.

Artists and creators around the world have been moved by the suffering of Haitians in the wake of last week’s earthquake. There are ways we can help, like giving to relief organizations to give them the capacity to respond wherever needed. The next crisis could be halfway across the world or in our own neighborhood.

The monome community is about more than just the button-grid, open-source controller with which they work. They’re an example of the kind of collective spirit that musicians, digital or otherwise, can share internationally (see the map of these artists below). And they’ve put together a really beautiful, Creative Commons-licensed compilation of music.

Artists (including one track from the co-creators of the monome, Kelli and Brian): einpuls, Visinin, The General, Pauk, Glimmertone, Watson, Math Rosen, Lokey, Island Dweller, Oldman Intel, Made By Robot, Auditory Canvas, I Am Genko, Raja The Resident Alien, Samuel and the Dragon, Damien Shingleton, Maersk, The Superorganism, Modulogeek+Shoemucker, Beatpoet, The B-Roll, Hypno|sapien, Kid_Sputnik, The Sweaty Caps, HenderSounds, Dat Niks Klank, Swimming, Kcain/Tehn.

Full album:
http://einpuls.bandcamp.com/

100% of the proceeds go to Médecins Sans Frontières; the 27-track is pay-what-you-wish for $1 or more, downloadable in high-quality MP3, FLAC, and other formats.

And that’s just one way to help; there are others.

From the monome compilation press release:

The monome user base is a collection of people from across the world, brought together via the innovative, open source music production hardware that is the monome, They pride themselves on a tight-knit, proactive, and helpful community (post.monome.org), where collaborations and projects are frequently happening, the outputs of which range from new software patches to share, to Creative Commons track and album collaborations.

When the community came up with the idea of a compilation album to generate charity donations in light of the terrible disaster in Haiti, einpuls started gathering tracks for the album and the monome community answered swiftly with more than 25 tracks being submitted in just a couple of days.

The community teamed up with Summer Rain Recordings to compile the compilation, with the end result being a 27 track album, each track contributed for free. The minimum price for the compilation has been set to $1 with no upper limit. Every penny helps, so please donate what you can.

View Monome Haiti 2010 in a larger map

Calls for the Red Cross, More

Ernst Nathorst-Böös, CEO of Propellerhead, noted that they were putting a call for the Red Cross into their newsletter:

…and he wondered what other members of the industry might be doing. Do let us know, as perhaps we can share ideas. (This is not an advertisement for Propellerhead; Ernst didn’t even ask me to publish this. I just like the way they did this, and personally find this an opportunity to run with the same idea.)

I’m going to use this as a reminder to do the same with the CDM newsletter, and also seek out ways we can generally devote some space to effective PSAs — not just those that you sometimes see by default from Google, but productive uses of our real estate. I couldn’t figure out whether there are official Red Cross badges to use, etc.; any ideas?

The Red Cross has a fantastic site that explains how you can give money:
http://www.redcross.org/en/givehere/

You can even walk into places like Starbucks and Walgreens and give there; see the full list. The other important thing about The Red Cross is their ability to plan resources for unexpected disasters worldwide. Haiti is a reminder of how fragile and unpredictable our world is.

The Red Cross does have to approve any fundraisers that use their name, though there is an application process and that doesn’t stop you from sending them money as you wish.

Other ideas for ways of proactively responding not only to this crisis, but others, as well? What are some of the tools we can use as a community to support the work these organizations do?

Sure, many issues around intellectual property are gray. But contributor Jo Ardalan has a disturbing story: what happens when a fundraising album gets pirated? Did illegal file sharing users know what they were doing — is there a need for a donation mechanism for these services — or is it really this bad? Apologies if this is old news – catching up during travel – but a question well worth considering. -Ed.

We all know piracy forces labels, artists and developers to incur a huge cost. Recently, however, illegal file-sharing cost a bundle for the fundraising efforts aimed to raise money for reconstructing parts of Italy after a recent and devastating April quake. Universal Music and Italian pop artists collaborated on a track entitled “Domani 21/4/09″ that sells digitally for 2 Euros and will later be sold in stores for 5 Euros. According to Variety, the track has been downloaded illegally 2 million times.

