Hector!

17 December, 2010

Everyone here knows how much I like my Machinedrum, right? It’s a terrific drum machine made by Elektron. Well they recently introduced a new machine to their line up. It’s a sampler called Octatrack. Sampling isn’t my main interest in music; my Machinedrum does a little on its own, and what it can’t handle I pick up with my laptop and Ableton Live. But if I was performing and sampling, this would be a pretty slick purchase.
Anyways, the point is that Elektron released a new short film/advert for the Octatrack. This is really slick and may answer anew the old question, who is Kaiser Souzai?

To really get this storyline, it may do you well to watch these previous videos as well, for the Machinedrum and Monomachine.

ring those bells

15 December, 2010

I obtained a new low frequency oscillator module for my modular synth a couple of weeks ago. It’s called the Vilfo, from Pittsburgh Modular. This isn’t your typical LFO. Vilfo is an acronym for “Voltage Influenced Low Frequency Oscillator” and by voltage influenced they mean that it responds to CV quite differently than the normal frequency control that one would expect. This thing has a chaos streak in it that pushes and pulls against whatever you’re feeding it in an odd kind of way. My favorite use for it so far is to use it as a clock source, and then send it some other clock or sine wave. Normally, a -+10v signal would speed up and slow down a LFO. In this case it kind of makes the Vilfo hesitate some, then shoves it around a bit, then speeds it up, then stops it altogether. But not always.

So I had it drive a little sequence of bell ringing, where the bells are made with the Hertz Donut. The different bell-like tones are created by having the Z8000 sequencer ring the second oscillator on the Donut a bit differently each time the main sequence of notes repeats itself. The timing is all Vilfo, with all the hesitations and speed ups and downs caused by the aforementioned influencing, in this case by a Malekko Oscillator in LFO mode. I run the triangle wave from the Vilfo back into the sync of the Oscillator, which toys with the timing a little more. A little like a feedback loop.

festival of hells by dance robot dance

I thought the result was appropriate for this holiday season…

science fair box

7 December, 2010

My daughter decided that she wanted to make something out of electronics for her fourth-grade science fair. For the project, the kids have to come up with a question for which an answer can be hypothesized, and then proven or disproven with an experiment. Elliot, on her own, came up with the question “how does electricity move in a circuit?” This is a rather big question for our limited knowledge of electronics-building in this house, and I wasn’t sure whether we could actually answer the question with a few resistors and some stranded wire. ALas, her teacher approved it. Furthermore, the job was made even more complicated when Elliot’s answer was “I think it is heat.”

I gave Elliot a few books to read, and she took to the Make:Electronics book by Charles Platt. I had bought and/or read a few books before ordering this one and it’s by far the best I’ve found. Apparently, Elliot agrees as she pretty much memorized the first few chapters. I can’t tell you how much fun it is to sit there with a ten-year-old girl and have her thumb through a pile of resistors looking for the 220ohm one as she studies the color codes of the resistor’s stripes. I showed her how to read a multimeter (something I just learned a few weeks ago), and she was off. She built a few simple circuits using the experiments in the book, trying out different values of resistors, various colored LEDs (it was cool when we burned one out and the room smelled like an electrical fire), and four AA batteries.

"Crazy Labs"

It wasn’t long before she was working out ways to have a switch to flip between different colored LEDs, and she asked how to add a knob (potentiometer) to dim the LED. For the science fair experiment, she merely recorded the volts and amps of the circuit with various resistors, and deduced the wattage produced with these numbers. I think she realized what I was worried about with her hypothesis, which was that “I think it is heat” isn’t really an answer to her initial question. The answer has to do with electrons and conductivity and positive/negative forces, but that’s a little deeper than we were able to go with a Radio Shack breadboard.

I wasn’t comfortable sending her to her science fair with the breadboard and all these wires and things (fourth grade boys can be jerks you know), so using one of the circuits she’d worked up, we got a small plastic box from Staples and I soldered the circuit together using a bigger battery (9v) and a stronger potentiometer (50k), along with a huge switch.

Elliot's science fair circuit

(This is the circuit before soldering it to a circuit board and putting it the little clear box to the left. The big switch flips the red or green LED on and off, and the knob thing dims the red LED.)

the science fair box

the science fair box

I was pretty excited when I turned it on last night and it worked. So excited, in fact, that I made a little movie with music from the modular synth.

Now I’m really starting to make plans for odd little projects for myself. For instance, I would like to have a small module for my synth with two clock sources, each voltage-controlled, and have a switch which can sync them or let them run free. I found some plans online for one that uses a basic 555 timer chip, so I think that might be my holiday project…

my robots on the machinedrum

30 November, 2010

robots on my machinedrum

If you’ve spent any time at all reading the stuff on DanceRobotDance, you know I love my Machinedrum. It’s a fantastic drum machine that deserves better than me. The only real problem I’ve had with it is that with me sitting at the desk, and it sitting on the desk, the little screen where one sees parameters and information is really hard to read. It’s best when the MD is in one’s lap, but that’s not really a good place for it in most circumstances. The Machinedrum comes with two little holes drilled into its sides and a set of ears for mounting on a rack, but I don’t have a rack. I’ve seen some examples on the internets of people having made some metal or wood end cheeks to set it at a 30-degree angle, and exploring this I found that the manufacture of custom cheeks like this was just going to be more money or hassle for me than it was worth.
Enter ProModular. ProModular is a small outfit in The Bronx, New York, made up of one dude named Stephen who like me, frequents the MuffWiggler synth forum website. I’ve been interested in his custom modular synth panels for some time, but since I don’t really keep any permanent open spaces in my synth, I’ve not found the excuse to get any. I wrote to him a while back to inquire about etching a robot onto the front panel of a joystick kit I’m working on, but I’ve not got around to completing that. So when he posted a few weeks ago that he was going to start making these cheek panels for the Machinedrum, I jumped up and down.
They’re currently 25 bucks, and I even got some custom robots I designed etched on the sides. They look even better in person, and they make the damn thing a whole lot easier to see and work with. Very happy with this.

robots on my machinedrum

Another Time, Another Place

29 November, 2010

Several weeks ago I was asked by Marc Weidenbaum to take part in a remix project for Tablet Magazine, an online publication on Jewish art, life, and culture. The idea was to take Klezmer songs and remix them for Hanukkah. Originally he tried to get traditional public domain tunes, but when that proved too impossible, more recent songs were added to the mix. I was assigned a raucous number by The New Klezmer Trio entitled Thermoglyphics. I was curious by the choice, as my musical mind lies in a different place than this song goes, and since I work with a modular synth and a drum machine — a little less emotive than the great clarinet of Ben Goldberg in Thermoglyphics — I held my head in my hands for several minutes after taking a listen.
Going back a ways, I love Klezmer. Love. Klezmer. I took up the accordion back in 1999 specifically because I’m the gentile guy over there listening to Dave Tarras and the Klezmatics. If I’d had my wits about me and wasn’t so enthralled with robotic synthesizer noises right now, I might have picked out the melody on my accordion and messed with that as sampled audio. Alas, I instead programmed it all by ear using a sequencer in Ableton Live and making sounds with the synth (details below, if you’re into that sort of thing). I spent a few days climbing up the wrong tree, thinking could make things at sound at least somewhat organic. But it was one morning while walking the dog that I found myself whistling the main clarinet part of the original where I kind of had that Eureka moment. I switched on the sine wave in my oscillators, put the notes in through a slew-limiter, which controls the portamento, or slide between the notes, and hit “record.” The modular synth was also used for almost all the percussion sounds in my piece. The various tracks were mixed and arranged in Ableton Live, and after a couple of small revisions requested by Marc, it was finished. He describes it as “Eastern European android folk music” which I think is entirely accurate and slightly wonderful.

Here’s the track.

You can read more about it and listen to the entire album, plus an interview with Marc, on Tablet’s website.

For those with a more esoteric interest, the VCOs used are the uLFO and the Malekko Oscillator for the melody, detuned a few steps on the chorus parts. The percussion is almost all Hertz Donut noises, with one clickity coming from the Microtonic plug-in. Volta handled the procedure of converting the MIDI notes from Ableton to voltage to the modular. The slew-limiter is the Livewire Dual Bissell Generator.

stickers

19 November, 2010

Dance Robot, Dance

I got some Dance Robot Dance stickers made. They’re 2.13 x 2.75 inches, red and black on vinyl. Perfect for you laptop, synth case, notebook, window, friend, whatever. If you want a couple, leave a comment below with a mailing address. If you have some to trade, send ‘em along to me, Brian Biggs. The address is PO Box 25922, Philadelphia PA 19128.

Dance Robot, Dance

Dance Robot, Dance

jibberish

11 November, 2010

Recently I’ve been thinking about getting into Max for Live. I know enough about it to know that I’ll never explore it depths to any reasonable extent, and I know that if I do I’ll likely not get much else done. In the past year I’ve dived into modular synths as well as teaching myself about electronics, both of which are pretty endless journeys. But it’s the very fact that I’ve learned so much about electronics and audio via the modular that M4L has become even more interesting to me.
So the other night I opened up Ableton in demo mode so that I could mess with M4L. I couldn’t edit anything, as I did the 30-day demo of Max last year and therefore Max won’t open on my laptop. Kind of silly, but maybe for the best. Since I was limited in what I could do with this demo, I decided to just play with some of the M4L content. I’ve always liked Pluggo, so I found an instrument called Vocalese in the Pluggo collection.
Vocalese is a weird little thing where various vowels, consonants and plosives are selected with various notes. So in theory one should be able to hit certain notes in certain orders and make the thing talk. That seems like it would be either tedious or fun. Instead of going that direction, I hooked that into the MIDI from the M4L step-sequencer, and pressed go. Immediately my headphones were full of aliens chattering away. I recorded two sequences. One is sixteenth-notes and no real thought over what was going on. The second one I slowed down the sequencer, skipped some steps, and changed the durations. This gives the output a much more, I don’t know, realistic (?) result. I then added Ableton’s frequency shifter for effect.

speech of a sort by dance robot dance

speech of another sort by dance robot dance

Looking around the internets a bit, I found this post from Audio Cookbook, a blog I read now and then, who uses the same device with the vocoder. That sounds great as well.

I have a pretty strong feeling that Max for Live is in my near future. Damn.

three videos

6 November, 2010

En lieu of me actually having anything to post that I made (it’s been a month of drawing) I have these three videos I’ll put up instead. The first two I found about a year ago and were instrumental in my getting into modular synthesizers. One is Charles Cohen working his Buchla Music Easel. I saw Charles at a synth meet-up here in Phailadelphia about the same time and he’s just great. The second is The Subliminal Kid working a big Macbeth M5 with a Moog sequencer. I really like how the beat just kind of appears out of no where. The third movie here I just found today. It’s Keith Fullerton Whitman playing his modular. I have a couple of cds from KFW (Generator is my fave) and I just have no idea how he’s pulling the sounds and sequences out of this thing.


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