Nathan Ramella has sent us a video of a new project called ammoBox. What is it? Well, I happen to know a bit about it, but Nathan has sworn me to secrecy, so I’ll just point out:

• It claims to be the "world’s first stream scratching, simul scratching, sequ scratching"
• Nathan was a co-creator of the Unofficial Ableton Live API (which now lives on Google Code if you’ve been wondering where to find updates on that) — so we know he’s got the chops for hacking
• Yes, that’s Ableton Live … yes, that’s a turntable … no, this isn’t quite the same as other things you’ve seen using that combination.

Any guesses?

Bay Area folk, come see this at our 2:30pm competition (and at the CDM Booth) at Yuri’s Night … and everyone else, stay tuned here and on that site for more details very soon.

If you want new ideas about design and interaction, ask a musician. Before the Wii remote, the iPhone, Microsoft’s Surface, and Minority Report, musicians were trying oddball ideas for music performance. That hasn’t slowed down, either, from the futuristic and space-y to down-and-dirty acoustic techniques. We’ve got quite a gamut coming up for our madcap, sound and noise-packed hour of competition happening this Saturday at NASA’s Ames Research center during Yuri’s Night, and we’d love to share them with everyone online.

For starters, here’s the rundown of the projects with links to project sites and artists, and all the judges:

Futuristic Music Design Challenge: Meet the Competitors, Judges

Join the event on Facebook

The projects: the Bubblegum Sequencer (previously on CDM), The Box custom hardware with colored lights + Reaktor ensemble, the surface-temperature tangible interface table Weather Report (previously on CDM), the strange polygonal Kromatron wireless instrumental interface, the Thimbletron gloves-as-samplers with lab coated performers project (previously on CDM), the bicycle wheel and analog tape Looping Pedal (previously on CDM), the computer-powered musical saw WaveSaw, the 28-string just-intoned microtonal casmolyra, the turntablist custom software ammoBox and the GrooveStep DS pattern maker (previously on CDM).

I’m also pleased to announce…

The judges:

• Roger Linn, father of the modern drum machine (in my opinion, anyway) and creator of the MPC60 for Akai, plus recent creations — and he plays the mandolin
• Liz Enthusiasm, lead singer of Freezepop (check out their albums or just play a Harmonix game) and evidently an expert on Dr. Pepper
• (Matt) Ganucheau, a mastermind of Yuri’s Night’s music and art, a composer and sound designer (and teacher of sound design for games), an electronic musician, and creator of the NSFW "foreplay robot" Moaning Lisa
• … and yours truly as emcee

Speaking of Roger Linn, Tom at Music Thing just posted an auction on the pre-Akai prototype.

Hopefully we’ll get to do some quick interviews with the judges, as well, for Planet CDM. Stay tuned on yuricdm.com.

Hello from Ground Control: this week, I’ll be coming to you live from CDM’s micro-blog for Yuri’s Night Bay Area, ground zero for the global space rave celebrating human exploration of the cosmos. CDM’s challenge: to bring all the goodness up close and personal to you, from California to wherever you are on Planet Earth.

Watch the minisite now, during the event, and in the couple of weeks following at:

http://yuricdm.com

or subscribe to the yuricdm.com RSS feed.

Yuri’s Night needs special nerdster love for a number of key reasons — a huge lineup of music, art, and science, plus a special CDM event and booth:

• Music: The likes of Amon Tobin, Tycho, Christopher Willits, and many others … and our friend Ganucheau, too
• Motion: Interactive installations and visualists everywhere, including our man Joshua with his incredible Wii-powered SuperDraw, built with Processing
• Space and Science and Games: Here’s where I get especially excited — it’s an event on the airfield at Ames Research Center, not typically a place non-NASA employees can go, and we actually get to play there and listen some of the world’s top scientists. And Will Wright (creator of SimCity, Sims, and the upcoming Spore with its generative music) will be there, too, just in case your geek circuits weren’t overloaded yet.
• CDM @ the Hangar: We’re running a special Futuristic Music Design Challenge competition, and we’ll have the CDM booth for much of the evening where various musical / visual makers will be showing off their inventions (with more of our friends elsewhere at the event). So stop by and say hi.

Forget all my blathering on about the Sharper Image Beamz thing, because this video says it better than I possibly could. No, it’s not the video you’ve seen already. Think Beamz gone experimental — and keep watching until about :30. (Thanks to Chachi and Matt for this one.)

It’s official: Beamz has become stuff of Web legendz. I can haz alternative interface, or whatever.

The saga of the Beamz Laser Music System goes on: the spectacularly awful demo video has spread on the Internets, and after Gizmodo proclaimed it the most stupid promo video ever, they were challenged by the PR company to do a real review. (No such challenge yet for CDM, mercifully.)

This does reveal where the thing came from, though. The Beamz tool was “invented” by songwriter Jerry Riopelle, who had a fairly significant career penning tunes in the 60s (”The Thrill is Gone”) and went on to a solo career in the 70s. (I say “invented” because it’s certainly not the first laser harp in existence.) Apparently his dream more recently was to move to the Valley and make a gadget, so he went on to focus on Beamz — and landed an exclusive distribution deal with Sharper Image a few years ago, before the company’s finances fell apart. (Doh!) Jerry actually plays with his Beamz system onstage, and it … uh … kinda sounds like it does in the videos.

But the PR firm wants Gizmodo (and the world) to believe everyone will feel differently when they play it.. except we’d presumably have to hear it, too, which so far is a bit on the painful side. (They also say this obviously tech-savvy crowd loved it.) Yet, that’s not what bothers me — this does (from PR man Matt Silverman’s retort to Gizmodo):

It is not meant to be a traditional musical instrument because that takes so much training for people to master. The beamz was conceived and created by an accomplished Hollywood musician and songwriter whose goal was to allow the average music lover to experience the passion of making music.

This is something we hear all the time. Yet you never hear anything like this:

• Cup Noodles: Experience the real joy of cooking — finally, without needing years of apprenticeship under French master chefs.
• Hot Wheels: Why own a real car and bother with greenhouse gas emissions and drivers license exams when this fits in your pocket?
• Connect the Dots: Because deciding what to draw is just too much stress — and who wants hours and hours of training drawing nude models?
• Tetris - the non-competitive edition: Put the blocks wherever you want! You don’t want all that pressure. Heck … the blocks don’t even move.

Updated:

On a more serious note — and illustrating just what a big difference different users, different musical content, context, and purpose can make — check out what happens when the system’s creator visits a Children’s Hospital. Part of why it’s worth being thoughtful about this stuff, and not reducing it to black-and-white marketing terms, is that interface design really can be meaningful. Thanks to Koen for the link.

The DS’ stylus and touchscreen make an ideal pocket-able interface: they’re coupled with friendly, conventional arcade buttons, but provide precise control of visual interfaces without using a mouse. (Touch with fingertips is not nearly as accurate, especially on tiny screens.) That’s already inspired quite a bit of music software, but GrooveStep earns extra points for employing a friendly interface for easy, quick pattern sequencing.

My friend Ilia, aka Tonearm, has released his set of Windows XP-compatible shortcuts for Ableton Live. (Got to play out with Ilia last month and hope to do it again.) Ableton, if you’re listening, here’s another argument for more customization of the program.

Even if you’re not on XP, it’s worth having a look and even downloading the ZIP and readme for some inspiration as far as what could be possible with Live shortcuts.

Install the executable for Windows, and you get:

You’re not cool now? You will be, as your hands dance to the rhythm through the magical lasers.

A few moments of your playing, and nothing could possibly convince me that you didn’t grow up on the streets of Jamaica, banging oil drums you salvaged and hammered into shape.

Whoops, sorry — had to snap out of that for a second.

So, okay — it seems the beamz laser harp we saw last week comes with special algorithmic software that makes music play basically regardless of what you do. The problem with laser harps in general is they tend to the button-pressing variety: that is, you’re waving your arms around like crazy, but really the laser sensor is either off or on. (There are ways around that, but … well, not here.)

Watch closely as someone leaves their hand in front of the harp and does nothing. And this, of course, is what real instruments have going for them — that you have to work hard to play them, and that’s actually kind of the fun of it. It’s like basketball: if you just held down a button the entire game and a robot played for you, it would be easier, but that wouldn’t necessarily be better. Even as a computer game, we expect multiple buttons, and actual difficulty. If you waved your hands around and wore sunglasses and had a $600 gadget from Sharper Image and pretended to play basketball, that wouldn’t be much of an improvement, either. I’m not sure why music is excepted from this rule, but then, many things about this world provide amazement and confusion.

Yes, technically Guitar Hero / Rock Band does the same thing. Except that it has actual difficulty. And has real songs. And is fun. Whereas this is painful. And it’s about as expensive than Rock Band plus a PS3.

That leaves two questions.