Caterina Caselli, who produced the track for free says that this project is (translated from Italian) “sort of ‘mission impossible’: in one project between eighty artists and musicians doing almost everything in one day. All have dealt with air travel at their own expense, technicians and porters have worked for free, as do the catering…Universal does not gain anything.”

Artists inovled are Jovanotti, Ligabue, Zucchero and Elisa and many others.

http://www.variety.com/article/VR1118003748.html?categoryid=19&cs=1
http://discomania2.myblog.it/archive/2009/05/09/domani-21-4-09-con-jovanotti-e-altri-60-artisti-serve-a-racc.html [Italian]

Your pocket is bulging with power.

Wait… okay, that sounded really wrong.

Anyway, the mobile software revolution continues. There’s so much stuff out there that it can actually be hard to track. Here’s a round-up to help you navigate everything that’s going on this week.

And even if you can’t stand another word about the iPhone, consider this: the explosion of iPhone software, more than just a fad, illustrates what happens when you give developers tools to make multimedia capabilities easier, then provide a distribution outlet. I don’t love everything about the iTunes approach, but those are lessons that could easily be learned in desktop and mobile development alike. The iPhone platform, if nothing else, is surprisingly uncompromising in the sound and visual interaction departments, especially for a mobile platform. And even desktop platforms could benefit from this kind of distribution mechanism (see also: Steam for games).

Also, we do have some of the first signs that the iPhone won’t be alone for long – new functionality on Google’s Android could take that platform in new directions. See my next story, Android/Linux/open source fans.

Disclaimer: don’t worry. I’m not giving up on desktop apps. Relax. In fact, even now as I look across these applications, while there are lots of cool ideas, it’s still clear this is a nascent area. The experience is nowhere near as rich as you get on the desktop. But it’s nonetheless worth exploring some of the ideas before we return to our (more powerful) desktop applications for music.

Field Recording, Microphones for iPhone + iPod touch

The big news this week was FiRe, which promises to be the “first professional field recorder” for the iPhone and iPod touch. The developer behind it is one of which we’re already big fans: Audiofile Engineering. AE make Wave Editor, which has rapidly become the secret weapon of choice for Mac audio producers and sound designers, as well as the batch-processing Sample Manager and adoptive parents of the excellent Rax plug-in host. Anything these guys do would get our attention, and then they go and add specs you wouldn’t expect to see on the iPhone:

• Accurate real-time waveform display
• Live, touch-controlled waveform navigation
• Audio markers
• Broadcast WAVE metadata
• Instant downloading in multiple formats – and easy sharing via FTP, Web server, or even a SoundCloud account
• Tag recordings with location data
• Overdub mode
• VU meters for input and output
• Configurable time units
• Mic flexibility: use Blue Mikey, Alesis ProTrack or even the internal mic

US$5.99, available now.

(Update) Hardware Requirements:
iPhone 3G
iPod Touch (second generation)
First Generation iPhone (headset ONLY)

http://www.audiofile-engineering.com/

iTunes link (which is tricky to find otherwise)

Let’s just cut straight to it: this is, bar none, the most full-featured app out there. It’s the first one that would make me seriously consider using this platform for recording.

This, of course, raises the question of which mic you might want to use.

If you’re on the iPod touch, you don’t have even a built-in mono mic. (Don’t knock it: I’ve put together entire pieces based on simple mono mic samples. Creative sampling artists will use anything.)

Even on the first-generation iPod touch, you can use some simple solutions that will let you do basic sound.

The Smule blog has a terrific round-up of recommendations for touch owners wanting to use their Ocarina app. Their technical needs are much lighter than what you might need for FiRe, but this is still worth a look if you have any interest in recording at all:

Microphones for iPod Touch Ocarina

The Griffin SmartTalk wins out for 2G owners. I have Griffin’s TuneBuds mobile, which has worked well enough for applications like RjDj. (Note that Smule have managed to get their app working with the first-gen hardware; FiRe requires the newer generation.)

