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BEAUTIFUL NOISE Directions in Electronic Music
BEAUTIFUL NOISE Directions in Electronic Music www.ele-mental.org/beautifulnoise/ A WORK IN PROGRESS (3rd rev., Oct 2003) Comments to [email protected] 1 A Few Antecedents The Age of Inventions The 1800s produce a whole series of inventions that set the stage for the creation of electronic music, including the telegraph (1839), the telephone (1876), the phonograph (1877), and many others. Many of the early electronic instruments come about by accident: Elisha Gray’s ‘musical telegraph’ (1876) is an extension of his research into telephone technology; William Du Bois Duddell’s ‘singing arc’ (1899) is an accidental discovery made from the sounds of electric street lights. “The musical telegraph” Elisha Gray’s interesting instrument, 1876 The Telharmonium Thaddeus Cahill's telharmonium (aka the dynamophone) is the most important of the early electronic instruments. Its first public performance is given in Massachusetts in 1906. It is later moved to NYC in the hopes of providing soothing electronic music to area homes, restaurants, and theatres. However, the enormous size, cost, and weight of the instrument (it weighed 200 tons and occupied an entire warehouse), not to mention its interference of local phone service, ensure the telharmonium’s swift demise. Telharmonic Hall No recordings of the instrument survive, but some of Cahill’s 200-ton experiment in canned music, ca. 1910 its principles are later incorporated into the Hammond organ. More importantly, Cahill’s idea of ‘canned music,’ later taken up by Muzak in the 1960s and more recent cable-style systems, is now an inescapable feature of the contemporary landscape. -
Algorithmically Assisted Improvised Music
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2016 AAIM: Algorithmically Assisted Improvised Music Fay, Simon Fay, S. (2016). AAIM: Algorithmically Assisted Improvised Music (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/24629 http://hdl.handle.net/11023/3073 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY AAIM: Algorithmically Assisted Improvised Music by Simon Fay A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN COMPUTATIONAL MEDIA DESIGN CALGARY, ALBERTA June, 2016 c Simon Fay 2016 Abstract The AAIM (Algorithmically Assisted Improvised Music) performance system1 is a portfolio of interconnectable algorithmic software modules, designed to facilitate improvisation and live per- formance of electronic music. The AAIM system makes no attempt to generate new materials in one particular style, nor to act as an autonomous improviser. Instead, the goal of the AAIM sys- tem is to facilitate improvisation through the variation and manipulation of composed materials entered by the user. By generating these variations algorithmically, the system gives improvisers of computer music the ability to focus on macro elements of their performances, such as form, phrasing, texture, spatialisation, and timbre, while still enabling them to incorporate the rhythmic and melodic variations of a virtuosic instrumental improviser. -
Koresound Pack Best of REAKTOR Vol. 1
USER’S GUIDE The information in this document is subject to change without notice and does not represent a commitment on the part of NATIVE INSTRUMENTS GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by NATIVE INSTRUMENTS GmbH, hereinafter referred to as NATIVE INSTRUMENTS. All product and company names are ™ or ® trademarks of their respective owners. Furthermore, the fact that you are reading this text means you are the owner of a legal version rather than an illegal, pirated copy. It is only through the loyalty and honesty of people like yourself that NATIVE INSTRUMENTS GmbH can continue to develop and create innovative audio software. On behalf of the entire company, thank you very much. Users Guide written by NATIVE INSTRUMENTS Version: 1.0 (October 2007) Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Germany NATIVE INSTRUMENTS GmbH Schlesische Str. 28 D-10997 Berlin Germany [email protected] www.native-instruments.de USA NATIVE INSTRUMENTS North America, Inc. 5631 Hollywood Boulevard Los Angeles, CA 90028 USA [email protected] www.native-instruments.com MASSIVE was designed and developed entirely by Native Instruments GmbH. Solely the name Massive is a registered trademark of Massive Audio Inc, USA. © Native Instruments GmbH, 2007. All rights reserved. 1. Welcome to BEST OF REAKTOR VOL. -
Richard Ensures Control Over Most DJ, DAW and Audio Applications
