meeblip_albino

What it means that the MeeBlip synth is open source hardware

The MeeBlip synthesizer project is about to reach five years old. I feel this collaboration with engineer James Grahame has been one of the most important to me and to CDM. We haven’t talked so much about its open source side, though – and it’s time. In five years, we’ve sold thousands of synths – most of them ready-to-play. The MeeBlip isn’t a board and some bag of parts, and it isn’t a kit. You don’t need a soldering iron; after our very first batch, you don’t even need a screwdriver. The MeeBlip is an instrument you can use right …

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ipadchart

Let’s make sense of Apple’s new iPad lineup – with charts!

The iPad isn’t just a gadget any more. There’s now enough of an app ecosystem that investing in an iPad is investing in a creative platform that turns into lots of other things. That is, it really is like another computer. For music, that means a lot. An iPad is a drum machine, or a vocal processor. It’s a practice aid, a simulated guitar amp. It’s an extension of your desktop music software, too, whether controlling instruments and transport in Logic or live sets in Ableton. It’s a DJ tool. Of course, the same is true of a computer. And …

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femalepressure

female:pressure seeks crowds to change the place of women in electronic music

Ed.: We’ve seen plenty of headlines about the role of gender equality in arts and technology. But what makes female:pressure unique, as their name implies, is that the organization is working to use the power of crowds to effect real change. CDM looks to its assistant editor and editorial intern Zuzana Friday to tell us more. -PK Founded in 1998 by Electric Indigo, female:pressure is a network of artists, DJs, musicians, journalists, booking agents, and other professionals in electronic music and digital arts. In those years, the organization has served some important roles: Highlighting the inequalities that dominates the electronic …

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iPhone app for making cover songs, a sign of a changing music world

The music industry is fantastic at hindsight. We’ve obsessed over the spread of online piracy, the death of the CD, then the impact of streams. But every measure of the business model is somehow framed around acquiring records. And it’s about passive consumption. We have to remember, though, that passive consumption is itself really the outlier. Until the dawn of recording, music only existed when you played it. Our current copyright and licensing system was first structured around sheet music. And that world never went away. Precise recordings can give you the experience of listening, but no technology can give …

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What if we used stereo minijack cables for MIDI?

“It was acceptable in the 80s…” The standard MIDI DIN cable – that’s the big honkin’ connector you use on most of your MIDI gear – has become the bane of music hardware makers. The problem is, as gear has gotten smaller, the standard DIN connector hasn’t. And that’s a big problem, literally. To add a MIDI port to a device, you need to not only have enough clearance for the connector itself, but the whole around the port and the physical assembly that contains it. Speaking as a hardware maker, that takes up space you can’t even see from …

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berlin-atonal-2014-high-res-©-camille-blake-94

Returning the festival to a place for the specific and the new, at Atonal

Electronic music, even at its most adventurous, has a bit of a chicken and egg problem at the moment. Festivals feed off of other festivals. Projects are made to be as portable as possible, touring from one place to another. Venues, crowds, and even the festival programs themselves are made to be as interchangeable as possible. None of these things on its own is a bad thing; music touring as an institution has likely been around as long as musicians have owned shoes. But at some point, you need something new to happen. You need someone to do something specific …

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redpigflower

female pressure’s techno compilation is heavy, required listening

This is a compilation of female artists, but that’s not – at first – why it’s worth mentioning. I would write about this particular compilation anyway. It’s dark; it’s heavy. It’s full of names you probably don’t know but should. The compilation is out now on Bandcamp from Barcelona’s inventive and adventurous label Different is Different Records. If techno isn’t your thing, skip straight to Electric Indigo’s crackling granular universe, “109.47 b.” Susanne Kirchmyer is a master of turning granular instruments into rich ambient landscapes of sonic color and shape, and this is eight and a half minutes of that. …

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thisismyjam

The music Web is now so closed, you can’t share your favorite song

Jam Supercut from Matthew Ogle on Vimeo. Call it a jam session that has completely fallen apart. Having Web services go dark is certainly not news in this day and age. We’ve come to expect that Internet services won’t be there forever. (Google Reader, anyone?) But if you pull apart some of the backstory behind the end of a service called “This Is My Jam,” you’ll come across an unnerving reality of the way music on the Web is evolving (or devolving). This Is My Jam began life as a kind of hack – pick your one and only favorite …

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ebony

Pop, glam, death, and definitely not techno: Pop-Kultur Round-up

The problem with festivals isn’t that we’re lacking for choice. But in the fast food court of summer festivities, the offerings tend to be arrayed in hard-edged silos. Here’s the dance music one, and it’ll be a rave. Here’s the rock one, and it’s just going to be about guitars. Here’s the experimental one, and everything is likely to be a big long drone in some cavernous distorted reverb. This one is only for J.S. Bach. And so on… Pop-Kultur’s name alone implies a different frame around music. It’s experimental, but it’s also pop. It’s death metal, glam rock, pogo. …

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refaceback

Web MIDI and More Surprises You Didn’t Expect From Yamaha’s Reface

Yamaha’s Reface synth line are out now, with full details. You can dig through the site rather than have to do it here – but let’s look at what you might find surprising. It has Web MIDI, not just MIDI. Yamaha promises the line will connect to Google Chrome via Web MIDI. Now, theoretically, that’s possible in the latest Chrome builds with any MIDI keyboard, not just the Yamaha. But it suggests that Yamaha are atypically embracing bleeding edge tech (previously seen only at hackdays and such) and making it a standard feature. And there’s more: “Soundmondo is a free …

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