For all us folks who lived through the 80s, Delta has a funny new safety video with tons of references (Atari, the original Teddy Ruxpin and Alf), an inside delta joke (from their last safety video), and none other than Gerald Casale from DEVO!!!
My friend, fellow Boulderite, Cycling ‘74 Chief Learning Officer, former Director of Engineering and product lead for Max for Live has a new podcast called “Art + Music + Technology”.
An interview podcast where we talk to people that are engaged in the connection of art and music to technology. Visual artists, musicians, software developers and other creatives are invited to talk about their background, current work and future vision.
He’s already done 15 episodes with some super interesting guests.
One of my personal favs so far was Podcast 13 with Paul Schreiber.
Paul Schreiber has seen it all, from building his own Heathkit gear, to designing automotive stereo systems, to designing cell phones to creating modular synthesizer systems. I was, of course, mostly interested in the latter, but I was also interested in how modular systems were informed by his earlier experiences. In this interview, Paul shares how he learned electronics, how he designed the MOTM modular system, and also shares his advice for anyone interested in digging into it themselves.
This is the first in a series of interviews informed by the forum citizens over at muffwiggler.com. Don't let the name freak you out; I'm sure it started out as some sort of inside joke, but it really is the main meeting place for all things modular.
Here is what I like about the synth and the video so far.
Finally a Nord Lead I might be able to afford. Nord Lead A1 is going to be $1,799.00 where as the Nord Lead 4 is $2,299.
It has a John Carpenter patch (5:35 in the video) - lol.
While I'm all about deep synthesis, it might be nice to have something a little more hard-wired and immediate like this for a solid live performance synth. At first glance, I like the choiced they've made here.
Tap Tempo with global clock for Arp, LFO, Delay times.
It has a form of morphing (Velocity and Mod Wheel). I've really gotten into morphing with Octatrack and Sunrizer on iPad and don't own a hardware synth that does this. So even though it's more limited than a Lead 4, I still think this would be great in performance.
Evern though this is cheaper, you still get 4 independent slots with 4 outputs and signal paths including effects.
Features that aren't even in the Nord Lead, such as "extended" oscillator waveform shaping algorithms with cool features like pulse waveforms with fixed spectrums with formants along range of keyboard (8:32). He also mentions "shape folding". This includes Pitch, Detune, Shape, Sync, FM, AM, Dual Osc, Noise (10:01 in video). You can then modulate these algorithms. I love the sonic outcome of these algorithms.
It's red and I don't have a red synth yet.
How Does it Compare to Nord Lead 2x?
While the A1 is missing some componetns of the Nord Lead 4, the components they do share do not appear to be watered down. There are are many new features that don't exist in the Lead 4 - yet. Kristoffer Ulfves mentions at the end of the video that some of these features may end up in the Nord Lead 4 so nice of Nord to consider adding value for existing customers. Nord has posted a handy comparison of the A1 to Nord Lead 2x generation synths in PDF form here.
How Does Nord A1 Compare to Nord Lead 4?
Of course it would have been nice to see a comparison to Lead 4 so I created a little graphic with both panels combined with Lead 4 on top (click panel to view large version).
I'll be performing in a very interesting experimental music concert later this month. Instead of playing my composed electronica songs, I'll doing some very unique collaborative pieces where I capture, shape, and perform with audio from other artists performing live. This includes a performance with a copper heart played with dry ice (see video below).
I'll also be performing a solo piece using some field recordings I've made. I'll be providing interactive visuals from live camera input from stage for most of the evening. Read on for more info and scroll to the bottom for videos which will give you a taste of what to expect.
PRESS RELEASE “Today’s serious composer of electronic music will often incorporate some techniques of musique concrete. Prerecorded voices or instruments are often used as a source of sound to be manipulated by the composer, and used, along with electronically produced signals, as the principal music signals of a composition. It has been all but forgotten that in 1951, when the Germans opened their studios in Cologne under the artistic guidance of Eimert and Stockhausen, musique concrete was considered a separate vocabulary and not to be confused with the new German developments of oscillator developed sounds. Early writings on these subjects made clear distinctions between musique concréte and electronic music.” “The primary aim of musique concréte is the alteration of the listeners perceptions.” – Herb A. Deutsch, electronic music pioneer. The Walnut Room in Denver has been a loyal supporter of experimental and ambient artists, and is a beautiful venue with superior sound and the best audio engineers in town. On January 25, five artists from different realms of performance and composition will convene at the Walnut Room to present an evening of acoustic, analog electronic and digital noises, sound effects and tonal music inspired by the musique concréte form and philosophy. Mark Mosher will create expressive sample-based “instruments” on-the-fly, building up his instruments in real-time by sampling his own synthesizers as well as capturing audio from contact mics, and output from the other artists. To compliment the music and sound, Mark will also project interactive visuals. He will be joined by experimental musician Randall Frazier, theremin artist Victoria Lundy, noisician John Gross, and sound designer and musician Rick Reid all performing solo and interactive work. A special treat is the revival of the dry ice on metal “Copper Heart,” the central instrument from the former Carbon Dioxide Orchestra, which has been stored since about 1999! BIOS Randall Frazier: Orbit Service is the musical project of Colorado-based producer/engineer Randall Frazier (helmet room, Bela Karoli, Kal Cahoone) produced in collaboration with Kim G. Hansen (Antenne), Dennis Swanson (Day Dissolved Dream) and Kirill Nikolai (Still Light). Orbit Service’s mystical leanings steer them close to the likes of Sol Invictus, but OS zigs where neo folk zags, giving them a sonic momentum that leads to a much outer part of outer space. This beautifully crafted set smells like moist earth covered in leaves. Orbit Service’s mining of ever deeper moods has yielded a subtle treasure that glows like distant sun. http://orbitservice.bandcamp.com | http://www.helmetroom.com/. John Gross has been performing noise since 1994. He has appeared in Zoologist, Burn heavy, Page 27 Robot Mandala, and Suicide Notes. John is the curator of the Denver Noise Fest, and has performed around the country at Ende Tymes Fest, the International Noise Fest, and the Albuquerque Experimental Fest. https://soundcloud.com/noise27. Victoria Lundy has been playing theremin in the Denver experimental/underground/punk scene since the 90s. She was a member of the avant garde Carbon Dioxide Orchestra, who opened for the legendary Silver Apples in 1997; is a founding member of Denver’s acclaimed nerd rock band The Inactivists and has appeared all of their 6 CDs and EP, and as a guest player live and in recordings with other local artists. She also was a member of Jackson Induced Mutant Laboratory and performed with them at the 2011 Denver Noise Festival and at the 2013 Denver Post Underground Music Showcase with ambient project Pythian Whispers. Victoria has appeared at many venues in denver as well as Boulder’s Dairy Center for the Performing Arts, and demonstrated the theremin at the World Science Fiction Convention. http://fandalism.com/victorialundy. Mark Mosher is an electronic musician, sound designer, composer and performer from Boulder, CO. He has performed festivals and theaters around the country such as Electro-Music Festival NY, Electro-Music Festival in Asheville NC, Pacific Northwest Synthfest, Art Institute of Sunnyvale, Georgia Tech, Midwest Electro-Music Experience, University of Denver’s Performance Black Box, The Dairy Center for the Performing Arts and more. His 2012 dark ambient album NO GHOSTS. JUST FEAR. cracked the Top 10 on Bandcamp’s BestSelling Experimental Albums in Week of October 8th 2012. At this event, Mark will be performing musique concréte by creating expressive sample-based “instruments” on-the-fly on a computer-less state-of-the-art hardware sampler called the Octatrack. He will build up his instruments in real-time by sampling his own synthesizers as well as capturing audio from contact mics, and output from other artists. He will then then perform with these instruments live. To compliment the music and sound, Mark will also project interactive visuals. http://markmoshermusic.com/. Rick Reid has been the sound designer for more than fifty theater productions in the Denver area. He also performed soundtrack music for the locally-produced web video series “Lucha Libre: El Tecolote vs. The Body Thief From Dimension X” and will be playing theremin in the soundtrack of the upcoming indie feature film “The Cosmic Creature.” Rick has self-released two electronic music albums. He has also been a voice actor on several local and national TV and radio advertising campaigns. In his daytime gig, Rick creates movie previews for the Starz, Encore and MoviePlex television networks. Find Rick on the web at www.RickReid. com. Thomas Lundy will be playing dry ice on metal.
TEASER VIDEO FOR ONE OF THE COLLABORATIONS
This video features the Copper Heart and is just a small taste of some interesting sonic experiences we all have in store for you at the show so we hope you will come to the show and tell your friends. This improvisation was shot at a tech rehearsal in a Denver warehouse. It features Tom Lundy playing the copper heart with dry ice. The rapid cooling of the copper causes the metal emit all sorts of interesting sounds. The Copper Heart has a contact mic on it with the signal being routed to Mark Mosher who is sampling the signal on the fly and shaping and sequencing the sound in real-time with an Elektron Octatrack. So you hear both the original Copper Heart plus the manipulation. Victoria Lundy is playing complimentary parts on a Moog Etherwave Pro Theremin which is being processed by Mooogerfoogers. Mark is also running real-time interactive visuals with Resolume based on live camera input (which can be seen on the right wall at the beginning of this video). For the actual show these images will be projected behind the artists.
SOLO PIECE EXAMPLE
All be doing a solo piece where I simultaneously create music and sound from field recordings and manipulate visuals. I’ll be using an Octatrack, a laptop running Resolume and Absynth via Plogue Bidule host controlled by a Livid Base. I’ll also use a Tenori-On as Octatrack food. Below is a flickr photo set of the rig sand some rehearsals.
Dubspot catches up with producer, DJ, violinist, Ableton Certified Trainer and music technology specialist Laura Escudé. She shares with us her performance workflow, her musical history and her aspirations for the future. Track Listing: 1. Alluxe - Rytmus 2. Alluxe - Brain Trust 3. M83 - Steve McQueen (Alluxe Remix) 4. Laura Escudé - Pororoca Head over to our blog for more info: http://blog.dubspot.com/dubspot-video...