via fffff.at: "The 2nd edition of the SPEED SHOW presents again a wide selection of pop.net.art pieces and addresses various developments of performance related but still screen based art works. Most interaction and communication on the web bears it’s very own performance character. One could say Facebook is a huge mass performance piece. net.art in it’s classic form could be considered a performance by interactivity as well. In recent years artists from different fields work increasingly in a mix of performances and digital interventions. In some cases the screen itself, the beholder of the pixel is subject to fluctuations. In other works the performance is acted out by a hysterical mass or just by the code."

Thursday, 8th of July 2010, 19:00 – 22:00 h // Kaukas Handy Shop, Äussere Mariahilferstr. 178, Vienna (Map)

"Hit an Internet-cafe, rent all computers they have and run a show on them for one night. All art works of the participating artists need to be on-line (not necessarily public) and are shown in a typical browser with standard plug-ins. Performance and life pieces may also use pre-installed communication programs (instant messaging, VOIP, video chat etc). Custom software (except browser add-ons) or off-line files are not permitted. Any creative physical modification to Internet cafe itself is not allowed. The show is public and takes place during normal opening hours of the Internet cafe/shop. All visitors are welcome to join the opening, enjoy the art (and to check their email.)"

Participating artists will be:

- Margarete Jahrmann & Renate Christian

- JODI

- JK Keller

- Greg Leuch

- Michael Marcovici

- Will Moffat & Peter Burns

- monochrom

- Evan Roth

- Sakrowski

- Gordan Savicic

- Michael Schieben

- Georg Schütz

- Chris Sugrue

- Philipp Teister & Kim Asendorf

- UBERMORGEN.COM

- Jamie Wilkinson

The Offers in Detail:

• Kore 2 + Komplete 6 for 699€
• Komplete 6 Update from any previous version: 74,50€
• Kontakt 4 Update 64,50€
• Traktor Scratch Pro Update , FM8 or Absynth 4 Update from 34,50€
• Guitar Rig Update for 34,50€
• Free Traktor Pro with Audio DJ 8 Soundcard (Free Traktor Duo with Audio DJ 2 or Audio DJ 4)
• Kore 2 Update or Battery 3 Update from 49,50€
• Reaktor 5 Update from 59,50€

I got myself a Kore2+Komplete, an Audio 8 DJ Soundcard and a Traktor Scratch Pro Update. Since I already own Komplete 6, i am selling it (as well as Traktor Pro and tons of other gear) on the Audio Sellout list.

Here are the two graphics of the Native Instruments offers:

via tc electronics: "For just two more days, today and tomorrow (June 15), you can save 50% on all TC Electronic plug-ins for PowerCore and Pro Tools - plus a few additional ones! For example, you can get the amazing M30 reverb plug-in that runs natively on your computer for only $35!"

This offer might be especially interestin for people owning the tc powercore units. As I own the tc powercore compact (only available via ebay these days) i was wondering if the Access Virus PowerCore Plugin sounds as good as the original Virus synthesizer. The PowerCore PCI is currently priced 399€ at thomann, the TC electronic PowerCore Firewire 19" variant is 998€ (also thomann). UPDATE: you can get my powercore compact from the audio sellout list.

