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Radionomy Lets You Create Free Web Radio Station

  • 3 days ago
  • 2 comments
Radionomy
Radionomy
Radionomy, a Belgian startup, is a site that lets you create a free, ad-supported Web radio station
The site, now in beta testing, is designed to make creating a Web radio station trivial, letting you browse through vast music, jingle and content libraries made available by Radionomy. You can also integrate your own musical creations or recordings.
Radionomy also supports a variety of social networking features, including tagging, embed code and station sharing. Here’s an example embed:

Radionomy broadcasts your station free of charge and bears all the costs, including copyrights. Radionomy is supported through audio ads broadcast with the stations. Radionomy offers a revenue share based on your station’s audience.
The name Radionomy come from the merger of two concepts: Radio + Autonomy. The founders of Radionomy thought that Internauts should be able to create radio with full autonomy.
2 comments

AudioTools gets virtual TR808

  • 3 days ago
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David at Hobnox sends word that they’ve updated their browser-based virtual studio, AudioTools.
Just a quick note that we just rolled out an update of the Hobnox Audiotool. As promised the TR808 is now online, along with two new stompboxes (Compressor and Bitcrusher) and some enhanced functions. Saving is still not possible yet, we’re working hard to make it happen for the next update.
It’s great to see AudioTools develop. Saving and offline use are probably critical, though, to AudioTools gaining acceptance.
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Cellular Grid Machine

  • Apr 30, 2008
  • 2 comments
Cellular Grid Machine - Screenshot
Cellular Grid Machine - Screenshot
"Cellular Grid Machine is a virtual-machine mechanism that just-so-happens-to spit out music from its auto mutating 16x16 multi-directional grid. CGM can generate hours / weeks / months / years of continual, self-modifying and self-evolving forms that are created by processes which are arbitary, stupid, pointless and non-musical. It's processes. mechanisms and systems were inspired by its grid and not by musical ideas or musical theory. The music it produces is the excrement of the non-human expression of this machine.
This Cellular Grid Machine represents a totally re-written version of the previous CellularGridMachine(1999). It now includes more grid and collision processes / mechanims, which themselves are more configurable, works with CoreMidi, can export MidiFiles, has multiple Undo/Redo, has complete XG MidiEditing facilities for configuring sounds and XG Tone Generators. It is completely written in Cocoa for OSX."

(from the author website)
2 comments

The History Of The Doctor Who Theme Music

  • Apr 26, 2008
  • 2 comments

Planet Nerd’s Dan Walmsley talks to experimental composer David Shea about the history of the Doctor Who music and the BBC Radiophonic Workshop.

http://www.youtube.com/watch?v=gEmwYggYr2o

2 comments

Roland Olbeter’s Electro-Pneumatic Instruments

  • Apr 24, 2008
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Set designer and robot artist Roland Olbeter has created a series of electro-pneumatic sound machines capable of performing entire string quartets.
The first commissioned composition for the robotic instruments was Elena Kats-Chernin’s Fast Blue Air, which takes advantage of the range of noises created by the pneumatics.

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Jean Michel Jarre On The Internet, Record Labels

  • Apr 24, 2008
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Clash Music has an interesting interview with synth music pioneer Jean Michel Jarre.
It touches on some very timely subjects, including the role of the Internet in music:

The Internet isn’t the only answer
I think that the Internet might become the ultimate marketing machine, but I also think that in maybe five years’ time, what will be cool will be not be on the Internet. I’m pretty sure that the next generation, or the next punk attitude will be not being some kind of Internet freak, but instead finding something else. I think we’re in a very ambiguous situation. When you have fantastic tools such as web TV, digital radio, YouTube and iTunes type of systems – they are not THE answer, but they do enable you to stay in contact with your fans. In my opinion what Radiohead did with the download of their album for whatever price you chose wasn’t that positive for music. I think it’s something very dangerous, it wasn’t necessarily fair on young artists. When you’re a band the size of Radiohead you can afford to do that, but for new artists these days it’s very, very difficult.

Recognise that record companies are absolutely necessary
I think it’s a cynical attitude to think that musicians can survive as artists without them. Within the labels and record companies there are some really good guys who work 15-16 hour days to try to make things happen. It would be naïve to think you can just launch your album on the Internet in London and someone in Auckland would immediately know what your music is about if you don’t have the necessary distribution network. Although it’s very difficult to accept that the people that invented pirate radio in the ’60s are now the people who want to put today’s pirates in jail!
Post a comment Tags: jarre

Nightmares and... Ola!

