micronaut – experiment one
Having a bit of fun with the new equipment set-up, and trying to get a feel for the workflow. This piece is entirely sequenced from an Apple //e and Roland CMU-800R. I’m recording in to Ableton Live, but there are no samples or pre-recording. This track is 100% live.
The quick arpeggio sound, drums, and 16th note pulse are coming from the CMU-800R. The low bass note is from a Korg MS20 running through a Roland RE-201 Space Echo, and the main melody sound is coming from the Doepfer modular (in this case a TipTop Audio Z3000 oscillator, plus some Doepfer shit) and running through a Realistic Electronic Reverb and an Eventide TimeFactor. I used a couple instances of Audio Damage Eos for the main reverb inside the DAW, but that’s the only computer effect.
Shared by Cranda11
Octatrack explores an old favorite
Spinning Whhhheeeeeeeeeeelllllllllllllllllllllllllllllllllllllll
Here I use the Elektron Octatrack to explore an old favorite. You’ll notice I use two scenes. One for basic time stretching and the other for entering and sculpting the timescape. That last sentence really should have ended, “sculpting the timescape, man”.
Shared bu Allerian1
Computer controlling a real midi player piano
Here’s what they have to say about it:
I performed a version of this at the ICAM BestOf Show in June of 2010 in the Experimental Theater of the Conrad Prebys Music Center, UCSD.
http://musicweb.ucsd.edu/MusicCenter/
For that performance the computer was controlling a real midi player piano like one of these:http://usa.yamaha.com/products/mus
ical-instruments/keyboards/disklaviers/grand_pianos/ instead of a sampler piano.
The vibraphone synthesizer was sending 10 discreet channels of audio to a Meyer Constellation Sound system, which was in an 8.2 surround configuration.
It was a project completed for an independent study credit in my major at UCSD.
http://musicweb.ucsd.edu/ugrad/icam.php
Sekuensaa ??
This is a musical exploration experience in which multiple participants simultaneously interact with a sound synthesizer by arranging a special set of pieces on top of a multitouch surface.
Pieces exhibit different behaviours when placed on the surface – some act like triggers in a drum machine, some behave like a kaoss pad, while others add extra layers of sound to make the performance really come together. Pieces are sensitive to their position and orientation on the table, so users can cycle through different instruments or modulate sound parameters with a simple twisting or sliding motion.
We believe the key here is to design a system which is simple enough for people with little musical ability to enjoy, while providing enough control to allow people with a stronger background to deliver more complex performances. It´s similar to the reactable, but provides a simpler interface for everyone to enjoy.
Please visit http://www.sensaa.com for more info.
Sound design and music production by Santiago Abadía: www.santiagoabadia.com
Ambient, darkwave soundscape created entirely by the SynFactory
Pervading Omnipotent Manifolds of Expression
Pervading Omnipotent Manifolds of Expression is an ambient, darkwave soundscape created entirely by the SynFactory 1.15 modular software synthesizer. This amazing piece of software can be configured in an almost infinite combination of possibilities to produce modulating or sequenced waveforms as simple or complex as the composer wishes to create.
For this composition, the main sequenced lines were created by feeding the patterned 8-step sequencer into the FM inputs of a sinebank module (multiple sinewave oscillators for additive synthesis). The sequenced output from the sinebank was then fed into a ring-modulator unit and modulated by a sinewave. The output from the ring-modulator then fed twin delay units to produce the stereo delay output. It was by manipulating the controls of the sequencer module that produced the real-time variable output, recorded as a continuous waveform that could later be integrated into a multi-track recording structure. A 6.5-minute sequence was produced in this manner, and inserted into a multi-track recording session. Because the tempo bpm was unknown, a “tempo track” was created as a series of high-frequency bleeps (as a visual reference for timing). To this “tempo track” a rhythm track was created manually – by positioning snare and bass drum samples by precision editing in accordance to the visual reference of the “tempo track”.
To create rhythmic variety, the same manually-created rhythm track was ring-modulated by a 150 Hz sinewave, and positioned on the timeline to create an interesting rhythm combination. This first session was then mixed down to create the main sub-master mix to add further elements. A second session was created by introducing a pulsating dark ring-modulated sequence. Surreal chimes fade in and out (created by ring-modulated sequences subjected to extended delays), and “twinkle tones” add to the surreal quality (created on the Korg R3 synthesizer). Other added sequences include additional atonal melodic elements, and “shimmering” passages toward the conclusion of the composition. All these additional elements were then mixed together to create the final stereo master. The result is a darkwave-ambient piece of electronica, partially inspired by the feel in music as evident by the group Bauhaus.
The visuals comprise wide-screen modulating textures and patterns forming a background. Added to this were images of mannequins and science-fiction robots and other strange characters. The Autons from Doctor Who feature quite heavily. This visual composite was then used as the source to process multiple keyed versions of itself to create visual complexity. An outlined composite mix was also created, as well as several multi-coloured variations. Sections of all these variations were edited to the soundtrack. The result is a surreal wash of colours and textures to complement the strange ring-modulated tonalities created entirely by the amazing SynFactory 1.15 modular software synthesizer.
Shared by JeffreyPlaide
This is sooo slick – Sampled Room
This is an example, how to use the basic stuff in your room in such creative and musician way. Just take some noisy and voiced objects and record them with any sampler. At the end use all this stuff to create any music u desire. Or… You even don’t need any sampler. Just use your friends, give them gadgets and transform your party into gizmo-jam-session. I can guarantee much fun. Enjoy!
Tools:
Canon EOS 5D mkII
DitoGear™ CrankSlider
Microphone Shure SM 48
2 Wine Glases
Panties
Bottle Opener
Drier
Tape
Tube Pack From Whiskey
Spring
Old Russian Camera
Spanner
Water
Shots, Edit & Music – Mateusz Zdziebko
Cryoacoustic Orb
Cryoacoustic Orb is a sound installation involving multiple illuminated acrylic orbs filled with slowly melting ice. Hydrophones frozen inside the ice amplify the sounds of the melting process, which are electronically processed and spatialized throughout the darkened gallery space. The result is a unique ambient soundscape that evolves over the course of several hours.
Introducing mlrv 2.0
mlrv is a hypersampling instrument for grid-based music contollers like the monome, livid ohm/block, novation launchpad, and akai apc/mpd. the software allows a sound file or live recording to be mapped across each row (or grid cell) and assigned a triggering behavior. within this simple set of constraints and a complete MIDI + OSC remote control system, the performer of electronic music can be freed from the laptop, and at the very least appear to be doing something interesting. mlrv is an refactoring of brian crabtree’s original mlr, extended by trent gill (galapagoose) and michael felix (%) of /parallelogram/
more infos: parallelogram.cc/mlrv
CIRCULATOR
Making “CIRCULATOR” / An installation by Jim Blashfield / 4Culture
In this short documentary, filmmaker/media artist Jim Blashfield talks about his 7 screen sound and video installation created for the Brightwater Environmental Education Center. Commissioned by 4 Culture.
I Sing With An Electric Voice
A demonstration of “Electric Voice”, a voice processing system comprising an Alesis Micron Vocoder and a TC-Helicon Voiceworks vocal processor. Additional expressive capabilities are provided by a Moog Etherwave Plus Theremin CV Controller and a Moog MF-101 Low Pass Filter.
experimentalsynth.com is the creation of Chris Stack, former Marketing Manager for Moog Music and all around jack-o-the-wires
www.experimentalsynth.com
DATAMASKIN
