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SoundPads stick-on speakers transfer sound to any surface you stick them on. SoundPads convert posters, bookcases, tables, doors - any thin-walled high-transmission surface into permanent stereo speakers! Sound quality varies depending on the surface you peel and stick them on, so be creative! |
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The malleable surface touch interface combines a deformable input surface and video processing to provide a whole-hand interface that exhibits many attributes of conventional touch interfaces, such as multi-point and pressure sensitivity. This interface also offer passive haptic feedback, which can be effective with applications such as sculpting or massage. |
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Quote> At first glance, the Lemur looks like a high-fashion etch-a-sketch. As a performance interface, the Lemur is immediately appealing. You touch colorful rounded interface objects on the 12" LCD display to control your computer in any way you can imagine . The Lemur's elegant simplicity is made possible by its sophisticated graphics processor and proprietary touchscreen interface that tracks multiple fingers simultaneously.
Using an editor application running on your choice of Mac, Windows, or Linux, you drag and drop switches, faders, and other objects into an exact simulation of the Lemur's screen. Make any number of interfaces, store them in an XML-based project file, then upload them to the Lemur and it's ready to go.
Page Up and Down buttons above the display will flip through your pre-defined interface pages, instantly changing the appearance and behavior of the device (making it more of a Chameleon than a Lemur). One moment you can be mixing by moving several faders simultaneously. The next moment you can be controlling a software synth with switches and balls that can be thrown around in a two-dimensional space.
Now the Lemur is ready to control a synthesis or processing application in a modular software program such as Cycling '74's Max/MSP or Native Instruments' Reaktor. Assign a fader object to change filter cutoff. Use a two-dimensional controller for multi-channel panning or scratching a sound file. Spend some quality time alone with your imagination: you'll find no shortage of cool applications for this animal.
The Lemur communicates using Open Sound Control (OSC) over a 100-baseT Ethernet cable, an emerging standard for controllers that has numerous advantages over MIDI: no latency, higher data capacity, 32-bit numerical precision, and easy configurability. OSC is currently supported by modular software applications such as Max/MSP, Reaktor, and Pd - and more OSC-compatible applications are on the way. Once you experience the ability to name controllers freely and hook them up to high-resolution values, MIDI will seem very 1980s (which it is, by the way). Not surprisingly, OSC can be used with multiple controllers on a network, so if one Lemur isn't enough, just use a standard ethernet hub and you can have a whole zoo full of 'em.
The Lemur's palette of user interface objects currently includes uniquely stylized buttons, faders, one- and two-dimensional area controllers optimized for live performance. Each object can be labeled with the name of the parameter you're controlling as well as its numerical value. You can also use the two-way nature of OSC to display numerical status information sent to the Lemur from your computer, allowing you to track what's going on with your computer without the computer being anywhere nearby. This means your performance can look more like performing and less like office work.
In addition to taking on any size and shape, the Lemur's user interface objects have "physical" properties including friction, evaporation, and smoothness. Faders and area controllers can either stay where you drag them (maximum friction), or slide away from your finger as if on ice (minimum friction). "Throw" a low-friction fader hard enough and it will bounce off the bottom of your mixer.
And you're not forced to control the non-linear world of audio with 0 to 127. Objects can be attached to arbitrary mathematical expressions to transform your movements into ranges appropriate for what you're trying to control.
At Cycling '74 we've fantasized about hardware for the dynamic world of modular music software that started with Max almost 20 years ago. During this time, we've seen many controllers: hard to use, lacking any visual feedback, and a pain to configure. But most of all, hardware controllers have lacked the sense of infinite possibilities we've come to cherish in software. Until now.
The Lemur is the first hardware controller that mirrors the unlimited potential of reconfigurable modular software. If you too have dreamed of the Lemur, stay tuned for updates as this one-of-a-kind product moves closer to shipping.
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 | Quelques loops connues mais au format : wav. |
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When George McDonald stopped by for a catalog the other day he had these pictures of his setup back in Vancouver. It's the first triple theremin rig we've ever seen. George built his own theremin circuits based on an article that appeared in Popular Electronics in the early '70s, and fitted the antennae to this motorcyle fork with mic goose-necks. The pods where the antennae meet the goose necks are fittled with LEDs that light in synchrony with the music for effect. George most often uses his theremins as controllers, a typical patch might use a theremin pitch as the carrier for a balanced modulator on the guitar, and uses his shoulders and upper body to control theremin elements. The ARP 2600 cabinet in the right of the photo is used for a lot of processing. |
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