Richie Hawtin has been the subject of adulation and sometimes seemingly-random scorn by readers of this site — blame the passions of the Internet. But amidst that noise has been a clear signal: bring back Plastikman.

Richie is a terrifically talented DJ, but for many of us it’s his work as a producer that we love. And for all m-nus has done over the years, the handful of work that comes from Richie’s Plastikman persona remains significant. He’s announced he’s bringing Plastikman back, and has a survey to match. Don’t worry – this isn’t something like “What’s your favorite bpm,” or “specify preferred filter cutoff frequencies.” It’s more along the lines of whether you’d see a show in Santiago or Perth. But there are indications of a new live show and re-releases. (I’m not clear whether the “new project” includes a new release, but I do hope so, and it does talk about “creative process.”)

When considering the various aspects of Richie Hawtin’s persona, it seems fans reserve a special place in their hearts for Plastikman. So it’s only right that as we prepare for a new Plastikman project next year, you should have some input and control over exactly what you see and hear.

http://www.plastikman.com/survey09/

Richie Hawtin and the also-excellent Ambivalent reflected on music making with technology at DubSpot here in New York over the summer. I think they had some really good things to say, even if your own music tends in other directions or genres, so now is the ideal time to share that. Both Richie and Kevin spoke about the need to incorporate physical gestures into digital music making, whether it was drawing on the performance (for Ambivalent) or locking oneself into the studio and getting physical with the gear (for Hawtin). That made something like Maschine important to Richie’s newer work, he said. DubSpot has video of this conversation (led by an audience Q&A of Ableton users), as well as a private conversation with Richie about his work.

We talk about tools a lot, but it’s really learning how to make tools expressive in your productions and performances that matters. DubSpot, the music tech production and DJ educational center here in New York, brings its multi-city Ableton Live Sessions tour to its hometown for several days of parties and workshops. If you’re in NYC and on a budget, we have a discount on the paid events and also some free events you can check out. If you’re not in NYC, we’re working on bringing free video coverage to the global CDM community shortly after the event.

This really isn’t a pitch for Live, either – part of why I’m excited to be able to hang out for the weekend is that I expect to learn quite a lot from some of the world’s most skilled Live users and producers.

Headlining the event is none other than global techno star Richie Hawtin – the Minus impresario some of our readers love to love and others love to hate. I hope we get to hear more about his unique Plastikman live rig – see the controller at top, with more details from our friends at visualist corps Derivative, whose TouchDesigner live visual tool powers 3D imagery in those sets. Hawtin will join in a conversation with Ambivalent about what the Minus musical process is about. Hawtin and friends will also play a real gem of New York’s club scene, Love on MacDougal Street – it’s a fantastic space that lives up to its name.

On the dub side, Scientist aka Overton Brown, one of the world’s real stars of dub, a King Tubby protégé out of Jamaica, will return us to the roots of electronic dance music and show off his own take on the use of this technology. Scientist and Dub is a Weapon play Le Poisson Rouge and Scientist will close out the Live Sessions with a dub battle versus Badawi.

KJ Sawka – Hell, Yes, Chops

Before we get into the lineup, here’s just an example of how cool the faculty of this event is – KJ Sawka. Sawka is, of course, what we dream of in live laptop music. His musicianship is fantastic unplugged (see a rooftop set video, apparently sponsored by PBR), so the laptop becomes simply an extension of that.

KJ Sawka will have a full Drums workshop on Saturday as part of the paid program. If you’re new to Live, though, he’s doing a free intro on Thursday evening.

Here’s what to see and how to get the exclusive CDM discount.

By the way, if you’re in Los Angeles, that’s the next stop on this tour; stay tuned for details.

I ask you: what is the foundation for rhythmic electronic music? I suggest that the humble step-sequencer is the backbone of many of today’s musical genres and memetic evolutions. To have electronic rhythm, you need to start with a clock and go from there, dividing it into fractions and multiples. Then start assigning sounds to those divisions and you’re pretty much there- techno is happening.

I’ve been working on prototyping a sequencer-synth and in doing research, I’ve come across numerous projects that tackle this idea with great enthusiasm. Because a sequencer can drive any type of electronics, projects tend to fall into two categories: audio, or visual. Additionally, I’m seeing two main drivers for the sequence itself: the nimble arduino, and the CMOS 4017 Decade counter IC. I’ll survey here some of the finished projects to give an idea of what’s possible. Come with me, won’t you, on an exploration of the world of DIY sequencers.

Sound designer, technologist, and remix artist Francis Preve sends us some gifts of techno and technology to celebrate his first solo release. For your brain, we’ve compiled the tutorials he’s been working on for Beatportal, which together provide a really great look at some basic music production skills. For your ears, we have his new Ableton-produced single “Caboose” which, coupled with a Josh Gabriel remix – and a free iPhone ringtone exclusively provided to CDM by Josh’s label Different Pieces.

Being a technologist often makes actually finding time to make music a big challenge. But I’ve always been impressed at Fran’s ability to do both. Whether this is your type of music or not, it means that when he talks about techniques, he’s talking about stuff he actually applies in his work – and he has eight Billboard Top 10s to prove his remixing skills, including one for Justice. Here’s what he had to say to CDM about making Ableton Live into a way of reimagining just two samples into a whole track:

The interesting thing about the production of Caboose is that – with the exception of the drums – it was made entirely from two very short vocal samples, entirely in Live 7. There were no third-party plug-ins or softsynths. Every sound was either looped and effected, or placed in Simpler and sequenced, or ‘Sliced to MIDI’ and manipulated. Even the bass is that same vocal sample, tuned down two octaves, distorted, then filtered and compressed. The process itself was so much fun that I’ve since incorporated aspects of it into the follow- up tracks I’m working on now.

In the meantime, Francis has compiled for us a complete index to the tutorials he’s been developing for Beatportal, including synthesis, sampling, effects, Reason’s new Thor synth, and other skills:

Play this track:

If this economy is getting you down, our friends at MeatWater, the “high-efficiency survival beverage,” have a prescription. A prescription for techno:

MeatWater MP3 Techno Remix

Now, perhaps this is just a crass ploy for MeatWater to sell more of their MeatWater-protein drinks, which come in flavors like Gyros, Beef Stroganof, Hungarian BBQ, and Dirty Hot Dog. But if there’s one thing I believe in more than the health-giving power of proteins, it’s in the stimulating power of techno. I’m steps away from the stock market, so I may take this on a boom box and hold it out front of the exchange, Say Anything-style. Well, until I get stopped.

I mean, who can feel anything but bullish as four beats pound confidently on the … floor?

By the way, if you’re wondering, just … don’t. There’s not really a rational explanation.

You can talk to the bottles on Twitter. They like German. (send them some German techno, okay?)