There’s a Eurorack craze on. Synth fever continues to spread. Instrument and software makers keep innovating. And there was reason to time all of this new gear madness to the beginning of this month – with not one but two massive trade shows, each a short Bahn ride away from one another in Germany. It’s almost too much. So, we’ve put our favorites all together, to keep it all straight.
You can already connect your music software to MIDI devices. But why not Internet data, video, the weather, or physical worlds of Arduino and LEGO Mindstorms, too? With a new pack released today, making connections is a matter of adding some building blocks.
There’s no oscillator quite like your voice. And sometimes the simplest techniques can yield elaborate textures. Lesley Flanigan has built a body of work out of an elemental approach to electronics, and her new release Hedera is to me the most beautiful yet, transporting us somewhere truly sublime. The source, in addition to singing, includes feedback, a broken cassette player – but evolves into mists of sound and space, shifting from the delicate to the raw.
Wish granted, hackers. The full specification for Ableton’s Push 2 hardware is now online on GitHub, after passionate Live users clamored for its release. And there’s a lot. This isn’t just a MIDI specification (though that’s there). Every minute detail of how colors appear on LEDs gets covered. (The color “white” has its own section. Yeah, like that minute.) Every animation. The pixels that show up on the display. This isn’t just a guide to how to hack Push 2 – though it’s certainly that. It’s a technical bible on how Push 2 works.
Microphones already expand what we can hear. New devices can sonify an unheard world even beyond sound. We covered the use of sound as a way of conveying gravitational waves, waves that – while not sound – are far easier for both scientists and lay people alike to grasp when translated to the audible spectrum. And we’ve already seen a world of microphones and devices by Jonáš Gruska, whose LOM label shares both the electronics and music made with them. Well, now Jonáš is back with a new generation of devices. Here’s what they are and how their results sound.
Hot on the heels of our write-up of a board that makes any hardware you can imagine, here’s a mod that takes all that power and fits it in a handheld space with hands-on controls.
Meet a new, special creature. So, you’ve got your own special dream for a musical tool – the instrument or effect or sound machine you want. Traditionally, you’ve had a few options for realizing that – apart from going to the shops and hoping you can buy something that fits. You could develop in software and run that on a computer (via Max/MSP, Reaktor, Pd, SuperCollider, and so on). You could patch together some hardware rig (as on a Eurorack, for instance). But what if a tiny board could be the computer and the hardware? That’s the third category in …
It’s an edge-of-your-seat race against the 555. Our friend Darsha Hewitt went up in front of one of the world’s nerdiest crowds: the Chaos Computer Club’s Chaos Communication Congress gathering in Germany. Whereas some people guzzle bubbly and lean in for kisses and watch balls drop at the turn of a new year, the legendary geekfest involves a marathon of hard-core hacking and discussion, political and provocative. And Darsha didn’t make it easy for herself. She set out to build twenty analog oscillator circuits in just twenty minutes. Maybe that’s not so hard if no one’s watching, but try doing it under watchful eyes, …
It’s not enough just to gripe about something not being good enough, to tally a criticism of a product in the “cons” side of a review. Intrepid musician-hackers are going and just changing it themselves. Karg, the Heidelberg-based musician (with an ‘a’), is a fan of Korg, the manufacturer (with an ‘o’). And presumably when he bought the Kaossilator Pro+ and its touch pad access to tones. But he ran into frustration when he couldn’t quite get his finger on precise pitches and rhythms. So, he hacked the hardware to add the functionality he wanted.
In the past weeks, I’ve had the good fortune to talk to astronauts and aeronautical engineers, to artists in residence in space centers (with ESA) and aboard “vomet comet” airplane microgravity experiments (in Russia). A common theme has emerged. Just as images from space once transformed our perception, the next frontier is sound. From spatial sound to works responding to spaceflight, drones, and aeronautics, there’s a chance to change the way we hear and imagine. And so, after we start February at Berlin’s CTM Festival imagining future rituals, we’ll move later in the month to Leuven, Belgium to explore the heard place. You’re …