Tenori-On and iPad apps, hardware designs and visual creations: set against the beautifully-generative mind of Japanese/New York artist Yayoi Kusama, the flurries of dots and circles and patterns in musical interfaces take on a richer meaning. This video, from a workshop hosted at the Tate Modern alongside an exhibition of Kusama’s work, needs little introduction. Instead, the dizzying cuts of geometric abstraction, the array of visual ideas for musical interface begin to take on the same personality of her expansive creations. The galaxies produced out of the minds of musicians somehow overlap with this iconic artist. I hadn’t really made the connection before, even as a fan of her work, but with this workshop, the sympathetic vibrations – intentional or not – become clear. Description:

Sonic Kusama:
Workshop exploring connections between the work of Yayoi Kusama and creation and representation of new music & sound art through visual audio interfaces.
Presented by Simon Little and Kelvin Brown with Chase Lane.
Audio track by Capstone Music
Video production by Territory Studio

If you’re in London, Infinite Kusama is on view now at the Tate Modern.

You could almost call it Buchlafest.

Led by Manhattan electronic music hub Harvestworks, fans of modular synthesis, composition and performance with patch cords, and Don Buchla’s modular synths are set to gather in New York this summer. In the video below, they introduce not only their event plans but also provide a neat and tidy introduction to what analog synthesis – and the Buchla name, not nearly as well-known among laypeople as Moog – are all about.

The lineup is looking terrific. This event lacks any kind of corporate sponsor or big event production; it’s a labor of love for people who are passionate about modular synthesis and music. In the lineup: Morton Subotnick, Alessandro Cortini, Carlos Giffoni, Mark Verbos, Xeno & Oaklander, and Loud Objects. Subotnick will debut the premiere of a live performance, and there will be a presentation of tape music by the late Richard Lainhart, all in quad sound. There’s also an exhibition of boutique analog synth producers, the likes of which has been more of a rarity on the US’ East Coast. And if you wish to support this from afar, there’s a lovely poster and compilation record in the offering.

The event will be effectively community-produced, with an IndieGogo campaign supporting costs. (IndieGogo is a cousin to Kickstarter, but is a bit better-tailored to the needs of not-for-profits and this kind of event.)

More information:
http://www.indiegogo.com/sourceofuncertainty”>http://www.indiegogo.com/sourceofuncertainty”>http://www.indiegogo.com/sourceofuncertainty

Try http://networkawesome.com/2012-5-11 if the video above isn’t loading for you.

It’s not hard to understand the impact of the loss of Adam Yauch, aka MCA, founding Beastie Boy. With the passing of music idols comes a sense of the passage of time, all the more so when they’re barely into middle age. But MCA, to a swath of music fans, is more than a distant idol. He, and the band he helped build, somehow make a connection as everymen to those who loved their music. It’s not because they’re white kids from Brooklyn rapping, or because Yauch had a Jewish mother; that’d ignore their popularity across the broader hip-hop spectrum and far from the New York City boroughs. It’s not simply their combination of punk and hip-hop and rock, though that blend they and producer Rick Rubin brewed was clearly an essential vehicle.

Somehow, Yauch spans coming of age all the way from unapologetic immaturity to genuine manhood. Maybe it’s beause Yauch was so downright irreverant, ready to speak up, in that uniquely forward manner of New Yorkers, across that whole span. And Yauch’s own journey has unique appeal, seeming to play every possible role a musician can. From starting a band with an inflatable phallus and crank calls to ice cream shops made into raps to contemplative Buddhist advocate and activist, everyone seems to just follow along. “You’ve got to fight for your right to party,” and the fans nod in agreement. “The disrespect to women has got to be through,” and the fans nod in agreement. From raucous kid to advocate of women’s rights, against violence, for Tibetan freedom, in a New York facing down 9/11 and an America choosing between peace and war, Yauch earnestly gave voice to those people. Celebrities can try to do this, but Yauch and the Beasties could do it for fans who truly felt they were one of their own.

To understand that appeal, though, you have to go back to the most irreverant stuff, the jokes the Beasties would later apologize for. You have to see them in their rawest state, mugging for New York’s DIY public access television, making weird informercials for their music. You have to see them live, tearing it up, making the music that kept them from being just another label creation or young kids’ fantasy. People loved Adam Yauch the man because they understood the kid, because they grew up with him. And what an extraordinary path he took – what an incredible, unforgettable voice.

