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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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Tek’it updates Kutter to 1.1.1 and announces Kutter 2 coming in August

Saturday, July 9th, 2011

Tek’it has updated Kutter to 1.1.1 and announced that Kutter 2 is coming in August, 2011. Kutter Version 1.1.1 includes several bug fixes, mainly on the preset management side, and the demo has a new… [Read More]
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Open-Source Rockit 8-bit Synth Kit Coming

Friday, July 8th, 2011

Chicago-based hacker and synthesist Matt Heins is working on an open source synth kit. As a co-creator of the MeeBlip open source-synth hardware, I’m biased — I want more open synth hardware! So this is looking like some great company. The instrument is 8-bit, with analog filter circuitry, coded in C. The specs:

Fully Open Source Hardware and Well-Commented C Software Design
Digital Analog Hybrid Circuitry
2 Digital Oscillators with 16 waveshapes, updateable to more
2 Low Frequency Modulation Oscillators with 10 destinations
Innovative Digitally-Controlled Analog Filter with Low-Pass, Band-Pass, and High-Pass with Envelope Control and External Audio Input
Analog Voltage-Controlled Amplifier with Envelope Control
Drone/Loop Mode for Playing by Itself
19 Knobs to Twiddle and 8 Switches
Full MIDI Input and Output
Sound Patch Save and Recall

I think the self-playing mode is particularly clever, and of course having presets is nice. There’s already a PCB and lots of interesting discussion of the design and sound on the blog:
http://hackmeopen.com/

And, as seen in the video, this is a Kickstarter project – invest early, and down the road you’ll be at the top of the list to get a synth.

Since this is likely to raise some comparisons to the MeeBlip, I can summarize: for now, the MeeBlip uses a digital rather than an analog filter, it’s a 16-bit synth rather than 8-bit, and it comes in a case if you like. We’ll have more of an update on the MeeBlip soon, but it will be available for sale again this month, alongside an updated Special Edition and reworked workflow. Also, by the beginning of August, I’ll have tutorials on how to code for it very quickly without any previous experience with programming (yes, even in Assembly).

But I’m excited that there’s a range now of open source music hardware; I will try to do a full write-up soon. And in the meantime, Matt, I hope I make it to Chicago in the next couple of months and we can say hi — the synth is sounding great, and I look forward to trying it! The dream of an open music-making hardware rig is now very close to fruition.

If you do want to get onboard on Kickstarter:
Rockit 8-bit Synth Kit


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Coming Home: America and the UK, Dance Resurgence, Insanely Great Flying Lotus and Stones Throw

Friday, June 3rd, 2011

Techno originator Juan Atkins. Now, dance music may finally be coming home properly to stay. Photo (CC-BY-SA) Adrien Mogenet.

Any one of us, myself included, may break at any moment into armchair analysis of the music scene. But it’s worth asking an expert. Taste-setting, deeply influential DJs Pete Tong and Gilles Peterson of BBC Radio 1 recently stopped by National Public Radio’s thoughtful music program, All Songs Considered. Joining the American hosts, the BBC stars play favorite tracks and weigh in on the connections in electronica and club music in the US and the UK. The timing was appropriate: with DEMF taking over Detroit, that same world scene was returning to the cradle of the techno genre. But the message might surprise you: according to Tong and Peterson, the US is in a full-blown dance resurgence. It’s about time.

This isn’t the first time England has exported back to America tastes America helped define. Just ask the Beatles, who were able to market folk and country traditions, Everly Brothers harmonies and practicing guitar licks, more successfully than American artists had been in their own country.

Imagine what is possible now. Today, you can almost certainly have an easier time tuning into BBC Radio 1 from anywhere on Earth than you can a terrestrial radio station just a few miles away. Electronic dance music, while it may draw its roots from the likes of Juan Atkins and Frankie Knuckles in Detroit and Chicago, is arguably a hybrid, global and transnational by definition, and both American continents alongside Europe, Africa, and Asia, continue to forge its style.

All of this makes it more noteworthy that Tong and Peterson are finding the US increasingly fertile ground. Outside the over-saturated UK, BBC Radio 1 DJs are doubly superstars. These Radio 1 legends report that the act of gigging in the US – fueled by demand in the unfairly-dubbed “flyover states” – is better than ever, and even better than anywhere else. (Where but the US, they say, can you do a 7-day-a-week tour?)

In just those places, people are rediscovering classics like Lil’ Louis’ “French Kiss.” And in turn, those records may come to mean something new and refreshed, transported into new contexts.

In making their argument, and tracing some exemplary records, these two also make a case for a dance music more informed by tradition than flavor-of-the-month trend. It’s fitting that older records are finding new audiences, or that new styles are more conscious of their antecedents. The program also offers some perspective on English club culture, and without hopping on a soapbox, suggest the US may have paid a cultural cost for societal squeamishness about difference and homosexuality. Beyond what gets gigs or prompts dancing in the club, that suggests a grander societal significance to all these great records.

But Americans looking for some hope, I think the message of this recording is as clear as the title of the last song: “Coming Home.”

Flying Lotus, live. Photo (CC-BY-SA) sunny_J/jenslime.

Let’s turn it over to Flying Lotus…

It’d be unfair to allow the UK side to monopolize this conversation, so let’s look at one of the US artists who has helped lead the US dance resurgence. Flying Lotus, himself popularized by BBC Radio 1, has been a tremendous force in supporting the blossoming scene around Los Angeles.

I think he can say as much musically as any other way, so take a listen to his recent podcast for Stones Throw records. Pulling some surprising cuts into the mix, he spins a dreamy, future-retro, soulful-spectacular world. As out of a parallel analog reality, warm and fuzzy vinyl crackles through a gauze-covered lens, but paints a futuristic landscape.

Perhaps Steve Ellison was assembling this deliciously-curated wonderland in a trance, because there’s absolutely no track list. (I’m holding out hope that maybe he’ll reveal their provenance; we’ll see.)

But a future portal opened by the past, steeped in soul and jazz, seems just the kind of universe that could give electronic dance music a second renaissance. So, I’ll best shut up at this point and let you listen.

Good listening

Hear the whole NPR program, and find additional commentary and track selections:

Pete Tong And Gilles Peterson On Dance Music, UK And American Style [NPR Music: All Songs Considered]

This Week On All Songs Considered: America In The Grips Of Dance Fever [All Songs Considered Blog]

And be sure to subscribe to Stones Throw’s podcast, picking up episode 66 for Flying Lotus:

More FlyLo — a full live set, also via NPR Music:
Sasquatch 2011: Flying Lotus, Live In Concert


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Words and Music: New Brian Eno Coming on Warp, with Rick Holland Poetry; Listen Now to ‘Glitch’

Tuesday, April 19th, 2011

Artwork by Brian Eno. Courtesy Warp. Used by permission. (Click for full-sized version. I like to get my eyeballs up against this one.)

Packed tightly with interlaced rhythms, set against crisp cool intoned lyrics, the first cut of Brian Eno’s forthcoming “Drums Between the Bells” from Warp can give us all reason to look forward to the summer.

Mr. Eno has been on something of a roll lately. We’ve certainly gone through periods when he wasn’s necessarily in command of electronic headlines in music, even as he contributed in other ways – the 90s brought pioneering work in generative music software and the infamous sound set for Windows, for instance. Now, he’s had back-to-back major releases in recent years.

2008: Spore (the videogame, the soundtrack for which may have overshadowed the actual game title), Everything That Happens Will Happen Today with David Byrne

2009: New live work, score for Peter Jackson’s The Lovely Bones

2010: Small Craft on a Milk Sea with Jon Hopkins and Leo Abrahams

And now we know what’s coming for summer 2011: Warp Records, July 5, a full-length with Rick Holland entitled “Drums Between the Bells”

The stunning cover image, as much alien patchwork quilt as glitch, is Eno’s own creation. You can preorder vinyl with high-resolution digital for just $ 21, but $ 39 gets you the hardback two-CD set with instrumental versions of the tracks (perfect for a late-night painting session when you don’t want to be distracted with poetry), plus a forty-four page book. Typically, such books are superfluous to the musical experience, but here, with Eno himself as accomplished in visual media as musical, they’re almost a no-brainer.

Eno book and two CDs for forty bucks? Yes, please. Photo courtesy Warp.

Bleep has your pre-order options.

Give the first track released a listen:

Brian Eno – glitch (taken from Drums Between The Bells) by Warp Records

More details:
http://brian-eno.net
http://warp.net/brian-eno

The Guardian’s take

The poetry

So, who’s this Rick Holland, anyway?

It’s perhaps best answered with his words, which to me sound unaccompanied as though they already have Eno music behind them – the forward-moving staccato cadence, the interwoven reflections of a modern electronic age, the unassuming zen echoes, the amiable ambience of the thing. Here’s his Orange Notebook Philosophy, from his blog:

flutter eyelids against the pillow
flashes behind the eyes

the sounds are computer processors

the mind reflects on itself

on what it can simulate

and it becomes that thing

the imagining becomes event

and event leads to event

so the imagining becomes

in retrospect

equally an event. The computer processor

flutters and electric outbursts

merge data with data

and en route

creates florettes of accidental light

enough to capture the path of animated thought

and divert to a place at once utterly surprising and real within us.

He is mindful of the world around him, but he’s no elitist: he pits the Marquis de Sade against Sasha Fierce.

Read his posterous blog – evidently a new outlet for poetry. Follow him on Twitter (of course).

Rick is musician as well as poet, just as Eno is artist as well as musician, and has various collaborations around London, it seems. Like many of Eno’s collaborations, this one is long-standing, dating to 2002.

http://www.rjholland.com/

And as with Eno’s other recent releases, Eno has a talent for finding other resonant minds to present.


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Brainworx bx_digital V2 EQ and SPL Vitalizer MK2-T coming to Universal Audio’s UAD-2 Powered Plug-Ins Platform in Q2 2011

Tuesday, April 12th, 2011

Universal Audio has announced the impending release of the first new “Direct Developer” plug-ins for the UAD-2 Powered Plug-Ins Platform: the Brainworx bx_digital V2 EQ plug-in and the legendary SPL V… [Read More]
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