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Lee Stevens & The Beautiful People – Ridin High

Tuesday, May 1st, 2012

There has been a musical changing of the guard in Vienna the last years. Over due too some would say. Out with old crusty chilled downtempo and elevator music and most definitely in with new exciting and innovative electronica, be it Hip Hop or House or Techno. Much of this has been because of the new breed of club and party people who have taken risks and brought over from overseas very cool underrated and forward thinking producers and DJ’s to play at their parties. This has influenced a new generation of likeminded musical factions and cliques in Vienna who are now producing passionate and quality beats too. One such label is Luv Shack Records and apart from organising some of the cities best parties, they now see fit to express themselves through the medium of vinyl and digital downloads with a roster of local talent. LeSale opens things up on the EP with “Make me feel so good”. Strong Disco overtones that hark back to the days of the Garage and the Loft. Disco in its purest and most sensible form was always just about a groove, and this has a groove. Minimal piano and vocal loops take nothing away from this gorgeous groove either. Burnin Tears continue the Nu-Disco theme with “Confessions”. A punchy almost reggae trance with the big claps and a massive gospel shout out that really do light up this energy laden track. Vienna is definitely in the house though with some tight echo and reverb filling the holes. On the flip, we get more sophisticated and deeper with

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Borderlands, Amazing-Looking Granular Sampler [iPad, Desktop, Free Source], and Beautiful Sound

Thursday, April 19th, 2012

How do you visualize the invisible? How do expose a process with multiple parameters in a way that’s straightforward and musically intuitive? Can messing about with granular sound feel like touching that sound – something untouchable?

Music’s ephemeral, unseeable quality, and the ways we approach sound in computer music in similarly abstract ways, are part of the pleasure of making noise. But working out how to then design around that can be equally satisfying. That’s why it’s wonderful to see work like the upcoming Borderlands for iPad and desktop. It solves a problem familiar to computer users – designing an interface for a granular playback instrument – but does so in a way that’s uncommonly clear. And with free code and research sharing, it could help inspire other projects, too.

Its creator also reminds, us, though, that the impetus for all of this can be the quest for beautiful sound.

Creator Chris Carlson is publishing source code and a presentation for the NIME [New Interfaces for Musical Expression] conference. But this isn’t just an academic problem or a fun design exercise: he also uses this tool in performance, so the design is informed by those needs. (I’m especially attuned to this particular problem, as I was recently mucking about with a Pd patch of mine that did similar things, working out how to perform with it and what the interface should look like. I know I’m not alone, either.)

The basic function of the app: load up a selection of audio clips, and the software distributes them graphically in the interface. Next:

A “grain cloud” may be added to the screen under the current mouse position with the press of a key. This cloud has an internal timing system that triggers individual grain voices in sequence. The user has control over the number of grain voices in a cloud, the overlap of these grains, the duration, the pitch, the window/envelope, and the extent of random motion in the XY plane. By selecting a cloud and moving it over a rectangle, the sound contained in the rectangle will be sampled at the relative position of each grain voice as it is triggered. By moving the cloud in along the dimension of the rectangle that is orthogonal to the time dimension, the amplitude of the resulting grain bursts changes.

You can see how Chris is imagining this conceptually in a sketch he shares on his site:

An extended demo shows in greater detail how this all works:

Chris is a second-year Master’s student at Stanford University’s Center for Computer Research in Music and Acoustics [CCRMA] in California. The iPad version is coming soon, but you can get started with the Linux and Mac versions right away, and even join a SoundCloud group to share what you’re making. You’ll find all the details, and links to source code, on the CCRMA site. (And if someone feels like building this on Windows, you can save Chris the trouble.)

https://ccrma.stanford.edu/~carlsonc/256a/Borderlands/index.html

I also love this Max Mathews quote Chris shares as inspiration:

Max Mathews, in a lecture delivered at Stanford in the fall of 2010
“Any sound that the human ear can hear can be made by a sequence of digits. And that’s a true theorem. Most of the sounds that you make, shall we say randomly are either uninteresting, or horrible, or downright dangerous to your hearing. There’s an awful lot to be learned on how to make sounds that are beautiful.”

Beyond the technology, beyond this design I admire, anything that sends you on the path to making beautiful sound seems to be a worthy exercise. It’s a challenge you can face every day and never grow tired.

http://modulationindex.com/ [Chris' site, with more information]

Thanks to Ingmar Koch (Dr. Walker) for the tip!


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From Beautiful Ambient Modern Dance to Dubstep, Gestures to Music in Kinect (Download the Tool)

Tuesday, March 6th, 2012

It started as some compelling demos or proof of concept, but it’s plenty real now: the tools for translating movement, gesture, and dance from the body to interactive music march forward. Empowered by Microsoft’s Kinect and an artist-friendly toolchain, even a single, clever developer can do a lot. Sound designer, music producer, and Max/MSP developer Chris Vik of Melbourne has been one of those busy early pioneers, with an incredible tool called Kinectar.

So, the tech is cool and shiny and impressive: what about the actual music? And, even more importantly, what if all the hand waving and moving about could be meaningful? That’s the next step. For his part, Chris is teaming up with a dancer and choreographer to combine his compositional ideas with someone who knows how to move. The Dubstep-y demos (all below) are impressive, true, but the early tests of the work with the choreographer are simply beautiful, and demonstrate that wobble bass isn’t the limit of what this can do. They also turn the arbitrary arm-waggling into a part of the art.

And as for you: the software’s alpha, but you can fire up your copy of software like Ableton Live and grab this software for Mac or Windows and try it yourself. So if you don’t like the results – be the gesture-controlled basslines too wobbly, be they not wobbly enough – you can put your music, and your movement, where your mouth is.

At top, Chris shows off an early test of the dance collab. (There’s more to come.) Below, a tutorial that shows how this works with Ableton. And read on for more from Chris on what the work with the dancer is about, and what the tool can do.

Chris writes:

Since April 2011 I’ve been working solidly with the Microsoft Kinect, developing my software, Kinectar, to enable its use as a MIDI controller for performing music live. I’ve done a number of performances around Australia since I started the project, however, it’s safe to say that, although I would consider myself an electronic musician, I’m certainly no dancer. Enter, Paul…

Dancer, Paul Walker and I have joined forces to bring the Kinect controlled music concept into the world of contemporary dance. Recently we obtained a residency at PACT theatre (centre for emerging artists), where we spent the week developing different ways of implementing my Kinect music control system in a dance context.

My system is developed in Max and uses OpenNI drivers, OSCeleton and Ableton Live.

via Chris’ blog

CDM will check back in with Chris soon, because:

I’ve got some more videos to release over the coming weeks from a range of my different Kinect music performance applications, including controlling/conducting the Melbourne Town Hall Organ and a 100+ speaker Kinect-controlled diffusion performance. I’ll keep you posted when they’re released!

More on the software:

Kinectar Performance Platform is a toolkit developed by music producer Chris Vik to allow the use of Microsoft’s Kinect motion tracking sensor in computer-based music. The software is designed for electronic musicians to expand the way they control their music in a futuristic and extremely expressive way, using only the waving of hands and a small amount of creativity. It can be used to control the simplest of parameters like a filter or LFO, play notes and chords on a sampler or synthesizer, or be programmed to control an entire live-set through nothing more than gesture.

Key Features:

Movement Tracking UI allows manipulation of the Kinect’s human tracking capabilities, displaying all relevant data extracted from the hands location in 3d-space

Instrument Builder lets the user build virtual ‘instruments’ by outputting MIDI notes in three modes:

  • Static – Produces a single note value. Useful for drum triggers, turning on/off effects within a DAW or feed that trigger into Kinectar to switch between presets using your gesture
  • Solo – Do sweeping solos by selecting from over 40 musical scale presets or click the notes on the UI to make your own
  • Chord – Create a progression of up to 8 chords per preset to play live

Global Flags lets you turn on/off Kinectar’s instruments using a MIDI note sent from your DAW, external MIDI controller or Kinectar itself

MIDI Preset Control lets you switch between Kinectar’s presets and instruments using a single MIDI note

Value Editor enables many more MIDI/OSC outputs, for controlling device values

Visual Metronome popout window sits on top of all programs to make it easy to see if you’re in-time when the music gets messy

It’s labeled “rough alpha,” so don’t expect a finished tool here, but you can go download it and give it a try (or learn more about what’s possible):

http://kinectar.org/download

And now, the obligatory (but quite awesome, Chris) Dubstep demo videos:


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Neil Diamond – What a beautiful noise (W/Lyrics)

Monday, March 5th, 2012

More experimenting with Windows Movie Maker I do not own this video or track Lyrics also included in the description as I think the contrast also makes it hard to read the lyrics on the video What a beautiful noise Comin’ up from the street Got a beautiful sound It’s got a beautiful beat It’s a beautiful noise Goin’ on everywhere Like the clickety-clack Of a train on a track It’s got rythm to spare It’s a beautiful noise And it’s a sound that I love And it fits me as well As a hand in a glove Yes it does, yes it does What a beautiful noise Comin’ up from the park It’s the song of the kids And it plays until dark It’s the song of the cars On their furious flights But there’s even romance In the way that they dance To the beat of the lights It’s a beautiful noise And it’s a sound that I love And it makes me feel good Like a hand in a glove Yes it does, yes it does What a beautiful noise It’s a beautiful noise Made of joy and of strife Like a symphony played By the passing parade It’s the music of life It’s a beautiful noise And it’s a sound that I love And it makes me feel good Just like a hand in a glove Yes it does, yes it does What a beautiful noise Comin’ into my room And it’s beggin’ for me Just to give it a tune

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~Beautiful Love Instrumental

Thursday, March 1st, 2012

Amazing Love Instrumental Beat I composed with FL Studio! Check i’ out! :D Any interests in buying full rights and ownership of this track please comment or message me your offers!
Video Rating: 4 / 5

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Like a Wheel Within a Wheel: Beautiful Optical Turntables Generate Spinning Rhythms

Friday, January 27th, 2012

Music is deeply tied up with motion; seeing that in a machine is somehow satisfying. Soundmachines, from the enigmatically-titled Berlin studio TheProduct*, is an interactive physical installation made from optical turntables. By moving the “tone arm” – really in this case an optical sensor attached to an extended mount – you can change rhythms and sound sweeps.

We’ve naturally seen many visualizations, tangible and digital, that make loops into wheels. But it’s worth noting the particular connection to a kinetic experiment by The Books’ Nick Zammuto from the film earlier this week. In fact, my one criticism of this piece is that the rhythms are so regular. Some syncopation in a machine like this would be not only pleasing, but immediately visible to the eye and therefore understandable. Perhaps even decoupling the wheels from the motor could allow a user to experiment with sound. That doesn’t mean you have to go from minimal techno to irregular chaos, but there’s quite a lot in between.

That’s not to take away from the impact of this piece, and in particular, the beauty of its installation. The presentation in an iconic object is a message in itself. And the circle remains the ideal design for a looped rhythm, embedded as it is in the repetition we perceive in our world.

http://www.the-product.org/soundmachines

More details:

Three units, which are resembling standard record players, translate concentric visual patterns into control signals for further processing in any music software. The rotation of the discs, each holding three tracks, can be synced to a sequencer.
The Soundmachines premiered on the Volkswagen New Beetle stand at the IAA motor show in late Summer 2011. In cooperation with the sounddesigner/producer Yannick Labbé of TRICKSKI fame, we developed three unique discs, each controlling one track of an Ableton Live Set exclusively made for the Event. The show was supported by a set of realtime generated visuals, running on a 25m wide LED wall.

One/One oneone-studio.com
TheProduct* the-product.org

Client

Volkswagen

Agency

Vok Dams, Hamburg

Sounddesign/Producer IAA
Yannick Labbé yannicklabbe.com

Special Thanks

Matt Karau
 matt.karau.com
Andreas Schmelas invertednothing.com

(See also a compelling-looking visual collage. It’s supposed to be set to John Cage’s “First Interlude,” but because of copyright concerns, is instead (arguably) set to Cage’s 4’33″. Let’s hope they don’t get sued for that.


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No-Input Pärt: ‘Fratres,’ Played on a Mixer, is Eerily Beautiful

Monday, December 12th, 2011

Arvo Pärt’s music is always spare and gorgeous, inspired by Medieval counterpoint and voicings, and you’d expect it to be such on any instruments. But here, you get something truly unique: a transcription of the composer’s ‘Fratres,’ normally played on string quartet, on a mixer.

The no-input performance uses exclusively tuned audio feedback to generate sound, creating an almost vocal quality to ringing timbres generates entirely in the mixer.

Details:

Camera : Jimmy Hayes
Console : Christian Carrière
Research residency, Summer 2011
OBORO, Montreal, Canada
oboro.net/

Console : Allen&Heath GL2400-40
Thanks to Claus Frostell of Erikson Pro, who lent me the console, which made this project possible. eriksonpro.com/

The project is the work of experimental musician Christian Carrier, a Montreal-based sound artist and composer.

http://christiancarriere.com/


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Very Very Beautiful Tilawat by Beautiful Child 1 WMV V9

Saturday, December 3rd, 2011

www.alqurancity.com “In the name of Allah, the Beneficent, the Merciful” www.alqurancity.com service offers exclusive internet telephony learning solutions for students all over the world. Our service lets you access well qualified Hafiz of Quran via our unique learning format which allows you to learn the Holy Quran with tajweed. Our busy life styles and limited time for our children is why this service was established. Since most households now have computers with internet connection this service is being adopted at a rapid pace. But technology is only half of the answer. Our company is well established with qualified Quran teachers who are Hafiz as well as recognized Qaris in their communities. Some of our senior students are already Hafiz, yet need extra practice with tajweed so they have joined our educational service. Our commitment to teaching excellence sets us apart from other institutions. We are a student focused teaching institution. Benefits of this learning format Low cost solution 1 on 1 Live Format Experienced teachers (Male or Female Available) Learn from the comfort of your home Perfect for both children and adults. (1)Courses: 1.Quarn Reading. 2.Quarn Reciting. 3.Quarn learning with tajweed. 4.Quran memorization. 5.Quarn Translation. 6.Tafseer-e-Quran. 7.Learning concepts of Islam. 8.History of Islam. 10.Seerat. 11.Fiqa. 12.Hadith. 13.Tajweed (1 year course). 14.Dua Recitation. 15.Arabic Learning Classes. 16.Urdu Learning Classes. 17.Other Languages. (2
Video Rating: 4 / 5

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Where can I get FREE, beautiful choir aah samples for FruityLoops? I’m desperate.?

Tuesday, May 10th, 2011

Question by Andrew D: Where can I get FREE, beautiful choir aah samples for FruityLoops? I’m desperate.?

Best answer:

Answer by MAGIC MAN
GO TO…
WWW.SPIRALFROG.COM
OR
WWW.EZ-TRACKS.COM
OR
WWW.MPFREE.COM

( THEY’RE ALL FREE )

What do you think? Answer below!

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Kaleidoloops: Beautiful Box for Collecting and Layering Sounds by Critter and Guitari

Thursday, April 7th, 2011

In a week awash with new music gadgetry, Kaleidoloops are a reminder of the electronic musical object at its most basic. It’s a box for collecting and making sounds.

The Kaleidoloop contains basic digital audio recording capabilities – 16-bit / 22,050 Hz mono WAV. You can now save those recordings on an SD card, with up to 32,000 tracks and – if you upgrade beyond the paltry included 256M card – hours of sound.

What makes it interesting is its simple controls for manipulation. Knobs control speed and direction, and you can switch the speed control between a continuous mode and one that steps along the harmonic series. Buttons let you select tracks. There’s a built-in speaker and mic, or you can opt for 1/4″ input and output. And you can layer tracks together, too.

None of this is innovative; buying a Kaleidoloop is like buying a trawl or a hoe. It’s a basic tool you’d always expect to use.

It’s the simplicity of the thing, combined with an artful case, that makes it worth mentioning. The art collective Dearraindrop has given it a gorgeous skin, lending an almost mystical quality to the object.

Since these are handcrafted, the price of US$ 299 isn’t entirely unreasonable. But whether you buy this, or rescue a tape recorder, or build your own hardware or patch, I think just looking at it is a good reflection. It’s a way of reminding ourselves that what we do in production is work with sound. And getting back to basics is never a bad idea.

Or, as the makers suggest:

“Use several devices to build up layers of sound, pass a sound from one to another and play with resonance, invent new musical games, practice speaking in reverse, alter playback speed and explore new harmonies, carry sounds around the room… the list is endless. Best of all the Kaleidoloop stores everything it records, so you have a collection of your sound journey.”

http://www.critterandguitari.com/content/kaleidoloop

Like bright colors? Want to see other projects? Look here:
http://www.critterandguitari.com/projects


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