That’s why I’m hugely grateful to Jason Forrest of Network Awesome for teaming up with us to share some of those videos, some of the oddest and most obscure finds, dug from the archives and found via YouTube, “sampled” from the Interwebs in the way the Beasties sampled on their records. In the lineup:

• Interviews with the Beastie Boys at every stage of their career.
• The Beasties in 1994 presenting MTV’s excellent, sadly-defunct 120 Minutes.
• An extraordinary live performance in Germany on the Hello Nasty tour.
• In LA, the charming Paul’s Boutique record release party, which shows off a lot of the character of the trio.
• An early view of the band on NYC public access cable – The Scott and Gary Show.
• Faux infomercial, made obviously on the cheap, for Hello Nasty. Did MCA invent hipster fashion? You be the judge.

Live Music Show: Beastie Boys, Curated by The Sadnesses

TALK SHOW – BEASTIE BOYS

http://networkawesome.com/2012-5-11 – All the videos on one Network Awesome page

Assuming you can tear yourself away from watching the videos, we have text, too. Among the many words spilled over the past week by fans, here are a few of my favorites.

Sasha Frere-Jones, who met Yauch first in 1982 at age 15, gets straight to this personal connection in his obituary for The New Yorker:

Adam Yauch was a part of my childhood, an ambassador to America from our New York, which is now gone, as is he.

Understanding both the pre-Rubin Beasties and the improbable, million-selling phenomenon that was to come, Frere-Jones explains:

“Licensed to Ill” presented us with a can of question marks. When did they gain access to handguns? When did they start smoking angel dust? When did they start hitting girls? WHAT. (And you could just sample a Led Zeppelin record? That was O.K.?) When “Licensed to Ill” hit the world, at the end of 1986, it was like an April Fools’ joke that lasted a year. America apparently wanted to hear backward TR-808 drums and samples of Trouble Funk records. Or maybe they liked white kids rapping over loud guitars about partying. O.K.—hold on. Maybe it wasn’t a mystery. “Cooky Puss” was a joke for New York. “Licensed To Ill” was a joke for America. Or on America. It was hard to tell.

A must-read, as I think the most personal of the remembrances, while still – despite his apologies – maintaining enough journalistic distance to provide insight in a way those who knew Yauch must surely appreciate:
PEACE, ADAM [The New Yorker]

CDM reader “nonnon” Dave Madden is not an obituary you’re likely to read elsewhere, but on his personal blog I think he gets right at the heart of that connection to fans, and that feeling of being “fourteen forever.” He paints a picture of 1989:

We weren’t kids, but eighteen only makes a man in theory, especially if you’re still living with your parent(s). The point is, though License to Ill would not be understood, or appreciated, or met with anything but disgust at home or by girlfriends at the time, it was the soundtrack of that first fulltime job and year between half-grownups “taking some time off from school” and someone nudging us with “you need to sort your life out, mate”. It was otherworldly, both the music and the idea that people could stay fourteen years old forever.

I’ll Steal Your Honey Like I Stole Your Bike: MCA RIP and the Influence of Beastie Boys On My 1989

I write about gory technical details because I always find some sense of what makes musicians tick. So, accordingly, we can look back to Electronic Musician for one view of how MCA and the Beasties worked together. For a band that came out of neighborhood friends, it’s little wonder that even in their late albums, they got there by getting together in a room and recording together, all at once. MCA tells EM:

“There is something about the energy of the three of us in the room at the same time,” MCA says. “The main take for any given song will always come from that setting. You could go individually and really scrutinize and do a million punches, but, somehow, the master take always comes from the three of us together. We don’t do as many fixes as compared to how most records are made.”

Future Flashback (2004)

The New York Times takes a New York-centric view of Yauch – whose last name is pronounced, conveniently, in the way the city’s denizens once pronounced York. (Say it: “Yowk.”) Writing for that paper, Jon Pareles codifies the many dimensions of what MCA was to the Beastie Boys, and the Beastie Boys to music:

Mr. Yauch was a major factor in the Beastie Boys’ evolution from their early incarnation, as testosterone-driven pranksters, to their later years as sonic experimenters, as socially conscious rappers — championing the cause of freedom in Tibet — and as keepers of old-school hip-hop memories. The Beastie Boys became an institution — one that could have arisen only amid the artistic, social and accidental connections of New York City.

In the history of hip-hop, the Beastie Boys were both improbable and perhaps inevitable: appreciators, popularizers and extrapolators of a culture they weren’t born into.

