Monome Tour - Los Angeles 2010

  • I didn't see the info here, so I'm reposting from Facebook.

    Sorry for the SPAM. It'd just be a crying shame if anyone on the forums was available to go tonight, and just didn't know about it. =)


    our hours of LIVE electronic music from eight producers.

    8:00 - DSKO BMBR
    8:30 - Merbert Moover
    9:00 - Dolza (w/ FSP) ( )
    9:30 - Altitude Sickness ( )
    10:00 - Schplingidy ( )
    10:30 - Visinin ( )
    11:00 - Ro ( )
    11:30 - Nonagon ( )
    12:00 - The Sweaty Caps (

    Live video:
    OICHO :
    A video set he did with Baths recently:

    5$ Cover

    Part of the Monome Community Tour, a global, relay-style tour including over 30 musicians, all loosely associated by a common performance tool: The Monome series of controllers (

    Musician Brian Crabtree created the first Monome prototype device in 2001. Crabtree conceived of a device that would use an open grid of buttons in order to allow for greater diversity of functionality over differing musical software applications. Crabtree, together with his business partner and wife, Kelli Cain, created an initial run of multiple devices in 2006 as a convenient way to meet the requests of musicians wanting to explore the monome for themselves. The company arose organically, over time, after demand for the device increased. Monomes are built with a focus on sustainability. All devices are produced in the Catskills, NY with a commitment to durability. Parts and materials are sourced locally.

    The monome itself has no hard-wired functionality, interaction between the keys and lights is determined by the application (such as Max/MSP). Its open-source nature allows one to program applications to utilize the controller in any way. In this manner, the monome community continues to redefine and expand its use. While the monome may primarily be used as a musical device, it is used in a wide variety of environments such as video and lighting, scientific research, and art installation. In addition, monome makes available the resources to enable a user to build one themselves, and creatively source a unique enclosure for the device. Thus, monome pulls from a wide audience of musicians, artists, programmers, makers and hackers.

  • pfff. ya'll are lucky you get more time!

    my guess: even if we start at 8, i won't really start playing till 1.

    nature del beast.

  • Bumping this thread 'cause things are gearing up. Much impressed with the wall of projections, and what I've heard throughout sound check. This is going to be a crazy night, people! :)

  • will there be pictures and/or video documentation?

  • There's sure to be both.

    I did get a ton of video, and I'm happy with some of it. Converting files and stuff now. Could take a while.

    (Also note, I am planning to let the artists decide how much of this, if any, they'd like shared.)

  • was a fun night loved all the music , loved the vibe, ate some crenshaw ribs
    lets do it again

  • oh and any video you can send me would be great
    im currently working on an oich website and need some content

  • @greaterthanzero -
    thanks for filming. i'm happy to have any/all of the footage of my set shared. i've got a lot of free vimeo space, so i can host it myself if you are running out of room.

    LA. rock rock on.

  • @workhouse, my vids are mostly useless for that, unfortunately.

    The first set (Merbert Moover), I tried to capture everything; the visuals, the performer's full body, closeups of their hands in action. This was a mistake for two reasons:

    1) it's a blurry mess every time the camera moves. Low-light setups require more time to focus, I guess.

    2) I was caught off guard by the show actually starting. There was a cup of wine in the hand I had meant to stabilize the camera with, and I couldn't figure a better way to rectify this than simply drinking the whole thing all at once. My camera work from that point is suspect, at best.

    So, I think I ruined that video, and was sort of counting on the artist to reject it so I wouldn't have to admit that.

    ANYWAY... After that debacle, I saw there were other cameras in the crowd, and thought we might be able to consolidate footage for a better produced edit later. If that happens, there's one shot we will always need, so I went for that. (I relied on the tripod, aimed the camera at each performer's hands, and walked away.)

    Hence, not a lot of oicho's work made it onto my camera. Which is a shame, 'cause I was blown away by it. He did a demo at one of our monomeets a while back, but it was so much better in context.

    That said, I did also whip out the iPhone occasionally and grab random 30 second bytes from the audience on that -- not sure why. Some of that might be more useful for your site, but again, we're not talking about complete sets, or even complete songs. I haven't looked at this footage to evaluate yet.

  • Also of note,

    I know Nonagon was unhappy with his set. I guess there were some technical issues in his setup that he just had to muscle through, and he did an admirable job but it wasn't what he was trying for.

    It was largely because of this that I instituted my "get permission before I post anything" policy. I figured maybe there was some stuff at the beginning of his set that he wouldn't mind sharing, but...

    (queue the flashback!)

    As I was futzing with the camera between his set and Sweaty Caps, I remember Moldover looking at me funny from the audience. Sort of a "nobody asked you to tape this - that's kinda invasive." look, though I might be projecting. And when I went through the footage today, Nonagon's entire set wasn't on it.

    I think Moldover erased it with his eyes. That's the power of controllerism!

    (...or I could have just been too drunk to operate the record/pause button properly. also possible.)

  • @raway,

    I don't think space is an issue, but I am limited to 5 gigs a week worth of uploads there (and I think each set came out to about a gig).

    I might be able to get the filesize down on these enough to upload all at once. (it being dark and grainy, and close-up, I think we can drop the resolution down from 720p without losing anything)

    ...or maybe it's better to space them a few days apart anyway.

    But if people want to post from their own accounts, that can be arranged too. =)

    I'm currently shrinking your video down to 853x480, which Vimeo recommends as a Widescreen DV setting. It's going slowly, as I'm also simultaneously processing the rest of the videos. But hopefully by morning I'll know whether that approach is viable or if it loses too much.

  • Yeah, I took "living on the edge" a little too far by whipping up a completely new technical setup in the wee hours of the morning of the show, then having it fail in almost every conceivable way during my performance: mlr presets settings strangely garbled, nothing by a high-pitched buzz on my first channel, and what felt like terrible latency in the button-mashing department. I'm going to spin the LA debacle as a lesson in humility and stick to my tried-and-tested set for the SF show tomorrow. =)

    That aside, I have to say that I was completely blown away by the talent of the performers I was able to catch, which was everyone from Altitude Sickness onward. The skill and monome proficiency on display was fantastic, but more significantly (in my mind), the quality of the music was top-notch. My feelings of embarrassment and disappointment with my own set are evened out with proud feelings about everyone else I got to see- great job guys!

  • personally im happy for any and all performances of mine
    to be able to be watched on line
    and i love the multi format, be it 20 second iphone vids to
    ultra HD, the whole point and joy of live performances
    is that they are 'of the moment' ,and should be respected as such.
    the ability to document and rebroadcast those moments, is so
    important otherwise these essential performances would be lost for ever

    hats off to everyone involved

    ps i'd love to see any footage , i would be remangling it anyway
    and i like the portrait shapes of iphone vids too

  • re: uploading to Vimeo,

    I found compression settings that I'm happy with. Dual pass h.264, image quality at 61%, resolution at 853x480... In motion, considering the grainy source material, I think it looks as good as the original. And this takes us down to 520 megs or so per video.

    So unless there are upload errors (which sometimes happens, and does count against our limits), I should be able to get it all online within my "5 gigs a week" limit.

    I'll start raway's vid uploading now, and email the others about getting permission.

    I'll get you what I got off the iPhone. Still haven't checked, but there might be something useable. But I need to figure out how to get it off of the iPhone first. My iTunes machine is out of commission right now. I can email myself the files, but I think the phone might compress them more than if I sync 'em properly.

    After that, I'd suggest posting a "who's got video?" thread, 'cause the masses probably aren't reading this one anymore. =)

    In retrospect, we should have set up one (or more) of those webcams right next to your projector.

  • I got some clips of my set from my friends camera..

    They're pretty lo-fi, but If they're usable for anything, I'd be happy to get them to whoever


  • Got permission to make the Merbert Moover set public, so here's that:

    Again, I can't make enough excuses for my camera work on this video. But this is the only one I've got where you can see the visuals, so it's only fitting that it should go up first.

    @Workhouse, if this is useful to you, there's a download link on the right-hand side, below the description. Or I can put the 720p (or even the original 1080i) version on a web server for you later. I don't think there's a noticable difference in quality, but for editing purposes, you might want things less processed.

  • Congrats everybody! Such a success! This community is beautiful! I enjoyed meeting all of you

  • visinin's set is publicly viewable now:

  • Nice! The rapid-fire fingerwork at about 8:00 is pretty rad, as is the beat sequence at 10:00. Look at all that can be done with a 256: rows and rows allotted to just one sample, but with plenty leftover for additional samples. Rove is pretty amazing in the hands of someone who knows how to use it -- it doesn't have a slice function/one-off, but it's being played like it does!