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RE: [microsound] an interesting monolake answer

To: 'microsound' <microsound@xxxxxxxxxxxxx>
Subject: RE: [microsound] an interesting monolake answer
From: Michael North <michael.north@xxxxxxxxxxxx>
Date: Tue, 19 Dec 2006 10:40:36 -0500
Has anyone looked at the ixi-software.net apps...for 3D interfaces they have
micworld, which I've found interesting......

//*-----Original Message-----
//*From: Graham Miller [mailto:grahammiller@xxxxxxxxxxxx]
//*Sent: Tuesday, December 19, 2006 10:14 AM
//*To: microsound
//*Subject: Re: [microsound] an interesting monolake answer
//*
//*in this area i still think of that autechre video for gantz graf is a
//*stunning hybrid of sound meets visuals:
//*
//*http://www.youtube.com/watch?v=PMRjmtSx24A
//*
//*but i think we're getting away from the original quote which wasn't
//*so much about visuals and music in performance, but rather how GUI
//*and the visual representation of music affects the music making
//*process itself, positively or negatively.
//*
//*in my imagination, i have always thought that best kind of computer
//*instrument would be closer to a military flight simulator. some kind
//*immersive virtual 3D environment to navigate through, controlled
//*either physically, or mentally. it would a sound space. this is,
//*after all, what music is, in aural form: a sound space.
//*
//*or reverse engineer the gantz graf video, for instance. imagine that
//*the video itself was a live interface for producing sound, and that
//*the piece of music, was created by that interface, not the other way
//*around, as it actually is.  that gantz graf 'world' could be accessed
//*through virtual reality technology and that geometry of the VR world
//*could be manipulated, like an instrument, to produce sound.
//*
//*the reality of it is: there will be different interfaces for every
//*person.  the ultimate trend is total customization and individuality.
//*just look at already how many different ways there are to use live.
//*no two people i know use it exactly the same way, and its hardly at
//*the level of customization of, say, MAX or reaktor. can the same be
//*said for pro tools?
//*
//*g.
//*
//*
//*On 19-Dec-06, at 8:03 AM, Cooptrol wrote:
//*
//*> I've been discussing this music-video dilemma for some time now,
//*> even with
//*> Rob Henke, or Thomas Koner for example.
//*>
//*> I've been trying to enter the video world by learning jitter, using
//*> traditional software like premier or after effects. My conclusion
//*> is that
//*> no technical expertise can match the years in visual formation that
//*> people
//*> who make videos and movies have. I simply can't figure out how to
//*> manage
//*> the material, and how to develop a powerful audio-visual piece without
//*> collapsing into the lame-visuals-good-music-or-viceversa problem.
//*>
//*> The other issue is the visual representation of sound. All
//*> musicians will
//*> agree that sound is powerful enough to need some visual
//*> representation.
//*> IMHO I have no doubts about that. What is tested here is our
//*> capacity to
//*> resist the pressure that the audio-visual mass culture is making on
//*> us.
//*> Should we add visuals to our music? (done by ourselves or with the
//*> aid of
//*> a filmmaker). Could it be that we are lacking performance skills?
//*> Or even
//*> musical skills to generate a really overwhelming musical or sound
//*> enviroment for an audience? Should a musician perform? Is it
//*> mandatory?
//*> The problem is deeper than it seems.
//*>
//*> Some people has been successful in this quest and others haven't.
//*> Check
//*> out this example, the Incite duo from Hamburg. Excellent music with
//*> excellent visuals, all homogenuous. And they told me they both do
//*> visuals
//*> and music (not the typical laptop musician/VJ line-up). And what's
//*> more
//*> outstanding is that they pre-edit everything and then reproduce
//*> audio and
//*> video clips in order following a written (!) score.
//*>
//*> http://www.incite.fragmentedmedia.org/video_incite.html
//*>
//*> Hernan
//*>
//*> www.cooptrol.com
//*>
//*>
//*>> I didn't think Ableton was created for djing. I always understood
//*>> that
//*>> Robert & co drafted it as a live performance tool in MAX/MSP and then
//*>> ported
//*>> it to C++ for a commercial release.
//*>>
//*>> The Djing thing was accidental..
//*>>
//*>> Simon.
//*>>
//*>>
//*>> On 19/12/06 6:20 PM, "David Powers" <cyborgk@xxxxxxxxx> wrote:
//*>>
//*>>> Interesting ... for me, I couldn't really draw a line between
//*>>> editing
//*>>> and generating. It's part of the same process...
//*>>>
//*>>> But I LOATHE the piano roll, and I've also had problems just
//*>>> trying to
//*>>> plug in a keyboard and play a simple live keyboard part. It's more
//*>>> about assumptions Ableton makes about what I want to create, ie,
//*>>> that
//*>>> it's a loop, that it should be quantitized. Every time I DON'T
//*>>> want to
//*>>> make a loop, it turns out to be a real pain. I know there's
//*>>> workarounds, but this is almost the only software in my life where I
//*>>> had to read the manual!
//*>>>
//*>>> ~D
//*>>>
//*>>> On 12/19/06, Kyle Klipowicz <kyleklip@xxxxxxxxx> wrote:
//*>>>> On 12/18/06, David Powers <cyborgk@xxxxxxxxx> wrote:
//*>>>>
//*>>>>> Maybe this explains why Ableton's interface seems visually so
//*>>>>> lacking
//*>>>>> to me. Okay, it's great for doing live DJing as it was originally
//*>>>>> intended, but every time I go to write some kind of piece with
//*>>>>> it and
//*>>>>> use it more like a traditional sequencer, the interface drives me
//*>>>>> absolutely insane. I just can't get a good workflow going in it...
//*>>>>>
//*>>>>>
//*>>>> That's funny, because I find that I am so addicted to Ableton Live
//*>>>> because
//*>>>> it has the most elegant interface that I've ever used.  I feel
//*>>>> like I'm
//*>>>> on
//*>>>> Star Trek: The Next Generation when I use it.  All that's
//*>>>> lacking is a
//*>>>> multi-touch screen (pleeeease Apple!)
//*>>>>
//*>>>> But I do agree that it's nice to listen to music w/out visual
//*>>>> aid.  I
//*>>>> read
//*>>>> an Autechre interview where they discuss similar things as well.  I
//*>>>> think
//*>>>> that the visual aspect is great for editing, but not producing.  I
//*>>>> hardly
//*>>>> even look at the screen when I'm generating content, rather when
//*>>>> I'm
//*>>>> editing
//*>>>> it.
//*>>>>
//*>>>> ~Kyle
//*>>>>
//*>>>> --
//*>>>>
//*>>>> http://theradioproject.com
//*>>>> http://perhapsidid.blogspot.com
//*>>>>
//*>>>> (((())))(()()((((((((()())))()(((((((())()()())())))
//*>>>> (())))))(()))))))))))))(((((((((((()()))))))))((())))
//*>>>> ))(((((((((((())))())))))))))))))))__________
//*>>>> _____())))))(((((((((((((()))))))))))_______
//*>>>> ((((((())))))))))))((((((((000)))oOOOOOO
//*>>>>
//*>>>>
//*>>>
//*>>> --------------------------------------------------------------------
//*>>> -
//*>>> To unsubscribe, e-mail: microsound-unsubscribe@xxxxxxxxxxxxx
//*>>> For additional commands, e-mail: microsound-help@xxxxxxxxxxxxx
//*>>> website: http://www.microsound.org
//*>>>
//*>>>
//*>>
//*>> Symbiosis - Experimental Sound Textures and Rhythms
//*>>
//*>> Wednesday nights / 10pm - 12am
//*>> 102.7 FM / www.rrr.org.au
//*>> Melbourne / Australia
//*>> simon@xxxxxxxxxxxxxxxx
//*>>
//*>>
//*>>
//*>>
//*>> ---------------------------------------------------------------------
//*>> To unsubscribe, e-mail: microsound-unsubscribe@xxxxxxxxxxxxx
//*>> For additional commands, e-mail: microsound-help@xxxxxxxxxxxxx
//*>> website: http://www.microsound.org
//*>>
//*>>
//*>
//*>
//*>
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//*> For additional commands, e-mail: microsound-help@xxxxxxxxxxxxx
//*> website: http://www.microsound.org
//*
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- Re: [microsound] an interesting monolake answer
  - From: Graham Miller
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