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Lucas Gutierrez (AR), Silo Sessions.

Lucas Gutierrez (AR), Silo Sessions.

Electronic music, once the exclusive domain of secluded art laboratories, has now made the connection to clubs inseparable. The rhythms of dance music draw a line from popular to research; the software and gear marketed for dance musicians cross-pollinating with more experimental tools, as music styles, textures, and timbres mix, as well. But now, finding a way out of that club context and its restrictions may be as vital as the emergence from the lab years ago.

Making connections between Argentina and Germany, across an international collective of audiovisual artists, FxLD’s latest project invades a disused grain silo in Berlin. Literally in the shadow of Kreuzberg’s famed techno haven Watergate, the base of the silo is a narrow, concrete cave, broad-shouldered beams criss-crossing the space.

We get to listen to the fruits of the Silo Series performances, realized live and retaining their rough edges and improvised forms. And you can see some of the flickers, too, via filmmaker (and now CDM collaborator) Kevin Klein.

Danish artist Vectral, aka Søren Lyngsø, paints cinematic portraits in sound, rhythms throbbing underneath digital textures, all interwoven into a narrative of grooves and shadowy noises. Argentinian Lucas Gutierrez is an industrial designer and visual artist, but his music is a kind of dance of tribal glitches.

SILO SESSIONS from Mindpirates e.V. on Vimeo.

We have full-length music mixes here:

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Resembling nothing if not Plato’s famous allegory, audiovisual shows in the silo echo on those cold post-industrial surfaces and dance on the walls. Listening to the results, you’ll hear traces of dance grooves as they’re fragmented into glitchy textures, the computers sounding a little bit as though they’re about to scream under the strain. (Having been floating around academia for about twenty years now, I remember how frequent complaints used to be about “beat-driven” music. For a time, academics were as afraid of recognizable rhythm as they were of tonality in the post-war era. I think more enlightened openness has prevailed – a good thing, too, as I wouldn’t want to have to drop Beethoven for his four-on-the-floor time signatures.)

I’m honored to get to play as part of this series tomorrow, Friday, using software I’ve built in Pd and Processing. (I hope to share those patches, once they’re cleaned up.) But I’m equally pleased to share the work that’s come before, as I’m thoroughly enjoying listening to it. And while we can’t entirely replicate the experience, I loved the feeling of being close with other listeners, in a space that wasn’t a concert but wasn’t a club, either – shoulder to shoulder with music lovers, sounds and light slightly different from each vantage point.

More of Lucas – LUCAS GUTIERREZ . Ascendente LiveAct – PANORAMICA 2012 (Buenos Aires, Argentina – actually, 2013′s installment is next weekend if you’re in that neighborhood!)

If you are in Berlin, come say hi. More on the series, and the ideas behind it:

SILO SESSIONS

Mindpirates open the doors of their silo, in collaboration with FxLD, to make way for experimentation with a series of concerts exploring the relationship between audio and visual concepts. This event takes its name from the location where the event will be executed, an old grain silo in the heart of Kreuzberg. The unique space is characterized by its geometric architecture ideal to create an introspective atmosphere.
Seeking to promote a state of connection that goes beyond the limits of reason, guest artists will work image and sound simultaneously using non-conventional structures to compose and execute in real time.

MINDPIRATES
Mindpirates is an artist group that works on aspects and issues of contemporary culture, sociology and ecology. The group has the approach to work independently and interdisciplinary. They combine challenging aesthetics, substantial examination and experiment with new forms of distribution, exposition and cooperation.

Mindpirates e.V. is a member based network. The e.V. is building and developing a community that supports ideas and projects with the Mindpirates.

Mindpirates Vereinsheim is organized by the Mindpirates e.V. based in Berlin. The space follows the tradition of an artist run center and is used by its members as a platform for mutual exchange and public presentation.

