It started as some compelling demos or proof of concept, but it’s plenty real now: the tools for translating movement, gesture, and dance from the body to interactive music march forward. Empowered by Microsoft’s Kinect and an artist-friendly toolchain, even a single, clever developer can do a lot. Sound designer, music producer, and Max/MSP developer Chris Vik of Melbourne has been one of those busy early pioneers, with an incredible tool called Kinectar.

So, the tech is cool and shiny and impressive: what about the actual music? And, even more importantly, what if all the hand waving and moving about could be meaningful? That’s the next step. For his part, Chris is teaming up with a dancer and choreographer to combine his compositional ideas with someone who knows how to move. The Dubstep-y demos (all below) are impressive, true, but the early tests of the work with the choreographer are simply beautiful, and demonstrate that wobble bass isn’t the limit of what this can do. They also turn the arbitrary arm-waggling into a part of the art.

And as for you: the software’s alpha, but you can fire up your copy of software like Ableton Live and grab this software for Mac or Windows and try it yourself. So if you don’t like the results – be the gesture-controlled basslines too wobbly, be they not wobbly enough – you can put your music, and your movement, where your mouth is.

At top, Chris shows off an early test of the dance collab. (There’s more to come.) Below, a tutorial that shows how this works with Ableton. And read on for more from Chris on what the work with the dancer is about, and what the tool can do.

Chris writes:

Since April 2011 I’ve been working solidly with the Microsoft Kinect, developing my software, Kinectar, to enable its use as a MIDI controller for performing music live. I’ve done a number of performances around Australia since I started the project, however, it’s safe to say that, although I would consider myself an electronic musician, I’m certainly no dancer. Enter, Paul…

Dancer, Paul Walker and I have joined forces to bring the Kinect controlled music concept into the world of contemporary dance. Recently we obtained a residency at PACT theatre (centre for emerging artists), where we spent the week developing different ways of implementing my Kinect music control system in a dance context.

My system is developed in Max and uses OpenNI drivers, OSCeleton and Ableton Live.

via Chris’ blog

CDM will check back in with Chris soon, because:

I’ve got some more videos to release over the coming weeks from a range of my different Kinect music performance applications, including controlling/conducting the Melbourne Town Hall Organ and a 100+ speaker Kinect-controlled diffusion performance. I’ll keep you posted when they’re released!

More on the software:

Kinectar Performance Platform is a toolkit developed by music producer Chris Vik to allow the use of Microsoft’s Kinect motion tracking sensor in computer-based music. The software is designed for electronic musicians to expand the way they control their music in a futuristic and extremely expressive way, using only the waving of hands and a small amount of creativity. It can be used to control the simplest of parameters like a filter or LFO, play notes and chords on a sampler or synthesizer, or be programmed to control an entire live-set through nothing more than gesture.

Key Features:

Movement Tracking UI allows manipulation of the Kinect’s human tracking capabilities, displaying all relevant data extracted from the hands location in 3d-space

Instrument Builder lets the user build virtual ‘instruments’ by outputting MIDI notes in three modes:

• Static – Produces a single note value. Useful for drum triggers, turning on/off effects within a DAW or feed that trigger into Kinectar to switch between presets using your gesture
• Solo – Do sweeping solos by selecting from over 40 musical scale presets or click the notes on the UI to make your own
• Chord – Create a progression of up to 8 chords per preset to play live

Global Flags lets you turn on/off Kinectar’s instruments using a MIDI note sent from your DAW, external MIDI controller or Kinectar itself

MIDI Preset Control lets you switch between Kinectar’s presets and instruments using a single MIDI note

Value Editor enables many more MIDI/OSC outputs, for controlling device values

Visual Metronome popout window sits on top of all programs to make it easy to see if you’re in-time when the music gets messy

It’s labeled “rough alpha,” so don’t expect a finished tool here, but you can go download it and give it a try (or learn more about what’s possible):

http://kinectar.org/download

And now, the obligatory (but quite awesome, Chris) Dubstep demo videos:

From an Australian curator comes a diverse compilation of “experimental electronica” spanning artists from down under, the United Kingdom, and New Zealand. Selected by artist / Enig-matik founder SUN IN AQUARIUS, it’s some finely-produced, “glitch-tinged” music covering a gamut of personalities, a nice sampling of some of the kind of quality work getting made. The compilation is streamable free or can be purchased for AUD$15.

Honestly, I think the biggest challenge with all this music isn’t listening to it or finding it, but deciding what to call it. Electronica? Leftfield? Ambient — no, not really. Glitch? Please. Even the “experimental” moniker seems not entirely descriptive to me. Thoughts?

