Ableton has acquired Cycling’74; a fact that starts as an association agreement, which will allow them to continue operating as separate and independent entities.
According to information on the Ableton website:
“Ableton’s investment in Cycling ‘74’s unique product vision will see Max development continue indefinitely while creating an exciting opportunity to join forces in the spirit of shared research, exploration and innovation.”
It should be noted that Ableton Live and Max for Live licenses will continue to be administered by Ableton. If you have a Max license, you will continue to have a licensing agreement with Cycling ‘74, which will continue to provide support.
Celebrating International Women’s Day, we honor the pioneer woman of synthesizer and electronic music: Daphne Oram, the Oramics’s creator.
Born in 1925 in Wilshire, United Kingdom, Oram showed her passion for the piano and organ since an early age. Then she was captivated by the sounds of magnetic tapes, experimenting with synthetic sounds in the 40’s working in the BBC. One of her objectives was that the famous British radio station provide an electronic music plant. Thanks to her great talent, she had a chance for work in the Royal College of Music, but she preferred to dedicate to sound engineering, in order to explore her skills in the composition and invention of new musical instruments and new sounds.
Among her accomplishments we can mention, to lead the Oramics Studios for Electronic Composition and the development of her masterpiece Oramics, a machine for creation of music, based on the sound drawing technique of 1957. The instrument was developed in 1962, working similarly to Yevgeny Sholpo’s “Variophone”, which consisted of drawing in 35mm film strips to control the sound produced, a working way that we can see commonly in the most popular music production software and touch surfaces.
Oram’s composition machine consisted of a large rectangular metal frame, providing a table-like surface traversed by ten synchronised strips of clear, sprocketed 35mm film. The musician drew shapes on the film to create a mask, which modulated the light received by photocells. Although the output from the machine was monophonic, the sounds could be added to multitrack tapes to provide more texture.
Daphne Oram died on January 5, 2003.
Check video below with the virtual Oramics, that shows us the function of the original device.
Written By Ed Vera
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Created by the family business Miniot, headed by Greet van den Berg and Peter Kolkman, Wheelis a minimalist turntable that reads the hidden face of the vinyl, a project that began as a campaign via Kickstarter.
All its technology is deposited in an aluminum plate, inside which there is an isolated space of vibrations, place where the arm It is, also motor, amplifiers and electronics in general, along with the capsule. The needle is oriented upwards, so it reads the underside of your vinyl, which also functions as a cover and protects all electronics components from dust.
Watch video below.
All functions are controlled from a center stick: on / off, play / pause, volume and skip to the next or previous track. This turntable can be used horizontally or vertically or you can hang it from the wall.
The arm is constructed with a single piece of laminated mahogany. The capsule is Audio-Technica AT95E, unlike the stylus, can not be replaced. The sound is send directly to the RCA outputs, with no conversions. A switch allows to change between phono signal or preamplified signal line, also offers a headphone amplifier with dedicated output.
Wheel needed to obtain a $ 50,000 in Kickstarter, and will go into production this year.
LOVE is a device that can play your vinyl records through a rotating pad, which is placed on top of the disc and rotates counterclockwise on a still record. LOVE completely redefines the record player by keeping the record stationary while preserving the classic sound we’ve grown accustomed to.
It can be connected via Bluetooth or Wi-Fi, to the revolutions of (33 ⅓ or 45 RPM) counting on a conventional needle that also, can be replaced. It has an elegant design, signed by Yves Behary can be controlled optionally from your smartphone with its own app, from which we can skip and repeat tracks, change the volume or RPM and display the album cover. It also offers 3.5mm output and RCA with an adapter.
Watch video bellow.
You can play 12, 10 and 7 inch discs. It works with a lithium battery that allows you to listen to over 15 complete sides of 12 “LP records and takes roughly 1.5 hours to recharge.
LOVE started as a Kickstarter project and has already exceeded its funding goals.
It will be available to the first backers from October 2017.
You will get 47% off retail price of $599.
Phono Cartridge: Standard phonograph cartridge, user replaceable
Wow and Flutter: 0.2% maximum
Rumble: < -60dBa (DIN 45539)
Bandwidth (3dB): 20 Hz to 18 KHz
Sample rate: 44 kHz, 16 bit stereo
Channel Separation: 25dB at 1kHz
Channel Balance: 2dB
Indicators – LED: on/off, Buttons: Power on/off + Start/stop play, Optical Sensor detector to find tracks and edge of media.
Power and Battery – Plays roughly 15 full 12 inch LP records.
Output: 5vdc 2A
Dimensions – Arm: 10” x 3.5” (w) x 2” (h) | Record Base: 7” round
LOVE Smartphone App – The mobile application provides the primary user interface for the turntable. It allows control of all playing functions, connects to the database, or to selected third party services.
Remote Control – The app will provide a remote control interface to allow control of all playing functions.
Once, weird instruments only made the rounds at exclusive academic conferences. Now, they go viral on Facebook.
Such is the case with Collidoscope, the creation of a UK-based mixing and mastering service (out of London label Sunlightsquare Records) and Queen Mary researchers – Ben Bengler and Fiore Martin. It’s a massive tangible table-top interface to a granular instrument.
There are a few things that make this one special, even to those of us who have seen such items before.
1. It’s big. It appears that the basis of this is a very large display, cleverly built into a slick-looking table-top interface.
2. It’s visual. A crisp, clear waveform display attractively shows you where you are. Nicely executed, that.
3. It’s physical. Big knobs and faders and a keyboard set this apart from the iPad apps and whatnot that do the same – and also set up the possibility for collaboration.
4. It samples. Built-in sampling is connected to a SuperCollider engine underneath for responsive sonic control.
More here, though they’re a bit scant on details other than it’s a one-off prototype. (And the site is, sadly, orange and full of big ads! But the prototype itself is great!)
Moog Music released last Sunday this mini-documentary to celebrate the 50th anniversary of the Moog Modular Synthesizer.
Fifty years ago, on October 12, 1964, Dr. Robert Moog introduced, at the Audio Engineering Society’s (AES) New York convention, an instrument that would revolutionize the world of music and instrument design.
The first Moog modular, above, is smaller than the Moog modular rigs made famous in the late sixties. But, within a few years, Moog had created a wide variety of modules and the era of the modular monster synth was born.
No modular is more famous than Keith Emerson’s imposing system, which is the focus of most of this mini-doc. Earlier this year, Moog announced a limited edition ‘reissue’ of the instrument, the Emerson Moog Modular System.
The video features Moog engineer Gene Stopp, musician/historian Brian Kehew and Bob Moog himself, discussing the origin of the Moog modular and Emerson’s system, and also the process that went into creating a modern ‘reissue’ of the iconic modular synthesizer. And Keith Emerson shares his thoughts: “when you crank it up…..it can hurt!”
According to Moog, the mini-documentary celebrates the 50th anniversary of the Mood modular and ‘explores Moog Music’s quest to resurrect the original methods, materials and designs used in the foundational modular synths’.
Now that anything can become an instrument, musicianship can become the practice of finding the spirit in the unexpected. It’s what Matt Moldover championed in the notion of controllerism, what years of DIYers have made evident. It’s not just a matter of finding a novelty or two. It’s really taking those novelties and making them a creative force.
Adriano Clemente, the Italian-born, Brooklyn-based artist (aka Capcom), is a shining light of just that sort of imagination. Regular CDM readers will see some familiar techniques. There’s a laser harp, a circuit-bent toy, mic transducers making objects into triggers, a Numark Orbit controller, a LEAP Motion, a Kinect, an Ableton Push, and I’m fairly sure that’s fellow Italian Marco Donnarumma’s wonderful Xth Sense controller in VICE/Motherboard’s featurette on the artist. But it’s the way Adriano puts it all together that becomes the magic.
To put it simply, it’s hard not to get infected by his enthusiasm. He doesn’t just play these unusual objects – he really plays. He’s exploring the reality around him. You can check the entire Create Digital Muisc review, with interview, gear set up, details and many more here.
Produced by Ableton, a new documentary takes an in-depth look at 4DSOUND, an Amsterdam performance space which features a three-dimensional grid of 48 speakers.The short film explores the concept and technology behind 4DSOUND—which is said to “allow a musician to position and fluidly move sounds spatially”—by focusing on German producer Stimming‘s planning and interaction with the system prior to a performance in the space. In addition, the documentary discusses the project with 4DSound founder Paul Oomen, who further illuminates the abilities of the system. In a second video, 4DSound Creative Developer Salvador Breed explains how Max and Max for Live are used to let artists control the spatial locations of their audio within the 48-speaker grid.
Both videos can be watched in full below, where Stimming’s resulting performance can also be streamed and downloaded in full (Ableton recommends using headphones to listen to the binaural recording).