Finally, we’ve got a digital instrument you can squeeze.

Arrays of buttons may be digital in character, but they’re not a recent invention. Combining the organic, physical gesture with precise control over pitch via some sort of actuator is part of the tradition of musical instrument design. So, strange as it may be, this hybrid monome-concertina is a perfectly natural combination.

Inventor and musician Esper Sommer Eide writes with more:

I have just finished a new instrument that might interest you (and your readers!). It has been over half a year in the making, so I am quite happy to finally finish it and I did a couple of concerts now this summer as “phonophani” to demonstrate and test it in action. This is a video from one of them, together with some explanation and video material from “the making of…” [Espen's video is from a concert in Bergen, Norway. -Ed.]

Hope you enjoy it! It is basically a concertino accordion (famous from Tango music) I got on eBay and refurbished one side of it into a monome clone. It runs on an Arduino Mega microcontroller and connects to a Maxmsp patch on my computer via USB. For various reasons it was not possible to use the excellent arduinome programming, so I had to do the programming from scratch myself. But the best part was adding a pressure sensor to the mix, so that I can use the air pumping action of the accordion to control various parameters. In the video it is the direction of the sample playback (in addition to volume) to give a kind of tape loop scratching effect. Highly entertaining to play, and also visually the bellows look like an audio wave being pulled and pushed. Electronic tango?

I was curious specifically about the reeds, and got this follow-up answer:

Yes, one side still has accordion reeds though I do not use them in the tune on the video. But you can hear them briefly during the end credits. Kind of like a hybrid post-digital instrument. I guess a natural development would be recording the reeds on one hand and manipulating them digitally with the other hand :-)

For the record, the concertina and its South American breed, the bandoneon, are free-reed instruments, just like the accordion. Technically, a concertina is not an accordion, though it can use accordion reeds. And I’m going to stop there, because I just don’t know a whole lot beyond that, though I will note that a major research institute happens to be housed at the university where I’ve done all my graduate work and am now finishing my doctorate.

Center for the Study of Free-Reed Instruments [The Graduate Center, The City University of New York]

They’ve never had a high-tech instrument, to my knowledge, but it’s never too late.

Espen has creating whimsical, wonderful inventions before. Last year, we saw a crank-powered, iPod-driven, Hurdy-Gury-inspired soundmaker:

Crank + Linux iPod + Pd = Deconstructed Norwegian Folk Music

Should you quit your day job and go on tour with a rock band?

That’s the question answered by cellist Zoe Keating at Ignite, the 5-minute hyperpresentation series put on by O’Reilly. (At an NYC event, I gave a talk explaining why understanding basic programming concepts was as important as calculating your tip on a bill.)

Zoe Keating on Should you join a rock band? [Ignite's Brady Forrest]

Zoe debunks the myth of the glamorous tour with some sobering realities with which I’m sure at least some readers here are already far too familiar. The presentation is snappy, sharp, and more than occasionally hilarious, a perfect Igniter.

If that’s got you down, though, the same post points to this brilliant “Quantum Cello” piece in which Zoe explains how she works with loops, blending electronic techniques with a 17th-century instrument. That’s the kind of old meets new sensibility we love. And by the way, when Zoe tours with a rock band, she does have good taste — she hit the road with the Dresden Dolls’ fabulous Amanda Palmer.

Quantum Cello, WNYC Radio Lab [Audio podcast / interview]

Barry Threw demos the K-Bow at Maker Faire from The Amazing Rolo on Vimeo.

Yann Seznec aka The Amazing Rolo brings CDM his coverage of
music tech at the Maker Faire in three episodes today.

As long as there have been computers, violinists have looked for ways of extending the nuances of their physical performance into the digital realm. (Us keyboardists have it easy – we’re used to pressing an array of levers, and a lot of the gestures we make are, arguably, superfluous.) Many of these concepts return to the idea of the bow.