Rapper Conquered Music World in ’80s With Beastie Boys [New York Times obituary]

But maybe the most hopeful vision comes from some of these videos, from the youngest iteration of Adam Yauch on cable TV in his home of New York. That homebrewed, DIY, straight-from-the-neighborhood spirit endured in their albums and videos through multiple decades, multiple generations. And it’s appropriate to remember Yauch as a filmmaker through that medium. It seems we still haven’t seen the act to come out of the YouTube generation, the way the Beasties ascended from public access to MTV. But maybe, somewhere, that neighborhood band is there, whether in Brooklyn or a suburb of Delhi. Maybe they’re fourteen. Through the miracle of recording and the album, we can remember Yauch as the man he became, but also as MCA, fourteen forever, and that spirit that drives musicians – endless, irreverant possibility.

In 1985, Thomas Dolby, Herbie Hancock, Howard Jones, and Stevie Wonder met onstage in Los Angeles to perform a Synthesizer Medley. (See video, bottom.) Can vocalist/electronic music legend Jamie Lidell (and keyboadist Mr. Jimmy), experimental sound guru and producer Tim Exile, champion turntablist DJ Shiftee, and “finger drummer” virtuoso Jeremy Ellis pull off something that epic, backed by visuals from Berlin’s Pfadfinderei?

That’s what music tech vendor Native Instruments is hoping, as it debuts the “superband” Mostly Robot at SÓNAR in Barcelona in June. Now, when you hear something like this backing NI’s products, you might assume the whole thing is a publicity stunt – slash – product demo, but this is an actual performance and official SÓNAR event, not something relegated to a booth or showcase or something. So, while, yes, Maschine, Reaktor, Traktor, and FM8 all figure prominently, the quality of the music will have to fall or fly on the musical performance. And the roster of artists, for their part, are closely involved with these tools, sometimes even directly in development.

The big hook, apart from the artist lineup: the performance will be fully improvisatory. There’s no clock between instruments, no grid in advance. And the artists will be using unreleased material from their own work. The visuals are part of the presentation, too, as Pfadfinderei visualize note and controller data and audio content in projected accompaniment to the show.

We still don’t know exactly what this will sound like – well, apart from knowing something about each of these artists – but I was curious to get more background. I asked the team from Native Instruments that put together the performance to explain themselves. Beyond that, of course, the proof will be in the final performance; we’ll be watching.

CDM: What is the instrumentation for each of these artists?

NI: Jamie Lidell’s main instrument is his voice, which he will use to sing the lyrics but also use to create interesting sounds. On top of this, he will use Maschine to fire off samples and synth sounds.

DJ Shiftee is a turntablist using Traktor Scratch Pro with the new F1 controller, 2 turntables and a DJ mixer.

Jeremy Ellis is using Maschine to play all drum and percussion sounds live.

Mr. Jimmy is a keyboard wizard and the harmonic lynchpin who loves FM8 but will also use a lot of the other instruments and sounds from Komplete.

Tim Exile will have his hands on the controllers which entirely control his self-made Reaktor ensemble.

The visual artists Pfadfinderei will receive note and controller events created by each individual musician on stage to generate motion graphics in real time which then will be projected on the big screens on stage.

Here’s a look at Pfadfinderei’s visual work:

Okay, so Native Instruments is now putting together a superband — how, exactly, did that come about?

We had long been wanting to do something live on stage with the artists that we work closely together with. The video Jamie Lidell did with us for iMaschine last year triggered the idea to come up with more performances in alternative environments. In parallel, Tim Exile, DJ Shiftee and Jeremy Ellis performed an improvised jam session at our 10-year anniversary of the US office in January. So it was a logical progression to bring all those talents
together plus adding the keyboard master and harmonic lynchpin Mr. Jimmy and the visual artists Pfadfinderei.

For us, Sónar is the ideal environment to host this debut show. We actually had the “Native Lab“ at Sonar festival way back in 2001 so the idea of collaborating had long been in the air. At this point it all just made sense, and getting this opportunity to work with such great, creative individuals and being able to put them on a stage at one of the world’s finest electronic music festivals was a no-brainer.

Have these artists done anything like this before?

As mentioned, three of some played together once, but apart from that, no. Of course Mr Jimmy and Jamie Lidell know each other from going on tour together.

Can we see some of the work of Pfadfinderei elsewhere?