Of course, acquiring it is very easy – it’s another Bandcamp release:

http://enigmatiksounds.bandcamp.com/: V.A-Painting Pictures on Silence V1

Mitchell Nordine (Mind Tree), who sent this news, contributes two of my favorite tracks, cut one, “The Caravan,” and as half of the collaboration MindBuffer, “Ghost in the Shell.”

Mitchell shares some of the making of “The Caravan”:

All of the percussive samples were recorded with my little Zoom H2 on a camping trip our group went on when I was 18 (last year) Easter time It makes the track feel particularly close to home for me, and I’m just wrapped in general at the quality of how the end product turned out using custom samples from the little recorder.

Mitchell also passes along some additional notes on his act, some of the geekier details of their creation process behind the scenes (generative melodies, audiovisual granular synthesis), and more:

MINDBUFFER BIO

MindBuffer is the collaborative bi-product between Joshua Batty and Mitchell Nordine after years of submergence deep within the oceans of C++ coding and Max/MSP/Jitter patches… This combined with a fetish for sensory overload, years of collective experience within popular DAW’s such as Logic and Live, and a history of professional performance in jazz trumpet and violin.

MindBuffer thrives on intricacy and innovation, integrating self-generative and prerecorded audio, 3D reactive visuals and crowd interactivity; all grown from the ground up on self developed software. Their custom software is capable of realtime audiovisual granular synthesis by allowing the access and manipulation of single frames of video at 60fps as well being capable of melodic and rhythmical generative compositional processes. <(Ghost in the shell 2.20-3.48, Bell melody is entirely generative)

REVIEW BY INTERVAL

"Deep, thoughtful, and experimental, ‘Ghost in The Shell’ from Mindbuffer explodes an IDM vibe like non-other. A heart wrenchingly soulful expedition, it grooves deep into a carefully created chaos, with hiccups of noise and distortion thrown across the listener, much like a fresh splattering of multicoloured paint over a canvas. Confronting expectation mindbuffer still delivers a poignant narrative that is sure to send goosebumps crawling up your spine."
Review by Interval.

ENIG’MATIK RECORDS

Enig'matik Records sole goal is to blur genre lines, push the envelope and generally bring together like minded artists who are in it for the music, for the emotion it can convey and the unification it can achieve. This release was only possible by the extraordinary efforts of label owner Sun in Aquarius. Our personal favorites include Circuit Bent, Vaetxh and Sun in Aquarius.

Additional links:
soundcloud.com/mindbuffer

soundcloud.com/mindtree

And lots of other good artists there, as well. Let us know what you think.

Enig-matik Records @ Facebook

Tristram is credited by some as the father of tape music, originating tape music techniques in World War II. He’s notorious to the general public and sci fi fans as the composer of the music for the Daleks in Doctor Who (along with other music) — like an evil counterpart to Delia Derbyshire, who built the studio Cary would later use. But he was also a pivotal composer of music for film, electronics, voice, and instrument alike, a well-known Australian music critic, a leading figure in studios and academies, and, oh, yeah, he did the visual design (product design, really) for the legendary portable VCS3 "Putney" synth from EMS, the synth maker of which he was a founding Director.

It’s safe to say that, out of this web of contributions to electronic sound, Tristram Cary is another of those people who charted the course for what music technology is today. From the technology to his extensive music to his work in popularizing musique concrete in England, his impact is felt even by those who don’t know his name.

Christian Haines writes to let us know of Tristram passing, evidently following a long illness.

If you don’t know his work, there’s no time like the present to discover what he’s given us.

Official Tristram Cary Site

Wikipedia article, with lots of references and an extensive composition list

Resources at the Australian Music Centre

EMS, the "Moog Music of England", lives on (apologies to our UK readers, but Americans are just discovering EMS); see also the Synthi blog

And for a little Tristram Cary listening:

Trios LP by Tristram Cary (EMS) is a trio of EMS synth plus turntables; full tracks on the Synthi blog courtesy the composer. Really brilliant sounds:

And, you know, looking at all of this I’m reminded of why things like the Dalek connection are important. For whatever reason, mysterious science fiction worlds have been the entry point for listeners around the world into the sometimes alien and frightening new timbres of electronic music. We’re all lucky enough to have grown up in a time in which we’re challenged to create music that evokes other parts of the universe, real and imaginary.

Christian sends along a complete obituary provided by the Director of the Elder Conservatorium, David Lockett:

Tristram was born in Oxford on 14th May 1925. He served in the Royal Navy from 1943-6, specialising in radar and thereby receiving training in electronics. During his war service he independently developed the idea of what was to become tape music, and began experimenting as soon as he was released from the Navy in late 1946. From 1954 he found himself able to live by score commissions, and from that time produced a large variety of concert works and scores for theatre, radio, film, TV, public exhibitions etc.

He was founder (in 1967) of the electronic music studio at the Royal College of Music, and designed and built his own electronic music facility, one of the longest established private studios in the world. The equipment from this studio was brought to Australia, and most of it was incorporated into the expanding teaching studio at the University of Adelaide. He was also a founder Director of EMS (London) Ltd, and co-designer of the VCS3 (Putney) Synthesiser and other EMS products. He called upon a wide range of resources for generating film, TV, theatre, radio or concert music, special dialogue treatments, or anything in the area of specialised sound. His wide experience as a composer included all aspects of instrumental and vocal ensemble, any facet of electronic music, or combinations of several types.

Tristram played a pivotal role within the Elder Conservatorium until 1986, when he left the University to resume self-employment. During 1988-90, he was largely occupied with writing a major book on music technology which was published in London as The Illustrated Compendium of Musical Technology in May 1992 (Faber & Faber). The American version – substituting Dictionary for Compendium – is distributed by Greenwood Press, Connecticut.

In 1995 and 96 there were performances in London and Adelaide to mark his 70th birthday, and a new suite based on his music for the Ealing film The Ladykillers won The Gramophone Award for best film music CD in 1998.

Apart from composition activity, Tristram was a respected music critic for The Australian newspaper. In recent years he held the position of Honorary Visiting Research Fellow at the University of Adelaide, in which capacity he continued his computer music research. In 2001 the University also conferred on him the degree of Doctor of Music. In 1991 he was awarded the Medal of the Order of Australia (OAM) for services to Australian music. In 1999 he received the SA Great Music Award for the year, and Symphony Australia commissioned a new work – Scenes from a Life – to mark his 75th birthday in 2000. He received the Adelaide Critics Circle 2005 Lifetime Achievement Award on December 5, 2005.

Shocklee describes his role with Public Enemy as a kind of teacher, helping Chuck D, poet, meet digital production technology. In the years since, he’s expanded that teaching role to include young people around the world, and he’s got some strong opinions about the importance of learning the craft of recording and music in general.

Fittingly, we sat down for a few moments in a classroom.

Interview: Hank Shocklee, Pt. I – On music making from cdm tv on Vimeo.

What a lot of people may not know about Hank Shocklee is that beyond being a Public Enemy veteran, he’s also been deeply involved in the music industry. Unlike so many armchair industry quarterbacks, Shocklee has worked with the major artists (from Madonna to Peter Gabriel) and had a significant stint as Senior Vice President for Universal MCA Records. That means when Shocklee criticizes the industry as musically illiterate, he speaks from the perspective of someone who’s been on both the inside and outside of the majors. (He’s now producing and scoring music independently, and drove his entrepreneurial spirit into his own Shocklee Entertainment.)

Criticizing is one thing — but Shocklee had advice for how artists can guide the direction of their own career. He talks about the limitations of the industry, how the music community can grow beyond it, and how visual media could finally become a serious domain for musicians. (We agree with that.)

Interview: Hank Shocklee, Pt. II – On music business from cdm tv on Vimeo.

Some were disappointed that the Segway was not, as promised, “an invention that will “sweep over the world and change lives, cities, and ways of thinking.’” But there’s hope, in the form of Brisbane, Australia-based electronic duo Segue’s vision for the future. Clearly, the first Segway was just a 1.0 device. What it needs is additional accessories to make it the globe-shifting device it should have been. It needs a beer fridge, Ableton Live sync, and Monome control.

Okay, backing up to the “real” Segue, Segue is the combination of Leo Hede and Dave Dri. They regularly team up with visualist Jaymis Loveday, a big force behind CDM and co-editor of Create Digital Motion. Sadly, for now, their rig is not built out of tricked-out Segways, though I’m hopeful for the future:

With two laptops, synths, MPC sampler, MIDI controllers and FX units all triggered live on stage, Segue are willing to walk the tightrope in the live arena where some contemporaries baulk at performing without a safety net. “It’s the eternal and much argued balance between risk and self indulgence” Dri says wryly, and reaction to their sets so far suggests the risk is paying off big time. Leo is more abrupt with his explanation of the extent of their stage setup, stating with a characteristic smile “this is what we enjoy, so this is how we play”.

If you’re interested in their music, here’s some additional background:

Segue’s Chemical Brothers remix featured on Palms Out Sounds [at AU dance site inthemix.com.au]
Chemical Brothers – EBW9 Segue remix [seguesound.com]
About Segue

And if you’re in Melbourne, go check out Segue + CDM’s own VJ Jaymis at Smashbang lounge on October 5 — erm, 5 October.

But I dare someone out there to do something as outlandish as the sketch above.