Podcasts about music hackspace

When Rookes started making music, she didn't have a clear plan but over the course of the last few years she's not only forged an impressive career as a music producer, but co-founded a thriving community of other women in music tech too.Inside this episode she talks to Isobel about how she started learning to self-produce as an artist and the allies that helped her cut her music production teeth. She also shares how her awareness of gender inequalities in the field led her and friend, Kate Tavini, to founding 2% Rising: an online community for women in production and studio engineering.Girls Twiddling Knobs is hosted and produced by Isobel Anderson with production support from Jade Bailey and Francesca O'Connor and is a Female DIY Musician Production.EPISODE HIGHLIGHTS{0:00} Intro{04:30} Jenny's pathway into music{17:22} How Jenny learned to self-produce her music{25:23} Tackling the gender imbalance in the music industry{36:35} How 2% Rising came to formation and is transforming the careers of women in music{57:59} Building a safe community to learn and connect{01:08:25} What's coming up next for Jenny?{01:13:23} Episode SummaryGirls Twiddling Knobs listeners get 10% off iZotope's award-winning audio plugins and a 30 day free trial of their incredible Music Production Suite 4.1. Just use the code GIRLSPOD10 here >>Find out more about Rookes and her music >>Check out 2% Rising >>Find out more about the ‘We Move' Music Hackspace events series >>Girls Twiddling Knobs listeners get 10% off iZotope's award-winning audio plugins and a 30 day free trial of their incredible Music Production Suite 4.1. Just use the code GIRLSPOD10 here >>Listen to the episode hereListen on SpotifyJoin the Girls Twiddling Knobs Podcast Community here >>Which vocal mic is your perfect match? TAKE THE QUIZ >> Love Girls Twiddling Knobs? Leave a review wherever you're listening and let me know!

Phelan Kane is a force of nature – when he recently signed up for the Max Certified Trainer program, I got a chance to see him in teacher-action, and also got a sense of his writing and presentation styles. Wow! Adept at everything from cogent DSP explanations to crazy Max DSP external development, he blew me away with all of the stuff that he could pull off. Then the interview – and I find out about his prior work in the studio. A-maz-ing! I had no idea about his background as a studio rat, but he was In It – right up until Napster kneecapped the whole industry. Speaking with someone that has such serious teaching experience (15+ years), massive studio experience, his own personal music exploration and a complete obsession with synths – well, you can imagine how that was going to go. We got along like old friends, and I was just consistently knocked out over the stories he was able to tell. Check out the interview, and check out Phelan’s teaching over at Music HackSpace: https://musichackspace.org/whatson_list/list/?tribe-bar-search=Phelan Enjoy! Transcription available at http://www.darwingrosse.com/AMT/transcript-0351.html

Jean-Baptiste Thiebaut is someone I have had the chance to work with at Cycling, and has been on an amazing journey. JB’s background is quite amazing, combining a background in computer science with advanced research in computer-aided composition. He then entered the MI industry – working at Novation/Focusrite in product development, then directing product development at ROLI. Through all of that, he founded and nurtured the London-based Music Hackspace, a place for music hackery to thrive. When the COVID pandemic hit, JB decided to expand the reach of Music Hackspace to include industry expert presentations and a wide variety of workshops and tutorials. The breadth of it is quite impressive, ranging from hardware hacking on ‘musical pom-poms’ to tweaky Node for Max workshops. Lots of different technologies, and a steady stream of interesting work. If you are interested in checking out the Hackspace’s lineup, you can find out more at the ‘What’s On’ list (https://musichackspace.org/whatson_list?). Are you interested in teaching a music or art technology workshop? Contact JB and crew at curators@musichackspace.org. Enjoy!

The word ‘climatotherapy’ refers to a type of physical and mental treatment which utilizes the influence of climate on the human body, exemplified by treatments in the Dead Sea or at hot springs. Climatotherapy was an installation presented by Nozomu Matsumoto & Nile Koetting at ASSEMBLY in 2018, comprised of sound, light, smell, ikebana and virtual assistant Alexa is a key component, repurposed to generate live and enunciate various suggestions and tips throughout, what we should do, how we should live.   With these elements in dialogue, the installation became its own microclimate. Populated by household audio technologies, corporate messages weave through musical reproductions to create an ever-changing soundtrack for our relationship with ever-changing technologies. As our preference settings hack, repurpose and adapt our technological world into new causes, these devices become an aesthetic, a physical manifestation of the dialogue between mass industry and human environment. Climatotherapy questions how the human body is conditioned by its environment in the time and space of cloudified body, mind, and information. Part of the Deep Listen, a new series for Somerset House Studios in which we share  long-form audio content, new or archive, featuring interviews, discussions and creative responses to ideas of connection and commonality.  - Nozomu Matsumoto is a Tokyo-based artist and composer. His sound design work includes Nile Koetting’s “Sustainable Hours” at Maison Hermés, Tokyo 2016, and “FUKAMI, une plongée dans l’esthétique japonaise” at Hôtel Salomon de Rothschild, Paris, 2018. Nozomu released his remarkable first vinyl “Climatotherapy” and début for UK based label The Death of Rave, 2018.   Nile Koetting is an artist working across installation, performance, scenography, sound and composition. His work and projects have been presented at Moscow Biennale 2017, ZKM Karlsruhe, Hebbel Am Ufer Theater, Western Front, Mori Art Museum, Maison Hermès Tokyo Fondation d’entreprise Hermès.   Together, Nozomu and Nile are founders of online sound curatorial platform EBM(T), collaborating and presenting works by various artists such as Shana Moulton  Lars Holdhus, aka TCF, Sam Kidel and Robin Mackay. EBM(T) curated a part from the show in “Tokyo Art Meeting VI TOKYO: Sensing the Cultural Magma of the Metropolis” at The Museum of Contemporary Art Tokyo, 2015, also in 2017 EBM(T) co-curated a music and art festival “INFRA インフラ”  presenting artist’s work in a museum, gallery and clubs in Tokyo. This episode reflects upon a performance installation presented at ASSEMBLY 2018, developed from a release by Nozomu on The Death of Rave. Co-produced with Music Hackspace.

For ASSEMBLY, Karen Gwyer approached the street noises as drums. Building over the course of the performance, Karen will use and process the ambient sounds to create a multilayer, polyrhythmic piece created from the more punchy and identifiable sounds as well as distorting the general hum. The mood and intensity will shift as the performance progresses. On top of the rhythmic street sounds, layers of synths will build to create a moving yet sobering composition that draws on Karen’s own emotions around her 12 years as a Londoner, both the pain and relief of leaving, and the conflict of looking at it now from afar. Pedestrians, traffic, roadworks, protest; the corner of Somerset House where Waterloo Bridge meets Embankment is a hive of often unpredictable activity and noise. Acknowledging and working with this to define a compositional framework, Marclay invited a series of guests to collaborate in bringing the outdoors inside for an evolving series of electro-acoustic performances. Karen Gwyer was born in the southern US and raised in the north. Now based in Berlin after more than a decade in London, she shifts between pumping, thickly melodic, just left-of-techno dancefloor vibes and diversionary acidic psychedelia in her expansive, largely analogue live electronic performances. To date, she has released a handful of acclaimed recordings on Don’t Be Afraid, Nous Disques, Opal Tapes and Kaleidoscope, among others. She has produced remixes for labels such as InFiné, Software, and Public Information, and has created a number of commissioned pieces for Berlin’s Pop-Kultur festival and Open Music Archive in London. Christian Marclay’s ambitious and accomplished practice explores the juxtaposition between sound, photography, video and sculpture. His installations display provocative musical and visual landscapes and have been included in exhibitions around the world including the Whitney Museum of American Art, Venice Biennale, Centre Pompidou Paris and Kunsthaus Zurich. More recently, he exhibited The Clock at the Tate Modern (debuted at White Cube in 2010) – an artwork created from thousands of edited fragments, from a vast range of films to create a 24-hour, single-channel video. Podcast produced by Reduced Listening for Somerset House Studios. ASSEMBLY Production by Music Hackspace and sound system by Call & Response, with sound and interaction programming from Black Shuck and Preverbal Studio. Lighting design by KitMapper. ASSEMBLY is supported by PRS Foundation’s The Open Fund, The Adonyeva Foundation and the John. S Cohen Foundation.

Pedestrians, traffic, roadworks, protest; the corner of Somerset House where Waterloo Bridge meets Embankment is a hive of often unpredictable activity and noise. Acknowledging and working with this to define a compositional framework, Marclay invited a series of guests to collaborate in bringing the outdoors inside for an evolving series of electro-acoustic performances. Studios resident Lawrence Lek is an artist, filmmaker and musician whose virtual worlds and animated films create alternate versions of real places. For ASSEMBLY he invited collaborators Seth Scott and Robin Simpson to present a site-specific simulation that acts as an uncanny virtual and sonic double of the performance space. Their performance, Doom, reflects the atmosphere during the Extinction Rebellion protests when Waterloo Bridge – which the Lancaster Rooms overlook – was closed to traffic and filled with warning signs of the coming apocalypse. Christian Marclay’s ambitious and accomplished practice explores the juxtaposition between sound, photography, video and sculpture. His installations display provocative musical and visual landscapes and have been included in exhibitions around the world including the Whitney Museum of American Art, Venice Biennale, Centre Pompidou Paris and Kunsthaus Zurich. More recently, he exhibited The Clock at the Tate Modern (debuted at White Cube in 2010) – an artwork created from thousands of edited fragments, from a vast range of films to create a 24-hour, single-channel video. Podcast produced by Reduced Listening for Somerset House Studios ASSEMBLY Production by Music Hackspace and sound system by Call & Response, with sound and interaction programming from Black Shuck and Preverbal Studio. Lighting design by KitMapper. ASSEMBLY is supported by PRS Foundation’s The Open Fund, The Adonyeva Foundation and the John. S Cohen Foundation.

