Omer Yosha has created a beautiful, elegant interface that uses infrared sensors to control music applications. Touch-free interfaces, of course, date back to the Theremin, but Omer is trying some new things here, creating an invisible matrix of controls in the air. And I love the way the physical object looks. He writes to tell us about the details:

I’m an Interface Design student from the FH Potsdam (near Berlin), i have a musical background, and the idea to create an AirPiano developed as i was playing around with the Arduino board, Processing and some IR sensors in my free time. It was fun controlling MIDI through moving my hands in the air, so i eventually found a way to set it all up in a way that makes sense and that is easy to control.
The concept behind the AirPiano is having a matrix in the air, with virtual keys & faders. The location of each key must be very clear for the user and easily learnt. The AirPiano is therefore only one example of an application that could adopt this concept. Since it is only the first prototype i built, it features at the moment a matrix with 3 layers, 8 keys for each layer. As long as a key is triggered, a note plays and an LED underneath the virtual key turns on (unfortunately it is hard to see it on the videos). The LEDs give the user additional feedback. The device is connected through USB and communicates with the AirPiano Software, which allows the user to assign each key/fader with a Note/Controller number, Channel and Velocity as well as transpose and save/load presets. The AirPiano Software can communicate with any MIDI instrument/sequencer. It is of course a polyphonic controller.
The AirPiano is not only fun to play, it also invites to experiment, to explore endless arrangements and develop new playing techniques. It might be useful for DJ performance, as a music therapy instrument or as a toy.
I’m at the moment trying to look for investors and people that could help me take this idea further. I presented the prototype two months ago in the Hannover Messe and received very good feedback. The concept is protected as a Provisional U.S. Patent Application.

If you can help him, chime in! I’d love to see what develops.

Here it is controlling Ableton Live:

More photos and another video to give you a sense of how this works (it’s particularly clear once you see the software interface):

The world this week lost one of its great musical innovators, Bo Diddley. DIY instrument builders and anyone who enjoys abusing their guitar (or, perhaps, any instrument), you owe a great deal to "the originator." In the service of his unique and powerful expressive imagination, Bo Diddly hacked and attacked guitars, producing for the first time many of the effects we take for granted as part of the guitar language.

And, of course, there was also his signature, rectangular "Twang Machine" guitar, which is just plain brilliant.

I believe the instinct to experiment with sound is the same, whether it’s with acoustic instruments, electronic instruments, DIY creations, or software. So it’s comforting to know that people continue to look for sometimes-bizarre ways of pushing the envelope of what guitars can do. Here’s a sampling.

Virtual Guitar Sounds

One of the wonderful things about software is that it can be used to create combinations that are impossible or difficult in the real world. I talk a little bit this week on our Kore/Komplete minisite about how I like to add simulated Guitar Rig effects to synth sounds, then continue to modify them in the digital space:

Sound Design for Imaginary Instruments: Kore, Guitar Rig [kore.noisepages.com]

As it happens, none other than Keyboard Magazine just did a feature on the relevance of guitar effects to keyboardists and synthesists. Craig Anderton has some terrific tips, plus a spot-on survey of the relative strengths of available packages for different applications. There are some great bargains in there if you’re looking for cheap sets of multi-effects for computer use. You can read the whole article online, free:

Guitar Amp Simulators In Keyboard? [Keyboard Magazine]

Guitar as 8-Bit Instrument

Philadelphia-based artist Animal Style (Joey Mariano) has developed a unique way of making his guitar into an 8-bit, Nintendo-style instrument. Using a custom foot controller and 8-bit fuzz pedal, he feeds his guitar into 8-bit land and triggers pre-programmed chiptune loops programmed in homebrew Game Boy music system Nanoloop, running on a Game Boy Color. That means unlike many Game Boy artists, you’ll never see Joey hunched over the buttons of his game machine; everything is at his feet.

Meta-Harp Guitar + Computer A/V

Derek Bell (known on YouTube for his Ableton Live driver’s license controller and other projects) has been hard at work building the ultimate meta-guitar. Here, his MIDI harp guitar is controlling:

Different patches tuning using touch sensors

Ableton Live’s Sampler as sound source, with Native Instruments’ Guitar Rig 3 for effects

Quartz Composer for visuals, as sequenced in Ableton Live

This is an early demo — he’s now combining this with additional projects for a massive meta-guitar. We should see the results at the music evening we’re hosting at the HOPE hacker conference.

For more on the Guitar Rig 3 hacks, here he is working his way through Guitar Rig presets using onboard MIDI controls on a hacked electric:

Custom Guitar Controls Guitar Rig Directly [kore.noisepages.com]

I think there’s no better way to honor the history of guitar innovation and the memory of the greats than to keep on plugging on whatever it is you’re doing.

Bo Diddly photo (CC) Diego’s sideburns.

Among a generation of new, alternative controllers for music and visuals that have actually made it to market as products, the AudioCubes from Percussa are one of the stand-outs. They’re unquestionably cool on first look, lit with glowing, colored LEDs and moved around wirelessly for control. But that doesn’t necessarily mean you’ll immediately know what to do with them. So, for this hands-on with the cubes, we turn to Peter Nyboer, an A/V performer, Max/MSP guru, and developer for Livid. Peter spent some time and gives us a look inside his brain as he works out what potential the cubes might have. -PK

I first saw the Percussa AudioCubes at NAMM a couple of years ago.  As it was colorful, and clearly off the beaten track, I was immediately interested in this unusual controller for music.  I started to chat with creator Bert Schiettecatte, and learned that these had native Max support, and worked in all sorts of different modes, and could process audio, and change color, and worked wirelessly, but also connected to USB, and… well, all sorts of odd interactions were possible, that much was clear.

I finally got a chance to try them out, receiving a set of four cubes from Peter Kirn on a cold, sunny day in New Jersey.  My initial goal was to get to know them, and, as developer for Livid Instruments, see about making Livid Union and Cell "cube native". 

I unpacked the cubes from their handsome glossy black box, and got them hooked up to my computer, and went through the tutorials.  I opened the MIDI Bridge software and the supplied Ableton Live set. The tutorials are good, though it didn’t mention that Live was receiving, oddly enough, on channel 14 (this will be fixed in the next manual revision).  Once I got the MIDI Bridge sending on the right channel, I was ready to try out some suggested uses.

Here’s a video demonstrating the basics of using the cubes to trigger samples in Live….

Percussa Cubes basics from Livid Instruments on Vimeo.

"DIY project" may conjure up images of something hacked-together and rustic, but then you see projects like this one from William "Logo." Cheap-looking, mass-produced controllers, begone — behold the luxury US$400 and some construction talent can produce!

Logo shares the project on EM411:

After being dissatisfied with a dozen or so controllers, and due to the lack of quality affordable DJ mixer style ones on the market, I bit the bullet and went the DIY route. Overall it cost around $400 to make (it would of been about $300 if I didn’t make several ordering mistakes and splurge on super nice faders). It was by far the largest electronics project I’ve taken on and have the scars to prove it (aka I wanted to throw it out the window several times). Painful but worth it. I’ve never felt anything so damn hefty. It consists of 16 knobs, 5 faders, 16 arcade buttons, and 32 MIDI controlled LED buttons.
I plan on using it primarily for "crazy" 4 channel chopped up DJ sets in Live and simple sets in Traktor. I’m also in the midst of making some simple step sequencers for it in Max to take advantage of the fancy led buttons.

And, of course, having a controller no one else does? Priceless.

This project makes use of the popular MIDIBox project, but we’re also expecting solutions soon based on Livid’s MIDI DIY control board. Which you choose comes down to the configuration you want, but we’ll have more details on the MIDI DIY soon.

