We’ve been working with good people over at Liine for some controller/app integration, so when I saw this video from Ohm64 user Dudu Aram (aka Ali Disco B) using the Ohm64, Griid, and Live, I had some questions about integration. His mashups look well conceived and his setup is very compact. He’s using the Ohm64 as his customized “instrument”, which is precisely why we created it in the first place. I thought it might be beneficial for me to share our discussion publicly, and turn it into a QA session.

I recently saw your video mashups on the forums using the Ohm64. Looks like you were using Griid, and Live? Can you tell us more about your setup?

Well before that setup I tried a lot of different gear, especially  controllers. I believe i found my favorite setup using a macbook pro running Ableton Live 8 (I like to use only original Live plugins to keep the computer in a good CPU usage), an M-box soundcard using just 2 outputs, and a controller. I love the Livid Ohm64 and the Ipad running Liine Griid. Sometimes i carry a synth with me. The Mopho Keyboard, or for smaller setups, the Korg Monotron.

How do you pick songs for your mashups?

The first thing is i need to enjoy the son. The second thing is a classic song for dancers to understand what a dj can do remixing the tracks live. Sometimes electronic music gets boring for me, and I like to mix it up with Hip-hop, rock’n'roll, pop, disco… and vice-versa. So i decide on tracks and chop only the cool parts that I like. I don’t need to play the full song, just my favorite parts. After that, i analyze the keys using “Mixed in Key” (www.mixedinkey.com).Before using Mixed in Key  i used to find the key with the piano, which is a very slow process. So after choosing, choping  the cool parts, and analyzing the keys, i like to make a very organized session in  Ableton Live. The way I organize the songs it is very helpfull to see the songs on the Ipad running Griid. Sometimes i do need to remaster the pieces i’ve chopped. I like to “equalize” the songs with distortion and use very high compression, this is what makes old songs modern.

How does Griid interact with the Ohm64, or does it at all?

Before working with the Ohm64 i tried TouchOsc with an Ipad, which is really cool for knobs and faders, or note buttons. But when you use  the buttons to play it like a drum machine or an MPC, the Ipad has latency. So, i prefer to use the buttons on the Ohm64 for the drum kits or fx i would  play like a MPC because there’s no latency. Most of the people use those buttons to launch the clips. I like to work  the fx and the percussions, or scratch songs in this space on my Ohm64. I like to launch my clips in Griid so i can read the name of the music I’m lauching. Most of my live  technique takes place on the Ohm64, like live glitches, fx interaction, crossfades, etc… With these two controllers I recreate live remixes and mashups. Both controllers have very cool interactions on the stage. I don’t have  problems with this setup running at the same time. It’s perfect.

What kind of controls are you using the iPad for vs. the Ohm64? How do you find the work flow between the two?

On the Ohm64 i just have controls for mix and fx. I can’t launch clips on the Ohm’s clip bank because i use the buttons for fx and work flow. With the Ohm64 editor i change the 32 central buttons for “Ctl” and the other 32 I still leave in note mode. In Ableton i did my macros with 8 fx chain for channels. So in the buttons 1,2,3,4, 9,10,11,12 (image 1) are the fx chain of my rack in Channel 1. For each of the 4 channels i have one fx chain with 8 fx to push buttons. (Image 2). In that fx chain i just turn on the fx when the button is pressed. When i release the button the fx stops. With this i can make live glitches with a lot of different fx, and play the fxs like  ”percussion”, completely changing the song. The other 32 central buttons i use for samples, which can be drum kits, scratch sounds, or vocal pieces to play and record live loops. In the other side, the Ipad is very helpfull to find the clips I want to build my live mashups. Liine Griid is my sample library, and the Livid Ohm64 in my mixer and fx control.

 

 

 

 

 

Where can we see/hear more of your work?

I have this blog about technology, music, video, future, nature… http://alidiscob.com/ and I update it everyday. As Dj producer “Ali Disco B” you can find more things on Itunes, Beatport, and a lot of my tracks can be download for free here in my http://soundcloud.com/alidiscob . Also my Vimeo page http://www.vimeo.com/duduaram is where I upload things I do as Dj and commercially. In my http://www.youtube.com/alidiscob I have my test stuff like my video studies. I’m starting  VJing on the side with my Dj gigs now. So I preparing my live shows using Ableton 8 and Modul8 (www.garagecube.com/modul8/) controlling via Ohm64. In these websites I will upload the stuff I’m producing right now. My page on http://www.facebook.com/duduaram is still pretty new. As you can see i have a life on the web where is easy to find me, so everybody can message me that i will reply.