The K-Bow by Keith McMillen Instruments is a Bluetooth-enabled bow with sensors that read bow angle, length, acceleration, grip pressure, and even hair tension. It’s accompanied by software developed in Max/MSP. The bow itself is one of those “if you have to ask, you can’t afford it situations,” at US$4000-5000 retail, though they claim the bow itself – specially-designed kevlar and carbon graphite, anyone? – can compete with more expensive bows even before you add in the sensors.

http://www.keithmcmillen.com/kbow/index.html

In the video at top, developer Barry Threw of Keith McMillen Instruments demonstrates the K-Bow.

Here’s what you get out of the software screen:

Barry has also written up a visit to the STEIM research center and work with sensor bow pioneer Jon Rose.

Jon Rose with the K-Bow

And yes, you can rock out hard with this thing:

I know what you’re thinking – you could also just hook your violin into a pickup and some distortion pedals. I think it’s really the experience of playing it that changes, though I’m just guessing, since I’m not a string player.

Previous research projects:

Jon Rose’s own Hyperstring project (warning: loud hyperviolin audio auto-plays, and I don’t see any mute button!)

The Augmented Violin project at IRCAM: see Emmanuel Flety’s development blog, IRCAM project page and references

And that’s by no means a complete list, of course.

The art of music is as expressive an art as you can find, so why shouldn’t the objects we use to make music be equally personal and creative? That’s the question we ask regularly on CDM, so we’re pleased to be sponsoring a contest with our friends at Instructables, along with the good people of Bleep Labs and custom speaker maker Zalytron.

Instructables, of course, are a site that let you share step-by-step instructions for making stuff. Far from keeping you art secret, they let you claim bragging rights for brilliant creations by letting you share how you’ve made them — and how other folks can do the same. It says that making things doesn’t have to be about something you’ve got that no one else does, but on the contrary, that value can actually come from other people doing the same thing. I got to meet the co-founders on the panel we gave at the OFFF Festival in Lisbon – really terrific folks.

For the Art of Sound Contest, anything’s game – homemade and modded instruments, electronics, circuit bending, speakers, controllers, the lot – even visuals. At the risk of influencing the voting, there’s already a musical light show, on the visual end, a sequencer (seen at top), an Arduino trumpet, and, yes, Spock lovers, even a Vulcan Lyre.

By the way, if you document stuff on Instructables, you can now embed the steps, as seen below. So that means you can make your own page on our in-alpha-testing noisepages community site and add additional details in blog form.

Check out the latest and most popular entries on the contest page:
http://www.instructables.com/contest/artofsound

And, of course, even if you don’t enter, you’ll have lots of things to try making. If you do want to enter, you have until July 26. Stay tuned to CDM as we keep track of the contest and the projects – even if you can’t enter, I promise we’ll have some goodies to share. And, of course, there’s an instructables for how to enter:

How To Enter the Art of Sound Contest – More DIY How To Projects

I’m especially fond of these speaker creatures. Mustache? Monocle? Check. And, hey, even if you lose, there’s an Instructables to teach you to make your own.

Too cute…

Updated: It seems Instructables has gone to a new pricing model. I’m still getting all the details as this is a recent announcement. I realize this may be cause for concern for some of our readers. Suffice to say, I understand that bandwidth-consuming sites aren’t free to run as a publisher myself, but I also understand creators being concerned about specific restrictions – particularly in regards to content they’ve created. It does appear that the “free” accounts are functional; I’m just unclear, for instance, on the “secondary images” – what sizes you have access to, etc. Stay tuned.

Something has happened with electronic musicians and producers. We’re not confined to the ghetto of electronic sounds any more. You could argue it’s a sign of waning interest in those timbres, but I think it’s something else: people are simply becoming more flexible creative producers, comfortable with acoustic and electrified and synthesized sounds alike.