More photos (including electronics pr0n shots of the innards), including those above, at William’s set on Flickr:

MIDIBox

Previously, also featuring increasingly-popular arcade buttons:

All-Arcade Ableton Live Controller, DIY Hardware by The Prevolt

While we’re having a weekend of Live tutorials, here’s another one for you, this time using your iPhone / iPod touch. Now, I’m not sure I’d want to do a whole set like this, necessarily — but here’s a thought: you could use this to do some sound checks out in the house instead of stuck behind your laptop listening through monitors. I’m sure there are other applications, as well. Enjoy!

The secret ingredient this time is i3L (pronounced “eye thrill”), the MIDI bridge app from VJ superstar group artificial eyes out of Turkey. They note that Mexican audiovisual collective Nortec are also making use of i3L (for video triggering).

See our iPhone/iPod touch music tool round-up from earlier this week for other goodies to load up on your device. To me, the iPod touch is the real bargain here; it’s going for under US$300, with used/refurb models going for a bit less — especially given you don’t need a mobile phone contract. Now if only there were a hard drive model…

Our friend Gustavo Bravetti is back with more Ableton Live tutorials. Looks like good fodder for working on some music making this weekend — especially if you’re not familiar with some of these techniques.

First up: cascading follow actions can break up endless looping repetition by triggering complex patterns. Gustavo throws in some "dummy clips" or "ghost clips" for adding additional automation.

Next, if you followed Gustavo’s bass drum tutorial with Operator and want to follow it up with some snares (and resonance), have a look at this:

More details at Gustavo’s iproducer column.

By the way, to anyone who wanted more "advanced" tutorials (or more beginning, for that matter — it’s all relative) — feel free to send us requests. Now I’m sort of intrigued by synthesizing drums; I’ve been chatting with a couple of our contributors here about Native Instruments’ FM8. The whole beauty of Operator is its simplicity, but maybe we should see if we can make an FM8 kit, as well. (And you’re not restricted to using Ableton’s own instruments in the Live Drum Rack, either.)

If you make stuff this weekend, or find tips of your own, let us know!

Ableton announced that they’d be doing an orchestral sample library — called, logically enough, the Orchestral Instrument Collection — way back when Live Suite came out last year. But Orchestral Instruments actually didn’t ship then. As of this week, it is shipping.

You can buy the whole library for US$599, or you can pick up sections a la carte for $189 (or, oddly, $159 for Orchestral Percussion). Like the Essential Instruments Collection, the samples come from SONiVOX, with high-fidelity and low-fidelity (read: lightweight for performance) versions. There’s also something new called "SmartPriming" for system resources. I haven’t yet gotten my hands on this, so I can’t comment yet; obviously, it comes down to how important Live integration is to you, or whether you’d prefer a third-party orchestral library.

The a la carte sections, though, makes me think of Garrison Keillor’s Young Person’s Guide to the Orchestra skit. (It’s Classical Music humor. My apologies.) One way to choose sections: think about which God would want you to buy. Excerpt:

But for a Lutheran who feels led to play in an orchestra, the first question must be: are you kidding? An orchestra? Are you sure this is what you want? Do you know what you are getting into? Opera. Is that anyplace for a Christian? Don Juan and Mephistopheles and Wagner and all his pagan goddesses hooting and hollering, and the immorality — I mean, is anybody in opera married?

Not to give away the punchline, but not surprisingly harps and percussion (think about the patience required to be an orchestral percussionist) win out, so that could theoretically guide your purchase decision here. Just remember:

The French Horn takes too much of a person’s life. French horn players hardly have time to marry and have children. The French horn is practically a religion all by itself.

Software is different, of course. A Young Lutheran’s Guide to Music Software, anyone?

Since this week has become Unplanned Unofficial Vinyl Week, I might as well keep going. Vinyl with printed timecode is just one path. Here are two examples (one recent, one upcoming) of products that have found other means of connecting digital sound to the turntable. If a product like Traktor Scratch or Serato Scratch Live represent the maturation of the integrated vinyl + hardware + software solution, these two tools virtualize the turntable experience in other ways. And they demonstrate just how much control technology can change in music, turntable or no.