At the fancier end:

Blue Microphones’ Mikey is a slim-line stereo condenser capsule that plus into the iPod accessory port. It’s hinged so you can play with placement at least a little, and there’s basic gain control (3 settings). It runs about US$80 street, which means it doesn’t have to compete with standalone recorders. Update: Audiofile Engineering say they’ve seen some issues with FiRe and Blue Mikey, and can’t officially support the combination. Readers have had some issues themselves. If you’ve already got a Mikey, this might be worth a try, but otherwise, you can await updated information as Blue and Audiofile Engineering attempt to address the problem.

Specific update: The problem sounds as though it is the combination of the production Mikey with second-generation iPod touch units running the current OS. This is expected to be fixed with the next OS release. Stay tuned for more.

Tha Alesis ProTrack is even more impressive-looking, but at US$249 list, it does start to get into the realm of “you could just go buy a dedicated recorder.” The ProTrack extends the iPhone by adding a shell with an X/Y stereo mic pair – one that looks quite a lot like the Zoom H4 mics – and even has onboard XLR jacks and phantom power. You also get LED monitoring, a limiter, additional power (four AAA’s), a mic stand mount – basically, it turns your iPhone into a real mobile recorder.

The Alesis has its own app, but the Audiofile Engineering option is looking more powerful. Naturally, that’s the advantage of software – because the iPhone is essentially a computer, you can add whatever software you like.

I still think there’s a good place for a dedicated recorder. I’ve started testing the Zoom H4n, seen at right. (Not an iPhone hiding in a shell.) I’m already blown away – it corrects most of the navigation and quality issues with its predecessor, and unlike an iPod or iPhone, has fantastic battery life and onboard XLR input jacks. (Okay, the ProTrack does have XLR’s, so this is getting a little more interesting.) In other words, I’m not sure I’m giving up on dedicated recorders in favor of one of these yet. It’s still handy to have, though – and who says you can’t use both, given how essential it can be to have a backup recording in many situations?

Updated: Officially, here are the mics supported by FiRe:

• Alesis ProTrack – http://www.alesis.com/protrack
  (Requires iPhone 3G or 2nd gen. iPod Touch)
• Blue Mikey – http://www.bluemic.com/products/mikey
  (Requires iPhone 3G)

Thanks to Gaëtan Gravel and everyone else who sent this in.

Paul Van Dyk’s DJ Tools

This one was a bit of a surprise: Paul Van Dyk has released a DJ app, but it’s not just a quick, attention-grabbing, “DJ on your iPhone” gimmick. It’s more like a utility belt for DJs. I’m surprised to see that as a result it’s actually gotten some criticism. To me, finding some genuinely useful stuff you might want to have on your mobile device is the whole point.

What’s in there?

• BPM counter
• Frequency analyzer
• Noise level (the “NYPD Application”), with an oddly beautiful visualization
• Seismic reader (for testing your turntable, not for telling if there’s an earthquake happening – that you’ll probably figure for yourself)

And then some silly stuff, too – glow stick, anyone?

http://www.paulvandyk.com/

Not yet available – coming late May 2009

All interesting, but you know what this means: now we need Live PA Tools. (I can think of some ironic choices for that. Nominations welcome.)

Nine Inch Nails App

NIN, of course, had their app become available on 4/14. There’s been quite a lot written about it – so much, in fact, that I feel like the whole thing is a bit overhyped. The basic development here is that NIN is taking all their fan data and making it location specific. On the upside, this is a lot more than many high-profile bands have done with iPhone development. But then, these guys should be doing more – they have the budget to hire real developers. I do like the idea of fans being able to interact on their mobile device; that clearly makes a lot of sense. But few artists will inspire the kind of loyalty NIN does, which means the real question is, will someone be able to build a platform for everyone else? And if you are a more obscure artist, what should you be doing?

The app is free, so just a conduit for fans, really.

iTunes link

http://www.nin.com/

Gestural Beat Sharing, Celebrate Cinco De Mayo

ZoozBeat is the application I looked at in the fall: the idea is to make musical improvisation more accessible by allowing people to use fun gestures, taps, and the like to assemble beats. The software is not only for iPhone, but the powerful Nokia N95, too.