So, in that spirit, one of my most anticipated albums of this year has been one that’s mostly instrumental and not-terribly-electronic or digital. It’s the March release Saskamodie from Mocky, Somali-Canadian-Yemeni musician. I’ve just begun listening to it, and I’m quite enjoying it. It’s definitely retro, a groovy, poppy reverie that seems more than a little inhabited by the soul of Serge Gainsbourg, who once recorded in the studio in which it was recorded. It’s also effective partly because it fits squarely into the realm of jazz. It oozes warmth and humor, sonically and musically.

In the meantime, Mocky himself has shown us how to market effectively with tongue planted firmly in cheek, as seen in the video above. It’s a dangerous maneuver to attempt – trained professionals only. But by invoking some digital effects and a heavy dose of hyperbole, Mocky I think manages to strike a balance between self-promotion and self-deprecation.

He has some help from his friends, too: collaborators Jamie Lidell, Feist, Gonzales, Kevin Blechdom, and Peaches show up. That lineup puts Mocky in with a crowd that embodies a growing retro-savvy aesthetic. I actually don’t think that “retro” has to even carry any negative connotations. Done poorly, of course, an album can simply seem backwards-looking or out of place – but that’s true anyway. Done well, we have a new sense that time can fold in on itself, that in an age of digital recordings, we share musical space virtually, even with musicians who are now very dead. And maybe that’s the zeitgeist this video unwittingly touches.

After all, at worst, we live in an age that could be a simple, cheap digital effect – the kind being (cough) mocked here. We could paste ourselves onto old musical styles, and look just as awkward as a couple of the motion-tracked faux heads floating on the bodies of drummers of the past. Happily, I don’t find that that’s the case here. Mocky has a comfort and sensibility that somehow hints that it’s 2009, but perhaps 2009 doesn’t have to be 2009.

That said, I’d still like to hear more envelope-pushing in these retro directions. Sure, it’s fun channeling Serge Gainsbourg, but I don’t hear people challenging someone really tough, like bleeding-edge Miles Davis. The styles we cherish so much came out of real experimentation. Maybe that’s a challenge for myself as much as for the albums on my listening queue. Nonetheless, Mocky’s mock-marketing and self-branding is as suave as his music, and Saskamodie is like an easy-to-drink, expensive port – a dessert drink, but a delicious one.

You can download the new album from the label, Crammed Discs.

http://www.mockyrecordings.com

Thanks to Tobias Thon for this one (via Facebook).

Award-winning composer Troels Folmann has made a name as a video game composer on the likes of the Tomb Raider series, as well as espousing new ideas about adaptive music for games like his “micro-scoring” methodology. But speaking to a roomful of composers and sound designers at the recent Game Developer Conference, he turned to the topic of reinvention. Even having perfected signature sounds that keep him in demand on jobs like blockbuster feature trailer soundtracks, Troels challenged attendees to get out of their usual habits and comfort zones.

And that means torturing some instruments. No, really torturing them: breaking sticks, destroying drums, warping instruments, and boiling waterphones (putting the whole instrument on a stove).

Human beings, of course, shouldn’t be tortured – to get the best sound of them, you want to get them drunk. (I want the Drunken Eastern European Choir sample library, Troels!)

Speaking excitedly in run-on sentences that clipped one another – a bit like sample in and out points were set wrong – Troels revealed some of his latest sampling explorations and sonic secrets. It was, truly, one of the best talks I saw at GDC – and unquestionably the highest idea and inspiration – to – time ratio, even if you weren’t into sound. Here are some of the gems from that conversation, along with some of the lists of bizarrely-combined sampled instruments in recent compositions.

I was looking over my notes and wondering if I should polish them. But then, I realized that I had transcribed all the things Troels said that interested me. If I put them all in a jar, I could take any one idea out on a day when my musical reserves were dry and be inspired. So I’ll share them with you in exactly that form.

The Right Wrong

Pipe organ, kalimba, baby toys, didgeridoo, conga, claps, IKEA stopwatch, church bell, vocals, ambience

One of the things I’m playing with is trying to do the right thing wrong — I call it the right wrong.

