Sun, 27 March 2016
I first got to know Jesse Terry during a trip to Berlin, and we've remained in contact ever since. The product 'owner' for the Ableton Push, he has been involved with hardware controller design and development since the Akai APC controllers. So when I got a chance to chat with him about his method - and interests - it seemed like a natural fit.
Jesse has a long background with 'knob-ful' designs (he's an old-time analog head, like me) as well as 'pad-ful' designs (he and I also share a background with MPC devices), so he was probably an obvious choice for working on the Push controller. However, it is his attention to detail and tireless search for perfection that helps push the envelope of what we consider 'state of the art' controller systems.
If that sounds like a sales pitch for Jesse - well, I'm sorry. But I really like Jesse's work a lot, and his willingness to talk about the fun and the pain in creating the Push and Push 2 controllers might help you understand why I feel that way.
Sun, 20 March 2016
Gregory Taylor was at my house last week to work on an upcoming show, and I pinged him for his third AMT podcast interview. This time, though, I had something really specific in mind: I wanted to know more about how he did his radio show, how he selected music for it, and what he used to determine material that would capture his attention. As before, he did not disappoint!
Gregory's work in broadcasting is quite astounding. He's run the same radio show, with a few short breaks, continuously for 30 years, programming interesting mixes of experimental music on a Madison-based community radio station (WORT FM, 89.9), and has listened to more of this music than probably anyone ever has. His knowledge of both labels and artists is encyclopedic, but his discussions of them are - as always - interesting and story-filled.
Gregory's show, RTQE, is from 9-11pm (CST) Sunday Evenings, and the shows are archived and streamed for off-time listening for up to two weeks. I hope you enjoy this discussion about the development of a community station, Gregory's RTQE show, the loss of NMDS (and its effect on music selection) and having *your* work played on the radio. Fascinating stuff!
Sun, 6 March 2016
I first heard about the TANK a while ago, but it was recently re-initiated in my brain by Jane Rigler, who reached out about the recent Kickstarter for it. It is a huge (and I mean HUGE) water take from days of old, and it has been re-purposed into a performance/recording space. This effort has been led by Bruce Odland - today's interviewee.
Bruce started this project as a sound artist touring the west, but has become entranced by the sound - and the performance opportunities - provided by The TANK. In this chat, we hear about how the TANK changes the people that work with it, and how individuals become part of a bigger instrument in a way that we don't get to experience in our laptop-based studios, or with our Walmart-purchased musical artifacts.
I hate to talk more about this when Bruce speaks so eloquently about the beginnings and the futures of The TANK Center for Sonic Arts. So listen to the podcast for more insight. And when you want to dig deeper into The TANK, check out their site at:
This is an amazing project, and my thanks go to Bruce for the chance to learn more. Enjoy!