The Body, The Circuit, The Computer and The Voice: robot cowboy from STEIM Amsterdam on Vimeo.

If you want to look for some of the roots of live electronic musical performance, STEIM is one place to start. Founded in 1969 by a group of Dutch composers (Misha Mengelberg, Louis Andriessen, Peter Schat, Dick Raaymakers, Jan van Vlijmen, Reinbert de Leeuw, and Konrad Boehmer), and led by the late “founding father” Michel Waisvisz, it has remained an important hub for inventing music technologies. It was one of the first places that gave an indication that these kind of experiments could extend beyond academic labs into grassroots DIY movements and DJ/VJ club culture alike.

Amsterdam has been looking to do a Handmade Music series for a while, and this Wednesday we kick it off. There’s a huge lineup, so I’m packing two video cameras and one audio recorder into my luggage today before flying out.

You can check out the whole lineup on the STEIM blog, for a sense of what the Dutch DIY community is up to:
Feb 17 2010: Hotpot Lab #2 – Handmade Music Amsterdam

The event is Wednesday night; doors open at 20:00 and it’s free. See the STEIM concerts page.

I’ll also be doing an informal “State of the Union” address on the state of DIY tech, where things might go, and where people may get involved – and most importantly, what we can do to make these developments musically productive. One of the things that came out of comments last week is that we need better documentation. If people want to get involved in a broader community, outside even our traditional music community, DIY platforms for software and hardware must first be better documented, more usable, and more accessible.

Anyway, I’m thrilled to have a chance to bridge New Amsterdam (NYC) with Old Amsterdam, and start that conversation by listening and learning from a great group of people. Stay tuned.

We’ll have some guest posts through the week while I’m traveling, as well, and I’ll be back on home soil next week.

More software is speaking timecode, opening up control of digital sound to real, physical vinyl on turntables. The latest addition: Time TunnelXL is a pair of externals that decodes Native Instruments’ Traktor Scratch vinyl and scratches not only sound, but visuals or anything you can make in the open development environment Max.

Right now, it supports Max/MSP (and thus Max for Live) on the Mac, but support for Linux and Windows and the open-source Pure Data as well as Max are planned.

I’m actually hopeful a lot of these efforts can support Pd, too. Pd does some things more effectively than Max, just as Max does some things more effectively than Pd, and by supporting Linux, you can have a flexible computer rig running on an OS you can optimize and tune. It brings virtual vinyl full circle, too: the first commercial product ran on BeOS and Linux before Windows or Mac.

Of course, Max support and Max for Live can help DJs and turntablists invent their own live performance rigs in the Ableton environment, too.

Project site:
Time Tunnel XL @ komika.org

Computers and computer software can have as much or even more longevity than traditional music hardware – that is, if elements like copy protection don’t intervene first. As a postscript to the discussion last week, prompted by a new software release for the Apple II, here’s a report from our friend Bill Van Loo. He was able to make a productive little workstation out of an old iBook (500Mhz), with access to Reaktor Session instruments and an Apple electric piano now gone.

Bill has been doing a project a week all year, working towards the goal of 52 projects at the end of 2010, so consider this an excuse to peek into his studio and get some inspiration and ideas for projects:

http://www.chromedecay.org/

What’s interesting to me is how productive the results were. But that means there’s a real failure caused by arcane copy protection. And much as we complain about dongles, the dongle worked – it was software/online challenge-response that was the failure point. (Before dongle advocates at developers rejoice, uh, guys, if you add online activation to your dongle as some of you have recently done, you’ve just killed your advantage.)

I don’t think it’s realistic for developers to always provide 100% backwards compatibility. But it’s clear that developers aren’t doing a great job of gracefully bringing products to the end of their life cycle. If a product is to be discontinued, why not do what Propellerhead did with their popular ReBirth instrument and provide it free? Open source licensing isn’t always the answer, as it adds additional legal work and presumes that someone wants all this old source code, which very often, they don’t. But at least by providing a free download, perhaps a very specific license that makes it free to trade the binary file, people don’t lose access to software they use in their music.

Bill’s comments, plus a link to the full story – well worth reading if you’re considering doing something similar yourself:

iPad, wha? How about new music creation software for the Apple II platform?

8-bit weapon has a new instrument – delivered on 5.25″ floppy, natch – for the Apple //e, IIc, and IIc+. This isn’t just a novelty, though; they’ve built it to be battle-ready for onstage use. That means it works without a user interface, so you can use it without having a monitor plugged in. Here’s usability for you: “Just turn on your Apple II and when the drive light goes off. Then hit the space bar you’re ready to play live~!” Engadget gets the scoop:

Apple II Digital Music Synthesizer available now for 8-bit die-hards [Engadget]

Get over the novelty, and there’s something happening here: recycle old equipment otherwise destined to be toxic waste, make a computer instrument that’s dead-simple to use onstage and doesn’t require looking at the screen, make the most of extremely limited resources rather than burning through computing resources arbitrarily …these are principles that could be applied to any computer music project.

Up to 8 voices, preset sounds (Acoustic Piano, Vibraphone, Acoustic Guitar, Electric Bass, Trumpet, Clarinet, square wave, sawtooth wave, sine wave, Banjo), monophonic QWERTY performance. Now, admittedly, the Apple IIe isn’t much fun to take to a gig. Look for the Apple IIc, a svelte, slim design that was easily one of the best designs Apple has ever made, in any decade. When you do need video out, plug the analog jack directly into a TV, then stare into your soul (or your HDMI-connected, content-protected, latency-inducing TV) and ask yourself what progress means.

Okay, so maybe even at firesale prices (typically $10 or $20), you don’t want to bring an Apple II home. We also learn from our friends James Grahame that 8-bit Weapon has a new sample library:

8 Bit Weapon Chiptune Sound Library [Retro Thing]

There are also a couple of iPhone apps, but… that doesn’t have the same cred, somehow.

So, Let’s Talk Long-Term Investment

Last week, what was intended to be a day of posts wound up being several days of updates on events centered around music technology and DIY creation. Here’s a birds-eye view of what we covered, some of the events you can catch in person, and some of what these events reveal.

It’s worthwhile just putting these posts in one spot so you can easily mark your calendar – and you can see, even in this small slice, the amount and breadth of activity happening now.

At STEIM in Amsterdam, I’ll be talking about the state of DIY and open source technology for musicians and artists, and what that means for creative people — both the potential and some of the challenges. So I’d be curious to hear your thoughts before I begin waxing poetic. Readers here aren’t shy, so let us know your concerns in comments.

Now, here’s your guide and calendar to DIY. Tell us what we’ve missed. I’m hoping to devote a permanent spot on Noisepages to an events calendar; anyone with slick WordPress/BuddyPress-based solutions, give us a shout.