Photo: Vello Virkhaus with Red Hot Chili Peppers in London (thanks, Vello!)

Live visuals for keyboardists? Absolutely: if you’ve got MIDI chops, slick new tools can help you tickle projected imagery while you tickle the ivories. There’s just too much to say about VJing to fit into one story, so when I wrote up an introduction to live visuals for Keyboard Magazine‘s Laptops Live special, I ran out of space fast. Here’s a quick roundup of some of the gear and tools you’ll need to pump out live visuals at your next gig.

CDM Sister Site: Incidentally, thanks to all of you who sent in thoughtful feedback about where VJ content belongs here at CDM, or on its own site. After careful consideration, I have decided to launch a new visual performance site towards the end of the year. But don’t worry: those of you who want to occasionally read VJ content will be able to follow the new site here on CDM, and thanks to a bunch of volunteer writers, I expect both sites to grow, not languish. More on that in December . . . now on with our VJ roundup.

Secrets of VJ Superstars

Talented VJ Jackie Passmore missed the cut for my Keyboard piece as it was trimmed for space; see a link to a profile of her.

Vello and Mat are real VJ superstars, appearing everywhere from Cirque du Soleil to tours with Jay-Z and Sasha and the Museum of Modern Art.

VJing in book, movie, and party form

Who says you need a lot of hardware to gig as a VJ? VJ Miixxy can pump out lots of live visuals using one lone PowerBook.

For a hardware-based approach, see Go-Go VJing with Holly Daggers, plus more on Holly at Keyboard, including tours with the likes of Fischerspooner and the Black Eyed Peas.

Learn about dance pad-VJs and a whole lot more via the folks at LAVA in Los Angeles.

Want signs VJing has gone mainstream? How about VJing with IMAX at London’s Optronica, or digging into the early history of visual music at the Smithsonian Institute.

And hey, why not remix your whole TV?

Essential VJ Hardware + Software

Edirol’s motion dive .tokyo performance package mixes terrific Mac/Windows software with a terrific controller at a low price — probably the easiest entry-level, all-in-one VJ package.

Korg’s Kaptivator hardware has terrific audio-triggering capabilities and enough storage that you can leave your computer at home; see my hands-on report.

Livid’s hardware/software combo has a sophisticated, high-end controller with an LCD display and real-wood case. I VJed alongside Livid’s Jay Smith using the new gear, and the results were fantastic.

Edirol’s V-440HD is super-expensive, but what do you want for a video mixer that lets you mix high-def feeds live? If you’ve got thousands to spend, why not add a very cool CG-8 video synthesizer, too?

Keeping up with software is a challenge, with lots of updates, like the powerful Modul8 V2, Livid Union 1.5, Resolume, Grid Pro, VDMX, and others . . .

Controller Hardware for VJing

What use are live visuals if you can’t control the output live using musical, expressive hardware? Here are a few favorites:

The super-slim Edirol PCR-M1 keyboard is actually a little too squashed for any heavy musical use, but it happens to be perfect for VJing; see Lee Sherman’s great review from a few months back.

Another must-have for VJs: M-Audio’s brilliant Trigger Finger drum pad. Buy two — one for your drums, one for your VJing.

I love my Mixman USB scratch hardware, but the manufacturer has declared third-party MIDI support “illegal”. (Read the article, then go give them a hard time about it.)

The XP10 gives you MIDI scratching capability, and has been getting rave reviews from our readers.

Alternatively, why not just connect four silver knobs?

Free Live Visual Power Tools

Apple’s Quartz Composer for Mac (included free in the developer tools starting with 10.4 Tiger) lets you do elaborate Core Image / OpenGL 3D and 2D graphics live; see my report on learning it.

If you’re geeky enough, the free Pure Data (Mac/Windows/Linux) can be fairly capable for live visuals — just prepare for a steep learning curve and custom-patching your own work. Check out my introductory resources round-up, and general music/video DIY advice. You’ll need more than just the normal Pd install: grab add-ons like PiDiP (Linux/Mac) video, pd-gem (cross-platform OpenGL and video), and framestein (Windows-only video).

