Information equals power, as long as we walked the earth we’ve used information as a tool to either gain power or hang on to it, nothing new. The difference today is the amount of information available, with our rampant technology development it’s hard to keep track of all the more or less intrusive ways companies, governments, police, friends and foes collect and use information about us on a daily basis. We even provide huge amounts of information about our self’s willingly to anyone who’s interested without as much as a sneeze. It’s strange times and Noisebud Surveillance Agency is here to observe.
This is a great idea. I can see a future with modular MIDI controllers that really fit your needs.
Neat little thing, we haven’t tried it yet but it seem to work for others so we thought we post it anyways.
We’re playing at the event ‘Signal Jamming’ at Fylkingen in Stockholm tomorrow. We won’t be playing Noisebud stuff but we will do a back2back gig with Sol’s solo stuff and my (Johannes) 0d3x project. It’ll be fun. Be there!
Sol have been working on her live set for a long time and finally her solo project had her debut on stage. She’s about to record her first EP. She will record it live and direct, we’re both a bit bored doing studio productions, live is so much more fun. When we got to the venue (Kulturhuset in Stockholm) Sols face was all over the place, it felt a bit weird, when Sol does something she do it big. We’ll soon post snippets of her music so you can have a listen.
And: We just built a panner for an 8 speaker circle setup for Lemur. Since we couldn’t find any existing working panner we created our own. With some help with the math from our friend Magnus Danielsson we where able to make it happen and we will probably make an VST so that all you need to do is to map a X/Y pad and your on your way.
We just woke up from a crazy weekend at MIDI HACK in Stockholm. We were there working on our new sequencer but got stuck on a MIDI overflow thing, it didn’t matter though since we were in the jury for Norbergfestival we didn’t compete for any of the prices and we’ll finish it anyways.
Out of about 60 teams we fell for the project Dropworks by Lovisa Negga and Pär Carlsson, it had everything a good hack should have and they used it in a musical interesting way. 5 cans were dripping down on a circuit that sends a MIDI message when the drop hit the circuit. Simple, elegant and a beautiful way trigger random MIDI messages.
Yeah, we know, we’ve been silent for a while… again. Sorry. It’s just that there’s so much to do and so little time, and writing about what we’re doing kind of slide down the priority list the more we’re actually doing. So if we don’t post it’s a good thing, for us anyways.
Right now Sol’s in Zagreb working for ISCM and I’m in the studio building a sequencer for our next live setup.
We started to build our own tools because we never find tools that are aimed for live use. For example you might think Ableton Push would be a good live tool but when you actually start to work with it you realize that its shite for actual stage work (really handy in production though). The only reason people are using it live is because they never experienced a real working live setup for electronic music and have nothing to compare it with. To find an electronic live act that is really playing live is hard since most people tend to use different (and more or less fancy) play buttons, but they do exist. Some famous examples of real electronic live acts are Beardyman and Tim Excile but there’s plenty more when you start to dig in to it. You’ll probably not find them on the Billboard top 100 list though.
So what is live music? If you imagine a guitar, it’s already built with strings and all. You’ve probably prepared it before you play, you seen to that it is tuned and you have connected it to one or a series of effect pedals before it’s plugged into the amplifier. All that is done beforehand, what’s not done is the actual sound. You’ll have to touch the strings before it makes any sound and you have to touch it with skill and precision to make it sound right. That is live.
So how do you translate that into electronic music which sometimes don’t use in pitch tones or chords at all. Yes, there’s a big difference between playing one note or a chord on a guitar than playing for instance techno live. If you’re a solo artist you’ll play everything from the drums, ambient pads, fx to bass-lines and you won’t be able to do all in real time and that’s fine, you don’t have to start with a Tim Excile setup but you should aim for doing as much as you can handle. If you find that you have time for checking your Facebook account while playing, your setup sucks and you haven’t put in enough of an effort. If you walk of stage sweaty and your brain feel like a Goldfish in a bowl on its third round on the Kingda Ka roller coaster and you haven’t had to stare at your computer screen one single time you probably just played an interesting live set.
And this is why we’re building a new step sequencer (as if it’s really needed among those millions already out there?). So what do all sequencers lack that make it so important for us to spend three weeks hammering code and patching cables in Synthedit?
Lets do a list:
1. We work with all kinds of measurements, not just 4/4… Most sequencers don’t handle that at all and those who does doesn’t do it that well.
2. We want to be able to store a fat sequence with just a push of a button so that when we mess everything up we can just recall the fat thing with another push of a button. And we want to be able to switch between different patterns without the use of PrgCh or use the mouse to go into a file meny.
3. We want a pad that just plays the darn drum… We might want to actually play a note for real now and then.
4. We need to use sequences with different lengths (isorythmic)
5. We want the ability to change the timing on every individual step
That’s the main things we need to make it usable on stage. It would be awesome to have this as hardware but a VST will do for now.
And before y’all start to bash us up for not using the new Lemur sequencer engine, try the timing when you use it over wifi, it’s terrible (otherwise it’s great).
We will make the beta available as soon as this thing is stable (could be a while, e-mail us if you want to try it out before that).