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interviews by Jay

Nick Francis used our Builder series to create his first custom Ableton Live hardware instrument, the Choppertone. We are always really excited to see what people are building with our DIY controller building products, and the style, layout, and craftsmanship of the Choppertone really captures the spirit of why we created our Builder series in the first place. The Choppertone is unlike any other controller we’ve seen, and is clearly designed for a specific use and user, something we really encourage and feel is the driving force behind the advancement of electronic music performance. Nick had a clearly defined interface he wanted use to make electronic music which simply didn’t exist, so he created his own. We had a chance to catch up with Nick to get some insight on the inspiration for his controller.

Why did you decide to create your own controller?

I got interested in controllers from a rather unique set of experiences and interests.  I’ve been a radio broadcaster for almost 30 years, focusing on production & programming.  And chopping up audio has been a passion of mine since the days when using 1/4 inch tape and razor blades was the method of chopping. I really love & appreciate the craft of sound collage & sampling and have been making tracks on my DAW since around 1998.  I started using Ableton in 2006 (replacing Acid) and found the whole “session view” element so compelling with regard to live performance.  I think it was 2008 when I saw a video of Moldover mashing up stuff in his NYC apartment with Ableton and a controller. From there, my interest got more focused. I bought an Axiom 25 and played around with it but never really connected to it. Early last year I got a Launchpad and that was a lot more fun and interesting…but I missed the knobs.  So from there, the idea of a DIY controller took shape.

What did you want your instrument to have that the controllers you were using were lacking?

Warmth and tactility; a controller where the buttons and knobs actually face the audience; and …wood.  I wanted a piece you could pick up and hold; something that presses into you while you play, like a guitar, violin, autoharp, concertina.  Everyone knows the joke about electronic musicians performing as if they’re reading email. I just wanted a warmer, more intimate vibe; a smooth all-wood enclosure.

Why did you choose this layout?

I played around with a lot of shapes and sizes and it really came down to visualizing how I could play it sitting in a chair with the instrument on my lap, how it would sit on my legs, how my hands & arms could move around it.  The shape would have to fit within my own body-type (which, when you think about it, makes the whole feel of the instrument more personal & unique). Because of this particular limitation, I knew that the piece couldn’t be thicker than 3″, and couldn’t be taller than 10″. The last major adjustment from my original drawings was to make the body longer & narrower. Originally It was around 20×9″, and it ended up being 29×8″.  The layout of buttons and pots basically follow a symmetrical horizontal mirror pattern from the middle, just like the human body. It seemed to be the right & natural way to design it.

What kind of experience did you have with building instruments or anything else for that matter?

This was my first major electronics project, with soldering & the whole thing. (And I’m not particularly a handyman type, though when forced to deal with stuff like plumbing problems or basic home repair, I’ve done ok.)  If I can do it, so can anyone else, as long they stay focused, pay attention to detail, and do it step-by-step, taking your time.

Why did you choose the Builder series?

I saw a posting on the Create Digital Music site.  Then I strolled over to your site and checked it out.  You presented the whole package in a way that gave confidence to newbies; you stressed that even people with limited electronics experience could do it.  You were right.

What resources were the most helpful in the entire process of creating the controller?

The Livid Brain video tutorials were the most helpful.  I watched all of them numerous times.  The wiki was helpful too, though sometimes a bit dry to read through. (I tended to use it more often for reference when I had a question). I visited the Livid forums from time to time; my most helpful post came from someone who wanted to understand how to wire a button matrix for arcade buttons.  Finally, I was fortunate to be able to chat up an engineer at the radio station I work at. He really got off on the fact that I was really serious in doing this, and mentored me a bunch.  He was really proud that I pulled it off.

What was your biggest challenge in building this controller?

Several challenges—Believing I could do it, particularly in regard to the soldering and wiring.  Finding a woodworker who could really make my enclosure design a reality. And dealing with the fear that after all the time, money and effort, the damn thing wouldn’t work.

How do you plan on using it?  What’s next?

Besides the ever present learning curve with both the Choppertone and Ableton (I’ve had the program for 5 years and still feel like I’m scratching the surface),  I have all kinds of projects in mind, mostly centered around performing and playing around town (Tacoma, WA). There are a couple of coffee house venues that do open mikes and stuff and I want to do some kind of “folktronica” thing with it; also my wife is well connected with the art community here and there are events going on where I might be able to contribute. I also want to jam with other controllerists; improvisation is something that’s waiting to be explored in the digital music world. Finally, I plan to leverage this work into my day job. (I’m the Music Director at KPLU-FM; an NPR/Jazz affiliate serving the Seattle area.) I want to do some videos deconstructing and mixmashing old jazz tunes.  I’m actually working on one right now. Stay tuned!

