Amanda Ervin makes elegant noise-making apparatuses from simple circuits, and is able to share that process with her students (see her classes among 3rd Ward’s Circuits lineup). She’s going to show off some of her latest creations at the open showcase of Handmade Music Brooklyn, our monthly party + science fair + musical performance + ruckus. (More details soon on Handmade Music events that are springing up worldwide, thanks to the hard work and creativity of the DIY music community!)

What really impresses me about these projects is that Amanda has made both the project and the curriculum – that is, she can teach you to make these, too! It’s often easier to make something for yourself alone than it is to make it reproducible, so I do admire that in a design.

If you’re in the New York area, you can catch the event free, Thursday evening September 17. (Directions) If not, we’re working with 3rd Ward on ways to translate the educational experience online.

Here’s a musical excerpt from Amanda, as well:
Animal.mp3

Handmade Music info: More on Amanda’s work (with additional sounds and videos) on our Handmade Music site:

Handmade Music Brooklyn: Amanda Ervin’s Circuits, Open Call

Want to contribute your work? If you can make it to NYC this month, we’d love to present your work. All projects, all media (electronic, acoustic, hardware, software), and all levels of functionality (working, partially working, in-progress, completely broken) are welcome!

Handmade Music 9/17 Call for Works [Google Docs form, also embedded after the jump]

Voltage from Bam Studio on Vimeo.

Oh, sure, it’s all fun and games until your modular robots have a little too much fun and your rig erupts into a fireball.

But then, modular synthesis fans – you understand, nonetheless.

William Paiva sends us his work as one of the animators and writes:

Hi everybody. I’m a reader of both Create Digital Music and Create Digital Motion, and I’ve just uploaded to Vimeo and to YouTube a short animation film about robots and synths. I think you might like it. Reards.

And you have crazy, crazy dreams, man. Brilliant work. Here’s the team:

Directed by:
Filippe Lyra e William Paiva

Produced by:
Barros Melo Animation Studio

Director of photography:
Filippe Lyra e William Paiva

Animation:
Filippe Lyra
William Paiva
Marcio Vieira
Felipe Soares
Leo D.
Tony Farias

Design:
Filippe Lyra
Marcio Vieira
Felipe Soares
William Paiva
Natalia Franca

Illustration:
Filippe Lyra
Marcio Vieira
Felipe Soares
William Paiva
Natalia Franca

Editor(s):
William Paiva
Leo D.
Filippe Lyra

Sound:
William Paiva e Leo D

Music:
William Paiva e Leo D

Just like modular synthesizers, people connect with each other in order to achieve diverse objectives. In Voltage, robots, half-human and half-synthesizer, powered by a huge amount of energy, connect to each other in an electric and chaotic trance.

Be sure to check out William’s blog. [in Portuguese, which may get named as 2009's Language of Awesomeness on CDM.]

Electronics and code and whatnot are great fun, but a lot of people want to know, how can they add actual, physical motion to a project? I’ve rounded up the last few odds and ends from the London Music Hackday organized in the offices of The Guardian, and came across Alistair MacDonald and Mr. Duck’s Percussion Machine, which uses Arduino with servos to strike beer bottles.

Here’s the perspective of the non-techie on the affair from the newspaper’s music blog:
Beats and geeks at Music Hack Day

Of course, I’ve heard from at least a couple of people that for this audience, you’re not entirely ready to do all your work in the cloud. APIs. Yawn – the computer musician audience still is happiest with as much CPU power as they can muster, live sound making in native code on a local machine, and, you know – rocking out. But that to me is a bit interesting in itself.

Also from the hackday:

While the Arduino is ideal for hard projects, software projects turn to the fuzzy textile-friendly Arduino LilyPad. (Side note: the LilyPad turns out not quite the perfect tool for all occasions, and a discussion of all soft electronics may be what’s next. But it is a good starting point.)

Rain Ashford used the LilyPad to make an interactive felt cat named TwinkleStarduino. Just don’t cross the streams – er, threads: “Yep – all the components are connected by conductive thread – none of these must touch each other or you’ll get a short circuit – which is a challenge in itself :-)”

Rain’s blog post discusses some of the challenges of the project and some of the things that went wrong, which I quite like. (One of the goals I set out for our own music hackday last month was to break s***.)