• A very short MIDI note at the beginning of a clip would not be audible. [6130]
• Recording via 'Resampling' would not properly compensate latency. [6124]
• Under certain conditions, it would be possible to get 2 Arranger tracks highlighted. [6144]
• Using the Launchpad as control surface and additionally for manual mappings would not always work properly.
• When installing Live Packs which have dependencies to other content, Live would show the corresponding message twice. [6153]
• Using a Rex file could crash Live. [6157]
• 'lock control surface' function would not properly work in user remote scripts. [6064]
• A particular Live set could not be loaded and would lead to a 'Invalid Product ID Error' message. [6165]
• In the Arranger, punch In/Out would delay notes by the 'punch in time' in beats. [6167]
• Using the pads of the Akai MPD18 would not work properly.
• Having a Live set with particular Drum Racks could increase the CPU usage of the main thread, which would result in very slow graphical updates. [6181]
• Installing a new Library from within a second running instance of Live could crash Live. [6171]
• Certain operations like sample crop/reverse/replace would remove the tempo envelope. [6179]
• Using Novation's Launchpad, when switching between Automap and Live control would not work properly.
• Under certain conditions, editing or creating parameter automation would not work properly. [6188]
• Playing a 32-bit audio file immediately after a 16-bit audio file could cause a click in the audio. [6152]
• Moving the last track out of a track group onto a closed group track in the Arranger could crash Live. [6193]
• In the Auto Pan device, switching shape to random would not show the 'Width' knob. [6192]
• Loading a Max device would crash if Pluggo was already active.
• It would not be possible to create a new Project in the File Browser if the root is set to 'Workspace'.
• Fine tuning of macro knobs would not work via key modifier. [6180]
• Starting clips via the Launchpad while changing parameters via mouse could crash Live. [6143]
• Moving the mouse over a certain Sampler preset could crash Live. [6207]
• Loading a Live set containing not yet authorized add-ons could crash Live. [6203]
• Under certain conditions, fade creation would not work properly. [6195]
• An Ableton preset of a third party plug-in would not change the On/Off mapping range. [5652]
• Receiving an invalid parameter index from Max could crash Live.
• Inverting a macro mapping range would not work properly. [6238]
• Under certain conditions, extracting an existing groove from a clip would crash Live. [6235]
• Having a Max device sending many blob changes during saving could crash Live.
• A malformed database file would interrupt user interactions like renaming files, saving presets, recording, etc. [6230]
• Having a particular Live set loaded and searching for media files could crash Live. [6241]
• On Mac OS X, under certain conditions, making Live the foreground window could lead to a crash.
• The context menu of a frozen clip would have enabled audio fades commands. [6253]
• In the Arranger, changing the mixer properties like volume, pan etc. would not show the changed value in the status bar. [3238]
• Having a multi selection of Arranger track and use the 'Show Automation' command would destroy the selection. [6243]
• Choosing a custom VST directory within the preferences would not keep this new directory until the next start of Live if the required rescan leads to a crash. [6190]
• On Mac OS X, duplicating a track with Fab Filter Twin 1+2 could crash Live. [6063]
• The Looper display would use the wrong colour in 'play' mode. [6234]
• Holding SHIFT + Space Bar would make the transport play button flicker. [6227]
• The area to click on an Arranger clip would be too small by a few pixels. [6261]
• Particular Live sets, especially with a lot of transient data, could not be loaded. [6263]
• Pasting 3 unstretched and crossfaded Arranger clips could crash Live [6289]

What is a monome? "a reconfigurable grid of backlit keypads which connects to a computer. interaction between the keys and lights is determined by the application running on the computer. there is no hard-wired functionality."

(see more videos of the monome on vimeo)

Instruments, Audio Effects, Midi Effects - but of course, this is not all of the cake. Imagine you can create user-interface elements however you please and also assign MIDI to that interface parts. This brings Ableton Live huge steps forward: the possibility to extend ableton to include a full featured audiovisual prototyping environment and to interface with the world: be it sensors, webservices or other Ableton Live installations.

1. Installation and Setup

Ableton Live Suite 8.1 (1.4GB download size!) and max/msp 5.1. are out in final versions as of today. As a happy Ableton and max/msp owner, the crossgrade was only 79€ for me (including VAT).

Right after Live starts up it has to be authorized, so all the extensions would be usable. After everything is set up, the following popup should be visible:

2. Overview

There are 3 different ways to include Max for Live patches into Ableton.

a) Instruments
Instruments would be a Synthesizer, a Sampler, etc.
Input: MIDI, Output: Audio

b) Audio Effects
Imagine any Audio Effect you can build here - let's say a Reverb for now.
Input: Audio, Output: Audio

c) MIDI Effects
Controlling and modifying the MIDI flow - like arpeggiators, mathematical functions, midi-sequencers, whatever.
Input: MIDI (or controller values), Output: MIDI

Of course, the whole bandwidth of max/msp is much more than only that. With Max for Live, now it is possible to use sensoric interfaces directly with Ableton Live: such as the i-cube, the arduino microcontroller board and so much else (for example the wireless MIDI Glove).

Interfacing to the "outside world" is also quite easy with max/msp: the netsend and netreceive objects let you connect via socket to e.g. a webservice, RSS-feed, whatever.
See also: Max for Live and twitter integration, the shoutcast~ and netsend~ objects for sending your audio stream around.