Artist and producer Beatrice Dillon’s new piece for ASSEMBLY, infraordinary, combines installation and performance, in which specially composed sounds are triggered using the system’s Kinect camera, alongside a live controlled sound mix of the street. Inspired by writer Georges Perec’s concept of the ‘infra-ordinary’ - taking account of the micro events of the everyday - the performance attempts to examine and reframe the rhythmic patterns of the street outside. Pedestrians, traffic, roadworks, protest; the corner of Somerset House where Waterloo Bridge meets Embankment is a hive of often unpredictable activity and noise. Acknowledging and working with this to define a compositional framework, Marclay invited a series of guests to collaborate in bringing the outdoors inside for an evolving series of electro-acoustic performances.  Beatrice Dillon is an artist and music producer who has produced solo and collaborative releases across Boomkat Editions, Hessle Audio, The Trilogy Tapes, PAN, Timedance and Where To Now? Recent performances include Barbican Centre, Tokyo’s wwwX, MUTEK Montreal, Dekmantel, Documenta Athens, Cairo’s Masåfåt Festival, Norway’s Insomnia and Documenta Athens. With a background in fine art, Beatrice has produced sound and music commissions for Outlands Network, Lisson Gallery, Études Paris, AND Festival, Somerset House and has collaborated with visual artists and choreographers across ICA, TATE, Southbank Centre, York Mediale, Centre d’Art Contemporain Geneva, MACVAL Paris, Nasher Center Dallas and Mona Tasmania amongst others. She was the recipient of Wysing Arts Centre’s artist residency, is a resident at Somerset House Studios and presents a show on NTS Radio. Christian Marclay’s ambitious and accomplished practice explores the juxtaposition between sound, photography, video and sculpture. His installations display provocative musical and visual landscapes and have been included in exhibitions around the world including the Whitney Museum of American Art, Venice Biennale, Centre Pompidou Paris and Kunsthaus Zurich. More recently, he exhibited The Clock at the Tate Modern (debuted at White Cube in 2010) – an artwork created from thousands of edited fragments, from a vast range of films to create a 24-hour, single-channel video. Podcast produced by Reduced Listening for Somerset House Studios ASSEMBLY Production by Music Hackspace and sound system by Call & Response, with sound and interaction programming from Black Shuck and Preverbal Studio. Lighting design by KitMapper. ASSEMBLY is supported by PRS Foundation’s The Open Fund, The Adonyeva Foundation and the John. S Cohen Foundation.

Ewa Justka is a polish electronic artist, instrument builder and electronics teacher based in London. As part of a residency with Music Hackspace she has run a series of workshops on DIY synth design, prototyping and PCB which culminated with a live event co-curated with EVOL. This podcast explores her residency though interviews with Ewa, Music Hackspace, and course participants. This is the first in a series of 3 month residencies by Music Hackspace in which Artists are encouraged to explore their ideas, creative practice, and to develop their skills through connecting with and contributing to the Music Hackspace community. From 2017 to mid 2019, Music Hackspace is a resident of Somerset House Studios and over this time holds a studio space in the Studio’s vaults. Music Hackspace is a platform for experimenting and interacting with sound and technology. It incorporates diverse methodologies and aim to create an open playground and exchange of ideas and sounds that embraces new and old technologies. The Music Hackspace programme is produced and curated by Tadeo Sendon and Susanna Garcia. Podcast produced by Jo Barratt for Somerset House Studios

On this month’s East Cast, the show that starts in East London but goes will beyond the postcode; Pearl Wise, Ana Xavier and Julia Lorke hear from the controversial poet and author Salena Godden, report from Music Hackspace a hub for music experimentation and exploration, discover the Experience of Colour a new contemporary Italian art exhibition at the Estorick Collection explore the notion that masculine identity as a feminist issue recoded live at Shoreditch Bookclub and are joined by local yet international musician Anna Zed for a live acoustic session.