Some of these instruments [I sample] suffered through [the sampling process]. When you sample, you have to take it one step further. When it gets into the computer, it dies a bit. I don’t know what it is, there’s a translation issue. You have to push it further.

tonehammer_lakeside_organ_demo_4_dressed.mp3

Naked Ear

Kalimba, hang-drum, IKEA flower vase, Coke Bottle, public domain vocals – girl’s choir

We have certain ways we get stuck as composers — certain harmonic progressions and so forth. What I’m trying to do is more of a naked ear. I disregard any kind of theory. If it sounds right, it is right.

It’s an awesome practice, because it allows you to step out of theory.

This is a $19 kalimba. I don’t buy the most expensive instrument — I get 90% out of this instrument. And I can torture it through sampling. IKEA is the best music store; I don’t know if you know that.

Sometimes we get super caught in [the idea that ] it needs to be pristine, it needs to be high quality — it doesn’t matter. You get it in the mix, you can totally make something wonderful out of it.

I never have anything 24-bit …. It doesn’t really matter.

tonehammer_kalimba_demo_1.mp3

No Fear

Propane drum, flower vase, Coke bottle, kalimba, monkey balls, harmonica, vocals

[On eBay], I found this wonderful drum. I have a hang drum, this super-expensive crazy drum. This one was way better, and it’s like $300.

tonehammer_propanium_demo_1_dressed.mp3

Twist and Tweak

Didgeridoo, soda tabs, water cooler ensemble, hang drum

[On working with a Dr. Pepper soda.] You can … tap it to become percussion, you can also talk into it, sing into it … I multisampled [the taps] into an entire instrument.

tonehammer_didge_demo_1_dressed.mp3

It Doesn’t Matter

Things don’t matter so much. I was playing a 7-string guitar, and it wasn’t nasty enough. I took all the strings and drop tuned them to the same note … so it didn’t make a sound any more. I got this nasty sound to it. I’m starting more and more to let go of these conventions …how it should be.

I took a 5 string bass and again I couldn’t get it nasty enough — I’m not a great musician by any means. Put it down on the table, let the surgery begin. I put towels down to mute the sound. I played it with drumsticks, and got this tight sound that I was looking for.

Especially in the low frequencies of instruments, you get these … amazing, fat sounds. There’s so much you can do.

Sampling a Restroom

One of the best songs — I went to a restroom. I always use the handicapped restroom because there’s more space and you can be alone. I hate American restrooms – European restrooms are closed, you can’t see in to see what people are doing.

[On the result -- multi-sampling the metal bar next to the toilet in a handicapped restroom.] You expand your palette when you do that. There are so many sounds out there.

Boiled [and timestretched) Waterphone

There's so much you can do in terms of torture to get more out of it. Of course you can strum it, you can play it sort of percussively. But then you can boil it.

It was totally ruined in the end. But at least someone has boiled a waterphone.

We recorded it at different temperatures. It started spinning, as well, as you got to higher temperatures.

[In a separate experiment, timestretching:] As you know, the waterphone is impossible to control tonally. [I tried] timestretching a single note — [Native Instruments’ sampler] Kontakt has a harmonizer — putting some other notes on top of it to make a more strange, otherworldly sound to it.

Hybrid [Stacked] Orchestras

Unfortunately game composers are asked to do epic scores all the time. The main elements in it — it’s really about stacking. It needs several different libraries; you can’t stack the same library or it starts phasing. I like to stack until it starts phasing. You can also stack until it starts clipping.

There is no less — there’s only more.

I have synths for the bases, I have drones that line underneath the basses. Arpeggiators are almost mandatory for strings, so when you have stacatto notes — which is also stacked, at least two or three libraries — you also have arpeggiators under that.

