Why DIY, anyway? As we prepare for a special Handmade Music afternoon hosted by Amsterdam’s STEIM research center, my co-curator Takuro Mizuta Lippit (dj sniff) asked me to answer that question. Here’s what I wrote for STEIM’s international Patterns and Pleasure festival.

“Do it yourself.”

In the world reshaped by recording, in which music is ubiqiutously available on demand and even bare-bones DJing qualifies as “live” entertainment, the act of just making music surely qualifies as “DIY.” Add the fact that distribution, promotion, and booking of music often falls increasingly on the artists themselves, and it’s hard to see any part of music that isn’t DIY.

So, given all that, what would drive artists to make or modify their own musical tools? One might as well ask why make music in the first place. (Because you can? Because it’s fun? Because it’s the most satisfying way to realize an idea or feeling – often the two together?) I believe some of the separation between “music” and “tools” or “gear” or “technology” is arbitrary. That independence is itself a recording-centric notion, in which musical content as artifact is imagined as independent from how it was made. During the process of production or performance, they’re inseparable. The evolution of musical practice, meanwhile, is intertwined with the technology of playing and representing music. Musical instruments in archaeological records appear alongside the first human tools. Those instruments, like the musical materials themselves, are vessels for expression of human thought. We can make our body an instrument, via percussion or voice, but as with so many other elements of our human life, we extend that body through invention.

When you play an instrument, whether a flute or an interactive music software patch, what you express is mediated both through musical language and the tool. I know as a child, it was what first drew me to music: I could press my fingers to the keys and hear something very much other than what I could produce myself. It’s easy to see the connection to the synthesizer and the computer.

When you want to realize (or discover) new musical and sonic ideas, then, it’s necessary to become involved with the way in which those sounds are produced. As composers for acoustic instruments and voice, you dive into the realms of harmony and rhythm, but also the mechanisms of the instruments and standard and extended techniques. Working with the computer, you employ interfaces – whether simulated knobs or code or graphical representation – to realize your ideas. With electronics, wires and resistors and diodes become compositional. With both, the container you fashion, the handcrafted cases or user interfaces, becomes part of the musical identity you design.

There is no such thing as an instrument built from scratch. To quote Isaac Newton (in words adapted by countless electrical engineers and computer scientists), “if I have seen further, it is by standing on the shoulders of giants.” We inherit a great body of knowledge and tooling. Whether a commercial DAW or a modular development environment or the circuit that makes a filter, we connect with the ideas, imagination, and expertise of generations of engineer-artists. Notably, we lost Max Mathews this year, whose lasting legacy, even more than breakthroughs in computer synthesis, may be his influence on decades of students and colleagues in chasing the limitless potential he saw in digital sound. Thought is the greatest technology there is.

I think we can easily become overly worried about the rise of digital tech. Computers and electronics are here, and for all their dangers – misuse and toxic waste being foremost among them – they are fundamentally a compilation of human ideas. If you like people, you’ll like computers and circuits when you get to know them. We can also become overly concerned with “new”; the great implication of the maturity of electronic sound technology to me is that we can begin to go from novelty to repeatability and expertise. That’s not to discount discovery; it’s simply that discovery can’t exist in a void. At the same time, in our appetite for mastery, we can devalue the novice. I’m excited by seeing projects that don’t quite work yet, that are only at the stage of technical demo or proof of concept, because to me it’s seeing the first steps on a path that could lead a musician into years of practice and refinement. It’s seeing the chicken popping out of the egg. Potential is stimulating when you believe it has a future.

Here, designing one’s own instruments is much like learning to play an instrument. You repeat the ideas of others, just as you repeat the sounds of others when you learn a musical scale. You make sounds that, at first, are, well, awful, but that then grow up. Whether arguably innovative or not, you make discoveries that are inherently personal. And the degree of that progression is dependent in large part on learning from others, playing with them and sharing their experience. As people share that experience, in the end there are breakthroughs to the genuinely new. Collective progress is what allows those individual eurekas.

