Imagine a nightmarish, dark-world, alternative-reality version of Wii Music, one that sends Miyomato-san screaming. That’s what you get from tokoloten, in a very un-Nintendo noise performance, as found on comments. The Wii is just one of his tools:

tokoloten uses a variety of objects such as magnet motors, infrared devices, game controllers… in order to hide his lack of conventional technic. Depending on the venue, the show might be ambient-like, experimental or electronica with weird cinematographic references. But it most often combines all of this.
tokoloten is based in Lausanne, Switzerland.

It’s proof that the controller – any controller – is in the hands of the creator, and what it sounds like is entirely undetermined.

Mapping a hardware input to a sound means making an abstract connection between one physical action and another sonic reaction. What that relationship is is entirely up to you. I was honestly a bit surprised by some of the impassioned critical reactions to yesterday’s brief mention of the use of the Wiimote as a studio recording. Of course, that proves the creed of the blogger – post first, ask questions later, and when in doubt, just post. Amidst some of the frustration, there are some good discussions, though I do dream of an Internet on which we criticize content without name-calling.

But the reality remains: controllers are always abstracted from the sound, by definition, and whether they’re satisfying to you depends on how you’ve mapped them. I don’t know what qualifies as innovative, but then, there have been times when I’ve very much enjoyed turning a knob, so “innovation” isn’t always what matters to me. I tend to fall back on Duke Ellington – “if it sounds good, it is good.” For controllers, that means “if it feels good, it is good.” You’re the one with the controller in your hands.

For an alternative example, musician/artist Kassen has an excellent session on improvising with custom software and game controllers. Below, you can catch some of his talk from Amsterdam’s famed STEIM research center, which has a long history of researching the controller-music connection. After all these years asking that question, what we have is …more questions. But that’s a beautiful thing.

Kassen (DJ, performer, ChucK programmer) from STEIM Amsterdam on Vimeo.

Welcome to the alt-DAW scene. Last week, not only did Renoise continue its rebirth of the forgotten “tracker” genre of music making software with ReWire support, but we saw a big new version of REAPER, the beloved lightweight audio production tool from the original creator of Winamp.

What makes an “alt DAW”, or “indie” production software? To me, it’s:

• small development teams of a few people
• tightly-integrated communities directly involved in feature requests
• trusting users instead of adding significant DRM, returning to the traditional “shareware” business model of old
• affordable pricing

That’s not to take away from some of the bigger players – I was struck this week with the (unsurprising) ubiquity of Ableton Live at MUTEK; it’s a real testament to what they have accomplished. But choice is essential, and looking at the history of music technology, it’s in the periods of real choice that the most interesting things have happened. It makes everything better when developers really have to compete.

Cockos REAPER has spread almost virally as an underground DAW, partly because you can download the thing and get started with without any restrictions, then buy it for as little as US$60 for personal use.

http://www.reaper.fm/index.php

It’s not just for Windows people any more, either – the Mac version is now officially supported. You can run on Windows 7 or Windows 2000 or even 98 (with limited support). You can run on 10.4 Macs, or even PowerPC (though Intel is recommended). You can even run on Linux with official WINE support, though I’d still like to see a native Linux version, especially as Linux on netbooks is getting so lovely.

Version 3.0 came out this week. There are a huge number of improvements: