discussing the kinds of processes that can realize the possibilities of the computer. There’s a conceptual conversation to have, investigations into the worlds of technology, utopia, and electronic surveillance – more than just music, the album is a project about our digital lives. And then there’s even plenty to say about Holly’s own career trajectory. More than anyone I know, she has been able to successfully bridge the academic electronic musical realm, the world of festival and club stages, and the popular media view of electronic music. (And yes, I count three largely separated cultural islands there. I’ve now and then personally drowned in the seas that separate them, so this is no small feat.)
But because those are all wonderfully deep rabbit holes into which to climb, I think it’s best to start with the music. Hearing them for me had an odd sense of familiarity. I’d heard some of these track in some form in a couple of live shows, but to me, that sensation with music is a flag that I should pay close attention to what I’m hearing. Pop or “hooks” or not, there’s something that happens when a composition works, a way it finds its way into your brain. It sounds like you’ve heard it before the first time you’ve heard it, and stays with you and makes you want to hear it again. Because this record is in the mainstream press, you’ll see some writers stumble around odd descriptions like “techno.” But it seems to me timeless, genre-less. Part of its genetic code is modern: this dense forest of repeated samples and slices, a self-awareness and comfort with the means of production. Another part feels like a modern answer to much earlier work of Eno, Laurie Anderson, retold by a generation that grew up with those sounds. But from that soup comes tracks that feel like songs, feel fully formed, get into your head.
In between, there are also great moments of theater and wit, so I’ll be curious to see where the “platform” leads. Continue reading »
Arturia’s quirky, compact, unmistakable-sounding MiniBrute – and the patchable MicroBrute – are among some of the nicer desktop instruments to hit recently. But you can make them do more with hacking. And that’s especially relevant as the original MiniBrute goes on sale.
The MiniBrute is already a nice synth. Sure, it’s not as compact as the more recent MicroBrute and lacks that synth’s cute little modulation patching section, but you also get full-sized keys, and it’s still a lovely instrument. The trick is, you can hack it to add an SH-101-inspired step sequencer as found on the MicroBrute and the SE edition of the MiniBrute. Couple that with an offer than through the end of June prices the limited supply of MiniBrutes at just €399 / US$399 / £299 – that’s the sort of “oh, okay, maybe I will get one after all” price.
The changes are subtle. And if you’re looking for some kind of splashy way of integrating Maschine with Traktor or transforming how you play plug-ins, this isn’t it. But some point updates to two flagship Native Instruments production tools are worth applauding. They make these tools not only more useful, but give them more longevity.
Maschine sounds better. Maschine and Komplete Kontrol play better together. And whereas hardware/software integration sometimes seems designed solely to lock you in to certain products, Komplete Kontrol now not only works with your host and other gear, but works even when it’s unplugged from your computer – as it should.
Both are free updates, and both also now include for free Komplete Select. For Maschine users, that’s a nice add-in — and actually, this is kind of what I run mainly on my cramped SSD on the go. You get a nice upright piano, the terrific Monark Minimoog-inspired emulation (which has an amazing filter model), Massive (no intro needed there), an electric piano, the beautiful Reaktor Prism synth, and more synths, keys, drawbar organs, West African rhythms (why not?) and a really good bus compressor.
Press play? More like bang drums hit stuff finger warp touchpad go crazy.
The Glitch Mob are one of America’s leading festival electronic acts. (And members like EdiT have IDM, not just EDM, credits to their name – so they were “glitching” before it was cool, in other words.) But while that circuit is in a frenzy of one-upmanship when it comes to spectacle, there’s some real playing behind this act. And that distances them from artists that put on a big show visually but have shied away from anything risky in the set – like actually playing the parts, beyond basic scene triggering or knob twiddling.
With their latest rig, The Glitch Mob apparently want to do more than just look like an epic rock band. They want to play like one, too.
And that means that while of course some complicated show and performance elements are sequenced in advance, the trio are playing – a lot. As the sun rises over California this morning, they are unveiling a new show rig. The eye candy for crowds is certainly amped up. But dig deeper, and the artists have given themselves more to do, not less, with a massive load of computational and audio hardware to back them up.
EdiT gave CDM an advance look at the rig over the weekend. Here’s a quick run-down – but if there is something of interest you’d like to know, let us know and we can talk to the band.