Happy Halloween, everybody. It’s the one day out of the year when the rest of the planet enjoys spooky sounds as much as we do, well, all year long.

Solid State Logic (SSL) is celebrating with a free plug-in for Mac and Windows (VST / AU). Registration is required, but otherwise, no strings attached. They write:

In response to ghost stories of economic doom and gloom we invite you to celebrate the festival of witches and ghouls with a bit of fun. SSL is proud to offer you ‘X-Orcism’, our free Halloween VST/AU format plug-in. Feed in your voice and you will be transformed into the voice of Halloween itself… be afraid, be very afraid.

Should be fun if you’re hosting a Halloween party, and you can try it on a drum loop.

X-Orcism Download Page

I like the Jack-o-Lanterns, though severed head of the Headless Horseman would have been even better.

Other Halloween-themed goodness? Do drop us a line. Please, no Theremins: we consider them beautiful, Classical instruments and there’s nothing scary about them at all. CDM readers with kids most likely play elegant lullabies for their offspring on the Theremin each night when they’re not lulling them to sleep with a sequenced ARP melody.

Noise.io - the iPhone Synthesizer from ToyoBunko on Vimeo.

Noise.io became available on the iTunes App Store this week, with a “pro” app US$9.99.

I’m not going to say too much about it, instead focusing on getting a review done over the weekend. (I still wish there were an easy way to capture video output from the iPod touch / iPhone, but I gather most apps can’t support that. Any tips, anyone?) But this looks like a real soft synth, and not simply a toy with an oscillator:

• 3 generators + 2 filters + 3 LFO
• 3 onboard sequencers (with an interesting-looking interface)
• 6 onboard effects
• Unlimited presets, plus 9 factory preset banks (81 presets in all)

Lots of hype in the above video, but it sounds great, so here’s my suggestion: just close your eyes and listen.

Noise.io site

Looks fantastic to me. Now, I’d just like a really rich Pd-based set of synths and I’m a happy man.

Incidentally, I haven’t chatted much about the Google Android — largely because, at this point, it still seems a bit early to say much. But while the Android platform does have a Java-based sound engine, to me some of the technical appeal of the Apple tools — developer restrictions and closed nature aside — is that it really is an environment in which you can do serious synthesis. That’s been true of the Sony PSP, too, but only after you hurdle the even-worse anti-piracy restrictions of a game platform.

More soon. If you’ve got it and are making presets, we may set up a place for you to share here.

One of the wonderful things about control data is that there’s no saying you only have to interface with software and digital worlds: you can connect directly to the real world, too. Digitally-sequenced music can use acoustically-generated sound. 20th Century technology, meet 19th Century technology. CDM reader Gareth Edwards writes to let us know about his current project:

Just wanted to let you know about a wee toy we’ve just finished building here in Edinburgh. We are a group that is part of the dorkbot movement (http://dorkbot.org/) and have just finished hacking a robotic MIDI retrofit onto a 1890s Gray and Davison 16′ pipe organ using mainly surplus components.

Video here:

http://uk.youtube.com/watch?v=8R9lAIS1l4w

Main page here:

http://dorkbot.noodlefactory.co.uk/wiki/WaldFl%C3%B6te

Now, I got this while I was traveling in Berlin and my connection was so slow, I couldn’t even watch the video, so if you’ve seen this item elsewhere, no complaints please, okay? I haven’t dug out of RSS feeds yet. (Hey, the organ is from 1890 — I’m not that late.)

It’s quite brilliant work. We’ve seen organs before — anyone else care to comment on other examples of MIDI-powered organs?

Another video — with a Dueling Banjos cover, no less:

You hear plenty of chatter about the powers of OpenSoundControl, the open, high-res, network-savvy control protocol for music and visuals. But standards are no good without implementation — and some implementations just aren’t very good. Now, users, you can go have a sandwich or whatever, but developers, pay attention. (And users, enjoy that sandwich in the knowledge that someone somewhere is giving you better toys to play with soon!)

Our friend Ray, co-developer of live visual app VDMX, has put up a Cocoa, Mac-based framework for OSC. While it’s all in Objective-C (natch), it wouldn’t be too hard to port a similar framework to other open-source languages and platforms. Ray is working on a kind of best-practices OSC implementation. Worth a peek — and if you’re a Cocoa dev, of course, even better.