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Livid’s resident Video Designer Jay Senk has been performing with Latin Grammy winner Juanes for most of 2005. With an arsenal of seven cameras, a Tactic, and original video content, Senk has been acting as both VJ and Video Director in shows ranging from soccer stadiums to the American Airlines Arena. 

Where are you now on the tour, can you tell us about the latest show? 

We’re in Spain right now, just did a show in Madrid at Palacio de Deportes. One of the most excited and energetic crowds I’ve seen on the entire tour, hands down… Tons of good vibes there.

 

How have the crowds in different parts of the world responded to the visuals? 

Since the show was custom designed with the artist, we really had the opportunity to include visual elements that ran varying degrees of direct representation of each song. For a track called “Que Pasa”, Juanes wanted to use still images that illustrated the social anxieties of his native country Colombia. The black and white images, most of them portrayals of war and urban strife, are cut up to the screens on the beat of the song. It’s interesting to watch the crowd’s reaction, especially in some of the Latin countries we’ve been in. It’s a very powerful part of the show, and you can feel the connection between what the artist is saying and what the crowd is feeling.

What does your setup consist of?

The visuals are powered by a Mac G5 dual processor tower with a flat panel display and mixed using a combination of the Tactic workstation and an Edirol V4 mixer. I use a tri-panel LCD monitor for main cameras, and multiple micro cameras are selected with a comprehensive signal switcher. 

 

Vjing the same show every night can get pretty repetitive I imagine. How do you keep it interesting? 

I’ve got to say that when I fade up the video to the screen for the first time in the show and 10,000 people start cheering, it’s definitely a certain kind of rush that never gets old. For me, the most interesting part about doing repeat performances of the same show is the on-the-fly decisions that present themselves. If I’m using a live camera feed of a Juanes guitar solo, it’s a spontaneous choice between the different effects I can use to really push the limits visually. It’s always fun to switch things up and take the show in a different direction.. different cuts here, different filter layers there. Plus everybody knows rock n’ roll isn’t perfect, so there’s always something keeping me on my toes during the show. 

You have a unique position acting as video director and visuals creator at the same time, how do you balance the two? 

Well as with any job, the more familiar you get with your gear and your surroundings, the more comfortable you feel using those tools. I’m fortunate enough to have excellent camera ops for every show, so the chemistry is there naturally. Bouncing back and forth between the Tactic and the V4 has become very rhythmic, and so it’s really all about timing for this particular show. The visuals were created to work seamlessly with the tempo of the music, so the real challenge in the beginning is finding those points where the sound and video start to play off each other. After you get that, you’re free to concentrate on the more creative aspect of things – effects, camera angles, etc. 

What is your artistic background in? What made you want to manipulate moving images? 

I studied fine art since high school, and later got involved in multimedia and video production. Becoming exposed to works by artists like Bill Viola and Craig Baldwin really got me into the medium, and I produced some interactive video installations in my undergrad. I’ve always been interested in sample culture in the audio world, and it was great to see what artists like Coldcut and DJ Shadow were doing, using live video in their shows where it wasn’t just a loop. They were time-oriented, song-specific video cuts and scratches, an idea that really appealed to me. 

 

Do the images have themes or relation to the music for this tour? 

Absolutely, which is interesting because much of the video designed for the set list, upon Juanes’ request, is abstracted and non-representational. The opening track is a song called “Suenos”, which means “dreams” in Spanish.  We shot and composited footage of a first-person view run through the woods, which works with the track’s lyrical content about dreams and disorientation. In “Mala Gente” (Bad People), there’s a fire theme that was designed for the warm lighting of the stage.   One of my favorite parts of the show is mixing the fire into the crowd, they go bananas. 

 

Do you have any advice for other visual artists starting out?

If I had to give a pointer (and as cliché as it sounds) it would be to not worry about defying convention. It’s the abnormal, unique things that really stand out for the audience, and when you can get somebody to say “I’ve never seen something quite like that before”, that’s what it’s really all about.

 

For more information visit http://lividdesign.com/

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interviews by Jay

Back in 2004 Tony Lannutti (my fellow Sinch band member, and Ocular Noise Machine collaborator) and I appeared on the now defunct Screen Savers show on TechTV. This was a great show, and we were sad to see it go away when Tech TV did, but never the less the video lives on. We were also in town (San Francisco) for the second and hopefully not the last AVIT festival.

I always get a bit confused when intereviewed on “live” TV. The interviwer asks you questions before the shoot, then the same questions during the show. So when you are filming and they ask the same question with an inquisitive inflection, it always throws me off. I feel like saying “didn’t you just ask me that?”. Well I never actually do, and here is the video from the show.

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news by Jay