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When Detroit Met Holland: Sterac “Secret Life of Machines” Documentary, Re-release Coming [Video]

Tuesday, May 8th, 2012

Musical history seems to happen when things collide, when things get mixed up – certainly in the twentieth, and now the twenty-first century. And so it is that one of the most important “Detroit techno” records ever released came out of Amsterdam.

If this were a new artist, the long string of endorsements from a who’s who of electronic music in the video here might seem like publicity fluff. But because Dutch artist Stephen Rachmad, aka Sterac, has had such a deep influence on electronic music since his 1995 debut release, instead you can listen to a network of people in the dance music community, and how those influences form nodes in a neural net of musical creativity. Those networks cross national borders and backgrounds, speaking this musical genre as a common language. As the centerpiece of this docu-short, Rachmad himself is humble and quiet, a Zen-like presence on a sofa in the midst of bubbling techno celebrities, as he talks about how he clawed his way to getting anything released at all, on his first Atari 1040ST computer.

The best part of the video, though, is hearing Sterac’s musical process, often just playing directly from his head through a series of overdubs. I’m sure Rachmad was thrilled to power up his Atari ST for the first time; nowadays, a lot of us find a way to return to the immediacy of directly-recorded one-take overdubs. (It’s not so hard, of course. Just step away from your fancy editor.)

I’ve just listened to the re-release “Secret Life of Machines,” due out in June. It’s a fantastic, fresh-sounding release – unassuming and direct in the way Rachmad himself is in the interview. The dirty reality is, some 90s electronic music – even some that is considered a landmark today – really does sound dated today. These cuts simply don’t. There is this sense, as Richie Hawtin puts it in the video, of music that’s “melodic, funky, like Holland … but [is] rhythmic and beautiful like Detroit.”

I am, not very secretly, an optimist. I wonder what musical collisions may happen next – whether it’s club music or dance music or not, in electronic music as a medium. To me, the most fertile moments in music bloom when these kinds of connections and influences can form.

“Secret Life Of Machines” will arrive in phases, remastered and remixed, starting in June 2012, on CD and digital.


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Good Listening: Sample Unsound Festival’s Brilliant Lineup, Coming to NYC This Month [Stream]

Monday, April 9th, 2012

This might look like Tatooine, but it’s in fact the deserts of New Mexico, where artists Biosphere and Lustmord visited this year in a musical exploration of some of America’s – and nuclear power’s – darker past. The project promises to be a highlight of Unsound in the world premiere of a new, commissioned work. Photo courtesy Unsound Festival.

There are festivals, and then there’s Unsound. While so much in electronic music programming walks the line between club accessibility and more adventurous experimentation, some time falling over one side or the other of that divide, Unsound consistently hits the center of the bullseye with some of the most creative, imaginative music around. It’s just smart music. You can catch Unsound in its home city of Krakow, Poland, or you can find it as it pulls an international roster of artist to the metropolis New York City. And, at the moment, you can enjoy it from the comfort of wherever you call home, thanks to a nice stream from Hype Machine and Unsound that hops to the top of our must-listen queue for Monday.

Who’s in store? Alongside Polish animation and other goodness, expect a night of ladies whose names begin with the letter J working with experimental sounds (LA’s Julia Holter, Norway’s Jenny Hval, New York’s Julia Kent), a reimagining of Herbie Hancock by Poland’s LXMP, Germany’s wonderful Pole and the ongoing tour of Monolake’s visual-sonic masterwork, England’s Demdike Stare, New York’s own ambient imagineer Zemi17, and bass mainstays like Sepalcure and 2562. There are talks on history, explorations of music technique and particularly performance, and even a tribute to (too-often unsung) Manhattan minimal pioneer La Monte Young. (That great herald of experimental sound, The Wire Magazine is involved in discussions.) I’m probably most disappointed myself not to witness the premiere of “TRINITY,” a promising-looking, epic exploration of nuclear testing in New Mexico by Biosphere and Lustmond, bringing together two of the world’s most sonically-imaginative artists.

If you can make it to Poland or Manhattan, I certainly endorse experiencing the festival in person, but in the meantime, let’s enjoy surveying its musical treats:

http://unsound.pl/en


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SoundToys releases Little Radiator – Free until March 29 2012 – Radiator Coming April 2012

Wednesday, March 21st, 2012

Read the full story @ KVR Audio
SoundToys has released a new plug-in called Little Radiator and you can get it for FREE until March 29th, 2012. You’ll need a code to get to the download – find one here. Little Radiator is a unique [Read More]
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28c3: The coming war on general computation

Sunday, March 4th, 2012

Download hiqh quality version: bit.ly Description: events.ccc.de Cory Doctorow: The coming war on general computation The copyright war was just the beginning The last 20 years of Internet policy have been dominated by the copyright war, but the war turns out only to have been a skirmish. The coming century will be dominated by war against the general purpose computer, and the stakes are the freedom, fortune and privacy of the entire human race. The problem is twofold: first, there is no known general-purpose computer that can execute all the programs we can think of except the naughty ones; second, general-purpose computers have replaced every other device in our world. There are no airplanes, only computers that fly. There are no cars, only computers we sit in. There are no hearing aids, only computers we put in our ears. There are no 3D printers, only computers that drive peripherals. There are no radios, only computers with fast ADCs and DACs and phased-array antennas. Consequently anything you do to “secure” anything with a computer in it ends up undermining the capabilities and security of every other corner of modern human society. And general purpose computers can cause harm — whether it’s printing out AR15 components, causing mid-air collisions, or snarling traffic. So the number of parties with legitimate grievances against computers are going to continue to multiply, as will the cries to regulate PCs. The primary regulatory impulse is to use combinations of
Video Rating: 4 / 5

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Steinberg Padshop, Coming Soon, Granular Synthesis for the Rest of Us? Handy Intro Video Explains

Friday, February 17th, 2012

Let’s get straight to it: granular synthesis, and the various processes based on the principle, is one of the coolest things about making music with computers. With the ability to take sounds and stretch, mangle, and reshape them into new textures, it’s one of the fundamental techniques allowing sound software and lots of terrific timbral techniques to work.

Of course, explaining it to lay people is a bit of a trick. So that’s why, even before we get into talking about Steinberg’s upcoming Padshop synth, it’s worth watching the first few minutes. Sound designer Matthias Klag explains that coolness really succinctly (and, I think, accurately).

I’m excited to try Padshop. Now, on its surface, I can’t yet see anything radically new in how it works relative to what you get from some of the better Reaktor patches out there. On the other hand, a lot of people aren’t willing to go buy Reaktor just to use those tools. And it seems Steinberg has built something that brings together a traditional synth’s playability with some of the better tools for dialing in far-out granular textures. We’ll get to see it later this month, and then see if this is as big a breakthrough for granular sounds as Steinberg says. But I think it’s worth an early look, nonetheless – if for no other reason than hearing this nice explanation.

And if I get one great pad for a track out of this, count me in. Time to stock up on some Fritz-Kola, in Hamburg’s honor.


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3D Modular Sound Gets Real: Stunning AudioGL Demos, Crowd Funding, Beta Coming to You Soon

Wednesday, February 8th, 2012

Electronic music making has had several major epochs. There was the rise of the hardware synth, first with modular patch cords and later streamlined into encapsulated controls, in the form of knobs and switches. There was the digital synth, in code and graphical patches. And there was the two-dimensional user interface.

We may be on the cusp of a new age: the three-dimensional paradigm for music making.

AudioGL, a spectacularly-ambitious project by Toronto-based engineer and musician Jonathan Heppner, is one step closer to reality. Three years in the making, the tool is already surprisingly mature. And a crowd-sourced funding campaign promises to bring beta releases as soon as this summer. In the demo video above, you can see an overview of some of its broad capabilities:

  • Synthesis, via modular connections
  • Sample loading
  • The ability to zoom into more conventional 2D sequences, piano roll views, and envelopes/automation
  • Grouping of related nodes
  • Patch sharing
  • Graphical feedback for envelopes and automation, tracked across z-axis wireframes, like circuitry

All of this is presented in a mind-boggling visual display, resembling nothing more than constellations of stars.

Is it just me, or does this make anyone else want to somehow combine modular synthesis with a space strategy sim like Galactic Civilizations? Then again, that might cause some sort of nerd singularity that would tear apart the fabric of the space-time continuum – or at least ensure we never have any normal human relationships again.

Anyway, the vitals:

  • It runs on a lowly Lenovo tablet right now, with integrated graphics.
  • The goal is to make it run on your PC by the end of the year. (Mac users hardly need a better reason to dual boot. Why are you booting into Windows? Because I run a single application that makes it the future.)
  • MIDI and ReWire are onboard, with OSC and VST coming.
  • With crowd funding, you’ll get a Win32/64 release planned by the end of the year, and betas by summer (Windows) or fall/winter (Mac).

I like this quote:

Some things which have influenced the design of AudioGL:
Catia – Dassault Systèmes
AutoCAD – Autodesk
Cubase – Steinberg
Nord Modular – Clavia
The Demoscene

Indeed. And with computer software now reaching a high degree of maturity, such mash-ups could open new worlds.

Learn about the project, and contribute by the 23rd of March via the (excellent) IndieGogo:

http://audiogl.com


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The sound coming from FL studio is messed up?

Saturday, December 24th, 2011

Question by saku 愛: The sound coming from FL studio is messed up?
I just downloaded FL Studio and the sound is messed up. It is coming through fuzzy and sounds like the speakers are blown. But when I play regular music it works fine. Any help?

Best answer:

Answer by Composer
this happens to me when a website like youtube (or any website with sound) is also open before you open FL studio.

What do you think? Answer below!

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Lovely Christmas Songbook for iPad, Built with Open Source Scoring Tools (More Platforms Coming)

Thursday, December 22nd, 2011

Have an uncommon yule with tools and music from the Commons.

That’s the pitch (so to speak) of the Ultimate Christmas Songbook, an iPad app built with 50 Christmas songs and a fully free and open source notation engine. Making use of public domain songs, the number of songs available continues to grow as the community contributes tunes. (Those contributors got the app for free.)

As notation proliferates on tablets, the app also suggests that “commercial” doesn’t have to mean “closed.” The scores themselves are available in open, cross-platform formats (MIDI, MusicXML, MuseScore, and PDF). But by generating revenues, the app can support further development – something that’s often been missing in open source music software projects.

And if you’re looking for a way to help family and friends play music, and they have iPads, the score reading features are quite reasonable. You get lovely display of scores, audio playback, tempo change, transpose, and the all-important font resize with reflow so you don’t have to squint.

The app is on iOS now, but other platforms are planned; an Android version is already in testing. And we hear lots more is coming from MuseScore, too, hot on the heals of a release that earned half a million downloads:
A Christmas update from MuseScore

More resources:
Open source code for mscore at SourceForge
Contributed scores to download
Ultimate Christmas Songbook, US$ 1.99 at iTunes
http://musescore.com/, software and community, including the desktop software for Mac, Windows, and Linux

For reference, here’s a look at how the desktop software works:


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Teaser: FL Studio Mobile Coming to Android, with Low-Latency Engine

Tuesday, November 1st, 2011

Image-Line are quick to attach lots of disclaimers about when the work will be ready, but a teaser video demonstrates they have builds of their FL Studio Mobile software running on Android devices. It looks like a particularly good match for tablets, and is the latest indication that their may finally be a horse race in tablets for music. (Insert more disclaimers here.)

The phrase “low latency” is likely to make prick up some ears. No computer is “zero latency”; digital systems introduce some delay from recording to playback. The quality of the user experience, therefore, is having things happen without too much latency, whether it’s when sounds from a microphone or line input are processed or when a touch event or MIDI input results in a sound. iOS at least puts that latency in the acceptable range. Android devices, meanwhile, have earned complaints. Some of these issues appear to have to do with the way the platform itself works, in scheduling and the hardware abstraction layer, whereas other challenges arise from the variety (and, let’s face it, inconsistent quality) of Android’s various devices.

However, there are signs that developers might make this situation more manageable. We hear there are changes in Android’s Ice Cream Sandwich release that could impact both the way native access to the audio system and scheduling work; it’s too soon to evaluate those changes, because the OS isn’t done yet. But that leads to the other important development: Android developers are beginning to test performance across devices for some harder numbers. Those kinds of tests could benefit from easy software distribution and the (relatively) open source nature of the operating system — or at least, to be fair, from freely distributing genuinely free-software apps for testing. It’s also worth saying that not all applications require low latency, or, indeed, concern themselves with input-to-output latency. (Not all apps use an audio input.)

It’s not yet clear what Image-Line’s own “low latency” engine is about, but it’ll be interesting to watch. First promised in June, at least, it seems Image-Line is making some headway. More details:
http://www.image-line.com/documents/android.html

I’m still far, far from being able to recommend purchasing an Android device for use with music – iOS wins handily. But developers naturally want to look ahead, beyond the present situation to what might be possible in the near future, especially since they’re the ones making the apps. And there, the picture is worth examination.


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My Itunes music isn’t coming up on my new computer when i plug in my Ipod?

Tuesday, August 16th, 2011

Question by fgffggf: My Itunes music isn’t coming up on my new computer when i plug in my Ipod?
I just got a new computer, and my old computers memory has been transfered. This transfer includes my itunes and I thought that if I sign in to itunes on the new computer, my music would show up. I did not, but I tried plugging in my Ipod to see if my music would come up. All it says is my ipod’s name on the side, but no original music has shown up. Please Help?

Best answer:

Answer by Tracy Green
If all the music are purchased from iTuns store, you can have authorized your new computer with the iTunes account, then you will find the files you import in the iTunes Media folder.* You can find the files in the iTunes Media folder using the Finder (Mac OS X) or Windows Explorer (Windows), or by choosing File > Get Info in iTunes.

After you have authorized your computer, you will be able to view/play the purchased music on your iPod.

Give your answer to this question below!

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