Described thusly:

VVOSC is an Objective-c framework for assembling, sending, and receiving OSC (Open Sound Control) messages on OS X. A
simple sample application which sends and receives OSC messages is also included.

more information on OSC:
http://opensoundcontrol.org/

VVOSC is licensed under a Creative Commons Attribution-Noncommercial-Share Alike license:

http://creativecommons.org/licenses/by-nc-sa/3.0/us/

vvosc [Code+Examples]

Cocoa fans, they’ve also whipped up an Objective-C framework for MIDI:

VMIDI is an Objective-c framework which simplifies working with MIDI in OS X. A sample application capable of sending and receiving MIDI built from the framework is included.

vvmidi

(Insert here: “Daddy? Tell me more stories about MIDI and how you used to use values from 0 to 127 back in the day!”)

“vvosc” is likely to cause confusion with the Windows-only vvvv — which is also visual, also wonderful, and also supports OSC — but hopefully you can sort that out.

Now that I have your attention, developers, I’m curious: got questions about OSC? Challenges with implementation on different operating systems and in different frameworks? What are the best implementations you’ve seen in common environments like C++, Java, and Python?

Well, this is the first time I can remember this happening. Tuesday, I covered a GBP20 Max object for independent tempo and pitch modification in Max 5:
elastic~: Pitch, Speed Control Module for Your Max 5 Patch

I wasn’t personally so blown away by it, but it looked interesting, and it uses algorithms used in a number of commercial projects. But Max guru Devin Kerr put his money where his mouth was — or is that, no money where his … um … ears are — and released a free version. Unlike elastic~, it uses all included Max objects. Aside from saving you some dough, that has the significant advantage of being able to easily share patches based on his patch with fellow Max users.

Devin writes:

So I took 15 minutes and made a simple patch and video demonstrating what I’m calling “Free_Elastic”. This Max patch uses high-quality, FFT pitch shifting and is based on the standard groove~ object. It allows for much more control and customization (fft size, overlap, etc.) than “elastic~” does, and it’s FREE!

Free_Elastic: Independent Pitch/Speed Control in Max [Devin Kerr's blog]

Even if you like elastic~, you can’t really argue with the nice work Devin did on his patch. Hope this leads to some other great patching work. Now, can we get a Pd (Pure Data) port for a truly free experience, anyone?

More Goodies

Andreas Wetterberg (of Covert Operators) points to Mattijs Kneppers’ wonderful work. Object-oriented patching? Check. An MPC-inspired drum sampler? You got it.

And most notably in this context:

Real-time, natural sounding granular time stretcher / pitch shifter, version 009, patches only. Download test sounds here.

Time stretching and pitch shifting without artifacts (Max 5 only).

This patch uses the pitch~ object by CNMAT, that you can download here:
http://cnmat.berkeley.edu/downloads.

Granular time stretching has the advantage over a spectrum-based (phase vocoder) approach that it has no inherent latency. This patch aims for the same sound quality (absence of artifacts) as the time stretching features of mainstream applications such as Ableton Live or Reaktor.

That said, actually, you might enjoy those artifacts. But if you’re a Max user (or Pd user willing to do a little bit of porting), this should more than satisfy your appetite for warping. And, Andreas, I’m with you … I prefer the granular stretching sound. (Because it’s really a grain sampler and not just a delay, you may also want to check out the terrific video tutorial Peter Dines did in Reaktor. And there’s a lot more of this stuff elsewhere, as well.)

It’s official: we had heard rumblings that game maker Harmonix was about to announce something, and it’s here. It’s a collaboration directly with the Beatles to make something that isn’t Rock Band or Guitar Hero — something completely new. And something completely new is exactly what’s needed.

Before Guitar Hero and Rock Band, before being purchased by MTV/Viacom, game developer Harmonix were a very different creative house. Co-founders Alex Rigopulos and Eran Egozy were MIT friends whose first project was an application that let you play guitar with a joystick. (Sounds like a research project you might read about here.) Their interactive music games were influenced by the explosion of Japanese titles like PaRappa the Rapper and Beatmania, to be sure. But part of what made FreQuency and Amplitude so important was that they offered more than just a simplified music experience. They were digitally-powered acid trips, with VJ-style video clips playing up buildings and surprisingly sophisticated interfaces that remixed the music as you played.

