I wanted to turn you on to a few electronic-music events that I will be participating in this week in Boulder.
Boulder, CO Date: April 24 School: University of Colorado, Boulder Time: 11am (faculty meet), 2pm (break-out sessions - student only), (Public Event @ 6:30pm) Presenter(s): Mark Mosher (Artist), Ben Samples (Artist), Dave Hillel (Ableton) Venue: University of Colorado at Boulder, College of Music, Room# N1B46, 18th & Euclid, Boulder, CO 80309-0301 RSVP: No RSVP needed More Info: Eventbrite
Ableton is proud to partner with University of Colorado at Boulder for the Ableton University Tour, a day and evening of student workshops and public presentations held at the University of Colorado campus in Boulder, CO. Students are invited to join Ableton representatives and Certified Trainers for an afternoon of break-out sessions exploring composition, sound design, production techniques and performance utilizing Ableton Live and Push. Day time activities will be followed by a free evening presentation open to the public, featuring performances, tips and tricks and unique approaches for music-making from artists and Ableton experts. Special guests for the Boulder event include Mark Mosher (Artist), Ben Samples (Artist) and Dave Hillel (Ableton).
I’ll be performing a concert set at the at the Dairy Center for the Arts next Friday April 25th at 8pm. In this concert I’ll be performing songs from my cinematic alien invasion album series including songs from my new album Fear Cannot Save Us which is now available on Bandcamp, iTunes, Amazon,and CDBaby. Joining me in this concert will be Wes Milholen (aka Antidata) on modular synthesizer systems, and Victoria Lundy on Theremin.
I’m helping to organize this show and we’re going to use a similar show format that was used for award winning Watt? Show (see this post on our Westword Magazine Best of Award). In this format each artist play a set. As with our Watt? show. We’ll also be back in the wonderful Performance Space at the dairy which has elevated show seating and comfy seats. There is a bar and snack bar in the lobby and you can bring your wine or beer into the theater. It’s just a great way to see a show of this sort.
We’ll kick the show off with Wes Milholen (aka Antidata) performing a set that features original pieces on analog modular synthesizers. Next up will be Victoria Lundy will be playing a variety of classical and original ambient pieces on Theremin. There will be a brief intermission followed by my set with will also include “invader cam” which is an synchronized interactive visual performance.
Something new we’ll be adding in this show is that we’ll have visuals for all three performances. We’ll close the show with a collaborative piece we worked up at a recent rehearsal.
To give you a feel for what the show will be like, here is a soundcloud set with music from all the artists.
We rehearsed the flow and progression from modular, to theremin, my all digital set followed by a collaborative piece and worked really well so I hope you’ll join us for the show.
LFO 2.0 is the result of trying to build the best general purpose swiss knife LFO for myself. It needs Ableton Live 9.x with Max4Live installed.
It offers three basic ways of modulating a target: Directly via Live's engine, (Engine) which disables manual control of the target parameter and is perfect for fast modulations. Or via a method similar to manually turning a knob on the user interface (GUI), which can create automation data when recording.
And, as a third mode it can put out the modulation as audio signal (Audio) which is useful for creating control voltages for analog synthesizers.
Wow, the Mountain Oasis 2013 festival was simply epic! As I mentioned in a recent post, I was that there at the invitation of the Bob Moog Foundation. I brought my "9 Box" installation / instrument to be part of Dr. Bob's Interactive Sonic Experience. In this post I’ll offer some photos and videos from my time at the fest.
9 Box as Part of Dr. Bob's Interactive Sonic Experience
For those not familiar with the 9 Box, it’s part collaborative instrument, part interactive installation -- the 9 Box allows up to six casual players to instantly make music and shape sound by manipulating blocks called AudioCubes.
AudioCubes, made by California based Percussa (http://www.percussa.us), are smart wireless cubes capable of sensing each other's location and orientation as well as distance to your hands, fingers and other objects. They also emit feedback in the form of light as you interact with them. Ultimately this hands-on approach allows players to manipulate sets of sounds in 3x3 grids -- hence the name 9 Box. The 9 Box supports also supports user creatable "refills" allowing for unique and endless sonic possibilities.
So I devised the method, player’s guides and stickers, Percussa MIDI Bridge template, and Ableton Live templates and refill system.
SicImages was there and took this photo and made the comment
"These blocks were really something crazy. Infrared sensors and wireless proximity based effects manipulation into ableton....whatttt!”
The 9 Box ran for 18 hours over 3 days and was played by 100s of festival goers of all ages and went over really well. This embedded video offers a taste of what it was like to be at the 9 Box section of the booth area. It was so rewarding see people's reactions to the 9 Box and to hear their creations throughout the weekend.
Flickr Photo Set of Overall Festival Experience
Of course besides the booth time which ran from noon to seven each day I also was able to experience performances. Highlights for me were Gary Numan, Nine Inch Nails, Tara Busch, and Alan Howarth (co-composer of the soundtracks to all those great John Carpenter horror movies, and sound designer for films like the Star Trek franchise.
Mountain Oasis exceed my expectations in every way. There probably around 7,000 people there which was a large enough number of attendees to make Asheville feel vibrant but not overrun. I felt the festival was well organized and there was a nice mix of artists. The Arena was perfect for bigger acts like NIN and Gary Numan. The 500 seat Diana Wortham was great for more intimate performances by Tara Busch and Alan Howarth. The Orange Peel housed more beat driven shows like Laurel Halo. Moving between venues was in itself interesting as people were in costumes and there were lots of talented street musicians playing.
3 days was the perfect length as by the end I was worn out – but in a good way. After experiencing Mountain Oasis it’s clear that AC Entertainment has hit their stride with this event and Moog Inc’s lack of participation and the name change didn’t phase them. I’d definitely go back.
Mountain Oasis Festival was just an incredible experience all the way around. One of the coolest music-related trips ever!!! HUGE thanks to:
Here is a description of the effects from the Ableton site.
Spectrum Effects by Amazing Noises Spectrum Effects includes two radical spectral (Grip, Spectrum Runner) processing devices capable of a range of effects. Warp and mangle your audio into mayhem, or add subtle harmonic touches - you decide which. In the studio and at the gig, Spectrum Effects adds an instant dynamic catalyst to your Live set. Learn more about Spectrum Effects – $39
RokVid by Adam Rokhsar RokVid is a powerful video solution for live music performers. Designed with simplicity in mind, RokVid makes easy work of generating captivating video that dynamically reacts to your sound. Learn more about RokVid – $24
AutoBeat by K-Devices Set the rules in AutoBeat and discover endless rhythmic rearrangement possibilities. AutoBeat integrates seamlessly with Drum Racks, and can also function as a flexible phrase creator for melodic instruments. Learn more about AutoBeat – $39
Push can new dew melodic step sequencing as see in the embedded Video below. This includes step sequencing with notes, chord, and per-step step automation.
Enter notes manually, or play them in, then edit each note in the sequence precisely – all via the hands-on interface of Push. Plus, you can now edit automation with step-by-step accuracy – maybe open up a filter for single notes, or add a splash of reverb to the last notes of a sequence.
Under the hood changes:
Finally, there are a couple of under the hood changes that we'd like to draw your attention to. Sample rate conversion during rendering is done using an extremely high-quality algorithm. If you're working at a high sample rate (such as 96 kHz), you can now downsample to lower sample rates (such as 44.1 kHz) with no loss in quality. Also, rendering now uses multiple cores, which can result in much faster exports. Ultra high-quality rendering and faster renders – now in Live 9.1.
competition in this market is good and it's nice to see Ableton continue to add value to their controller with incramental updates.