The Mindpirates Projektraum is an independent art space and a curatorial platform for the collaborative production and presentation of artistic projects, exhibitions and critical research work. It is a meeting place for the exchange of thoughts and impulses through which to forge relationships with the guest artists and the public.

http://www.mindpirates.org

FxLD

Is an artistic collective based between Berlin and Buenos Aires. Has the aim of serve as a platform for research, experimentation and promotion of Digital Art and Generative Art and to give them a place in the consolidated circle of art. FxLD believes that they are forms of Fine Arts that can respond to the most deep inquires of the spirit. And defends that the computers and informatic languages expand the barriers of creation to make way to a new aesthetical and conceptual paradigm in art.

http://www.foldcode.com.ar/

VECTRAL (DK) ( Silo Sessions I )

Behind the pseudonym Vectral, Søren Lyngsø, producer/composer/computer-programmer and visual-artist with a master degree in electronic music-composition from the Royal Academy of Music, explores the interplay between electronic compositions and audio-reactive visuals with concerts leading the audience through his sensory labyrinth step by step. His stubborn sounds-capes and crackling sound structures consist of electronically arranged material from everyday life heard through homemade software. The visual part consists of live generated 3D graphics using 3D control points to create dynamic colors and shapes.

http://sorenlyngso.dk
http://vectral.bandcamp.com

LUCAS GUTIERREZ (ARG) ( Silo Sessions II )

Digital Artist and Industrial Designer and native of Belen City in the province of Catamarca, Argentina. He specializes in video-art and real time video session projects pushing limits and blending influences from Motion Graphics and Graphic Design. He strives to achieve simplicity in its work while playing with blurred visuals and blending together the variations of two styles. The design studio coalesces its influences to create a variety of audio/visual projects for creative professionals in the art and media world.

Lucas has exhibited his works in well-known national and international festivals such as: Offf-Post-Digital Creation Culture, Panoramica / Tiempo Visual Panorama Real 2010 & 2012 (Bs As, Argentina), Getset Festival 2012 (Porto, Portugal), Cccartaxo 2010/12 (Portugal), Fuga Jurasica & Sincroba 2009 (Bs As – Argentina), Videofest 2008/9 (Cordoba, Argentina) among others. Lucas Gutierrez became a well-known Visual Artist and participates as resident VJ in a number of shows and events, fusing primarily electronic music with art.
He is currently a member of: fungo_project collective (Lisbo, Portugal) and undertones (Argentina). “A chaotic style that permeates his works with motion graphics. Seeks simplicity while running with the limits of the blurred image”.

http://www.lucasgutierrez.com/

Finally, from Vorspiel (which runs prior to the Transmediale and CTM festivals), here’s a murky jam of artists in the silo space — good stuff, good times (again, including recent CDM collaborators Easton West and Kevin Klein):

Mindpirates & P2P Vorspiel: Plutonic Frequencies from Mindpirates e.V. on Vimeo.

Details of what’s going on there:

On the occasion of CTM Vorspiel, Mindpirates will channel the ancient knowledge of the lost tribes of Pluto through vibrational frequencies. This cosmic learning experience will take place in the secret Silo space located at Mindpirates.
This very special event was part of P2P Vorspiel, a pre-festival weekend preceding the opening of transmediale 2013 BWPWAP – Back When Pluto Was a Planet and CTM.13 – THE GOLDEN AGE through a dissemination of projects including exhibition openings, workshops, talks, performances and parties outside the main venues of either festival.
Participating Artists:
Pauline Doutreluingne
Cy Iurinic
Kevin Klein
Emmanuel Pidré
Owen Roberts
Dylan Warn
Easton West

Camera:
Philipp Wenning
Edit:
Kevin Klein

More images:

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Can’t get enough Live 9 information? In cased you missed it, here’s a nearly hour-long presentation. It’s notable for Ableton founder and CEO Gerhard Behles talking about what matters in an instrument, then “discovering” that Push fits in a backpack, for Dennis DeSantis doing a beautiful job of showing what really musical workflow looks like, and Jesse Terry brave enough to do a live set on hardware that’s only just been finished. I say this partly because I have to do presentations, too, and – it’s not easy. I think they do a good job of sharing their ideas honestly and clearly; it’s up to you to judge whether those ideas fit your music and whether you invest in their creation.