With economies from Amsterdam to New Amsterdam slowing, with growing unfilled demand for the ability to actually make stuff and not just push abstract numbers around, and with technical problems that demand solutions literally to ensure our survival, all those strange noises we make take on a new meaning. Tools and technology enabled our civilization; now we need them to make humanity sustainable. Silly sounds and musicians’ racket and din may seem distant from that. But we can sing this necessity as a song. We can celebrate the spirit of experimentation by making things that make immediate noise. A bridge or a jet plane isn’t a great place for experimentation or on-the-job learning; music is the perfect playground because errors are always okay. If any community could help encourage free innovation in our culture, music is a strong candidate; today’s young synth builder could be tomorrow photo-voltaic breakthrough. And even if not, we’ll make a wonderful noise.

“Open source” and the “Web” are significant tools to make sharing expertise easier, but at the fundamental level, it’s simply “sharing” that matters. And this is where music’s makers and inventors are helping resurrect the principles of music as community. We have to share ideas and sounds to be able to move forward.

We do it ourselves, together.

“This sounds crazy. I want to see this. I think I may have to see this to understand what you mean. But I want to see this.”

David Dodson, journalist, writer, and electronic musician (“Primus Luta” and, most recently at our Handmade Music series, Concrete Sound System), has just told me he wants to cover New York’s Unsound Festival, the Polish-based electronic and “advanced” music festival.

Only he wants to cover it … fictionally.

There’s a love story. There’s drama. There a bits of review, interwoven with a story. In place of the usual omniscient narrator that we find in music journalism, delivering pronouncements about the State of Music from on high and dissecting the programming, we hear reflections on the work the way you do when you’re actually there – snippets of commentary from friends outside the venue, internal monologue in your head. But these thoughts come out of the heads of made-up protagonists, who then rub shoulders with the real characters spotted at the event. (Warning: if you were at Unsound, you might make a cameo.)

It’s trippy, disorienting, frequently comical, and for me, at least, leaves me half-guiltily aching for more.

It’s worth reading all the excerpts in order in the blog format in which we’re able to present them, but a few examples to whet your appetite (or, if I’m lucky, give you some idea what the heck I’m talking about):

There are drops of sweat on her lashes when Gisella finally opens her eyes. She looks at Lil’ Man who is smiling like a man who knows he’s done good. She smiles back licking the presperation off her upper lip only slightly suggestive. Lil’ Man notices but turns to give an nod to Chancha for keeping her there with him on the dance floor. Only two other ladies, who probably arrived with Chancha, could keep up with the cumbia influenced rhythms. It didn’t keep others from moving to the beat, but even with her eyes closed, Gisella knew they had been the center of attention.
“Let’s go get some air,” she says into his ear before leading him through the crowd.
As they walk down the corridor where people are still waiting to get in, Lilo comes behind them from the back room.
“Oh my god,” she says. ”I don’t know who’s on now, but whoever was doing the last set in the back room just made my night.” There are more people outside waiting to get in and small groups gathered in nicotine circles. ”You missed him playing Madonna.”
“No way,” Gisella replies as they walk toward the curb where she recognizes Praveen and Sougwen.
“But did you see Dave Q voguing behind his laptop?” Praveen asks over hearing Lilo’s enthusiasm. The guy standing next to him responds by striking a pose.
“Do you know Dave?” Sougwen asks Gisella.
“Only by reputation,” Lilo says extending her hand.

…or…

“While I don’t feel cheated,” Lilo says between sips of wine, “I do feel like I missed something. I mean it was Morton Subotnick, the Buchla was there, and he performed Silver Apples on the Moon, but something was missing.”
“He didn’t patch live,” Lil Man says.
“Yes, that is it isn’t it?” Lilo thinks about it taking a sip. ”It’s funny how laptops throw everything off.”
“You couldn’t really see what he was doing,” Gisella chimes in. ”You could see it all working but you couldn’t see the work.”
“He had a controller near the laptop,” Lil Man notes. ”He was doing something with that.”
“Yeah,” Lilo says after another sip. ”I mean you have to think, why wouldn’t he use a laptop? Can you imagine how hard it must have been to create Silver Apples back in the sixties, let alone perform it. Even now with the technology we have it’s an amazing achievement.”
“Most def,” Lil Man affirms.
“But I do wish he had pulled at least one patch cable,” Lilo adds before finishing the glass.
“Most def.”

