fwa award

 

 

 

Introduction

FLUX:FX is a professional multi-effect audio processor app for the iPad that lets you ‘play’ your effects. Innovative, intuitive and exciting, FLUX:FX lets you manipulate any audio signal into something entirely new. Conceived and created via the combined talents of guitarist extraordinaire Adrian Belew, audio software developers ElephantCandy and mobile specialists MOBGEN, FLUX:FX redefines the possibilities of audio and live performance in an app with an almost unlimited range of effect options. All of this power is managed through a beautiful, minimalist interface combining easy-to-use controls and a mesmerising liquid-to-polygon audio visualizer.

Discussions over the creation of abstract guitar sounds led to the idea of a new type of touch-screen controlled, ‘authentically digital’ effects processor. Instead of recreating the standard amplifiers and pedals as so many other apps are doing, the idea was to take inspiration from some of the most innovative musical equipment such as the Korg Kaoss pads, Roger Linn Adrenalinn, Alesis Bitrman, the modular flexibility of the Fractal Axe-fx or Roland VG-99, the waveshaping possibilities of the Kurzweil KDFX and the fuzzy destruction of boutique pedals such as those from Devi Ever and Death by Audio [to name just a few].

If you are looking for that creamy Marshall or classic Fender twin modelled tone… you are in the wrong place. FLUX:FX is about redesigning your sound and creating something completely new. Chopping, shaping, sculpting and looping – FLUX:FX can take you from subtle modulating echoes through to wrecking-ball destruction, all with a swipe of a finger. FLUX:FX can be tweaked with surgical precision or completely randomized with a single gesture. Ignoring the ‘traditional’ approach that most software takes to control [where the dials and switches of amps or pedals are simulated], the FLUX:FX has a completely flexible touch interface that is native to the touchscreen. The controls are highly functional and efficient, focussing on ease of performance without sacrificing the ability to edit and tweak every parameter. We have consciously decided not to limit the effects to the safe or ‘sensible’ settings, so far more extreme sounds are possible compared to traditional effect units.

”FLUX:FX lets me make sounds that I can’t get with any other gear… and I have ALL the other gear! The hands-on control means that I can actually play the effects, and the effect sequencer adds a whole new universe of possibilities. Most importantly the FLUX:FX inspires creativity… and it is incredibly fun to use!”
Adrian Belew


Getting started

First things first – you need to get some sound into FLUX:FX. We designed the effects primarily to manipulate the sound of a guitar, but they are just as effective on bass, synths, drums, vocals, records, violin, djembe, theremin etc etc – Anything you want to pipe through them!

There are 4 ways to get your sound into FLUX:FX.

1. Using an audio interface – The good news is that it works with all major iOS audio interfaces, and most core-USB compatible hardware. We have tested it with the following:

    • APOGEE Jam
    • APOGEE Jam24
    • Alesis IO Dock [1 & 2]
    • Behringer iStudio
    • Digitech RP [all usb units]
    • Focusrite iTrack Dock
    • IK Multimedia iRig
    • IK Multimedia iRig HD
    • IK Multimedia iRig Pro
    • IK Multimedia iStomp
    • JamUp Plug
    • JamUp PlugHD
    • Line6 Mobile In
    • Line6 Sonic Port [+VX]
    • Peavey AmpKit Link
    • Peavey AmpKit Link HD
    • Sonuus i2M
    • TASCAM iXZ
    • TASCAM iU2
    • etc

There are plenty of other interfaces that will also work. We recommend using a 24bit interface to get the best and cleanest audio results.

2. Using inter-app audio – FLUX:FX can be configured as the effect app using iOS inter-app audio. You can route audio through from your host app [such as Cubasis, Garageband, Auria, Audioshare etc]. Once you have configured FLUX:fx as the effect app, you can then control the host app play/stop/record functions from the inter-app audio tab within the top bar.

3. Using audiobus – FLUX:FX is fully Audiobus compatible in any of the slots [input, effect and output]. It also supports state saving in Audiobus 2. Feel free to combine FLUX:FX with any of your favourite other apps such as BIAS, SAMPLR and AniMoog etc etc to create a truly awesome and flexible channel strip.

4. Using the built-in iPad microphone – you can do this… but we don’t recommend it. If you REALLY want to do this then be careful of feedback [you can force this option via IAA or Audiobus, or just by plugging speakers or headphones into the headphone jack]. We have actually disabled the onboard iPad speakers when using the mic as that is just asking for trouble. In the ‘menu > audio settings’ you will see the source and output displayed in red if the output has been muted.

 

FLUX:FX features 3 different interface views, each with unique performance and editing possibilities.

Performance view – the main performance screen where you can set your chain and control it on the fly via the master X/Y pad, the tempo/sequencer functions and the global input/output/mix settings.

Edit view – this view allows tweaks and adjustments of each the effects in the chain, and from here you can open the full edit screen of each effect. The Edit View can also be useful for live performance as you have an individual X/Y pad for each effect.

Sequencer view – this is where you have full control over the powerful sequencer functions, and you can program your sequencer steps individually.

Lets look at these views in more detail.

 

 

Performance View

In the main performance view, the user can create an effect chain (of up to 5 effect blocks) and set the control options for each block. There is a brick-wall limiter applied after the 5th block to keep everything in check, so in total each chain effectively has up to 6 effects.

The chain of effects is creating by dragging an effect from the horizontal slider into the desired block in the chain. Alternatively, if the effect is tapped then it will automatically be inserted into the first empty effect block within the chain. Effects can be removed from the chain simply by swiping upwards, or reordered within the chain by dragging them to the left or right. Swiping down on an effect block will take you to the edit page of that effect.

Each effect block can be set to active or touch mode (bypassed until activated via the xy pad), and then x/y control can be toggled on or off per block. So if the effect is active and with control turned off, it will be on but it will not be affected by any touch on the x/y pad. This makes it work somewhat like an effect pedal (you can switch the effect on and off but that’s it). Alternatively, if the effect is set to touch mode but with x/y control on, then the effect is not heard until a touch is registered – this is particularly effective for triggering loops or glitches. Touch mode and x/y control off means that the effect is completely bypassed.

Touch mode and active mode are toggled via the icon to the right of each of the effect blocks. Touch mode is indicated by the broken circle and active mode by the complete circle around the yellow dot. The icons will light up to indicate when the effect is currently being controlled.

X/Y control on and off are toggled by tapping the effect block. A white outline indicates that the effect block is being controlled by the master x/y pad.

The master x/y pad can be expanded by tapping on the + in the top left. This can be useful in live performance if you want a greater control area to play with (or perhaps you have giant-sized stubby appendages).

Input/output/fxmix – These sliders can be adjusted to control the input level, output level and overall FX mix of FLUX:FX. Be careful to set these correctly as it can be easy to overload the app and get digital distortion [unless that is the effect you are going for, in which case look after your ears and your speakers!]

Sequencer – The sequencer is positioned at the bottom of the screen, and contains the sequencer transport controls [play/stop and record] plus a 16-step view of the sequencer. In each of the sequencer steps you can see an indication of the X and Y settings for the 5 effect slots. For more details on the sequencer please refer to the sequencer view information below.

TIP: you can tap on a sequence step to instantly change the settings to those that are saved in that step. So this can be used in a live setting to jump between the variations on the settings. Give it a try!

Performances – This is where you save and load your performances and switch between banks. Saved in each FLUX:FX performance is the selection and order of FX blocks, the settings of each effect, the control assignments, tempo setting and the sequencer steps. More on this later.

 

 

Edit View

Edit view allows tweaks and adjustments of all the effects in the chain. Below each effect block is the edit column for that effect, displaying either the main editable parameters or the effect saved settings (this can be toggled via the switch in the top left of each column). At the bottom of each effect column is an x/y pad to control the assigned parameters of that effect.

Parameter sliders allow you to set the value of each adjustable parameter of the effect. The way they work is simple: touch and hold the slider, move your finger left to decrease and right to increase. If you tap on the slider then move your finger down while holding, you can also get finer control over the setting (it works somewhat like the apple video player controls). When the parameter is assigned to a source (let’s say for example the x or y axis – more on this later) then the slider sets the actual value, but the minimum and maximum values can also be defined by adjusting the end points. This allows you to set things like exact intervals on the pitch shifter, or subtle shifts on a phaser. By default the maximum and minimum values are set to, surprisingly enough, maximum and minimum. If the parameter slider is double-tapped it will return to the default settings.

Each effect column can be expanded by tapping the + in the top right, or by swiping down from any of the effect blocks. This exposes ALL the editable parameters of that effect, and allows for deep tweaking possibilities. The effect settings can also be loaded or saved to any of the 6 blocks. The fine tune dial allows for (you guessed it) fine tuning of the currently selected parameter. A double-tap on the fine tuner opens the keypad so that you can type in the exact setting down to 2 decimal places for absolute precision tweakage.

Beneath each of the editable parameters are controls to set the assignment of that parameter. Here the parameter can be set to the x or y axis of the control pad, or to other sources such as envelope, bpm or midi input messages. It is also possible  invert the input source by tapping invert in the […] submenu, so that the parameter is actually controlled in reverse. Why would we use that? The inverse allows you to do things like increase fuzz gain and phaser depth while at the same time reduce ring modulation mix and delay feedback, all with one smooth swipe of the finger.

The x/y control setting from the performance view are ignored in the edit view (meaning that each of the effects can always be controlled by its own little x/y in the edit view), however the active or touch setting per effect still applies. So a touch on the small x/y pad of an effect inside the edit view will adjust the selected settings of that effect.

 

 

Sequencer View

The effects sequencer of FLUX:FX opens up a whole new range of possibilities for sound design and injects another level of control into the way you can use this app. The x/y position of each of the five effects in the blocks can be set per step, allowing for subtle movement all the way up to extreme rhythmic mayhem.

The number of steps can be adjusted from 1 to 64, with the default at 16 steps. Most drum machine and step sequencers that you may be familiar with use 4 steps per beat and 4 beats per bar [so 16 steps], but the FLUX:FX sequencer is much more flexible, allowing for adaptation to almost any time signature. When you activate the ‘adjust length of sequence’ setting, white triangle indicators appear which can be dragged to set the start and end steps. Do you want 3|4 time signature? Set the step number to 12 [3 blocks of 4 steps]. Want 11/8? No problem, set the number to 22, or 44, or 11 depending on the number of steps you want per beat. Don’t forget to turn off the ‘adjust length of sequence’ setting after you have made your setting.

The sequencer can be programmed in 3 ways:

Step programming – Each of the steps of the sequencer can be programmed individually for absolute precision and control. Ensure the record mode is active by tapping on ‘record’, select any step by tapping on it, then adjust the x/y controls above to the settings you want. If not in record mode, you can still set the effects settings of a step by double-tapping on it. This allows you to quickly build a repeating rhythm.

Recording – Record mode lets you play the effects and record the motions into the steps. It does involve some quantizing, but if you apply smoothing to the sequence then you can get very fluid movement of the effects. Ensure the record mode is active by tapping on ‘record’, then tap ‘play’ and simply start adjusting the x/y panels to write to the steps.

Fluxing – this is fun… pressing the FLUXING button randomises the settings across all of the steps of the sequencer. This is perfect for freakouts and quick generation of motion within the settings, particularly when combined with the smoothing setting described below.

The sequence can also be modified in a number of ways to make things even more interesting:

You have both a half-speed and a double-speed tempo setting, either of which when selected will do what it says on the tin. They can be quite useful for instant dub breakdowns or to throw a rhythmic loop into double speed while staying in time.

The Randomizer slider adds a percentage of random distance to each of the x/y settings of the sequencer step. So a setting of 0.0% means that the x/y settings stay exactly as you defined them, while a randomizer setting of 25.0% means that each one could move up to a quarter of the range away from where it was set. It is a great way to add a bit of ‘randomness’ to a defined sequence, with the option to easily adjust it at any point.

The Step Smoothing slider works to minimise the jumps between the x/y settings on the sequencer. Similarly to the Randomizer slider, the Step Smoothing does nothing when set to 0.0%, but as it is increased the x/y settings begin to smoothly transition from one step to the next. Leave smoothing off if you want robotic precision, but play with this if you want a more organic and flowing sound to your effect sequence.

In addition, there is also a Clear Sequence function which will delete all current sequencer data [make sure you have saved the sequence if you want to keep it!] and a Return to start button which will take you back to the first active step of the sequence.

 

 

The Effects

This is where the magic happens! No, really. We have a basic explanation of what each effect does, but ‘writing about music is like dancing about architecture’ so you really have to play around with each one to understand what it does.

Loopers –

  • Stutter loop – plays a segment of the previous audio and repeats.
  • Reverse Loop – samples the upcoming audio and repeats it in reverse.
  • Loop Slice – samples the upcoming audio and repeats.
  • Segment – beat synchronous slices of your audio.
  • Sample Scratch – like a tape-stop, pitches the audio down to zero.

Dynamics –

  • Compress – controls the dynamic range of the audio by squashing volume peaks.
  • Pump – extreme compression, triggered by bass, gives a ‘pumping’ sound.

Distortions –

  • Overdrive – ‘soft’ clipping of the audio to add harmonics and grit.
  • Distortion – ‘hard’ clipping of the audio to increase drive, saturation & filth.
  • Fuzz – distorts the audio to introduce extreme overtones, buzz and thickness.
  • Bitcrush – reduces bandwidth & resolution, producing a digital distortion.
  • Destroy – complex distortion created by altering the shape of the input audio.
  • Decimate – uses assorted bit reduction techniques for maximum mayhem.

EQs & Filters –

  • Ultra EQ – fully parametric 6-band equalizer to boost/cut specific frequencies.
  • Kill EQ – single-band parametric equalizer with shelving Hi/Low EQ.
  • Lowpass Filter – analog style LPF reducing frequencies above the cutoff.
  • Highpass Filter – analog style HPF reducing frequencies below the cutoff.
  • Bandpass Filter – analog style BPF combining a low- & a high-pass filter.

Modulations –

  • Chorus – slightly delays & pitch-modulates the audio to add richness.
  • Flange – sweeping comb-filter effect using a slight delay through an LFO.
  • Phase – complex spectral modulation with selectable stages and feedback.
  • Resonant Drone – short delay that creates a pitched resonance.
  • Pitch Delay – A delayed pitch shift with a feedback loop.
  • Octave Shift – 1- and 2- octave shift, best for mono sound sources.
  • Ring Modulate – ‘sci-fi’ favorite where the input is multiplied with a waveform.
  • Auto Pan – pans the signal left to right with selectable modes.

Delays –

  • Digital Delay – up to 5 seconds of clean delay that can be BPM quantized.
  • Binaural Delay – individual left/right delays, useful to emulate stereo width.
  • Tape Echo – an organic-sounding delay with feedforward and deviation.
  • Scatter Verb – adds reflected echoes to recreate the sound of an acoustic space.
  • Delay/Reverb – combines the digital delay and reverb effects.

There are more effects currently in development – stay tuned for details. Also, if you have a suggestion for a particular effect, let us know!

 

 

Audiobus

FLUX:FX is fully Audiobus compatible in any of the slots [input, effect and output]. It also supports state saving in Audiobus 2. Feel free to combine FLUX:FX with any of your favourite other apps such as BIAS, SAMPLR and AniMoog etc etc to create a truly awesome and flexible channel strip. You will of course need to purchase Audiobus to use it, but we highly recommend doing so! Please also read the Audiobus documentation for full instructions on its use.

 

 

Inter-app audio controls

FLUX:FX can function as an effect through Apple’s own inter-app audio node. Once installed, FLUX:FX should show up in the inter-app audio controls of your host app [for example Garageband, Cubasis etc.] whereby you can assign it as the effect. For more details on inter-app audio please refer directly to the documentation on this. The excellent AudioShare app from Kymatica is a great functional partner for FLUX:FX, allowing you to record your sounds directly, create long loops, play recordings and re-effect them through FLUX:FX, and then share/manage the recordings. Essentially it is because of Audiobus and IAA that we chose not to create a recorder for FLUX:FX as others have already done this so well!

 

 

MIDI

The app can receive MIDI messages to control most of the performance critical elements. As there is quite some diversity between MIDI controllers there are 2 ways to trigger the main XY pad, so please test which one is right for your equipment. Thanks to Oscar South Bass for assistance on this – updated using note names instead of numbers.
The following parameters can be mapped:

    • Effect block states – Each of the 5 effect blocks can be switched between Active [on] and Touch [bypass] mode via MIDI.

Effect1 = C2
Effect2 = C#2
Effect3 = D2
Effect4 = D#2
Effect5 = E2

    • Main X/Y pad – The X and Y axis can be mapped to separate MIDI continuous controllers. This also lets you play it with something like the XY from a Korg NanoPad or Keith McMillen SoftStep.

TouchDown = C#-1 [This is for the main XY controller to indicate a ‘touch’ as a note]
TouchUp = D-1 [This is for the main XY controller to indicate the end of a ‘touch’ as a note]
MainXControlNumber = CC1 [This is for the main XY controller to indicate the ‘X’ location]
MainYControlNumber = CC2 [This is for the main XY controller to indicate the ‘Y’ location]
TouchUpDownControlNumber = CC16 [This is for the main XY controller to indicate a ‘touch’ as a control number]

    • Input/Output/Mix level – The master levels can be controlled. Ideal for mapping to a volume pedal or slider.

InputLevelControlNumber = CC3 [This is for the ‘master input’ level]
OutputControlNumber = CC7 [This is for the ‘master output’ level]
FXBlendControlNumber = CC4 [This is for the ‘master FX’ blend]

    • Tempo – FLUX:FX can receive and send MIDI clock messages, allowing you to sync the tempo to another MIDI source such as an external tap tempo, a drum machine or beat app, or a laptop running Ableton, Logic or your favourite DAW.

TempoTap = A2 [This sets the tempo after 5 taps]

    • Sequencer Play/Stop/Record – mappable to allow control and triggering of the sequencer.

SequencerTransport [Start/stop] = G2  [This toggles between ‘play’ & ‘pause’ on the sequencer]
SequencerRecNoteNumber = G#2 [This switches on or off the ‘record’ function of the sequencer]
SmoothingControlNumber = CC5 [This adjusts the ‘step smoothing’ control for the sequencer]

    • Performances – you can switch performances 1-6 inside the currently selected bank.

Performance1 = C1 [This selects performance 1 from the current bank etc]
Performance2 = C#1
Performance3 = D1
Performance4 = D#1
Performance5 = E1
Performance6 = F1

 

 

Using presets in FLUX:FX

The app has 3 different types of presets: performances, effects presets and sequencer presets.

A performance is where the complete combination of effect chain, effect settings and sequencer settings is saved. The type of effects, order of effects and individual effect settings [including XY settings and control assignments] are all stored within a performance. The sequencer settings, tempo [BPM] and randomisation/smoothing attributes are also defined within a performance. So, pretty much everything.

Each individual effect such as Distortion or Stutter Loop has its own set of 6 presets that store the parameter settings and control assignments for that particular effect. These presets can also be modified and saved, and the preset number 1 for each effect functions as the ‘default’ setting for that effect – so this is the setting that will exist when you first drag the effect into the chain.

Sequence presets store the settings per sequence step, and also include the length of the sequence, the ‘smoothing’ setting and the amount of ‘randomisation’ to be applied.

 

 

Saving your settings in FLUX:FX

The app has 3 places where you can save your settings, allowing for myriad combinations of individual effect settings, rhythms and overall performance groups.

To save your current performance settings, select a performance number, tap and hold the button until the ‘save’ and ‘…’ buttons appear and then tap on ‘save’. If this is a new [empty] performance, you will then be asked to specify a name and details. If it is an existing performance it will be instantly saved over the top of the old one – ie. a ‘quick save’ function. To adjust the details of an existing performance or to move it to a new position, navigate to the  ‘…’ button. Here the dialog will allow all details to be edited.

The process of saving and editing presets and sequences is the same as the process described above for performances. Individual effect presets have only the one bank, but multiple banks of sequences can be saved.

You can save your current FLUX:FX state inside Audiobus 2, as this will record your current settings as part of a chain. We would still recommend Audiobus users to save your Performances inside the FLUX:FX app as well, just for the sake of safety.

Your performances, presets and sequences can also be saved and shared with other FLUX:FX users. When the iPad is connected to a computer, the performance, preset and sequence files can be accessed via iTunes. Simply select the iPad in iTunes, click the Apps tab and locate the File Sharing section by scrolling down. Selecting Flux:FX will show all performance banks, preset banks and sequence banks; they can be downloaded for backup or to store them on another iPad. For individual performances, presets and sequences, use the Export button in the Save dialog to create an individual file for a performance, preset or sequence. These export files will also show up in iTunes File Sharing. To load them on another iPad, drag them into the app using iTunes File Sharing and then select Import in the “save” dialog of FLUX:FX.

 

 

Using FLUX:FX live

This app was designed and built from the ground up with live performance in mind, so it has many features that are geared towards visibility, ease of use, and maximum control with minimum interactions. MIDI controllers such as the excellent Keith McMillen SoftStep or the Korg nano series can be used for tempo tap, sequencer settings, effects and performances, and this opens up your opportunities of ‘escaping the screen’ while using FLUX:FX. Once you have built your chain and your performance bank you might want to consider the Performance zoom view for live use [accessed via the + on the main X/Y panel, or by tapping the performance view +]. This view focusses on the most important elements for live use – namely the XY pad, the FX blocks, the current bank of performances and the sequencer controls.

 

 

The FLUX audio visualization

It’s perhaps a bit of overkill, but we think it looks awesome so we kept it in. The background of the app is a hypnotic fluid ink loop that triangulates and digitizes as levels increase. We are using a custom delaunay triangulation algorithm [for the geeks: read about it here] to represent the audio in digital format. We can talk about the ideas behind this in depth but that would simply bore everyone… so instead if you just tap the FLUX icon in the top left hand corner you can stare at the visualizer without any of the controls in front of it. For those with older iPads or who want to save some of the processing, you can turn off the visualizer in the settings.

 

 

CPU Performance: getting the most from the app

We have built a CPU meter into the user interface of the app, in the left of the top bar. This lets you see the load on the app, so that you have full transparency and can detect when the app is overloading the CPU [which will potentially result in pops and glitches].

The CPU percentage is normally displayed in white text next to the graph, however this number will turn red when the app detects an overload. This will not necessarily mean audio glitches will occur, but there is a risk of unexpected results. Basically, you are stressing the CPU and we are showing you a warning! To be clear, this is the accumulated CPU use of all threads in the program, and to be confusing, this can actually go above 100%.

So – what do you do if you are getting overload signals all the time? You have a few options:

  1. Turn off anything else that is running on your iPad, especially audio apps you don’t currently use. The most efficient iPad for FLUX:FX will be running nothing but.. FLUX:FX!
  2. Ignore them. The CPU warning will occur occasionally when you are switching UI views, but this will not usually glitch the audio. In normal usage on a decent iPad, you will not have issues.
  3. turn off the Delaunay visualizer [menu > video settings]. This will reduce the load on the CPU at the [acceptable?] cost of looking less cool.
  4. Increase the latency [menu > audio settings]. Higher latencies mean less load, but increased delay. If you are not putting live audio through the app then this won’t be so much of an issue.
  5. Use different effects in your performance – some effects are heavier than others [particularly the reverbs and the distortions which require expensive samplerate conversions]. If you want to use multiple distortions, it is more efficient to have them next to each other in the chain rather than separated by a different effect.
  6. Buy a faster iPad! Not being cheeky, but the newer devices have significantly more power. FLUX:FX is an intensive app that offers a boatload of functionality, and it is really giving the hardware a run for its money. IPad 2s and minis WILL work, but only just. iPad 3s are slightly better, but to get the most out of FLUX:FX you will want to run it on an iPad4 or later.

 

The ‘back story’ in brief…

The concept of FLUX:FX was conceived in a late-night whisky bar in Amsterdam, after Adrian Belew played a sold-out show at the Paradiso along with the Metropole orchestra. Adrian, Daniel and Nick Mueller [executive creative director of MOBGEN] discussed the future of sound design and music delivery over some tasty single-malts, coming to the conclusion that a partnership was an excellent idea. The problem with most sound manipulation devices is that the interface is usually either ACTUALLY old-school [buttons, dials, tubes and cables] or a digital COPY of old-school [ie. pixels showing buttons, dials, tubes and cables]. This may give the users a warm/fuzzy feeling, but it certainly won’t make the usability better, the workflow faster or the sound more awesome. Touchscreen technology, and in particular the Apple iPad, provides a big opportunity to rethink this approach, both from a sound design perspective and from the actual performance possibilities that it offers.

Niels, Toine and Victor [the audio experts at Elephantcandy] were brought into the conversation, and the idea became a reality. The americaustralianetherlands company known as NOII.SE was born!

 

 

About NOIISE:

NOIISE is the art of sound. It is a collaboration between Adrian Belew, Elephantcandy and MOBGEN.

Adrian Belew is the world’s greatest experimental whammy twang bar czar rhino king crimson stunt guitarist extraordinaire. With a CV including some of the biggest names in music from Frank Zappa, David Bowie, Nine Inch Nails and King Crimson to Talking Heads, Paul Simon and Tori Amos, Adrian is famous for pushing the boundaries of guitar in both technique and tonal exploration. Together with audio mastermind Daniel Rowland they make up a 2-person performance team where one plays the instrument, the other ‘plays’ the studio.

Elephantcandy is all about Music and Sound. More specifically audio software development for mobile devices. Smack in the heart of dance city Amsterdam, Elephantcandy focuses exclusively on developing research driven, disruptive and state-of-the-art audio technology. Elephantcandy’s algorithms are used throughout the world by well-known audio companies and musicians. Elephantcandy is passionate about changing the way people experience music.

MOBGEN is the specialist in mobile strategy, creativity and technology, designing and delivering products to connect customers and brands. As a pure mobile solution company and an awarded mobile UI/UX design-specialist, MOBGEN builds mobile platforms for some of the biggest companies in the world.  MOBGEN.LAB is the research division, set up to investigate disruptive innovation and the changes in the way we interact with tools, situations and places. 

 

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NOIISE - Be experimental, be abstract, be precise, be random.