link to the repo here

technical notes.

• both M8 and S4 connected to mac desktop using usb.
• then using Loopback, i route audio from M8 to S4 with details:
  • M8 Main Out to S4 Track 4
  • M8 Track 4 (Pads Hypersynth) to S4 Track 2
  • M8 Track 1 (FM Bass Synth) to S4 Track 3

• S4 Track 1 is playing back sample that i also recorded from M8 via usb-Loopback. more on this, at first i tried to connect directly using usb from M8 to S4. it worked, but there’s audio crackles. i assumed this happen because of the different sample rate. M8 is 44Khz and S4 is 48KHz. so i found a workaround that is working nicely (no crackles) using Loopback as a bridge.

• M8 also sending midi to S4 to send clock, control Start/Stop,
  • and send midi cc to control Mix FIlter of S4 Track 1 and 2.
  • i did this using Midi Patchbay app, its an open source app. very handy app with for this kind of situation, just want a simple routing without needing to use DAW.

• then i use ableton just to record, set audio input to S4, audio out to my audio interface for monitoring.

• its amazing nowadays how you can multitrack record music gear without using audio cables, only 2 usb!
• and just want to say Loopback is really really nice. simple, but very useful.

Blurred lines of familiar shapes. a video composition by Reuben Tourino.

featuring tracks from Werifesteria.

!! WARNING !! This video contains intense flashing lights, rapid cuts, and strobe effects that may affect viewers who are susceptible to photosensitive epilepsy or have other photosensitivities. Viewer discretion is strongly advised.

Improvisation on RD a song by Gus Paul (Firzi O)

footage of Jakarta shot by John Navid, pre-assembled & scrubbed by Reuben Tourino.

technical notes

• this is a one take live recording. with mixing and mastering done in post.
• all audio recording are multi-tracked (4 stereo channel) via usb c from S-4 to my hackintosh (macos sequoia). recorded using ableton live 11.
• i set the buffer size to 256, which seems to be a sweet spot. i was using buffer size 128, but i was getting a lot of noise crackles/cpu drop out.
• ableton is sending midi clock to S-4 via usb, then from S-4 i send midi clock to Plinky via TRS 3.5mm.
• i was sending midi clock to Plinky from ableton via usb, but it was not stable/very wonky. then i tried the TRS from S-4 which was very tight and a lot better.
• and also , i need the set the midi sync delay in ableton, i think its about -36ms.
• audio out from Plinky goes to S-4 analog in, and i put it into track 4.

Cristobal Tapia de Veer

• White Lotus
• Smile

Jóhann Johannsson

• Arrival
• The Theory of Everything
• Sicario

Hildur Gudnadottir

• Chernobyl
• Joker
• Tar

trivia: Hildur play solo cello on The Revenant, Sicario, Arrival (also play halldorophone)

Ludwig Goransson

• The Mandalorian
• Black Panther
• Tenet
• Oppenheimer

Ben Frost

• Dark
• 1899
• Raised by Wolves

Daniel Blumberg

• The Brutalist (winner best original score - Oscar 2025)

Colin Stetson

• Hereditary
• Something Very Bad is Going to Happen

Track List

This enchanting collection of songs takes listeners on a vivid auditory journey that unfolds an imaginary adventure through the forest, from dawn till dusk, culminating in the shine of moonlight.

Werifesteria embodies Indra’s signature blend of melodic texture and evocative sounds, inviting audiences to experience nature’s beauty and mystery.

Each track immerses listeners more deeply into the story, as the EP progresses through lush soundscapes that mirror the shifting moments of a day in the wild.

Suita Rimba

is a three-part composition, based on my improvisations on Monome Norns, a sound computer device, using scripts from the Lines Community. The scripts utilized here are, Flora by Jonathan Snyder & Less Concepts by Dani Derks.

Kodama was originally a commissioned work from Tromarama—an Indonesian artist collective whose works explore the intersection of technology and everyday life— for their installation piece The Lost Jungle at Museum MACAN in Dec 2021 - May 2022.

While working on Candrakirana, I came across these unused recordings of my improvisation for The Lost Jungle and I saw a potential for further creative use. So I started adding some layers of instruments and other sounds that I saw fit. Then slowly, a story took shape in my imagination, depicting an adventure in the forest.

The first part, Kodama means forest spirits in Japanese, derived from one of my favorite Ghibli movies, Princess Mononoke. This first part represents a morning vibe in a forest.

The second part, Tata, Tatum are meaningless words that my son frequently speaks as he’s learning to talk. This second part represents midpoint/midday in the forest.

The third part, Sanadhikala, is a Sanskrit word that means “in between time”, reflecting the transition from day to night. This third part represents late afternoon to night in the forest.

Kodama and Tata, Tatum were featured on Reuben Torino’s video work, Fragments of Home

Candrakirana (Clair de lune)

Clair de Lune has always been a special piece for me. It was my gateway drug into the classical music world. The first time I heard it, back when I was in college, it just clicked right away and resonated with my imagination about what I wanted to achieve in music composition.

For a long time, I’ve always wanted to create a new interpretation of classical music compositions from some of the composers that I really love and that continue to inspire me to this day, such as Debussy. However, I never had the time nor the chance to do it.

After my son’s 1st birthday, I suddenly felt the urge to do it, the urge to pass down something meaningful to him. I thought perhaps a good vibration will do. So I decided to give it a try. There’s nothing fancy or groundbreaking about what I did here. I just used what I felt and what I think represents the era I’m living in now.

Candrakirana is my way of paying tribute and expressing gratitude to Debussy, as well as celebrating the 120th anniversary of Clair de Lune since it was first published.

Track List

a short documentary about Jakarta, directed by Ratrikala Bhre Aditya. a commissioned work from Pembangunan Jaya.

i’m using Osculator app to receive signal from wiimote and translate it into midi. and then passing it thru Midi Patchbay (an open source app to patch between midi devices without midi host) to Ornament & Crime module, using Captain Midi app to convert midi to cv.

Osculator is a great app to connect various devices for interactive applications. but unfortunately, at the time of this writing the latest compatibility is only up until macOS Big Sur. that’s why i’m using my old macbookpro 2011.

patch notes

• i’m sending 4 midi cc from osculator to OC, convert it into 4 cv.
• use it to control almost all parameters of mutable Rings.
• from one of the Ring’s output, i patch it into Delay No More, which also get cv input from OC.
• the bass sound come from tonestar2600, with modulation input into cutoff filter, pwm, lfo speed.

Rupa Suara workshop was held in December last year at GoetheHaus Jakarta, bringing together eight musicians/artists with an interest in immersive audio practices and multimedia composition, co-initiated with Indra Perkasa and Firzi O.

The results of the workshop will be showcased in Festival Alur Bunyi 2024. Audiences can expect to see new mix-media compositions that interact and interrelate, embodying audio-visual practices in a new context that focuses on the experience of hearing and seeing. Reactive visual elements are harmonized with soundscapes that will produce a different experience for visitors to Festival Alur Bunyi.

Rupa Suara are: Alexandra Ronodipuro, Aldo Ahmad Fithra, Bimo Arsa, Dwi Jatmiko, Gabriella Miranda, Kinski Tarlazzi Onggara, Kelvin Djunaidi, Lody Andrian.