Also a nice change, was having an audio extraordinaire supplied by CarriageWorks to look after live sound. This meant I could post photos live all day with my spiffy new D90. The camera is only a few days old, but already proving an excellent purchase.
Gentleforce’s Sacred Spaces, released as part of Feral Media’s POWWOW series.
Just a brief bit of news/promo for fellow angryPixellier, Gentleforce…
Eli’s debut album gets its official release today, through independent Sydney label, Feral Media. I’ve had the pleasure of hearing most of it already, but now it’s had the mastering treatment, the subtle sounds really shine through. Take a listen on the player below, and click through to purchase physical or downloadable copies. Get it while it’s hot!
Officially, I don’t DJ these days. However, in one of my weaker moments, I agreed to play at the upcoming VOID night on March 26th. In case you’ve been living under a rock for the past couple of years, VOID has become the dubstep night to attend if you have even a passing interest in dancefloor bass music. I’ll be there playing an oldskool/roots/veteran/pioneer/novelty set. Come and say hi. Don’t make a request.
VOID – UK BASS SPECIAL
Friday 26th March - $10 entry
Kodama
Paul Fraser
Moriarty
Alf
Swindle
Preecha
Along with applications for designers and artists, we’re now accepting expressions of interest from musicians of all shapes and sizes – but only until April 2nd, 2010. If you’re interested, get in touch with a short paragraph about yourself and your music, and a link to some of your tunes online. Contact details are here.
Just a quick update to the Live 2 Processing work…
Now with added colour.
…the main goal here was to get Processing to send messages back to Ableton Live. These come in the form of OSC signals, which bang out MIDI notes that I’ve assigned in the Max For Live patch. I also worked the percussion effected rectangles, so they are now responsive to individual drums (kick, snare and hats).
Whilst I’m still learning, it’s quite nice being able to use a graphical programming language, as opposed to a language-based code – flashy lights keep me more satisfied than sexy syntax. Once again, here are the patches for you to (mis)use as you will…
The other night, Gentleforce invited me around to help with the audio/visual collaboration between himself and Julapy, for his upcoming album launch performance(s). Gentleforce will be performing with Ableton Live, so it was a bit of an opportunity to start working with Max For Live, to get his computer talking to Julapy’s excellent live openFrameworks based visuals.
I don’t know a great deal about openFrameworks (other than it quickly becoming the tool of choice for many live/interactive visualists), but it does seem to have much in common with Processing, so whatever I work on should port fairly simply to openFrameworks. I’m still finding my way around Max For Live, so the wonderful (and free) Live 2 Processing plugin by Wiggle was a perfect place to start. It wasn’t long before Julapy weaved his magic with openFrameworks and was receiving peak audio values from Live via OSC.
It’s been a while coming, but we’re now ready to announce the musical line-up for the Spring/Summer 09 Finders Keepers markets in Sydney. With the exception of two artists, everyone performing will be on their Finders Keepers debut, making for a fresh and diverse music stage once again.
I just arrived home from stopping by the local to check out a (friend of a) friends’ band. They weren’t bad, but we did find ourselves making note of the bass guitarists dance moves – something akin to a chicken, pecking at seed. Which started the discussion: are bass guitarists a little bit wrong in the head? They seem to be lost somewhere between the show-pony lead guitarist and the awesomeness of smacking the hell out of a drum kit. Without the ability to play more strings than fingers, nor ambidextrous enough to flail around like a muppet, they’re left with a sad and dark little corner of the stage, propping up something patronisingly titled ‘the rhythm section’.
Care to tell me that I’m wrong and I’m also a jerk? Please do in the comments. When I return from our mojito-fueled Mexican party on Friday night, I shall promptly respond in a clear and concise manner, with more drunken thinkings.
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