Augmented Dancing: AXIOM.3 Dances (vvvv + Kinect)

“Augmented dancing” is a phrase we’ve gradually been slipping in, describing projection mapping directly onto dancers. It’s always been easy enough to do, but now, if you want to simultaneously mask your projection so it doesn’t also spill behind the dancer – or even go nuts and generate your visuals from intelligent tracking – it’s easier than ever before. Thank/blame Kinect, and accessible tools for using it. MadMapper even has an experimental, very basic tool for creating the mask with that program, though for more sophisticated tools, you’ll want to look to open source libraries for software like OpenFrameworks and …

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New, Improved M-Audio Axioms, Q&A, and Controller Keyboard Choices

Avid is updating their M-Audio Axiom line of USB controller keyboards. New in this version is DirectLink, which provides automatic mappings for software like Ableton Live, Logic, Cubase, and of course Avid’s own Pro Tools, similar to what’s in the Axiom’s big-brother Axiom Pro. The controller itself has also been improved, with lower-profile faders on the 49/61 model, smooth rotary encoders (not knobs!), an angled-up top panel so you can see what you’re doing more easily, and other tweaks. Perhaps the most significant feature is improved keyboard, with an updated semi-weighted action and adjusted playing angle. The updated Axiom enters …

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Video Tutorial: How to Control Ableton Live with Axiom Pro, Questions Welcome

Having full control of a complete mix and session from your MIDI keyboard – without having to move your hands to the mouse or shift your focus to your computer screen – can be an addictive, if elusive feeling. Here’s a look at one way to accomplish that objective using the new Axiom Pro keyboards from M-Audio and CDM reader favorite Ableton Live, thanks to a first-look video provided to CDM first.

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Tron, Redux Redux: Trailer with Daft Punk Music, New Reaktor-Reason-Live Score

In a Hollywood overrun with remakes, a new Tron has quite a daunting challenge. The original film may be a cult hit for its 80s arcade cool, but it also was a seminal moment in the evolution of computer animation, at the nexus of obsessive-compulsive optical effects that came before and digital effects that came after. (Google Perlin Noise, if you must.) But where the bits of the effects look uneven or dated alongside the brilliant, it’s nearly impossible to top the genius of Wendy Carlos’ score. Her deft blend of choirs, orchestras, organs, and rich electronics wasn’t just forward …

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