You’ve heard the Theremin as a sound-making instrument. But it can be a MIDI controller, as well – an extremely sensitive and expressive one. Continuing our DIY round-up, here are the details in case you’d like to try it yourself.

When we last heard from Sarah Angliss and Spacedog, we were introduced to their creepy Theremin-playing doll Clara 2.0. Now, they’re using the Theremin as an audiovisual controller, triggering audio and video samples from the 1968 film The Devil Rides Out and my personal favorite, a parakeet training record. The result is a new version of the ballad “Willow’s Song” cult classic The Wicker Man (1973). (Wikipedia understands if you don’t.) Here’s a live performance of the result:

I figured readers might want to know more about how to use the Theremin as a controller, so I asked Sarah for more details.

We’re celebrating 48 hours of DIY stuff here as we get ready for Handmade Music tomorrow night in Brooklyn! Thingamagoops are the friendly, optical emitter antennaed electronic creatures. Whether your cat / significant other / fan base would describe them as a sweet-sounding instrument, they do make a lot of noise and look cute in the process. Optical sensors onboard mean you can reposition the lights for some fun.

They were fun to begin with. But in kit form, you’ve got even more good times as you assemble them / find an odd case to put them in.

The kits come with groovy labels, eyes and mouths a la Mr. Potato-Head (well, in sticker form), and all the knobs and parts and things you need to make it work. A kit will set you back US$55. If you can’t be bothered to find an enclosure but still want to have some assembly, the enclosure-included version is US$66.

ThingamaKIT Product Page

And for an example build not by the Bleep Labs folks, MAKE shows off the build process:

ThingamaKIT build photos [MAKE: Blog]

I hope we’ll see more of this kind of kit in muso land soon.

But here’s why appropriated enclosures are enviro-friendly and fun – from Flickr, an example of an enclosure rescued from an old desktop intercom by Bleep Labs creator Dr. Bleep.

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A reminder to those in the NYC area: CDM again joins up with Etsy.com and Make Magazine for Handmade Music night, a relaxed meet-and-greet of music technologists and people who make noise with things they’ve made. Currently expected:

• Chiptune / game music stuff, including Peter Swimm’s littlepiggytracker setup, Harsid4U SID (a la Commodore 64) synth
• Wii control (I’m bringing a Balance Board)
• Gian Pablo Villamil’s DIY synths, including the brand-new Mutation Synth. (See the previous Rhythmic Synth causing all manner of havoc with Nancy Garcia at the helm, playing with Thurstom Moore at NY’s No Fun Festival. An instrument that may actually inspire fear.)
• New handmade instruments from Ranjit, maker of all kinds of wonderfulness (like robotic Theremins and ironing board instruments, in past episodes of this event)
• A new addition – Roger TSAI and team’s “Groovy Hands” gestural glove for DJing, seen in videos here!

Come join us on the Facebook event page, and drop an rsvp@etsy.com email, but the event is free:

Handmade Music @ Facebook

Gestural DJing Preview

Designer/DJ Roger has created a set of interactive gloves for DJing that I really enjoy, not least because they have a great sense of humor. He built them as part of an NYU ITP class project in collaboration with Tommy TSENG and Eric Chiu.

Groovy Hand Project Site

Here are some videos of the gestures he can produce:

Last month, I was lucky enough to head to a gathering of music and visual artists at the studio of artist Duncan Laurie in Jamestown, Rhode Island, accompanied by performances in Providence and Boston. Among the cast: Richard Devine, Josh Kay (Phoenicia/Schematic), Steve Nalepa, Todd Thille (Synesthete), Vidvox’s David Lublin, Josh Randall (Robotkid/Harmonix), Aerostatic, Brian Kane (former Emergency Broadcast Network), and Ooah (Glitch Mob).

And then there were the rocks and coconuts. Duncan Laurie and electrical engineer Gordon Salisbury have been sonifying natural signal sources, hooking up vintage radionics equipment and connecting rocks and bananas and such to signals. Richard and Josh brought along part of their formidable collection of modular equipment, and a great crackling, screaming analog racket resulted.

Fans of vintage gear, big knobs, and audiovisual mayhem will surely be jealous. (Photos above courtesy Todd Thille, Arrow.)

mind-meld.org

Flickr set 

Here’s co-organizer Todd Thille (aka Synesthete) describing the full event.

Mind Meld 2008 – Event Wrap by Todd Thille

Todd writes: The weekend of Friday the 13th marked the 3rd annual Mind Meld gathering at Duncan Laurie’s Jamestown, Rhode Island studio. An incredible assortment of audio and video artists were assembled, ostensibly to relax, but with so much talent in one place, a show or two is inevitable.