Bonus: isomorphic pitch layouts.

The setting is the private event you may have heard about. Last week in Berlin, a number of artists, partners, and press were gathered along with Ableton employees to witness a private event launching Live 9. I became briefly concerned that I was going to find out I was already dead, or having some strange dream, given the number of people I knew who were there. (Crap – really, we didn’t manage to get off the island? Did the plane crash on the way to LAX for NAMM ever happen? I’m so confused.) People came all the way from New Zealand. I came all the way from Kreuzberg.

It’s also worth noting that Robert Henke is not in this video. While, even viewed from the outside, Robert clearly continues to influence what Ableton does, the best place to find him is doing extraordinary work in performance and research, internationally. I point this out only because I think some people assume everything in Live springs from Robert’s head. That’s not the case – and it fails to appreciate all the other things springing from Robert’s head. It must be nice to focus on being a user of Live; I’m sure given what I’ve heard about gen that he’ll do some incredible work there.

Anyway, now the content of this presentation is available to all of you. Let us know if you see anything you missed. And enjoy the dog and pony show. (Darn, now I want to see a show with dogs and ponies.)

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Thavius Beck live in Los Angeles playing the legendary Low End Theory party, in 2009.

Whadayaknow, Ableton users?

Whether you’re an existing user or considering it for the first time, this month online school Dubspot is giving away 30 video lessons on using the software, free, through the end of June only. So, I turned to my friend Thavius Beck (Plug Research Records), LA-based producer and rapper, and master instructor, to make something exclusively for CDM to add a little more free knowledge. If you are playing with Ableton for the first time, you can unlock the 30-day free trial and give it a shot.

I’m just glad to read Thavius’ tips. You’ll feel a little more like an expert afterward, I guarantee – or, alternatively, count how many of these you did already know. (Yes, some of us have been using Live since its first release.)

30 Tips for Ableton Live

Thavius Beck

1. Holding SHIFT while adjusting a Transpose parameter with your UP/DOWN arrow keys will Transpose by an octave instead of 1 semitone

2. “Z” will transpose your computer keyboard DOWN one octave. “X” will transpose it UP one octave

3. “C” decreases the velocity of midi notes entered with the computer keyboard or mouse by 20. “V” increases the velocity by 20

4. You can disable the grid in the Arrangement View and in the Sample Editor by Right-Clicking in the grid area, and selecting OFF under Fixed Grid in the contextual menu

5. Individual drum cells in Impulse can be routed to other audio tracks to be mixed separately or given individual effects. Enable the I-O (inputs and outputs) button on the Session View, and in the Audio From tab select your Impulse instrument. In the tab below that, you’ll see all the sounds in your Impulse. Choose one, then either arm the track or set the Monitor status to IN.

6. The Ableton Device Spectrum not only shows you the frequencies being generated by your music in real time, it also will show you the specific note that a frequency corresponds to. Hold your mouse anywhere over the graphical display in Spectrum and a box in the lower right corner will show you the exact frequency, decibel level, and corresponding note based on where your mouse is.

7. If you have Live Suite, when using Slice to New Midi track try slicing to a single Sampler instead of the Built-In preset. When your slices are in the Sampler, you can change the pitch, attack, decay, voices, etc. of all the slices at once without using Macro knobs.

8. Right-clicking on the crossfader allows you to choose different crossfader curves.

9. If your audio interface has multiple outputs that are enabled (go to Live’s Audio Preferences and select Output Config), you can enable a separate CUE output so you can monitor on your headphones without affecting what is coming out of the Master. Make sure your I-O button is enabled, and on the master channel you will see Cue Out and Master Out. If the Cue Out is different from the Master out, your tracks solo buttons will become cue buttons, allowing you to cue up tracks in the headphones while the party people continue to party…

10. AutoFilter and Gate also have sidechain sections that allow an incoming signal to trigger/exaggerate/alter the effect.