THE STANTON ARTIST & GEAR MAGAZINE > VOLUME 1, 2008 Control Yourself Introducing DaScratch, the revolutionary new touch sensitive controller that will blow your mind. DaScratch features the intuitive StanTouch™ interface, a sizable scratching/control area that combines touch, gestures, and visual feedback, allowing you to easily Control your music. LEDs react in real time to buttons and triggers, and virtual faders glow to indicate their position so you can Control your mix. Rock solid construc- Welcome to tion and compact size ensure that DaScratch travels well from gig to gig, and the included DaRouter software Richard ensures control over most DJ, DAW and audio applications. Seattle A DJ’S GUIDE TO THE EMERALD CITY Control your world with DaScratch. You can trigger samples, set loops, change pitch, scratch, jog, scroll, set volume levels, adjust effects, modify EQs, control plug-ins... Whether you are a DJ, VJ, musician, multimedia artist or producer, you can stimulate your creativity and fuel your performance using DaScratch. Available now for $299 (MSRP). Devine Get your hands on DaScratch, and learn what it means to Control yourself. Get the full story at stantondj.com. > THE HARDEST WORKING DaScratch DJ IN THE GAME. STANTON’S TOUCH-FRIENDLY DJ CONTROLLER www.stantondj.com From the Editor Features Contents WELCOME TO FOR LIFE. This is the premiere issue of > welcome to seattle something we at Stanton DJ have been meaning to create A DJ’S GUIDE to THE EMERALD CITY for a long while. Namely, a hybrid magazine-catalog to bring you the latest in DJ news, artist profiles, BY SEAN Horton useful tips and techniques, and — of course — all the Seattle isn’t technically a “major” market. -
Mochipet Bio
Mochipet Bio: Born in Taiwan R.O.C. to Rocket Scientist father and Kindergarten Teacher mother, David Wang (a.k.a. Mochipet) has been tinkering with electronics since he was a child. However, not until he added music to the equation, did something special begin to take shape. Having grown up listening to metal guitar, avant-garde jazz, and mainstream hip-hop, David’s eclectic taste can now be seen in his music – ever changing, and always evolving. His fervency for diversity can also be noted in the mixed bag of his many artist collaborations which include the likes of legendary skateboarder Ray Barbee (Powell Peralta), Techo producer Ellen Allien (Berlin), hip-hop MCs Mikah9 (Freestyle Fellowship), Casual (Hieroglyphics), and Raashan Ahmad (Crown City Rockers), electro Miami gangster Otto Von Schirach , booty bass rockstars 215 The Freshest Kids and Spank Rock (BigDada), mashup glitch tweeker Kid606 (Tigerbeat6), Edwardian suit-wearing Daedelus (Ninjatune), glitch popstars Jahcoozi (Kitty-Yo), and avant-garde jazz legend Weasel Walter (Flying Luttenbachers). David has also shared the stage with a myriad of influential music pioneers , including Aaron Spectre, Andrea Parker, Autechre, Bassnectar, Boom Bip, Bucovina Club, Cargo Natty, Carl Craig, Chris Clark, CLP, Cristian Vogal, Daedelus, Dat Politics, Devlin & Darko, DJ DJ Plasticman, Qbert, DJ Spooky, Drop the Lime, Ellen Allien, Felix Da Housecat, Fluokids, Flying Lotus, Ghislain Poirier, Gift of Gab, Glitchmob, Jahcoozi, Juan Maclean, Ken Ishii, Kid606, Kid Koala, Lazersword, Luke Vibert, Mary Ann Hobbs, Meat Beat Manifesto, Matmos, M.I.A, Mikah 9, Modeselektor, Otto Von Schirach, Skream, Superpitcher, The Bug, Tittsworth, and Tussle, to name a select few. -
Good Music, Proper Culture, Real History Issue One, August/September 2002 CONTENTS
FREE IN AUSTRALIA good music, proper culture, real history issue one, august/september 2002 CONTENTS 4 COVER DESIGN PROFILE Tom Phillipson 6 ARTIST PROFILES Betaville Orchestra Quark Kent Lucas Abela Pivot 12 LABEL PROFILES In the last few years the music scene around here Frigid. The New Audiences pro- CYCLIC DEFROST MAGAZINE Bloody Fist PO Box a2073 has been dying. The venue crisis that began with ris- gramme assessed our application Sydney South Monotonik NSW 1235 Australia ing property prices and the development bonanza and we were successful. Although leading up to the Olympics has forced Sydney into a this nowhere near covers the full www.cyclicdefrost.com 16 SPECIAL black hole of house djs, glamourous vacuousness, costs of the magazine we figure [email protected] Frigid Retrospective We welcome your contributions and contact and the marginalisation of anything left-of-centre. that its a fantastic opportunity to For young people trying to find out about new publish a magazine that doesn't Publisher & Editor-in-Chief 22 GENRE OVERVIEWS Sebastian Chan music the options are few and far between. A few have to rely solely on advertising Commodore 64 Sound Designer & Co-Editor listen to community radio stations to get an ear on or party promotion to hit the Australian ‘Electronic Dale Harrison the new sounds, and many others still try to distin- streets. And we're guaranteed to Listening Music’ Sub Editor guish between the adverts and the music content in be around for at least six issues. Aparna Khopkar what is left of the music press. As for finding out It's an opportunity for us to make 26 OVERSEAS Advertising about the people making music in their bedrooms in an attempt at resuscitating elec- Luke Dearnley Montreal Sebastian Chan your street, forget it.