Ruslan

Compositor v3 – Hypervisor Radio Shack. Host of virtual machines for VLF translations and interactive audio installations.

- Three spectrums of radio frequency achieved in accordance to selected feeder such as SLF, ULF and VLF, which makes signal translation more flexible. 

- Two-channel translation with availability of 82944 sub-programs, thanks to analog realization of signal chain. 

- Automatic connection via RTC8k VLF radar with chain length of up to 8K points realizes signal translation in real-time with minimum bufferization. 

- Compositor v3 can translate VLF feedbacks after one-bar only feeding of the SASER channel. In Compositor v3 you have the encryption on a block-level without signal delay, thanks to RTC8k holographic radar LINK function. 

- Compositor v3 performs window functions interpolation of transmission channel, thanks to three layers of operation, which are real-time, signal-rate and transmission rate.

compositor-v3-hypervisor-radio-shack-free-float-generator

Compositor v3 Hypervisor Radio Shack - Free-Float Generator

tkzic

The [rtrlsdr] external reads raw IQ data from rtl-sdr compatible devices for demodulation of radio signals in Max. For more information about rtl-sdr: http://sdr.osmocom.org/trac/wiki/rtl-sdr

rtlsdr-radio-external-for-max

rtlsdr radio external for Max

Entire project was done in Max - user interface, device interface, and signal processing.

software-defined-radio-in-maxmsp

Software Defined Radio in Max/MSP

Gregory Taylor

Lilli Wessling Hart

My first introduction to The Hitchhiker's Guide to the Galaxy wasn't those lovely books by Douglas Adams (who I miss very much)--it was the original BBC radio series (Note: you can get it as an MP3-cd collection). J. and I got hooked on it when our local upstate NY station broadcast it in the early 80s. While the whole series of books was a ball, I've still got a soft spot in my heart for the original radio program nonsense (I can't say I was a terrific fan of The BBC TV version, but this makes me a curmudgeon).


Oh, wait--if you don't know what I'm talking about, read this. 

Or I suppose you could ask your parents.The new series dramatizes the next three novels: Life, The Universe And Everything; So Long And Thanks For All The Fish and Mostly Harmless. The program ran earlier today, it'll be repeated on Thursday, and then put online for your listening pleasure here for a week after that. This is definitely a possible use for Soundflower, innit? If you can't wait until Thursday, there's a nice MP3 sample full of the voices I know and love.

This will more than hold me until the Movie...or, rather, it will give me a bit more time to get used to things and to prepare for another possible disappointment of having a book I love made into a movie I'm not so wild about. So far, we have a bunch of bloggery, and one of those "really early teaser trailers with no actual footage in it" trailers here (big whoop). More to the point is a listing of the cast here. Hammer and Tongs directling? Tim Canterbury from "The Office" as Arthur Dent? Um, maybe. But Mos Def for Ford Prefect??? I really like his music, his acting in The Italian Job was just fine, etc., but I'll have to think about this one.

Don't get me wrong--sometimes a great book can be optioned and modified and turned into a really wonderful film. They just seem more the exception than the rule.

On that note, this interview with the film's screenwriter might be worth a look if you look at the cast list and mutter something unprintable. He appears to be aware of the problems facing him, and quite upfront about the objections that lovers of the original material are likely to have, too.

I wish everyone well, but I am going to be listening to the radio. I see best sitting in a dark room with no screens in it and listening with my imagination turned up, thanks.

My first introduction to The Hitchhiker's Guide to the Galaxy wasn't those lovely books by Douglas Adams (who I miss very much)--it was the original BBC radio series (Note: you can get it as an MP3-cd collection).

reasons-to-be-radiophonically-happy

Reasons to be radiophonically happy

I spend part of my life doing a radio program of electronic, experimental, electroacoustic, and various other types of music on Madison's own community radio station WORT-FM, and have done so for an embarrassing number of years. I guess that's probably why my colleague D. told me that I should feel free to rave about recent recordings in the course of my blogging life; he's generous and assumed that this required some sort of critical acumen rather than just listening to things a lot and being forced to decide which among them to play for other people.

Well, okay. Here's a reissue worth your while, and a new one....

The first happy bit of news is the migration of the Portland-based band Menomena to FILMguerrero records. This is a good deal because I can now go back to recommending it to people who can find it. David Zicarelli first played "their I Am the Fun Blame Monster" (whose title is an anagram, by the way) in the course of a long car trip to a trade show. I loved it even before I found out there was a Max/MSP tie-in--turns out the trio has a fourth member: a delay looping recorder MSP patch named Deeler used to construct the guitar/piano/bass/drum stuff (which the band then learns). The disc manages to combine its slightly twisty song forms with sonic treatment in a beautifully asymmetrical way. You can find a couple of sample MP3s here and here. And if you want to see the MSP patch for Deeler, I guess that l can say is, "Don't hold your breath." Oh yeah--did I mention that the cover is a flip book animation?

