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David Zicarelli

Your music sounds both intricate and spontaneous. Would you prefer people paid more attention to your intricacy or your spontaneity? Or neither?

i'm not sure it matters how people listen to it. it's complicated in parts, but mostly i think it's quite accessible. i would also have to admit that the spontaneity is tempered by lot of paranoid editing. most of the stuff here was improvised but not necessarily in the way it ended up in the final recording, although my favourite parts are the unedited sections where the music just flowed that day for whatever reason.

My understanding is that you recently relocated to Berlin. What kind of a music scene is there for you?

Berlin has been very influential on me musically and opened me up to a lot of new stuff. in a sense though, that isn't really reflected in this album as most of it was recorded in Ireland. the stuff that i'm performing is usually out of step with the stuff i'm trying to polish up in the studio. i don't think i'm alone in this. i've done a lot of live performances in Berlin now and usually tends to occupy the improvised noise end of the spectrum, for better or worse.

Where do you imagine people will want to listen to this album?

i don't know where people would want to listen to it. i would like them to listen to it on headphones because that is where it came together. also i'm a sucker for the stereo image. that's not very subtle maybe, but neither am i.

One of my favorites on the album is "Zuckung" the title track. To me it sounds like a particular song from a Return to Forever album from 1974 put through a shredder, but I suspect that has absolutely nothing to do with what you were after. Have you even listened to Return to Forever? Could you talk a little about your relationship to "virtuosity" and "musicianship"?

heh, i don't really know 'Return to Forever' per se but as a relatively recent refugee from the jazz scene i understand the reference. i guess i do have a grudging respect for virtuosity which no doubt comes from my days as a third division jazz guitar guy. i try to not let that get in the way of making something i like to hear, as opposed to something i should appreciate. being at heart a drummer, but never being able to do it, i think i've tried to emulate some of that Tony Williams style from the second Miles Davis quintet with Max/MSP. ultimately it hasn't ended up sounding anything like that but i'm quite happy with the happy accidents it has produced. i also used Max/MSP as a kind of guitar steroid, which converts whatever turgid pentatonic cliches i input to something more interesting. at least i hope so.

Zuckung from Amoebazoid is the newest c74 music release. Take a quick look at what Amoebazoid, himself, has to say about his new album.

q-a-with-amoebazoid

Q & A with Amoebazoid

Cycling '74

Lilli Wessling Hart

For those of you who know San Francisco, there are two things you are well aware of. One, if you ask a pair of friends walking down the street where to get the best burrito, it could result in a fistfight. Two, it rarely gets hot here. Warm, yes. Hot, about 1 week each year. Monday, May 7th was hot and it was painting day.

angels.jpg

With a crew of five, we prepped and painted the main room four different colors in a little over 24 hours with some seriously tall poles and ladders.

beginning.jpg

Gerhard Behles from Ableton happened to be in town and stopped by the see the progress. It seemed important to capture a compare-and-contrast image of two music software company CEOs.

abletonvc74.jpg

And being a good sport, Gerhard decided to give painting a try. Doesn't Joshua look good offering instructions? It might look like we've made some progress in this photo, but someone (i.e., David) still had to stand on a tall ladder and paint all of the edges between the colors. If you've ever done that, you know it takes forever. If Ableton calls asking us to paint their office, we'll try to steer them toward a single color.

instruction.jpg

Unless something really exciting happens before our final move, the last installment of our Office Relocation Journal will be out at the end of the month. Remember, we'll be closed around Memorial Day for the final move.

For those of you who know San Francisco, there are two things you are well aware of. One, if you ask a pair of friends walking down the street where to get the best burrito, it could result in a fistfight. Two, it rarely gets hot here. Warm, yes. Hot, about 1 week each year. Monday, May 7th was hot and it was painting day. 

cycling-74s-office-relocation-part-2

Cycling '74's Office Relocation, Part 2

, a music hardware and software company located near Leuven, Belguim. The company's first product is Audio Cubes, a beautiful and unusual controller system that can be used in powerful ways in conjunction with Max/MSP and other software.

A tool for creating and performing electronic music and sound, which aims to stimulate creativity and lower user interface barriers.

Can you give me an example of the kind performing interface I can make?

If you use the AudioCubes out of the box as a MIDI controller, you can map relationships between the cubes and distances to trigger and continuous controller information.

