foxtrott

Starting music is the theme of a Novation product launch next week

Novation are promising something new on the 1st of October. Let’s just say whatever [redacted] may be, we’ll cover [redacted] when the time is right. But what I find interesting is the way they’re introducing the message. Just as Ableton did with Push, the message is about “starting something” – about getting past that initial creative impulse. I think we’re seeing a shift in the way we talk about music technology in general. The old way of selling was to make the process as mysterious as possible. Serious professionals would tell you how they had the killer tool that you …

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animooghands

New Animoog for iPad Fixes Everything; Hear it Go Indian, Do Improv

Forget for a moment whether it says Moog or not. Maybe it could say “Rogue” or “Brogue” or “Kylie Minogue.” Animoog would still be one of the handful of software instruments that really make the iPad feel like a proper synth. And yes, it is also beautifully polyphonic, expressive, features an interface that could only work on iPad, and sounds amazing. There’s been just one problem: amidst an avalanche of Apple OS updates, that synth wasn’t always working reliably. And the love from the developer (yes, the famous one that rhymes with “Vogue”) didn’t seem to match the love from …

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automate

This Is What Happens When Vintage Robot Voices Make an Album

We hope that music will always have tribes of people keeping esoteric traditions alive – your Renaissance musical ensemble, your Slovenian folk instrumentalists. It just happens that electronic technologies have attracted their own followings, cultivating knowledge of Texas Instruments chips found in specific arcade games the way some people might maintain a balalaika. Chip singers have never gotten the kind of attention synthesizers have. But if Moog – and the synth itself – can look to Keith Emerson’s “Lucky Man,” fans of robotic sung vocals will always have Humanoid. The seminal acid track “Stakker Humanoid” was the work of artists …

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Staying Mobile, Imperfect; Music and Talk from Robert Lippok, To Rococo Rot

It’s festival season, a time for pre-packaged artists, album-perfect live sets, pristine digital worlds that sometimes literally come from the folks at Google. And there’s nothing wrong with that. But maybe now is a good time to look to the other avenue – to keeping things rough and loud, flawed, live in the sense that has mistakes. Robert Lippok, the always-busy, long-working Berlin-based artist, can celebrate both that messiness and obsessive control. As a soloist, he’s been a staple on Raster Noton; he’s also known for being one third of To Rococo Rot. 2014 is bringing new things from both …

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Singing Circuits: Who Needs Synths When a No-Input Mixer Sounds This Gorgeous?

Hypnotic and chant-like, this Christian Carrière composition hums and vibrates with what sounds like a chorus of electronic synthesizers. But that’s not what you’re hearing. It’s actually all a “no-input mixer” – a rig that makes use of controlled feedback rather than any other source of sound. It is, as Montreal-based composer Christian describes it, the sound of the circuits inside the mixer singing. And while you may associate feedback with angry distortion, here it’s beautifully tranquil, the rich tones of the circuitry themselves transformed into oscillators. The patterns and layers are all made with a looper. 35-minute mix:

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Behind the Veil: Reznor’s How To Destroy Angels Makes Poetry in Light

Amidst a forest of illuminated tubing, the band How to Destroy Angels (with Trent Reznor, Atticus Ross, Mariqueen Maandig, and visualist/art director Rob Sheridan) take to the stage in an abstract digital structure. The stage image is transcendent, a rectangular prism of shifting digital visuals and projected effects. Perhaps it’s best to run this by the specs: 16 ft. tall (nearly 5m) curtain of surgical tubing Front projection: standard projector Back image: LED (another 16 feet / 5m worth) Livid Instruments CNTRL:R MIDI controller – two of them, in fact, Livid confirms Additional control from an iPad mini running Liine’s …

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Behind the Veil: Reznor's How To Destroy Angels Makes Poetry in Light

Amidst a forest of illuminated tubing, the band How to Destroy Angels (with Trent Reznor, Atticus Ross, Mariqueen Maandig, and visualist/art director Rob Sheridan) take to the stage in an abstract digital structure. The stage image is transcendent, a rectangular prism of shifting digital visuals and projected effects. Perhaps it’s best to run this by the specs: 16 ft. tall (nearly 5m) curtain of surgical tubing Front projection: standard projector Back image: LED (another 16 feet / 5m worth) Livid Instruments CNTRL:R MIDI controller – two of them, in fact, Livid confirms Additional control from an iPad mini running Liine’s …

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Phantom's Hanna Toivonen, live. Mask by Jenni Ahtiainen/ gTie. Photo: Kiki Ylimutka — at Flow Festival 2012.

Singing Serenades with Laptops: Intimate Sessions with Solar Year, Phantom [Video]

NFOP SESSIONS #13: Phantom – Albuquerque from Tonje Thilesen on Vimeo. Far from being an icy presence in front of an unmoving operator, the laptop has quietly become second nature. As tools mature and musicians gain comfort, music software can at last become another instrument. So, let’s get comfy and close with some musicians who are finding intimate, personal expressions with impromptu human-and-laptop ensembles. Our friends at No Fear of Pop – a top-notch, pretension-free chronicle of new music – have in the past year been doing live portraits of artists in their NFOP Sessions series. This is the feeling …

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Chroma + Gris-Gris: Sequence Live with Anything, Then Let the Synth Run Wild [Reaktor]

Chroma and Gris-Gris are a beautiful pairing, a performance-savvy sequencer and a “monster” monosynth. If the release of the OSC implementation we dreamed of in Reaktor wasn’t enough to make you dust off NI’s modular flagship, this will surely do the trick. It’s the work of Montreal-based Reaktor guru Peter Dines, veteran CDM contributor and one of our favorite patchers anywhere, on any platform, for his eminently-practical, sonically-lovely creations. And just as the Chrome sequencer goes nicely with the Gris-Gris synth, the whole thing comes alive with Reaktor’s new OSC implementation, letting you perform sequences – alone or in public …

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FRACT, 3D Adventure Game Played with Synths and Sequencers: Myst Meets Music Making

FRACT is a curious combination of music studio and puzzle game, merging elements of games like Myst with the sorts of synths and pattern editors you’d expect somewhere like Ableton Live. You have to make sounds and melodies to solve puzzles; by the end of the game, say the creators, you’re even producing original music. The work of a small student team out of Montreal, FRACT looks like it has all the makings of an underground indie hit – at least for music nerds. As the creators describe it: FRACT is a first person adventure game for Windows & Mac …

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