3. First Steps

In the screenshot above you see where the "Max Instrument" can be found in Ableton Live. In the right corner you can also see the first Instrument example I built: a sine wave oscillator.

a) Example: Sine Wave Oscillator Instrument with Signal Oscilloscope [download the patch]

This is a very basic patch: notein gets the MIDI note played, ddg.mono simplifies monosynth creation by dealing with last-note priority and note-on/note-off pairing, mtof (MIDI to frequency) translates the MIDI note to a frequency which is pushed to the cycle~ object (sine wave generator). The cycle~ then sends its audio-output to plugout~ which gets routed back to Ableton Live. Play the Sine Wave Oscillator as you would play any other instrument in Ableton Live: either via keyboard or via MIDI tracks.

b) Example: Simple Delay [download the patch]

This is also a rather simple patch. The incoming signal is delayed for a specific amount of time using the tapin~ and tapout~ objects. The tapin~ object is a continually updated buffer that stores the most recent signal it has received, and tapout~ accesses that buffer at one or more specific points in the past. The sound is mixed with its delayed version to create a sort of reflection.

What you can see in the screenshot below is how to implement images in patches that get loaded also to Ableton (using the fpic object) and which part is actually displayed in Live: everything below the black line is "invisible".
Test out the patch with the presets and also try to change the tapin~ and tapout~ values (use it as an audio effect on any soundfile. percussion or drums may be the best to hear the difference).

c) Example: 8-Step-MIDI-Repeat [download the patch]

The patch is also really simple: a line object counts from 1 to 9, resetting itself to 1 when it reaches 9 (=8 step), the select object checks for values between 1 and 8 and sends the according bang messages to the lights on top. the lights also trigger the int object, that saves values and outputs them on demand. this int objects are used to save the state of the checkboxes.
everytime an int object outputs a 1 (checkbox=checked), the select object on the right side sends the last notein event to a noteout object, causing the last note to be played again.

The difference between the two above screenshots is: hidden objects. Objects that you don't want to be visible in your Ableton Live surface you can hide with Object -> Hide on Lock (Apple+K).

Patch No.3 repeats your last played note in a step-sequencer style: however you checked your checkboxes, every time the light is active over a checked box, the last note will be played again. Test the 3 different presets and also the freestyle option (entering numbers on your own). Be careful with too low and negative numbers.

3. Conclusion

Max for Live is not only a very huge extension to Ableton Live (as stated above, a lot is possible now, from interfacing with hardware to webservices) but also finally a step in the right direction for the said to be lazy "ableton users": while the mainstream of ableton users use similar effects and instruments, this will change from now on. Instrument-directories such as on maxforlive.com feature lots of already available patches.
Another positive point is since max/msp is there much longer than Ableton Live and there is lots of educational content, tutorials etc. around. This could bring more people to look and learn about DSP and sound engineering als well as the physics behind audio.

Max for Live has still a few bugs - but what is there already is really something! Maybe one has to see it like this: in the end max/msp got a really cool sequencer ;)

4. Ressources

* ableton.com maxforlive product page
* cycling74 product page for max/msp
* maxforlive.com
* cycling74: the edit button has been pressed
* max 5 help and documentation

Technorati Tags: ableton, max msp, live, max for live, sound, review

via wiretotheear: going 8bit with yudo iphone apps

8Bitone is a combination of a nonlinear audio editor and a chiptunes synthesizer. Vocoder SV-5
8Bitone (iTunes link) and Vocoder Synthesizer SV-5 (iTunes link) look like very nice and compact audio tools for the go. There so many other junk iPhone apps out there that actually something retro-fresh like those two apps really make my day. Together with the Nintendo DS I can build a minimal space sound studio soon ;)

see also:
* 8bitone on myspace
* creativeapplications.net - a closer look
* matrixsynth: behind the mask
* 8bitone review on macworld.co.uk

Owl Project is a collaborative group of Manchester based artists who share interests in human interaction with technology and process led art. Over the last few years they have become known for a distinctive range of wooden musical and sculptural instruments that critique human interaction with computer interfaces and our increasing appetite for new and often disposable technologies.

While the idea of the hardware alone is already nice, I was wondering how that instruments sound. As you can decide by yourself (I inserted the videos from the owl website right to this posting) - there are some people that are fascinated after seeing the creators (Simon Blackmore, Antony Hall and Steve Symons) perform.