Musichackday 2009 – my hack: TwinkleStarduino [I like cats]

For fans of RjDj, the interactive music engine for the iPhone and iPod touch, here’s an example of the sort of work you can hack together in a day with the help of patching environment Pd:

ShakeNRoll by ookoi

Lastly, photos by organizer Dave Haynes:

And yes, it sounds like the EchoNest is interested in doing a hackday here in America. And with the help of the site we’re building, noisepages, we definitely plan more hackdays on CDM, too, with a CDM-style focus. Stay tuned.

Greensboro, NC-based art music band Invisible are indiscriminate about technology – in a good way. Plastic cups, keyboards, typewriters, machines controlled by robotics, if it’s in the trash or at a thrift store, it has a place in the band. Sequences are executed in physical, radial player instruments, without a controlling computer anywhere in site. As voicemail tapes get sampled and typewriters tap lines of absurdist lyrics as each typed letter plays a piano note, something magical happens. Perhaps it’s that, novelty aside, somehow these sound-making objects come together for a reason – the machines assemble in the way the band does. And then a chair is a marimba.

The Rhythm 1001 takes “tangible” to a whole new level — everything sequenced is mechanical, triggering found objects. The video above features the sequencer at Charlottesville, Virginia’s Second Street Gallery. (Gents, if you ever visit Brooklyn…) Thanks to Evan Hill for the tip.

Is it “Digital Music”? I think it is very deeply so, perhaps because the objects get treated as discrete musical events (read: percussion).

Incidentally, guys, I agree with a lot of things you’re saying about the use of computers for music, but HAL here tell me he won’t let me fr

Transmission ends.

Handmade Music hits Brooklyn again Thursday night with a terrific lineup:

• Robotic gamelan instruments with the Gamelatron, created by Zemi17 and the League of Electronic Musical Urban Robots (LEMUR) – check the video above!
• Rescued PDAs and iPods making music, with the Linux-powered ReWare project (which even allows you to run Pd on an old iPod), by Hans-Christoph Steiner – expect a box full of handhelds making noise
• Gestural Android handheld music, as I demonstrate the possibilities of the Google Android platform and G1 phone for OSC
• The Arduino-based Hard/Soft synth, designed by Gijs Gieskes and built by MAKE’s Collin Cunningham

Full project details at:

http://handmademusic.noisepages.com/

How to participate:

Online! Wherever you are in the world, you can join our live video stream:

http://www.ustream.tv/channel/cdm-tv

Apologies: while a test of the connection had worked for us last time, network performance was inexplicably poor. We’ll try to work on a better solution for the future. It’s the challenge of relying on a connection other than your own.

Schedule:

7:00p Online chat with the creators

7:30p Public event starts

8:00p Performances + demos

You can also ask questions to our creators by leaving them in comments here, or the day of / during the stream by sending a Twitter message with hashtag #cdmtv. (Follow CDM on Twitter) We’ll have clips of the show available by Friday

In NYC:

FREE, at Brooklyn’s 3rd Ward, 7:30p Thursday. rsvp@3rdward.com or on Facebook

Directions

3rd Ward

Thanks to Pabst Blue Ribbon for the free beer, plus our co-organizers at MAKE, Etsy, and XLR8R.

Last-minute NYC-area projects! If you have a project you want to bring, we will have a PA, amp, and projector. We welcome those last-minute projects that manage to come together. Just bring it by and find me at about 7p.

In Your Neighborhood:

We have folks interested in starting up Handmade Music around the US and internationally. Sign up via Google Docs if you have any interest in helping organize (no commitment) and expect information in the next couple of weeks.

The player piano has come, oddly, full circle.

Peer into the editing pane of a music sequencer, and what you see is an abstracted virtual player piano. The editing views are even dubbed “Piano Roll” views (sometimes officially so). The MIDI protocol by which most music devices and apps communicate is itself a kind of port of the piano roll’s paradigm to a digital implementation, with fixed pitch and durations spanning time in an endless loop.

So it’s fitting that Dan Deacon is busy in the studio, feeding a player piano with MIDI and computers in order to make it play layers of unplayable music. The technical work is significant, to be sure, but on another level it’s natural that the computer would speak to the player piano in such terms. These are distant technologies bridged by a common understanding of how to simplify and reproduce music. The process speaks to some of the limitations in the way in which computers typically relate to musical instruments. We may be at the end of the road for this century-old way of thinking about mechanized music. But, extended to the near-breaking point, the maximalist texture that results is all the more beautiful.

Thanks to Jason Bergman for the tip.

Pitchfork TV: Dan Deacon in the Studio [Player Piano]

What if all the technology you loved, everything that ran on electricity, came to life and played one epic musical performance?