The visual show Pfadfinderei create for the Mostly Robot show will be unique. They will be based on a completely new approach using the note and controller events of the musicians to generate motion graphics in real time using Quartz Composer. But Pfadfinderei have of course already done other great shows: on their website you can see other some examples of their work for Moderat, Modeselektor or Paul Kalkbrenner.

Some of these artists have been involved in the development of this technology, too, yes, as well as playing it?

Yes, Tim Exile actually already developed some Reaktor ensembles and even released products with Native Instruments: The Mouth and The Finger are instruments that originated from his mind. On stage he will be using his
unique Reaktor setup. Also, Shiftee is always in close contact with Traktor developers. We always work as close as we can with all of the involved artists.

More information:
www.native-instruments.com/mostlyrobot

I just hope it winds up being like this:

There are festivals, and then there’s Unsound. While so much in electronic music programming walks the line between club accessibility and more adventurous experimentation, some time falling over one side or the other of that divide, Unsound consistently hits the center of the bullseye with some of the most creative, imaginative music around. It’s just smart music. You can catch Unsound in its home city of Krakow, Poland, or you can find it as it pulls an international roster of artist to the metropolis New York City. And, at the moment, you can enjoy it from the comfort of wherever you call home, thanks to a nice stream from Hype Machine and Unsound that hops to the top of our must-listen queue for Monday.

Who’s in store? Alongside Polish animation and other goodness, expect a night of ladies whose names begin with the letter J working with experimental sounds (LA’s Julia Holter, Norway’s Jenny Hval, New York’s Julia Kent), a reimagining of Herbie Hancock by Poland’s LXMP, Germany’s wonderful Pole and the ongoing tour of Monolake’s visual-sonic masterwork, England’s Demdike Stare, New York’s own ambient imagineer Zemi17, and bass mainstays like Sepalcure and 2562. There are talks on history, explorations of music technique and particularly performance, and even a tribute to (too-often unsung) Manhattan minimal pioneer La Monte Young. (That great herald of experimental sound, The Wire Magazine is involved in discussions.) I’m probably most disappointed myself not to witness the premiere of “TRINITY,” a promising-looking, epic exploration of nuclear testing in New Mexico by Biosphere and Lustmond, bringing together two of the world’s most sonically-imaginative artists.

If you can make it to Poland or Manhattan, I certainly endorse experiencing the festival in person, but in the meantime, let’s enjoy surveying its musical treats:

http://unsound.pl/en

What if your musical instrument were gelatinous? Edible?

“Noisy Jelly” is the latest project to imagine that scenario. Thanks to the capacitive quality of gelatin (known to us Americans by the brand name JELL-O and to some simply as “jelly”), you can mix up a set of colored instruments that jiggle when you touch them. Powered by the open hardware platform Arduino to read sensors and Max/MSP to produce sound, it’s the work of a couple of Paris-based students, Raphaël and Marianne Cauvard.

Check out the terrific video featuring wide-eyed children, and specs below.

What makes this more delightful is the possibility that we’ll see orchestras of squishy, organic, edible instruments. NYC Resistor and our friend Ranjit Bhatnagar built their own instrument out of JELL-O (or fruit salad, depending on the iteration). The Gel-tone made a splash (erm, squish) as a more whimsical entry at the Guthman Musical Instrument competition, and was played and eaten at our own Handmade Lounge at Solid Sound Festival in Massachusetts last summer. Hilariously, it debuted at (and was invented for) a JELL-O mold competition. See these couple of videos (Guthman top; Solid Sound bottom) below, and find more information on that instrument:

the resistor jeltone :: an edible toy piano [openMaterials]

How to make your own: The Resistor JelTone (I dearly hope this inspires more copy-cats. Let the gelatinous musical instrument revolution continue!)

More on the Noisy Jelly project:

Note : This project is a fully working prototype made with Arduino and Max/MSP, there are absolut no sound editing in the video…
More picture at this Flickr set
And download the project PDF
Noisy jelly is a game where the player has to cook and shape his own musical material, based on coloured jelly.
With this noisy chemistry lab, the gamer will create his own jelly with water and a few grams of agar agar powder. After added different color, the mix is then pour in the molds. 10 min later, the jelly shape can then be placed on the game board,and by touching the shape, the gamer will activate different sounds.
Technically, the game board is a capacitive sensor, and the variations of the shape and their salt concentration, the distance and the strength of the finger contact are detected and transform into an audio signal.
This object aims to demonstrate that electronic can have a new aesthetic, and be envisaged as a malleable material, which has to be manipulated and experimented.
Author: Raphaël pluvinage (pluvinage.eu and twitter (twitter.com/#!/rpluvina)
& Marianne Cauvard (mariannecauvard.fr)
at L’Ensci Les ateliers (ensci.com)

If you do make your own project, we’d love to see it. Perhaps a gel-orchestra is next.

Several people showed this to me; notably at DE:BUG (Deutsch)
http://de-bug.de/musiktechnik/archives/5820.html

There was a time when the ability to record and playback music didn’t exist – such things were magical fiction no one had seen. So, the idea of playing one channel of recorded sound, then two channels, had to be invented. Artists hadn’t created something called an “album” until there were devices that played back that monophonic and stereophonic sound; even the idea that such a strange art counted as “music” had to be constructed. It’s obvious now, but it’s easy to forget that these musical forms were produced to cater to the capabilities of what was once a new device.

Now that your music device can do more than play a couple of channels of sound, will musicians find use in those features? Or are they just distractions? Can the fact that your music player knows where you are be as important as the fact that it can play audio?

We saw the work of Bluebrain, the Washington, DC-based duo of Hays Holladay & Ryan Holladay, before. They’ve been slowly building up a repertoire of locative art, starting with the Mall in DC. Their first full-length album came to Central Park, as documented beautifully in a short film that details the creation of the music and software, and various critics responding to its significance.

The most compelling image recurring in the film may be their scrawled-upon map of the city itself. It’s clear in those images that composition and place converge: the map itself becomes a score for the music, a topography of interaction through the landmark park.

One of those people interviewed in the film, briefly, is me. You’ll see some of the answers from the interviewees don’t entirely agree with others. Rather than focus on the novelty of the thing, I chose to look at their work as rooted in history. It’s not entirely clear whether the musical card game attributed to Mozart was his work, but various aleatoric and algorithmic approaches to composition pre-date even recording, let alone GPS. That to me gives a context and a continuity to these kinds of activities.

But beyond the meaning of “disruptive” technology as one person puts it, what the film conveys most is the artists’ love of where they are. They’re not making an album that’s an app, they hasten to add. They really just want you to hear this music in this particular place, moving in these particular ways. The fact that they record an organ that is part of where they grew up is added evidence.

If you’re going to South by Southwest, you can experience this application when you’re in Austin, as covered in an article on The Creators’ Project. You should do it if you’re there, especially as you otherwise can’t hear this music without going to the National Mall or New York’s Central Park.

Choose-Your-Own-Adventure App Album Debuts At SXSW

In a way, though, that seems to me the least interesting of these applications. Perhaps I’m biased in that I have a connection in my life to Manhattan and not so much to downtown Austin. But to me, the arguably-perverse requirement that you go to a place in order to hear a work seems part of the joy of these creations. Having it switch on in a place already full of iPhone-toting Web geeks deeply in love with GPS seems to take out the fun and the challenge. It comes to its audience; the other works demand an audience come to it.

What the duo succeeded in doing in New York and DC – even though these places are landmarks – is making the ever-present software somehow more ephemeral. It works in one place, and then it’s gone. Like the generative limited edition we saw last month, it undercuts the very ubiquity that seems to be digital music’s fundamental character.

And yes, greetings, New York and New Yorkers; I love where I am, but I do miss you. Unlike in software, in the real world, we can’t be more than one place at once. We have to be alive, and we have to do what we’re doing now. We are where we are, and we’re not somewhere else. If you aren’t there when someone plays, you miss it. You have to choose.

And perhaps that’s what is sometimes missing in our music and technology.

Previously:
An Album That Can Be Heard Only in One Location, in Interactive Ode to Washington, D.C.

More:
Bluebrain’s Music, locative and non-locative alike

A free app download for iOS, for use in Austin, TX

Listen in Central Park

I love reviews. One person writes on the iTunes App Store about the Central Park app, “Weirdest music we have ever heard. Creepy, eerie noise.” You can’t please everyone.

I’m also quoted in a story in The New York Times from December:
Central Park, the Soundtrack

I believe I did the interview from Amsterdam (ironically, the old one), and apparently said:

“It’s not just that they are using this as a novel delivery mechanism. It’s part of their musical process. They are forcing you to go to a place because that place for them is musically meaningful.”

