Every so often, something comes along that’s just irresistibly lovable. So it was with the Korg monotron. With a price of US$60 (or far less), a pocketable size, the ability to run on batteries, a nice, glowing red LFO knob, a delicious filter, and toy-like playability, everyone loves the monotron. People who have racks of vintage synths love the monotron. People who have never seen a synth before love the monotron.

Then, along came the Korg Monotribe, which grafted ultra-simplified analog drum circuitry and a sequencer, and … somehow, you wanted to love the thing instead of just loving it. I talked to a number of people who struggled to find something to say about the Monotribe – it didn’t have that magical effect the monotron did. Readers didn’t like thd drum sounds. The unit was bigger and pricier, but still lacked real control voltage or MIDI without hacking. Some of these units found very happy homes, to be sure, some mods were impressive, and it was great to see the circuit designs, which are quite clever, released. (Look closely at that design, and I think you begin to appreciate what was beautiful about the Monotribe that a lot of people missed: the circuits for the drums, while some folks maligned them, are incredibly elegant and simple.) But the bottom line: the Monotribe simply wasn’t the sensation the monotron was.

Well, Korg has wisely returned to the cute, impossible-not-to-buy, pocket-sized monotron package with two new models. And suddenly, that feeling — that “yeah, I have to have that” feeling, rather than the “I think I might want it” — is back.

The monotron DUO looks like it’s just a monotron with a new paint job, but it’s not. In addition to bumping from one VCO to a far more interesting two, the X-MOD circuitry comes straight out of Korg’s ridiculously-brilliant Mono/Poly classic. (Edit: I should add that the X-MOD is not specifically what made the Mono/Poly great – but it is nice to see anything off the original. In this case, it’s essentially a pitched FM, as readers point out, and as you can see in the video.) And that turns to another lesson learned from the monotron: bring back great circuits (like the filter on the MS) into modern designs. Like tasting the Tootsie Roll candy you had as a kid, it remains every bit as sweet. It’s otherwise the same monotron VCO square wave synth (double doubling your enjoyment in the process), but the addition of X-Mod should be good fun, as was the LFO on the previous model. Update: it appears the DUO also has the key range switch present on the Monotribe – bonus!

Then there’s the monotron DELAY. The silkscreen looks like it escaped from a movie tie-in toy for The Last Starfighter. But what you get is both that brilliant analog filter (the MS-10/MS-20) and a new “Space Delay.” I’m guessing the delay is digital, as it offers “analog-style echoes,” but no matter. Korg may have just created something more useful than the original monotron, because now you have a simple delay unit and the filter and the Stylophone-style controls in one unit, with an audio input jack.

Yeah, the ongoing emphasis on the “analog muscle” in these is a little funny, but let’s be honest: you want these. 2011 just got its first obvious Christmas list entries. And some of us will be looking for a holiday we can make up just to get them sooner.

Hope to have a hands-on — and some sound samples of the delay, which we know only by its silkscreen YouTube demos from Korg JP right now — soon.

http://korg.com/monotrons

See also DE:BUG coverage [Deutsch] – hi, guys, see you tonight at your Berlin Music Days party!

“Panzer” is beyond any mobile studio you’ve ever seen. It’s basically a tank with speakers and a cockpit containing beat-making gear. (Mackie mixer, Roland sampler, Akai MPC, Korg KAOSS, as near as I can see, plus … the machinery to drive the tank.)

From the description:

Minidumper, Holz, Stahl, Kunstharz, Glasfaser, Audioequipment, Sound
2011

And to make sure it’ll fit in your garage:
H 250 cm x L 350 cm x B 140 cm

Nik Nowak, born in Mainz and based here in Berlin, has a whole portfolio of re-imagined speakers and motorcycles and flames and I’m glad I’m not a curator or art critic because I would be tempted to use phrases like “installations made completely of awesome.”

Nik, if you’re out there, please tell me you still have this and can drive it out to an event. Otherwise, I’ll come to you. Just don’t shoot … or … boom or whatever.

I was going to add the images to this story, but I’m not sure I want to see a takedown notice from Nik. It might actually set me on fire.