Ableton Live controllers are suddenly everywhere, in commercial products and DIY creations. But an in-progress prototype being designed by Serbia-based creator Sasa Djuric, found on the CDM Flickr pool, goes the extra distance to integrate more effectively with the software. The hardware looks more like the on-screen UI, for starters – an elusive objective for many controllers. And by working with the Mackie Control protocol, Sasa is able to make communication between hardware and software fully bi-directional, so the controller gives you essential feedback. There’s even a facility for scratching. The design is based on the popular MIDIbox platform.

Sasa writes with details of what the creation process is like. It’s all still very much in progress, so we’re really excited to see how it evolves into a finished design.

Sasa explains (with videos to follow):

Building and Using a Reaktor Grain Delay in Kore 2 from Create Digital Media on Vimeo.

Let’s cut straight to the reason we use this stuff: we want crazy-sounding delays we can play with. Reaktor guru Peter Dines shows just how you’d build such a thing in Reaktor from the ground up for CDM’s Kore site. He also takes it one step further by creating not only the Reaktor ensemble, but also a Kore performance preset to match. The advantage of going this route: Kore provides a way of organizing parameters for control, performance, and automation.

This is another all-free download, so have at it. Now I feel like I’m in a patching race with Peter, because I’ve got some ideas of my own for how you might modify this basic idea; let’s see if I can actually make that happen.

Making sense of Kore

The other side of the minisite is we’re further exploring what Kore is for and how to make it work. We asked readers of the minisite to tell us their thoughts on how Kore is going and how they use it, which has yielded an interesting comment thread:

How Do You Kore?

Our main focus, of course, is simply teaching people how to use the tool effectively – from there, you can decide whether it’s for you and how you want to use it. To that end, I’ve got the first half of a tutorial up that explains what for me was the biggest draw and the most initially confusing, which is the control pages Kore uses to assign automation and physical control. I walk through why you’d want this, how it works, and how you manage different levels of the control pages:

Demystifying Kore Control Pages for Automation and Performance, Pt. I: Different Page Types

We also have some important basics, like Kontakt automation, how to get a normal mixer view, and external MIDI control.

Coming soon: I’m planning some short features on each of NI’s instruments. We’ll have to call it the “get it out of the shrinkwrap” series, especially for people who got the overwhelming set of instruments that comes with Komplete.

Something very funny has happened in the world of music controllers. It started with the rising popularity of Ableton Live, along with the likes of Reaktor and Max/MSP, as musicians started creating more dynamic, rich live performances with computers. Supposedly, this shift should have created new controller designs. If Live was the killer app, where was the killer hardware?

Instead, what we’ve gotten is a sort of primordial soup of controller experimentation, with people hacking together circuits, appropriating Wii remotes, abusing and warping commercial controllers, and generally resisting any standardization. The results have been, in short, fabulously chaotic. And maybe that’s the point – just as, even with relatively standardized music tools, musical variety remains virtually infinite.

Of course, there’s one little problem: working from scratch might (ahem) not leave you any time to make the actual music. (Doh!) So, if there’s not a killer single piece of hardware, what might a platform for experimentation look like. MachineCollective responds to a pretty nice wish list:

• Modular components you can mix and match at will
• Agnostic components that might be picked up by people building instruments, synths, controllers, circuit-bent projects, visual apps, or even non-musical electronics projects
• Easy combination with platforms like Arduino and Wiring and software like Processing, Max, vvvv, Flash, and other programming environments
• Rapid prototyping and manufacturing
• Get stuff shipped, or use your own local tools / local fab facility
• Fully open source licensed (it’s actually not clear which license – the CC non-commercial license would presumably mean you couldn’t build one of these and sell it, which I think builders might want to do)

That sounds great. So what is it, actually? The “platform” for now is just the physical components: a top panel of acrylic, an aluminum base, and a bottom panel. You do get machined holes and connectors, though, which could help you radically speed through the stuff that’s hard to do on your own – that is, machine solid cases. And if this catches on, it’s not hard to imagine people swapping circuits and software patches and such that puts some life into that case.

Looks great on paper; we’ll have to see what the actual platform is like. But in the long run, could locally-manufactured, open platforms someday stand alongside the conventional musical hardware industry? I think it’s very possible.

Thanks to everyone who sent this my way!

machinecollective.org

The Monome is small and elegant, but there’s something to be said for traditional instrumental controllers like a keyboard. So why not combine them? David Phipps of the electronic jam band Sound Tribe Sector 9 did just that, and sends CDM this photo of the project in process. He’s off on a five week tour starting Friday, so it’ll be on hold for a bit, but even not-quite-done I had to share it. David writes:

i hope to bring ‘The Peaceblaster’ on tour in the fall. note the unashamed reference to our album available July 8th:)
i picked up a 5-octave fatar keybed and MKE electronics from doepfer via analog haven.  he carries 2-5 octave bare keybeds with simple channel/octave controls, all fatar (the highest quality italian-made keybeds you can get…and doepfer is the ONLY place you can order a
keybed from fatar without being a manufacturer). the 8 knobs and faders are the doepfer PKE, a super simple plug and play solution that could have been a midibox or arduino. add a edirol midi>usb cable, usb hub, and multi-voltage power supply and i’ve got one power plug, one usb
port, and midi out to drive hardware synths.
i’ve left room in the enclosure for a mac mini (or small form factor pc or linux box)…but that’ll be a stretch of my willpower to get it done.

I’d call it a keynome. (For the record, the product name monome rhymes with Ma Gnome, not Ma No May or ole.)

About that new album: it’s available independently through the artists. Their freebie add-ons are really interesting. The CD pre-order includes a coupon to watch a rehearsal online. But the Fan Pack is even better: aside from the CD, which includes fully-recycled packaging, it adds a 1GB STS9-designed flash drive with the digital album, video from DemocracyNow!, photos, screensavers, and the like, an autographed picture of the band, a handmade doll, a download coupon for a live show, a print with a box of crayons to color in your own design, a poster, a 7" vinyl, and other extras. US$99.99. Even if you’re not an STS9 fan, there are some good ideas for artists looking to make music purchases tangible again — especially if they have a fanbase this loyal. See their merch site for all the goods.

I especially like the crayons.

Previously:

Sound Tribe Sector 9 vs. Monome: Video, 8by16

Building a Custom Monome Controller, with STS9’s David Phipps

Create Digital Music Night at ETSY LABS from Etsy on Vimeo.

Handmade marketplace Etsy.com, DIY "mook"/blog Make, and createdigitalmusic.com again team up for another Handmade Music Night at Brooklyn’s Etsy Labs! For an idea of what it’s about (or perhaps inspiration for starting something similar in your corner of the world), see the video above.

On tap:

Chiptune gaming systems for music, strange alternative MIDI controllers and sound-mangling custom software, repurposed vintage synthesizer chips made famous by the Commodore 64, digital visuals, a musical Nintendo Wii balance board, and wireless sensing controllers…

And more.

Where/when:

7/8/08 - 7pm onward (free!)
Etsy Labs
325 Gold St., 3rd floor
Brooklyn, NY (Map)

You can rsvp to rsvp@etsy.com to give us an idea of who’s coming.

Bring your stuff!

As always, we welcome projects in various states of completion! So bring in your DIY software / hardware / circuit bending / chiptune / hacking / patching creations and share them with a friendly, relaxed crowd of fellow geeks!

If you want to give us some advance warning / do a short performance, you can fill out our summer "call for works" form (assuming you haven’t already). (See previous story and scroll down; direct Google Docs link. If you have trouble with the Google Docs form, try our contact form.)

Elsewhere:

Handmade Music Night returns! - 7/8/08 [makezine.com]

Handmade Music Night Featured on Current TV [Etsy's The Storque]

Perhaps fueled by YouTube comepetition, robotic instruments are looking more and more impressive. What I’d most like to see: a robotic battle of the bands. The latest creation comes to us from the all-robot band The Trons, based in New Zealand. They have cute names, and I bet the ‘bots are more fun to date than some, ahem, real drummers my friends have gotten involved with…

The crew:

Ham (vox and rhythm guitar), Wiggy (single string lead guitar), Swamp (drums), Fifi (keyboards, one hand working!)

Hmmm, basically true of my keyboard playing, as well. And here’s their blurb:

The Trons are a completely self playing robotic junk band! They are made mostly from old computer and mechanical parts and play original songs using an array of old amps and instruments. They now have five gigs under their belt and have just completed Hamilton’s Ignition Fringe Festival.

They even did an “interview” in NZ (speaking as a sometimes-music journalist, there are times when you might prefer to speak to robots):

MM: How did you get together and what made you want to start a band?
TT: This old photocopy card vender machine turned up and was going to the dump. And there was this pile of meccano and an old guitar. We just put three and three together.

Who are some of your inspirations? Do you look up to some of the pioneers of electronic music, such as the Juno 6 or the Commodore 64?
Definitely the ZX81. Clive Sinclair and 1K of RAM! You gotta have limitations to make good music. We can’t keep away from 3D Monster Maze too.

Hamilton, NZ’s Mammoth Live Events Guide Interviews The Trons
http://www.myspace.com/thtrons

Thanks to NZ’s Frank “flunki” for the tip!

Previous robotic musicians on CDM:
Yellow Drum Machine Robot Creator: You, Too, Can Make Your Own Robots
Robot Drum Machine Roams, Samples, Bangs On Stuff
Video: Robotic Theremins, Ready To Replace a Human Near You
Robots Can Be Friendly, Groovin’: Max-Powered Keepon and Beatbots
Robot Drummers, Compared: Like Musicians, Robots are Better When They Listen
Robot Drummer Responds to Human Playing; How They Did It