Gustavo Bravetti – Alternative Controllers @ Tribaltech 2009 (SC edition) from Gustavo Bravetti on Vimeo.

Friend of the Site Gustavo Bravetti is back, getting the young Brazilian boys and girls on their feet with his virtual reality glove and Wiimotes and gesturally-controlled electronica. Gustavo sends us this video from the 2009 Tribaltech SC Edition in Campinas. Having seen a lot of DJs take the easy way out at festivals in front of throngs of people, it’s great to see someone really play his laptop – and while some of us, ahem, look goofy waving Wiimotes around, Gustavo makes it look good.

<a href="">orange by Gustavo Bravetti</a>

Gustavo also gives us the scoop on a new track release, orange. It’s inspired by … wait, Henry Purcell? (Indeed; see also: Wendy Carlos.)

I did produce this track specially for the Tribaltech 2009 SC edition, it was inspired on the classic piece by the baroque composer Henry Purcell (century XVIII), “The Funeral Of Queen Mary”. As usual all synthesizers and fx was made using only Ableton stuff, this time Operator, Analog, and Tension was used to create all synths and effects.

Gustavo also gets a rather eloquent review by our friend David Cross.

The incredibly simple melody of the short ‘Bocuma’ becomes a lump-in-the-throat meditation on man’s place in the universe through subtle pitch shifts and just the right mist of reverb. The slow fade-in on ‘An Eagle in Your Mind’ is the lonesome sound of a gentle wind brushing the surface of Mars moments after the last rocket back to Earth has lifted off.” Why not listen to, Only the Proletariat Floss’s by Screaming at the Mirror. With a truncated syncopation and approach that rivals only Tosh Guarrez pre “FartFlap”, “S.A.T.M” has taken steps to dismantle what was previously only dared mantled by the great Gilda Thrush when she fronted “Cycle Clause”. It’s as if Genghis Kahn got together for breakfast with Oliver Wendell Holmes and Virginia Wolfe and ordered just a bowl of homemade granola and then skipped out on the check. RATING: 11.-111 -David Cross

Previous Gustavo action on CDM:
Live + FM8 = Drum Kit Love: Free FM8 Drum Kit Download
Weekend Inspiration: Ableton Live Follow Actions, Dummy Clips, Making Snares
Gustavo Bravetti Show Us How To Glitch out Ableton Live
Interview: Gustavo Bravetti, Playing Music with Light and Interactive Gloves

  • Love the video!

    I think the quoted text from the David Cross review might be garbled, FYI.


  • J.D., garbled how? (screenshot?)

  • Andrew

    This is pretty awesome. I can't say I'm too into trance, but this makes the folks on deadAct ( even more shameful.

  • Andrew – indeed. Here's Gustavo's evil, worthless antitwin:

    Using his hands do to — ABSOLUTELY NOTHING! It actually looks like he's adjusting the EQ … um, not at all … on an inactive channel.

    Shameful would imply the man has some shame…

  • apalomba

    I was not initially impressed with Gustavo’s wii
    virtuosity but Aquatic put everything into perspective.

  • J. Phoenix

    Cool beans. I've enjoyed Gustavo's tutorials for quite some time now…

  • Ken Marsley


    Hey, I don't know if I'm just an old geezer or something, but I just have to ask: why did you call this "Electronica"? That's a billboard term, dude! Is that an accepted word, now? It just always reminds me of the failed attempts at commercialization that happened in the 90's. Record labels trying to squeeze set-based music into track-indexed CD albums…

    I would call this highly progressive house. (I wouldn't really call it trance, either, despite the huge build-ups, except maybe around 4:20 with those diatonic arpeggios)

  • @Ken: I use it *because* it's a meaningless label? πŸ˜‰

  • Next to free improvisation, this is definitely one of the more difficult testing grounds for alternative controllers. If I was hanging out with this crowd I'd be dancing too.

    The mix of the lead wii-controlled synth at the beginning is a little loud, I think…

  • Just have to say: "Orange"…? Wow, I was not expecting that to go where it went. Around 4:00 it starts bordering on intense rhythmic ambiguity that is really incredible. And the harmonic progression that follows is wonderfully baroque.

  • Kyran

    The guy sure knows how to entertain.

    He manages to map clear visible movements to very audible changes into the music. That's much harder than you'd imagine.

    If the audience can relate your movements to changes in the music it works. If you can make those movements meaningfull than you have a good live set (like this one)

    Nice video πŸ™‚

  • james

    reminds me of a gig we went to a few weeks back – another artist was using a wii-mote for control, pretty effectively too, and my friend luke tapped me on the shoulder and said:

    "you should book him to play at your night, but he should be booked to play wii sports using only a midi controller"

  • dopo


  • I applaud the originality of what he's doing, and the fact that he's good with mapping sounds to the wiimote movements. However, it's really about the music at the end of the day, and this guys productions are really good. I stopped watching all the wii-flailing after a minute and just listened to the tracks.

  • NoChinDeluxe

    My favorite part of this video was definitely the P5 Glove! I didn't think anyone used those any more. Most people laugh when they see that it's wired. πŸ™

  • Frogspasm

    He's a human Kaos pad!

  • The guy certainly is a talented performer. He really put some thought into that. It is pretty incredible.

    But that Orange track is simply amazing. I really got drawn into it. Stellar sounds and wonderful rhythmic interplay. Great, great stuff.

  • gbsr

    the guy who did the visuals needs a big fat punch in the face.

  • Not bad at all. I agree that it's not easy to use the Wiimote in a musical way – by mapping it to sounds that aren't crucial to the rhythm, he gets a nice effect without disrupting the flow of the music. His original tracks are really solid too.

    On the other hand, the performance style gets by mostly on the novelty of the thing – let's see where this idea goes next. And I can't believe he's using the P5 – it was always clunky and made my hands hurt. πŸ™‚

  • twilight_fish

    I'm pretty heavily involved in curating and programming shows with electronic music since the early 90's. There has always been a difficulty on the performance side once laptops came into the picture. Earlier it was mostly DJ's and the audience generally understood or came to understand the skills involved.

    To me laptops were a step back although for a performer it became easier to travel and control the parameters of the performance. There became less room uncertainty and often the performers are really not doing much. You have and the audience have to rely that they are acting in "good faith" which is often not the case and many sets are simply the act of playing back a set with a few effects thrown in for "effect"

    I've discussed this with many artists and the ones who truly impress me are the ones that feel there always has to be the possibility of the track falling apart if you are not engaged so they set up their software as best they can to allow them the greatest flexibility and options to take their tracks into unknown territory.

    You have to remember as well that if it's "dance music" many acts bind themselves to certain rules and that gets boring rather quickly. This has happened to scenes like "trance" "progressive house" and now "minimal techno". While I can appreciate the above artists showmanship I suggest you look at acts like Mathew Jonson or Deepchild whose performances for dance music are much more interesting and diverse. Or someone like Jamie Lidell a few years ago with just a few synths, his voice and a laptop destroying a jazz crowd by simply being creative with minimal tools.

    All these tools have made it incredibly easy to take the studio which your write music in, onto the stage. We are still very early in the evolution of performance using these new tools and until I can jam and feel like I did when I jammed with a band with all its options and possibilities, I don't think we are there yet.

  • the p5 is the opposite of ergonomics, hehe. But Gustavo's use of the Wiimote is a little disappointing, he needs two Wiimotes to control pitch and a beat repeat on a bleep? You can do so many more stuff with just one:
    or look here….

  • james

    +1 to twilight fish, both for the mathew jonson reference and for pointing out that the video above, musically, is rather conservative, to the point where anything special in there is only visible if you choose not to distinguish the wood from the trees.

  • Rodri
  • Yeah, I'm really glad to see a P5 glove up there. Mine's sitting in a drawer tangled up with a bunch of other old electronics.

  • It's a cool idea, but it sounds terrible. You can tell the audience is fairly unimpressed by their lack of movement during most of his performance too. That's what an audience looks like while they're waiting for the main act to show up.

  • Fajardo

    Folks, I was there and I can ensure to you that was the best performance I´ve ever seen. I know his sound since 2006. He build the sound from zero on Ableton and his performance on electronic drums and Wii are exciting!! Search for som videos and you can see what I´m talking about!

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  • Thank you for sharing that awesome track πŸ˜‰ I really like it!

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