There you go. Now, if anyone’s still reading, any questions?

Above right: Matt and Vello at Version Festival. Below: The Ramones try at mass hypnosis with the help of VJ Miixxy (aka Melissa Ulto).

Vidvox Featured Artists: Jackie Passmore

Below: Jackie in China with Ladytron, showing off her rig. (Thanks, Jackie!)

Dan Phillips with Korg Research & Development is one of the designers behind Korg’s ultra-premium Korg OASYS keyboard, among many other projects. In addition to getting to design electronic musical instruments for a living, Dan is an electronic singer-songwriter, writer, composer (Fox TV, As the World Turns), consultant (Santana, Emily Bazar), producer, remixer, and even amateur photographer. Dan shares with CDM how the OASYS was born, some of his favorite (non-Korg) synths and software, and how he got what for many of us would be a dream job.

PK: How did you wind up doing what you do? What’s your musical background?

DP: My parents were both scientists (PhDs in Chemistry and Physics, respectively), so it’s probably natural that I would mix my interests in music with music technology. I started writing songs way back in elementary school. I was studying drums (later, I studied piano as well), and also played keyboards a little. None of my friends had bands at that point, so I didn’t even think of that as an option; instead, I recorded onto two cassette machines, bouncing tracks between them, one by one, to build up a layered “multitrack” recording. That led naturally to a four-track (luxury!), and some early synthesizers, which (by the time I was in college) led to MIDI sequencing. So, I had a home-grown, organic introduction to synths, sequencing, and the interaction of music and gear.

I studied music at the University of California at Berkeley, and towards the very end of that started writing freelance articles for Electronic Musician. After graduation, I started cold-calling all of the music technology companies in the area; Korg R&D just happened to need someone with a combination of writing skills and MIDI/synth knowledge, and I was lucky enough to show up at exactly the right moment. Since then, I’ve been fortunate to be able to learn and grow here, in the company of an unusual concentration of highly intelligent folks.

Can you give me a brief sense of the timeline of OASYS, as it relates to important moments in Korg R&D’s history? What events led toward this design?

When I joined Korg in 1990, Steve O’Connell was already with the company, working on software-based physical modeling. His work turned into the algorithm design tool SynthKit, which we still use today. Because of the variable nature of physical models, it was already clear that the best solution for a commercial synthesizer would be based on software (running on DSPs) rather than fixed-purpose hardware (such as ASICs). At this point in time, all commercial synths used proprietary, fixed-purpose hardware, either analog or digital; this was before there were “virtual analog” DSP synths, [Digidesign] Pro Tools TDM, VST, etc. So, this was a fairly radical idea, and it turned into the OASYS project.

The first OASYS used an array of custom DSPs (since the commercial DSPs which were available at the time didn’t have all of the features we needed). We worked on it for about four years. It made some really impressive sounds, and our algorithm designers developed some really interesting techniques for physical modeling, DSP-based analog synthesis, Hammond modeling, etc. The OASYS got great responses in some preview showings, but it was turning out to be too expensive to be practical, and the project was canceled before it was completed. Later, parts of the research and technology showed up in a number of Korg products, including the Prophecy, Z1 (and Trinity/Triton MOSS), Wavedrum, ElecTribes, and the MS series.

Our group had also, fortuitously, started work on a small PCI audio card, the 1212 I/O. It was a simple thing, although it was also the first affordable multi-channel I/O. With the original OASYS keyboard canceled, we started to think about other ways of bringing the concept to reality, and using all that we had learned about DSP synthesis. So, we combined the 1212 I/O features (albeit using different hardware) with a small array of commercial DSPs, continued our work on DSP algorithm design – and that became the OASYS PCI.

As we started thinking about a follow-on product for OASYS PCI, we worked through various possible scenarios. The one that seemed like the best idea was a marriage of our software synthesis ideas and Korg’s traditional workstation concept, and that, over the next four or five years, became the new OASYS keyboard. In the course of that development, we continued to refine and expand our core algorithms, went through several year-long proof-of-concept cycles, completely re-wrote the algorithms from the ground up to take advantage of the Pentium architecture, added dynamic voice allocation between synthesis algorithms . . . many, many steps, some of them very large in and of themselves. And, that brings us to today!

I was struck by how expressive the OASYS could be as an instrument, but what do you see as making OASYS musical, or expressive? How does this figure into the design process?

One way of breaking this down is to think of three basic components:

1. The fundamental algorithm designs – oscillators, filters, envelopes, etc. Put simply, the basic sounds need to be strong, fulfilling, and pleasing to the ear.

2. The flexibility provided to the sound designers. They need to be able to make their concepts into reality, to have tools which both solve problems and open up new possibilities. This covers most of what you’ll see in the user interface: the specific programming parameters, modulation sources (LFOs, envelopes, etc.) and destinations, exotic features such as Vector and Wave Sequencing, complex control structures such as KARMA, etc.

3. The real-time control provided for the player. The architecture (both software and hardware) needs to allow sounds to respond well to real-time controllers, such as velocity, aftertouch, joysticks, ribbons, knobs, sliders, switches, etc. Moreover, the sounds need to use these features consistently. This step is critical, since it forms the bridge between the player and the instrument.

4. The sounds themselves. This is the culmination of 1-3 above; at this point, it’s a combination of careful management, ears, and talent.

With OASYS, we really sweated over all four of these basic issues. Almost all of the people who work at Korg are musicians, so we want this to be good for us to play.

For instance, the PCM and VA [Virtual Analog] oscillators, each using completely different technology, deliver very low aliasing and clear high-frequency response. Similarly, the very high update rates for the envelopes, LFOs, step sequencers, Wave Sequences, etc. mean smooth, punchy modulation, without “steppiness.” I wouldn’t underestimate the importance of this simple but elusive sonic purity; just as with other areas of audio technology (mixers, mic pres, speakers, amps, etc.), audio artifacts in synthesizers can be distracting and disturbing on multiple levels, both conscious and unconscious.

The flexibility of the system – well, let’s just say that Programs have well over a thousand parameters, and that the manual’s the size of a phone book. It would probably surprise users to find out just how much discussion we’ve had over individual parameters and parameter ranges, and how much back-and-forth there is between the engineers and the sound designers.

In terms of real-time control: OASYS uses our top-of-the-line keyboard actions, which is a good starting point. We also made sure to provide more physical controllers than Korg has ever done before, so that the player has lots of things to grab, turn, push, and tweak. The sound designers then spend a great deal of time just on this aspect of the sounds, making them respond well to the controllers, and often using the controllers to change the sound dramatically. If you just walk up to the keyboard and play some notes without trying out all of the controllers, you’ll only experience a very small part of what the sound can do.

KARMA also adds another layer of real-time control. Much of the improvements in the second-generation KARMA are aimed directly at this area, with both more control of individual parameters and improved ease-of-use via control standardization.

The sounds are the real key. At this point, we’re probably on tens of man-years for this aspect of the project alone. An enormous amount of talent and sheer nose-to-the-grindstone effort went into the OASYS Programs and Combis. Programmers come up with an initial sound, bounce it off of other programmers who comment and make edits, which are then shared and edited some more . . . it’s kind of like a big, collaborative band, all working together on the songwriting, arrangements, and mixes. It’s only at this point that we start to hear the results of everything that came before, that we really hear the instrument sing.

What (non-Korg) instruments have you found to be most compelling expressively/musically? Did any inspire the OASYS?

I really enjoy effects processors, and have a few in my home studio that certainly serve as inspiration. I love the Eventide DSP7000′s flexible algorithms and general concentration on quality over quantity, and I love the modulation routings of the tc Fireworx, along with general wackiness of its sound designers. I love the sound of Lexicon reverbs, which certainly inspired aspects of the OASYS O-Verb. I like AudioDamage‘s approach to plug-ins as easily accessible, tweakable, funky stomp-boxes. I appreciate the cleanness of Emu samplers. I also really like [Spectrasonics Founder] Eric Persing‘s work, in general; especially with his sampler libraries, his passion and attention to detail really shine.

Thanks, Dan! It’s a pleasure to gain insight into some of these things. Readers, don’t miss Dan’s personal website, which features both stunning photography and deep resources for electronic music gear from Korg’s back catalog and beyond. -PK

Related:
Korg’s OASYS Synth: How it Was Built, Why it Runs Linux, Why It’s $8,000
Korg Adds Physical Modeling, Software Upgrade to OASYS Synth

I asked readers to brag about their work, and, wow, does Cynthia Bruyns have amazing things to brag about:

She’s a DJ — check out her mixes

She’s working part-time with Apple’s Interactive Media group

She’s involved with a really cool electronic record label

She’s been busy modeling instruments in 3D

The Vibration Lab is a sophisticated 3D modeling app for the Mac that accurately models percussive sounds. (Digitally-modeled cowbell? Not so far-fetched, after all!) See the project page for audio samples. She presented the work as part of a three-member team at SIGGRAPH and recently completed her Master’s thesis on new instruments. And yes, she’s looking at commercializing the technology.

Still more information:

Lab Notes: Modeling the Sound of Music [Research from Berkeley Engineering]

Vibration Lab Models Music [Daily Californian; though see her site for corrections]

Thanks, Cynthia. Now . . . uh . . . I’ll have whatever coffee you’re having.

“For me, it’s like a music video,” says Holly. “What I do has more to do with go-go dancing than a DJ. I am the video equivalent of a go-go dancer.”

My story on NYC VJ Holly Daggers (of Eyewash fame) is now available online from Keyboard Magazine:

VJ Holly Daggers: Go-Go Music Videos Go Live [Keyboard music/picture]

Links and story background [CDM]

The key to Holly’s go-go effect is a hardware rig with a camera, Korg Entrancer sampler, and multiple Edirol mixers — no computer. (Check out the rig diagram.) So when the folks at Livid talk about expensive hardware rigs, this is what they mean. On the other hand, a computer can neither replace a camera, nor sample video fast enough for what Holly’s doing, so it’s more of a matter of choosing the right tool for the job (or the tool you can afford) than which is better.

Anyway, enjoy the story, and watch for more VJ coverage; there’s a wide range of aesthetics and appproaches out there.

Now that this time I actually did my homework, more on Fabienne Serriere, the talented sound hacker who’s given us the two-part tutorial on custom MIDI control and Csound (see previous post.)

From whatthehack.org:

“multichannel audio specialist and futurist fabienne serriere (aka fbz) is a franco-american software, hardware and embedded interaction designer. she believes in a gorgeous technologically morphable future. her interests include hardware hacking, wearable computing, and large scale music system design. she currently resides in paris, france.”

And she’s got a fantastic backlog of projects:

Audio torrent of speech on pervasive multichannel; see also speech description
Projects page including hacked wireless speaker (pictured), circuit-bent / custom “dj mixer” for audio clips
Sharing keyboard and mouse cross-platform (not music-related, but something I was just about to work on).

Yet another addition to CDM’s all-star audio hall of fame. Fabienne, if you’re still there, feel free to expand. And I promise never to confuse Fabienne and Fabian again. Good grief . . .

MacMusic.org has a great interview with “rollerskating” Thereminist Pamelia Kurstin. Hear Pamelia’s insights on how she’s become a Theremin virtuoso. And if you can make it to North Carolina in August, you won’t want to miss Ether Music 2005, where she’ll be playing with other greats of Theremin music from around the world. I’m not sure if I’ll be able to make the trip as I wrap up work on my book, but I’ll at least catch up with Pamelia here in NYC; she has a residency for the month of August in Brooklyn — more at her site.