…or…

The sound of an ambulance trails off behind her. Suddenly a female voice moves in only to be accompanied by at least ten different iterations of the same voice. They are all being manipulated diferently and floating around the space. Gisella closes her eyes and could see the voices sweeping, like ghosts in a haunted house. It was clearly the Pamela Z piece, but the description didn’t really do the effect of it justice. The title and even the description made it sound out of place. What did “The Star Spangled Banner” have to do with horror? But listening to Pamela Z’s deconstruction and recomposition of voice in the surround space, at this point Gisella recognizes, Pamela is the first artist to truly create a scene from a horror movie. So why was she thinking about sex?

Author David Dodson explains the project:

I’ve been thinking of moving back into fiction writing for a few years now, but fiction that deals with real historical places and events. A few years back I wrote a novella entitled “The Moshi” which placed characters in the middle of New York during the black out of 2003. When working with fictional characters it’s always interesting to think about how they respond to ‘real life’ situations.

For “Above the Threshold” I wanted to really embrace that. Rather
than create a world in which the characters can do whatever I saw fit, I decided to create the characters and place them in our world to see what they’d do. I started out with a very simple premise – a female lead working in the music industry attends the 2011 Unsound festival. I then attended the festival myself and ‘observed’ how my characters acted within the settings that the festival presented.

During the course of the festival I penned over 50k words of this
storyline, and in essence watched the plot unfold. It will be some
time before the full piece is ready to go to print, but I’m offering
up some excerpts from it on the CDM partner Noisepages site. These excerpts may or may not end up in the final draft, but will give some glimpses of the characters, the festival and how the two came together.

I only wish fictional characters could inhabit all the events we attend. I suppose, in fact, they could.

The full work, emerging in blog form:

Above the Threshold

Ed. Seattle’s Decibel Festival is, as one commenter put it, a convergence of music straight out of many of our music collections. Musician, producer, and journalist Primus Luta (David Dobson) is on the scene to bring us a vicarious experience of the sights and sounds. He brings us impressions, reflections, and videos, too. Here’s the first day; coverage of the remaining festival is to come. -PK

Seattle locals will tell you, August and September are the sweet months, and walking around Capitol Hill where people are full of smiles in short sleeves with their legs exposed, you get the sense that there is merit to the claim.  The festival base of operations, Pravda Studios in the heart of Capital Hill, is a large event space with strong multi-media support.  In the lobby a four monitor wall display offers a live slide-show of pictures being taken during the Festival.  Festival sponsor, Microsoft, have the second studio equipped with multiple machines for attendees to get the latest information.  It is cut off by a room divider separating it from studio one, where the conference portion of the festival takes place.

Decibel founder is quick to note that the festival is not just about the performances, but also has an educational aspect facilitated through the Decibel Conference.  The first day of the conference focuses on technology and techniques.  In the first session Kris Moon gives an in-depth workshop on Serato Scratch Live, touching on techniques for adding MIDI controllers into the live turntable set-up with Serato.  Ghostly International artist Lusine takes to the podium next to talk about organizing Ableton Live for performance.  Where both of these sessions focused on specific platforms for live performance, in the last session Ean Golden talks controllers, specifically the MIDI Fighter platform which uses modular video game style interfaces to build custom controllers.

Ean Golden at Decibel Festival 2010 from Primus Luta on Vimeo.

Following the workshops the divider between studios is pulled back, expanding the space for the Opening Gala event where Kris and Ean share live set spots with Derek Mazzone and Introcut.  As the double sized room starts filling in one begins to get the sense that indeed they are in an electronic music festival, though not necessarily the standard fair.  The contemplative face was just as present as the gyrating waist, and often from the same individual.  Each person in attendance acting as a microcosm of the festival’s vision.

Chatter around the room is all anticipation as participants plot out their weekend by the artists they want to be sure to catch.  A common theme amongst all is that the weekend will include a few hard choices, as overlapping events make it virtually impossible to catch all the artists on ones list.  A seven year volunteer for takes as much pride in the growth of the festival as Decibel founder Sean Horton.  They both agree that the growth is good, but more importantly it has happened without sacrifice of the original intent to be an event which spotlights electronic artists who might otherwise be under the radar.

As the sun sets some festival goers file out of Pravda Studios and into the line across the street at Neumos where Ghostly International has a showcase lined up to christen this years festival.  Mux Mool starts things off in the right direction with his breed of heavy hitting, modular hip-hop beats.  Rocking a streamlined Ableton Live set-up with only the pad control under his fingers, he launches into his Tobacco remix to begin.  Each track lures the audience deeper into the nights experience as heads nod and hands wave approval.  The energetic give and take between Mux Mool and the crowd is accentuated the few times he takes to the mic to make sure they are ready for the nights journey – they are.

