Thomas Dolby’s blog continues to induce rabid gear lust. After drooling over Mr. Dolby’s live rig and repurposed vintage MIDI controller, we now get a glimpse at Johnny DeKam’s live video rig. (Kevin Johnsrude caught this one, and reminds us that “envy is one of the seven deadly sins.” Better keep that in mind.)
Actually, we can divide this into “things to envy” and “things to note.”
Jesse Kriss, who created an interactive visualization on the history of sampling, is back with a new project that translates live turntable scratching into computer visuals:
At the heart of the system is the computer turntable control system Ms. Pinky, as seen here previously powering vibrating furniture and hiding out in tree trunks. Jesse uses Max/MSP to generate the scratching sounds, then hooks up a second laptop to output visuals. Processing, the open-source software that promises easy coding even for artists, handles the eye candy. You could use the same approach to generate sound, however; Processing can work as a synthesis toolkit with the help of the free library JSyn. (Or, alternatively, Max/MSP/Jitter could work on visuals — though you may still need two laptops to catch up.)
Go check out the video for an explanation of how it all works. Thanks, Jesse! Great project, and nice scratching, to boot!
“What midi controller should I use for VJing?” is similar to “How long should my piece of string be?”. Without knowing what you’re using the string to produce, what kind of environment the string is going to be used in and what programs the string is going to control, there isn’t really an answer. So I’m going to start with “How are the midi-controller requirements for VJing unique”, and then give you my current solution for “What midi controller should I use for VJing with Resolume, if I don’t have enough money to buy the ReACT custom Resolume controller?”.
Among the many “best of” lists spontaneously appearing on the CDM forums, contributors and readers have compiled a fantastic list of inspirational music videos from a variety of acts. One thing that strikes me is the breadth of aesthetics; whereas once electronica had very strong connotations (and the videos with it), these are really high-art experimental filmmaking with a range of styles. And they’re a pleasure to watch, too, like the fanciful Sigur Rós video pictured here. (Thanks, Jaymis!)
2
