I’m one of the few people who loved Apple’s last mouse the Mighty Mouse. I loved the scroll ball on top to shoot left and right in Ableton Live. The major flaw of the Mighty Mouse was that the ball on top consistantly broke. There were ways to bring it back to life but eventually it would completely stop working. They have since lost the rights to the name “Mighty…” and yesterday released a new mouse the Magic Mouse. It looks like a multi-touch wonder. The only thing I am unhappy about is the fact that it’s not wired. Come on Apple keep it green. There’s no real reason to buy, use, recharge batteries in a device always 1 foot away from a plug-in source. That said, I never used a battery powered Bluetooth mouse. Am I missing something? Is there a good reason they exist? I’m definetly going to give it a try!
“It began with iPhone. Then came iPod touch. Then MacBook Pro. Intuitive, smart, dynamic. Multi-Touch technology introduced a remarkably better way to interact with your portable devices — all using gestures. Now we’ve reached another milestone by bringing gestures to the desktop with a mouse that’s unlike anything ever before. It’s called Magic Mouse. It’s the world’s first Multi-Touch mouse. And while it comes standard with every new iMac, you can also add it to any Bluetooth-enabled Mac for a Multi-Touch makeover.” – Apple.com
True and totally applies to making music these days. What do you think? Do you make music for profit and fame or just “because”? I guess getting girls is far more important than cash and crowds. Ah never mind it’s all the same thing.
“i am 97.2% certain this is written on a bathroom wall somewhere in every single city in the world. …and i kinda love that, in the lamest of ways.” – Fernando
Here’s an interesting plug-in announced at the recent AES show in New York from Waves. The Vocal Rider is like a virtual hand that rides a volume knob making sure a vocal is always level. It works differently than a compressor or limited. The killer feature of the plug-in is that it writes automation as it rides the track. For a more low-tech non-real time solution check out The Levelator from The Conversations Network.
Vocal Rider will be released early November and cost $800 (TDM), $400 (Native).
I am pleased to let know that this weekend I moved Wire to the Ear from shared hosting at iPower to a Managed VPS (Virtual Private Server) at Wiredtree. The move will most certainly improve downtime especially when the site gets hit with high traffic. The next step will be to install WP Super Cache and improve performance. Thanks for being patient if you visited the site and it was down.
My studio in the early 90s was full of hardware mixers and long patch cable strung all over the place. Before computers with fast CPUs the way to get an original sound was simply plugging hardware boxes into each other. Electrocomp-101 synthesizer into a Boss Pedal into a Korg Digital Delay and so forth. I always felt like a pioneer pushing the equipment to unintended limits.
My favorite trick that I never actually heard anyone else do was something I called the “Wicked 106″. I created 16 slightly different patches on a Roland Juno-106. Next, I would create a 16th note pattern in Dr. Ts KCS. Here’s the trick: I would then put a different Program Change (number) on each of the steps. You never heard a Juno-106 sound so interesting. It really made the 106 sound like a modular going through a step sequencer.
“What most don’t know about the original TR-808, aside from it’s original voices (sounds) there is a “pulse” sound that you can hear when plugging a cable from the ACcent trigger out, it generates a metallic “zap” sound very similar to a Hi Q (sound from the Roland R-8) This sound was used in “Egypt Egypt” and “Funkbox” from Masterdon. THIS IS HOW THE SOUND IS DONE!!!!” – intromix
Do you remember an old hardware trick you used to do?
Disclosure: The service I am about to recommend is owned by a good friend of mine. Please note that he is a good friend of mine largely because he’s a killer audiologist. He’s recorded music for my own label, remixed my songs and mastered my most important release. Miro Pajic is well known in the electronic music scene. He’s a good genre jumper who once made the most dark hardcore music and today is deep in the Berlin minimal scene. His new online ITB mixing service Manic Mixing just launched. If a release is really important to you don’t master it yourself. It’s ok to bump up the volume on crap heading soley to MySpace but for anything that you want a DJ to spin send it to someone qualified. Miro is easy going and will make sure your happy. For details on his mixing process click here: Manic Mixing Details
The important thing to remember is even if you can follow what Miro does in his examples your missing the key ingredient: A fresh talented ear listening to your music!
“First of all, it is necessary to communicate, to find out what your concept and goal is and which final format it will be for. It will help to receive a reference track or demo/sketch version of the music you want to have mixed in the beginning, so i have an idea of what you mean and what we are talking about. I will then do a first rough mix of the material and send you the results, to see if you are satisfied and to make sure that things are going in the right direction. If you agree I will continue and try my best in completing the mix.” – Miro Pajc, Manic Mixing
There is a new full featured and stylish iPhone synthesizer from Japan called NNN Mono (iTunes link). I really like this one. It’s .99 and you can download the operation manual: click here. As you can see by the video below I wouldn’t bother with NNN MONO unless you own a iPhone 3GS or the faster iPod Touch.
Now just imagine learning to play this speech by hand! This is so cool a lot of people are calling it fake. What do you think?
“A “speaking piano” reciting the Proclamation of the European Environmental Criminal Court at World Venice Forum 2009. Unfortunately it’s all in German, but what the piano says is all English, and it’s really neat to watch.” – TheMcphearson
I received an email yesterday from Christian Bannister of Subcycle Labs asking me to view a video of a project he is working on. This is another example that shows how transforming touch screens are going to be for musicians.
“This is part of a series of sketches exploring the potential to bridge the gap between sound visualization and musical instrument. With multi-touch interaction it is possible to manipulate multiple characteristics of a sound—visually, and simultaneously. This shift has the potential of bringing the experience of synthesizer as music instrument to a whole new place. This approach allows the performer to have a more tactile and immediate experience of the synthesizer and also creates a visual reference for the audience. In the performance of electronic music it is fairly common that the audience is alienated from the process and performance of the musician. This project hopes to create a common visual language and experience for the electronic musician and the audience by enhancing the perception of sound and music on both sides.” – Christian Bannister
Audio Damage is getting ready to release it’s first instrument. It’s a non-sample based drum synthesizer with sequencer. It has a random function and the VST version outputs MIDI so you can make your external hardware freak out too. Chris Randall and Co. make plug-ins with a very high fun factor so this one is surely going to be a winner.
“We haven’t decided on a price, and I have no idea whatsoever as to when it will be done. We’ve got the synthesis all in place, but not “tuned,” and the sequencer is about 80% complete…” – Chris Randall