Also, Alesis IO Dock: eat your heart out.

http://www.niknowak.de/
http://www.niknowak.de/images/panzer.htm

The very word “robot” comes from a Czech author, Karel Čapek and his 1920 sci fi theater work R.U.R.. In terms that resonate today, class, economics, and freedom play into that narrative, as Čapek introduced not only a word but the modern concept of android.

So, it’s fitting that the Czech Republic would be the scene for an artist carrying on the author’s legacy. Inventor Stanley Povoda doesn’t just imagine robots; he builds them and makes them into a musical band. Repurposing refuse, the robotic creations have eyes for knobs, and play percussion and other instruments. These are liberated robots, making music, not the oppressed, soon-to-revolt robots in R.U.R.

And yes, speaking of the Czech Republic, this is another case in which the once-unknown technological innovation and exploits are making themselves heard (literally) outside the nation’s borders. See, previously, the story that inspired this tip.

More importantly: dancers. On stilts. Shooting sparks and flame. This guy is a hell of an inventor. (See video, top.) Watch the interview below, then read lots more on his work in this article:

Stanely Povoda & His Robot Band [vivelesrobots-education.dk; site also in Czech]

And while I wish there were more documentation (time to hop Easyjet, perhaps), there are some short clips from his Prague kitchen:

From behind the long-gone, so-called “iron curtain,” nearly-lost musical innovation is beginning to become available. But perhaps more than any geo-political change, the power of an Internet-based community hungry to share knowledge is making national borders that once isolated information melt away.

Earlier this week, I shared reflections I wrote up for Amsterdam’s STEIM on the significant of DIY Music. But one group of artists, the Standuino team from Brno, Czech Republic, really exemplified that spirit. First off, their hardware is utterly brilliant and eminently practical, an Arduino-based platform on which they’ve made it easy to create and modify designs, and share useful tools like the sampler they demonstrated for us in Amsterdam. Secondly, they’re international – the performance brought together a Brazilian, Czech, and Dutch artist in their presentation. Third, they took “DIY” straight to the transportation, hitchhiking all the way from Brno to Amsterdam to be part of our performance, for which we’re all incredibly grateful!

The Standuino crew emphasize that they also wish to make the innovation of the Czech people more visible to the rest of the world. You know Bob Moog or Morton Subotnick, for instance, but do you know the name Standa Filip?

You should. The maker of extensive DIY instruments, interactive work, robotic installations, and new media, Standa (hence Standuino) is inspiring a new generation of artists – first in the Czech Republic, eventually in the world. Those artists, led by Standuino, are recreating some of his work, as well as making new work that carries on his spirit.

Check out the videos here to see him talk about his history and play his instruments, then learn more – and find the Arduino-based hardware designs, which I’ll cover more next week – at the Standuino site:

http://www.standuino.eu/

But there you go – from Rio to Singapore, once I hit publish, just about anybody can learn what it was like to be a lone DIYer in Communist Czechoslovakia – then go find open source ideas with which they can make music from the new generation of creators in the Czech Republic, in a matter of seconds.

Yeah, we overhype the Internet. But that’s pretty damned awesome. I’m going out in the sunshine now for a bit, because that’s awesome, too, but I’m pretty happy that I get to make this my day job. And thanks to you for making that possible, because with you as a reader, none of this would be true.

Steinberg this month released a line of control surfaces that the company describes as “modular” and “ultra-portable.” The idea is this: rather than built a monster control surface to try to squeeze in everything (Akai’s APC40 comes to mind), they have little control surfaces you can combine for exactly what you need (Korg’s nano series, while at the lower end, comes to mind).

The CMC line looks like it does just that, and I have to say, it’s just about the best-looking control surfaces I’ve seen apart from the higher-end (and less portable) Euphonix series now sold by Avid. This could be the first hardware from Steinberg that gets people excited.

Sleek, stylish, and white, favoring touch strips over lots of faders, and lit with colored lights… I recall the line by Arthur Dent from Douglas Adams’ The Hitchhiker’s Guide to the Galaxy. Instead of rather drab-looking faders and music control surfaces:

“This is my idea of a spaceship! All gleaming white, flashing lights, everything. What happens if I press this button?”

