Luminance adds shimmery reverb to your sound – and it’s a runaway hit

Reverbs can mimic real spaces (precisely or loosely), or sound like springs, or sound like thickened delays. Luminance goes somewhere else: unreal, shimmering spaces full of glimmering reflections. And it’s already taking off.

Shimmer-y reverbs are perhaps a zeitgeist now, as developers return to digital effects and new twists on those ideas. From the team formerly at CamelAudio, we saw ChromaVerb in the Logic Pro X 10.4 update at the start of this year, and a couple of Max for Live devices have gone a similar direction.

Luminance has the advantage of sounding unique, utterly beautiful, and with a clear, simple interface – one that lets you dial in just the amount of effect you want, while always producing lovely results. It’s probably the most accessible take I’ve seen on the idea, and the results sound modern and fresh without being too unfamiliar.

In short: it’s some dreamy sauce you can add easily to anything. And that may explain its runaway sales. Mac-only developer Sinevibes has a strong following, but this particular plugin, the developer told us, has already far exceeded any other launch, even in its first 24 hours in the world.

Here’s how Artemiy describes it:

Luminance is a plugin for creating “shimmer reverb” effects – unreal acoustic space simulations which gradually pitch-shift the reverberation tail. It’s a novel take on this coveted effect, here based on a modern “feedback delay network” design with high-quality interpolation – plus quite a few original tricks such as phase-inverted time modulation, special configurations for damping and signal blending. All this gives Luminance a fresh and highly musical character: it smoothly follows the original melodies and harmonies and creates a lush background sound layer reminiscent of a dreamy symphony of strings or pipe organs. And to ensure highest possible day-to-day usability, Luminance has an easy-to-understand set of finely-tuned parameters.

There’s a really nice demo video that gets the point across (probably also helped sales):

An update since launch has added compatibility fixes all the way back to Mac OS X 10.6 – there’s something you don’t hear often these days.

Cost: US$29. (Demo and bundle pricing available)

32-bit/64-bit Mac AU only.

http://www.sinevibes.com/luminance/

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Watch The Black Madonna DJ live from … inside a video game

Algorithmic selection, soulless streaming music, DJ players that tell you what to play next and then do it for you… let’s give you an alternative, and much more fun and futuristic future. Let’s watch The Black Madonna DJ from inside a video game.

This is some reality-bending action here. The Black Madonna, an actual human, played an actual DJ set in an actual club, as that entire club set was transformed into a virtual rendition. That in turn was then streamed as a promotion via Resident Advisor. Eat your heart out, Boiler Room. Just pointing cameras at people? So last decade.

From Panorama Bar to afterhours in the uncanny valley:

This is less to do with CDM, but… I enjoy watching the trailer about the virtual club, just because I seriously never get tired of watching Marea punching a cop. (Create Digital Suckerpunches?)

Um… apologies to members of law enforcement for that. Just a game.

So, back to why this is significant.

First, I think actually The Black Madonna doesn’t get nearly the credit she deserves for how she’s been able to make her personality translate across the cutthroat-competitive electronic music industry of the moment. There’s something to learn from her approach – to the fact that she’s relatable, as she plays and in her outspoken public persona.

And somehow, seeing The Black Madonna go all Andy Serkis here puts that into relief. (See video at bottom.) I mean, what better metaphor is there for life in the 21st century? You have to put on a weird, uncomfortable, hot suit, then translate all the depth of your humanness into a virtual realm that tends to strip you of dimensions, all in front of a crowd of strangers online you can’t see. You have to be uncannily empathic inside the uncanny valley. A lot of people see the apparent narcissism on social media and assume they’re witnessing a solution to the formula, when in fact it may be simply signs of desperation.

Marea isn’t the only DJ to play Grand Theft Auto’s series, but she’s the one who seems to actually manage to establish herself as a character in the game.

To put it bluntly: whatever you think of The Black Madonna, take this as a license to ignore the people who try to stop you from being who you are. It’s not going to get you success, but it is going to allow you to be human in a dehumanizing world.

And then there’s the game itself, now a platform for music. Rockstar Games have long been incurable music nerds – yeah, our people. That’s why you hear well curated music playlists all over the place, as well as elaborate interactive audio and music systems for industry-leading immersion. They’re nerds enough that they’ve even made some side trips like trying to make a beat production tool for the Sony PSP with Timbaland. (Full disclosure: I consulted on an educational program around that.)

This is unquestionably a commercial, mass market platform, but it’s nonetheless a pretty experimental concept.

Yes, yes – lots of flashbacks to the days of Second Life and its fledgling attempts to work as a music venue.

The convergence of virtual reality tech, motion capture, and virtual venues on one hand with music, the music industry, and unique electronic personalities on the other I think is significant – even if only as a sign of what could be possible.

I’m talking now to Rockstar to find out more about how they pulled this off. Tune in next time as we hopefully get some behind-the-scenes look at what this meant for the developers and artists.

While we wait on that, let’s nerd out with Andy Serkis about motion capture performance technique:

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Bible thumper: watch a circuit bent bible, made on a dare

This week in blasphemy: LOOK MUM NO COMPUTER has another weird nerdy superhit, this time modding and glitching out an electronic bible. Jesus, take the soldering iron!

LOOK MUM NO COMPUTER is inventor-musician-composer Sam Battl of London, whose projects have included synths on bikes, flamethrower organs, and Theremin lightsabres, among other concoctions. And he has a knack for creating weird and wonderful inventions that then go viral.

But speaking of viral millennial sensations (okay, very different millennium), maybe you’ve heard of a bestselling book called … The Bible? All about a thought leader / influencer who … okay, I’ll stop.

Long story short: electronic bible. Soldering iron. Circuit bends. Apparently, a dare from deadmau5. And then, this:

And before I tempt getting struck by lightning while blogging, don’t worry, bible lovers – Sam says “Nothing against the bible here. I showed it to a couple of christian friends before and they seemed to like it.” There, that’s good enough for me.

Okay, sure, it sounds a little demonic, but you know, it’s still the actual Bible. If Christian rock sounded like this, I’d be up for it. (Bach, I like.)

As it happens, this project is interesting from an engineering perspective, too. Recent products are way harder to bend, thanks to fewer exposed bend points and chips hidden beneath black blobs and the like. There’s a reason circuit bending often starts with a trip to eBay or a flea market.

Sam promises more info on his site soon on just how he pulled this off. We’ll be watching.

For more on circuit bending, start with the man who started it all – Reed Ghazala, whose approach to bending is like an ecologist assisting machines in evolving. (He even gives them eyes and the like, for a window into their soul.) It’s radical, wonderful stuff – from an engineering perspective as well as a human and philosophical one. His site:

http://www.anti-theory.com/

And if you liked this project, you’ll love Sam’s Furby Organ, among others:

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Tracktion 7: powerful, free audio production tool (Mac, Windows, Linux)

So you want to start recording, mixing, arranging, and your budget is … you don’t have one. Tracktion runs on every OS, and the latest update adds still more powerful features.

Free production tools are invaluable – not only are they a refuge for the cash-strapped, but they can be a useful common denominator when you want to exchange projects, or if you need to get up and running quickly on something other than your main machine. Tracktion isn’t the only option out there. Notably GarageBand is available to macOS and iOS users. The excellent Cakewalk (formerly called Cakewalk SONAR) is an optimal choice on Windows, now available free from BandLab. For cross-platform tools, there’s the completely free and open source Ardour, though it can be a bit hacky to install and use. And while it’s not free, Reaper has an unlimited demo, meaning you can use the full version for free and send the developer some money after you sell that first TV score.

Where Tracktion stands out: it’s a modern, friendly, single-window DAW that runs on any OS (Mac, Windows, Linux). And of all of these, it may be the friendliest option – with some power features not available from other options.

T7, released this week, sweetens the pot with some unique new additions – including a couple that might even sway you from the DAW you’ve already paid for.

The UI has been refreshed, with a new scheme called “Blue Steel.” (Okay, enough Zoolander references already. Or at least they missed the opportunity to say the new color scheme will help you “Relax.”)

Browsing is also easier, with a visual browser for plug-ins (the likes of which we’ve seen in Reason, but more rarely elsewhere), plus a multi-browser for auditioning and placing multiple audio files.

The real magic, though, is in the ability to get some power over automation and routing:

Modular racks let you create custom signal processing chains.

Clip Layer Effects let you stack on effects and plug-in processing on specific clips, not just on tracks. That makes for a different workflow – no more making a new track every time you want to change audio routing. Tracktion says they’re applying for a patent here.

Clip Layer Effects: no more duplicating tracks just because one section needs a different effects routing than another bit.

Automation patterns are modulation and envelopes that you can apply to any parameter repeatedly. And there’s optional tempo sync support for them. That sounds especially handy for keeping favorite gestures at the ready, and for remixes and dance music (or to go the opposite direction, hyperactive microediting). Speaking of which, you also get….

Automation patterns can now be stored an applied anywhere – including with tempo sync.

LFO Modifiers can be applied to any parameter in the channel strip or in any third-party plug-in. We’ve seen powerful modifiers in Bitwig Studio – and in Ableton Live, though limited to somewhat simple Max for Live add-ons – but here, combined with those Clip Layers and Automation Patterns, they make Tracktion into a powerful DAW for editing.

LFO Modifiers now work with plug-ins.

Okay, so since this is free, how do the developers make any money? They hope you’ll upgrade to Waveform, their next-generation DAW. It’s got all these features, but adds more extensive instrument support, a multi-sampler, Melodyne pitch correction, a fully modular mix environment, more detailed MIDI editing and pattern generation, and other additions.

Also significant: master mix DSP, chord track, track loops, track presets, quick render, Rack ‘stack’ editor,’ plug-in faceplates, plug-in macros, and free online support. And only Waveform has ready-to-play Raspberry Pi support.

That still means Tracktion is a good way to give this approach a try.

https://www.tracktion.com/products/t7-daw

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A soft synth that’s made to be played with futuristic, expressive control

We’ve seen lots of new controllers that are designed to be more responsive to gestures. But can they actually make new sounds, to match? ROLI and FXpansion have a new soft synth that’s designed for that.

It’s called Cypher2, and it builds on the past (award-winning, no less) software instruments from FXpansion, but now built from scratch so that you can access all those deep sound parameters just by moving your hands – not only by messing around with on-screen parameters.

And it sounds lovely:

ROLI have joined smaller makers like Madrona Labs, Roger Linn Instruments, and others in making new controllers that respond to more than just plucking keys or hitting drum pads. But the London-based company sets itself apart with something else – funding. So they’ve got Pharell Williams as a creative office, partnerships with the likes of Apple retail, and they bought up some of the unique, weird talent that makes music technology – including plug-in developer FXpansion, who also call London home. (That buyout took place in 2016.)

Now, when Apple go buy a plug-in maker, you can bet you’ll watch its products become exclusives for Logic and GarageBand. But when ROLI buy someone, you instead get interoperable software that takes advantage of ROLI’s forward-thinking instruments.

Translation: now when you prod and slide about the squishy keys of a ROLI Seaboard RISE or Seaboard Block, you can make fabulous sounds. Dig into your computer screen, and you can shape those sounds yourself.

And now that expressive control is part of MIDI (in the form of a protocol called MPE), this software sees both host support (Bitwig Studio, Cubase) and hardware support beyond just what ROLI make (like the Linnstrument, if you like).

ROLI and FXpansion call these sounds “5D,” but that is to say, many aspects of the sound are there underneath your hands. And that’s of course the way of things with acoustic instruments – even the acoustic piano responds with nuanced sound to the ways you press and release keys, even if this has been grossly simplified in the piano as represented in digital form.

This isn’t the first ROLI synth, but if you weren’t won over by Strobe2 and Equator, Cypher2 offers a bunch of new sound horizons and what ROLI say are the largest-ever bank of MPE-specific sounds. And you get a rich set of physically modeled and analog modeled sounds, producing lots of organic sounding instruments that are both familiar and futuristic.

I mean, it just sounds great. It’s been a while since I was this interested in a soft synth – and to me it’s the first new soft synth to really get excited about using MPE.

Promo video:

And if you want a cheaper / more portable solution, yes it works with the Blocks line, too:

Sounds:

Specs: VST, AAX, AU, Mac, Windows, 64-bit.

Cost: “$199 (£159, €179) on fxpansion.com. Existing owners of DCAM Synth Squad, Strobe2, a ROLI Seaboard or BLOCKS can purchase Cypher2 at a discounted price of $79 on fxpansion.com until 7th September 2018, or for $99 thereafter.”

https://www.fxpansion.com/products/cypher2/

What’s inside? Modeled analog circuitry and FM, deep modular-style synthesis capabilities, and loads and loads of modulation – again, normally stuff you’d find only on big modular rigs, but here with all the conveniences and powers of digital.

It’s kind of an in-the-box producer’s dream, only now made more accessible to actually playing that depth with controllers.

Modulation powers: audio-rate wave-modulation, sample & hold, ring-mod, variable-depth sync and tempo-synced beat-detune. Oh, yes.

Also:

Modulate the master sequencer with 3 mod sequencers and an expanded control matrix
Improved interface with real-time animated modulation, full signal flow visuals and preset descriptions
Default MIDI CC mappings for both 2D and 5D controller types
6 circuit-modelled filter types, each with a varied set of responses, including a comb filter model with 8 comb types
Scalable interface for 4K/retina screens with a variety of themes
LFOs are expanded with clock-divided sub-LFOs for synchronisation or free-running modulation
Updated envelope shapes for precise control
Feed your creativity with preset morphing and randomisation
Support for microtonal Scala .TUN files

Full hands-on coming soon, as well as a chat with FXpansion guru Angus Hewlett.

Previously:

Yep, you can go virtuoso with ROLI – DiViNCi, Alluxe show you how

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Hands-on: Roland’s #808day upgrade for the TR-8S is a blast to play

It’s a little thing, but it adds a lot when you’re playing live: STEP LOOP lets you repeat steps in a sequence as they play, without losing time. Here’s how it works, along with other updates to Roland’s TR-8S drum machine.

Roland’s version 1.10 firmware is out today, and the big new feature is called STEP LOOP. The basic idea:

Hold down a step to make it repeat.

Hold down multiple steps, and they repeat in order.

Release that step or steps, and the sequence continues in time. (LED feedback shows you that the sequence position advances even as you have steps triggered.)

STEP LOOP impacts the whole sequence, not just one part. To activate it, hold down SHIFT and INST PLAY. To exit the mode, just trigger any other sequence mode. Here is in action. Notice the visual feedback as I enter the mode, and what happens when I trigger one or more steps.

It’s hugely useful, because it lets you make fills and variations out of the existing material of a sequence – and you don’t ever drop out of time. It’s not the first drum machine to do this (the ElecTribe ES2 from KORG springs to mind, among others), but it’s hugely useful in this context. The TR-8S is already a great live performance feature, thanks to its flexible routing and I/O, ample controls, faders for volume, and the ability to load custom samples. STEP LOOP is then a perfect addition for live jamming, because it’s intuitive and rhythmic.

The TR-8S has been getting a steady stream of updates – the other huge one in 1.10 is the ability to preview samples. Here’s a reverse-chronological timeline of some of the highlights.

1.10, August 2018
STEP LOOP
Preview sound samples when you import

1.03 April 2018
Improved performance

1.02 March 2018
Batch import kits
Import and export patterns and kits
Write direct to an SD card from the computer (“Storage Mode”)

All of this fits nicely together. It’s now really quick to chop up some samples and load them onto an SD card, then import them into custom kits. That makes the TR-8S’ own onboard hardware a useful way to build your own custom kits – even preferable in some way to working with software. And the combination of STEP LOOP with other features for making custom rhythms adds tons of variety. (Use LAST to make different length parts, add sub-step rhythms for more complex patterns, and use “auto fill” to mix things up even if your hands aren’t free.)

Oh, and you can sidechain external inputs. So I’ve used the TR-8S with my laptop and Native Instruments Maschine. I use MIDI out from Maschine to keep things in sync, and route audio from the computer into the TR-8S so I can sidechain that audio with the drum machine. I’ve also played with Roland’s own AIRA VT-3 vocal transformer, which also lends itself to sidechaining. But it’s an ideal live performance box.

For more resources on the TR-8S, check out Francis Preve’s blog – he’s done a great Master Class on the instrument for Electronic Musician, plus a custom kit for you to download:

Master Class: Roland TR-8S

Previously:

Roland TR-8S hands-on: a more playable, powerful drum machine

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The 808 just got its own hipster IPA beer in London

Okay, for anyone who thought the TR-808 shoes were too much, you may want to sit down. Now there’s a craft beer immortalizing the Roland drum machine for #808day.

It’s called the BR-808, and it’s quite silly – but you do get a celebrity endorsement from the likes of pioneering artist A Guy Called Gerald:

The specs:

Filmmakers Origin Workshop have teamed up with beat loving brewers Mondo Brewing Company (U.K.), DevilCraft (Japan) and Melvin Brewing (U.S.A) and together they have developed and produced The Origin Workshop BR-808, a special collaboration beer that honours the enduring sounds and cultural legacy of the TR-808 and the seismic shift it created in music.

It’s a taste of the future, a brew defined by the legendary kick drum of the 808. Its been developed to recreate that deep sub-bass low end, delivering a solid Japanese kick that resonates through the American IPA flavours.

With tropical, citrus aromas, mikan orange peel and flavours from the generous rise of Citra and Amarillo hops the Origin Workshop BR-808 provides a refined taste. In the spirit of true collaboration, the brewers added no caramel malt with only light British pale malt and Cara pils, resulting in a refreshing brew coming in at 7% ABV.

That is a hipster marketing singularity if ever I heard one – London + 808 nostalgia + film agency + american IPA. I haven’t tasted this, though, so I can’t vouch yet.

That said, hmmm, 7%? I’m in Berlin, so I’ll stick to the lighter pilsner. 7% and I might not be able to properly operating STEP LOOP on the TR-8S.

More:
https://www.br-808.com/

Previously in 808-inspired merch:

You’ll be able to buy those Roland 808 sneakers soon, plus a new pair

Now… it seems to me a drum machine needs an energy drink, but for now, there’s still Club-Mate. (Oh… okay, that Red Bull thing. But no.)

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No new products, but Roland celebrates #808day with free gear updates

Roland now routinely enjoy the fact that August 8 is “808” day. But we aren’t seeing new product announcements today as in some past years. What you get instead is a bunch of updates for existing gear. Here they are in one place so you can see what’s relevant to you.

All AIRA products – a new Web resource with free sounds. Roland have a newly redesigned AIRA website. Instead of splashy promotional things being thrown at you, you get a tidy selection of news and updates – and, importantly, a Sound Library with free patches and sound content. For now, that includes the TR-8S drum machine and SYSTEM-8 synth, but Roland tells us the site will cover the whole AIRA lineup over time. And there are some gems in there already, like polymeter stuff from live virtuoso and producer KiNK, and FM and percussion sounds that use the synth engine in the SYSTEM-8.

TR-8S / TR-8 – STEP LOOP. Firmware update 1.10 adds STEP LOOP to the TR-8S flagship (808-inspired) drum machine, plus the earlier (and more neon green) TR-8. What does it do? It repeats steps as you hold them down, including repeating multiple steps if you hold multiple steps down, and then returns to the pattern when you release the buttons. Simple feature, big results – because you can jam with variations over top of a pattern, without losing your place. (Some other drum machines have had a similar feature, so it’ll be even more welcome to those users on the TR-8/8S.) It’s easier to show than describe, so we’ll have a video hands-on later.

https://aira.roland.com/newsandtopics/new_step_loop_function_for_tr-8s/

SYSTEM-8 – JX-3P add-on. SYSTEM-8 synth owners get a nice freebie: a complete model of Roland’s 80s classic, the JX-3P, in “PLUG-OUT” form (meaning the model can be loaded directly onto the hardware).

https://aira.roland.com/newsandtopics/jx-3p_plug-out_for_system-8_now_available/

Oh yeah, and the SYSTEM-8 has been coming into its own this summer. It got an FM oscillator for a wider range of timbres, plus new filters. Now, you get a model of a great polyphonic synth for free, too. (Remember when Roland was charging for PLUG-OUT add-ons for hardware owners? Seems they’ve gotten away from that.)

It’s all in the latest update.

Speaking of the SYSTEM-8, that platform also got a boost with the US$19.99 Synthwave library, designed by our friend Francis Preve along with Jim Stout, showing off some of the retro Roland sounds you can get out of this engine. And in case you didn’t get the 80s / 90s nostalgia flowing yet, their promo video will do it for sure:

It covers the Juno-106 and Jupiter-8 engines as well the SYSTEM-8’s own original modeled synth engine. Of course, what’s nice about this is you then have access to the sounds in both software (Roland Cloud) and hardware, and then you get hands-on tweakability on the hardware – so you can start with one of these presets and then shape it a bit.

Synthwave for Roland System-8

All of this says something about value in 2018 instruments. It’s not just about the new gear when you take it out of the box, but the value over time. (See also major firmware updates lately from Novation and Elektron, among othes.) Add in the JX-3P, and maybe that sound library, and the SYSTEM-8 is really maturing into a lovely bit of kit.

The SYSTEM-8, now with JX-3P sounds on top of Juno-106 and Jupiter-8 (plus its own original engine).

And yeah, maybe some people will be disappointed about no new gear, but… that STEP LOOP. That JX-3P. Not paying for either. So, hey, like:

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Vectors are getting their own festival: lasers and oscilloscopes, go!

It’s definitely an underground subculture of audiovisual media, but lovers of graphics made with vintage displays, analog oscilloscopes, and lasers are getting their own fall festival to share performances and techniques.

Vector Hack claims to be “the first ever international festival of experimental vector graphics” – a claim that is, uh, probably fair. And it’ll span two cities, starting in Zagreb, Croatia, but wrapping up in the Slovenian capital of Ljubljana.

Why vectors? Well, I’m sure the festival organizers could come up with various answers to that, but let’s go with because they look damned cool. And the organizers behind this particular effort have been spitting out eyeball-dazzling artwork that’s precise, expressive, and unique to this visceral electric medium.

Unconvinced? Fine. Strap in for the best. Festival. Trailer. Ever.

Here’s how they describe the project:

Vector Hack is the first ever international festival of experimental vector graphics. The festival brings together artists, academics, hackers and performers for a week-long program beginning in Zagreb on 01/10/18 and ending in Ljubljana on 07/10/18.

Vector Hack will allow artists creating experimental audio-visual work for oscilloscopes and lasers to share ideas and develop their work together alongside a program of open workshops, talks and performances aimed at allowing young people and a wider audience to learn more about creating their own vector based audio-visual works.

We have gathered a group of fifteen participants all working in the field from a diverse range of locations including the EU, USA and Canada. Each participant brings a unique approach to this exiting field and it will be a rare chance to see all their works together in a single program.

Vector Hack festival is an artist lead initiative organised with
support from Radiona.org/Zagreb Makerspace as a collaborative international project alongside Ljubljana’s Ljudmila Art and Science Laboratory and Projekt Atol Institute. It was conceived and initiated by Ivan Marušić Klif and Derek Holzer with assistance from Chris King.

Robert Henke is featured, naturally – the Berlin-based artist and co-founder of Ableton and Monolake has spent the last years refining his skills in spinning his own code to control ultra-fine-tuned laser displays. But maybe what’s most exciting about this scene is discovering a whole network of people hacking into supposedly outmoded display technologies to find new expressive possibilities.

One person who has helped lead that direction is festival initiator Derek Holzer. He’s finishing a thesis on the topic, so we’ll get some more detail soon, but anyone interested in this practice may want to check out his open source Pure Data library. The Vector Synthesis library “allows the creation and manipulation of vector shapes using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, and oscilloscope emulation software using the Pure Data programming environment.”

https://github.com/macumbista/vectorsynthesis

The results are entrancing – organic and synthetic all at once, with sound and sight intertwined (both in terms of control signal and resulting sensory impression). That is itself perhaps significant, as neurological research reveals that these media are experienced simultaneously in our perception. Here are just two recent sketches for a taste:

They’re produced by hacking into a Vectrax console – an early 80s consumer game console that used vector signals to manipulate a cathode ray screen. From Wikipedia, here’s how it works:

The vector generator is an all-analog design using two integrators: X and Y. The computer sets the integration rates using a digital-to-analog converter. The computer controls the integration time by momentarily closing electronic analog switches within the operational-amplifier based integrator circuits. Voltage ramps are produced that the monitor uses to steer the electron beam over the face of the phosphor screen of the cathode ray tube. Another signal is generated that controls the brightness of the line.

Ted Davis is working to make these technologies accessible to artists, too, by developing a library for coding-for-artists tool Processing.

http://teddavis.org/xyscope/

Oscilloscopes, ready for interaction with a library by Ted Davis.

Ted Davis.

Here’s a glimpse of some of the other artists in the festival, too. It’s wonderful to watch new developments in the post digital age, as artists produce work that innovates through deeper excavation of technologies of the past.

Akiras Rebirth.

Alberto Novell.

Vanda Kreutz.

Stefanie Bräuer.

Jerobeam Fenderson.

Hrvoslava Brkušić.

Andrew Duff.

More on the festival:
https://radiona.org/
https://wiki.ljudmila.org/Main_Page

http://vectorhackfestival.com/

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Watch an Ableton Live sequence made physical on the monome grid

The monome made history by transforming the virtual world of the computer into a low-fidelity grid of lights and buttons. But it’s no less magical today – especially in the hands of stretta.

Watch:

Matthew Davidson has been an innovative developer of patches for the monome since its early days. And that’s a principle innovation of the hardware: by reducing the “screen” to a minimal on/off grid, and lighting buttons independently from your input, the monome becomes a distillation of the ideas in a particular computer patch. Just like a fretboard or the black and white keys of a grand piano, a music box roll or the notes on a staff, it’s an abstraction of the music itself. And its simplicity is part of its power – a simplicity that a mouse and a high-definition color display lack.

Matthew is using some features the first-generation monome didn’t have – the varibright lights, and a recommended 128-format grid. But otherwise, this riffs on the original idea.

And remember last week when we covered Berkelee College of Music introducing study of electronic instruments? Well, Davidson has developed a whole series of these kind of clever inventions as a set of studies in grid performance.

That is, the choice of Bach is fitting. This is classical grid from a virtuoso, a Well-Tempered Monome if you like.

Check out the full gridlab collection:

https://github.com/stretta/gridlab

Previously:

What do you play? Berklee adds electronic digital instrument program

Updated: so what about other grids?

Via social media, Matthew Davidson elaborates on why this setup requires the monome – which still says a lot about the uniqueness of the monome design:

First up is 64 buttons versus 512. It’ll work on a 128 kinda, barely, but it is awkward. An implementation of a fold mode might make that useable.

Second is the protocol. The monome protocol provides the ability to update a quadrant with a simple, compact message. This is what is used to achieve the fluidity. If you want to update the entire grid of a Launchpad, you have to send 64 individual messages, one for each LED.

Lastly is the issue of MIDI devices and M4L. The monome uses serialosc to communicate. Because of this, a monome M4L device can send and receive MIDI data at the same time as sending a receiving button/led data.

[Reproduced with permission.]

Of course, if you have other DIY ideas here, we’d love to hear them!

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