Beautiful 1974 circuitry makes eerie sounds that inspire today.
Oh, sure, the future of the music industry might be U2 showing up in your iTunes or streams of chart-topping hits.
Or, just maybe, the future just for now will be instead weird, humming soundscapes that drone on in a browser tab, generatively faded from decades of performances of a legendary experimental piece.
Option number two may be wildly unrealistic and wholly unviable commercially but – hey, it’s your browser, and you can make that choice happen right now, for free.
Sonic legend Nicolas Collins, sound professor, editor of Leonardo Music Journal, and electronic music inventor, has unveiled his latest creation in Pea Soup to Go. (Mmmm, pea soup. Sorry, it’s wintry, and lunchtime. Getting distracted.)
It takes performances of Collins’ work and pops them into a browser tab. The results are strangely calming, the vibrating frequencies resembling nothing if not singing Tibetan bowls, as horns (and the odd ambient performance noise) dance around like dead leaves in the wind. Lose yourself in sounds eerie and meditative. Continue reading »
Mixes, like DJs, are everywhere. But the question of how to stand above the crowd has a simple answer: be better. Be consistent, be intelligent, paint a scene. Give humans a reason to listen to you; make algorithms, like unskilled DJs, weep.
And, yes, have a soul.
Ryan Elliott’s mix on Ostgut Ton is simply one of the best such mixes I’ve downloaded this year, and earns a place on some hard drive round here, stored permanently in all its lossless WAV glory, an hour and a half and gig and a half. Strip away the Panorama Bar label, and it still communicates one of those moments in that venue. You can learn something and feel something all at once. It’s an encouraging sign that quality can still endure, that DJs can do things with what producers make that shines light on them and gives them meaning. Continue reading »
Noah Pred didn’t just run his own label. He has run a label that has traced a lot of the finest music of the past years, making its way from Toronto to Berlin. And he did it while juggling his own career as a techno producers’ producer, a DJ’s DJ. At 100 releases, he’s got plenty to say about what that musical journey has meant – and not just the easy bits. I pressed Noah to reflect on what he really thinks of the flow of the music industry’s power and resources to the top, and the conflicts that can happen in trying to keep a label like this going.
And, like any meeting with Noah, there’s plenty of great music to discover along the way – stuff you know, stuff you don’t. Certainly, I’d never be afraid of not being able to name-drop every release; Noah has a way of discovering superb music you wish you had known earlier. So let’s go along for that trip.
If you missed the last seven years, don’t worry. We have not only a chat with Noah, but some music to hear.
There’s a 50-track mix to mark the latest mixes, free to hear. (Track listing below, at bottom.)
And 130+ podcasts to hear, on Mixcloud, which I suppose should cover your next seven years.
No? How about the entire catalog on YouTube in celebration of 100 releases:
“Ah,” you say. “But, I can also read.” Good! Let’s! The music to hear, the life of a label, the effect of global capitalism on our souls – I’d say we’ve got our bases covered. Continue reading »
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.
Continue reading »
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.
Continue reading »