What, indeed:

• CMC-CH “Channel controller”: 16 buttons + one rotary + one touch fader – that is, a channel strip
• CMC-FD “Fader controller”: Four touch faders + LED metering + solo/mute
• CMC-QC “Quick controller”: 13 buttons, 8 rotaries, and “EQ, Quick Control, and MIDI” modes – clever, in that you get EQ or macro controls in Cubase
• CMC-PD “Pad controller”: 16 pad, one rotary, for all your finger drumming needs (will be curious to see how much this lives up to the “highly responsive” claim)
• CMC-TP “Transport controller”: 17 buttons + touch slider for jog/shuttle
• CMC-AI “AI Knob”: highlights the “universal knob” macro function in Steinberg’s software for mousing over a control, then grabbing a knob, and searching and selecting presets.

They’re USB bus-powered, use touch controllers Steinberg describes as “high-resolution,” and in true modular fashion even have joint plates for the connections. And yes, they’re designed to go with Steinberg’s bigger CC121 controller, though I think many people will bite on these little devices who ignored the bigger predecessor.

There’s also a set of frames that house the CMC modules or extension units. Not available: coffee table and chair system. You’ll have to work that out for yourself. The frames are almost the same price as the units, so I’m guessing most of y’all will do without them, but bonus points for design.

Now, clearly, visually and interactively, these are designed to go with Cubase and Nuendo, and a couple of the units really make the most sense with those two tools. (You’ll need the full, latest versions of that software to take advantage of all the features.) But being generally uncomfortable with the idea of buying hardware to go with one piece of software, I’m encouraged by the MIDI possibilities here – particularly with transports that could work with video editors or pads and faders that’d be nice when you take your Cubase-created stems into a DJ set with Ableton Live and so forth.

Stefan Trowbridge of Steinberg tells CDM that these will require separate drivers (compatible with Mac and Windows), but will ship on the CMC-PD and CMC-QC with editor software that will assign MIDI messages to the buttons and knobs.

They’re also designed to “fit in your pocket.” To me, that would have to mean you’re either eight feet tall, or wearing lederhosen, which I generally understand to be out of style in Germany. (Hey, I had a pair as a kid growing up in German-American Louisville, Kentucky. I’m sure we could design a more futuristic version. The kilt made a comeback.)

But they do look pretty portable. Messenger bag, Steinberg, not pockets, okay?

EUR129-199 each, including VAT, so I expect a reasonably low street price back in North America.

CDM bonus completely trivial observation! People who went to Columbia University in New York City for electronic music will find this acronym amusing! (It’s the name of their Computer Music Center.) I didn’t, but it’s just one of the Many Trivial Things I Know!

CMC Series @ Steinberg

Let’s look at more pictures!

Achievement unlocked: You’ve scrolled through all those pictures!

Why DIY, anyway? As we prepare for a special Handmade Music afternoon hosted by Amsterdam’s STEIM research center, my co-curator Takuro Mizuta Lippit (dj sniff) asked me to answer that question. Here’s what I wrote for STEIM’s international Patterns and Pleasure festival.

“Do it yourself.”

In the world reshaped by recording, in which music is ubiqiutously available on demand and even bare-bones DJing qualifies as “live” entertainment, the act of just making music surely qualifies as “DIY.” Add the fact that distribution, promotion, and booking of music often falls increasingly on the artists themselves, and it’s hard to see any part of music that isn’t DIY.

So, given all that, what would drive artists to make or modify their own musical tools? One might as well ask why make music in the first place. (Because you can? Because it’s fun? Because it’s the most satisfying way to realize an idea or feeling — often the two together?) I believe some of the separation between “music” and “tools” or “gear” or “technology” is arbitrary. That independence is itself a recording-centric notion, in which musical content as artifact is imagined as independent from how it was made. During the process of production or performance, they’re inseparable. The evolution of musical practice, meanwhile, is intertwined with the technology of playing and representing music. Musical instruments in archaeological records appear alongside the first human tools. Those instruments, like the musical materials themselves, are vessels for expression of human thought. We can make our body an instrument, via percussion or voice, but as with so many other elements of our human life, we extend that body through invention.