"Admittedly I just didnt “get it” at first. From a solely audio perspective, the sounds produced didn’t appeal to me. It seemed like a near random collection of sounds, which although generated in a unique and unusual way didn’t have any meaning.
However, when they performed live infront of us my opinion changed. It turned from being a video on the screen to a entertaining engaging show, in which the performers were totally immersed. Perhaps the process of making the sounds is more important than the sound itself." (pixel-junkie.com)

While this seems to be a new and nice idea at first, lots of people I know doing DIY technology end up creating wooden cases to hold their prototypes. The main difference might be that owlproject uses wood for their finished products. Makes me remember my old synthesizers with wooden panels.

The following information is compiled from the owlproject website just to give you an overview of the instruments they have.

Log1k

Log1k Definition 2001
The Log1k is a sequencer & sampler, which also contains; Signal generators and other noise making devices.It has several, Mic inputs and 8 Audio outputs. It requires around 24 AA batteries. A mains 240v Fluorescent tube provides a screen like glowing panel which also provides electrical interference. The Log1K is defined by being constructed from a fully circle log section. This is divided into two half's and hinged at one side; thus giving it a laptop like appearance.

The Log1K was removed from operation after damaging several sound systems and catching speakers on fire.

m-Log

It's the latest development in Owl Project technology; a powered USB controller interface. Like the iLog, the m-Log fits in the palm of your hand and is made using a semicircular cross-section of a branch. Personalise yours with switches, wooden knobs and an accelerometer. The m-Log has plug and play compatibility with a wide variety of applications, notably MAX MSP and SuperCollider.

Want an m-Log?

Get your saw and soldering iron ready. Either make it yourself with the full kit, or come to the next m-Log workshop! The Owl Project will guide you through building and using your new m-Log. (you can contact them via email or phone. go to the owlproject website for more information)

iLog

ILog Definition 2008
The iLog is a stand alone noise generator. It is powered and outputs an audio signal.
The iLog should fit in the palm of the hand and is normally made using this semicircular cross section of a branch. At its base is the power socket and at its top is the audio out put.

Maybe you’ve got thousands of Logs in your pile. Maybe you have just a few. Maybe you like creating noise on the go. Maybe you just wanna grab a log and run. No matter where or what you want to do, there’s an iLog made for you.

ILog models
Metro - Beat generator (2001)
Signal - Tone generator (2003)
Rustle - Voice sampler (2005)
Photo-synthiser - AM detector (2007)
Modulator - Effects & feedback (2008)

Sound Lathe

Sound Lathe is a new piece of work by the Owl Project that explores of the sonic properties of woodwork.The Sound Lathe produces audio data, saw dust, noise and wood chippings. With this human powered machine, turned spindles are shaped into complex sounds such as tones, glitches and beats..

Unlike many electronic instruments, the Sound Lathe produces a unique wooden object at the end of each performance. This object serves as a memory of the performance, slightly faulty and incomplete as it represents the conclusion rather than an accurate recording of the process.

Checking out the owl project website is highly recommended. Besides the videos and pictures I already embedded here, there is a lot more of information available on their projects - and maybe you want to build your own wooden-electronic instruments?

"The M30 Studio Reverb is a simple to use, great sounding reverb that is powered by AlgoFlex™ - a new high definition TC technology that enables hardware quality and predictability to be ported to native software.
TC Electronic has been at the forefront of effects development for decades, and our reverb algorithms can be found in the best recording and mixing environments in the world. With its great sound M30 is a unique addition to VST- or AU compatible applications running with Mac or PC.[...]
To get your free reverb simply submit your name, email and country [...]"

They claim you can unsubscribe from their newsletter, so quite a bargain. I just downloaded the plugin; as i really like the quality of the TC plugins, I can recommend this one. (see also a Video Review on Youtube for the tc m30)

via weburbanist: "The study of musical instruments (’organology’ – no, really) is the study of the human condition. Every culture is defined by its own distinctive set of trills, whistles, parps, honks and beats, and every corner of the world has evolved its own location-specific indigenous instrument to renew a sense of cultural identity through noisy self-expression. And instruments evolve – never more so than now, in the midst of a technological revolution that has opened up entirely new ways to make music. So settle back and compose yourself as we look at ten new instruments that look set to accompany us into the world of tomorrow."