Photo: Bobby Collins.

Step inside the mystical sound world of Circular Ruins

Circular Ruins’ auditory landscapes are rich and strange, hypnotic rituals of loops and layers. They’re dark, but somehow un-menacing – safely resonating with whatever dangers live there. The artist speaks to us here about process, and zeitgeist, and cassette tapes. And we get to premiere the full release. We have a look round his studio and rig along the way. Circular Ruins happens to be Marijn Degenaar, who also happens to be on the design team at CDM. Oddly, friends and I have each done a double-take there, discovering his music through some other channel only to find out later …

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It's so bad. ()CC-BY-SA) Matt Mechtley.

Dieter Doepfer made the Nintendo Power Glove work for Kraftwerk

German YouTuber “studentsmusic” has come across the Nintendo Power Glove mod used by none other than Eurorack originator Dieter Doepfer. And he had a hell of a client – Kraftwerk. Now, whether you have any desire whatsoever to don some gloves and wave your hands around, the peculiar category of music glove has a long history intertwined with a lot of today’s thinking about music, controllers, and expression. Michel Waisvisz gets a brief mention here, but it’s worth noting that his project “The Hands,” originating in 1984, was one of the first gestural controllers and likely shaped many other devices …

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Offline processing in Nuendo 8.

You can compose entire interactive game scores in Nuendo 8, more

There isn’t one music production tool that fits everybody. What’s special about Steinberg’s Nuendo is that it is uniquely poised for high end production workflows. And maybe more than any other developer, Steinberg seems to be catering to the needs of A-list game scores. That says something not only about Steinberg, but about the changing face of music production. Once, there was the studio world, and “pro” releases meant the Audio Engineering Society (AES) show. You know, for people producing records. Now, odds are, you’re going to laugh when you open the statement from your label showing how much you …

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The man from KORG himself. Thanks for dropping in! We're loving what you're doing.

Visionary Tatsuya Takahashi leaves a huge legacy as he departs KORG

It’s not an exaggeration to say that Tatsuya Takahasi and his team at KORG has changed the face of the modern synth industry. And I can even say that literally. “Tats” has become a household name in the international synth community in a way no other Japanese engineer, designer, or leader has. (Compare, for instance, Hiroaki Nishijima, creator of the MS-20 – a name people rarely know as readily as they do the synth.) Korg products are still the work of big teams, like any large maker, but Tatsuya has been a public figure, outspoken and eloquent in the description …

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gefangenenchor

Enter the wondrous world of Walter Giers’ electronic sound art

Few people could make circuits into art quite like Walter Giers. He made them into visual objects, into aesthetic and design statements, into loud and even “annoying” performative constructions, into instruments. They aren’t simply utilitarian means to an end, but imaginative medium. Electronic Beats takes a look into Walter Giers’ mind this week in a new film, featuring interviews with family members that reveal some of his way of seeing the world. Off to Schwäbisch Gmünd, we go: The featured works here: 00:20 – Weisser Vulkan (1979) 1:08 – Erotischer Zyklus (1975) 1:14 – Hänge-Kugellautsprecher (1968) 2:14 – PE II …

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Photo (CC-BY) Martin Hearn.

Get the sound of an abandoned US surveillance tower, free

Over fifty years ago, it was built in West Berlin atop a mountain of rubble to listen in on the Communists in the East. And now, the infamous Teufelsberg UA National Security Agency tower can lend its cavernous sound to your tracks. It’s available as a free plug-in for Mac, Windows, and even Linux, and it’s open source. Someone found this idea appealing already, as the impulse samples we wrote about previously became the creators’ most popular download. But now, you get a plug-in you can drop in your host. It’s actually a pretty nice array of stuff here: Lush …

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What if you could touch and feel a score?

What if scores could be touched and felt instead of only read? We’ve just come from a deep, far-ranging discussion with artist Enrique Tomás, a researcher at the Interface Culture Lab in Linz. It’s part of Enrique’s residency with CTM Festival and ENCAC – European network for contemporary av creation, who also support some of our work. And it’s presented as part of another of our MusicMakers hacklabs at CTM Festival. It’s worth sharing some thoughts already. One of his more compelling illustrations of this was his PhD project, tangible scores: Credits: Enrique Tomás – PhD at Interface Culture Lab …

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Photo: Natisha Shpaner.

Videos for Mary Ocher’s moving avant-pop reflect on a violent world

Music can still have something to say. Not just a hackneyed protest song or music that wears politics like dress-up, but – something to tell you. When it hits you, you can sometimes feel a bit weak in the knees. That was the impact for me of Mary Ocher’s new album, two tracks of which get video treatments. The songs themselves have a message, but then their meaning becomes even more stark in the music videos – reason to share them here. I’m slightly self-conscious that the way I knew about this album was initially in being asked through a …

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ambeo-smart-surround

Sennheiser wants to bring 3D audio recording to the masses

The consumer electronic drive to high definition and virtual reality is having a curious, parallel impact on sound. And so it is that Sennheiser now want to market binaural recording to your average smartphone owner – really. Now, of course, the normal human perception of reality includes both visual depth perception and the ability to localize sound in a 360-degree sphere around the head. That is, provided only one’s eyes and ears are fully functional and each pair is intact, the human brain adapts to these perceptions. But “3D” visuals and “3D” sounds aren’t themselves directly connected in terms of …

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Photo: Aoki Takamasa. Courtesy the artist.

raster-noton’s elusive Grischa Lichtenberger on creative sound

Grischa Lichtenberger is working with felt and stencils as well as sound. He’s speaking in hyperlinks, and misusing gear and feeding computers into other computers to form feedback loops. In short, he’s finding a unique and creative materialism in everything he does – and that means we really have to talk to him. So we sent Zuzana Friday to join in a delightfully esoteric conversation with the raster-noton artist. -Ed. Grischa Lichtenberger is a German musician and sound and installation artist, known for his releases on raster-noton. His immersive live performances oscillate between abrasive, aggressive compositions and intricate structures of …

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