Mux Mool at Decibel Festival 2010 from Primus Luta on Vimeo.

London’s Gold Panda takes the stage next as a name most in the crowd know, but few know exactly what to expect.  Once the effect heavy live intro kicks into “You” from his Ghostly EP though, they are all in his hands. Video from the performance in an upcoming CDM interview, available in the next few days. -Ed.  Lusine takes the stage next with the obvious hometeam advantage.  If there were any question as to why he was teaching the afternoon Ableton session, it becomes obvious once he takes the stage.  His presence is calm and collected with little animation other than the smile on his face and slight head nod.  He is a master of his craft, who makes getting the dance floor steady rocking seem effortless.

Lusine at Decibel Festival 2010 from Primus Luta on Vimeo.

The headliner for the night, Pantha Du Prince takes the stage in a black hooded overcoat with a scarf partially covering his face.  He has a presence that demands attention and as he starts working controllers, contact mics and foot pedals into his own breed of noise music, the audience is sucked into a hypnotic trance.  Through the shadows you can catch glimpses of his eyes, and then as the scarf is pulled down, his slightly opened mouth as he intently continues to build the tension.  As percussive sounds slowly build into a beat that ramps up, as if queued by post-hypnotic suggestion, the energy in the room boils over.

Pantha du Prince at Decibel 2010 from Primus Luta on Vimeo.

As people exit the venue there is a sense of arrival.  Each an everyone has made a journey to be here, and the sonic baptism which the Ghostly crew laid upon them fully immersed everyone of them into the experience that is Decibel.  Some would find there way to after-hours events, others just to a bed to rest up.  It is only Wednesday after all, and if this day stands as a means to measure there will be plenty in the days to come for which sleep will not be an option.

Summer has ended, but that leaves time to look back. Among the many parties around the world, Electric Zoo was New York’s biggest electronic festival, with headliners from Moby to Flying Lotus, descending on a dusty, sunny Randall’s Island just east of the island Manhattan.

At top, I took my new Diana mini (lo-fi film camera) out for a spin amongst the music lovers, who gravitated moth-like to the camera. Never let it be said that Americans don’t like electronic music; families and a new, young generation of ravers flooded into the park. Since Moby’s set was off-limits for photography, it seemed to me only appropriate to go hang out with the music fans. And it’s good to remember that, whatever your musical genre, there’s someone whom you can make happy with your work. (Having spent the same weekend on a rooftop and in a barn with monome practitioners and lovers, yes, there’s a place for everything.) Feel free to page through the sets, especially if it’s a rainy, cloudy day.

When you face a crowd of eager fans, the desire to deliver real performance becomes all the greater. In an age of pre-configured DJ sets, it’s a chance to have the same enthusiasm as those in the audience, and yes, to actually sweat a bit. As a study in what’s possible with computer performance, I took in live, non-DJ sets by Jon Hopkins and The Glitch Mob.

Both artists use touch in their performance. The interaction with the music is reasonably limited, but that means the effect is easy to read. As it happens, we’ve profiled the setups of each of these acts before. For Jon Hopkins, multiple KAOSS Pads facilitate quick access to dramatic effects. Ableton Live is just the sound-source; the outboard gear handles both touch control and signal processing. For The Glitch Mob, Lemur multi-touch displays, tilted toward the audience, control parameters in Ableton Live.

More details:
Behind the scenes of The Glitch Mob’s Lemur setup

Jon Hopkins tells CDM about his studio, live rigs and playing the KAOSS Pad

I have to notice that the KAOSS Pads fare a bit better than the Lemurs in regards to tactile access to what you’re doing. The Glitch Mob had to make its touch areas on the Lemur fairly large just to find them; because they’re all on an undifferentiated screen, you have to find the right location by feel. But for both acts, creating big gestures is important, partly so that it reads to the audience, I imagine, but also so that it’s the kinds of gestures that feels good as a player and are easily reproduced. And even with a touchscreen, it’s possible to begin to tap into muscle memory, as was clear as The Glitch Mob used their consistent control layout in their set.

Touch alone, in each case, is augmented by tactile controls. The Korgs have physical encoders and controls, and Hopkins uses MIDI input and computer control for tactile control over sets. The Glitch Mob use Akai drum pad controllers, as well. And fun as the touchscreens are, they can’t compete with good, old-fashioned drumming: the highlight of The Glitch Mob’s new set is when they break out drumsticks and explode into lines worthy of a drum corps. (The Glitch Mob need to meet Caity at Georgia Tech.) You can tell the guys are just having a great time doing it. We talk about all the ways computer performance can become more like instruments, but, of course, there’s no reason not to simply use the traditional instruments we love alongside computers.

There’s still a sense of a divide between the virtual and the physical, the digital interface and the kinetic gesture, and maybe that’s natural. Rather than try to entirely reconcile the two, they can sit side by side – just like my digital Olympus and analog Diana.

I could say more, but I think in this case, the pictures tell the story, a little microcosm of the many musical events of this summer.

Flying Lotus

There’s something to be said for the good, old-fashioned MIDI controlled and laptop combo. FlyLo makes an Akai MPD32 his axe of choice – and it makes it look damned good. Photos courtesy the festival.

The Gear

The Fans

All of this would be meaningless if fans only responded to DJ sets. On the contrary; live sets in electronic sound live and connect in a way that’s special.

All photos (CC-BY-SA) Peter Kirn, unless otherwise noted.

“Moogfest,” more than just a showcase around a brand, is an event that invokes one of sound’s greatest pioneers, Robert Moog. For a lot of artists, that’s a pretty high bar to meet. The massive Moogfest brewing for October 29-31 in Asheville, North Carolina appears to be attracting sound-loving artists with abandon – with the new organizational muscle of Bonnaroo producers AC Entertainment presumably partly to thank.

This week, the festival announced the addition of Hot Chip, Pretty Lights, Girl Talk, Panda Bear, Dan Deacon, Four Tet, RJD2, EL-P, Dam-Funk, School of Seven Bells, Matmos, and Emeralds. It’s looking like a pretty nice way to celebrate Halloween.

Moogfest wasn’t always this way. I covered one of the New York events for Keyboard, sadly the night that news broke that Dr. Moog was unable to attend due to health. Some of the artists were great, but some of the experimental spirit you’d expect at a Moogfest was missing, and being stuck in Times Square felt horribly wrong. This massive festival in Asheville could well become one of the events of the year.

In fact, I see no reason not to be hopeful about new sonic events around the US and North America. Moogfest can’t possibly cover the gamut of their own user base in a weekend, let alone all that’s happening now in electronic sound. Whatever your neck of the woods in the world, we’re interested to hear from you.

Here’s the finished lineup:

Friday, October 29
MGMT
Big Boi
Girl Talk
Panda Bear
RJD2
El-P
Nortec Collective Presents: Bostich & Fussible
Saturn Never Sleeps (Featuring King Britt & Rucyl)
The Octopus Project
Kuroma

Saturday, October 30
Massive Attack
Thievery Corporation
Jonsi
Caribou
Four Tet
Matmos
Dâm-Funk
School of Seven Bells
Jon Hopkins
Emeralds
Mountain Man

Sunday, October 31
Pretty Lights
Hot Chip
Dan Deacon
Mimosa
Two Fresh
DJ Spooky

http://moogfest.com

Touch performance control on devices like the iPhone and iPad has become increasingly popular, but the question remains: can developers push these interfaces further? Richie Hawtin has initiated a new touch control project and promises more “advanced” control of Ableton Live for iPhone, iPod touch, and iPad users.

Details remain murky – developers Liine say they’ll tease out features over the coming weeks. But the system, when fully revealed, will be modular, with a set of touch objects and gestures across a set of apps that provide touch control. The first application is Ableton Live-specific, and provides a new mechanism for controlling Live’s grid of clips. The developers say Griid makes it easier to find clips and see information about them, even when navigating large sets of clips. (You know who you are, those of you with enormous Live sets with a zillion colored clips.)

Different editions will scale to different screen sizes, with Griid Pro for iPad, and Griid for iPhone/iPod touch, plus a Lite version for free.

What all of this means or whether it lives up to these claims is, well, a complete unknown outside of the Plastikman stage. That is, unless you happen to be in Barcelona at SONAR this weekend. Tomorrow, Saturday, Richie will be demonstrating the app in person. Liine tells us:

“At the hands-on Richie will show how he uses the app in his Plastikman Live show. There will also be another laptop or two set up and hooked up with Griid so that they can give it a try themselves.”

If you can make it and want to report back to the rest of us, I’d love to hear it. And I expect to bring more info to CDM soon, if not. But it certainly works for Richie; check out the video below of him using the tool at Detroit’s Movement festival, for his new Plastikman Live show. (And yes, this is bringing back Plastikman and more of the live performance, rather than simply DJ, the side of Richie a lot of us love best.)

http://liine.net/griid/
http://liine.net/

If you’re at SONAR, check out http://ghost.m-nus.com/ (and if you’re not, that site has live streams and audio – warning, audio auto-plays!)

The video cuts fast, but in these still images, you can get a better view of the software and Richie’s setup, including the JazzMutant Lemur touch hardware and Behringer BCF-2000 motorized hardware faders alongside the iPad:

Enough of all this nonsense about how the Western Empire is crumbling. In our new “world” in which Mumbai is as powerful a cultural compass as Berlin or New York, one thing is guaranteed: it’s going to be a great party.

One stalwart Western-based advocate of a more pluralist electronica scene are the folks at Indian Electronica. Pumping out regular live events, podcasts, radio streams, and festivals, the crew is keeping music south Asian-flavored and eclectic. They’re truly inclusive: previous festivals spotlighted the likes of DJ Spooky, artists who are not connected to India by birth but love the music. It’s “Indian” in a loose sense, covering the thread of musical influence instead of just the geography.

The good news is, the excellent Indian Electronica Festival is returning with dates in New York, Toronto, and Vancouver. (Sadly, Mumbai didn’t make the list this time, but North America gets a good dose of great music.) They’re looking for artists to sign up, too, and possibly even other sessions.

http://www.indianelectronica.com/
http://www.indianelectronica.com/festival

Part of why I still like the term “electronica” is that the history of electronic music is by its very nature trans-cultural, eclectic, and global. Those are buzzwords, I know, but in this case I think they’re backed up by actual reality – by music spreading instantly across thousands of miles to the other side of the planet. It’s odd to me that people malign Berlin’s scene and history for being somehow restrictively bound in Germanness. It was Berlin’s pioneers who were smart enough to bring over artists from North and South America, from Detroit and Sao Paolo, and to arrange cultural intersections that changed the course of music.

But anyway – back to the music. The video quality is poor, but here’s the kind of highlight of their previous festivals, from Mumbai in 2007. Tablatronic Violence is the duo of Amsterdam-based tabla player Heiko Dijker and Sharat Srivastava, Hindustani musician who plays both strictly classical music and rock, as well as teaching Indian Violin in Glasgow. It doesn’t get much more international than this.

Friend of the Site Gustavo Bravetti is back, getting the young Brazilian boys and girls on their feet with his virtual reality glove and Wiimotes and gesturally-controlled electronica. Gustavo sends us this video from the 2009 Tribaltech SC Edition in Campinas. Having seen a lot of DJs take the easy way out at festivals in front of throngs of people, it’s great to see someone really play his laptop – and while some of us, ahem, look goofy waving Wiimotes around, Gustavo makes it look good.

Gustavo also gives us the scoop on a new track release, orange. It’s inspired by … wait, Henry Purcell? (Indeed; see also: Wendy Carlos.)

I did produce this track specially for the Tribaltech 2009 SC edition, it was inspired on the classic piece by the baroque composer Henry Purcell (century XVIII), “The Funeral Of Queen Mary”. As usual all synthesizers and fx was made using only Ableton stuff, this time Operator, Analog, and Tension was used to create all synths and effects.

Gustavo also gets a rather eloquent review by our friend David Cross.

