Lang Lang playing flight of the bumblebee…on an iPad ;)

Jaime Oliver created a fascinating multitouch drum controller:

It’s a transparent shell covered with an elastic head that the player can stretch with their fingers. A camera positioned to the side detects the shape of the deformation and translates that into sound, chillingly demonstrated below.

via [engadget]

Wonderful high speed recordings capturing the physical power of sound by Trevor Cox of University of Salford.

via [silentsounds]

Peter Kirn at CDM did a roundup of already available, and soon to come,  iPad Music apps.

The bigger picture, indeed: by blowing up the screen of the iPhone to tablet proportions, the iPad has become a lightning rod for discussions about the future of computing. It has also left interface designers with a challenge: what should interfaces look like? Can you simplify designs, as on the iPhone, but also make use of a screen size closer to what’s available on desktop computers? Those questions are especially potent when applied to making this new generation of devices expressive in music.

Check out the whole article here.

My Thesis “Die Simulation des akustischen Klaviers in der Musikproduktion” is now published by VDM-Verlag. You can buy a copy at amazon.de. German language only – but here’s the english abstract:

This paper focuses on the possibilities of piano simulation in the current production of music. It begins with a discussion and analysis of the technical development, functionality, and sound production of the mo- dern day, acoustic piano. Next, it examines the method of multi–sampling for piano sound reproduction. Following a definition and historical recapitulation, it analyses the approach of using multi–sampling on the basis of current software products and takes a closer look at a specific example. The second technique analyzed in this work is the sound production approach of physical modeling synthesis. This simulation technique uses a computer generated mathematical model to simulate the laws of physics of a musical inst- rument – in this case the piano. A summary, historical review and an explanation of the technique provides a basic understanding of this process. An example, using a theoretical model, demonstrates the complexity of problems inherent in this process. The only existing software product currently available on the market is analysed in terms of possible applications. The intention of this work is the following comparison of the pros and cons of the aforementioned piano simulation methods. Finally, the appropriateness of the tech- niques will be discussed in the conclusion.

Michael Bierylo, teaching Music Synthesis at Berklee, takes a look at raster-noton. Check out the full article here.

Scenes and styles in general are often associated with specific labels. While there are a number of artists and labels that one might categorize as IDM(Intelligent Dance Music), Warp Records is recognized as the mothership of that particular genre, being the home of artists such as Aphex Twin andSquarepusher. To me, one of the most interesting things happening in electronic music right now is minimal noise techno, and if there’s an aesthetic motherlode for this music, it’s Raster Noton. The label was founded by three like-minded German artists, and came about through a merger of Olaf Bender and Frank Bretschneider’s Rastermusik and Carsten Nicolai’s Noton labels in 1999. The three are active performers, Bender as Byetone and Nicolai as Alva Noto. All three come from a background in visual arts, and visual presentation is a strong component of Raster Noton releases, as well as their artists’ performances.

Acoustic Botany, by David Benqué, extracts Synthetic Biology and Genetic Engineering from the usual context of health care, food and environment and examines instead the role they could play in the sphere of culture and entertainment.

via [we make money not art]

Peter Caranicas posted a great articel on two different sound editing approaches:

On that day each was nominated for two Oscars: sound editing and sound mixing. Boyes drew the mentions for “Avatar,” Ottosson for “The Hurt Locker.” Plus, each has the same triple credit: sound designer, sound re-recording mixer and supervising sound editor.

Yet the work of these two seasoned film sound professionals on this season’s contenders couldn’t be more different.

Read the full article here…

via [variety]

Wired has some nice videos about the making of avatar: Sound Design, Score, Pre-Production, Post-Production, Motion Capture and so on…

check out the videos here: Wired

Jim Pavloff recreates two lassic tracks by prodigy in ableton live – inspiring. Keep in mind that Liam Howlett wasn’t able to use Ableton live back in the days…