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Deeper with DS-10: Using a Nintendo DS Cartridge from Korg, Surprising Live Electronic Music

Monday, February 6th, 2012

Music making, child’s play. Photo (CC-BY-SA) Attila Malarik.

You might not expect a handheld game console, the gadget kids use to play Pokemon, to prove much worth as a musical instrument. But even in the age of readily-available computer plug-ins and iPhone apps, the DS holds its own. In the hands of two sets of artists, we find music that stands alone, independent of the gimmick of the device on which it was made. For these artists, the limitations of a fold-up touchscreen – entirely independent of doubling as a phone, or a computer, or a Facebook-browsing engine, or a powerful 64-bit DAW – apparently prove enticing. Beginning with Korg’s DS-10 cartridge, they use a stylus-operated software synth with its own unique character.

On some level, I almost hesitate to wax poetic about the fact that these were made with a Nintendo DS at all, because what these are, really, is love letters to synthesis.

And as it happens, both are available as free downloads from Bandcamp.

First up: AuxPulse is the duo of Rutger Muller and Michael Vultoo, based in Amsterdam and Kockengen, Netherlands, respectively. Late last year, they debuted their first album at Amsterdam’s prestgious Stedelijk Museum of modern art, playing a big set (two and a half hours) on small devices. Primarily employing the Nintendo DS, they nonetheless produce sounds that are rich and layered, sometimes even tending to the ambient exploration, not just the rawer chip-music sounds regularly associated with Nintendo handhelds.

Their music is trippy but danceable, unapologetically electronic, fully exploiting the DS-10′s idiosyncratic sonic character, one that’s slightly lower-fidelity than many soft synths (or even iPhone apps), without being “chippy” in the sense of retro devices. Dark textures collide with precise, clockwork rhythms, in sounds that sometimes tend to acid techno and sci fi game realms. (Lo-acid-fi, anyone?)

As you watch them live, you also see the value of the interface compositionally, both in terms of its pattern banks and its more conventional synth controls, all manipulated with the added precision of a stylus.

As they put it:

We aim to bring experimentation back to the dancefloor by expressing a psychedelic atmosphere through the use of a variety of rhythms and moods. Some of our inspirations are analogue synthesizers, acid, IDM, hardcore, gabber, ambient and oldschool electro.

Right now we mainly use the KORG DS-10 synthesizer for Nintendo DS to compose and improvise our music. When playing live we fuck with the synths as much as we can, trying to surprise ourselves with new sounds.

Our first album was recently released in Stedelijk Museum Amsterdam! Now we perform regularly, trying to open up some minds and move some feet.

The album, on Bandcamp:
Dream Stages by AuxPulse

And on SoundCloud:
Dream Stages (FREE ALBUM!) by AuxPulse

Bonus: an interview with them (in Dutch, naturally)

In a very different direction, Princeton, New Jersey-based DJ and producer Christian Montoya (love and tonic records) produces music on the DS-10 that’s drier and more exposed, as he programs intricate bass music on the unprocessed Nintendo cart. Christian works as a game designer by day, and channels some of the DS-10′s game music and so-called “chip music” heritage. The results, though, are a perfect marriage of game chip-waveform rawness, nude bass and synth and percussion sounds, and carefully-concocted grooves. For anyone concerned that game systems could hinder moving your butt out of the seat, this album is required listening. It’s utterly stripped-bare dance goodness – and it turns out the DS bass sounds fantastic.

Grab the record for free:

Dark Mode by Decktonic

DS-10 users, got any tips for us on getting the most out of a Nintendo handheld and this KORG synth? Let us know.


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Hey so i just bought cubase se3 and i was wondering how do you record live guitar & vocals in it? PLZ help!?

Saturday, February 4th, 2012

Question by xguitargirlx: Hey so i just bought cubase se3 and i was wondering how do you record live guitar & vocals in it? PLZ help!?
i have a gateway m-series laptop im recording on with Reason 4.0 installed also which i am having no problems with. im also having trouble getting my X-station midi keyboard to connect to Cubase so any suggestions with that would be much appreciated also!

Best answer:

Answer by torpex2002
Midi trouble

Do you see the midi channel strip rising on the transport bar when you hit the keys on your keyboard?
If not then you need to either update drivers or more likely, setup midi inputs in preferences.
If you do see it move then cubase is recieving midi data, you just have to open a midi channel and specify the input of that channel as your midi keyboard (down the left hand side of the window when a midi channel is selected) and then ensure that an instrument is selected as the output in the same section. You need to activate any virtual instruments (assuming thats what you want to do with your keyboard) in the devices menu then instruments.

As for recording audio into cubase, the cheapest option would be to buy either a USB mic or a battery powered mini jack one to record vocals or accoustic guitar, or to record an electric guitar, place the mic close to and at an angle to the guitar amp.

Give your answer to this question below!

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Ableton updates Live to v8.2.8

Saturday, February 4th, 2012

Read the full story @ KVR Audio
Ableton has updated Live to version 8.2.8. Improvements: Added support for the Ableton Improvement Program, an automatic usage and data reporting tool. To enable, add this line to your Options.txt f [Read More]
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How to Make Dubstep Pt 3/3 w/ Ableton Live: Scale, Randomize, Arrange

Sunday, January 29th, 2012

Check out blog.dubspot.com for more Ableton Live tutorials… In this video series LA-based Dubspot Instructor, Ableton Expert, and electronic music producer Steve Nalepa takes us step by step through the process of creating a dubstep style track in Ableton Live. Check out part 1 and part 2 to see how he ended up with this result. We’d like to know if these videos were helpful to you? Do you have questions? Let us know by leaving a comment below!
Video Rating: 4 / 5

Part 7 of the Clan Analogue Institute of Sound – Live Electronic Music Performance Workshop. Audio software including a look at the Ableton Live by Anthony Pell (Apell). This involves a demo of views, clips, arrangements, scenes and effects plus impluse, simpler and operator in Ableton Live using an M-Audio Axiom midi controller and Bomes Midi Translator. This project was assisted by the Australia Council for the Arts.
Video Rating: 5 / 5

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Curating Sound: Exploring Performance and Embodiment, in Live Excerpts and Analysis from BodyControlled

Thursday, January 26th, 2012

Continuing our insight into this view into electronic music performance and art through the lens of BodyControlled in Berlin, we’re joined by guest writer Kristin Trethewey. Kristin, a Canadian-born video artist and curator, takes another look at LEAP and BodyControlled, on the eve of its second installment. She gets straight at the question of what “BodyControlled” means, and what it can mean for sonic performance and creation. And I wanted to make sure to subtract myself from this write-up, seeing as I was playing – but see the excellent timelapse of the evening, above. -Ed.

LEAP is one of these spectacular Berlin venues you’ve been hearing so much about. It’s a huge, raw space with a view of Berlin’s landmark TV tower, hosting interesting art events with cheap drinks and the potential for a late-night party. But it’s unique, too, in its focus on electronic arts. And unlike other media arts centers, it’s not filled with computers and half-finished electronic projects. I’ve truly gotten lost trying to find this place (it’s tucked away in a mall), so I would recommend watching the timelapse video LEAP shot that guides you to the entrance before attempting to go there. Tonight is the second edition of BodyControlled, a new bimonthly performance series at the space. This installment, called “matter incompatible,” is held in conjunction with the Transmediale Festival under the satellite program, Vorspiel.

Robert Henke at BodyControlled, somewhere deep into a 12-hour performance. Image courtesy LEAP.

BodyControlled is a series focused on the intersection of performance and electronics. You can expect future programming to focus around ideas of “feedback” and “bio” related electronic performances. In its first installment back in November, a packed LEAP gallery witnessed performances by Robert Henke, Peter Kirn [editor of this site], Stephen Cornford, and Paul Whitty. The event was called “Other Spaces” and took the physical architecture of the gallery as a point of departure. Having the space filled with people made for a secondary concern of space: its use. In a series whose title mentions the body, I witnessed one performance engaging the bodies that were filling the space. Robert Henke’s twelve-hour set activated interactions between the audience, performer, and environment. He moved around, listened and mingled with the audience, even though he had this amazing, souped-up control station complete with ambient lighting.

CDM’s Peter Kirn (neverheardofhim) at BodyControlled in November. Photo courtesy LEAP.

Other artists put more emphasis on the manipulation and dislocation of space through the use and abuse of electronics. Kirn worked with a custom rig with tablet-controlled original software built in open-source software Pure Data (Pd), controlled by a tablet running Konkreet Performer. Excerpt:

Excerpt – LEAP Gallery Berlin, 26.11 by peterkirn

Electronic autopsy: Whitty and Cornford at work. Photo courtesy LEAP.

Whitty and Cornford actively deconstructed electronics in front of the audience:
it pays my way and it corrodes my soul (2011)

Stephen Cornford & Paul Whitty’s performance “it pays my way and it corrodes my soul” seeks out musical material by physically dismembering playback equipment. A reel-to-reel tape recorder is switched on and its mechanism amplified with a variety of microphones while it is taken to pieces. The sounds produced are then fed through an array of pedals: the machine’s belts, gears, switches and casing becoming an instrument subjected to a live audio autopsy

Excerpt:
Excerpt: Stephen Cornford & Paul Whitty, LEAP Berlin, 26 November by cdm

Cornford was also interviewed by LEAP for his installation work, featuring repurposed tape machines:

As João Pais, co-curator of the event with LEAP’s Daniel Franke, puts it:

“BodyControlled means the main direction of the series, to present performance and installation works that have a strong, corporal identity. This can be manifested in many ways, not only implying a “moving performer”. The purpose is to avoid the extreme of abstract performances made by a laptop-er, sitting down as if writing emails. In the first event, this idea was shown by interpreting/filling the space of LEAP through a sound-performance (Kirn, Henke), or an installation (Cornford, Mathy, Oliver).”

See also my write-up for ARTSCARDS from last month:
Other Spaces Generates New Spaces Through Sound at LEAP

The second event, “matter incompatible,” draws reference to the Transmediale theme: In/compatible, acknowledging the less clear, even dark forces at play in the artistic and political climate today. Matter Controlled questions the idea of the object or anti-object within sonification. See CDM’s write-up from yesterday:

Watch Artists Talk About Making Sound From Matter; Thursday Event and Stream in Transmediale Prelude

From the Transmediale podcast, some explanations of the theme of the larger festival:

Jacob Lillemose on the exhibition Dark Drives: Uneasy Energies in Technological Times by transmediale

Kristoffer Gansing elaborates on the festival theme in/compatible, as well as the in/compatible symposium: systems | publics | aesthetics.
Tatiana Bazzichelli is the curator for out new project reSource of transmedial culture and speaks about its concept.
Jacob Lillemose speaks about exhibition Dark Drives: Uneasy Energies in Technological Times which he is curating for transmediale 2012 in/compatible.
Sandra Naumann is the curator for this year’s performance programme The Ghosts in the Maschine, which she explains a bit more in detail.
And Marcel Schwierin tells us about his concept for the video programme he is curating for transmediale 2012 in/compatible.

Performances by Echo Ho, Mario De Vega, Alex Nowitz and Ignaz Schick will investigate this blurry region between the immaterial and material. I am curious to see what objects they will bring to play with. As they potentially seek liberation from the physical objects, by reimagining their sonification, I wonder how they are also reliant and maybe even drawn towards their objectification. Bringing these disparate emotions into play is at the heart of tonights investigation. In today’s climate fractures exist between so many aspects of our lives. These performances seek to bring some of them together, compatible or incompatible as we might discover.

You can watch the proceedings via live Internet stream, for the majority of you not in Berlin for the live show.

www.leapknecht.de

More Photos

About the Author

Kristin Trethewey is a Canadian video artist, cinema performer, and curator. She holds an MFA from Brooklyn College in Performance and Interactive Media. A multi-disciplinary curator and artist for the past ten years, she has recently completed a residency at the Node Center for Curatorial Arts, was co-Director/co-Curator of the INDEX Festival. She currently lives in Berlin.


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Ableton live lite 5 vista compatability. URGENT NEED ANSWER NOW.?

Thursday, January 26th, 2012

Question by Adrian E: Ableton live lite 5 vista compatability. URGENT NEED ANSWER NOW.?
I need to know if Ableton live lite 5.0.3 is compatible with windows vista. This is urgent.

Best answer:

Answer by Deepanshu
Ya it is as would have given any warning while installing if it would not be compatible with it……….

Check its installer, it shows whether compatible with **** O/S while u agree to terms and conditions………..

Add your own answer in the comments!

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How To Make An Electro House Song In Ableton Live (Part 2)

Wednesday, January 25th, 2012

See more Ableton Live tutorials at: abletonlife.com. On this screencast, we’ll learn how to create the basis for an Electro House track. Starting with the drums, working through a bass line, and finishing up with some melodic chords.

Check out blog.dubspot.com for more goodies… In this video series Dubspot Instructor and Ableton Expert Steve Nalepa takes us step by step through the process of creating a dubstep style track in Ableton Live. After creating a basic beat in part one he shows us how to add groove, a bass line and how to add some interest using some VST effects. We’d like to know if these videos were helpful to you? Do you have questions? Let us know by leaving a comment below!

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How To Make An Electro House Song In Ableton Live (Part 1)

Wednesday, January 25th, 2012

See more Ableton Live tutorials at: abletonlife.com. On this screencast, we’ll learn how to create the basis for an Electro House track. Starting with the drums, working through a bass line, and finishing up with some melodic chords.
Video Rating: 4 / 5

This is a little jam with a couple of instances of an Ableton Live Instrument created with samples of a snake drum. The original snake drum had 6 notes. This instrument is spread across the entire keyboard, with some interesting artifacts in the lower and higher extremes. Some interesting macro knob mappings make this an extremely versatile little virtual instrument! Download it here: bit.ly The original snake drum belongs to Mike Longo of My Summer. My Summer is one of New York’s best rock bands and my close friends : www.facebook.com Every week I make a free Ableton Live device for your downloading pleasure @: www.afrodjmac.com Cheers! -AfroDJMac

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Detunized releases City Traffic Live Pack for Ableton

Wednesday, January 25th, 2012

Read the full story @ KVR Audio
Detunized has released City Traffic, a new Live Pack for Ableton Live that brings the daily noise of Berlin’s road traffic to the Live library. The Live Pack contains recordings of main roads during [Read More]
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im trying to record vocals over a beat on ableton live but when i play it back its off beat?

Tuesday, January 24th, 2012

Question by brandon b: im trying to record vocals over a beat on ableton live but when i play it back its off beat?
i know this is because my computers speed but i was wondering if there were any quickfixes or plugins to help me out so i dont have to drag it on beat manualy

Best answer:

Answer by mr.wisdom
I only make Electronic songs on Ableton, I don’t record so I don’t exactly know what you’re experiencing. Try selecting the “delay compensation” button in options menu and see if that fixes it. You might need to use the metronome or make sure that your audio tracks are not warped. The warping feature is used to beat match songs when mixing, so you need to unselect it if it is activated. It speeds up your tracks and makes them faster than they should be. Try those and see if it fixes. Sorry if I couldn’t help, never actually recorded vocals before.

Know better? Leave your own answer in the comments!

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