That story is worth checking out from the perspective of gestural music in general, not just iPhone or mobile apps:

Gestures, Mobile Music, and the “Low Floor” for Novices: ZooZBeat on iPhone, Nokia

The latest news: the guys have gotten funding, for one. More importantly to end users, ZOOZ Mobile is adding a sharing component, much like what we saw with Smule’s Leaf Trombone. New upgraded software adds a Latin component with Samba and Tejano rhythms and is ready-to-go for Cinco de Mayo. Sounds great to me – and the Latin market has been oddly ignored by a lot of musicians and developers. There are also new Pop, Hip-Hop, and Techno beats.

http://www.myzoozbeat.com/

Unusual Instruments

You’ve got plenty of faux-808 apps for the iPhone now. Our friend Henry Lowengard is taking a very different tack, with drone-friendly creations and detuned pianos. He describes this as well as I could, so here’s what he writes to tell us about.

Imagine a piano in a summer home on a small lake, far in the north of the Northeastern United States. Imagine the piano sitting there for 60 or 70 years, untuned and unmaintained.
The naturally prepared timbres of the Lake Piano are now here for you, each missing felt, each individual nuance of the key action and character-filled tones. Briskly recorded one summer in lo-fi, these samples also contain sounds of children, cats, screen doors, and the summer breeze.

The first version of Lake Piano is relatively minimal, Henry says, played as a double row of scrolling piano keys and the ambient sounds stolen from a videotape he recorded. Henry promises more playability and more ambience in an upcoming upgrade, but you’ll get that automatically when it’s done, so you can always go play now.

And for droning on and on – literally:

Hi Droning fans:
I just sent in my new droning app Droneo to Apple for approval, so with luck, it’ll be in the store next week.
I’ll send a more widely distributed email when that happens, but I though you (pl.) might like to take a look at the Droneo "instruction site", http://www.jhhl.net/iPhone/Droneo/ and listen to this tantalizing demo:
http://www.jhhl.net/iPhone/Droneo/Audio%20Examples/Mp3/complex1.mp3
It’s basically my iPhone SrutiBox simplified to 8 oscillator voices, allowing a little more CPU time for complexity, and removing the preconceptions about Carnatic music and harmonium sounds that Sruti box engenders with its somewhat unpronounceable name.

For more on the SrutiBox, see our previous story.

Okay, I’m exhausted. Back to the desktop.

And of course, for the best source of up-to-the-minute mobile music creation news – well beyond just iPhone – be sure to read:

Palm Sounds

Musical activists are opposing a Japanese nuclear reprocessing plant. What’s in it for you: free musical downloads opposing contamination by nuclear radiation. (Any pro-radiation readers will have to look elsewhere.) Nuclear reprocessing is a way of reclaiming spent nuclear fuels. Sounds great, right — recycling and whatnot? Unfortunately, there are serious risks involved. The plant, Rokkasho-mura reprocessing plant in Japan’s Aomori Prefecture, is under fire because:

1. Just two weeks into testing, after the plant opened last year, radioactive water containing plutonium and uranium spilled inside the plant.
2. According to a recent report, this particular plant has a design flaw that makes it susceptible to Japan’s frequent earthquakes — and the plant maker is alleged to have kept this flaw secret for eleven years.
3. Reprocessing in general has been criticized for increasing the risk of global nuclear terrorism.
4. Using nuclear energy as a power source poses numerous risks throughout the fuel cycle both in terms of the environment and terror targets.
5. Personally, they had me at the radioactive water.

Stop Rokkasho.org: Hear [Music downloads]
Via the good peoples of Synthtopia

Music with political agendas has been controversial among readers of this site. But when high-profile musicians like Ryuichi Sakamoto are organizing musical protests, and the likes of Kraftwerk contribute songs, there’s no question these events have an impact. In this case, you can listen to a podcast, learn about the issues involved, and download a huge string of music. And maybe that’s not forcing anything — music has the power to evoke strong emotions and deep attachments. All around the world, it’s been employed on various sides of political issues. Agree or not, there’s no keeping musicians out of debates — little surprise, given our vocation is literally making noise.

As for this issue in question, I find every time I open my mouth on an issue, there’s an expert lurking in the wings to speak up. So please do. When I was working on behalf of international human rights and more transparent global trade policy (really; I’ve had some unusual hobbies), a staffer once joked that [unnamed organization] was opposed to energy in all its forms. Indeed, whereas nuclear power was once hailed for being environmentally friendly, its tendency to produce massively dangerous waste that’s nearly impossible to get rid of has now made it arguably one of the worst forms of energy. In this case, if nothing else, this campaign is likely to increase oversight of such projects in Japan.

But regardless of how you feel, I hope you enjoy the tunes.

Second Life is one of those things I might try out one of these days, except that I’m quite busy with my first, second, third, and fourth lives at the moment. I’m surprised that while Tom at Music thing catches on to music gear sales in the virtual community, he misses out on all the synths. Search “synth” on the SLBoutique, and you’ll find lots of classic gear rendered in 3D form. Seen recently:

Conbrio Synth
Yamaha DX1
Roland JX10
TimewARP 2600 (a unique virtual version of a virtual version of a real synth – yikes!)

All of these come from SL user Hardmoon Systems. (Hardmoon, are you out there on CDM by any chance?)

Tom also points in an update to the virtual studio featured last year on the Second Life blog SLOG. Now the bad news: a lot of this gear is entirely virtual. It’s just 3D eye candy, a la the Sims, with the disturbing requirement of having to actually pay real money for it. (Money for a non-functional 3D virtual mock-up of a virtual synth? What?) At best, you’ll get an animation of someone playing the synth.

Naturally, this gets my gears turning. While SLOG can only dream of General MIDI integration (oh … boy … wouldn’t that … be fun), I’m thinking about a virtual 3D world that can transmit and receive OSC data and simple audio streams. Second Life can at least do the audio end, but 3D worlds that allow you to control real music sources while in the virtual space could add more dimension. Search CDM for Quake and Unreal and you’ll see some other examples. Second Life, as much as the kids today may love it, may not be the best environment for that.

Second Life is becoming a major international community for music, and Ableton’s David Cross wondered in an email to me the other day if perhaps this would extend from communities of listeners to user groups and communities of music makers. The synths might all be eye candy, but there are free spaces with concerts and chances to experience music — a lot more interesting, as far as net music, than staring at a QuickTime stream. That’s made me wonder, for those of you who do have time for a Second Life, has anyone found interesting communities or resources in SL? Or is it really just hype, and there’s a better alternative virtual community? Let us know.

Elsewhere:
Music gear for sale in Second Life [Music thing]
Wired Magazine jumps on the SL bandwagon

Gaming environments like Quake and Unreal have become easy interactive 3D development environments. Modify the game maps and objects, and you can make the visual realm in these games whatever you want. But for digital musicians imagining a 3D environment for creating music and sound, they’re limited.

Enter the latest project from fijuu2 creator Julian Oliver, together with Steven Pickles. They wanted powerful synthesis capabilities, which is something you’re unlikely ever to get in a game like Quake III. So, they found a way to send network data from Quake into the free software Pd, using Pd’s netsend object to send UDP packets containing control data from the game. In other words, instead of using a MIDI controller, you can make the game your control instrument. netsend is in Max/MSP, too, so this should work for Max, as well.

You’ll need two machines for this to work right, but the objects are freely available from Julian and Steven; follow the download link on the project page:

q3apd

I’ve been following progress on Julian’s blog; it’s a good read. For more on the work, here’s our friend Chris at Pixelsumo:

q3apd (Quake-Pure Data)

. . . and to see it in action, Julian posts a video:

q3apd in gorgeous OGG video glory

For Pd fans, Steven has a goodie of his own: an abstraction that fakes poly~ from Max/MSP inside Pd, plus some other objects.

Given the ready availability of map editors and such (at least if you have access to Windows), I expect you’ll see more projects like this. We’ve seen work before, certainly, that creates art inside the game engines, but by linking to real synthesis libraries you can do more than just mix pre-rendered sound sources. Speaking of which, any other readers experimenting with game engines? Let us know. And feel free to share in our gaming forum.