Push. Turn. Move.
NoiseBug Price : $79.95
The new book on electronic music instruments.
Meet the artists, designers, makers and their instruments and see how they have shaped the world of electronic music.
PUSH TURN MOVE was funded on Kickstarter within an hour on April 18th and eventually reached 1,300% funding from more than 1,400 people by May 22nd. Since many missed out the Kickstarter special offers, we have decided to give everyone the chance to get a copy at a reduced price until the book is retailed from October 2017.
352 pages in full color. Hardcover. Dimensions: 24.5 x 24.5 cm (9.6 x 9.6 inches). Printed in Denmark on 150g acid-free quality paper.
Overall chapters and structure
Foreword by electronic music pioneer Jean-Michel Jarre
Sound: How is sound visualized in music soft- and hardware?
Control: How can you shape sound through tangible and digital controls? Learn about different controls (knobs, faders, touch strips, buttons, screens etc.) and their variations and possibilities.
Layout: How do you organize an interface for sound-creation? Get an overview of design principles and techniques for designing interfaces of electronic music instruments and controllers.
Concept: How has different instrument-makers solved the challenges of visualizing and controlling sound? See examples of hardware, software, apps etc. of Digital Audio Workstations, Grid-based sequencing, Modular Synthesizers, Collaborative tools, Radial, Gestural interfaces etc.
User: How do you design the best possible experience for musicians? Learn about user-centered interface design, usability, workflows, experience design etc.
Time: How did we get to where we are? Read about the evolution and revolutions of electronic music interfaces - from the Theremin and EMS VCS3 to Buchla, the Minimoog, TB303, Yamaha Tenori-On, Monome, Ableton Live and various other hard- and software that have shaped electronic music making through the times.
PUSH TURN MOVE is written by Danish designer, author, lecturer and electronic musician Kim Bjørn and edited by Mike Metlay, editor at Recording Magazine and Paul Nagle, reviewer at Sound on Sound Magazine.