You know the drill. There’s a new operating system from Apple. It breaks some music software. If you don’t like things breaking, you should wait a bit. Then once you’ve verified the stuff you need is compatible, go for it – it’s probably better than the last OS once the wrinkles are ironed out.
This post occurs with each new OS, a bit like some sites do Holiday Shopping Guides, or April Fools’ jokes. I could almost turn it into a Mad Libs post. But here are the specifics. Continue reading »
If you like dirt in your distortion, now you can have … literal dirt. Like, a big pile of Earth inside a Eurorack, conditioning an amplifier circuit and producing distortion. That kind of dirt.
I don’t want to say that Eurorack buyers will now buy anything, but you be the judge: 40 buyers sold out the first run of the ERD/ERD “Earth Return Distortion” and filled up the wait list. (What I don’t know is whether anyone took the manufacturer up on the sale offer – send dirt from a cool place, get a discount.) Continue reading »
Eletronic music as a medium is now interwoven with nightlife culture, even in a lot of the experimental end of the spectrum. So that means for those of us who care about the medium, it’s time to face a reality about night venues: a lot of people, particularly women, don’t feel comfortable and safe.
Talk to regular clubgoers, and you’ll hear an unnerving number of tales about harassment. We’re not talking people just getting a little aggressive – we’re talking being groped repeatedly on the dance floor. Continue reading »
So, now that summer is over (northern hemisphere), was yours, well, f***ed up? RUMEX understands. Don’t miss the surreal, now award-winning video from this young, now-as-yet-unknown Hungarian artist. Continue reading »
Theoretically, digital sound can sound like anything.
And I do mean anything: at the frontier of what is conceptually possible, digital representations can produce any sound. Despite this, so many of the sounds we hear, well, the same.
Dealing with that kind of generative freedom is no minor challenge. And that could explain the cult-like dedication of some sonic explorers to the sound environment Kyma. Kyma isn’t the only tool that can do spectral analysis and resynthesis. But it has a special history of working with data in this way, both as one of the first tools to do so and one of the environments uniquely refined in its approach to the task now.
Of course, finding people who know about such things is a bit like a hunt for a very special form of sound design druid. In other words – well, exactly our sort of people. NeverEngine Labs, aka Cristian Vogel and Gustav Scholda, are building on the Kyma 7 environment to make a suite of libraries to deal with these sounds. They’re making their tools your tools, in other words. Continue reading »
Novation are promising something new on the 1st of October. Let’s just say whatever [redacted] may be, we’ll cover [redacted] when the time is right. But what I find interesting is the way they’re introducing the message. Just as Ableton did with Push, the message is about “starting something” – about getting past that initial creative impulse.
I think we’re seeing a shift in the way we talk about music technology in general. The old way of selling was to make the process as mysterious as possible. Serious professionals would tell you how they had the killer tool that you didn’t – the thing you’d want. Continue reading »
Sorry, couldn’t resist. Can you combine computer software with analog hardware? Can you route control signal from computer software to hardware? Can you combine something accessible with a grid (like a drum machine) with more advanced, open-ended machines with wires? Yes, yes, and yes.
Does all modular synthesis stuff sound like indecipherable noodling? Do you have to make a religious decision between analog and digital, hardware and computer? Do all modular setups have to be sprawling rigs that eat up all your money and home? No, no, and no.