Ninja Jamm Android-07a-Play Matrix mixed clip and drill

Ninja Tune’s remix, creation app on Android after 300k iOS downloads

Before Ableton Live, before VJ apps, the AV act Coldcut were already making their own software for remixed audiovisual performance. Now, with the Ninja Tune label they founded, Matt Black is still championing the notion of performance that goes beyond pressing play. I’ve never seen anyone pick up Ninja Jamm and not immediately fall in love with it. It’s just a tremendous amount of fun working with the built-in effects and quick access to bits and pieces of music. The likes of Amon Tobin, Bonobo, and Roots Manuva are there, with a variety of genres. There’s also Loopmasters sound content, …

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amonvideostill

Watch Amon Tobin on Exploring Sound, Labors of Love

This Tuesday, we’ve lined up a trio of video interviews for your viewing pleasure. But one is rarer than the others. Amon Tobin tends to shy away from interviews, generally, let alone those on camera. Here, he agreed to talk to Beatport about his work. Flanked by racks of very lovely gear from Moog and others, plus a computer running Steinberg Cubase as the central digital hub and recording center, Tobin emphasizes mainly the philosophy behind his approach. He emphasizes in particular his passion for experimentation, contrasting “entertainment,” which “depends on the approval of other people,” with what he describes …

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Pixels Mixed with Paper Sculpture: Amon Tobin-Inspired Audiovisual Projection

In a spectacular, sculptural work, forms built from paper become organic backdrops for undulating pixels in an audiovisual work by Daniel Schwarz. I like that he describes this as partially “non-mapped.” That is, if projection mapping is the use of software to create calculated virtual geometries on which to project, you can also just point a beamer at something that isn’t flat and see what happens. The appeal of projection mapping is to me really about getting away from flat rectangles – not that there’s anything wrong with them, but because it expands the canvas on which digital projection can …

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Amon Tobin Soliciting Fan Videos

Amon Tobin and company are soliciting fan videos for inclusion in a Ninja Tune DVD box set and for streaming online. Quick description: We are collecting fan made videos of Amon’s work for an upcoming DVD release. Please submit your videos here and review the “Terms” within the forum: vimeo.com/​groups/​106265/​forumthread:244568 Deadline for the project is end of September. Have fun and make a great video! Terms look fairly standard, but are nicely done — you retain exclusive rights, giving away only clear rights to the project at hand. Far too many of these sorts of contests require that you give …

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Amon Tobin’s ISAM, Behind the Scenes; Ask Your Questions

By now, you’ve likely heard about the eye-popping, three-dimensional architectural live visuals for Amon Tobin’s immersively-transmedia tour ISAM LIVE. It’s clearly a new high water mark in live audiovisual experience. So, how were the visuals done, and who did them? Derivative, the developers and visual collective behind the Touch Designer software that powered the show, have written up a detailed look at how the show works. Isabelle Rousset sends her article: A Behind the Scenes Report on the Making of the Show Visuals and Delivery Systems We’re in touch at CDM with Derivative and the folks who worked on the …

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Amon Tobin's ISAM, Behind the Scenes; Ask Your Questions

By now, you’ve likely heard about the eye-popping, three-dimensional architectural live visuals for Amon Tobin’s immersively-transmedia tour ISAM LIVE. It’s clearly a new high water mark in live audiovisual experience. So, how were the visuals done, and who did them? Derivative, the developers and visual collective behind the Touch Designer software that powered the show, have written up a detailed look at how the show works. Isabelle Rousset sends her article: A Behind the Scenes Report on the Making of the Show Visuals and Delivery Systems We’re in touch at CDM with Derivative and the folks who worked on the …

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Extended Video Shows Amon Tobin Live Eye Candy

No comment on this one: Amon Tobin ISAM looks to pull out all the stops, and the video says it all. Hope we can check in soon with more details. Also, a little birdie told me we may see some US dates, so since I missed getting to Montreal, there’s added hope CDM can get up close to the show for more. Thanks, Nic Giebink, for the tip!

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Amon Tobin Releases Live Tour Trailer, Dates; Can Computers Break a Sweat?

Okay, I’m not sure the computers can break a sweat (at least not without some serious consequences). But all the people projection-mapping generatively sequencing live audiovisualism electronic thingamabops sure are working hard in the above teaser video for Amon Tobin’s live ‘ISAM’ show. Not a lot of cities get to see the results, but those that do are promised a fully-immersive experience of this sound design extravaganza, complete with new sensory happenings for your eyeballs. It’s live. It’s audiovisual. It’s not, says Ninja Tune, “DJ-centric.” Amen, brother. The dates: 1st June – MUTEK, Montreal 9th June – Astra, Berlin 10th …

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Listen to Amon Tobin’s Sound Design Magnum Opus ISAM; Commentary, Behind-the-Scenes Details

The artist at sound check. Beware the Fog of Doom that’s enveloping the stage! Photo (CC-BY) MDL.hu. With a full length record, we also get a glimpse into sound design and live touch control, along with a cross-media event involving photography and sculpture. It’s the latest Amon Tobin, and for lovers of digital sonic manipulation, it’s big news. Amon Tobin’s ISAM arrived this week, and it’s an epic opus of ambience and digitally-sculpted sound candy. It’s digitally-distorted without being glitch, off on cinematic reveries through noise before breaking into the odd deep-bass break. It’s also a virtuoso solo album on …

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Game Music Inspiration: Amon Tobin and Sony on Infamous

Wired has a great mini-documentary on the score for the videogame Infamous. It’s chock full of sound design ear candy, not only served by the chops of composer Amon Tobin but the team at Sony Music and Sony’s entertainment division, as well. Curiously, Jonathan Mayer, Music Manager at SCEA, says explicitly that he doesn’t want composers writing interactive music. He’d prefer to have them write a conventional score and then adapt it to the interactive engine. Now, of course, around these parts we like the idea of composers finding ways to write genuinely generative and interactive scores. But in this …

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