I love the idea of artists translating their work into interactive packs of sonic exploration – like releasing an album for fellow electronic musicians. If you’re enjoying our exclusive 808 “less cowbell” Live Pack for Ableton Live and want more sound goodness for free, good news. Puremagnetik has released a set of entirely free “artist packs” with drum kits, clips, and (from Neon Stereo) effect racks. Note that even if you don’t have Live or just want to use a different app, the audio contents of these packs will work anywhere.

In this lineup: Gregory Shiff, our friend Elijah B Torn, Paul Rose, Kalahari Surfers, Brian Best, Kamoni (Micah Frank), and Neon Stereo. You do need to sign up for a Puremagnetik account, but there’s no financial obligation.

For more tips and mad scientist antics from Elijah, see our previous story:
Elijah B Torn on Odd Sound Techniques, Ableton Live

And I got to drop by the DUMBO, Brooklyn studio of Puremagnetik’s own Micah Frank, as pictured here. It’s quite small and packed with fantastic gear in regular rotation. The good folks of TRASH_AUDIO had a nice interview spotlight on Micah late last year:
Workspace and Environment: Kamoni
You can also check out Kamoni’s new rig on his site.

All of this is well and good, but being, erm, me, I’d love to see more oddball stuff, too. How about a Pd Pack or Csound Kit – anyone?

Monolake as I’ve said before once released an album with a Max/MSP patch. In a way, this sort of release of sonic content could be a way of releasing music in a different way, one that assumes active participation by your listener. There was a time when people regularly passed around Max patches and sort of influenced each others’ music virally. I think there’s plenty more to explore in this category – and I’d happily buy sonic content alongside music releases, too, from folks I love.

Puremagnetik Artist Page

  • I agree, it would be nice to be able to get patches and/or ableton live projects of our favorite artists. Music does not have to be linear anymore.

  • "All of this is well and good, but being, erm, me, I’d love to see more oddball stuff, too. How about a Pd Pack or Csound Kit – anyone?"

    I think that's actually fairly normal in those scenes; patches represent a enormous data compression (compared to straight recordings); a hour long generative piece might still be suitable for attaching to a email if send in text format.

    Examples that come to mind are Jan Punter's "noodles"; Clavia G2 patch files meant to be listened to as musical pieces, the pop-music generating SC code Nick Collins published or the library of pieces and techniques that comes with the CSound handbook.

    I think I'd argue that sharing tools/techniques/sounds is actually more normal in those scenes than it is around Ableton Live but it's also typically less formal. We could speculate that this might be the result of open source culture as opposed to the commercial product that Ableton is. Then again; maybe such systems have a tendency to blur the line between what is merely a demonstration of a technique, what's a instrument and what should be a considered a complete work on it's own. This might make those things less likely to be presented as a "kit"? I also think a "kit" implies the user will only have to interact with it creatively and that most of the technical details have been taken care of, this might make such presentations less likely in scenes where the technical details and creativity are more closely connected.

  • Good point, Kassen. On the other hand, "kit" also implies some assembly, which I rather like. 🙂

    I will be talking a lot more about SuperCollider code next month with all the SC events happening, hope to make a few of those.

    You know, honestly, I'd be happy to pay a few dollars for things even in those communities — and would be even more likely to pay if they were released under free licenses, even though theoretically that would mean you wouldn't have to pay. Wonder how many people feel the same way?

  • Peter said:"How about a Pd Pack or Csound Kit – anyone?" &"Wonder how many people feel the same way?"

    Indeed, count me in…I think of it as a 'virtual' apprenticeship or mentoring, to 'walk in another artist's shoes' so to speak. To work within the constraints of someone else's toolbox has the potential to lead to many new ideas and inspirations, especially in more experimental genres and sounds.

    Homework from the 'University of the Virtual Universe', without the work 🙂

  • poopoo

    The entire source code for the Kim Cascone track BlueCube is available in the Csound Book. The track is a text book of old school computer sounds so having the source code is interesting.

    Yes please to PD and CSound content.