Not familiar with the world of Theremin divas out there? Check out our diva roundup.

Thanks to everyone who’s writing in about VJ Day. It’s funny, conventional wisdom is that musicians don’t care about VJing, but here among the hip technorati of CDM, of course, things are different. And with VJing moving out of the “psychedelia” area into a range of aesthetics and styles, I expect you’ll hear more soon. Our friend James Polanco of the superb Fake Science Lab Report podcast writes in to tell us about some rising VJ superstars:

Mat Hale is a very close friend of mine that I have worked with on multiple events here in San Francisco when I was djing out all the time. Mat has also worked with his friend Vello on a ton of projects down in LA (and internationally). Sting’s tour, Jay-Z, etc. Vello is one of the founders of OVT out of Chicago that handled Rabbit in the Moons shows, all kinds of rave’s in the 90s and MOMA’s yearly event. Vello and Mat also did vid and installation work for Cirque Du Soleil & Zumanity Orchestra and Club Ice in Las Vegas. Vello is doing a ton of touring right now (just got off being Sasha’s VJ) and Mat is doing some local gigs around LA. Both are amazing, amazing producers that are creating next level content.

Indeed, for a great overview of what VJing is all about, check out Apple.com’s writeup of Vello. Thanks, James — other lurking VJs or Friends of VJs, give us a holler!

While we’re on the subject, it’s worth noting that a wide range of exquisitely talented women have taken up the Theremin as a serious instrument, continuing the legacy of Clara Rockmore and the instrument’s inventor, Leon Theremin:

The Classical great: Lydia Kavina has led the charge, tutoring students in mastering the instrument using techniques developed by herself, Rockmore, and Theremin. She even has an instructional video and regularly gives master classes and lessons. Kavina is a major globe-trotter, from Barcelona to Singapore just in the next few months, is a noted composer, and has performed with the likes of the London Symphony, BBC Orchestra, and Russian National Orchestra. Count `em: over 800 performances have made her the leading lady of the instrument.

The One on Roller Skates: Of course, classical seriousness aside, an occasional gimmick never hurt any instrument. (Sadly, the skydiving pianist isn’t with us to enjoy this one.) Pamelia Kurstina is the “rollerskating” Thereminist. She even throws in haircuts with her Theremin lessons. The New York resident is a regular at Tonic, but has also played a space few of us can say we’ve gigged in: the Rose Planetarium. Oh, and please don’t ask her if she has a boyfriend; she apparently gets that a lot.

The Performance Artist: Miss Hypnotique is both Thereminist and performance artist, as well as laptop musician. She’s produced radio documentaries, played caberet and avant-garde projects like Radio Science Orchestra, and lots of other stuff, too. See her interview with Synthtopia.com.

The Child Prodigy: Carolina Eyck started concertizing on Theremin at the age of eight; now just sixteen, she’s playing with groups like the HMH symphony orchestra Berlin.

Of course, I could go on. There’s everyone from Intissar, the “naked Thereminist” (see the description of how Theremin talk quickly sounds like sexual innuendo), and more virtuosas like Barbara Buchholz. And, oh yeah, many male players, too. The range is clearly from oddball to Classical masters/mistresses. And the ranks are growing. So, can anyone do the same with laptop computers? It took the Theremin decades to get any recognition and it’s still fighting — maybe it’s just a matter of time.

[Updated] Tom at Music Thing wisely points us to Alice Malloy’s Theremin bra. Hey, some readers over there complained, but I say you can build Theremins into whatever you want. (Thanks, Tom; forgot about that one!)

I’m obviously getting too much sleep. Are you? Quantazelle (aka Liz McLean Knight of Chicago), designer and creator of MIDI jewelry as mentioned yesterday, must not be. She’s: