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.
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From the early days of techno and electro, dance rhythms in electronic music have been woven together from international sources. The machinery of the groove has evolved from the threads contributed by a global tribe, absorbing sounds and forms, driven by the energies they find on the dance floor.
That image of solitary music making is a myth – what you’re hearing is a sound made by connections between people, across the normal constraints of geography.
And now, the technologies developed in Berlin and elsewhere take on new life in the hands of a new generation of musicians, and their own flourishing communities. So there’s something perfect about welcoming Dengue Dengue Dengue! – here the live trio, Felipe Salmon and Rafael Pereira on sounds and Nadia Escalante on visuals – to Berghain Kantine tonight in an event co-hosted by CDM. There, they’re halfway between the development houses that built the tech they’re using (Maschine and Ableton Live), even as they’ve honed those chops half a world away.
Dengue Dengue Dengue! join a lineup that shows just how explosive these musical transformations can be. There’s CLAP! CLAP!, the footwork-influenced Afrofuturist wonder from Italy. (The exclamation points in these names reveal some of the unbridled enthusiasm of the artists, I think.) There’s Argentinian-born EL G. There’s MR. TOÉ of Chile. And yes, Germany is represented – METEORITES, reuniting Marcus Rossknecht and Max Turner. (Marcus might or might not also have some connection to one of those aforementioned Berlin developers, too. But Berlin has a long history of making electronic technologies for music – and of finding ways of linking itself closer to the Americas, Latin America very much included.) If you’re in Berlin, you simply can’t miss this.
We decided to focus in on the Dengue crew and their approach to music and visuals, to find out how they play live and what their community is like.
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Let’s face it: Reason has started to look a little bit crowded lately. What began as a small rack of virtual effects and instruments has grown to add an enormous mixing console. Sequencing features have, since the beginning, been squeezed to tiny lanes at the bottom of the UI. And a browser floated around in a window.
Reason 8′s individual parts aren’t so different from Reason versions you’ve seen before. But it’s the way they fit together that has changed – rather radically.
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It’s called the PO-12. It’s $50. It’s absolutely tiny – a little stand props it up, inspired by the Nintendo Game & Watch. And it’s already sounding like a drum machine.
The drum machine first revealed to the world at a panel I moderated at Moogfest is finally, after manufacturing and customs delays, making its way to a select group of first owners – mainly VIPs and artists from that festival. What you’re seeing here is just a prototype; Teenage Engineering now says they’ll have a fully fleshed-out version some time in 2015.
There are two things, apart from the impossibly-low price, that make this appealing. First, it sounds really good. The bass drum and snare sound especially convincing; the other sounds are definitely glitchy and lo-fi, but they have a pleasant aesthetic – it sounds intentional. This has the digital character and quirk you’d expect from the makers of the OP-1. If you saw the video this week on Synthtopia, its creator has fixed his YouTube upload (at top) with one that doesn’t phase.
Second, you get parameter locks, which are beautifully featured in the hands-on video at top from Cuckoo. Human translation: you can add effects and triggers live and turn this into a performance interface. And that’s no coincidence, either. Jesper Kouthoofd of TE helped build the original Machinedrum.
More videos demonstrate the design. Continue reading »
Annie Hall – Random Paraphilia EP PROMO from annie hall on Vimeo.
Spanish-born, Windsor-based producer/DJ Annie Hall is always something special, a gift to techno and experimental music.
Pushing her digital sound to the edge, she can sharpen her sound to glitch, fuzz, but always with a sense of warmth and intimacy. It’s cut tightly, but manages to tread techno-electro paths in its asymmetrical grooves. There’s never an absence of forward motion: like one of those crazy new robotic insects, all the complex kinetic action somehow makes it sprint.
And then, as she does this summer, she can head straight into the best possible, dubby, dark techno, spinning, swinging basslines grinding hypnotically in the shadows.
She’s on … too many labels to remember. She’s working with Kero on Riverside Manufacturing (RVSD), making limited vinyl. And she’s all over the planet, one of those rare relentlessly evergreen artists.
Somehow today I found myself revisiting the promo for the 2013 EP at top, Random Paraphilia, which reveals some of her IDM-ish side. It’s just splendid, with remixes by Richard Devine, Gerard Hanson aka E.R.P, and Valance Drakes. See the video at top, with perfect hyper-future-broken-glitch motion graphics by dmas3.
And then there’s what she’s cooking up this summer, the “Overlook” EP on Torque, with remixes by Truncate (U.S.A.) and Aiken (Spain):
Find them on Facebook – www.facebook.com/torquemusic – and grab the record on Beatport.
So, let’s just get through the middle of the week by queuing up more, shall we?
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Think Stormtroopers more than Diane Keaton when you hear her name. And don’t expect her to give up any rebel secrets, really. Photo of the artist, courtesy the artist.
The Z1 already works with NI’s iPad app as well as desktop. Now, you get a full-blown copy of Traktor Pro for your Mac or PC free, too. Image courtesy Native Instruments.
Okay, if you’ve got some old version of your DJ software, or (ahem) a pirated copy, or want to get your DJ rig together from scratch, this month there are really no excuses.
As covered yesterday, AKAI is bundling their new AMX controller and audio interface with a full-blown copy of Serato DJ. The timing for Serato fans is perfect: Serato DJ finally integrates what had been a muddled product lineup (ITCH?) under a single, rebuilt product. It’s tough-to-impossible to DJ well without some kind of basic audio interface and cueing interface, so the AKAI bundle gives you the smallest-yet solution for working that way, whether mainly a turntablists or mainly on the laptop.
At almost the same time, Native Instruments has announced a limited-run offer that bundles their state-of-the-art – Traktor Pro – with both their slim-line hardware models. That’s the TRAKTOR KONTROL Z1, which I see all over the place, also a basic audio interface with control surface for in-computer mixer. The Z1 can also be swapped between your Mac and PC and an iPad – there’s even a cable in the box. The audio interface works with any software, and the mixing control surface is automatically mapped to Traktor DJ for iPad as it is on the desktop. Continue reading »
AMX is an audio interface, it’s DVS ready, and it includes a full copy of Serato DJ.
Serato DJs swear by their software. But one thing they haven’t had lately is a lot of choice in DJ controller hardware. Sure, there’s now a range of hardware getting updated for the latest software. But even after a transition to the new Serato DJ platform, almost all of this hardware is of the “really wide with two big wheels” variety.
That big hardware is a big problem. It leaves out Serato DJs working with vinyl who just want some added control of the software. It adds two big platters, which are arguably something you don’t need in the first place. And it gives you hardware that’s tough to fit in a bag – and sometimes impossible to fit in a booth. It works for some people in some situations, that is, but not all. And to add insult to injury, Allen & Heath’s beautiful XONE:K2 controller supported almost every DJ tool except Serato (even competing head-to-head with Native Instruments’ own hardware for Traktor).
Well, now there’s release, in two inexpensive, versatile-looking controllers from AKAI. AKAI, for their part, seems intent on world domination of every category (with InMusic comprising that brand as well as M-Audio and Alesis).
The AFX is a US$199 slim USB controller for effects, cueing, and loops. The AMX is a $249 control surface and audio interface.
There’s an obvious parallel to Native Instruments’ X1 and Z1, respectively. (It’s worth mentioning that, because NI has just announced that it’s including Traktor Pro for free with the purchase of either one, for the month of August.) But for Serato lovers, there’s no real comparison. Not only do you get extensive Serato integration, but the AMX gets you the latest full copy of Serato DJ – meaning, if you’re looking to upgrade (or, cough, get a legitimate copy), this is a smart buy.
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DJ controllers for Serato that aren’t huge things with wheels. New AKAI hardware, out this month.