New Faderfox, from mixer-style controllers to RGB insanity

Want something vanilla, like a MIDI controller with a classic mixer layout or a bunch of pots? Or want something crazy – like a psycho-bright light-up show controller? Faderfox has you either way.

The one-person German boutique controller company Faderfox has been making clever controllers since some of the first days of doing that for software, and they keep getting better. Mathias – he really is just one guy – wrote with the latest. He’s Mathias is now shipping the first controllers in his “MODULE” line. The idea here is, you get to mix and match some simple options to build up a virtual mixing surface, for your hardware or software.

These are pre-configured to work with Ableton Live and Elektron’s boxes, and the form factor even matches the Elektron so you can arrange or rack them together neatly.

You can use the new MODULE line with any MIDI-enabled hardware or software, but fans of Elektron will notice something about the dimensions.

On the MX12, you get twelve fader strips – 12 faders, 24 pots, and 24 buttons. Those still send whatever you want, so you can control whatever hardware or software tool you wish (via control change, program change, all the goodies), either by manually creating templates or using MIDI learn to automatically assign them.

On the PC12, you get just pots – 72 of them. You could put those two together, or use them individually, or build a monster system by chaining these together.

You might get away with the generic one and some adjustment in your software, but there are up to 30 custom setups if not.

And each comes in an aluminum case with both two MIDI in and two MIDI out, plus USB. An extension port lets you connect to other stuff.

Oh, and this is cute and useful – these come with a dry erase marker and empty overlay, so you can mark up your controller and know what everything is. There’s even a matching stand. Different colored fader caps let you add additional visual feedback.

399EUR (before VAT) for each.

Okay, so that’s the practical – now let’s get to the impractical (but fun). Mathias has done various one-off custom controller builds, but the GT1 is the craziest, biggest yet – a light-up, 144 RGB LED show controller.

So, for anyone complaining about laptop performance behind a blue glow, uh… take this.

Of course it syncs to music. Of course.

More:

http://www.faderfox.de/gt1.html

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Behringer responds to reports, defends reverse engineering

MUSIC TRIBE and Behringer responded early today to CDM’s request for comment, following revelations that company had targeted a Chinese website and Dave Smith Instruments with threatened or real legal action over criticism of the company’s business practices.

Uli Behringer, company CEO and founder of holding company MUSIC TRIBE, shared the following, which I’ve included in its entirety. (He also shared the same message to their Facebook group.)

In the message, Behringer doubles down on the claim that comments posted by a Dave Smith Instruments employee to the Gearslutz forum, as well as by Chinese news site Midifan, are false and constitute illegal defamation. He also defends the practice of what he describes as “reverse engineering” in their product development process.

Here’s their side of the story, as represented to us:

Hi Peter,

Thank you for reaching out and giving us an opportunity to respond in detail which we appreciate.

This is actually a first in our history with CDM and we welcome the change. As usual there are always two sides to any story and in the spirit of transparency and fairness we believe both sides should be heard. Since much revolves around “Defamation,” please find a quick Wiki link.

https://en.wikipedia.org/wiki/Defamation

Chinese Media Case
Allow me to first comment on the previous story related to the Chinese Media case. While you had claimed to have reached out to us for comments, there is no such record in any of our systems. You only contacted me and Michael Lapke last weekend after the news was already a week old.

Let me start by saying that we don’t have any problem with people criticizing us. In fact we appreciate constructive criticism as that’s the only way to learn. What we have a problem with is when our employees are being called highly offensive and insulting names by media outlets. Unfortunately your article did not properly reflect the full content and background of the language used, which in the Chinese culture has a highly different sensitivity and legality.

This was not only raised by our Chinese colleagues but also customers of this media site who felt compelled to contact us. Also publishing pictures of a cancer-fighting colleague in a hospital bed has caused deep concerns among our people.

We sent the owner of the publishing site a Cease-and-Desist letter, but he was never sued as wrongly reported. We have since spoken with the publisher and they have promised to remove the offensive language and refrain from posting such slur in the future. We consider this case to be resolved and he also has standing invitation to visit us.

Since our employee welfare and integrity has been severely questioned by this Chinese magazine and whose accusations have later been repeated by CDM and other publishers without fact checking, I like to post a link to a local job portal that may give you a different impression. We also invited you Peter (and everyone else) to visit us, both in Manchester and Zhongshan.

We are very proud that we have been ranked Zhongshan’s No. 1 employer by the leading and independent job site (http://www.jobui.com/company/35895/)

Our factory MUSIC Tribe City is ranked:

· No 1 most popular electronics company
· No 1 most popular recruiting company
· No 1 most employee caring company

I am very proud of our local leaders who go out of their way to make a difference for our employees. If you like to learn more about our MUSIC Tribe City here is a video.

DSI Case

Some time ago an employee of DSI had posted incorrect and slanderous statements about our company on multiple forums. We put both the employee as well as DSI on notice and received a signed Cease-and-Desist letter from the employee where he assured us that he would refrain from such future comments. I have attached a copy of the undertaking of the employee to stop making such comments. In the reply of DSI, the company stated that it has instructed all employees to stop making any false or derogatory statements against us.

It is important to understand that this is not a legal action against a mere individual but a representative of a competitor. Any such false and disparaging comments made by DSI’s employee, are damaging and inappropriate in a highly competitive market such as ours. Unfortunately and despite the signed declaration, the individual working for DSI chose to continue to make such claims and hence we were forced to take legal action. If the employee had stopped his actions as agreed, the case would have never been field. While I am not a lawyer, I can only assume that including 20 “John Does” is part of a standard legal procedure to include other potential individuals related to the company. For clarity purposes, this case has nothing to with any particular forum or individuals other than those related to DSI.

Misconception around IP

Allow me to post an article about IP (Intellectual Property) as this is an important one to us. Especially because we have been accused of not honoring the IP of other manufacturers. I have heard and read over the years many accounts of lawsuits, judgments and sanctions against our company that are frankly based in fiction and not fact.

Technology is free for anyone to use unless it is protected

This is the fundamental principle of every industry and how we as a society progress and evolve. Imagine there was only one car or guitar manufacturer. I welcome this opportunity to set the record straight not only on past cases but to also clarify our view on IP and what constitutes fair competition as well.

About 30 years ago, as a small garage operation, we became involved in a patent dispute with Aphex over a processor we were building. At that time there were several companies who produced those exciters, such Akai, SPL, D&R, etc. Our patent attorney advised us that the Aphex patent was invalid and I also applied for my own patent (DE3904425), with sponsorship from the acclaimed Fraunhofer Institute, the inventors of MP3. Despite assurances and our own beliefs, we ended up in court where the judge ruled in Aphex’s favor and we lost the case. We paid damages and moved on.

This case illustrates very clearly what I came to understand over the ensuing nearly 30 years about patents and IP. Disputes over intellectual property are commonplace in many industries and especially so in the technology industry. IP is a grey area, as it deals with patents, trade dress, copyrights, designs etc. where not much is black and white.

Just look at cases with Roland versus InMusic, Gibson versus PRS, Peavey versus QSC, Microsoft, Blackberry, Yahoo, Google, Samsung, Apple etc. Lawsuits are often used as “guerilla tactics” and especially common in the US where legal fees are sky high and each party has to pay its own fees regardless of the outcome of the case. This, along with the fact that IP litigation is often used as a tool to push a competitor out of business, are reasons why there are so many cases in this area of law.

Misconceptions around IP

One needs to be clear about the distinction between blatantly copying someone else’s product and the principle of reverse engineering. Copying a product 1:1 is clearly illegal, however reverse engineering is something that takes place every day and is accepted as part of a product development process known as benchmarking.

Often one company will establish a new market opportunity for a unique product and others will follow with their versions of that pioneering product. Think iPhone followed by Samsung Galaxy. This is the principle of competition.

The Article from Berkeley Law School gives a great read and provides valuable background information. A quick excerpt demonstrates why public opinion often differs from the law.

“Reverse engineering has a long history as an accepted practice. Lawyers and economists have endorsed reverse engineering as an appropriate way for firms to obtain information about another firm’s product, even if the intended result is to make a directly competing product that will draw away customers from the maker of the first product.”

One of the cases that endures in people’s memories is when we were sued by Mackie over alleged infringement of their IP. After a series of very costly and bitter court cases which we all won, Mackie reached out to us for a settlement which did not involve any money. It was proven in court that we had not copied their schematics or PCB layouts, nor had we infringed on any patents as there were none. Nor had there ever been any legal cases brought by BBE, dbx or Drawmer as claimed by Mackie as part of their marketing campaign against us and which was later erroneously reported by Wikipedia and even CDM.

In our first two decades, most of our products were designed to follow market leaders with similar features and appearance, at a lower cost. This value proposition upset many of our competitors while at the same time earning us a huge fan base among customers. I fully understand that many of those competitors would be frustrated by our ability to deliver equivalent or better products at significantly lower prices and that is the source of much of the anger directed at us by them.

Since the Aphex case we have been sued several times and we equally had to sue competitors over infringement of our IP. This happens in every industry and is part of a fierce and competitive landscape.

However, to be clear, we have not lost any substantial IP case since the Aphex case 30 years ago and legal cases are a matter of public record.

We are committed to never engage in any activity that willfully infringes on the intellectual property rights of any company or individual. However, we are also aware that legal wrangling will continue as we press on with our philosophy of delivering the best products at the lowest possible cost.

We welcome criticism

I am a big believer in free speech and welcome any form of constructive criticism, as this is the only way for us to learn and improve. We also don’t mind any comments made or language used by individuals as this is a matter of personal choice.

It becomes sensitive when incorrect or defamatory statements are made by competitors and the media. While there is free speech, words do have consequences and since we are all bound by the law, the rules should be applied equally to everyone.
Once again, I understand that people have their opinions and preferences and I fully respect that. I also understand that some people don’t like me or our company, and chose not to buy our products which I respect, too.

Since we started our company 30 years ago, we have always carefully listened to our customers and built what they wanted us to build. Sometimes people would request us to improve an existing product in the market, sometimes they would come up with a complete new idea. In fact many of the ideas for our most successful products have actually come from our customers and for that we are immensely grateful.

However, we are also aware that legal wrangling will continue as we press on with our philosophy of delivering the best products at the lowest possible cost.

This is the philosophy I started the company on 30 years ago, and this is the philosophy that will carry us into the future.

Thanks for listening.

Uli

Pictured: a mock-up of Music Tribe City.

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Minds, machines, and centralization: AI and music

Far from the liberated playground the Internet once promised, online connectivity now threatens to give us mainly pre-programmed culture. As we continue reflections on AI from CTM Festival in Berlin, here’s an essay from this year’s program.

If you attended Berlin’s festival this year, you got this essay I wrote – along with a lot of compelling writing from other thinkers – in a printed book in the catalog. I asked for permission from CTM Festival to reprint it here for those who didn’t get to join us earlier this year. I’m going to actually resist the temptation to edit it (apart from bringing it back to CDM-style American English spellings), even though a lot has happened in this field even since I wrote it at the end of December. But I’m curious to get your thoughts.

I also was lucky enough to get to program a series of talks for CTM Festival, which we made available in video form with commentary earlier this week, also with CTM’s help:
A look at AI’s strange and dystopian future for art, music, and society

The complete set of talks from CTM 2018 are now available on SoundCloud. It’s a pleasure to get to work with a festival that not only has a rich and challenging program of music and art, but serves as a platform for ideas, debate, and discourse, too. (Speaking of which, greetings from another European festival that commits to that – SONAR, in Barcelona.)

The image used for this article is an artwork by Memo Akten, used with permission, as suggested by curator and CTM 2018 guest speaker Estela Oliva. It’s called “Inception,” and I think is a perfect example of how artists can make these technologies expressive and transcendent, amplifying their flaws into something uniquely human.

Minds, Machines, and Centralisation: Why Musicians Need to Hack AI Now

IN THIS ARTICLE, CTM HACKLAB DIRECTOR PETER KIRN PROVIDES A BRIEF HISTORY OF THE CO-OPTING OF MUSIC AND LISTENING BY CENTRALIZED INDUSTRY AND CORPORATIONS, IDENTIFYING MUZAK AS A PRECURSOR TO THE USE OF ARTIFICIAL INTELLIGENCE FOR “PRE-PROGRAMMED CULTURE.” HE GOES ON TO DISCUSS PRODUCTIVE WAYS FOR THOSE WHO VALUE “CHOICE AND SURPRISE” TO REACT TO AND INTERACT WITH TECHNOLOGIES LIKE THESE THAT GROW MORE INESCAPABLE BY THE DAY.

It’s now a defunct entity, but “Muzak,” the company that provided background music, was once everywhere. Its management saw to it that their sonic product was ubiquitous, intrusive, and even engineered to impact behavior — and so the word Muzak became synonymous with all that was hated and insipid in manufactured culture.

Anachronistic as it may seem now, Muzak was a sign of how tele-communications technology would shape cultural consumption. Muzak may be known for its sound, but its delivery method is telling. Nearly a hundred years before Spotify, founder Major General George Owen Squier originated the idea of sending music over wires — phone wires, to be fair, but still not far off from where we’re at today. The patent he got for electrical signalling doesn’t mention music, or indeed even sound content. But the Major General was the first successful business founder to prove in practice that electronic distribution of music was the future, one that would take power out of the hands of radio broadcasters and give the delivery company additional power over content. (He also came up with the now-loathed Muzak brand name.)

What we now know as the conventional music industry has its roots in pianola rolls, then in jukeboxes, and finally in radio stations and physical media. Muzak was something different, as it sidestepped the whole structure: playlists were selected by an unseen, centralized corporation, then piped everywhere. You’d hear Muzak in your elevator ride in a department store (hence the phrase, elevator music). There were speakers tucked into potted plants. The White House and NASA at some points subscribed. Anywhere there was silence, it might be replaced with pre-programmed music.

Muzak added to its notoriety by marketing the notion of using its product to boost worker productivity, through a pseudo-scientific regimen it called the “stimulus progression.” And in that, we see a notion that presages today’s app behavior loops and motivators, meant to drive consumption and engagement, ad clicks and app swipes.

Muzak for its part didn’t last forever, with stimulus progression long since debunked, customers preferring licensed music to this mix of original sounds, and newer competitors getting further ahead in the marketplace.

But what about the idea of homogenized, pre-programmed culture delivered by wire, designed for behavior modification? That basic concept seems to be making a comeback.

Automation and Power

“AI” or machine intelligence has been tilted in the present moment to focus on one specific area: the use of self-training algorithms to process large amounts of data. This is a necessity of our times, and it has special value to some of the big technical players who just happen to have competencies in the areas machine learning prefers — lots of servers, top mathematical analysts, and big data sets.

That shift in scale is more or less inescapable, though, in its impact. Radio implies limited channels; limited channels implies human selectors — meet the DJ. The nature of the internet as wide-open for any kind of culture means wide open scale. And it will necessarily involve machines doing some of the sifting, because it’s simply too large to operate otherwise.

There’s danger inherent in this shift. One, users may be lazy, willing to let their preferences be tipped for them rather than face the tyranny of choice alone. Two, the entities that select for them may have agendas of their own. Taken as an aggregate, the upshot could be greater normalization and homogenization, plus the marginalization of anyone whose expression is different, unviable commercially, or out of sync with the classes of people with money and influence. If the dream of the internet as global music community seems in practice to lack real diversity, here’s a clue as to why.

At the same time, this should all sound familiar — the advent of recording and broadcast media brought with it some of the same forces, and that led to the worst bubblegum pop and the most egregious cultural appropriation. Now, we have algorithms and corporate channel editors instead of charts and label execs — and the worries about payola and the eradication of anything radical or different are just as well-placed.

What’s new is that there’s now also a real-time feedback loop between user actions and automated cultural selection (or perhaps even soon, production). Squier’s stimulus progression couldn’t monitor metrics representing the listener. Today’s online tools can. That could blow apart past biases, or it could reinforce them — or it could do a combination of the two.

In any case, it definitely has power. At last year’s CTM hacklab, Cambridge University’s Jason Rentfrow looked at how music tastes could be predictive of personality and even political thought. The connection was timely, as the talk came the same week as Trump assumed the U.S. presidency, his campaign having employed social media analytics to determine how to target and influence voters.

We can no longer separate musical consumption — or other consumption of information and culture — from the data it generates, or from the way that data can be used. We need to be wary of centralized monopolies on that data and its application, and we need to be aware of how these sorts of algorithms reshape choice and remake media. And we might well look for chances to regain our own personal control.

Even if passive consumption may seem to be valuable to corporate players, those players may discover that passivity suffers diminishing returns. Activities like shopping on Amazon, finding dates on Tinder, watching television on Netflix, and, increasingly, music listening, are all experiences that push algorithmic recommendations. But if users begin to follow only those automated recommendations, the suggestions fold back in on themselves, and those tools lose their value. We’re left with a colorless growing detritus of our own histories and the larger world’s. (Just ask someone who gave up on those Tinder dates or went to friends because they couldn’t work out the next TV show to binge-watch.)

There’s also clearly a social value to human recommendations — expert and friend alike. But there’s a third way: use machines to augment humans, rather than diminish them, and open the tools to creative use, not only automation.

Music is already reaping benefits of data training’s power in new contexts. By applying machine learning to identifying human gestures, Rebecca Fiebrink has found a new way to make gestural interfaces for music smarter and more accessible. Audio software companies are now using machine learning as a new approach to manipulating sound material in cases where traditional DSP tools are limited. What’s significant about this work is that it makes these tools meaningful in active creation rather than passive consumption.

AI, back in user hands

Machine learning techniques will continue to expand as tools by which the companies mining big data make sense of their resources — from ore into product. It’s in turn how they’ll see us, and how we’ll see ourselves.

We can’t simply opt out, because those tools will shape the world around us with or without our personal participation, and because the breadth of available data demands their use. What we can do is to better understand how they work and reassert our own agency.

When people are literate in what these technologies are and how they work, they can make more informed decisions in their own lives and in the larger society. They can also use and abuse these tools themselves, without relying on magical corporate products to do it for them.

Abuse itself has special value. Music and art are fields in which these machine techniques can and do bring new discoveries. There’s a reason Google has invested in these areas — because artists very often can speculate on possibilities and find creative potential. Artists lead.

The public seems to respond to rough edges and flaws, too. In the 60s, when researcher Joseph Weizenbaum attempted to parody a psychotherapist with crude language pattern matching in his program, ELIZA, he was surprised when users started to tell the program their darkest secrets and imagine understanding that wasn’t there. The crudeness of Markov chains as predictive text tool — they were developed for analyzing Pushkin statistics and not generating language, after all — has given rise to breeds of poetry based on their very weirdness. When Google’s style transfer technique was applied using a database of dog images, the bizarre, unnatural images that warped photos into dogs went viral online. Since then, Google has made vastly more sophisticated techniques that apply realistic painterly effects and… well, it seems that’s attracted only a fraction of the interest that the dog images did.

Maybe there’s something even more fundamental at work. Corporate culture dictates predictability and centralized value. The artist does just the opposite, capitalizing on surprise. It’s in the interest of artists if these technologies can be broken. Muzak represents what happens to aesthetics when centralized control and corporate values win out — but it’s as much the widespread public hatred that’s the major cautionary tale. The values of surprise and choice win out, not just as abstract concepts but also as real personal preferences.

We once feared that robotics would eliminate jobs; the very word is derived (by Czech writer Karel Čapek’s brother Joseph) from the word for slave. Yet in the end, robotic technology has extended human capability. It has brought us as far as space and taken us through Logo and its Turtle, even taught generations of kids math, geometry, logic, and creative thinking through code.

We seem to be at a similar fork in the road with machine learning. These tools can serve the interests of corporate control and passive consumption, optimised only for lazy consumption that extracts value from its human users. Or, we can abuse and misuse the tools, take them apart and put them back together again, apply them not in the sense that “everything looks like a nail” when all you have is a hammer, but as a precise set of techniques to solve specific problems. Muzak, in its final days, was nothing more than a pipe dream. What people wanted was music — and choice. Those choices won’t come automatically. We may well have to hack them.

PETER KIRN is an audiovisual artist, composer/musician, technologist, and journalist. He is the editor of CDM and co-creator of the open source MeeBlip hardware synthesizer (meeblip.com). For six consecutive years, he has directed the MusicMaker’s Hacklab at CTM Festival, most recently together with new media artist Ioann Maria.

http://ctm-festival.de/

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Behringer threatens legal action against a site that called it a copycat

Midifan, a top music portal and online magazine in China, has received notice from Behringer, threatening legal action over stories by Musicfan that called Behringer a “copycat.”

Midifan is a Chinese-language site, but evidently a significant one for that market. And Nan Tang, CEO and founder of the site, is also co-founder of 2nd Sense Audio, the software developer behind the WIGGLE synth and ReSample software. Nan, also known at musiXboy, contacted CDM with the news.

Nan has provided CDM with Midifan’s own English translation of the legal letter, as well as a statement in English. Translation is an important factor here, given we’re talking about libel, but Midifan’s English translations here for what they wrote are “shameless” and “copycat.”

Here’s the statement from Midifan:

Behringer sued Chinese media Midifan for saying them COPYCAT and shameless

Chinese portal website Midifan has received a lawyer’s letter from Behringer last week. Behringer claimed the fact that Midifan repeatedly reporting news about Behringer without any factual basis and using insulting words such as “copycat”, “shameless” has caused the reputation of the four clients (Uli Behringer, MUSIC Tribe Global Brands Ltd, Zhongshan Behringer Electronic Co., Ltd and Zhongshan Ouke Electronic Co., Ltd) to be seriously damaged.

The law firm worked for Behringer also claimed that they have reported to its local public security agency and plans to pursue legal responsibilities through criminal way.

A manufacturer taking legal action against music press for being critical or even calling it names is as far as I know fairly unprecedented. I’d almost call it shamel– actually, let’s just stick with “unprecedented.”

But it appears the letter is threatening criminal libel proceedings in China, not just civil charges. Criminal libel can carry more serious consequences; as reported in 2013 by The Guardian and Bloomberg, criminal libel in China can carry up to a three year prison sentence.

Ceci n’est pas une imitateur.
Behringer showed … uh… tributes to the Roland SH-101, , Roland VC-330, Roland TR-808, ARP Odyssey, and Sequential Prophet One in Berlin last month.

That said, in China as internationally, the law states that something is only libelous if it’s untrue. The “copycat” reference refers to Behringer gear shown at Superbooth, for instance, that literally was designed to look and sound like classic instruments (Roland TR-808, Sequential Circuits Prophet One, etc.). “Shameless” is a matter of opinion. Arguably, too, sending cease and desist letters to media outlets because they called you shameless and a copycat would presumably also not be a great way to demonstrate you possess shame.

Behringer Pro-One, 808, ARP Odyssey Clones At Superbooth 2018 [Synthtopia]

What might make Midifan different from other English-language sites that used similar language? It may be relevant that at the end of last year, Midifan reported on striking workers in a manufacturing facility Behringer owns, where labor complained about health issues. (That article has a number of photos, as well as English-language response from Behringer managers instructing workers to keep windows closed.)

For their part, Midifan have posted a response on their site (no English translation available):

https://www.midifan.com/modulenews-detailview-29955.htm

Midifan tell CDM that they have removed all references to the words “copycat” and “shameless” and replaced them with “more neutral words like “TRIBUTE and CLONE.”

Here’s the full letter from Behringer as translated by Midifan into English.

Lawyer’s Letter
In Relation to Urge You to Stop the Willful Infringement Behavior

Dear Sir or Madam,
Upon the entrustment of Zhongshan Behringer Electronic Co., Ltd (hereinafter referred to as Behringer Corporation), Zhongshan Ouke Electronic Co., Ltd (hereinafter referred to as Ouke Corporation), Uli Behringer and MUSIC Tribe Global Brands Ltd, Guangdong Baoxin Law Firm sends you the lawyer’s letter to your company on matters that urging you to stop the willful infringement behavior.

In accordance with the information and statements from four aforementioned clients, MUSIC Tribe Global Brands Ltd is the registered holder of the trademark “BEHRINGER”. On the basis of the authorization of MUSIC Tribe Global Brands Ltd, Ouke Corporation has the right to use the “BEHRINGER” trademark to engage in production and business activities within the scope of relevant authorizations. Behringer Corporation,whose English name also includes the word “Behringer”, is an affiliate enterprise of MUSIC Tribe Global Brands Ltd and Ouke Corporation.

Since 2017, you have continuously published articles such as “Exclusive breaking: Behringer’s recent crazy copycat stems from a trap of imitation chip more than a decade ago.” “, Can’t stop copycat: Behringer will make the Eurorack module next?” , “Shameless: Behinger exhibited copycat of TR-808, SH-101, Pro-One and Odyssey” on the website “https://www.midifan.com/”

and

Tencent WeChat public account “Midifan” without any factual basis, claiming that the above four principals have plagiarized the products of other companies. Beyond that, the fact that you repeatedly used insulting words such as “shameless”, “copycat” has caused the reputation of my four clients to be seriously damaged.

In view of this, Ouke Corporaiton has reported to its local public security agency and plans to pursue your legal responsibilities through criminal way. Meanwhile, the four principals entrusted me with this letter expressly:

Please be sure to remove all the insulting infringement articles four principals involved and other related information posted on the internet platform such as “https://www.midifan.com/” and Tencent WeChat public account “Midifan” , etc. within seven days of receipt of this letter, and issue a clarification announcement within the above-mentioned period to eliminate all adverse effects caused by the negative reputation of the four principals due to your inappropriate comments.

If you fail to perform the above obligations within the time limit, the four principals will continue pursuing your legal liabilities (including but not limited to
the criminal responsibility for defamation) through legal ways. All consequences and expenses resulting from this shall be borne by you.

In order to avoid inconvenience, please weigh the pros and cons and perform the above obligations in a timely manner!
Best regards.

CDM has reached out to Music Tribe / Behringer for comment via their public contact form, but has not yet received a response. Curiously, I found many of my colleagues don’t have direct, current media contacts with the company.

Oh, also – it seems Germany has criminal libel laws, too. So, naturally, let me then reiterate – what I saw at Superbooth were … meticulous recreations of famous electronic instruments of yore by a …. manufacturer of equipment that is … Behringer.

Now, please, I don’t want to go to German jail. Aber wenn ich ins Gefängnis gehe, wird sich mein Deutsch verbessern.

http://midifan.com/

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A look at AI’s strange and dystopian future for art, music, and society

Machine learning and new technologies could unlock new frontiers of human creativity – or they could take humans out of the loop, ushering in a new nightmare of corporate control. Or both.

Machine learning, the field of applying neural networks to data analysis, unites a range of issues from technological to societal. And audio and music are very much at the center of the transformative effects of these technologies. Commonly dubbed (partly inaccurately) “artificial intelligence,” they suggest a relationship between humans and machines, individuals and larger state and corporate structures, far beyond what has existed traditionally. And that change has gone from far-off science fiction to a reality that’s very present in our homes, our lives, and of course the smartphones in our pockets.

I had the chance to co-curate with CTM Festival a day of inputs from a range of thinkers and artist/curators earlier this year. Working with my co-host, artist and researcher Ioann Maria, we packed a day full of ideas and futures both enticing and terrifying. We’ve got that full afternoon, even including audience discussion, online for you to soak in.

Me, with Moritz, pondering the future. Photo: CTM Festival / Isla Kriss.

And there are tons of surprises. There are various terrifying dystopias, with some well-reasoned arguments for why they might actually come to fruition (or evidence demonstrating these scenarios are already in progress). There are more hopeful visions of how to get ethics, and humans, back in the loop. There are surveys of artistic responses.

All of this kicked off our MusicMakers Hacklab at CTM Festival, which set a group of invited artists on collaborative, improvisatory explorations of these same technologies as applied to performance.

These imaginative and speculative possibilities become not just idle thoughts, but entertaining and necessary explorations of what might be soon. This is the Ghost of Christmas Yet-to-Come, if a whole lot more fun to watch, here not just to scare us, but to spur us into action and invention.

Let’s have a look at our four speakers.

Machine learning and neural networks

Moritz Simon Geist: speculative futures

Who he is: Moritz is an artist and researcher; he joined us for my first-ever event for CTM Festival with a giant robotic 808, but he’s just at adept in researching history and future.

Topics: Futurism, speculation, machine learning and its impact on music, body enhancement and drugs

Takeaways: Moritz gives a strong introduction to style transfer and other machine learning techniques, then jumps into speculating on where these could go in the future.

In this future, remixes and styles and timbres might all become separate from a more fluid creativity – but that might, in turn, dissolve artistic value.

“In the future … music will not be conceived as an art form any more. – Moritz Simon Geist”

Then, Moritz goes somewhere else entirely – dreaming up speculative drugs that could transform humans, rather than only machines. (The historical basis for this line of thought: Alexander Shulgin and his drug notebooks, which might even propose a drug that transforms perception of pitch.)

Moritz imagines an “UNSTYLE” plug-in that can extract vocals – then change genre.

What if self-transformation – or even fame – were in a pill?

Gene Cogan: future dystopias

Who he is: An artist/technologist who works with generative systems and its overlap with creativity and expression. Don’t miss Gene’s expansive open source resource for code and learning, machine learning for artists.

Topics: Instrument creation, machine learning – and eventually AI’s ability to generate its own music

Takeaways: Gene’s talk begin with “automation of songwriting, production, and curation” as a topic – but tilted enough toward dystopia that he changed the title.

“This is probably going to be the most depressing talk.”

In a more hopeful vision, he presented the latest work of Snyderphonics – instruments that train themselves as musicians play, rather than only the other way around.

He turned to his own work in generative models and artistic works like his Donald Trump “meat puppet,” but presented a scary image of what would happen if eventually analytic and generative machine learning models combined, producing music without human involvement:

“We’re nowhere near anything like this happening. But it’s worth asking now, if this technology comes to fruition, what does that mean about musicians? What is the future of musicians if algorithms can generate all the music we need?”

References: GRUV, a generative model for producing music

WaveNet, the DeepMind tech being used by Google for audio

Sander Dieleman’s content-based recommendations for music

Gene presents – the death of the human musician.

Wesley Goatley: machine capitalism, dark systems

Who he is: A sound artist and researcher in “critical data aesthetics,” plumbing the meaning of data from London in his own work and as a media theorist

Topics: Capitalism, machines, aesthetics, Amazon Echo … and what they may all be doing to our own agency and freedom

Takeaways: Wesley began with “capitalism at machine-to-machine speeds,” then led to ways this informed systems that, hidden away from criticism, can enforce bias and power. In particular, he pitted claims like “it’s not minority report – it’s science; it’s math!” against the realities of how these systems were built – by whom, for whom, and with what reason.

“You are not working them; they are working you.”

As companies like Amazon and Google extend control, under the banner of words like “smart” and “ecosystem,” Wesley argues, what they’re really building is “dark systems”:

“We can’t get access or critique; they’re made in places that resemble prisons.”

The issue then becomes signal-to-noise. Data isn’t really ever neutral, so the position of power lets a small group of people set an agenda:

“[It] isn’t a constant; it’s really about power and space.”

Wesley on dark connectionism, from economics to design. Photo: CTM Festival / Isla Kriss.

Deconstructing an Amazon Echo – and data and AI as echo chamber. Photo: CTM Festival / Isla Kriss.

What John Cage can teach us: silence is never neutral, and neither is data.

Estela Oliva: digital artists respond

Who she is: Estela is a creative director / curator / digital consultant, an anchor of London’s digital art scene, with work on Alpha-ville Festival, a residency at Somerset House, and her new Clon project.

Topics: Digital art responding to these topics, in hopeful and speculative and critical ways – and a conclusion to the dystopian warnings woven through the afternoon.

Takeaways: Estela grounded the conclusion of our afternoon in a set of examples from across digital arts disciplines and perspectives, showing how AI is seen by artists.

Works shown:

Terence Broad and his autoencoder

Sougwen Chung and Doug, her drawing mate

https://www.bell-labs.com/var/articles/discussion-sougwen-chung-about-human-robotic-collaborations/

Marija Bozinovska Jones and her artistic reimaginings of voice assistants and machine training:

Memo Akten’s work (also featured in the image at top), “you are what you see”

Archillect’s machine-curated feed of artwork

Superflux’s speculative project, “Our Friends Electric”:

OUR FRIENDS ELECTRIC

Estela also found dystopian possibilities – as bias, racism, and sexism are echoed in the automated machines. (Contrast, indeed, the machine-to-machine amplification of those worst characteristics with the more hopeful human-machine artistic collaborations here, perhaps contrasting algorithmic capitalism with individual humanism.)

But she also contrasted that with more emotionally intelligent futures, especially with the richness and dimensions of data sets:

“We need to build algorithms that represent our values better – but I’m just worried that unless we really talk about it more seriously, it’s not going to happen.”

Estela Oliva, framed by Memo Akten’s work. Photo: CTM Festival / Isla Kriss.

It was really a pleasure to put this together. There’s obviously a deep set of topics here, and ones I know we need to continue to cover. Let us know your thoughts – and we’re always glad to share in your research, artwork, and ideas.

Thanks to CTM Festival for hosting us.

https://www.ctm-festival.de/news/

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Maracaibo to Berlin, Hyperaktivist on MESS, love, and music community

From Venezuela to Europe, DJ/producer Hyperaktivist’s passion for music has been about connecting people as it has about connecting music. She talks to us about that process of community building, even in the face of resistance – and shares hours of music mixed with Mohajer at her side.

MESS is “Mindful Electronic Sonic Selections.” It’s advertised as techno, as house, as “adventurous sounds.” The party itself is once every third month at Ohm, the intimate club built in the former battery room of the power plant that now houses Tresor and Atonal Festival. But follow the connections of this party, and you get a decent map to a range of inspiring DIY, collective efforts of artists around Europe and Latin America. For any of us struggling to put together our own musical lives, our own parties, our own collectives and communities, it’s a terrific instructive effort – not least because of the personality and will of Hyperaktivist, aka Maracaibo, Venezuela-born, Berlin-based Ana Laura Rincon.

I’m personally indebted to Ana Laura in the time I’ve known her, in that in a sometimes mercurial, transient Berlin scene, she has consistently been someone whose vision and friendship I’ve known I could always trust. Of course, maybe it’s better though to first listen to how she communicates musically. She shares with us a mix she made B2B with Mohajer (aka Melinda Mohajer), her Iranian-born partner.

The magical thing about music and perhaps specifically techno is, when someone makes a confident sonic statement, it makes that feeling of strength infectious:

Hyperaktivist went B2B with Mohajer for MESS in February – a perfect Valentine’s Day pairing. Listen to their full mix. Photo courtesy Ana Laura Rincon.

The Hyperaktivist B2B Mohajer set comes to us from the last edition, in February. MESS is never advertised as female-only lineups; it’s a completely mixed crowd, and it never uses artists’ gender as a selling point. For her part, Ana Laura just refers to “chemistry and style.” But the fact remains: some of the most significant forces on the musical scene are female, transgender, and non-binary. And a lot of those figures are still often very underground. So let’s let Ana Laura guide us.

For the edition coming up on Berlin Saturday May 26, we get to meet two special artists:

Nastya Muravyova (Celestial, Kyiv)

“She’s a rising, yet brightly shining star of Kyiv’s underground scene,” Ana Laura says. “She’s balancing on the edge of pumpy 4×4 techno and sharp breakbeat, slightly aggressive — and all the way sexy.”

facebook.com/vsehzhdetsmert

Jessie Granqvist (Esperanto, Stockholm)

Ana Laura: “She’s a product of the vibrant underground-scene that’s currently growing rapidly in Stockholm. With roots grounded in illegal raves and open airs, she has gained notoriety for her style of dark and meditative sounds merged together into a very danceable mix. With both technicality and an eclectic selection of records, she has the talent to truly build and build a long lasting vibe on every floor that she appears on.”

facebook.com/jessie.granqvist/

PK: I find it interesting that you’re pulling people connected to collectives, parties, scenes in other cities. What’s important to you about doing that?

Hyperaktivist: For me, at the moment, I’m really not finding my inspiration so much from the scene in Berlin. So I always try to invite and collaborate with people from other places – so we can experience something fresh and different for us here in Berlin. With bookings, I take my time to know that everyone is going to have a chemistry that will work through the night and that it will add something new.

I mean, it seems like that’s been a big part of what defined the scene in Berlin – bringing in influence from elsewhere, whether it’s Detroit or Latin America or another part of Germany. So that’s a problem if it becomes just an export culture, if it’s all the same, right?

Hype has taken over Berlin; that’s a fact. People come here to live that “Berlin experience.” What scares me is the effect this might have on some of the artists that reside in Berlin. I worry some DJs feel pressured to play what’s expected from them more than what they feel at the time. And I worry about the consequences of that for the people who actually live in Berlin – whether they’re feeling that they’re going to the same party over and over, or that there are actually new things happening.

At this point I’m trying to go back to the roots a bit, thinking about why I started DJing and organizing parties in the first place. For me it all started in Venezuela, a country with few electronic music affiliations.

I discovered the electronic music scene when I was about 16 or 17. That happened to be around the first time I saw a DJ playing – there were maybe three or four people in my whole city who owned turntables.

It might sound funny, but for me it was a revelation. I knew right there, this is something I wanted to do. I was collecting music already; my mom had a great music collection and she was among other things a radio host. I was already completely fascinated about music and how we needed it to express ourselves and how we naturally feel like sharing it with others. So for me, seeing a DJ – “the master of ceremony” – was a turning point.

I started to get into it, but the scene was small and many people wouldn’t really have access to it. I first started organizing parties and eventually I even opened the first club in my city dedicated to electronic music only. I did it with my three best friends; we ran it for four years. During this time, we would also throw free parties in the streets. We had the intention of making electronic music more accessible to anyone and somehow contributing to the development of this scene that had already become a very important, determinant part of my life

That’s why I try to work with collectives that I feel are working to develop the scene in their own countries. When you start to do this in a place that’s not like Berlin, that’s not well developed, where the industry is not like here, you know that people are doing this because they love it. And they love it so much that they need it and if it doesn’t exist, then they do it. They need it to be part of their lives, so they make it happen.

So I like to work with people I feel are involved in music for these reasons, and doing something with heart and that is honest. Not only because of hype or because they want to be famous. It’s more because we fucking love it.

How do you describe what MESS is about? I know you aren’t explicitly talking about this being female + non-binary only, as far as lineups – so how would you express that dimension?

First of all, I feel the concept of MESS is ever-evolving. We need to pay attention to the necessities of the electronic music scene, what needs work and what’s overlooked.

Berlin is such a masculine city in many ways, music scene included. I’ve met some of the most amazing women and the most strong personalities in Berlin. So I have a hard time accepting why women still need to fight very hard and prove themselves over and over in order to be accepted and sometimes even welcomed.

I think about MESS as a space where I don’t want to make a political statement. I have come to understand the best points are made when you don’t have to explain too much but instead you let things speak by themselves. Actions speak louder than words, right?

So I put together bookings based on chemistry and style. I invite super talented artists and I let them do their thing. And slowly but surely, people are realizing that there’s something different. And I get feedback on it – sometimes at the party, people come to me and say, like, ‘this is really cool, what you’re doing, there’s something different about the party.’ So it’s great to let people see by themselves.

I also always try to put together bookings where people are from diverse cultural backgrounds, so you see different approaches.

In my utopian world, we shouldn’t even be having these discussions between each other. At the end of the day, more than anything else, it should be about the music, about friendship, acceptance, respect — about the feeling you are part of something special.

And this is what MESS is at the moment.

Ana Laura aka Hyperaktivist. Photo by Melinda Mohajer.

So when you go to find these artists, these collectives and other scenes – how are you connecting with them?

Research. [laughs] I spend time – a lot of time, listening to the music. Not only once. You know how it is with music – this day you hear this and you think, oh wow, I love this … next day you hear the same and it’s like, this is actually fatal. I give myself time to hear it, in different moods, see how I feel about it. I hear it with friends. There are different things that catch me. Usually, the things that catch me are related to attitude — when I see that this person wants to say something, there’s something there.

It takes time. That’s why I do MESS every three months, because I need time to prepare and I also want to have a good reason to make the party. For example, the last edition happened on February 17th, the weekend after Valentine’s Day. We decided to make a “Club Affair” and have only couples playing, as in back to back. So we invited Isabella from Colombia B2B Bella Sarris from Australia, Johanna Schneider with Philippa Pacho from Sweden with their B2B project Sthlm Murder Girls, and I played with Melinda Mohajer from Iran. I saved our recording specially for you at CDM.

Схема. Via Facebook.

Hyperaktivist vs. Maricas Maricas, Barcelona.

I’ve been collaborating with various collectives / parties. For a few examples:

Maricas, a queer party collective from Barcelona, run by Isabella, a Colombian DJ who played at our last edition, along with Uruguayan friends

www.facebook.com/pg/maricasmaricasmaricas
www.instagram.com/maricasmaricas/

Fast Forward from Copenhagen — these guys are making exciting new techno and crazy illegal parties, and you feel their collective really has these family vibe, which I love.

www.facebook.com/fastforwardcopenhagen/

Esperanto music from Sweden – they’re pushing up-and-coming Swedish artists.

https://www.facebook.com/EsperantoMusic/

esperantomusic.net

Cxema from Ukraine, where they are taking abandoned locations and throwing badass raves and putting the Ukraine scene on the international radar.

www.facebook.com/cxemapage/
http://www.c-x-e-m-a.com/

How does that experience compare to when you were running a club in Venezuela?

It was the same – collaborating with the development of the scene and the culture of electronic music. It’s what I’ve been working for, always.

I had this friend, and he had this house downtown in my city Maracaibo, the second largest city in Venezuela. And he was like, ”I want to do something here, what should I do?” I didn’t even think for one second — I turned around and told him, we’re gonna do a club.

And then we started the club, and it was amazing. It became a meeting point for all the scene in the city and across the country. So we started to do the same – invited collectives from Caracas and all the other cities from Venezuela to come to play, and then we would go to play their parties in their cities. And then it grew, and it started to happen between Colombia, Brazil, Argentina. Then we started to bring artists from Europe, but at this point the political situation of the country started to critically worsen. We had an exchange control that started to happen and wouldn’t allow us to access any foreign currency anymore, so buying records, equipment, or making international bookings became impossible. The whole country started to go down down and boom – it was gone. And that’s when we stopped.

But now one of the best clubs in Bogota, Video Club, is run by a good friend of mine Enrique Leon with I used to have the club with in Venezuela. And he’s putting together great bookings, making showcases with everyone. Dekmental Sound System, Aurora Halal, etc….

If you’re in Berlin, don’t miss MESS tomorrow at Ohm, Saturday 26 May. Or see you in the scene in your neck of the woods.

MESS at OHM
Facebook event
Resident Advisor

More from Hyperaktivist / Mess

www.facebook.com/Hyperaktivist/
www.soundcloud.com/hyperaktivist
www.soundcloud.com/messberlin
www.facebook.com/messberlin

At top: Hyperaktivist – Pic by Honza Kolář.

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8BitMixtapeNEO is a glitchy hackable synth the size of a cassette tape

It’s the size of a cassette tape, has buttons and pots so you can play it as a handheld instrument, it’s open and hackable – and it sounds like 8-bit mayhem.

8BitMixtapeNEO is very, very lo-fi synth built around the Arduino-compatible ATTINY85 chip. But what’s interesting about it is that all that hackable, programmable mayhem is accessible to anyone curious, not just coders.

It sounds mental:

And it’s got some weird and clever features:

Pocket mods: Just like the KORG volca sample, an audio protocol works for upload. So you can send firmware code just by playing a sound file from an audio playback device. Flash with your phone on the fly. (They also suggest a SONY Cassette WALKMAN, of course.)

Lite-Brite: Eight RGB LEDs work as a sort of 8-pixel screen / feedback / Knight Rider display.

Upcycle: Since the PCB is the shape and size of a cassette tape, a re-purposed cassette shape shell works as a case.

Arduino-compatible chip.

Visual programming. There’s a visual, drag-and-drop programming interface you can use as an alternative to uploading code. Have a look:

User mixtapes. They’ve built their own custom community for user-generated tools, including visual effects, sequencers, sounds, and other hacks. It’s here – http://neo.8bitmixtape.cc/mixtape – and since audio playback upload is easy, you can just flash from any computer or phone or tablet with speakers!

Pricing stars at 65EUR (with that beautiful, artsy PCB). There are various ways to buy, including getting it in person in Berlin – and workshops from Hong Kong to Zagreb to Taoyuan. Check it out:

http://wiki.8bitmixtape.cc/#/XXX-Shop

http://neo.8bitmixtape.cc/

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MFB have a killer live drum machine + synth in the hybrid Tanzbär-2

It’s an analog drum machine plus bassline synth. It’s a digital drum machine with sample loading. It’s packed with live features and modulation. The coming MFB box could be … The One.

While big brands have focused on digital machines (or even software/hardware combos), MFB out of Berlin are the little boutique brand who have come out with a steady stream of analog boxes that are nonetheless compact and accessibly priced. And it’s not so much the fact that they have analog circuitry inside them as the fact that they’re different. Those drum timbres will hammer through your music when called upon, just like the Roland classics and whatnot, but they also sound distinctive. And with so much music already made on the well-known machines, different is good.

That said, for all the lovely sounds packed into any of these boxes, they all fell a little short of “must-have” – great-sounding but a bit fiddly and more focused on sound than performance features and sequencing. Then there was the confusing availability of two similar compact boxes, the Tanzmaus and Tanzbär Lite, alongside the Tanzbär flagship which was also … a bit similar to the other two.

Well, forget all that: because even in prototype form, the Tanzbär-2 is a whole new beast. If Roland’s TR-8S and Elektron Digitakt look poised to be the live drum machines for the mainstream, then the MFB might be the best boutique rival.

Or to put it another way – plug this thing in, and you can jam like a crazy person, with bassline and drums all ready to go.

Highlights (there’s no press release so … I’m doing this from memory):

A built-in bass synth that sounds totally brilliant, with internal melodic programming
Analog drum parts, plus digital drum parts (hey, it worked for the 909)
Sample loading, via MIDI dump or over USB, so you can load your own samples
Tons of front panel parameters for hands-on control of both the analog and digital sections’ parts
Dedicated faders for all the parts’ volumes
Two additional parameters for each part (accessed by the screen)
An LFO you can route to absolutely anything
Step sequencer, with per-step parameter automation
Separate outs for each part

And it’s really compact, too – not exactly lightweight (though that’s okay when you’re jamming hard on it), but easily slipped into a bag with a small footprint.

Really the only missing feature is, there aren’t internal effects … but that would complicate the design, and it does have separate outs.

The TB2 is really three instruments in one. There’s a simple analog bassline synth. The analog percussion section houses kicks, toms, congas, and snares. And then a digital section handles hats and additional percussion – or load your own digital samples for more choices. Sounds about perfect.

Faders! Dedicated outs! And it’s all really compact. Those knobs feel great, too, if you had a more fiddly experience with older MFB gear.

There are already a lot of parameters on the front panel, but parts also have additional parameters accessed by the two data knobs, with feedback on this display. (You’ll see some hints as to those features on the silkscreen, too.)

I’m sold. I think the fact that it includes a bassline synth internally is already great. I’ve got lots of questions, but they’re working on finishing this up this summer, so it’ll be better to make a separate trip to MFB after Superbooth. Then we can get some real sound samples without a convention going on behind us, and learn more about the details.

Cost isn’t confirmed, but they’re planning for under a grand (USD/EUR). Given you could pretty much do all your live dance sets on this box alone, that sounds good.

But wait — there’s more! MFB also new modules coming, too. Here’s a sneak peak of that:

More on this soon.

http://mfberlin.de/

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Deadbeat’s secret sauce Reaktor picks for “weirdo” production

It’s time for another trip into the strange and wonderful world of artist-created Reaktor ensembles. This time, our guide is dub techno maestro Deadbeat.

The Canadian-born, Berlin-based Scott Monteith is an artist whose chops are at peak maturity, from timbre to rhythm, recording to mix. And Scott’s latest, Wax Poetic For This Our Great Resolve, is both more personal — pulling from inspirational texts from friends — and more sonically intimate. The entire album sounds open and airy and organic, thanks to using acoustic re-recording of electronic elements. Every percussion hit, every synth line was either recorded in real space in the studio or recorded out of the box and into that open space and then miked.

Scott and I got to spend a pleasurably leisurely interview talking about the record, which I wrote up for Native Instruments’ blog:
Deadbeat on a return to hope, sound in real space

With all this focus on acoustic recoridng and re-recording, you’d think there wouldn’t be much to say about software – but you’d be wrong. There’s yet more shade and color around these sounds that’s produced by synthetic processing, a whole lot of it in Reaktor.

“There’s tons and tons of extra stuff that you would normally delete in vocal takes or guitar takes or whatever that ended up as sauce for feeding vocoders or feeding [Reaktor ensemble] grainstates,” says Scott, “or even some of the real classic [ensembles].” You’re hearing some of that in the hyperreal, clear color of the arrangements and mix.

“I think it’s nice to treat that stuff completely independently,” Scott says, “and then you end up with this bank of stuff that you know is going to be in key. And it’s somehow relatable, whether it be melodically or aesthetically – because you’ve fed it this stuff from a particular track. And then you go back to arrangement mode, because then I can take off my sound designer’s hat and put on my arrangers’ hat.”

Scott is confident enough in his skills to give that secret sauce away, so here’s a tour. Some of these are some long-lost gems of the library, too, so don’t expect to find them just by sorting for the latest or most popular ensembles. Some of these were used on this particular record, others represent a related techniques but have been used on other productions.

g-Transcoder
Gabriel Mulzer
Spectral vocoder/delay/reverb

“I’m using that just to add color to things. I love vocoders, period.

It’s like taking the vocals of Gudrun talking or Fatima talking, and using that as the modulator and the carrier signal being the chords in the track. Or it could also be the extra recording of the high hats in the room, and vocoding the vocals with that. So, then you have something rhythmic that’s the same, and in the same air, but then can be free as its own track. Or taking the guitar or the bass…”

GRIP Grain Cloud Synth
Uwe G. Hoenig
Polyphonic granular synth

“This is a playable one – this is one you can play with the keyboard. And you can load the oscillator is whatever you load into it.”

MOLEKULAR
Denis Gökdag / zynaptiq, Native Instruments
Modular multi-effects
KOMPLETE effect; available à la carte or in KOMPLETE ULTIMATE

“It’s fantastic. It’s beautiful. It’s a beautiful combination of super, super simple granular synth process combined with lovely lush reverb. And it’s just amazing.”

The Swarm
Eduard Telik
Random sound generator

“There goes a few hours of time,” says Scott. “This whole frequency modulation and detune and weird shit that’s going on in these guys is amazing.”

Ultimate Reverb
Guenther Fleischmann
Reverberator

“There’s this preset – ‘Coming Up From Hell.’ I use that a lot – I’ve been using that for years. If you’re rolling along, and you want to create density, it’s like, okay, flip this into the Ultimate Reverb, and all of a sudden you’ve got this underlying loud of ffffoooooosssssh. You’ve made things thick without adding another element.

And that with some sort of distortion, and some sort of sidechain compression to make sure that it doesn’t get in the way of anything — all of a sudden, you’ve created raging hell.”

grainstates
Martin Brinkmann
Granular effect processor

Don’t forget the granular Reaktor ensemble that started the craze. Martin’s landmark granular processor has had an influence even outside the Reaktor community on imagining how grain processing effects can be used as instruments.

Hacking together custom ensembles

The biggest advantage of using Reaktor as a modular environment is, you can hack together what you need if a particular tool doesn’t do exactly what you want. Scott long ago made his name as a Reaktor patcher, but don’t feel obligated to achieve mastery — even he doesn’t necessarily go that route now. “The last one that I did … this thing [Deadbeats] 13 years ago.”

The aforementioned Grain Cloud synth, for instance, he used to substitute oscillators inside a drum machine. Or with granular processors, he’s swapped a sample player with a live input, as on The Swarm. These aren’t complicated hacks – you barely need to know how to operate Reaktor to pull them off. But they then open worlds of new performance and sound design possibilities.

In another instance, Scott had a happy accident hacking mmmd1, the “morphing minimal drum machine” by grainstates creator Martin Brinkmann. That ensemble includes a series of assignable X/Y controllers which can modulate the filter, bitcrush, and so on, with step-based sequencing.

Scott tried applying a child ensemble with a crossfader for interpolating between presets – and that’s when he was surprised. “Because this is step-based, morphing between presets on this thing, as you would go across, it would go thththththththththt …. and you would get these totally twisted, glitchy crossfade things.”

Thanks, Scott! Got more favorite Reaktor ensembles, other granular tools, or the like? Let us know in comments.

Deadbeat on a return to hope, sound in real space [NI Blog]

Deadbeat Wax Poetic For This Our Great Resolve [Review: XLR8R]

https://soundcloud.com/deadbeat

The post Deadbeat’s secret sauce Reaktor picks for “weirdo” production appeared first on CDM Create Digital Music.

The Roland TR-808 is getting its own pair of Puma shoes

As if you hadn’t had enough of the retro 808 drum machine craze, Puma are creating a pair of runners in collaboration with Roland. And this time, you can actually buy them.

So, who needs some new kicks?

I got a chance to take a look at the new Roland TR-808-inspired Puma sneakers. They’re basically just a color scheme for Puma’s relaunch of the RS (RUNNING SYSTEM) shoe line. The RS-0 is a reboot; the 1980s original was built around a unique-for-the-time cushioning system. To capitalize on 80s nostalgia, Puma went to Polaroid, Roland, and Sega for special looks for the shoes. Sadly, you don’t get any special drum machines sneakers. (No built-in metronome or clock source; no TB-303 runners that have acid basslines printed in the soles. In other words, I didn’t design them.)

What you do get is a slick-but-subtle black color scheme, with accents taken from the drum machine and a nod on the heel to the front panel label on the original.

“Jeez, CDM,” say the readers, “first balalaikas and now some branded runners, just how desperate are you this week to avoid the subject matter of the site?” Ah-ha – but we’re not done yet, folks. First twist to the story: this isn’t the first time someone has designed 808 sneaks. Less than one year ago, design agency Neely & Daughters produced a considerably less subtle pair of hi-top sneakers.

And – gasp – they were for Puma’s arch-nemsis, Adidas. And that in turn leads us to a bitter rivalry between two brothers from small-town Germany – Herzogenaurach, to be exact! Let’s go back in time to the 1920s, when… oh, no, actually, let’s not do that, as I’m sure neither Adidas nor Puma really want to get into their legacy here. (In the words of Fawlty Towers, don’t mention the War. But it is a fascinating story.)

Anyway, here’s that 2017 remake, which you couldn’t buy, as reported by Synthtopia:

Why You Can’t Buy Those Cool Roland TR-808 Adidas Beatmaking Shoes

Twist number two: Puma can claim the RS was “innovative,” but it’s really the RC Computer Shoe that lives up to that. Chunky protruding wings on the heel of these 1986 runners contained microcomputer pedometers. Connect them by wire (16-pin) to an Apple II, IBM PC, or Commodore 64/128, load up Puma’s software, and a graphical display would tell you time, calories burned, and distance run. That’s actually fairly forward thinking, in terms of predicting today’s fitness bands and smartphone accessories. Also, even now, you have to admit there’s something more intuitive about this being embedded in your athletic shoes rather than worn on a bracelet.

More:

RS Computer Shoe [Nice Kicks]

Puma RS Computer Shoe Pedometers (mid 1980s) [DigiBarn Computer Museum]

Now, I’m sure someone out there will read this post, grab a tiny Arduino or Teensy, and figure out a way to connect the 808 to shoe sensors. Who likes a challenge?

Meanwhile, since the marketing event I went to in Berlin seemed lost on the crowd – they needed “nerdsters” rather than hipsters, as one marketing blogger once dubbed the crowd I ran with Make and Etsy in New York – here you go. You’re welcome.

Disclosure: If anyone thinks this is a paid promotion, I did … manage to mention both Adidas and the Third Reich. I’m supremely sorry, Puma.

The post The Roland TR-808 is getting its own pair of Puma shoes appeared first on CDM Create Digital Music.