Make no mistake about it: Guitar Hero and Rock Band are brilliant titles with a fair dose of musical integrity in the way they abstract playing experiences for broader audiences. But there’s no question some of the original creativity — the sense that the game experience was unlike any other experience — is missing. And in this pumped-up HD age, in which surreal game experiences like intra-dimensional navigation in Portal or ambient floating cartoon paramecia in Spore, it’s hard to wonder if gamers who weren’t ready to snap up FreQuency a few years ago might be ready now.

So while rival Activision bakes a watered-down GarageBand-style app into another iteration of Guitar Hero, it’s intriguing, at least, that Harmonix is working with the Beatles. And they really are working with surviving Beatles and Beatles Significant Others: Sir Paul McCartney and Ringo Starr, Yoko Ono Lennon, and Olivia Harrison. (Okay, I’d like to see a special Yoko-inspired game on Xbox Live Arcade.) Most interesting, producer Giles Martin, heir to production legend Sir George Martin
and producer of the Love project with Cirque due Soleil, twice a Grammy winner, and the man behind The Beatles Anthology is involved, too. (See a great story on him in Sound on Sound.)

Let’s get straight to the point: for the band that made virtual acid trips mainstream decades ago, it’s time for a new, digital trip. (They do describe it as a “journey” through the Beatles’ work, after all.) I think the Beatles make a perfect choice. I can’t count the number of people I know in music composition who were addicted to Beatles records as kids — not the Beatles’ generation, but their offspring in the 80s and 90s.

And despite the intervening decades, Yellow Submarine still looks imaginative and bizarre. If gaming can do anything, it can take music we’ve heard a zillion times and make it new. It can make our regular experience, the reality around us feel a little different. Rock Band has proven to be a trojan horse: it’s literally driven up sales of real instruments. That’s proof that making something palatable to a mass market can help get them hooked on new kinds of experiences. Can a Beatles game feel less like interactive documentary or re-hashed Guitar Hero, and more like a groovy, retro journey into the strange imagination that turned a lot of us on to recording, music, visuals, and … uh … animations of strange creatures? I think so. Can’t wait to see what comes out.

PS — I want to play as George.

What do you say when it’s all been said? We felt it was time for a fresh perspective on the MPC phenomenon — one a normal review couldn’t provide. So we got the opinion of our friend, samplist/producer and Segue member Dave Dri. And the verdict: there’s still something about an MPC — even if it suggests why there’s also something about software, too. But it involves dust. Here’s his op-ed:

Recently I had the task of reviewing an MPC5000 for a local street press magazine. The MPC part of it was fine — the word limit was trickier. Over the last decade I have reviewed the MPC2000XL and the MPC1000, with a lot of time and gigs passing between them. From early days in a live breaks act to my current progressive house act, an MPC has been right under hand. In the week that I reluctantly handed the 5000 back to Musiclab, the drummer that guested in my band at the Big Day Out festival asked me to play keys and samples in his band at a local festival. [Ed.: Our own Jaymis filmed the Big Day Out gig if you want to check it out.] I found myself in a chance conversation with a friend from the live breaks act Bitrok and the very next day, somehow, I’m on stage with his MPC2500 — a unit which I have since bought. So why did reviewing an MPC5000 lead to me buying an MPC2500 after years of happy service from an invincible MPC2000XL?

If you’re reading this, you probably know what an MPC is, and you can readily review any number of link-bait Google results for the product mentioned in the title of this post. [Ed. Hmmmm, link-baiting MPC's, huh? "10 Ways an MPC is Like a Cupcake"? "15 of the Best MPC YouTube Videos Featuring Hot Women MPCers?" perhaps? -PK]

What you probably want to know is what it’s really like. So I will tell you.

To me, the ideal kind of music tech writing is when you get to spend quality time with tools for musical reasons - not simply to talk about the technology, but to make stuff. Over the past weeks, we’ve been gradually assembling ideas, sound designs, knowledge, and tutorials into a string of blog-style posts on the CDM Kore site. I’ve organized those into an evolving guide to working with Kore as a musician, from getting a handle on the basics (including some stuff that initially befuddled us when we tried to use it!), to some “experimental” techniques for pushing the envelope.

Using Kore

We’ve been spending a lot of time with Reaktor, too, so expect a follow-up with that. The idea isn’t really to advocate any tool over another one — on the contrary, for me it’s about figuring out, okay, now you’ve got something, what do you do with it?

It’s been great to get all this input from Peter Dines, Eoin, and the readers, as well (particularly Jonathan Adams Leonard) — the guide above is sort of a “collective knowledge” about the tool. Having written a book and various magazine articles, it’s a totally different experience: more learning than teaching.

On the same lines, I’ve also put together a guide to working with the Kore controller without touching the mouse. That’s part of the whole appeal to me of the Kore system, but it may not be immediately obvious how to do it. If you’ve got Kore in front of you, this will walk you in front of how to do it. I’m still learning to assimilate this with my live sets, but when I get it going it makes me really happy — I’m able to focus directly on sound.

Reference: How to Navigate Kore 2 with Hardware - No Mouse!

This is good timing, as I’m just now back from Berlin where I got to do a short set which happened to combine Ableton Live and Kore. So, separate from this other stuff, I do want to say a big thank you to everyone in Berlin who came out. It was great to meet you, and I hope to come back soon — you have a really fantastic town; I loved being there. It was really creatively inspiring.

Several bloggers were nice enough to write up / photograph the evening:
MIDI Mechanics
Hundertmarknow

– both blogs in German, but they look great; just added them to my RSS so I can keep practicing my German reading skills.

Big thanks, as well, to everyone at the DEAF Festival and in Dublin, in another wonderful and energizing town. I’ll be putting together my notes from the DEAF presentation soon to share.

Ah, the BBC. Their world news sounds like an apocalyptic rave and their inexplicably long-running, trippy strange “children’s” sci-fi show has one of the greatest pieces of synthesized music ever.

I’m running out of ways to say Delia Derbyshire is one of the most brilliant composers ever to use electricity, so let’s just get straight on to the bit where Coldcut show up and hold a big musical party for the Beeb Radiophonic Workshop and do their own kickass remix of Who’s opening titles and sounds. (Making the classic Doctor Who video feedback seem psychedelic? Not really a challenge. And yet these episodes always wound up with wandering around a rock quarry…)

Coldcut were there, the wonderfully-talented Dick Mills and Mark Ayres… sounds delicious. I’m still waiting for the Derbyshire music release, and I think there’s still more that could be done to document the UK’s electronic history — CDM stands at your aid, ye worthy workshop of sound.

BBC Electric Proms 2008: Coldcut
Via Carter Rosenberg’s tumblr and
vdmx co-creator David Lublin’s Twitter

Because it must be done, let us also consider Orbital’s classic remix (thanks, gwenhwyfaer) - provided it doesn’t make you hide behind the sofa:

The Netherlands is already a artistic-technological hotbed, and today (Wed. 29.10) some of their best circuit benders are gathering in one place, including regular favorite of ours Gijs Gieskes. (Gijs made the wonderful, spinning device above, which I missed when it came out — see it on Music thing.)

If you can make it, we’d love a report!

29 oktober ’s-Hertogenbosch (The Netherlands)
Nerdlab (initiative of CBK-Digitale workshop) organises topic evenings in the Verkadefabriek with artists who work on the borders between art, science and physics.
The topic of the first edition is circuit bending.

On this evening the following artists will performing:

Gijs Gieskes+Karl Klomp ( http://gieskes.nl/ - http://www.karlklomp.nl/ )
Rumatov ( http://www.myspace.com/rumatov )
Luc van Weelden ( http://www.lucluc.nl/ )
The Circuit Band ( http://toysfornoise.blogspot.com/ )
DJ DMDN ( http://www.myspace.com/dj_dmdn )

Location: Verkadefabriek - Boschdijkstraat 45

Time: 20:00 till 00:30 free admission

Be there early! Program starts at 20:30

http://www.nerdlab.nl/

Thanks to Martin Verhallen! (Yes, I’m behind, to those of you complaining. Yep, I was traveling / bad wifi / jetlagged!)

In other news: I think it’s nearly Circuit Bending Challenge season again, huh?