11. Right-clicking on the metronome allows you to set a count-in. Helpful if you need to record something right at the beginning of bar 1.

12. If you need to record multiple tracks at once, go to Live’s Preferences, select the Record/Warp/Launch tab, and under the Record section disable the Arm button next to where it says Exclusive (you can also do the same thing to the Solo button if you want to solo multiple tracks). Ed.: I feel a little differently than Thavius on this one. I like that when you arm one track, you de-arm another. Generally, if I do want to arm multiple tracks, I’d rather hold down the “shift” key when selecting arm – the same for Solo. So consider that an alternative tip 12! -PK)

13. If you haven’t already, stay in that same page of Live’s preferences and turn off Auto-Warp Long Samples. This will prevent Live from putting a million incorrect warp markers on your audio when drag a longer audio file into it and enable Warp.

14. Complex warp mode may sound better than Beats for warping full songs and playing them below their original tempo, but be careful… Complex and Complex Pro are the only two warping algorithms that alter the quality of your audio even when it’s playing at the original tempo. They can also introduce some odd phasing issues when playing song with deep sub bass… Complex Pro is good for acapellas, but I suggest using either mode with a bit of caution before playing a gig…

15. If you change the Global Clip Quantization to NONE, you can scrub through your audio in the Sample Editor by hovering your mouse right below the loop bracket (so it becomes a speaker icon), click and hold, then drag the speaker icon through your audio clip.

16. You can create your own Slice to Midi preset by opening up a blank Drum Rack or Sampler, adjusting the parameters to your liking (you could even add effects to the blank Drum Rack if you like), save your new preset by hitting the disk icon in the upper right corner of the effect (or rack), and then dragging that preset into the following folder in your Live Library: Library/Defaults/Slicing. Next time you Slice to a New Midi track, try out your new preset…

17. Another way to manually “slice” a sample is to drop an Audio Clip into several different empty cells in the Drum Rack, and change the start point on each on so they each play a different part of the sample. The same thing can be done with the Sampler.

18. You can remove the Stop button from a blank clip slot by Right-clicking inside of it and selecting “Remove Stop Button” (or use the shortcut Command/Ctrl-E)

19. You can set the launch tempo of a Scene by Right-clicking inside the scene (next to the scene number) and selecting Edit Launch Tempo, then type in the tempo. You can also just rename the scene and type in the tempo followed by BPM.

20. You can also set the launch time signature of a Scene by Right-clicking inside the scene and selecting Edit Launch Time Signature, and then type in the time signature. You can also just rename the scene and type in the time signature (e.g. 7/8).

21. If you press DELETE while any parameter is selected, it will be returned to its default setting.

22. Double-clicking on any of Live’s Browser shortcut buttons will collapse any unfolded folders.

23. You can write your own notes in the Info View of clips by Right-clicking on any audio or midi clip and selecting Edit Info Text

24. You can drag any Groove Pool template into a midi clip slot to see the velocity and timing of the groove.

25. You can change the Launch Quantization of individual clips by enabling the Show Launch Button (the L button under the Clip View) and changing the Quantization from Global to something else.

26. If you want to MIDI or KEY map buttons to let you select or scroll through your Scenes, select with MIDI or KEY map, and you’ll notice buttons that appear above the Master fader and below the Stop Clips button. The first button will play the selected scene, the next two are arrows that can be mapped to buttons to select the next or previous scene, and the final box can be mapped to a rotary knob to scroll through your scenes.

27. You can automate tempo changes in the Arrangement View on the Master channel. On the Master channel in the Arrangement View, select Mixer in the Device chooser box (top chooser box), and then in the Automation control chooser (bottom choose box) you’ll be able to select Song Tempo.

28. If you select a parameter, it will be selected in the Automation chooser box on that track automatically. This is very helpful if you want to automate a parameter but aren’t sure exactly where to find it in the automation chooser box.

29. You can drag and drop a quicktime movie into the arrangement view so you can write music to picture.

30. If you set Locate Points in the arrangement view, you can MIDI or KEY map buttons to the Previous and Next Locator buttons (the left and right arrows above the first track in the arrangement view).

BONUS – Enable Info View to find out about any parameter that your mouse is hovering over. Very helpful if you don’t know all of the areas I refer to in the previous tips. Enjoy!

For more of this kind of knowledge, check out Dubspot’s full 30-lesson course with Thavius free – while you can.

http://www.dubspot.com/ableton3030/

“Did You Know?” Video Series

Very much along the lines of these 30 tips, earlier this year, Thavius also did a series of videos for Dubspot entitled “Did you know?” They focus on topics you perhaps should know about Ableton Live, but that some users – beginning and advanced alike – might have missed. Here’s that complete series.

Previously

Once More, From the Top: Learn Ableton Live in Videos, from the Very Beginning

http://www.dubspot.com/ableton3030/

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There have been so many attempts at putting musicians in separate locations together. For various reason so far none has really taken hold. The video above shows that it does seem we are getting closer to that reality though.

“Here’s a quick demo of a how to record peer to peer using albeton as our software. We then use google+ and other google products to communicate, organize and essentially recreate the studio environment but from anywhere in the world. Welcome to the future friends, this is just the beginning.” – lucai

For more info: youtube.com/user/lucai

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As Max for Live has matured, this tool for extending the functionality of Ableton Live has played host to a growing wave of brilliant custom tools – enough so that it can be hard to keep track. This month saw a few that deserve special mention. In particular, two tools help make MIDI mapping and automation recording easier in Live, and point the way for what the host itself could implement in a future update. (Live 9, we’re looking at you.) And in a very different vein, from Max for Live regular Protofuse, we see an intriguing alternative approach to sequencing.

Clip Automation does something simple: it patches a limitation in Live itself, by allowing you to record mapped automation controls directly in the Session View clips. (As the developer puts it, it grabs your “knob-twisting craziness in Session View.”) The work of Tête De Son (Jul), it’s an elegant enough solution that I hope the Abletons take note.

Clip Automation

Mapulator goes even further, re-conceiving how mapping in general works in Ableton – that is, how Live processes a change in an input (like a knob) with a change in a parameter (like a filter cutoff). Live does allow you to set minimum and maximum mappings, and reverse direction of those mappings. But the interpolation between the two is linear. Mapulator allows you to ramp in curves or even up and down again.

There’s more: you can also control multiple parameters, each at different rates. And that can be a gateway into custom devices, all implemented in control mappings. BentoSan writes:

For example, if you wanted to create a delay effect that morphs into a phaser, then cuts out and finally morphs into a reverb with an awesome freeze effect, you would be able to do this with just a single knob…

Again, this seems to me not just a clever Max for Live hack, but an illustration of how Ableton itself might work all the time, in that it’s a usable and general solution to a need many users have. Sometimes the itch Max for Live patchers scratch is an itch other people have, too.

Lots of additional detail and the full download on the excellent DJ TechTools:
Mapulator: An Advanced MIDI Mapping Tool for Ableton

Protoclidean We’ve seen Euclidean rhythms many times before, but this takes the notion of these evenly-spaced rhythmic devices to a novel sequencer. Developed by Julien Bayle, aka artist Protofuse, the Max for Live device is also a nice use of JavaScript in Max patching. See it in action in the video above. There are custom display options for added visual feedback, and whereas we’ve seen Euclidean notions in use commonly with percussion, the notion here is melodic gestures. Additional features:

  • Eight channels
  • Independent pitch, velocity, and offset controls
  • Scale mapping
  • For percussion, map to General MIDI drum maps (Eep – darn you, English, we’re using the word “map” a lot!)
  • Randomization
  • MIDI thru, transport sync, more…

More information:
http://designthemedia.com/theprotoclidean

Also, if you’re looking for more goodness to feed your Live rig, Ableton has added a new section to their own site called Library. You can find specific Max for Live content in that area, as well:
http://www.ableton.com/library
http://www.ableton.com/library/tags/mfl/

This is in addition to the community-hosted, community-run, not-officially-Ableton Max for Live library, which is the broadest resource online for Max for Live downloads:
http://maxforlive.com/library/

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Right click on Ableton Live’s EQ Eight to set it to high quality. Watch the video above for more details. Great tip from Dubstop! What other Ableton plug-ins have a high quality mode?

“When Hi-Quality mode is enabled on the EQ8, the audio being fed into the EQ is oversampled by a factor of 2 (meaning the sample rate of the audio is doubled. If your session’s sample rate is 44.1kHz, enabling Hi-Quality will make the audio being fed into the EQ8 88.2kHz). Then the EQ changes are calculated at the doubled sample rate, and finally the audio as it leaves the EQ is undersampled by a factor of 2, or basically brought back to it’s original sample rate.” – Thavius Beck

For more info: ableton.com and dubstop.com

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For years, since the launch of Ableton Live, many have waited for a worthy rival, something that combines production and live performance for music users. Live isn’t without alternatives – Renoise, for instance, has earned some fans, though it isn’t necessarily built for live performance. But few provide the same real-time workflows.

Bitwig, based in Berlin as is Ableton and featuring some Abletronic veterans, today took the wraps off its own Bitwig Studio. The good news is, it’s looking as though it might shape up to be a viable tool for DJing, performing, and making music. The bad news is, in a market already crowded with lots of similar tools vying for your attention, the first release will look more familiar than radical. That is, it looks and works a whole lot like Live. There’s an Arranger view, a clip launching view with scenes, a tray on the bottom with effects and instruments (they’re even called Devices, like in Live). The screen layout, and even specific interface widgets and channel strip arrangements are all straight out of Live.

It’s not just a little like Ableton Live, either – it’s in some cases a direct clone. Nested drum machine Devices, for instance, work in a way that I’ve never seen out of Ableton Live. A channel strip similarity or two is almost inevitable; here, though, lots of little details add up to something that feels like Ableton, but didn’t come from Ableton.

What that means to you may depend on what you want: whether you just want an improved Ableton alternative that works like Live, or whether you want something more fundamentally different from Live as an alternative.

If you want “Ableton Plus,” Bitwig does take on features Ableton is missing. For instance:

1. Linux support. In fact, right out of the gate, this could quickly be the answer for Linux users waiting for something they could use without booting to Mac or Windows.
2. Proper multiple document support. You can share content between projects in Ableton, but here you can actually open and freely exchange media with multiple files at once.
3. Mix audio and MIDI on the same track. Tracks are content-agnostic.
4. Per-note automation, with the mixed MIDI and audio, promises more detail-oriented editing.

Those are three significant breakthroughs. And it looks like there are lots of tweaks and improvements throughout the tool, many of which I’m sure we’ll hear about as people begin testing the beta. (One nice example: a vertical pane lets you view arrange and clip launching views simultaneously.) Multi-monitor support, while present in many tools, is sorely lacking in Live but available here. Plus, as some readers note, you do get 64-bit support, though that seems an advantage over Ableton that won’t last long.

The challenge is, as a new entrant to the market, your first obstacle is telling a story about what you are. And here, there seems a missed opportunity to make a first impression as something truly different, rather than something “similar, but better.” Ableton Live 1.0 when it was released was a significant departure from what had been seen before. So, too, were the first trackers, the first audio+MIDI DAWs, and the first graphical sequencers. Bitwig Studio isn’t that kind of breakthrough – not yet.

Not that being different is easy, or even always desirable. Amidst so many things users want, and so many expectations they have about how things will work, it’s tough to do something genuinely new without simply confusing everyone and driving them away. But it has happened – Ableton Live’s original release being a notable case. One question is whether you make some sacrifices to release the most significantly-different tools initially, or whether you choose to cover the basic bases to provide a workable solution from day one, and the Bitwig devs seem to have chosen the latter.

The most interesting features remain on the horizon. LAN multi-user jamming and multi-user production are both on the roadmap – features we’ve seen in other tools, but which have yet to catch on. And there’s an integrated modular system that lets you build your own instruments and effects with graphical patching – something seen in various forms from Buzz to Max for Live, but one that could use a fresh take in integration with the tool.

In the meantime, we’ll have to hear from beta users whether Bitwig is something worth a look. You can sign up now:
http://bitwig.com/bitwig_studio.php

We’ll be eager to hear what you think.

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I use Ableton’s Autopan often. Mostly I use it when recording old analog synths that don’t have MIDI. I use it as a 1/8th or 1/16th note chopper to keep things in line. You can hear it at work on the bassline in my song Sex Machine (above). Of course there’s more the little Autopan can do as the Liveschool video points out. Here’s another tip… Audiodamage’s Panstation plug-in which is based on the Drawmer M500 gives you a different, more classic, wider effect than Autopan.

“Ableton Autopan device – multiple ways you can use it in your music.” – Ableton Liveschool

For more info: vimeo.com/abletonliveschool

photo credit: Seven Morris

via synthtopia

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Compare the complex model of what a computer can use to control sound and musical pattern in real-time to the visualization. You see knobs, you see faders that resemble mixers, you see grids, you see – bizarrely – representations of old piano rolls. The accumulated ephemera of old hardware, while useful, can be quickly overwhelmed by a complex musical creation, or visually can fail to show the musical ideas that form a larger piece. You can employ notation, derived originally from instructions for plainsong chant and scrawled for individual musicians – and quickly discover how inadequate it is for the language of sound shaping in the computer.

Or, you can enter a wild, three-dimensional world of exploded geometries, navigated with hand gestures.

Welcome to the sci fi-made-real universe of Portland-based Christian Bannister’s subcycle. Combining sophisticated, beautiful visualizations, elegant mode shifts that move from timbre to musical pattern, and two-dimensional and three-dimensional interactions, it’s a complete visualization and interface for live re-composition. A hand gesture can step from one musical section to another, or copy a pattern. Some familiar idioms are here: the grid of notes, a la piano roll, and the light-up array of buttons of the monome. But other ideas are exploded into spatial geometry, so that you can fly through a sound or make a sweeping rectangle or circle represent a filter.

Ingredients, coupling free and open source software with familiar, musician-friendly tools:

Another terrific video, which gets into generating a pattern:

Now, I could say more, but perhaps it’s best to watch the videos. Normally, when you see a demo video with 10 or 11 minutes on the timeline, you might tune out. Here, I predict you’ll be too busy trying to get your jaw off the floor to skip ahead in the timeline.

At the same time, to me this kind of visualization of music opens a very, very wide door to new audiovisual exploration. Christian’s eye-popping work is the result of countless decisions – which visualization to use, which sound to use, which interaction to devise, which combination of interfaces, of instruments – and, most importantly, what kind of music. Any one of those decisions represents a branch that could lead elsewhere. If I’m right – and I dearly hope I am – we’re seeing the first future echoes of a vast, expanding audiovisual universe yet unseen.

Previously:
Subcycle: Multitouch Sound Crunching with Gestures, 3D Waveforms

And lots more info on the blog for the project:
http://www.subcycle.org/

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With great power comes great learning curves – or maybe not. Csound for Live, just announced this weekend and shipping on Tuesday, brings one of the great sound design tools into the Ableton Live environment. You can use it without any actual knowledge of Csound, without a single line of code — or, for those with the skills, it could transform how you use Csound.