For example, you can use a pair of cubes and let one cube detect where the other cube is and send a trigger when that changes. If the cube is on the left of the other one, play MIDI note C4, and if it's on the other side you could play note C5. You can sense the distance to your hand also and map that to a continuous controller value. Of course this is not the limit, the cubes are configurable however you want to use them.

 you have an external available which lets you communicate with the cubes over USB. The configuration patches are available when you buy your set of AudioCubes, so you have an example of how to use the external.

You can send the cubes simple commands like change colour, set behaviour, set parameter, etc.

Is there one cube that is connected to the computer using USB while the others talk to it wirelessly? How far apart can they be?

If you want to send signals to your computer then one needs to be connected with a USB cable. you can use multiple "receiving" stations if you want. How far apart they can be depends on the software it is running and how and where you are using it, but most of the time this is around 40 cm (about 16 inches).

If you use the cubes as a MIDI controller, how do you get the MIDI out?

The external in Max/MSP gets you high rate sensor info which you can convert to MIDI rate stuff. There is a patch you get with the cubes that can do the conversion and send out MIDI. So if you have a hardware MIDI interface you can send that information to your external MIDI synths. Eventually there might also be an AudioCube that has a MIDI port. We are also looking into OSC.

Do I receive information from each cube as a separate stream of data, like a MIDI controller, or do I get streams of information about the spatial relationship between the cubes and other properties of all the cubes as a group?

You can get both types of information depending on what the cubes are doing. If one cube sends data about its other cubes nearby you get spatial information. If you just have one cube connected and measure distance to your hand for example, then it's more of a classical MIDI controller.

You can control the colour from Max/MSP. The external supports a colour message similar to the colour picker. Of course any MIDI gear capable of sending continuous controllers can control the colours too (red, green and blue channels available for creating up to 4096 combinations).

Is it possible to make a cube change color in response to sound or some other control information?

Yes, you can create colour pattern "sequences" quite easily using continous controller envelopes, for example.

Can you describe one or two examples of work people have done with the cubes that you particularly like?

We had various public events in which we let people use the cubes to make music / sound. One example was in December of 2004, at the MUHKA in Antwerp (a museum for contemporary art). Peter Swinnen, a composer from Belgium, used an early version of the AudioCubes in an art installation. Over 270 people stopped by that day and it was a big success. The cubes really stimulate people to experiment with sound and music.

Another event held recently was a workshop invited by Vancouver New Music in Canada and conducted by Kim Cascone at Video-in/Video-Out. One group of musicians in the workshop used over 16 cubes together to build a sound generating/processing network which created a drone-like sound which constantly evolved. I was really surprised how they put the tools together to create their installation.

We're also getting increasing interest now in using the cubes as a MIDI Controller for live performance. Artists and performers are welcome to get in touch and talk about their work.

What resources do you have available so people can learn more about the cubes? How do you sell them and how much do they cost?

We are working on more video material and tutorials so people get a more in depth view of how you can use the AudioCubes. You can see demos online at 

You can also send us an email, let us know where you are geographically, and we'll let you know if there is a retailer (or existing customer) where you can go see the system.

We sell through the website for 599 EUR per set of 4 cubes. We're also talking to select retailers to offer them to their customers.

I heard that there is some possibility for the cubes to do some kind of DSP processing. Tell me how that works.

You can let the cubes do lo-fi sound generating / processing also. You can connect them to your computer and assign a "behaviour" (= signal object like in Max/MSP), disconnect them, and point the cubes at each other and have them communicate sound signals or controllers.

The cubes use a mixed digital /analog signal processing system so you can get sounds specific to the cubes.

Tell me a little bit about your background and how you came up with this concept?

I've had a dream of designing technology for electronic music for as long as I can remember. I got my first gear when I was in high school. I went to study computer science at the university in Brussels and then got a Master's at CCRMA, Stanford University.

I came up with the AudioCubes as a reaction to the knobs and displays on existing electronic music tools. I wanted to be able to create sounds and music by manipulating objects instead of staring at a computer. Of course computers will always be necessary to record what you create, and some information is best displayed using a display.

Do you have any plans for other products you can tell us about?

Yes, I have a few things on the drawing board. Keep an 

Get the Latest on Max and our Community

Q & A with Amoebazoid

Cycling '74's Office Relocation, Part 2

An Interview with Bert Schiettecatte about AudioCubes

A Video and Text Interview with Luke DuBois, Educator and Musician

Cycling '74's Office Relocation, Part 1

Workshop in Delft

Jamoma Workshop

Multi-language Max/MSP

A Visit to the Seoul International Computer Music Festival

C74 Tries Marketing to Kids (and Soccer Moms)