I have long admired the works of harpist Zeena Parkins (currently handling the harp chores for Bjork on tour) and drummer-turned-laptoppiste Ikue Mori, and have even managed to see them perform live (although not with each other) with considerable pleasure. Their recent duo release on Mego "Phantom Orchard" is a particularly enjoyable outing: an organic outing (as the title might suggest) that runs the gamut from pastoral (Ghostlake) to bramble (Miura) with grace and confidence. This collaboration rates high for me for my usual reason: it unites the things I like about the participants as individuals with work that emerges from the process of collaboration I might not have expected from either of them working alone. don't take my word for it--you can listen to some of it here.

I spend part of my life doing a radio program of electronic, experimental, electroacoustic, and various other types of music on Madison's own community radio station WORT-FM, and have done so for an embarrassing number of years. I guess that's probably why my colleague D. told me that I should feel free to rave about recent recordings in the course of my blogging life...

audible-reasons-to-be-happy

Audible reasons to be happy

sandcobainer~

webSamplr is an instant real-time sampler that samples anything from the web into Ableton Live on record armed tracks. The plugin was written for artists, producers and indie movie scorers to rapidly prototype and write sampling music in Ableton Live and setup a live sampling workflow. 
It has a built in browser in terms of Max's jweb object. 

The browser is supported by a SQL Lite database of sources classified into 5 types: music, samples, radio, video, social media.
ANY donations in support are welcome. Read more about the setup at: https://sandcobainer.github.io/audioblog-/max/2019/01/26/webSamplr.html

Disclaimer: webSamplr has an external routing dependency in terms of soundflower (Mac) or audio jack (Win). The plugin also displays the sample rate of the current sample being streamed and a spectrogram of the audio.

webSamplr is an instant real-time sampler that samples anything from the web into Ableton Live on record armed tracks. The plugin was writte

websamplr

webSamplr

SunnySideSound

project60-vidarr

Vidarr

The radiophonic portion of my life has an annual ritual associated with it that might surprise no one; a top ten. It's that time again.


Left to my own devices, I would simply assume that everyone in this portion of 3-space would have no illusions about my method of work being that I play music I like, music I respect a bit more than I like, and some things my listeners ask me to find for them (or recommend). There's really no other method to it.


About a decade ago, listeners started asking me what a list of "you know... the best stuff" was for the whole year. I thought it was a little surprising, since it seemed to me that anyone who listened to my program would know immediately what would be on the list-the recordings they heard the most often. But no. So I elected to subvert the dominant paradigm (and give myself some um... wiggle room) by listing 15 of the top 10 recordings of the year, and dedicating the first two RTQE broadcasts of the new year to those recordings (done so that everything got its own fifteen minutes of fame, more or less.

After having done that for a few years, I started to get calls from long-time listeners in early December, politely inquiring as to whether I had already settled on my list; they were wondering about whether or not they might fill a portion of their gift list with things that they'd heard on my show. While this was flattering, moving the creation of the list forward meant that it was considerably more difficult to cast a sidelong glance at the work of other "critics"-something I found much more appealing as a possibility rather than as a reality. Since WORT is a community radio station, we're really answerable to our listeners in a pariticular way, so I was committed.

You can find a copy of that list for this year  here. In case you're at all curious (and would like to view my dreary bias set in greater detail, here are the lists for 2001, 2000, 1999, 1998, 1997, 1996, and 1995 (there's no 2002 list because I was living in the Netherlands and taking a hiatus from programming). It's pretty obvious from looking back for a decade or so of this stuff that I might be biased toward the work of a few people-Autechre (whose collaboration with the Hafler Trio was on the short list this year), Monolake (Robert Henke's absolutely wonderful 0bpm solo opus this year made the list with a bullet. By the way, it's NOT true that Robert could record the sound of his kitchen sink runnning, process it, and make my best of list. He's welcome to try.), Miles Davis' post-quintet electric outings, and Tetsu Inoue. Unless the day comes when I suddenly decide that I have Critical Sensibilities rather than just being some guy who likes stuff, those commonalities of list are bound to emerge; they keep me honest, and potentially warn my listeners off (and you, too). Having put all those old "best of" pages back up in honor of this blog entry, I am somewhat comforted to discover that the older lists contain recordings that I think really have "stood the test of time," or however I'd want to say that.

An unforeseen side-effect of doing two holiday gift shopping versions of RTQE in early December is that the programs pretty much organize themselves, and-from my point of view-they're boffo shows with no filler or (required?) nods to new releases. Since I'm not slaving away on playlists, I thought I'd say a few things about some of the releases on this list, and beg your indulgence to do so.