The evolution of what we now call “DJing” is inseparable from the turntables and mixer. So, what happens when you enter the digital domain and you really don’t need to refer to either device? Many digital DJ controllers have simply mimicked those previous inventions, with virtual tables and a mixer-style layout. To some extent, they must, not only for familiarity but to even make it possible to perform the kind of tasks DJs expect.

Then again, the computer, endless shapeshifter that it is, can do whatever you like. And so we’re beginning to see mass-market controllers marketed at DJs – not just the laptop performer, but DJs and DJ software – that goes in new directions.

Novation Twitch is one such effort. New Yorker Abe Duque takes up the Road Test series for Dubspot. I rather enjoy the lo-fi video as he flies New York to Munich; I could almost imagine the entire video being shot that way. (There you go, CDMers: I now have no excuse not to shoot some video tests for y’all on my smartphone.) And, uh, yeah, been there. Maybe the most ringing endorsement for the Twitch is how snugly it fits into the carry-on bag. I’m pretty sure that’s one of the superb UDG Gear line carrying both his laptop and Twitch.

Getting down to the actual review, Abe Duque – whatever impatient YouTubers may say in comments – does a fine job of coherently covering all of the features fairly and in detail.

Highlights:

• The Twitch is clearly set up to integrate with Serato, though there’s also a Traktor overlay. I’ll be eager to see how it works with Ableton Live, though, as the layout would seem to apply nicely to that.
• Having faders double as effects wet/dry controls is a clever twist, and reveals the intention of the Twitch to focus a DJ performance on mucking around with individual songs and not just queuing, beat matching, and mixing.
• The highlight is probably the slicing control, which uniquely couples the touch strip with pads.

You begin to see how a Twitch performance would come together, with two-deck slicing and dicing and effects controls. Of course, that could be accomplished with other means, but the Twitch embodies a lot of what we’ve seen in the DIY scene and homebrewed controllers, assembling a layout that conceptually reflects all of this track-mangling in the hardware’s physical form. In fact, it’s hard not to think that that scene influenced the Twitch.

This kind of track manipulation was common both with the Akai MPC and Ableton Live. Curiously, the design of the Akai APC40 for Live really doesn’t make that sort of performance very easy, focusing instead on clip launching and mixing.

In practice, Twitch looks promising. It does face a lot of competition. For Serato alone, there are various controller options, and Serato loyalists can expect this and other control surfaces to cater to their needs. The big entry we know is on the horizon is Native Instruments’ upcoming controller and software – something the company has already revealed in some detail prior to its official release. In fact, it’ll be tough to judge Twitch without having seen in person whatever NI has cooked up, as it appears their offering could focus even more closely on the sample triggering / looping notion, again within a DJ paradigm (Traktor).

DIYers, many carrying the banner of “controllerist,” have been pushing DJing in this direction for some time, and back to its original roots, DJing has embraced more inventive ways of really transforming tracks and not just playing them. Now, as those ideas seep into the mainstream, we’ll see if the line between DJing in the sense of playing tracks – and live performance, more as you’d expect in the instrumental vein – continues to blur.
Dubspot Lab Report: Novation TWITCH DJ Controller – Road Test w/ Abe Duque

Oh, yeah, and for something completely different DJ controller-wise, see Dubspot’s take on the compact Allen & Heath Xone: K2.

In an explosion of color, buttons, keys, velcro, and fur, and coupled with a cyborg-chic eyepiece, the VoltAxe is controllerism gone Mad Max, a post-acocalyptic keytar bred from salvaged parts. And if you want to make a unique construction of your own, creator Julie Covello – aka New York’s DJ Shakey – is willing to tell all her secrets, as well as why this was important to her music.

In modeling (the basement hobby variety, not the skinny fashionista one), “kitbashing” is the act of combining bits of multiple kits to produce one finished whole. Some custom new controllers are following a similar route, taking the best bits of, say, a keyboard and a Novation Launchpad, and going a bit nuts. Julie’s work deserves special mention not only because it takes that technique to an extreme, but it couples it with a heads-up, hands-free video display to keep feedback from the computer visible without being a distraction.

Julie tells us all the details:

The VoltAxe controller was created as part of my artist-in-residency at the Clocktower Gallery in New York City, made possible with support from the Jerome Foundation. I named my residency “Dj Shakey’s Audio Control Adventure” and wrote a pseudo-blog on Facebook.

