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Monoplugs releases B-Step Sequencer v2.0 – incl. Audio Unit, Android & Raspberry Pi versions

Written by Site Update on October 24th, 2014

Monoplugs has released version 2.0 of B-Step Sequencer, which also sees the release of a Mac OS X Audio Unit plug-in and standalone versions for Android and Raspberry Pi. Monoplugs kept the [Read More]
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Pea Soup to Go Puts Decades of Experimental Sounds into Your Browser

Written by Site Update on October 24th, 2014
Beautiful 1974 circuitry makes eerie sounds that inspire today.

Beautiful 1974 circuitry makes eerie sounds that inspire today.

Oh, sure, the future of the music industry might be U2 showing up in your iTunes or streams of chart-topping hits.

Or, just maybe, the future just for now will be instead weird, humming soundscapes that drone on in a browser tab, generatively faded from decades of performances of a legendary experimental piece.

Option number two may be wildly unrealistic and wholly unviable commercially but – hey, it’s your browser, and you can make that choice happen right now, for free.

Sonic legend Nicolas Collins, sound professor, editor of Leonardo Music Journal, and electronic music inventor, has unveiled his latest creation in Pea Soup to Go. (Mmmm, pea soup. Sorry, it’s wintry, and lunchtime. Getting distracted.)

It takes performances of Collins’ work and pops them into a browser tab. The results are strangely calming, the vibrating frequencies resembling nothing if not singing Tibetan bowls, as horns (and the odd ambient performance noise) dance around like dead leaves in the wind. Lose yourself in sounds eerie and meditative.

The sonic invention here is itself noting, the mournful waves of feedback emanating from a Countryman Model 968 Phase Shifter, 1974 analog circuitry singing at the center of all these performances.

The work turns 40 years of age this year, but seems somehow timeless – good news, that. What was once radical turns out to be familiar, not tired, but enduring.

And modest as this implementation may be, it reveals that these sounds can find new audiences through the Interwebs. That’s reassuring.

Dr. Collins explains:

I am pleased to announce the release of Pea Soup To Go, an open access version of my venerable feedback composition, Pea Soup. Pea Soup To Go is a free streaming audio web application that generates an ever-changing domestic sound art installation on any computer.
Premiered in 1974, Pea Soup creates a self-stabilizing feedback network of microphones and speakers that tunes itself to the architectural acoustics of the space and responds to events—instrumental performances, ambient sounds, human movement, even air currents—with swooping flights of sound. Pea Soup To Go mines decades of performances, including contributions by numerous guest musicians, from around the globe to produce a similarly dreamy soundscape that slowly shifts from key to key as the app shuffles and cross-fades from one recorded space to another.
Pea Soup To Go is being launched on October 24, 2014 — the 40th anniversary of the first performance of Pea Soup.
Point your browser to http://www.nicolascollins.com/peasouptogo/. Auto-shuffle plays endless variations unattended, or click the arrows to jump to the next track. Click “Info” for performance details.

http://www.nicolascollins.com/peasouptogo/

bogota

The post Pea Soup to Go Puts Decades of Experimental Sounds into Your Browser appeared first on Create Digital Music.


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Give Yourself a Night at Panorama Bar for Free, with Ryan Elliott

Written by Site Update on October 24th, 2014

Ryan_Elliott_by_Sven_Marquardt Quer

Mixes, like DJs, are everywhere. But the question of how to stand above the crowd has a simple answer: be better. Be consistent, be intelligent, paint a scene. Give humans a reason to listen to you; make algorithms, like unskilled DJs, weep.

And, yes, have a soul.

Ryan Elliott’s mix on Ostgut Ton is simply one of the best such mixes I’ve downloaded this year, and earns a place on some hard drive round here, stored permanently in all its lossless WAV glory, an hour and a half and gig and a half. Strip away the Panorama Bar label, and it still communicates one of those moments in that venue. You can learn something and feel something all at once. It’s an encouraging sign that quality can still endure, that DJs can do things with what producers make that shines light on them and gives them meaning.

OSTGUTMIX01-Panorama_Bar_06-Ryan_Elliott

I’ve just returned from Amsterdam Dance Event, which is perhaps a microcosm of where dance music is at these days – a very, very huge microcosm. The event is strange in some ways; it’s not that it’s commercial, as it’s got a surprisingly wide range of music and unique venues like the audiovisual-themed events just across the water at Beamlab and EYE. (More on the excellent Paula Temple / Jem the Misfit AV show soon, as well as the results of our 4DSOUND spatial audio collaboration.) But it’s still skewed overall to industry and business, and for all the quality there, the biggest money gets the attention. (Dutch friends were quick to chide me for so much as uttering the name, produced as it is by Buma, a royalty collections agency that has alienated many artists and somehow managed to become more-hated than Germany’s GEMA.)

So all of this brings us back to Berghain/Panorama Bar, which on the weekend of ADE and the weekend following manages to produce similar lineups not because it’s a festival but just that it’s a regular weekend. Commerce and names are subdued, even as the machinery of the club ticks away. Hype is only a problem if it clouds judgment, or it’s undeserved.

Sure, this venue has been talked to death in a way that might ruin most places. The New York Yankees catcher Yogi Berra, forever a fount of profundity and my all-time hero, famously quoted “No one goes there any more; it’s too crowded.” But, much as New York baseball fans need the Yankees, Europe’s music scene needs Berghain. It’s a place where you can wind up having hours-long conversations with producer friends over ice creams (yes, they serve them, even in winter), then wind up hurting your feet from dancing too much. Artists rub shoulders with DSP engineers making music software. No one should ever pay too much attention to any one place, lest they become myopic, but the feeling those connections produce is important. We need venues that draw us in; we’ve plenty that push us away.

Ryan Elliott nicely sums up Panorama Bar on a day when everything is clicking. There isn’t anything terribly virtuosic here – no special edits or anything like that. And you miss out on the delightful weirdness Panorama sometimes achieves – odd tracks, wonderfully undanceable mixes, and I won’t say anything about the crowd because that’s meant for those inside, not for words.

But what I would say is, this is a good mix precisely because you don’t have to visit Berlin. You can create your own personal club, as you like, with a pair of headphones. (You can also smell fresh and clean and have as much space as you like to dance, which beats any club in the world on some evenings.) It’s not a typical 3-hour set at Panorama. But it says something about Ryan Elliott, about his tastes – deep, dark, soulful, yet precise, calibrated.

Andrew Ryce does a nice job of walking through the tracks.

And that’s what Ostgut needs to do as a label behind Berghain/Panorama – this steps up Ostgut’s output at a very important time. The club is brilliant; the label as far as international attention has to emerge from that club’s shadow (and shadows). This free gift helps Ostgut to say what it’s about in a way that can stand on its own.

And I think in that sense, it can be a strong template for people making mixes with different things to say, too – even if you’re planning a dark ambient mix or avant-garde noise radio show. I would make the measure this sense of encapsulation, of beginning, middle, and end, of the mix as both a teaser (90 minutes makes you wonder what Elliott does with a full set, what the party is like), and standalone object (you might be happy to devote a gig and a half of precious drive space to it).

Ryan Elliott is a great ambassador, and it’s fantastic to see Ostgut back with long-absent mixes. Elliott has been a regular since 2007; the mix download here suggests a post-CD life for Ostgut.

So, give yourself a nice weekend – anywhere in the world, no entry fee, with your favorite headphones. Enjoy.

http://www.ostgut.de/label/record/120

The post Give Yourself a Night at Panorama Bar for Free, with Ryan Elliott appeared first on Create Digital Music.


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MathAudio updates Room EQ Plug-in to v2.4.5 – releases AU version

Written by Site Update on October 24th, 2014

MathAudio has released an AU version of Room EQ and updated the VST version to v2.4.5. The AU version allows one to use Room EQ as a system wide equalizer on Mac OS X. It can be used with the [Read More]
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LiquidSonics updates “Mobile Convolution” reverb for iOS to v1.2.5

Written by Site Update on October 24th, 2014

LiquidSonics has updated Mobile Convolution for iOS to v1.2.5. New features include: Added support for adding Impulse Responses via iTunes File Sharing. The update is now available in the Apple [Read More]
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AudioThing releases “Environments – Piscina Mirabilis” for Kontakt

Written by Site Update on October 24th, 2014

AudioThing has released Environments – Piscina Mirabilis for Kontakt 4 and above. Environments Piscina Mirabilis features sound gestures from a handmade electroacoustic feedback setup and the [Read More]
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Bela D Media releases “Giovani Revive” Youth Choir for Kontakt

Written by Site Update on October 24th, 2014

Bela D Media has announced the release of Giovani Revive, a youth choir sample library for Kontakt. Originally released in 2005 as The Giovani Edition, it has been updated with carefully re-mastered [Read More]
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Loomer updates Aspect to 1.7.17 – Now with AAX Native 64-bit support

Written by Site Update on October 24th, 2014

Loomer has announced the release of Aspect 1.7.17 for Windows, Mac OS X, and Linux. Changes: (new) AAX 64-bit Native plug-ins for Windows and Mac OS X. (fix: Mac OS X VST) UI now renders correctly [Read More]
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Wagsrfm releases Shock Wave Sound Library for Xfer Records Serum Wavetable Synthesizer

Written by Site Update on October 24th, 2014

Wagsrfm has released the Shock Wave sound library for Xfer Records Serum Wavetable Synthesizer. There are 350 sounds and 385 wavetables in this library. Sound library contains: 61 Bass Patches. [Read More]
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Youlean updates Freq-Balancer to V2.0 for Windows

Written by Site Update on October 23rd, 2014

Youlean has updated Freq-Balancer to V2.0, featuring new GUI, loudness normalization engine, and more. Changes: Changed GUI. Changed display, now shows more accurate representation of internal [Read More]
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