Watch a breathtaking fusion of laser light and sound in the Deep Web

In the audiovisual field, it’s hard to top the virtuosic collaboration of Christopher Bauder and Robert Henke. Robert Henke, known to many as Monolake, has himself taken on lasers as visual instrument alongside his signature electronic sounds (controlled in Ableton Live, the software he co-founded). But pair him with long-time collaborator Christopher Bauder (of WHITEvoid), and you have an epic duo.

Sidechaining is a big part of Movement -- for using another signal to transform effects.

Movement is a do-everything, musical rhythmic effect

Movement is here – and it’s a little scary. The folks at Output have some weird way of dialing directly into the zeitgeist of what we want from production these days, and delivering it in an easy form. They did that with reversed samples (REV), with vocals (EXHALE), and now they’re doing it in an atypically musical multi-effect with loads of rhythmic and side-chaining features. This isn’t just another delay or something like that. It’s an entire effects toolbox built around rhythm and modulation, in a way that’s unusually accessible.

Graham Dunning; photo by Julien Kerduff.

This month, a far-reaching convergence of ideas in music

What will the next wave of invention in music technology look like? Will it follow a narrow course of iteration – a new interface, a new synthesis technique? Or will the next leaps come from networks of ideas, from what happens when different disciplines and cultures collide, when music technology turns to the broader matters of how music is made and how it impacts people? I rather believe in the latter. And that could be why Berlin is the place where so often people gather to work out the next big thing. There’s no single music research center, no formal …


Flesh from Tim Exile transforms sounds into performances [Interview]

Working with samples is great fun, but there’s a certain sameness to approach. Load a sample. Play back a sample. Slice a sample. FLESH takes a unique angle: it analyzes sound samples and mangles them into new animals. And it’s the latest from Tim Exile, a one-man live performer of madness himself (Warp, Planet Mu), and one of Reaktor’s greatest patching virtuosos on Earth. His first two instruments, THE FINGER and THE MOUTH, were already weird and wonderful tools for performance, but FLESH could be the deepest one yet. (Yes, that’s just Flesh, not The Flesh. So it could be, …


A grid of anything, as Launchpad tool lets you play in new ways

From frets to keys to finger holes, musical instruments in every culture have provided ways to easily access musical ideas quickly. But these are physical, acoustic instruments, so any solution they find is more or less restricted to a single set of choices. Digital hardware can do what digital software can: it can be a blank slate for new ideas. The monome and Tenori-On grid instruments, each in their own way, demonstrated that a radically simple grid can generate a surprising range of possibilities. The monome’s claim to fame, above its other applications, was the way a companion Max patch …


Pads and triggers turn Elastic Drums into a killer performance tool

Here’s a live jam video that shows just how performance-friendly an all-in-one iPad drum machine can be. The pad controller you’ll recognize. But there’s an Audiobus story here, too. It started as a way to route audio between apps on iPads and whatnot – a drum machine app could be processed by a filter app. But now, Audiobus is answering some questions about how you can combine apps into something you can really play. And that brings us to Remote Triggers. Think of them as a custom remote control for different apps, used via a separate app called Audiobus Remote. …


Roland’s New AIRA Mixer is a Performance Tool For All Your Gear

So, now you’ve got a lot of hardware. You’ve moved beyond just a computer, and you’re back to the joy of making music with boxes with knobs and faders and keys. And you’re playing with them live. And maybe Roland’s AIRA had something to do with that, too. Now, how do you put them together? KORG’s SQ-1 step sequencer is one answer. And Roland has provided the next chapter to its AIRA hardware saga with a mixer, its sixth product in the AIRA line. But this isn’t just a way of connecting all the audio outputs from those devices – …


The Arcane Arts of Experimental Instrument Design: 3DMIN [Videos, Gallery]

From the dawn of civilization, musicians could always be counted on as the ones inventing the truly weird technologies to make noise. Here – bang on this. Blow into this. It’ll make some sound; it’ll be noisy; it’ll get everyone’s attention. And so, the art of such designs continues. New instrument design explorations have gone hand in hand with electronic music research from the moment electronics (and, eventually, digital technology) were capable of real-time performance. But if 3DMIN follows in the footsteps of those programs, it also seeks to intertwine questions about other fields and disciplines. And tonight in Berlin, …

The impressive, futuristic physical form of the 4DSOUND system. Photo: George Schroll.

Spatial Sound, in Play: Watch What Hackers Did in One Weekend with 4DSOUND

You can’t really hear the results of the Spatial Audio Hacklab sitting at your computer – by definition, you had to be there to take in the experience of sounds projected in space. But you’ll probably feel the enthusiasm and imagination of its participants. And that’s why it’s a pleasure to share the video documentation, produced for 4DSOUND by a team from FIBER – the Dutch audiovisual events and art platform – at Amsterdam Dance Event last month. In unleashing a diverse group of artist-experimenters on 4DSOUND’s unique speaker installation, we got a chance to create a sonic playground, a …


Production, Beyond the Track: Mad Zach on Collaboration, Combining Tech and Technique [Interview]

“Producer”: in electronic music, this used to mean some person who makes tracks. Today, some special electronic musicians go way beyond that role. They’re combining skills partly because it means diversifying income, but also out of a real love for doing a variety of stuff. They’re holed up in the studio making music, sure – but they’re also finding collaborative ways of doing that, often online, and sharing skills and sounds as they develop them. It’s a more open, connected approach to electronic musical practice. And Mad Zach is a great example. He’s a producer and DJ, but he’s also …