When you play an instrument, whether a flute or an interactive music software patch, what you express is mediated both through musical language and the tool. I know as a child, it was what first drew me to music: I could press my fingers to the keys and hear something very much other than what I could produce myself. It’s easy to see the connection to the synthesizer and the computer.

When you want to realize (or discover) new musical and sonic ideas, then, it’s necessary to become involved with the way in which those sounds are produced. As composers for acoustic instruments and voice, you dive into the realms of harmony and rhythm, but also the mechanisms of the instruments and standard and extended techniques. Working with the computer, you employ interfaces — whether simulated knobs or code or graphical representation — to realize your ideas. With electronics, wires and resistors and diodes become compositional. With both, the container you fashion, the handcrafted cases or user interfaces, becomes part of the musical identity you design.

There is no such thing as an instrument built from scratch. To quote Isaac Newton (in words adapted by countless electrical engineers and computer scientists), “if I have seen further, it is by standing on the shoulders of giants.” We inherit a great body of knowledge and tooling. Whether a commercial DAW or a modular development environment or the circuit that makes a filter, we connect with the ideas, imagination, and expertise of generations of engineer-artists. Notably, we lost Max Mathews this year, whose lasting legacy, even more than breakthroughs in computer synthesis, may be his influence on decades of students and colleagues in chasing the limitless potential he saw in digital sound. Thought is the greatest technology there is.

I think we can easily become overly worried about the rise of digital tech. Computers and electronics are here, and for all their dangers — misuse and toxic waste being foremost among them — they are fundamentally a compilation of human ideas. If you like people, you’ll like computers and circuits when you get to know them. We can also become overly concerned with “new”; the great implication of the maturity of electronic sound technology to me is that we can begin to go from novelty to repeatability and expertise. That’s not to discount discovery; it’s simply that discovery can’t exist in a void. At the same time, in our appetite for mastery, we can devalue the novice. I’m excited by seeing projects that don’t quite work yet, that are only at the stage of technical demo or proof of concept, because to me it’s seeing the first steps on a path that could lead a musician into years of practice and refinement. It’s seeing the chicken popping out of the egg. Potential is stimulating when you believe it has a future.

Here, designing one’s own instruments is much like learning to play an instrument. You repeat the ideas of others, just as you repeat the sounds of others when you learn a musical scale. You make sounds that, at first, are, well, awful, but that then grow up. Whether arguably innovative or not, you make discoveries that are inherently personal. And the degree of that progression is dependent in large part on learning from others, playing with them and sharing their experience. As people share that experience, in the end there are breakthroughs to the genuinely new. Collective progress is what allows those individual eurekas.

With economies from Amsterdam to New Amsterdam slowing, with growing unfilled demand for the ability to actually make stuff and not just push abstract numbers around, and with technical problems that demand solutions literally to ensure our survival, all those strange noises we make take on a new meaning. Tools and technology enabled our civilization; now we need them to make humanity sustainable. Silly sounds and musicians’ racket and din may seem distant from that. But we can sing this necessity as a song. We can celebrate the spirit of experimentation by making things that make immediate noise. A bridge or a jet plane isn’t a great place for experimentation or on-the-job learning; music is the perfect playground because errors are always okay. If any community could help encourage free innovation in our culture, music is a strong candidate; today’s young synth builder could be tomorrow photo-voltaic breakthrough. And even if not, we’ll make a wonderful noise.

“Open source” and the “Web” are significant tools to make sharing expertise easier, but at the fundamental level, it’s simply “sharing” that matters. And this is where music’s makers and inventors are helping resurrect the principles of music as community. We have to share ideas and sounds to be able to move forward.

We do it ourselves, together.

Native Instruments reveals some big news for Maschine that’s … well, smaller. A new package has smaller hardware and lower price, with the same full-sized software. And an iOS version lets you use Maschine on iPad or iPhone.

As their drum machine / drum sampler / groove workstation with plug-in hosting and doubling as plug-in matures, and becomes a focus of NI’s production and performance side, things are starting to heat up. And yes, this news comes just as we learn more about an upcoming analog drum machine. It’s a Labor Day full of drum machines.

Shrunken Maschine: Maschine Mikro is, for me, the best news. It’s cheaper than the full Maschine package. It’s smaller and lighter, with a more compact controller. You might expect NI trimmed down the samples set – nope, it’s the same 6 GB ibrary. Or maybe they added a “lite” version of the software – nope, it’s the same, full Maschine version. And you still get full-sized pads. The Maschine pads are some of my favorite currently on the market – controller or otherwise – so that’s quite nice, indeed. You do sacrifice some hands-on control: the Mikro lacks the big, beautiful screens on the full Maschine, and the additional knobs and triggers. The eight macro knobs on the full Maschine are pretty handy, as are dedicated group buttons.

So, why would I think Mikro’s a good idea? Simple: when you’re on the road, or performing live onstage in cramped spaces, the Mikro looks like a winner, and all with the same software and at a lower price. For studio use, the full Maschine is still your best choice. But I’m personally going to switch out to the Mikro, especially because – like many people, I suspect – it’ll ultimately be combined with another controller in my workflow. You can have a closer look at our two product shots from NI and decide for yourself. (Yes, there’s a Maschine Bag, and yes, I was just talking to King Britt about his on-the-go luggage setup with his Maschine, but I’m still partial to smaller and lighter!)

Finger drumming video: NI has also released a promo vid of finger-drumming virtuoso Jeremy Ellis tearing apart their new hardware. It’s supposed to make you want to buy a Mikro, or something, except it may make you feel somewhat … inadequate … with your own finger drumming, instead.

Really Shrunken Maschine: If the Mikro isn’t small enough – say, you’re on the East Coast “Chinatown” Fung Wah bus and don’t really have room for your knees – NI also has a Maschine coming for iOS in October. It seems eminently practical:

• four tracks
• sampling (perhaps the most fun part of having this be mobile)
• “high-quality” effects (no reason that couldn’t just be ported from desktop)
• instrument and drum sounds from the standard Maschine library
• bring back your sketches into the full Maschine and edit them there

I’m only sorry it’s called iMaschine. Oh, well.

Komplete integration: As a footnote to this other news, NI notes that Maschine and Maschine Mikro each now support sound browsing and parameter mapping for instruments and effects in Komplete/Komplete Ultimate – the kind of tactile control originally in Kore, now entirely focused on Maschine.

Bottom line: For lovers of this workstation, it sounds to me like Maschine for iOS on the bus, Maschine software on your MacBook on the plane, Mikro in the hotel room, standard Maschine in the studio.

Maschine product page
Maschine Mikro

Roger Linn, he of the MPC and AdrenaLinn and Linnstrument, sends us his friendly walk-through video showing you how to get started actually using the upcoming Linn/Dave Smith Tempest analog drum machine. We’re awaiting details on when this unit is actually shipping; I’ll update this post once we hear.

What you get instead, though, is nearly twenty minutes of Roger walking you through every single function – this is as much a video manual as it is a “quick start.” It’s nice to see some clever workflow features in action, and you get some very in-depth looks at how the Tempest operates. This is documentation, not marketing, in a good way.

Incidentally, lest you think the Tempest is late — or, at least in terms of its last known shipping projection — Dave and Roger technically have until the Autumn Equinox, which in 2011 falls on September 23 inclusive, in order to ship in summer 2011. I’d go further to say that they have until the end of the date of the equinox Pacific time, which gives them a few additional hours beyond even the majority of their customer base. They’re currently listing the Tempest as due in “late summer 2011,” but unless they mean “late” as in early fall, they have until the 24th of September before they become seasonally incompatible.

I believe it’s briefly on the cusp of the Autumn Equinox on which MIDI clocks start running backwards, or vocoders talk without carrier signals, or something.

Happy Labor Day weekend, USA (and labor lovers everywhere). Happy Fifth of September, everyone. Only (??) shopping days until the Tempest ships.

http://www.rogerlinndesign.com/
http://www.davesmithinstruments.com/

PocoPoco is a delightful, fanciful device that takes music control into the realm of kinetic sculpture. Normally, the relationship of music controller is primarily about the operator making physical actions. With PocoPoco, the hardware itself moves. The essential musical structure is familiar: it’s the grid of light-up buttons, with strong similarity to the ongoing interaction design of Toshio Iwai in the 90s and (Tenori-On) past decade. Even aesthetically, there are similarities – perhaps not coincidentally as this team is also Japan-based.

But adding in the element of solenoid-powered cylinders popping out of the grid adds a major element of surprise. There is also an unmistakable similarity to a certain arcade game, Whac-A-Mole.

Whac-A-Mole might be ideal inspiration. The game itself is based on rhythm and time, and the ability (or inability) of the brain to deal with multiple simultaneous stimuli, much in the same way our brain has to track across lines of counterpoint in music. And Whac-A-Mole’s history might be instructive, too: it’s the creation of Creative Engineering, the pioneering kinetic and animatronic company behind Showbiz Pizza and Chuck E. Cheese. (Achievement unlocked: CDM legitimately references Chuck E. Cheese twice in one week.) Founder and design Aaron Fechter’s animatronic shows might not seem a likely source for futuristic interaction design and music, but with the computer added to the equation, simple mechanical effects take on an entirely new significance.

But back to the PocoPoco. As a musical instrument, I’m dubious. It’s fundamentally another a four-by-four step sequencer, so it’s not as though it actually solves a problem. (Well, if you’ve ever wished your step sequencer were also a game of Whac-a-Mole, it’s the invention you’ve been waiting for.) But even if it’s not actually useful, it’s no less intriguing. It could be seen as a tantalizing reminder that adding motion to interfaces could produce musical devices that double as moving sculptures, and performance tools that move rather than sit around waiting for you.

The timing seems right, too, as touch interfaces like the iPad make physical interaction fairly abstract (running your finger on undifferentiated glass), or gestural interfaces take away any touch at all (Kinect).

There’s a great interview at DJ Tech Tools. That’s fitting, as DJTT has popularized their own MIDI Fighter hardware, which accentuates the tactile feel of playing grids by swapping arcade buttons as the input, and likewise has a strong connection as this does to games and arcades. A must-read:

PocoPoco – The Motorized Controller [Interview, DJ TechTools]

Takaharu Kanai, one of the designers from the IDEAA Lab team at Tokyo Metropolitan University, has some good things to say.

Seen other kinetic hardware, or worked on a design of your own? We’d love to see it.

Novation has unveiled their newest product, a line of USB MIDI keyboards called Impulse. Shipping in September, they’ll run street/dealer prices of US$249.99 for the 25-key, $349.99 for 49 keys, and $399.99 for 61 keys.

This pits Novation squarely against some similar MIDI keyboards, including the M-Audio Axiom to which I gave the nod in a Keyboard Magazine round-up I wrote. (It even has a similar control surface layout.) The Novation picks up on some of the issues I noted, and adds some unique features:

• Aftertouch. Keybed quality is paramount for obvious reasons. What’s typically missing, for those who like it, is aftertouch support, available here.
• Full DAW control. Available on the Axiom but previously missing on Novation’s offering, you get 8 knobs, 9 faders and buttons, and an LCD for controlling your DAW. (Only one fader on the 25-key model, since all of that wouldn’t fit.
• Automap. It wouldn’t be a Novation keyboard without the company’s Automap feature. Whether that’s good or not depends on whether you like the functionality; I’ve tended to find it a bit fiddly at times, though the implementation with Propellerheads’ Reason is fantastic. (Hosts are a big part of the variable here.)
• Pads that do more. This one’s rather interesting: you get drum pads set up to do arpeggios, rolls, and Ableton Live clip launching. You could do that with any pads, but neat to see it on the keyboard, and I’m curious to learn more about the specific implementation.

My only regrets? The basic keyboard still fits into more or less the same category as what we’ve seen – possibly a worthy choice if you’re new, but probably not if you already have a controller keyboard. That may be what sells and what people want, so I don’t begrudge these companies making keyboards like this, and the cost is pretty incredible. I just long for some variety – which may mean looking to higher-end custom jobs rather than mass keyboards.

And I can’t really say I’m in love with the styling, either, to say the least. I’ll have to see it in person, and your taste may absolutely vary (you don’t need me to tell you what you like); I just would love to see something that’s both conservative and modern, not either bland or tending to be garish. (This just looks sporty in the way those gaming PCs do to me.) Again, custom keyboards may be the only route; watch for some coverage of that soon. (But seriously, Novation — a lot of folks I know really liked your previous styling.)

The product:
http://www.novationmusic.com/products/midi_controllers/impulse/

Video and more pics:

In late September, CDM travels to Amsterdam and the legendary STEIM, a hub for research and experimentation in electro-acoustic music. The Patterns + Pleasure Festival will explore live electronic music practice and more, from controllerist laptop musicians like Edison and Moldover to the likes of sculpture-trained artist Nina Boes working with drawing and video instruments. The afternoon of September 28, we’ll have an open celebration of DIY electronic music culture with a special installment of Handmade Music.

If you’re in the Netherlands or nearby, we hope you’ll stop by. And if you have something you’d like to share, for show-and-tell, performance, and mingling with artists participating in and attending the festival, we have an open call for works.

You can see our video from last time. The video doesn’t really convey what a blast we had. Don’t be afraid by the crackles and whistles, either; I love that there’s a range of sound in electronic inventions, from the crackly experimental to instruments that work in more conventional contexts, too.

This installment already promises to be far bigger. I can’t wait. And if you’re far from the lovely winding canals of Amsterdam seen below, we’re working on extensive coverage so you can feel like you’re there from anywhere on the planet.

Here’s the call for works; feel free to spread it around:

Open Call:
Handmade Music at STEIM

As part of the Patterns + Pleasure Festival
28 September 2011
14:30 – 17:30
Frascati Theater, Amsterdam
Deadline: Tuesday 9 September 2011

Hosted by createdigitalmusic.com and STEIM; curated by Peter KIRN with Takuro Mizuta Lippit

Attention, makers of things that make music! Be part of an open laboratory, a science fair-style show and tell of work. We want to see your creations, including but not limited to:

Custom circuitry
New custom synthesizers
Creative controllers
Open source hardware and software
Audiovisual software
Original acoustic and electroacoustic instruments
Sound art/sculpture
Circuit-bent designs
Instruments and composition and performance tools made with game technology, mobile technology, Kinect cameras, and the like

The essential element is that you’ve built something yourself, in hardware, software, or both.

Please be prepared to show a self-contained presentation of your work. Some display/projection and amplification will be available, but we encourage you to bring your own displays and speakers if you can.

We will setup works for show-and-tell style exploration, as well as brief (5-minute demos) and short (5-10-minute), variety style performances and jams. We’ll also lead a discussion with artists and engineers, and encourage you to meet other makers and exchange ideas and techniques.

We are unfortunately unable to provide expenses for travel, so you will need to provide your own transportation to and lodging in Amsterdam. All projects will be covered on createdigitalmusic.com.

Please submit:

1. Your name, as you’d like it to be listed
2. Your project name
3. If applicable, a link to a project site
4. Photos of your project (a link to Flickr, Picasa, blogs, etc. is fine)
5. (Mandatory) Video and or audio documentation of your project in action (Vimeo, YouTube, SoundCloud, etc.)
6. Space requirements
7. Technical requirements (power / audio / safety concerns if applicable)
8. A brief description (two sentences is fine) of your project.
9. If you wish to propose a performance, please describe in short how you perform with your tool.
10. Your contact information, so we may respond

Submission form:
http://cdm.fm/pt99dq

We prefer to capture information on the submission form, but if you have difficulty with it, please email peter (at) createdigitalmedia [dot] net directly with the subject ‘STEIM HANDMADE MUSIC’

patternsandpleasure.com

The appeal of new controllers is melding gesture and sound, metaphor – in tangible form – and musical idea. So before talking about this controller, have a listen to the sounds it produces in the hands of one user, even if another user might do something very different. In a demonstration by Richard Devine, sparse percussive sounds reminiscent of early sonic experiments by the likes of Varese echo in clusters of water-like drops and echoing rumbles. (Richard is perhaps better known for dense, sometimes raucously relentless walls of sound; this formally more contemplative, which I really enjoy, even if it’s just a demo.)

Whether this immediate sonic application is your cup of tea, you can then have a look at the controller. Most of it is conventional, if nicely executed: encoders ringed by LEDs, pots, and buttons. But its central controller, looking like the exposed innards of a hard drive, is something else: the Spin is not a potentiometer, not a knob, not a faux turntable. It’s something different. Instead of just responding to rotation, it responds to inertia, built around the rotational movement but allowing new degrees of subtlety and control. As the creator describes it (well worth reading his entire description, but I like the ideas in this bit):

The spin allow the user to change a parameter with another feeling than a simple potentiometer:
large amplitude movement for a small variation.
control of the increment of the variation.
the spin can be launched and stopped, the variation stay under control using the increment parameter.
the spin can be automated, with 2 parameters for time control: increment and speed.
the spin can play a note and change its velocity, while a rotary controls the note pitch.
the spin can be assigned on any rotary and use its MIDI mapping to change his value, while automated or not.
the spin can fight against embedded sequencer.

(Because of a couple of grammatical errors translating to English, we also know that the spin is masculine. Odd – it seems actually kind of feminine to me. I’ll let you reflect on that.)

The notion of using inertia in a rotary controller isn’t entirely foreign to larger commercial projects; Native Instruments touted something like that in their Traktor Kontrol S4 controller. Here, though, freed from having to operate a DJ software and its turntable-derived sound ideas, inertial control can come to the fore as the principal interaction idea, applied to new musical parameters.

Richard Devine, who’s so on top of things I think he already owns musical inventions that I just happened to think about, is of course all over this. From his description:

The timeFrog II is a powerful and flexible MIDI device dedicated to music computer and MIDI applications.

The spin/inertial sensor provides a totally new kind of control surface, which opens new way for playing with parameters.

The 8 endless encoders, 4 potentiometers and 6 buttons form a functional and compact.

There is also a embedded 4 steps sequencer: 4×4 steps x 6 voices

This patch was setup in Ableton Max For Live using only two instances of SonicCharge’s Synplant software synthesizer. These two patches where customized and designed to work with the timeFrogII. Creating for some very unique musical gestures. All sequencing and note generation is from the timeFrog controller.

Richard tells us:

I recently received this really interesting MIDI controller from my friend Oliver over at Undead Instruments. I met Oliver in Belgium last month when I was on tour through Brussels. I was really intrigued by this midi controller he was working on called the timeFrog II. I only recently had the chance to sit down and play with it. Quite interesting and different approach from the other midi controllers I have seen and played with. I hadn’t seen any proper demonstration videos yet of this strange device so I thought I would do one.

More video demos, from other artists, show the gamut of what this instrument can do:

More info:
http://www.undeadinst.com/products/timefrog

From Austin, Texas, a bit of a haven for brilliant custom sound hardware, comes this epic-looking MIDI controller by Mad Zach, the SR MixControl. Covered in blinding super-bright LEDs, and with an absurdly-thorough complement of sliders, knobs, and arcade buttons, it looks as thought it’d be right at home on your evil flying saucer or Mad Max Interceptor.

Here’s what the makers have to say about it in their sales pitch:

The SR MixControl is a highly versatile mix-minded controller designed and built custom for Simon Rodgers of Victoria, Australia. It features high quality black concave arcade buttons, super bright red LED’s, sliders, spring buttons, and super smooth knobs. Tying it all together is custom artwork from Clay Chollar. This controller also integrates an elegant programmer application that enables complex LED functionality and innovative preset memory.

Mad Zach is also running his own custom shop, one of a handful of places that do custom MIDI controllers. I’ll be interested to hear how that business goes. In the case of custommidicontrollers.com, they will work with any combination of sliders and knobs, buttons, switches, touch strips, and LEDs, and add hardwood, aluminum, and acrylic cases along with airbrushed and screenprinted graphics.

More on that:
http://www.custommidicontrollers.com

I usually hear from the makers, but if you’re a reader who commissions something lovely like this, we all hate and envy you we’d love to hear from you and see what you’ve done.

And Austin, what’s your secret?

I’m betting the tacos.