To me, exploring Controllerism means trying to make my performance easier, more creative, and more dynamic. I did quite a bit of general research during this project, but with the performance controller, I focused on making a system that allowed me to walk around, not look at the controller, not look at my laptop (remove the barrier between
me and the audience and / or my bandmates), and have maximum flexibility and spontaneity with the sounds I was manipulating.

I had about 5 weeks to work, and I wanted a finished product that I could perform with, so I followed up on simpler solutions and left the hardcore hacking and studying for another time. I was also planning a huge finale party with 23 music and projection artists performing in multiple rooms, so that was on my plate as well.

Here’s a description of the final controller system…
I use Ableton Live — the way I perform, I want to see the laptop screen so I can pick clips at random to suit my mood. I don’t want to memorize my set and I don’t want to stare at my laptop screen either, so the solution was creating an eyepiece that shows my laptop screen within it. To build this I got help from VJ DoctorMojo aka Mark Alan
Johnson of Mojo Video Tech, Inc.. We experimented with a number of hacks, repurposing components extracted from the viewfinders of old camcorders. These experiments yeilded a number of functional miniature low-voltage displays, however these units were all black-and-white and a color image was what I needed. Very long story short, the final solution was to buy a pair of Vuzix
personal video glasses (US$250), flip them upside down and attach ONE screen to a regular pair of glasses so that only one of my eyes is looking at the screen and the other eye is looking out into the world. What I see with both eyes open is my laptop screen floating in the air on top of what I normally see. It’s amazing how easy this is to use!

There was more to do to make this work:
1. I had to run the output of my computer to a scan converter ($100) about the size of a cigarette pack and then run a wire to the little box that manages the glasses, adapters and cables were required.

2. I had to power the glasses, so that meant making the power cable about 10 feet longer so it could be plugged in while I walked around.

3. The image in the glasses was upside-down, since the unit was mounted upside-down (to avoid my nose!), so I rotated it 180 degrees via my Mac OS preferences.

4. The cursor size was too small, so I enlarged it with the Mac’s “Universal Access” preferences.

5. The image of my laptop screen was pretty low resolution, so low that I couldnt read any of the clip names, I referred to the Universal Access preferences to determine key commands for zoom in and zoom out and then programmed
my mouse keys to do the shortcut keys for these functions. Zoom out and I can see levels and stuff; zoom in and I can read type. I also fooled around with the screen resolution so it would be as clear as possible.

Speaking of the mouse, I did more research on the mouse than anything else! I wanted to attach it to my controller, which I was planning on hanging over my shoulders like a keytar. It had to have basic mouse functions AND I wanted buttons that could be programmed to do a series of keystrokes with one touch. There were some pretty cool mice on websites for the handicapped, but they were either absurdly expensive or they didn’t have all the functionality I wanted. I ended up using the one I had on my desk, the Kensington Expert Pro Turbo Trackball. I’ve had several over the years and I love them. They don’t make them any more, so they are hard to get and costly. (US$150 – 300) Also, the trackball is not secured in the socket. I basically just duct-taped this to my controller backing, and secured the trackball (with help from Mojo) with a piece of silver solder and a rubber band so it could move freely but securely. The mouse comes with programming software and I programmed the buttons to do — whatever I wanted!

The controller backing is 3/4 foam board ($5). I need this thing to be light! It is solid and doesn’t flex at all. I attached a number of controllers to this backing, a Novation Launchpad (triggering clips, punching clips in and out), Korg nanoPAD 2 (fx, samples), Korg nanoKONTROL 2 (mixing, fx), and two Vmeters (fx). I also messed around with a Keith McMillen Softstep foot controller which I like a lot and am still incorporating into the set-up. All of these run into a “Plugable”[-brand] 10-input powered USB hub on the back of the unit. I had to add a 12-foot usb extension to reach my laptop, as well as extending the power brick cable. All these long cables were bound into a single cable sleeve running to the laptop and power strip.

In an effort to use the controllers without looking at them, I added textures to many of the keys so I could find them by touch (velcro, rubber, fur). I covered up the keys that I had no plan to use so I wouldn’t hit them by accident. I divided the Launchpad up into 4×4 quandrants with miniature wire and ductape ridges. I’m still adapting to this set-up.

After the whole thing was put together, I hung it from a strap I grabbed off a gear case I had in the room. It took some trial and error to determine where to place the ends of the straps on the controller so that it would hang properly and my hands reached all the controls comfortably. I spent some time with the prototype attaching and re-attaching items until everything was in the right place before cutting out the foam board into the final shape. At this time, everything is attached with checkered duct tape from Home Depot; soon I will upgrade this to velcro (but keep the checkers as
decoration!).