That’s about as best as I can sum up the “Emergence” event happening in Ontario and in an online stream. It’s a workshop. It’s a performance. It’s Commodore 64s and surplus parts. It’s cybernetic theory. There’s a robotic singer. It’s at a computer museum. Nerdtastic.

Rod Adlers describes his own setup: “3 Commodore 64’s running Cynthcart and MSSIAH, iPod Touch using Brian Eno’s ‘Bloom’ program, Korg MS2000 and M50, and Fruity Loops.” Nice – it’s like the radio station phrase, “the greatest hits of yesterday and today.”

Valentine’s Day, indeed — if you’re dating a robot / computer / nerd (or robotic computer nerd), you know how to celebrate. There’s an online stream, happily, for all of us too unlucky to be in Ontario this weekend. If you are there, “video, photography and interviews” are all “encouraged.” Please do share with us on planet CDM. Syd Bolton writes:

You can see some newspaper coverage from today at:
http://pcmuseum.ca/media/ExposFeb2009EmergWeb.jpg

The show will be broadcast live the day of at:
http://www.ustream.tv/channel/emergent-behaviour

Our page for it is at
http://www.pcmuseum.ca/emergence.asp

Full details:

The Personal Computer Museum proudly presents Emergence: A Cybernetic Musical Series that launches an international tour in Brantford, Ontario, Canada.

Join Dr. David Ogborn (Regina, SK) as he takes you on a musical experience with original music, robotics, and lyrics that will make you think about the future of cybernetics.

Join us for a free workshop at noon that explains how to use microcontrollers to control robotics and then see it in action during the afternoon performance.

Classic computer musicians Rob Adlers (Kitchener, ON) and Leif Bloomquist (Toronto, ON) will open for Dr. Ogborn with a musical experience like no other.

Admission to this event is by donation to the Personal Computer Museum.

DOORS OPEN AT 10:00 AM

Browse the museum to explore the rich history of computers and making music. Various programs and pieces of hardware await you on your tour.

FREE WORKSHOP AT 12:00 PM

Sound Art with Computers, Microcontrollers and Surplus Parts: Dr. David Ogborn, creator and performer of Emergence, will demonstrate the use of readily available technologies (laptop computers, Arduino and PIC microcontrollers, surplus parts) to create art objects, musical performance devices, and cybernetic performers – such as the robotic singer CESARE featured in Emergence! The workshop is for anyone interested in music, electronics and computers, and will be at an introductory level – no prior experience is assumed or required.

We’re in the middle of a snowstorm of holidays (most definitely plural), and, for many of you, possibly also a snowstorm of snow. So, gather by the fire with your robotic DIY carillon and bask in the warm glow of gorgeous, chimey Prokofiev.

What? Haven’t got a DIY bell-playing construction of your own? It’s not snowing? Gather by the YouTube and bask in its warm glow instead. Robotic Prokofiev will be all you need. Creator Sarah Angliss of Spacedog sends us the video above.

Video details and technical specs:

Fireside music, performed for your enjoyment in one take after a couple of glasses at the Spacedog HQ, Christmas Eve 2008. Featuring Dolly, the Lakeland Terrier who has hurt her paw.

Bell rig created and programmed by Sarah Angliss (Spacedog UK), camera Colin Uttley.

Microphone-festooned coat hanger expertly held for the full three and a half minutes by Jenny Angliss. www.spacedog.biz

The music is an adaptation of Troika, from Prokofiev’s Lieutenant Kije.

The bells are being played by wooden balls, spring-mounted on servo-controlled beaters, running off a LynxMotion SSC-32 board, receiving serial signals from a Max/MSP patch (which is interpreting a midi file). NB These bells have been recycled from Swinging London, my 2006 installation for the Overture Weekend at the South Bank, London. Here they’ve been mounted on a stainless steel shop fitting, reclaimed from the back yard of Moore’s of Dunstable.

Dolly, feel better!

Previously from Spacedog:

Theremin as AV Controller: Technical Details from Spacedog

Video: Robotic Theremins, Ready To Replace a Human Near You

Mari Kimura is an experimental string player extraordinaire, regularly venturing to the edge of what’s possible at the meeting of acoustic and electronic technology. GuitarBot is a “guitar”-playing robot (perhaps more reminiscent of a shamisen), an invention of Eric Singer, founder of the League of Electronic Musical Urban Robots. The two meet above in a lovely video – not new, but well worth watching any old time, as reminded to us by Richard Swelling’s Etherbomb blog. Mari writes in comments on YouTube:

HI, Mari here. For those wondering what’s happening: Behind the white box, there is a Mac and an audio interface. I am running a software MaxMSP, which is LISTENING to the pitch. loundess and the timing of the violin. The ‘patch’ I created in Max contains certain interactive instructions such as "listen to the E (highest open string on the violin)". For example in the beginning, if you listen carefully you notice when I play above E, it stops. Iinteractions change in predetermined time frames.