There are a few things that aren't here that maybe should be. Another way of saying this is that there are a few recordings that, in the course of the next year, may rise from the list of what I didn't include to become things I return to again and again for pleasure. No, I don't mean The Arcade Fire, Interpol, or the other critic's darlings of the moment (although I find myself liking The Polyphonic Spree waaay more than I expected to). This list might include the deadbeat dub opus Something Borrowed on scape~ and Michael Gordon's Light is Calling (I keep finding it in the CD player). You'll notice that there's already some bet-hedging on the list this year, owing to the fact that I can't really listen to the Albert Ayler box in the background, can't bear it in the foreground for more than a short while, and keep coming back to gaze into the blast furnace again and again. I did this with the Harry Smith collection of Americana years earlier, and am trying to develop and early warning system. If Avalon Sutra really is Harold Budd's last recording, he at least warrants a shout-out for a lifetime of pleasure, but I think it was the Akira Rabelais remix/rework of the material that put it over the top for me. I'm not actually sure why I didn't list the newly remastered and reissued Discreet Music, Ambient 1: Music for Airports, Ambient 2: The Plateaux of Mirror, and Ambient 4: On Land, considering how much of my life has been lived to Music for Airports. And finally, I am nurturing a small kernel of fear that I have become so old and jaded that I can be in the presence of strong and beautiful music from old, old friends such as The Blue Nile and The Finn Brothers and fret about listing them here.

Does this sound like I am still enormously ambivalent about this whole list and recommendation thing? Yep. I generally figure that having something like 100 hours of radio time per year means I can work around that in a way that a list just doesn't allow.

Okay-a few comments about what's on the list:

The Gavin Bryars recording is a perfect example of a wrong corrected. All Ten of A Man in a Room, Gambling was originally a project sponsored by the British outfit Artangel that we ran on WORT years ago as a kind of mysterious event-it would simply appear at the same time, twice a week, for five minutes without comment... a kind of mysterious imaginary weather report (well, okay-a short description about ways to cheat at cards) with this lovely and restrained string quartet. People loved it, but Bryars' record company at the time decided not to release the whole set. Bryars himself corrected the error on his own small label, and had done me (and you, maybe) a great favor in doing so. It's also a kind of sad reminder that his collaborator, the Spanish sculptor and conceptualist Juan Mu&#ntilde;oz, left us entirely too early.

I first encountered Helge Sten (Deathprod) as a remixer, redoing the work of Norwegian electronic composer and maverick Arne Nordheim. To be honest, I picked up the recording because it had a Biosphere piece on it. His participation in the improvising ensemble Supersilent further piqued my interest, but by that time all his earlier recordings were out of print. Morals and Dogma was released this year in two forms-the recording itself, and a 4-CD box that includes his earlier work. I went for the box.

A friend of mine pointed out that there is a substantial amount of music by Cycling '74 people on this list (from Huntley Miller's EP Dowry, whose only shortcoming is that it is 1/4 as long as it should be, Zeena Parkins and Ikue Mori's duet outing, Lawrence Casserley' appearance with The Evan Parker Electroacoustic Ensemble, and the aforementioned Mr. Henke). I was completely blindsided by this, but admit that perhaps I am paying a bit more attention to what people do with our software than in previous years. I suppose that I'll spend the next calendar year discovering that there is a good deal more Max/MSP in this list than I'm aware of....

The 5-hour LaMonte Young release The Well-Tuned Piano in The Magenta Lightsain't cheap, but it's probably cheaper than the 5-CD Gramavision release of The Well Tuned Piano on eBay, and it plays all the way through.

Have I managed to avoid blooging about Siniaalto? They're probably my personal "obscure find" for the year-a modest little Finnish outfit who does 70s-style electronic music on pre-MIDI equipment. Think of them as an "Orchestra of the Enlightenment" for synth music (with perhaps a nod to some Deodatoesque electric piano). There are some free MP3s of the work here.

Man, I should just shut up. Caveat auditor, mes amis....

The radiophonic portion of my life has an annual ritual associated with it that might surprise no one; a top ten. It's that time again.

15-or-more-of-the-top-10

15 (or more) of the top 10

Andrew Spitz

It is a fully working prototype through the combination of using Arduino and a XBee wireless network all controlled using Max/MSP. Using Max, we access the Last.fm API and using Applescript (again, in Max), we get Spotify to play the music. 

skube-a-tangible-last-fm-spotify-radio

Skube – A Tangible Last.fm & Spotify Radio

Cycling '74

Featuring Max Electronic Experiments projects from Tom Zicarelli, Michael O'Bannon, Kevin Holland, Benoit Bouchez, and Chris Coleman.

Electronic Experiments - Science Fair @ Expo '74 2011 - Brooklyn, NY

At Expo '74 in Brooklyn this year, Max users exhibited their work. Electronic Experiments projects are featured in the third video of the Science Fair series.

At the 2011 Expo '74, some Max users exhibited their electronic experiments.

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