Tom Waits has released a ‘press conference’ video announcing the dates for his forthcoming tour of America. As well as outlining the rationale behind his choice of venues, he also confirmed that he would be coming to Europe, including two gigs in Dublin…
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Guitar modder Ben Lowry had an old laptop lying around, so he decided to take the obvious route and embed it into the body of an electric guitar. He then hooked the machine into a visualisation program which produces some nifty psychedelia as he strums his hi-tech axe, which he calls the LCDetar…
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Douglas Edric Stanley is professor of digital arts at Aix-en-Provence school of art, and he has created a music sequencer controller that’s based on the infamous Rubik Cube…
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The Handmade Music exhibition took place last night at Etsy Labs in New York, and featured Ranjit Bhatnagar’s innovative heat-sensitive MIDI ironing board controller, amongst many other odd things. He devised a way to allow MIDI signals to be triggered by temperature, and the gradual cooling of different areas of the board creates unusual trailing effects…
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Most DJs are very familiar with the idea of pitch control, and DAW experts probably associate the phrase with timestretching, tempo modification and sample slicing. However, when you’re slinging vinyl, pitch control is an essential part of beat matching, due to the very real physical relationship between rotation speed/BPM and playback pitch…
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Yes indeed folks, the robots have already learned to play guitar and dance, and now they’re ready to sing as well. At this rate, the whole DRM-to-protect-the-artists kerfluffle will soon be a moot point, as we can just get a bunch of mechanoids up on stage to entertain us…
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Although its primary function is as a music creation and production tool, Propellerhead’s Reason is also a versatile live performance vehicle – all the more so if you take advantage of some of the unique possibilities opened up by the combinator device…
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The Tenori-On is a new music controller interface created by Toshio Iwai, a Japanese artist/musician/inventor, and released in the UK by Yamaha. The device is in the form of a square tablet with a grid of 16×16 buttons which light up in response to the artist’s touch, allowing the creation of music to be part-playing, part-painting…
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This, apparently, is the age of the mashup – find two songs of seemingly disparate genres, meld them together and suddenly everyone thinks you’re an awesome DJ creating an entirely new artform. Which, to some extent, is the case – although for anyone with a basic knowledge of musical structures, it’s also as easy as shooting fish in a kettle. Countless songs use the same simple structures and chords, the majority of them trundling along at an unremarkable 120bpm, and even songs in different keys and tempos can be mixed together easily with a little digital manipulation.
Sampling itself is an older technique, whereby a sound is recorded and subsequently manipulated in ways that are not possible with traditional instruments. An article over at CDM expresses surprise at the revelation that many of Daft Punk’s tracks are based on riffs taken from older songs, thereby vastly diminishing the author’s opinion of the robotic duo’s musical genius…
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It seems that moving small bricks about on a luminous table is the current big thing in the world of alternative music performance controllers. This technology was first brought to the (mainstream) public’s attention when Bjork decided to use the ReacTable on her Volta tour, and now Edinburgh Sculpture Workshop has adapted it for their Etiquette installation. This allows anyone to activate and manipulate a variety of sounds by placing rectangular objects (each one representing a particular sound, sample or sequence) on the interface…
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