It’s the art of adding, epic music.

tbf_epic_orchestral_demo_2009.mp3

The Future of Music

i think the future of music is partly all of us exploring more textures. We all want to do epic music and trailers …. and everyone is sounding a lot alike now. Especially in games; I never hear things that sound all that unique. We have to find ways to differentiate ourselves.

I’m a super commercial composer … I force myself to step out of that.

There are many many ways that we can stand apart. The best thing ever is the Zoom [H4 portable digital] recorder. I use it for everything, for the handicapped recording. There are sounds all over. You can break the convention, break the theory.

Successfully Sampling Choirs

The sampling is incredibly demoralizing. So you have to actually have them play a melody. If you get a performance that is not emotional, it totally dies.

We got an entire Eastern European orchestra drunk. It was a huge help. …They were half drunk, so they could still play.

Successfully Sampling Drums

Percussion is its own science. It’s important when you do recording sessions to dent the drums. If you don’t dent the drum …it won’t work. A mistake a lot of people make is …they only use one stick. Always use two sticks. The sound may flange .. it doesn’t matter. And those sticks need to break, if you want “triple-X” percussion.

Favorite Tools

Timefreezer is just incredible — you have to sculpt it in realtime, don’t just make a drone. Put it in multisamplers, map to velocity and really sculpt that tone. Put them in a sampler and assign it to a mod wheel — anything you have to do to get more control.

LA Scoring Strings is coming out — it’s the first library that’s really nailed legato. [with legato for different tempi] …solo instruments, divisi, full section.

The Wizoo W2 reverb plug-in…[now distributed through M-Audio / part of the Advanced Instruments Research group at Digidesign]

Compositional Process

Daily Exercises:

1. Watch YouTube

2. Chat and forums

3. Listen

4. Network

5. Talent = time = fun

I listen more than I compose these days. I listen two or three hours a day consciously. For me the process of listening is as important as composing.

Troels also listed some of his own inspirations, which included YouTube videos seen on this site:

Video Mashed Kutiman Funk: What if All of YouTube Played a Song?

Depressing Project of the Day: Stock Market, Set to Music with Microsoft Songsmith

What’s interesting about this is that he took these not simply as worktime distractions but inspiration for his own work – to try to analyze the thought process behind the videos and do something similar in his own work.

Here’s an example of his own: what’s the sound of one hand clapping? Well, here’s one hand clapping, made into an entire composition:

One sound composition

For more on Troels’ own sample house:

tonehammer

And everything on Troels himself:

http://www.troelsfolmann.com/

Previously, right here on CDM:

Weekend Inspiration: Coke Bottle as Tribal Percussion, and the Future of Adaptive Music

CDM Interview: Tomb Raider: Legend Composer Troels Brun Folmann on Adaptive “Micro-Scoring”

There’s plenty to process here, so I hope we’ll talk to Troels again soon.

Make:Television has done a really lovely piece on CCRMA, the research center at Stanford University that works on problems ranging from acoustics and sound to musical instrument design. CCRMA is really just one microcosm of the whole music tech making scene around the world – a lot of increasingly beyond the walls of academia. But what a microcosm it is: I don’t think it’s understatement to say this is just the kind of institution a lot of us dream of. Among the highlights from the MAKE video that I could pick up:

• Ge Wang, professor and creator of ChucK programming language and certain popular ocarina-themed iPhone apps, and Stanford Laptop Orchestra director
• Carr Wilkerson: Electronic “Rub Board”(?) with a nice accompanying Pd synth patch
• A very nice Max/MSP app that everyone seems to be using for signal analysis
• Edgar Berdahl: a one-handed drum that “hits back”
• Nicholas Bryan building the legendary hemispheric speaker (incidentally, no one seems to be able to tell me who invented that)
• A giant interactive musical playground, with a Wii-powered teeter-totter (with one somewhat silly patch, and then another very lovely bowed-sounding patch)

Thanks to patospurlock on Twitter for the tip. I know at least some of you CCRMA students read this site, so feel free to chime in and identify your colleagues.