The incredibly simple melody of the short ‘Bocuma’ becomes a lump-in-the-throat meditation on man’s place in the universe through subtle pitch shifts and just the right mist of reverb. The slow fade-in on ‘An Eagle in Your Mind’ is the lonesome sound of a gentle wind brushing the surface of Mars moments after the last rocket back to Earth has lifted off.” Why not listen to, Only the Proletariat Floss’s by Screaming at the Mirror. With a truncated syncopation and approach that rivals only Tosh Guarrez pre “FartFlap”, “S.A.T.M” has taken steps to dismantle what was previously only dared mantled by the great Gilda Thrush when she fronted “Cycle Clause”. It’s as if Genghis Kahn got together for breakfast with Oliver Wendell Holmes and Virginia Wolfe and ordered just a bowl of homemade granola and then skipped out on the check. RATING: 11.-111 -David Cross

Previous Gustavo action on CDM:
Live + FM8 = Drum Kit Love: Free FM8 Drum Kit Download
Weekend Inspiration: Ableton Live Follow Actions, Dummy Clips, Making Snares
Gustavo Bravetti Show Us How To Glitch out Ableton Live
Interview: Gustavo Bravetti, Playing Music with Light and Interactive Gloves

Minitek is a massive “electronic music + innovation festival” coming to New York this weekend. If you’re anywhere in the area, I definitely recommend finding a way to get out here. And if you’re far away, stay tuned, as we’re planning some epic coverage here on CDM. The events are split between Midtown Manhattan and the eccentric shores of Coney Island (above).

The music lineup includes some big names — think Richie Hawtin, Magda, M.A.N.D.Y., Audiofly, Audion (big highlight for me), Adultnapper, Heidi, Guy Gerber, and the like, with Francois K closing out the evening. But for those of you whose tastes tend in the more experimental, there’s quite a bit of that, too.

Under the “innovation” category, we’ll see works like James Patten on the tangible Audiopad interface, Norman Fairbanks jamming on the Tenori-On, Audiocube players, and more. There’s also a big lineup of generative visuals for the nights; we’re covering that on our sister site Create Digital Motion. You’ll also be able to chat up record labels and play with the tech during the day in the village on Coney Island.

Minitek Festival Site; ticket info (you will want to get a pass if you can!)

Set times are finally up, though that includes only the main acts, not the innovation. (I know some of the, ahem, “innovators” so when they find out themselves when they’re playing, I’ll pass it on!)

Details are constantly coming in, so you can watch the blog or mailing list on the site. And yes, Astroland just closed, but Coney Island’s other rides are up, in case you want to hop on the Cyclone between sets. (Artists playing, if anyone wants a CDM interview on one of the rides, I’m game. I think it’s be fun to do an interview mixed with screams on the coaster.)

Tangible Roots

One of the projects I’m most excited about is Roots, a new music/visual interactive installation for the Brick interface. Co-creators Jordan Hochenbaum and Owen Vallis took home a Tenori-On the last time they ran into CDM (video of that after the jump); this time they team up with London-based designer Memo Akten for some beautiful generative visuals. (They’re also behind the Arduino-based Monome clone we saw a couple of weeks ago.) Here’s a short teaser video; we’ll have more on this after the weekend.

Roots Multi Touch Tangible Installation Teaser from BricK Table on Vimeo.

And that’s just a taste of one of the innovation day projects, every single one of which have gotten a mention (or three) somewhere in the pages of CDM in the past (really)!
Here’s Jordan and Owen in the heart-stopping finish to CDM’s Futuristic Design Challenge, in the moments that won them the Tenori-On prize we gave up.

Brick Table @ Yuri’s Night Bay Area 2008 Lightning Round from BricK Table on Vimeo.

A light glows from a crowded tent. Bodies move in unison as a DJ’s head bounces up and down with the beat. And you hear – nothing?

Such is the Silent Disco, most recently staged at Tennessee’s Bonnaroo 2008 Music Festival, as seen on CDM’s events.noisepages.com. See Jason’s blog post, photos, and look at the whole festival in photos.

The trick was to provide wireless headphones, thus making a dance party for the iPod age. The result is certainly surreal, as you can see in video (watch about halfway in).

But I think the event doesn’t go far enough. How about a truly silent disco – no headphones, no sound whatsoever. Naturally, there should still be a DJ. (What are those guys really doing, anyway?) Dancers would have to synchronize on their own beat, a la the creepy hypnotic power of the “IT” in A Wrinkle in Time. (Google it.) Of course, this would be even more fantastic if you could do it at a festival, get a whole bunch of people in on the joke, and then confuse the hell out of everyone else.

Any takers? (Or maybe it’s been done before?)

Photo: Jason O’Grady.