It’s a reminder that, technology aside, the key ingredient in electro-acoustic music is great musicianship.

Quite nice stuff! And the video is shot by my friend Liubo Borrisov; Liubo, if you’re out there, say hi.

8-bit and robots and odd Max and Reaktor patches and custom visual software and visualizations of data packets and sound made from plants and mutant trumpets and gloves for DJing and laptop music – we’ve got quite a lineup here in New York this week.

Friday night, a live audiovisual lineup from the worlds of createdigitalmusic.com / createdigitalmotion.com invades the HOPE conference, aka Hackers on Planet Earth, the three day-long convergence of tech hacking. $10, open to all, 11-2a Friday July 18 at the Hotel Pennsylvania in New York. It’s a live digital, technological variety show in a doomed NYC landmark hotel with an audience of famous and infamous hackers. (Think Kevin Mitnick and MythBusters’ Adam Savage and Steven Levy, all in one place.)

Facebook event page; also on Going.com

Here’s a look at the performers and projects. If you can’t be in New York, this should give you a little taste of the range of work people are doing here and in our community in general, and I hope to have more coverage after the event.

Michael Una performing at SYNC Fest 08 from Michael Una on Vimeo.
Robot drummer from Michael Una on Vimeo.

Michael Una’s live-looping, robot-drumming, circuit-bending experience

CDM contributor, Circuit Bending Challenge coordinator and sage of all things DIY and sound art Michael joins the ensemble with robotic assistance:

I will be using custom-built interface devices, acoustic and circuit-bent instruments, and a robot drummer to create a rhythmic, textured and melodic sonic experience on the fly.

http://una-love.com

(Hey, does anyone know why Renee and Michael’s site is being blocked by Google? Was it the beat bike or the prayer wheel? What gives?)

Joshue Ott/superDraw +Ezekiel Honig live at monkeytown from superdraw on Vimeo.

Joshue Ott / superDraw (visuals)

Ezekiel Honig (music)

Ott is the creator of superDraw, a home-made software application which manipulates simple line drawings to create something beautiful and far removed from the original input.

A New York City native, and founder/label manager for the Anticipate and Microcosm labels, Ezekiel Honig concentrates on his idiosyncratic brand of emotively warm electronic-acoustic music. Using the loop as more of a tool than a rule, Honig paints outside the lines, nestling into a comfortable space between techno, house and ambient – using them as reference points from which to stray, rather than as steadfast frameworks. Drawing on the rich history of musique concrete, Honig looks to incorporate a material nature into his music by imbuing it with a host of field recording/found-sound sources in the search for a balance between digital software innovation and the physicality of the world around us. His music is one of contrast and contradiction, combining minimal, abstract tendencies with a core of timeless harmonics – pairing fuzzy chords with clunky and dirty "mishaps."

http://www.ezekielhonig.com/

superDraw

Ben Neill’s mutantrumpet.

Ben Neill will present a new set of music for Neill’s newly redesigned original instrument, the mutantrumpet.  Dubbed “the mad scientist of dancefloor jazz” by CMJ Magazine, Neill’s music “masterfully blurs the lines between electronic dance music and jazz sounds” (Billboard).  This new set of future dub jazz is the most recent chapter in Neill’s musical evolution which has included the CDs Green Machine (Astralwerks), Triptycal and Goldbug (Verve) and Automotive (Six Degrees).  Neill has also recently created a new version of his unique electro-acoustic instrument, the mutantrumpet, thanks to a residency at the STEIM studios in Amsterdam.

We’ll have visuals with Ben’s work, too; final confirmation of the visualist soon.

http://www.benneill.com/
http://www.myspace.com/benneill

Bill Jones, visuals

Bill Jones, Neill’s longtime visual collaborator, has created a new set of interactive video for the set.  The imagery is primarily black and white and evokes a late-night urban vibe inspired by sci-fi noir films such as Godard’s Alphaville. The video and music are created as one hybrid form of expression, and the new capabilities of the mutantrumpet make it possible for the visual and sonic elements to be seamlessly integrated in real time.