The VoltAxe was ready to test play at midnight the day before the huge event where I was going to perform! Thanks to
Moldover and Mojo, who were with me doing ongoing troubleshooting, configuring went quickly and I was able to rehearse for a few hours and pull it together just in time! At the show, everything went as planned and I couldn’t have been happier – it was
so much fun! I can’t wait to evolve this set-up! My next move is to make it mobile and take it to the subway station to do some busking.

More information:
DJ Shakey : Clocktower Artist-In-Residency [as written up by the video whiz behind the project, Mojo]

Radio interview, talking DJing, “controllerism,” producing, and complete with remixes and original music from Shakey:
DJ Culture: DJ Shakey, The Illustrated Interview

If you like the project and want to see it developed more, you can also vote for it on Artists Wanted

Here’s a track with the controller in action:
Minor schwing by FreebassBK

Thanks, Julie!

Dig into humanity’s past, and alongside the earliest tools, you’ll find some of the earliest instruments. Designing objects for expression seems to be an essential part of civilization.

Martin Kaltenbrunner, a co-designer of the Reactable tangible music interface, is also a professor in Interface Culture at the Linz University of Arts in Austria. There, in the land of Mozart and Haydn, he works with students to explore what interface design is.

So, when I got to spend some time with Martin in New York in September, I was interested in more than just the flashy coolness of the Reactable, the futuristic table-with-blocks interface for music. We got a chance to talk about instrument design generally. The funny thing about the Reactable is that it is closer to the experience of working with a modular synthesizer and oscilloscope than anything else, with the sense of physical connections of sound to object you’d get from classic synths. It is something unique, truly, but that’s its pedigree.

Martin and I got to give a talk together at the Austrian Cultural Forum New York, a terrific hub in which Austrian artists frequently are paired with New York-based folks, all in a lean, tall modern landmark building in Midtown. We also performed together, which for me was a real pleasure; Martin claims not to be a musician as such, but was good fun as an improvisation partner.

The next day, we headed to Manhattan music education center Dubspot, where Martin’s creation quickly attracted crowds of interested students and educators. Dubspot filmed our encounter for the video at top. Amusingly, the prominent synth sounds you hear at the beginning are not the Reactable, but our own MeeBlip open source synth, which I brought along to illustrate conventional tangible instrument design with switches and knobs. (If you’ve been impatiently waiting for news on the MeeBlip, believe me, I’m even more impatient – more announcements on that this week and next, following a production quality issue with a contractor that required us to reboot the run of new instruments.)

Reactable Live @ Dubspot! Interactive Sound Design Workshop Video Recap [Dubspot Blog]

YouTube commenters, that subtle and thoughtful bunch, are complaining that the tangible Reactable will set you back thousands of Euros. But at ACF and Dubspot, I was also equipped with the far more economical and portable alternative: Reactable Mobile runs on both Android and iOS. (I was pleasantly surprised to discover the app runs perfectly on a Galaxy Tab 10.1 from Samsung; I’m still a long, long way from being able to recommend buying an Android tablet, but if you’ve got one, I can certainly recommend this app.) Now, don’t get me wrong: the experience was nowhere near as fun as using the table. On the other hand, you can’t fit the table into a seat-back pocket on easyJet, and the savings in cash is proportional to the sacrifice in experience. What impresses me is that the design of the physical Reactable “flattens” so nicely onto the screen; I think it’s a user experience triumph that you can make that translation. And I was able to load up a few loops of my own music and jam along with the MeeBlip and Martin on the (real) Reactable.

Looking beyond the Reactable, Martin addressed these larger issues of tangible interface design at TEDx Vienna – a fitting locale for talking the history and future of music. His whole presentation, and a sweeping concept map of what he discussed, is available.

Martin Kaltenbrunner: Tangible Music

If you just want to get your Reactable on and can’t afford the table, see Reactable Mobile below. (Seen here on an iPad 2, but I’ve run successfully on the original iPad and the Galaxy Tab – the experience is more or less identical, thanks to portable code.)

And if you can afford the table, you rockstar, uh, can we be your friend?

http://www.reactable.com/products/mobile/
[the awesome table version]
Martin Kaltenbrunner website [with plenty of academic links]