Look around the room you’re in. Drum your fingers against some of the objects around you. Now imagine that you could turn those touches into any imaginable sound – and all you’d need to play them is a single contact mic. And we’re not talking just simplistic sounds – think expressive, responsive transformation of the world around you, all with just that one mic, thanks to clever gestural recognition.

Bruno Zamborlin has made that idea a reality, with hold-onto-your-chair results. It’s not available yet for public consumption, but it’s coming.

Bruno explains to CDM: Continue reading »

I’m saddened to learn of the death of Richard Lainhart, the New York-based composer and artist who has been inseparable from the experimental electronic scene for many years. I knew Richard to be a gentle and imaginative soul, an inventive technologist, someone capable of dreaming up endless soundscapes and auditory worlds. He was also a great contributor to the CDM community, including playing one of the early installments of Handmade Music at Etsy Labs in Brooklyn. (Photo above; full video at bottom.)

I think it’s fitting to illustrate Richard with a terrific self-portrait on Polaroid, one that illustrates his sense of humor and artistic adventurousness:

Richard’s wife Caroline posted a note with the news, which most of us found via Facebook: Continue reading »

2011 has seen sweeping changes in technology and music, alongside the loss of titans Max Mathews and Tsutomu Katoh, two pioneers of our world. Some of these stories passed quietly; some with great fanfare. Here, we reveal those stories that attracted the greatest number of Internet eyeballs, a metric not necessarily of importance but certainly of what reached the widest audience on this site. And there are definite trends: a hunger for mobile, both the explosive growth of iOS and tablets, but also a resurgent interest in MIDI (not to give away the end) and a desire by owners of devices powered by Apple’s rival Android to find tools themselves. Traditional tools, too, make a strong showing – people still care about DAWs, about production. And affordable, do-everything tools fare well.

Hidden from this list are many other stories significant to me, though remembering just which occurred between January the first of last year and now strains my brain. (CDM is external memory.) If you recall a story that was significant to you on this site – or even one we missed – let us know.

In the meantime, here’s what the eyes of the Internet watched – ranked by page views in our analytics tool: Continue reading »

What an extraordinary thing an interface can be, a map to making music.

A new community-generated album from users of the now-legendary monome grid instrument yields a variety of musical outcomes. The results are instrumental and lovely, breaking off on lots of different stylistic vectors, but glued together by the notion of key and pitch. Let’s let contributor Joshua Saddler explain this – and the holiday album – as well as share some of the music. If you celebrate Orthodox Christmas or more generally the idea of “Holidays” (ahem), or if you just like good music, you can overlook the fact that the latter arrives a bit late on the Western calendar. But both albums are terrific, and I suspect the approach to the music in key, to sharing samples and field recordings, could well be an inspiration in your own music-making endeavors. Sometimes rules are liberating.

If you want to get a jump start on musical New Year’s resolutions, I can think of nothing better. Joshua writes:

Continue reading »

Modular music making is a throwback to the early days of electronic music, in which a spaghetti of patch cords is the price of open-ended sound creation. Fairly or unfairly, it has often been viewed as the domain of the eccentric wealthy musician. You needed cash, endless patience, and lots of space – well, unless you happened to be lucky enough to pick up a vintage modular as people were getting rid of them.

But something has happened: modules have become more practical and accessible. Like any music technology, they can become a rabbit hole into which time and money fall and no music escapes. But also like any music technology, there are ways of bending these tools to your will, applying fiscal and creative discipline to make them musically productive.

Enter the “desktop modular” revolution. Modules are cheaper and more usable. It’s easier than ever to assemble a rig of modular that coexists with your digital gear, be it MIDI hardware or computers. That means just a select set of modules within your budget (and available physical space) could find a place. And modules are more innovative and fun than they’ve been in the past, too. They merge digital and analog tech – just as this site has loved doing (despite our name) over the years.

And just as suddenly, that spaghetti entree starts to look delicious.

I can’t say I’ve personally found room for this kind of gear, but I’ve enjoyed watching the evolution of new equipment. And over the past few months, I’ve witnessed a bumper crop of terrific new modules. It’s time to survey some of that fertile landscape, as 2011 winds to a close. Here are a few of my favorites, sure to inspire other nominees from readers. And I imagine this adds fresh cause to venture into the basement stalls of the Winter NAMM music manufacturer trade show in Anaheim next month, where these sorts of less-mainstream devices flourish.

Notably, these modules all work with the ‘small’ Eurorack (A100) format. German maker Doepfer Musikelektronik popularized this format, and it has since taken off. In fact, that puzzled quite a few readers when Moog’s re-entry in modular eschewed that format. (That may be their loss.) But Moog ladder filters aside, there has been plenty of action in the Eurorack space.

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For fans of slicing, dicing, glitching, reversing, and shuffling incoming audio streams, this Max for Live Device is for you. Shuffler 2.0 is the latest in a series of “modular” Max for Live devices from developer Isotonik Studios. Mappable to MIDI, the suite of Devices focuses on simpler tasks in ways that can be combined. There are interactive Follow Actions, for instance — a feature I’ve long argued should be native to Ableton Live — plus tools for more easily mapping MIDI to envelopes. There’s a convenient Looper.

From last week, there’s a module called Smart, capable of mapping some eight macros to one knob.

The entire series is sold as a subscription for 17 quid:
http://isotonikstudios.com/modular/

Check out the Follow actions in the video below. Continue reading »

I’m not sure how everyone who owns an iPad uses it for music, but I find myself strangely drawn, more than anything else, to analog step sequencers. With MIDI connections – via a special interface or a standard USB MIDI interface connected via adapter to the tablet – you can even drive hardware. For me, the app of choice has been Little MIDI Machine. Developer Chris Randall has a new application in the analog-style sequencing category, though, called Phaedra.

If you haven’t grabbed it already, you have until the New Year to get it for US$4.99 before the price jumps to ten bucks. And you get an impressive array of features:

• Multiple buses, with 32 steps max each
• Programmable note, velocity, gate time, and two MIDI CC outs for each step
• Send or receive MIDI Clock for sync
• Use MIDI hardware (via Core MIDI), other apps (using “background MIDI” or OMAC), or your computer (networking via a MIDI Network Session

Phaedra for iPad [iTunes Store Link; you'll need iOS 5.0]

I wanted to know more about the creation of Phaedra. Developer and musician Chris Randall, known for his work with boutique plug-in maker Audio Damage, released this under a new moniker, Naughty Panther, which does iOS and MIDI development. Chris has been known to mix old and new, as with his musical use of the Apple II. Here, he gives us some insight into how he went through the design process on this new tool.

Continue reading »