Neill and Jones are continuing to explore ways in which the dynamics and improvisation of live musical performance can be translated across the boundaries of sound and vision.  Their past projects have included the Pulse series of sound/light sculptures, widely exhibited in the 1990’s, MIDI controlled slide projector shows for Neill’s Sci-Fi Lounge tour with DJ Spooky, and Palladio, a VJ movie based on the novel of the same name by Jonathan Dee.

Todd Thille, with Duncan Laurie and … houseplants.

Custom circuitry with an Arduino base will acquire electromagnetic signals from plants and use them to influence generative audio and video inside Max/MSP and Jitter.

http://synesthete.com/works/#sonata
http://www.duncanlaurie.com/node/194/play

Hally // Blip Festival 2007: The Videos from 2 Player Productions on Vimeo.

Paris: Digital Visuals

Paris Treantafeles (aka Voltage Controlled) is an open source software expert and live visualist, regularly associated with the local 8-bit scene. He builds custom visual software for 8-bit game systems.

Paris Graphics

Don Miller / No Carrier

Don is another DIY software visualist, writing his own visual tools for NES, Commodore 64, and most recently Game Boy (yes, even in black and white!)

http://no-carrier.com/

Animalstyle

Animalstyle (aka Joey Mariano) has a different twist on 8-bit music: he’s a guitarist, but routes his instrument through 8-bit fuzz pedal, uses a Game Boy foot controller, and mixes guitar and 8-bit sounds.

http://filefreakout.com/animal-style/

vade and Mary Ann Benedetto

vade (aka Anton Marini) performs visuals on his own custom real-time software. He’s doing something mysterious involving data packet sniffing visualization and joining our VJ/visualist crew for the evening. He’s also a contributor and tipster for Create Digital Motion.

Mary Ann Benedetto will also be visualizing and reinterpreting geeky things, likely including munging the Linux kernel visually. Expect some visual surprises – and source releases on CDM for a couple of those visual tools!

Roger Tsai

[Groovy Hand] allows DJ to use hand gesture & head shaking to manipulate music. These gestures visualize how DJ play music, and also ask for sound from audience to generate interactive entertaining experience.

In a great music performance, musician are usually encouraged to express themselves with body language and do all kinds of gestures to enhance entertaining effect (such as exaggerated move of guitarist). However, unlike other performer, DJ doesn’t have many chances to use gestures because most of the DJ instrument are not helping him showing gestures, they’re just knobs and buttons.

Also, audience doesn’t get a clue how how a DJ produce music because there are only limited visual information from DJ’s movement and gestures. Base on these observation and interview, I created [Groovy Hand], that allows DJ have fun with innovative way to manipulate music. At the same time, visual and verbal interaction between DJ and audience brings audience a new experience of DJ show.

Urbanism: Study III from Peter Kirn on Vimeo.

Peter Kirn

I have no idea who this person is, but he kept tagging around, so we had to include him.

Okay, it’s me. I’ll be doing a live music set with keyboard and laptop with some custom Reaktor / Kore music tools, plus the debut of a rig for working with Nintendo’s Wii Balance Board.

I may jump in on visuals, as well.

PETER KIRN is a composer, digital musician, and media artist/visualist. Classically trained, he has extended his work into experimental music for acoustic instruments, historic instruments, and digital sound and visual technology. The Boston Globe describes his music and live visuals as "poetic" and "delicate." He has been a Digital Fellow at Dance Theater Workshop with collaborator Christopher Williams, and has taught music, interactive visuals, and technology at Harvestworks, 3rd Ward, Massachusetts College of Art, CUNY, and Sarah Lawrence. He is completing a PhD in music composition at the City University of New York Graduate Center.

Be there

Where: The Hotel Pennsylvania, New York City (map); head to the main door, on your left is the entrance to Penn Pavilion and you should see a table there.

When: Friday, July 18 2008 – performances run 11pm – 2am

Cost: US$10 at the door. First come, first served. (free if you have a conference badge; contact me if you need a press badge)

Conference info

Image credits (top): Michael Una by Hans Kuder; plant installation by Todd Thille; Roger Tsai by Corrine Brown; mutantrumpet designed by Ben Neill; Peter Kirn by Todd Thille; screenshot of visuals by Anton Marini; Don Miller (no carrier) by Cyen Obite; cover from Ezekiel Honig’s “Technology is Lonely”; screenshot of superDraw by Joshue Ott; the Hotel Pennsylvania by Martin de Witte; screenshot of visuals by Paris.