  • Apr 23, 2008
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Jean Michel Jarre, who’s on tour with truckloads of rare vintage keyboards performing his classic Oxygène, says that the old gear posed some unique challenges at his most recent concert in Madrid:

The MemoryMoog went out of tune, the same for the ARP; we had very little time to set up everything. I tried quickly the Moog Liberation (the portable keyboard) and it had a constant vibrato that I couldn’t stop. We tried everything and eventually Patrick succeeded to make it usable.
I decided to go on stage with a maximum of energy and ready to cope with anything and….. everything happened!
First of all the Egg chair did not turn properly, the arpegiator of the MemoryMoog was blocked, the ARP was out of tune and I had to retune each of its oscillators live, one AKS had no sound, I had to switch the power off and on to make it work, I had to re-pitch the flute sound constantly all along Oxy 2, the DigiSequencer was blocked and I had to reload the sequence for Variation 2 and play something else in the meantime, the percussive sequence on Oxy 5 was hard to start and the Eminent went crazy on Oxy 13 during the encore..
But I felt Claude, Francis and Dominique really on the case full time and the audience totally with me from the beginning and it gave me the necessary energy to rage against the machines!
The Moog Liberation solo with its strange sound was probably one of the most inspired I’ve played since the beginning of the tour and the concert one of the most spectacular since the beginning as well.
The result was that the audience went really crazy screaming and doing the Ola at the end - we got the most animated standing ovation. ¡Viva Madrid…!


I admire his brave heart.

Post a comment Tags: jarre, analog synths

Omnisphere Preview Remix Contest

  • Apr 23, 2008
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Spectrasonics announced today the beginning of their 10-week "Omnisphere Preview Remix Contest" where registered virtual instrument users can create music using special loops that Spectrasonics has created from the eagerly anticipated Omnisphere Power Synth. Three winners will be chosen in July to receive a free copy of Omnisphere when it is released on September 15, 2008. Omnisphere Preview Video #5 is also now available.

The contest soundset of 45 new loops were created using only Omnisphere and demonstrate a little 'taste' of some of the unique sounds and rhythmic capabilities of the new virtual instrument. The contest soundset is a free download and is available in Stylus RMX,REX2 and WAV file formats. All Spectrasonics registered users can download the soundset, enter the contest and submit their tracks at the contest web page

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3-D Mouse Lets You Control Music In 6 Dimensions

  • Apr 20, 2008
  • 1 comment

MIDI Navigator, below, is a Mac OS X MIDI driver for the 3dconnexion Space Navigator, right.

Usage is simple: download the application, launch it and select SpaceNavigator in your favorite MIDI application as input device.

MIDI Navigator can send relative and absolute CC commands. You can adjust the CC number, mode and sensitivity for each of the six degrees of freedom.

Rui Gato has created a demo video of this in action.

Requires Mac OS X 10.4 and a 3dconnexion Space Navigator.

1 comment

The "Amen Break"

  • Apr 20, 2008
  • 1 comment

Michael S. Schneider, author of A Beginner’s Guide To Constructing The Universe, has published an interesting analysis of the Amen Break (probably the most important sample ever).

In his analysis, the Amen Break may be popular because of the way the Golden Ratio is found it the break’s timing:

Having looked at the geometry of the Golden Ratio a great deal, and its expressions in worldwide art, I have a decent sense of its place along a line. The Amen Break had that feel. For a quick check I used homemade Golden Ratio calipers to examine the peaks. Indeed, peaks pop up at Golden Ratio intervals, as do smaller peaks within them, reminsicent of the fractal structures in nature.

For more exact visual analysis I examined the wave image in my computer, in which I have a palatte of geometric forms and proportions for quickly identifying an object’s ratios. Sure enough, Golden Ratio relationships were indicated among the different peaks. Am I seeing things? You decide. But the appearance of the Golden Ratio may help explain its popularity.

The major wave peaks of the Amen Break, and many of its smaller ones, seem reasonably close to being an expression of the fractal nature of the wonderful Golden Ratio. I wonder what it would sound like if it was more precisely proportioned to the ideal, but I also know that slight differences are what make it human and alive.

What do you think? Is the Golden Ration behind the popularity of the Amen Break, or is this a bunch of intellectual wankery?

This fascinating, brilliant 20-minute video narrates the history of the "Amen Break," a six-second drum sample from the b-side of a chart-topping single from 1969. This sample was used extensively in early hiphop and sample-based music, and became the basis for drum-and-bass and jungle music -- a six-second clip that spawned several entire subcultures. Nate Harrison's 2004 video is a meditation on the ownership of culture, the nature of art and creativity, and the history of a remarkable music clip.

1 comment

Read more from Max Waves »

About Me

Max Waves
Italy
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electronic music composer

You can find me also on:

  • LastFM
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  • Pavane de la belle au bois dormant
  • Au Clair de la Lune
  • Top of the Hour
  • Ens Mobile
  • Aquincum
  • Neu Neutral
  • Pavane pour une infante défunte
  • Nachtmusik V

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