To really work with music software as an instrument, you have to focus on a set of tools and get deep into what they can do. Today, we’re launching the first of a limited series of minisites that lets us do that. It’s called Kore @CDM, devoted to NI’s Kore and Komplete lines. We’ve built a special blog which will feature regular tips on how to work with this set of tools, basic and advanced tutorials, and downloadable content, all free and open. (The contents of the site will be Creative Commons-licensed, so you’re free to share and modify what we do, with credit to the authors.)

Kore Minisite @CDM, http://kore.noisepages.com

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Why choose this product now?  I’ve felt really strongly, even having been critical of Kore’s first release, that Kore 2 has the potential to live up to its promise of creating a "meta-instrument" for working with sound and effects. Combined with the rest of the Komplete family, including Reaktor’s open-ended patching environment and the scriptable sampler Kontakt, NI has some deep tools — not perfect, not for everyone, but tools that matter to us. We want to really get into how to use them, and to develop a set of techniques and tools for others, both for sound design and live performance, in combination with hosts like Ableton Live. And this means not just doing stuff "by the book," but really seeing how far we can push these tools, sonically and in playability.

Kicking things off is Eoin Rossney, who talks about how to create feedback loops intentionally in Kore for special effects. It’s something mentioned in the manual, but there haven’t been instructions on how to accomplish it until now. Eoin takes that challenge on, and produces some really oddball sounds just by routing effects into themselves. Have a listen to the samples — just be sure to turn your speakers’ volume down first.

How to Route Feedback Loops in Kore - On Purpose [Kore @CDM]

Peter Dines, a Reaktor whiz and author of the Reaktor Tips blog, will also be writing and screencasting for us soon. Both Eoin and Peter have been CDM regulars, so it’s great to have them onboard.

Why we’re partnering with NI: So that we can provide as much content as we can for free, we’ve gotten sponsorship from Native Instruments to produce the site. But that doesn’t mean we want to make an "advertorial." NI has been generous enough to give us full control over the contents, and the goal isn’t a review, or an ad — it’s as much actual knowledge of these tools as we can provide. And, hey, it’s basically our job to demonstrate that by doing as good a job as we can and listening to your feedback. I’m happy to answer questions about why we’re doing things this way and what it means; we can talk in comments or contact the site.

Most of all, though, I hope you’ll check out the site. If you don’t own Kore or the other tools, we’ll still have sound and video samples and will include instructions for trying out projects in the demo, if you just want to kick the tires a bit. And definitely let us know what you think as we roll out more stories, because we want this to be as useful to you as possible.

Oh, yeah, and if you’re wondering about what the "noisepages.com" thing is about, you’ll be hearing more soon. Suffice to say the Kore site isn’t all we’re working on.

Bonus points to anyone else who had the "opportunity" to see the movie Deep Kore Core.

Digital turntablism is nothing new. But Ammobox, debuted at the first-ever CDM Futuristic Music Design Challenge, is unique in a number of ways. What creator Nathan Ramella has done differently:

1. He’s demystified digital vinyl timecode. With no previous DSP programming experience, Nathan created his own custom tool for reading vinyl timecode — and explains how he did it.

2. He’s changed the rules of scratching — it’s now polyphonic scratching. As Nathan puts it, "You get a polyphonic sampler that can layer multiple samples at the same time and scratch them all simultaneously." Yep: no more does digital vinyl simply replicate what records do normally. Here, it actually works as a digital instrument, manipulating layers of samples as you go. Check it out running in Ableton Live as a demo at top, though other hosts could work, as well, if you prefer.

3. He’s giving everything away. You’ll need some vinyl, and because the sonic wonders are all built in Reaktor, you’ll need a copy of NI’s modular mad science lab. But the ensemble itself is released under the GPL v2, which could make it a great way to learn more of the mysteries of Reaktor.

Official Ammobox Page

Download the library, free [ Direct Link ], or head to the rabbit hole that is NI’s User Library

Clarification: I should add that part of what makes Ammobox cool is actually that Nathan’s doing the timecode decoding the "wrong" way. Normally, a timecode system like Ms. Pinky or Traktor Scratch reads speed, direction, and absolute position. Position is the hard part, and the part that’s dependent on sophisticated error correction. What’s clever here is not that AmmoBox is likely to replace those systems (that’s not the point), but that by breaking the rules of how you’re supposed to do digital vinyl, Nathan’s created something different and expressive.

Nathan describes the system in greater detail:

We’ve heard from DJ Chinkial — and via several of you — that he’s working on a way of turning Korg’s KP3 KAOSS Pad into a step sequencer, by way of Reaktor. Each step lights up, causing him and others to use the phrase “Monome-like.” Monome as an adjective? Congrats to the Monome designers for that! The KP3 is a cool device on its own, so it looks fascinating to me.

Just be prepared to try to read chinkial’s massive run-on sentence describing the project. He writes:

just thought id let youse know im making a reaktor ensemble at the moment to utilize the korg kp3s 8×8 grid as a seq its going pretty well managed to get the kp3 to trigger the steps on an 8×8 event table and ouput them im also getting visual feed back from the kp3 aswell so u can make beats and not look at the screen just like the monome this is just a test to c if it could b done as i plan on porting it to a vst plugin in sythedit somehow that was my initial idea as not everybody uses reaktor that has a kp3 u know so let me know what youse think about my project

More power to you, man — I think you’ve learned to speak better to the Reaktor than to us, but keep on rocking the KP3. The project looks really cool, from what I can see through blurry cameraphone footage. Anyone in the UK who wants to go shoot this with a real camera, let us know!

It’s like a spy video. And 69 views, plus two tips from CDMers, which means basically you guys see everything before the rest of the universe, even if it’s barely capable of being seen.

chinkial also wins bonus points for plastering his MySpace page with marijuana leaves, being the first and only person to create a stoner mystique for Reaktor. (As opposed to, you know, basement club in Berlin and Red Bull or, maybe more like a lineup of espressos and cigarettes.)

The project looks great, though, so you can bet we’ll stay tuned to the chinkial YouTube channel.

From ribbons to multi-touch, musicians are looking for expressive controllers, ones that allow continuous control for performance.

Oh, yeah, and it’s like totally super-cool on the original Star Trek when people run their hands over the Transporter controls and the blinky lights move. I mean, like still super-cool, even in 2008. (Hint: try to look completely chilled out like Spock when you do it.)

So, one of the things I noticed when the Monome was first introduced was, excellent as that open controller is, you’ve got buttons and no continuous controls. Ever wished another nice square box could sit next to it and give you multiple touch controllers? Good news: Stribe is here.

The Stribe is an 8-channel multi-touch controller for music or video software. 1024 individually-addressable LEDs provide animated visual feedback.

The low-resolution (16 x 64) LED display is controlled in real time by either firmware or host software, or both. MIDI or OSC communication to compatible hardware and software is achieved via patches written in Max/MSP.
Touchstrips down the center of each channel trigger events in the software and the firmware, which drive the display, creating a haptic feedback loop. Each of these eight “channels” has two 64-led-tall columns, e.g. a left and a right.

The Stribe can act as a touch controlled meter bridge, or as an interactive, animated16 x 64 led display. Oriented horizontally, the Stribe can more intuitively interface with step-sequencer type applications, or allow direct manipulation of granular synthesis sampling, or allow the user to perform “scratch” like gestures

or…?

Take the modular, patchable sound-making capabilities of Reaktor and (at the other end of the scale) Reason, and combine it with a graphical, zoomable, nodal interface with patch cords showing actual signal, as on the reacTable interactive table interface, and you should get something like Mod271. (Pronounced “mode.”)

The software is in pre-pre-alpha phase, but it’s freely downloadable for Windows users if you’re adventurous, and the developer promises more progress and other operating systems soon.

Features:

• ASIO/MIDI support, VSTi version coming
  
• Everything is full audio-rate, meaning you can mix and match MIDI and DSP
  
• Powerful nodes: “every node can be automated with unlimited control points and automation takes place right in the 3D environment.” … “nodes can influence any amount of other nodes or switched into a singular state.”, with radial and linear modes for the nodes
  
• Interface is 3D hardware-accelerated, and the signals even (optionally) draw at audio rate for realistic previews
  
• sample-accurate envelopes and motion, “meaning you can make an oscillator out of an envelope.”
  
• 25 node types and growing
  
• Make your own nodes with Python

Crazy stuff! It’ll be interesting to see how this one develops. And I hope the Reaktor developers are paying close attention; there’s a lot here that could inspire a future Reaktor version.

Full description, lots of background, and that bleeding-edge super-pre-alpha-at-your-own-risk:

Mod271 @NuDSP

Thanks to Ronnie of rekkerd.org for the tip!

In the New York area (or within Amtrak distance)? Mark your calendars for August 23. We’re teaming up again with Make Magazine and homemade marketplace/community Etsy to host the second evening of handmade musical creations at Etsy Labs in Brooklyn. This means software and hardware, sensors and controllers and game systems, custom Max, Pd, and Reaktor patches and DIY noisemaking toys — whatever you’re passionate about making.

That means I’d also like to invite you to share your work. Got a project — even an unfinished one — you’d like to come play with and share? Let us know here. If you’re not sure what makes sense to bring or how to set it up, drop me a line and I may be able to help.

If you just want to come and snack and drink and mingle, that’s great, too. We had a big, fun, mixed crowd last time and I expect we will again! Part of the reason we keep it informal is so people can meet, greet, and learn.

Be sure to RSVP to Etsy Labs: Just email rsvp@etsy.com, and include a quick note on any project you’re bringing. And so the CDMers know you’re coming, say hi here, too.

CDM events around the world are still something we’re thinking about. If you’re interested in making this happen, let me know. New Yorkers can’t have all the fun.

Time: 8:00 pm
Place: Etsy Labs in downtown Brooklyn (325 Gold Street, 6th floor: directions)

Handmade Music Night Thursday August 23 [Etsy Labs blog]

Previous Event, in Pictures and Videos:

Etsy Video: Handmade Music Geekfest, MIDI Slime, Shock Gloves, GP Tracker
Oddities and Contraptions, as Handmade Music Invades Brooklyn @ Etsy Labs

Using old controllers in new ways, using new controllers in old ways … when playing live, having some controller gear is a must. Gustavo Bravetti sends video of himself playing Ableton Live using various novel controllers, live from Colombia. (That’s Colombia, not Columbia.)

Yes, you can wow crowds playing with laptops — especially when you perform synth lines with drumsticks. (Pity some of us are worse drummers than keyboardists; this solution would definitely not work for me!)

As it happens, Gustavo’s email hits the night of a MIDI controller “brain dump” at the Warper Party here in New York City. That’s tonight, Monday, at 7pm. It’s basically just an informal hang, but we can hopefully demonstrate the cooling effect of thinking about MIDI on this blazingly hot day. The event has something extra to recommend it: namely, me wearing some kind of absurdly silly hat involving a circuit board. I’m not even sure what this means yet, but I’ll be sure there are pictures so we can embarrass me internationally and not just locally.

Alternative controllers aren’t the only way to go. There’s also taking the controllers you have now, and attaching more of them, then programming them into a monster, eight-keyboard rig of M-Audio Oxygen8s so that partygoers can try their hands controlling Ableton Live. That’s what my co-host tonight at Warper, Matt Moldover, does with his Octamasher. Here’s a video from Austin, Texas. It shows anyone can get their hands dirty playing with Live.

Moldover

Make no mistake: when it becomes part of the soul of music making, software gets under your skin and into your blood. So while Josh Mobley has his Reason tattoo, Jo Ardalan writes us to let us know she’s got Reaktor permanently embedded on her wrist.

Lest you think Jo’s some random fan, she’s not: she’s a veteran of Reaktor’s creator, Native Instruments, and Waxploitation, an experienced sound designer/editor/engineer, and founded the software developer - A&R - business development/consulting - community FixedNoise.com. In other words, a Reaktor tattoo really does mean to Jo what a Harvey-Davidson logo or “Mom” might mean to someone else. Check out her MySpace page for more. (I actually was already familiar with some of Jo’s terrific sound designs for software; she’s done some great work.)

And as you can see in the photo below, she really does sport the Reaktor love while playing — and she’s also an Ableton user, presumably making another power user of the Live/Reaktor combo. (Hmm — meaning there’s also a candidate for her right wrist?)

Jo’s not alone in wrist-branding land. In case you haven’t been watching the CDM Flickr Pool, happiness is the Monome, Korg kontrolPAD, and Atari:

So, we’ve got Reason and Reaktor. And Atari. (Technically, they’re a music maker — think Atari ST. Or chiptune, for that matter.) Any suggestions on the ultimate Ableton or Max/MSP tattoo, which would seem to follow next? (Let’s see, Max/MSP — loadbang? Or actually a whole patch? Ouch.)

Native Instruments today made a statement on compatibility and performance under Windows Vista for their full product line. They’ve been doing what sounds like some fairly extensive testing, so these answers should be interesting even in regards to products you use from other vendors.

Native Instruments: Windows Vista Compatibility statement

They have to weigh their words; I don’t. So here’s the executive summary:

The wireless, Bluetooth-based Wii controller is fast becoming the music control hardware of choice. The latest addition: Yann Seznec’s Wii Loop Machine, a free, Wii-controller looper for Macs. The software is built in Max/MSP using my current favorite way to interface with the Wii controllers, the free aka.wiiremote external for Max. Load in any samples you want, boot up any Mac with Bluetooth, grab your Wii controller, and you can sync, control, manipulate, and muck with loops.

Wii Loop Machine

Here’s Yan in action:

Thanks to adcbicycle, who finds this over on the em411 community where Yann has been able to get some feedback.

Nifty ideas here, and as always, you can use tools like Max to come up with something entirely different. Game developers themselves seem undecided how to use the wealth of sensors on the Wii hardware — tilt and acceleration on multiple axes on two connected pieces of hardware (nunchuck and remote), plus lots of buttons = nearly unlimited possibilities. So, at this point, I’ll repeat my plea. I love these experiments, but I’d also like to see more interactive instruments and not just more looper/DJ tools. I’m not surprised; building an expressive instrument (just like building game depth) is a bigger challenge. But the payoff should be greater variety.

Speaking of alternative applications of the Wii controller, Jaymis has been experimenting with the Wiimote and the Windows-based VJ app Resolume. Sure enough, he’s come across some great resources (and hopefully will share his own approach soon):

Wii Midi Control in Resolume with glovePIE: Full Instructions, Pictures and Settings Files

Lots of additional Wii goodness has been coming our way; here are still more resources (especially if you’re on the Mac and have felt left out by all the focus on the excellent but Windows-only gaming interface GlovePIE):