For anyone who thinks music creation software has to be disposable, you’ve never seen Csound. With a lineage going literally to the dawn of digital synthesis and Max Mathews, Csound has managed to stay compatible without being dated, host to a continuous stream of composition and sonic imagination that has kept it at the bleeding edge of what computers can do with audio.

Csound for Live does two things. First, it makes Csound run in real-time in ways that are more performative and, well, “live” than ever before, inside the Live environment. Second, its release marks a kind of “greatest hits” of Csound, pulling some of the platform’s best creators into building new and updated work that’s more usable.

If you’re not a Csound user, you just dial up their work and see what your music can do. If you are, of course, you can go deeper. And if you’re somewhere in between, you can dabble first before modifying, hacking, or making your own code. And that means for everybody, you get:

  • Spectral processors
  • Phase vocoders
  • Granular processors
  • Physical models
  • Classic instruments

More description:

It looks great. It works great. It sounds… beyond great.

CsoundForLive is a collection of over 120 real time audio-plugins that brings the complexity and sound quality of Csound to the fingertips of ANY Ableton Live user – without ANY prior Csound knowledge.

Capitalizing on the design power of Max For Live, what once took pages of text in Csound can now be accomplished in a few clicks of your mouse.

Move a slider on your APC40 and deconstruct your audio through professional quality granular synthesis…

Touch a square of your Launchpad and warp pitch and time with real time FFT processing…

Press letters on your keyboard and create sonically intricate melodies through wave terrain synthesis…

And Dr. Richard Boulanger, unofficial Jedi Master of the Csound movement, instigator of this project, and Berklee School of Music sound and music wizard, posts a bit more:

With my former student, and now partner, Colman O’Reilly, I have been working around the clock for months to collect, adapt, create, wrap, and simplify a huge collection of Csound instruments and make them all work simultaneously and interchangeably in Ableton Live. In this guise, I am able to “hot-swap” the most complex Csound instruments in and out of an arrangement or composition – on the fly. This is something Csound could never do (and still can’t!), but CsoundForLive can, and it makes a huge difference in the playability and the usability of Csound.

Two weeks ago, I played a solo concert in Hanover Germany, at the first International Csound Conference. There, all of my compositions, from 20 years ago to 20 minutes ago, were performed in real-time using CsoundForLive. Tonight, at the Cycling ’74 Expo in Brooklyn, NY, I will be demonstrating the program; and next week, I will be releasing this huge collection (on Tuesday, October 17th, at 12:01am).

A huge part of the complete collection is FREE, and I hope it will make the creative difference in your (and your student’s) lives that it is making in mine. This is a serious game changer for Csound. Check it out. Dr. B.

If you’re at Expo ’74, do say hello to Dr. B for us (and I think you’ll get some nice surprises with this project).

I’ve got a copy in for testing, so stay tuned. And I’ll be doing some follow-ups with Dr. Boulanger and company.

The only bad news here, of course, is that both a supported version of Ableton Live and Max for Live are required to be able to run Csound in this way. In fact, sounds like we have a nice four-horse race going. Max 6 overhauls how multiple patches work (on top of Max for Live), SuperCollider has its own possibilities for multiple real-time patch loading, someone suggested in comments using pd~ inside Pd to manage multiple Pd creations (something fairly new even to most experienced Pd users), and now we have Csound in Live.

But overall, Csound for Live looks like a no-brainer for Max for Live owners, no question, and an exciting taste of the ongoing convergence of cutting-edge creative sound and code with live music making for everybody. As I hinted at in the Max 6 post, I think it’s suddenly a Renaissance for all these platforms.

http://www.csoundforlive.com/

Silly geeky footnote: With pd~ for Max, I know it’s possible to run Pd for Max. And via another external, Pd can also run Csound. So we could theoretically run Csound in Pd in Max in Live. But let’s not get carried away.

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