Just read the rules. I see now, mostly. On 4/2/07, Charles Linart <clinart(a)gmail.com> wrote:

Yeah, it's difficult to imagine producing anything worth listening to using somebody else's samples and totally on the fly... but I'm open to the possibility. Definitely potential for it to be the cheesiest thing ever, but no harm in trying. The thing that appeals to me about it is the battle aspect -- up there representin' for the OSS community. On 4/2/07, philicorda <philicorda(a)ntlworld.com> wrote:

david wrote: taste wise I quite agree - but as for the "hip" instrument in the music-scene: "the last guitar solo the world wanted to hear was in Purple Rain" (dunno whom I'm actually quoting; some piano teacher said that to keep guitarists focused on chord&melody: "licks are for air-guitar") I guess the air-guitar will have a a good chance for a come-back once laptops are out of style ;) laptopbattle sound like fun! are there similar events in Europe? @any contestants: wanna share your code/scripts past the battle? Would it be against the rules to collaborate before the battle (-> openbattle.linuxaudio.org ;) - others buy support.. you'll get it for free! robin

Marc-Olivier Barre wrote: There are no Windows Vista CDs. Everyone knows that Vista is only available on new computers. ;-) -- David gnome(a)hawaii.rr.com authenticity, honesty, community

Robin Gareus wrote: There are people developing sensors for the hands/fingers that can read motion in three dimensions and map that to software controllers, to produce a playable air-guitar. ;-) IMO, laptops, computer keyboards, etc, are very thin and unexpressive replacements for the rich interfaces that we know as real musical instruments - guitars, violins, horns, etc. Human hands and fingers, human breath control, have been developed and refined for thousands of years. Computer user interfaces have a long ways to do to develop that degree of expressiveness. -- David gnome(a)hawaii.rr.com authenticity, honesty, community

Paul Davis wrote: As a player of a wide variety of non-computerized instruments, that makes perfect sense to me. -- David gnome(a)hawaii.rr.com authenticity, honesty, community

Robin Gareus wrote: I do know about livecoding, fluxus, etc. - but am still missing *the* "crazy-unix-audio" piece/installation to remember. - reactable is close, but actually neither crazy nor a commandline #robin

On Tue, 2007-04-03 at 19:39 -1000, david wrote: It _is_ fun: http://ccrma.stanford.edu/radiobaton/index.html (broken links in there, sorry - the current model sends raw antenna information through midi to the control computer) You can derive 3d info for each baton plus detect "hits" on the surface with hit coordinates and hit velocity, I used to play/improvise with it with a program I wrote: http://ccrma.stanford.edu/software/padmaster/ After a long pause I'm starting to rewrite it in SuperCollider... -- Fernando

if you have a need for unix commandline and livecoding music performance (well, nosebleed gabba anyway) then dial "slub": http://slub.org/ cheers, dave

-----BEGIN PGP SIGNED MESSAGE----- Hash: SHA1 On Tue, Apr 03, 2007 at 07:35:25PM -1000, david wrote: Here ya go: http://alsamodular.sourceforge.net/ By far the most realistic modular Moog I've heard, and it is Free Software. Lots of fun. - -ken

-----BEGIN PGP SIGNED MESSAGE----- Hash: SHA1 On Tue, Apr 03, 2007 at 10:00:53PM +0200, Robin Gareus wrote: About 15 years I caught some interesting electronic/experimental music shows when I was living in Los Angeles, of which I was reminded just now by the topic(s) at hand. One was at a "Virtual Reality Cafe" (remember those?) that featured all kinds of electronic experimentation performances (it was basically a warehouse with a coffee bar, digital art on the walls, a small stage, and an ISDN link... ooh, high-tech for 1992!). The performer/developer/inventor/composer was using gloves as a controller. It was a cross between a musical performance and a mime act. He had the gloves hooked up to a sampler of some kind. He was wearing "virtual reality" goggles so he could see what he was doing, and IIRC some representation of what he was seeing was also projected onto a screen so the audience could see. His performance consisted of him "feeling" around on a shelf, and "touching" various short samples (around 1 second) to hear what they were. When he found one he liked, he would "grab" the sound, and "pull" it off of the shelf with his hands, then walk with it to bring it out onto an open area of the stage, and, uh, manipulate the sound. He'd turn it over, move it up and down, spin it around, and the timbre, repetition rate, speed, effects, pan, volume, etc, would all change. Then when he got it the way he wanted it, he'd "leave" it there in the air, and go back to the shelf and feel around and grab another sound, pull it off the "shelf", and do more manipulations on it. Then he'd go back and adjust the ones he'd already pulled out. It was a completely engaging and fascinating show, watching and listening to this guy with tinfoil gloves on and VR goggles, walking around a stage and doing pantomime with sounds. His interface was kind of like a Reactable without the Table. I'd imagine something like this might be possible using the Reactable codebase and v4l. Another show was held in what I think must have been a church or union hall basement. It was barely promoted; I came upon it almost by accident. We walked into the room to find it packed with a large "scene" of noise enthusiasts, most of whom seemed to know each other. There were 3 or 4 performers (I don't remember exactly) armed with DAT units, tape recorders, and samplers. And they issued a disclaimer about ear damage and asked anyone with epilepsy to please leave. And then the noise started. Harsh, industrial, arhythmic, practically white noise. Layers and layers and layers of it, as one then another tape machine was started up to add more noise. And the performers and audience sat there... meditating. At the time I was mostly into jazz, and had enjoyed enough avante-garde honking car-crash jazz to appreciate noise, but this was a whole new level. The tape-deck-jockeys sat there with beatific grins, spacing out. The audience soon ended up in a similar state. The noise had blended together into such an all-encompassing, seamless, overwhelming, shifting whole, that was so loud and so overpowering that the overall feeling became as still as silence. The noise had become so loud that it was like quiet. It was a very unusual feeling. When the show was over we were completely disoriented. - -ken