The featured Feedback Piano project is a hybrid with a bit of acoustical design (a piano), electronics/recording (mics), and digital/computer design (the Max patch that completes the circle). The results are really striking, and while it’s a lot less portable than a convolution reverb, it’s certainly very different having an actual piano into which you can play your saxophone.

Make followed up with directions on the Feedback Piano (please use a truly broken piano, thanks!) and we’ve got some video, as well:

HOW TO – build a feedback piano [MAKE Magazine]

feedback piano #1 from Alloy Electric on Vimeo.

Alloy Electric has more Vimeo videos of the feedback piano and other projects. (Nice footage, as well! Actually, I think, a bit artier than what Make:TV shot!)

More on Chris Warren’sblog and project website.

By the way, does anyone know why educational programs about Science always have to have some geeky-sounding guy shouting at you? (See the condensed history of all music tech at the end.)

Wearing wooden masks and cow bells strapped around their waists, Germans defied the freezing temperatures to participate in the traditional cow bell-ringing procession in Mittenwald, in southern Germany. The century-old custom is celebrated around carnival.

New York Times Pictures of the Day, 2/19

Just remember, folks: musical instruments are a wonderful thing.

My favorite track on YouTube has only a slide show in the background, so you’ll have to use your imagination.

For you New Yorker metro area folks:
Presented by createdigitalmusic.com with our friends at music trend-setters XLR8R.com, DIY bible makezine.com, self-made marketplace Etsy.com, and artists’ facility 3rd Ward

7:30pm, Thursday, February 19
3rd Ward is located at 195 Morgan Ave., at the corner of Stagg St., in East Williamsburg, Brooklyn.
(near the Grand St L train)
Directions

Facebook event page / RSVP
Join the CDM Facebook Page

Non-NYers, I’m open to suggestions as far as trying to set up a video stream. Mogulus just added a verification process, though I can get up to 50 people there without it.

It’s time again for Handmade Music, the party – musical performance – science fair geek-out for musicians and the musi-curious. We’ve got an amazing lineup this month if you happen to be in the New York area. We’ll have some usual raucus racket noise-making time, but also a full live performance from a DIY gamelan ensemble. (I’ll see if I can set up a live stream, too.) And if you have a hardware or software project you’d like to show off, check out our call for works. Remember – it doesn’t have to be done / entirely working; this is a chance to get some feedback from fellow makers. We’re all learning.

Event Details

Presented by createdigitalmusic.com with our friends at music trend-setters XLR8R.com, DIY bible makezine.com, self-made marketplace Etsy.com, and artists’ facility 3rd Ward

7:30pm, Thursday, February 19
3rd Ward is located at 195 Morgan Ave., at the corner of Stagg St., in East Williamsburg, Brooklyn.
(near the Grand St L train)
Directions
RSVP: handmade@3rdward.com

Sponsored by Pabst Blue Ribbon, with free beer while it lasts!

This Month

Handmade Music 2/19 features special guest Electric Junkyard Gamelan. Composer/founder Terry Dame and ensemble members will demonstrate the self-created instruments, and will provide a unique live performance.
Terry Dame’s Electric Junkyard Gamelan

Also in February, a free hands-on: learn the basics of musical electronics without any previous experience, and without even picking up a soldering iron. Using the PAiA ribbon controller kit, a kit you can assemble on a business card with a graphite pencil as your only tool, you’ll make a simple sound-making circuit that you can apply to many other projects. Come early while the PAiA kits still last.

Learn musical electronics without soldering
Provided through the generosity and ingenuity of PAiA Electronics

Newcomers to music and electronics alike welcome, as always (and you, too, can make a ribbon controller kit).

Call for Works

Got a project you want to show off? We’d love to have you bring it round for the show-and-tell / racket-making portion of the evening.

Call for Works [direct link, Google Docs]

Embedded form: