Trade shows can be a strenuous onslaught of noise, cost, and crowds – but then it’s often the weirdest stuff that makes it worth it. And no one finds strange quite like Barry Wood and his annual NAMM Oddities.
Barry impressively tracks every kind of freakish appearance at the enormous US music instruments show, and it’s worth digging through his whole NAMM Oddities guide category by category ($1.2 million-dollar guitar straps and all). I’ve taken the liberty of picking some of my favorites from this year’s haul. Some of it is genuinely useful and cool – some will just make you shake your head and mumble, say wha?
One Synclavier knob. Built-to-order, $399 – half of which you owe as a deposit. This is evidently for people who are esoteric rich people, but with a fraction of the money of really rich crazy people. They … I don’t want to use the word “explain” as that would imply I understand who this is for, but they describe how this four hundred dollar knob is historically accurate:
The weight and feel of the knob are identical, as we have used the exact measurements and a balanced spring arrangement. The two-inch diameter knob is milled from a solid bar of instrument-grade aluminium (yes, we were doing this long before Apple). The interface software and hysteresis algorithm are taken from Synclavier II.
Full hammer action, in any quantity of keys. This is actually a great idea – Piano de Voyage is a hammer action keyboard broken into modules. Want just 2 octaves? Get just one module. (I always wondered why people want a full 88 keys in electronic contexts, actually.) Or if you do want as many as 8 octaves, you can break down the modules so they fit in a bag – unlike a usual full keyboard. No word on pricing or availability, but there’s a sign-up. https://pianodevoyage.com/
A food pedal that looks like it was prototyped in Play-Doh. Effigy Labs Control pedal is what it’s called, and the makers promise unique expression in a foot controller. (This was evidently a big hit at the show, too!)
Color sensing rings. Sphero Specdrums are wireless, optical, color sensing rings. (The idea of having musical rings just keeps coming.)
Giant panda piano. The piano section at NAMM and Germany’s Musikmesse always has something unusual, but this Seiler upright – out there. And if you figured something weird and panda-related came out of Asia, you’d be wrong – Seiler started in Germany, is now a US brand, and recently was bought by Nashville’s Samick Music Corporation.
Remember, never say no to panda.
A light-up uke.Solo Music‘s Lighted Ukulele should qualify as this year’s strangest use of RGB LEDs (though I know given what controllers look like these days, we can’t really make fun of ukelele players).
And basically everything from Game Changer Audio. Need a sound source that’s got spinning discs with optical sensors and electromagnetic pickups? Or 3000 volts of plasma for distortion? Game Changer is all over new ideas; we’ll have reviews of their stuff soon.
Strymon have already made a name for themselves in luxe effects hardware and pedals, including classic effects and reverbs like the BigSky. Volante moves into what’s likely to be hit territory – modeling magnetic tape loops and effects.
There are three tools in one here: magnetic delay, spring reverb, and a tape-style looper. It basically takes a bunch of things you’d do in a studio (back when studios did stuff with tape) — and crams that into a little box.
And it sounds great (Matt Piper here shares this music he made):
Tape delay: four playback heads with feedback, panning, and level for each.
Make tape-style looping: reverse, pause, splice, infinite repeat
Selectable models: drum echo, tape echo, studio reel-to-reel, with different sound characteristics
And still more control: choose low cut, mechanics, and wear, plus an input you can adjust (so crank it for extra tape saturation)
Stereo in and out
Foot friendly: tap tempo and even choose favorite settings with your foot, plus add an expression pedal if you like
MIDI in/out with full MIDI mapping of parameters and program changes
Strymon also promise premium audio fidelity, both on the analog front end and the digital conversion inside. And they build these in the USA.
It’s also a sign of the times: independent hardware is doing increasingly processor-heavy stuff. But just as the computer capacity has expanded, so has hardware – and more realistic emulations of nonlinear analog equipment is the result. This is still DSP-based, not ARM, for those interested – it’s a SHARC DSP – but those chips have grown in capability, too.
I am definitely not collecting affiliate revenue on this if you buy it, but I wouldn’t really have the heart. If you buy it, and I meet you, I will buy you a couple of rounds. Just try not to drop it on my foot.
Latlaus Sky’s Pythian Drift is a gorgeous ambient concept album, the kind that’s easy to get lost in. The set-up: a probe discovered on Neptune in the 26th Century will communicate with just one woman back on Earth.
The Portland, Oregon-based artists write CDM to share the project, which is accompanied by this ghostly video (still at top). It’s the work of Ukrainian-born filmmaker Viktoria Haiboniuk (now also based in Portland), who composed it from three years’ worth of 120mm film images.
Taking in the album even before checking the artists’ perspective, I was struck by the sense of post-rocket age music about the cosmos. In this week when images of Mars’ surface spread as soon as they were received, a generation that grew up as the first native space-faring humans, space is no longer alien and unreachable, but present.
In slow-motion harmonies and long, aching textures, this seems to be cosmic music that sings of longing. It calls out past the Earth in hope of some answer.
The music is the work of duo Brett and Abby Larson. Brett explains his thinking behind this album:
This album has roots in my early years of visiting the observatory in Sunriver, Oregon with my Dad. Seeing the moons of Jupiter with my own eyes had a profound effect on my understanding of who and where I was. It slowly came to me that it would actually be possible to stand on those moons. The ice is real, it would hold you up. And looking out your black sky would be filled with the swirling storms of Jupiter’s upper clouds. From the ice of Europa, the red planet would be 24 times the size of the full moon.
Though these thoughts inspire awe, they begin to chill your bones as you move farther away from the sun. Temperatures plunge. There is no air to breathe. Radiation is immense. Standing upon Neptune’s moon Triton, the sun would begin to resemble the rest of the stars as you faded into the nothing.
Voyager two took one of the only clear images we have of Neptune. I don’t believe we were meant to see that kind of image. Unaided our eyes are only prepared to see the sun, the moon, and the stars. Looking into the blue clouds of the last planet you cannot help but think of the black halo of space that surrounds the planet and extends forever.
I cannot un-see those images. They have become a part of human consciousness. They are the dawn of an unnamed religion. They are more powerful and more fearsome than the old God. In a sense, they are the very face of God. And perhaps we were not meant to see such things.
This album was my feeble attempt to make peace with the blackness. The immense cold that surrounds and beckons us all. Our past and our future.
The album closes with an image of standing amidst Pluto’s Norgay mountains. Peaks of 20,000 feet of solid ice. Evening comes early in the mountains. On this final planet we face the decision of looking back toward Earth or moving onward into the darkness.
Abby with pedals. BOSS RC-50 LoopStation (predecessor to today’s RC-300), Strymon BlueSky, Electro Harmonix Soul Food stand out.
Plus more on the story:
Pythia was the actual name of the Oracle at Delphi in ancient Greece. She was a real person who, reportedly, could see the future. This album, “Pythian Drift” is only the first of three parts. In this part, the craft is discovered and Dr. Amala Chandra begins a dialogue with the craft. Dr Chandra then begins publishing papers that rock the scientific world and reformulate our understanding of mathematics and physics. There is also a phenomenon called Pythian Drift that begins to spread from the craft. People begin to see images and hear voices, prophecies. Some prepare for an interstellar pilgrimage to the craft’s home galaxy in Andromeda.
Part two will be called Black Sea. Part three will be Andromeda.
And some personal images connected to that back story:
Brett as a kid, with ski.
Abby aside a faux fire.
More on the duo and their music at the Látlaus Ský site:
It’s a looper, it’s a Session View controller. It’s USB powered, and you play it with your feet. But unlike other options, Datalooper integrates directly with how you work in Ableton Live – and it doesn’t require Max for Live to operate. Here’s a first look – and an exclusive discount.
Ableton may have called their event “Loop,” but that doesn’t mean there’s an obvious way to control the software’s looping capability via hardware out of the box. And that’s essential – Ableton Push is great, but it doesn’t fit a lot of instrumental and vocal uses. It’s too complicated, and involves too much hand-eye coordination – stuff you want to focus elsewhere. I’m not sure what Ableton would have called their own foot hardware – Ableton Tap? Ableton Toes? But instead, users have been stepping up … sorry, unintentional pun … and giving Live the kind of immediacy you’d expect of a looper pedal.
Demand seems higher than ever – there were two projects floating around Ableton Loop in LA last week. I covered State of the Loop already:
That project focused mainly on the Looper instrument and the use of scenes, all via Max for Live. It also seems well suited to running a lot of loopers at once.
Datalooper – the work of musician/creator Vince Cimo – is a similar project, but finds its own niche. First off, Max for Live isn’t required, meaning any edition of Live will work. (It uses a standard Live Control Script to communicate with Live.)
We got hands-on with Datalooper at Ableton Loop this year.
Datalooper will use the Looper device if you want. In that mode, it’s basically a controller for the Looper instrument – and supports up to three at once by default (which will be enough for most people anyway).
But there’s not much difference between the Looper device and other plug-ins or dedicated looping tools. “Natively” looping in Live still logically involves Session View. Before Ableton had a Looper, the company would advise customers to just record into clips in the Session View. That’s all fine and well, except that users of hardware pedals were accustomed to being able to set a tempo with the length of their initial recording, so the loop kept time with them instead of having to adjust to an arbitrary metronome.
Datalooper does both. You can use Session View, taking advantage of all those clips and arrangement tools and track routing and effects chains. But you can also use the looper to set the tempo. As the developers describe it:
If you long press on the clear button, the metronome will turn off, and the tempo will re-calculate based on the next loop you record, so you can fluidly move between pieces without having to listen to a click track. Throughout this process, the transport never stops, meaning you can linearly record your whole set and capture every loop and overdub in pristine quality.
Datalooper is also a handy foot-powered control system for working with clips in general. So even if you weren’t necessarily in the market for a looper or looper pedal, you might want Datalooper in your studio just to facilitate working quickly with clips.
(And of course, this also makes it an ideal companion to Ableton Push … or Maschine with a Live template, or an APC, or a Launchpad, or whatever.)
Session Control mode lets you hop in and record quickly to wherever you wish. I imagine this will be great for improvisation not only solo but when you invite a friend to play with you.
For users that are more familiar with the clip system, the Datalooper also features a ‘session control’ mode, built to allow users to quickly record clips. In this mode, the Datalooper script will link up with a track, then ‘auto-scan’ and latch on to the first unused clip slot. You can then use the first the buttons in a row to control the recording, deletion and playback of the clip. Best of all, when you want to record another clip, you can simply press record again and the script will find you another unused clip slot. This is a game-changer if you’re trying to quickly record ideas and want your hands free.
You get all of this in a nice, metal box – die-cast aluminum, weighing 3 lbs (1.4 kg), micro USB bus-powered standard MIDI device. The onboard LEDs light to show you status and feedback from the metronome.
By default, it uses three loopers, but all the behaviors are customizable. In fact, when you want to dive into customization, there’s drag-and-drop customization of commands.
A graphical controller editor lets you customize how the Datalooper works. This could be the future of all custom control.
US$199 is the target price, or $179 early bird (while supplies last). It’s now on Indiegogo; creator Vince Cimo needs enough supporters to be able to pull the trigger on a $10k manufacturing run or it wont’ happen.
Vince has offered CDM readers a special discount. Head here for another $20 off the already discounted price:
(No promotional fee paid for that – he just asked if we wanted a discount, and I said sure!)
Having gotten hands on with this thing and seen how the integration and configuration works … I want one. I didn’t even know I wanted a pedal. I think it could well make Live use far more improvisatory. And the fact that we have two projects approaching this from different angles I think is great. I hope both find enough support to get manufactured – so if you want to see them, do spread the word to other musicians who might want them.
Fahmi Mursyid from Indonesia has been creating oceans of wondrously sculpted sounds on netlabels for the past years. Be sure to watch these magical constructions on nothing but Walkman tape loops with effects pedals and VCV Rack patches – immense sonic drones from minimal materials.
Fahmi hails from Bandung, in West Java, Indonesia. While places like Yogyakarta have hogged the attention traditionally (back even to pre-colonial gamelan kingdom heydeys), it seems like Bandung has quietly become a haven for experimentalists.
He also makes gorgeous artworks and photography, which I’ve added here to visualize his work further. Via:
This dude and his friends are absurdly prolific. But you can be ambitious and snap up the whole discography for about twelve bucks on Bandcamp. It’s all quality stuff, so you could load it up on a USB key and have music when you’re away from the Internet ranging from glitchy edges to gorgeous ambient chill.
Watching the YouTube videos gives you a feeling for the materiality of what you’re hearing – a kind of visual kinetic pcture to go with the sound sculpture. Here are some favorites of mine:
Via Bandcamp, he’s just shared this modded Walkman looping away. DSP, plug-in makers: here’s some serious nonlinearity to inspire you. Trippy, whalesong-in-wormhole stuff:
The quote added to YouTube from Steve Reich fits:
“the process of composition but rather pieces of music that are, literally, processes. The distinctive thing about musical processes is that they determine all the note-to-note (sound-to-sound) details and the overall form simultaneously. (Think of a round or infinite canon.)”
He’s been gradually building a technique around tapes.
But there’s an analog to this kind of process, working physically, and working virtually with unexpected, partially unstable modular creations. Working with the free and open source software modular platform VCV Rack, he’s created some wild ambient constructions:
Or the two together:
Eno and Reich pepper the cultural references, but there are aesthetic cues from Indonesia, too, I think (and no reason not to tear down those colonial divisions between the two spheres). Here’s a reinterpretation of Balinese culture of the 1940s, which gives you some texture of that background and also his own aesthetic slant on the music of his native country:
Check out the releases, too. These can get angular and percussive:
— or become expansive soundscapes, as here in collaboration with Sofia Gozali:
— or become deep, physical journeys, as with Jazlyn Melody (really love this one):
Here’s a wonderful live performance:
I got hooked on Fahmi’s music before, and … honestly, far from playing favorites, I find I keep accidentally running over it through aliases and different links and enjoying it over and over again. (While I was just in Indonesia for Nusasonic, it wasn’t the trip that made me discover the music – it was the work of musicians like Fahmi that were the reason we all found ourselves on the other side of the world in the first place, to be more accurate. They discovered new sounds, and us.) So previously:
Yamaha’s guitar group is growing. Alongside products on their own brand and Line 6, they now will own one of the most legendary brands of all time: Ampeg.
That guitar group itself is nicely trans-Atlantic, with co-presidents Marcus Ryle, formerly of Line 6, and Shoji Mita.
And Ampeg is quite the acquisition. The company originates in 1940s New Jersey, and includes a heritage of products like the SVT amp. They’re best known for bass amps, but they’ve long had a portfolio of respected guitar amps and a history of instruments. Lately, that has rebooted some classic monikers for amps, alongside pedals.
The deal also means that LOUD Technologies Inc. – the company formerly known as Mackie Designs (as in the mixers) – will unload Ampeg, which it has owned since its 2005 purchase of Saint Louis Music.
Basically, you should expect to see Ampex’s amps (and presumably pedals, too) slotted in alongside Yamaha’s bass guitars and the full fleet of Line 6 modeled amp and effects products. Maybe down the road we’ll see an Ampex with built-in modeled Line 6 stuff. That’d have a nice historical precedent, as Ampex was the first company ever to add reverb to an amp internally, back in the 60s.
Now, we just have to wait to find out whatever the heck is happening over at Gibson.
Sometimes, you just need to imagine yourself as being made of boulders, on a mental trip that has you wandering a surreal landscape.
I am a rock, I am an island. Or… I am a bunch of rocks.
So, we’re pleased to premiere “Flake,” the gorgeous single and music video. With sweetly melancholy violin and modal synth pads drifting atop a gentle groove, it perfectly fits its ambling main character through a hyperreal rendered world, in a film directed and animated by Benjamin Muzzin. (Thanks to creative director Lukasz Polowczyk for sending this our way.)
Silky-smooth as this production is, what’s wonderful about Egopusher is, they’re equally tight live. That relaxed vibe in the music comes from a duo whose playing meshes easily in spontaneous, effortless improvisation.
Egopusher is a Swiss instrumental electronica duo, with two musicians who started out doing sessions with Dieter Meier (half of YELLO). That’s Tobias Preisig (violin, synths) and Alessandro Giannelli (drums, synths).
Photo Nuel Schoch
Here’s the basic gear used for instrumentation:
Violin, through EQ and reverb [think that’s a Strymon Big Sky] Moog Minitaur (little cousin of the mighty Taurus), triggered by MIDI organ foot pedal controller
Acoustic drum kit Arturia MiniBrute synthesizer (yep, one hand on kit, one on synth!)
plus for additional electronic instrumentation:
Computer running Ableton Live, triggering effects and additional MIDI MFB Tanzbär Lite drum machine
They’ve got some terrific live performances for you to take in:
Check out the full album on Bandcamp – beautiful, hypnotic stuff:
It’s wonderful sometimes how much fine quality music is out there, some of it very much without lots of press hype. And nice when it shows up in the inbox, so keep it coming (even if I can’t respond to it all).
Miami-born Uchi is a fresh face as LA collective BL_K NOISE meet up with Berlin’s Raster – and that’s a perfect time to catch up with her and reflect.
Dive in, commit. It’s that moment when the mixer fader is up and you start your live set, the let’s-screw-up-our-lives risk-taking bigger moments we make sometimes for musical passion. It’s the willingness to screw up live and screw up life, maybe.
That sums up why a lot of us are here as well as anything. And so that makes Uchi’s approach refreshing. Just as your email promo inbox is full of drab, sound-alike techno and washes of disinterested distorted ambience, Uchi kind of doesn’t follow any rules. Her DJ sets are diverse and daring, her live sets going deep and abstract and back again. And she talks to us a bit here about that abandon.
It’s also paying off. Uchi has gone from being known in Miami to becoming a regular at Berlin’s most sought-after slots – including Berghain’s upstairs Panorama Bar and its darker, weirder new ground floor Säule. But the best part is, I think we don’t know quite what she’ll do next. There’s a couple of EPs, a full-length album, and various podcasts coming and … well, the hell with predictability. The artists you want to watch are the ones that will surprise you.
January is definitely when we celebrate new music gear, thanks to Anaheim, California’s massive NAMM convention show. But then why not celebrate new noises, too? BLK_NOISE has assembled for Saturday a party made up of artists willing to push their electronic instruments until they hurt. From team USA, you’ve got Richard Devine, Surachai. From Germany, label Raster – the imprint formerly known as Raster Noton – Grischa Lichtenberger, and label co-founder Byetone. (Carsten Nicolai aka Raster Noton is going solo again, reverting his label to Noton.) And then there’s secretive BLK_NOISE anchor Belief Defect, who have feet in both Berlin and LA.
PK: What’s the set you’re preparing for LA? I loved this noise set that just streamed from Halcyon [in New York].
Uchi: I don’t know what happened there! It’s so weird! I have the recording of it myself; I gotta hear it and see!
I think for this show I’m going to use somewhat similar setup I’ve been using for most noise shows these days, a narrow selection of stuff, and complete improvisation — or zero preliminary sequencing. It’s the first time I’ll try an AV setup, which is exciting!
It seems like you’ve had some pretty significant shifts in your life, your musical direction … especially as some of the folks who will be hearing you in LA as well as our readers may not know you yet, what’s the trajectory been from Miami to Berlin? How did you get where you are currently?
Yeah, I guess there’s been a lot of changes the last couple of years. I lived in Miami since age 10, up until college. After I finished a degree in Computer Science, I took DJing (obtained from radio hosting at University) more seriously, as well as actually working on something I used to do for fun — (Ableton fiddling) making music.
The Boiler Room set came about from Juan Del Valle, now a friend. His influence was to convince me to make a live set. That being said, it was my first live set ever, and it was on Boiler Room – lol! BUT it was a great way to learn how to use hardware! Then Berlin came after the release on Plangent Records, which made the first gig in Panorama Bar happen. That made me decide not to get a flight home, basically.
The interesting thing is that just before I left Miami, everything had already started changing. I was pretty active in the noise scene, which was a whole different level of exploration in music, the exact opposite of composition and programming or what I used to make the Boiler Room set. Noise changed also the way I record, too. It seems I find single takes, and master out mixes more interesting than spending hours on a single detail or mixing down. I guess trying to finish ideas in one day if the case has a lot of details, otherwise just simple pressing record (mistakes included) and room recordings.
I made the album and the last couple EPs basically playing them. Since moving to Europe, which changed literally everything about what I knew, and also playing for promoters in different cities, I’ve had the chance to do something different. Nowadays, I’m combining all influences together — noise improvisation, changing patterns, speed, writing melodies or lack thereof, depending on so many different things. For instance where, when, and for whom each show is prepared for, relative to time, and where things are for me at the moment — it’s never the same. I’m still figuring it out, but if there is something to expect, it should be to expect something new.
These Saüle appearances have been great … in this age and (city!) people can cling to a somewhat narrow and clasutrophobic view of genre, so that’s a relief. Can you talk a little bit about you’ve been playing lately?
Well, I guess Säule was a bit of the turning point. It made me realize its not far-fetched to combine everything into one presentation. Funny you say claustrophobic view of genre! That puts it a bit better in perspective actually. I think the first time was probably one of the most liberating DJ sets of my life, the first time I felt like myself. The struggle of genre has been real for a really long time, but thanks to that lately, I reeeally don’t care for dance floor “rules” too much, and follow just, whatever feels right at the time. I’m curious to what you would describe those gigs as.
Mmm, eclectic? This is why I wouldn’t really call myself a music journalist, just a musician. So to that — what are you using to play for this live set? Not just to sort of get gear-focused, but instead — what does this mean as far as instrumentation, as composition?
For sure, it will be a Moog Mother [Mother-32 synthesizer] running, pitching it sporadically, plus vocal whale sounds … maybe some screaming. Also some Koma Elektronik noises generated from the Field Kit [“electro-acoustic workstation”] and BD101 [analog gate-delay pedal] as main effects, messing with any signal sent to the aux [input] of the Field Kit.
I guess as “composition,” I suppose breaking it down by frequency – the vocal stuff is a lot of mid-range melodic, of course, with a ton of reverb and delay, the Moog for low-end and the Koma stuff for texture, high-pitch screeching, and pulsating static. These have been my favorite pieces of gear to use for noise shows. I made the last album using the Moog heavily, so it’s kind of been my main instrument for almost two years, along with Koma stuff which is heaven for noise freaks — the Moog sounds on another level! And some classic reverb and distortion pedals, Boss DS-1 [distortion pedal, since 1978] and Eventide Space.
What do those instruments mean to you; how do they impact how you play spontaneously?
They are my children!!! I supposed their user interface totally affects how they are played. For example, the large knobs of the Mother and the semi-modular part for patching and combining it with it with the BD10 light sensor (which kind of acts like a theremin), and putting that in the Field Kit mixer, which has got a life of its own. The signals kind of bounce with each other. Feed-backing is waaay fun. Also, the continuity of LFO’s makes it easy to do multiple things at once. Whatever instruments I’m using at the moment play a really large role in every live set, if not the biggest role. I hope to be switching to full-on modular this year! Wish me luck.
If you’re in LA, check out the event! I wrote about Belief Defect’s live rig here and for Native Instruments; now it’s America’s turn to get that live. Co-hosted with Decibel Festival:
KOMA Elektronik are discontinuing their BD101 and FT201 pedals after a final limited run. 7 years ago, these products launched an upstart boutique brand.
The BD101 analog gate/delay and FT201 state-variable filter/10-step sequencer were released as two pedals in the now-distinctive KOMA white, way back in 2011. They launched that name in Berlin as the company’s first two products. Now, KOMA says they’ll use up their last parts in one final production run, not expected to last too far into January.
And seven years is a pretty decent lifespan for any product. But these particular pedals accomplished a lot – not only heralding the arrival of KOMA, but part of a generation of gear that marked a new age in boutique, independent devices, often emphasizing analog and underground sounds. Now much of that has been swept up in the Eurorack phenomenon, but it has surely included desktop gear, too.
KOMA for their part have gone on to a range of influential gear, a massive artist following, and even a music label, event series, and community space in their native Neukölln, Berlin. As recounted in the press release:
Over the course of their seven-year existence, the BD101 and FT201 have gone through four production runs, including a 50 unit special black edition and a special edition for Scottish post rock band Mogwai. Their sonic signature can be heard on a ton of records, and its signature white enclosures can be found in top notch recording studios as well as on stage with amongst others electronic musicians Alessandro Cortini, Pole, Addison Groove, Henning Baer, RAC, Jimmy Edgar and more rock oriented musicians like Lee Ranaldo, Vessels, Chvrches and a bunch of noise music legends!
Now, KOMA can take that know-how and make room for new machines. (The press release teases some new things to come. It’d be great to see more pedals, of course!)
CDM has managed to be there for some of this history, like the Musikmesse video I shot (really badly) in the back of a van, since KOMA couldn’t afford a booth at the time. That video makes it into the press release:
Jimmy Edgar walks through those pedals in his studio:
And we’ve had some fun Kodak moments with these things over the years:
Find the pedals back at KOMA – or go pay them a visit at their new community space for music electronics, Common Ground: