Twitter has been (rightfully, in many cases) maligned as a distraction, but at times the “microblog” can keep us connected in smaller bits of time, not larger. People read while something is rendering, when they feel a bit lonely or distracted to begin with (a bit like taking work to a virtual coffee shop), while they’re in line at the grocery looking at their phone. And for the bedroom- and studio-based music maker, Twitter reveals something of what the future might be like. Twitter itself can sometimes prove too unstructured to be useful, but that one service aside, it demonstrates that we can find ways of being connected to other music makers in new ways – ways that have probably only just begun to evolve.

Yesterday I looked at why I thought Imogen Heap was doing Twitter right – both as a model to follow, and a chance to see her as an artist in a different light. But I also hoped to hear who readers here might be following. In the informal tradition of “Follow Friday,” here’s a look at a few of those people.

Side note: I’ve actually gotten a whole lot of useful stuff from Twitter – it’s allowed me to keep connected to people I might otherwise lose touch with, and I’ve gotten great news leads and project stories out of it as a writer. I’ve gotten more technical help than musical – but that’s also helped me fix the technical stuff with servers and the like so I can get on with music and visuals. I have a mile-long list of complaints about how I think this sort of thing could work better, but – well, I’ve been online since the days when I had a 1200-baud modem. There’s always hope for change. Oh, and TweetDeck is the best client for processing information productively; I’m just waiting for multi-account support.

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.

Helene Berg is a cellist. She’s also an animator, video artist/filmmaker, and does yoga and water-aerobics. So when she plays cello, it’s fitting she might play more than just any old cello. Enter the lasercello, an augmented rendition of the traditional instrument designed by Jonas Ericsson of the Stockholm design agency No Picnic.

Documentation is scant, but Helene writes us with this video to give you an idea:

I think it beats having just a laser harp.

Her links:
www.helene-berg.com
www.myspace.com/heleneberg

Finding exotic software instruments is rarely a challenge. A lot of users stumble more quickly when it comes to the basics. Cakewalk has unveiled a new set of soft synths called Cakewalk Studio Instruments, and a number of things about it are immediately interesting:

It’s dirt cheap. US$49.99 for the whole package.

It focuses on a few basics. There are four modules: Drum Set, Bass Guitar, Electric Piano, or String Section.

It’s available via mass-market outlets. Music tech stuff only trickles into the mass market, as a rule. Cakewalk says you’ll be able to pick this thing up at Apple, CompUSA, Fry’s, Micro Center, J&R, and Amazon.com.

It does phrases. There are included, pre-recorded phrases. Might be redundant in the age of GarageBand, but potentially useful to have.

It has a slick interface. The UI is pretty, provides lots of visual feedback (the bows on the strings even move), and puts controls where you’d expect them in the real world — so electric piano effects show up on a stompbox, for instance, rather than floating in softwareland.

I’ve been confused by a feature Gibson is touting on its new Digital Guitar: the ability to route each individual string to a separate surround speaker. Sounds a little like a nightmare surround mix to me.

Leave it to the work of an interactive artist to “reinvent the guitar” in the reverse direction: who needs individual string pickups, when you can get six guitarists and give each one a one-string guitar. Then, have them climb atop a giant tower, get a percussionist to trigger drum samples at its base, and load the whole thing into a complex Max/MSP/Jitter and Ableton Live setup with donated hardware and software from M-Audio, Steinberg, Mackie, Canon, and others. Brilliant fundraising, bizarre thinking — I’m sold. IK Multimedia, can you get these crazy kids some Stealth Plug digital guitar cables in time for the performance?

What is the sound of one one-string guitarist clapping?

Six String Sonics [Pixelsumo]
Project page

Now, to work on finding 88 pianists to play 1-note keyboards . . . one note jamming will never be the same.