Brian Fitzy starts this jam out with a straight-up acoustic guitar song but by half way has built up half a dozen layers including electric violin and decent beatboxing. Don’t quit out before you get to the good stuff. Nice breakdown too.
Created as part of the soundtrack for The Bitcoin Doco, here’s the original Bitcoin Mix.
The documentary is quite interesting:
This is exactly what it needs to be!!
Everything also needs two exclamation marks!! And bunnies!!
John Cage was a genius. Her he is in his own words on sound and silence – stunning in a brilliant and complete encapsulation of my own feelings about sound and silence.
To learn more about John Cage: http://johncage.org/
Here’s another Kaossilator 2 Jam. Like the others, it has no edits or post-processing, just one take.
I think this is a satisfying constraint because the Kaossilator 2 is really an instrument as opposed to a “workstation” or any other kind of production tool. It Can’t really be said to support “editing”, so while it does enable “composition” through successively capturing loops, and while it has some drum patterns and a gate arpeggiator which enable beat-precise notes and drum sounds, it is generally unforgiving of mistakes (no undo) and its limits are regarded as severe, for example, the loop length maxes out at 8 beats, ruling out most chord-progression style jams.
So freestyling is a good way to get the visceral sound qualities but also to avoid the trap of endless tweaking and perfecting note position, effects chains and tune composition that a full DAW seems to invite.
Unfortunately the video and audio are slightly out of sync which is super annoying considering I captured them together, it seems they only diverged after Youtube’s video processing step. I’ll have to look into that because video and audio sync has been a persistent challenge for me.
If you have any tips for this please leave a comment below.
This was 2004 just hear how this builds:
The track is The Sky Was Pink [Holden Remix] by Nathan Fake (UK)
Make your own music! One thing I’m conscious of these days is how much of my time is spent consuming what other people make compared to the time I spend making my own stuff. If I exclude “the day job” which is actually making stuff for other people in exchange for money, I wonder what the percentage of each really is.
So here’s a Kaossilator Jam I just made, Kitchen Table Techno. Strictly speaking, it’s not really techno… more of a megamix maybe, but it’s definitely a kitchen table and it was all made in one sitting with no edits on the little Kaossilator 2. Some disapprovingly call it a toy, but I call it a toy and fully approve
Please let me know what you think of it in the comments.
So much of modern western civilisation focuses on the economics of mass consumption, but I prefer to focus on the economics of mass creation! This doesn’t mean I think we should all be subsistence hermits, but what is a healthy ratio?
Making stuff expands your skills of self-sufficiency and it adds value to the world. Making is a form of discovery and a path to mastery.
The maker movement is a trend that picks up the trail of DIY Culture and I see it as a good example of a restorative and enriching trend in the world today. It’s the most literal form of productive culture I know.
As one of my heroes, Alan Kay, says, “The best way to predict the future is to invent it”.
What do you think is a healthy ratio of making to consuming?
Here’s a jam I recorded on my new Korg Kaossilator 2. I restricted myself to a short, unedited session with no post processing or other mistake-fixing. What you’re hearing is just the sound recorded directly in the device while I improvise on it.
The Kaossilator 2 is so much fun I am starting to drool over the Kaossilator Pro which is bigger and more powerful. Honestly though, the fact that I can keep this little thing in my pocket makes it much more usable.
If you are not familiar with Kaossilators, the sound is super fat. The Kaossilator 2 has a full hardware PCM engine with 150 different sound programs. It has drum patterns, kits, chords, bass, acoustic, lead and sound effect banks, each of which can be played in any key on the touch pad which can be switched to dozens of different scales. One of the coolest features is a gate arpegiator with 30 different rhythmic patterns so if you put the scales and arpeggiator together you can get pretty precise good control of notes and timing. It even has variable swing.
Oh, there’s also an iPhone/iPad app called iKaossilator (see what they did there?) which really is a different beast. It’s good for the same kind of stuff but it has very different abilities. It’s more like a five track looping sequencer. You can edit your five tracks in only a limited way but they remain independent. This limits additive layering but enables more precise mixing because you can solo and mute five parts. The 16 beat loop length also really expands the options. No gate arpeggiator though.
Overdubbing into two independent beat-matched loopers allows you to build up and break down tracks. You can also cross fade them. It has some serious limitations which may annoy some (no undo, no ping ponging) and it only does up to 8 beat loops which is a real killer if you want to do anything like a pop tune or most things with chord progressions. Nevertheless, for electronic dance music, various bass music styles, jazz genres like afrobeat and anything else with layers and loops, it’s an excellent sketch pad for making beats.
Interview with radically successful venture capitalist investor and ex-Facebook exec, Chamath Palihapitiya about going big and crazy when it comes to technology startups. Oh and learn how to code.
Yamaha produced a kind of experimental control surface for electronic musicians called the Tenori-On. The interface is a little too experimental for my taste, but it does show how you can control almost every aspect of a multi-track composition with a simple matrix of lights – track volume, modulation, instrument selection, melodic sequencing and pattern composition to name a few. I had a chance to play with a software reproduction of this device for the iPhone. The result is a very rough sketch of a melodic electronica vibe:
What could you do if digital media could manifest more physically? How would you interact with it? What if you could touch and interact with a physical space that is accessed remotely? What if you could integrate the online world of digital media with the physical world?
Thankyou too, Burmani. Nice mix.
My good friend Jim Poe, DJ and label master of Republic Music, founding member of New York’s legendary FSR crew and confirmed good guy – he’s been busy and that means we all get lucky. In this sample set he gets together with JP as “Mancusian Circus” (whatever that means) and broadcasts a sturdy set of galactically eclectic vibes across Bondi Beach (as you do).
The musical angle seems to be a “Nuyorican melting pot” with healthy helpings of Afrobeat, Disco, Dub, Deep House and what is, to my ear, a sprinkling of Brazilian Funk, Japanese LoungeCore and Hawaiian Country … or something! I don’t even know. Jim! JP! Where do you get these sounds?
The unassuming two perched their decks up near the skate bowl and pumped the life-giving bass across the surfscape in the early autumn sun. If you want to catch more of this kind of thing, why not head to their Thursday gig at the inimitable Ching-a-Lings on Oxford St in Darlinghurst, Sydney.
No cover, no mirrors, no attitude.
Sounds like my scene. I’ll try to be there, say hi. More details are to be had thither: https://www.facebook.com/TheMancusianCircus
I was recently reminded, while listening to an interesting business podcast called Think Act Get, of a fantastic book I read last year, one that sat in my mental reading queue for at least a decade. The book is called The Tao of Pooh by Benjamin Hoff and I thoroughly recommend it to anyone who doesn’t mind spending a little while thinking about big questions.
If you’re wondering whether you will like it, just read the following quote slowly and properly, you will probably feel the same way about the whole book:
That was after some of us were discussing the Great Masters of Wisdom, and someone was saying how all of them came from the East, and I was saying that some of them didn’t, but he was going on and on, just like this sentence, not paying any attention, when I decided to read a quotation of Wisdom from the West, to prove that there was more to the world than one half, and I read:
“When you wake up in the morning. Pooh,” said Piglet at last, “what’s the first thing you say to yourself?”
“What’s for breakfast?” said Pooh. “What do you say. Piglet?”
“I say, I wonder what’s going to happen exciting today?” said Piglet.
Pooh nodded thoughtfully.
“It’s the same thing,” he said.
“What’s that?” the Unbeliever asked.
“Wisdom from a Western Taoist,” I said.
“It sounds like something from Winnie-the-Pooh,” he said.
“It is,” I said.
“That’s not about Taoism,” he said.
“Oh, yes it is,” I said.
“No, it’s not,” he said.
“What do you think it’s about?” I said.
“It’s about this dumpy little bear that wander; around asking silly questions, making up songs, and going through all kinds of adventures, without ever accumulating any amount of intellectual knowledge or losing his simpleminded sort of happiness. That’s what it’s about,” he said.
“Same thing,” I said.
What do you think?