The Numark X2, above, as pointed out by beatfix in comments, is a hybrid of two approaches. It’s a conventional turntable (meaning you can actually hook it up to an amp and hear something, which isn’t the case with timecode-encoded vinyl). But it also uses the turntable to manipulate an MP3 CD. Now, obviously, Numark has missed the obvious next step: why not transmit control data to a computer instead of a CD? The X2, with a street well below US$1000, isn’t new; it’s been around a couple of years. But I’m still waiting for the concept to be applied to a computer output. (Anyone?)

In the opposite direction, the Stanton Control System, unveiled at NAMM in January and due to ship in June, does away with the turntable. The deck, the SCS.1d, simulates the feel of a turntable with a high-torque motorized platter and even a motorized pitch fader. Personally, I love this — and think it could be a sign of other, non-DJ controllers with tactile feedback. (You heard it here first. Uh … but I do expect that to take a while, as tactile control design is hard.)

Updated: Let me sum this up. Ableton may or may not have a vocoder in the works (signs actually do point to yes on that). The best part of this story is the remixed “no one needs a vocoder” video, which encapsulates electronic music’s current love/hate/cliche relationship with the thing. And other than that, there’s a lot of me talking without really have any idea what I’m talking about — which is why I usually don’t post on Sundays. Doh. Just watch the video / sample it in your next Live set.

I haven’t necessarily been following Live’s forums lately, but apparently one of the hot-button issues lately was a rumored "secret" vocoder in a future build of Ableton Live. The myth goes something like this: a camera crew doing a behind-the-scenes look at Ableton’s Berlin office accidentally captures a brief moment in which an unreleased vocoder appears in the bottom part of the screen. I’ve been hearing buzz about this for weeks, but Garret Collins is the latest.

I actually really recommend the Inside Ableton MusoTalk video (German); it’s a great little feature. But, of course, the hint of something new in Live has now upstaged that original video.

Live fans go even further, so that the Vocoder — hang on, it’d need a simpler Ableton-y name, like … uh … Carrier or Encoder — is part of a massive conspiracy by which Ableton keeps you from getting the bezier-curve envelopes you really want. (Side note: I prefer Catmull splines, myself.) And it turns out David Zicarelli was on the grassy knoll working for the CIA, or something. (Another side note: I just got to link to Geocities! And it’s still running!)

It seems zany, but then this is the week when the mainstream computer tech blogosphere is speculating about the likelihood of Microsoft switching to spherical interfaces. (Look out, Apple "i"! And will that get people high, like the sphere in Woody Allen’s Sleeper?)

No One Needs a Vocoder - Henke

Okay, I digress. The really amazing thing is this comes up today, again, when shortly after the original video was widely debunked earlier this year. Here’s the problem: just a few days after the video, Ableton co-founder Robert Henke had this to say about vocoders — hilariously:

Digital turntablism is nothing new. But Ammobox, debuted at the first-ever CDM Futuristic Music Design Challenge, is unique in a number of ways. What creator Nathan Ramella has done differently:

1. He’s demystified digital vinyl timecode. With no previous DSP programming experience, Nathan created his own custom tool for reading vinyl timecode — and explains how he did it.

2. He’s changed the rules of scratching — it’s now polyphonic scratching. As Nathan puts it, "You get a polyphonic sampler that can layer multiple samples at the same time and scratch them all simultaneously." Yep: no more does digital vinyl simply replicate what records do normally. Here, it actually works as a digital instrument, manipulating layers of samples as you go. Check it out running in Ableton Live as a demo at top, though other hosts could work, as well, if you prefer.

3. He’s giving everything away. You’ll need some vinyl, and because the sonic wonders are all built in Reaktor, you’ll need a copy of NI’s modular mad science lab. But the ensemble itself is released under the GPL v2, which could make it a great way to learn more of the mysteries of Reaktor.

Official Ammobox Page

Download the library, free [ Direct Link ], or head to the rabbit hole that is NI’s User Library

Clarification: I should add that part of what makes Ammobox cool is actually that Nathan’s doing the timecode decoding the "wrong" way. Normally, a timecode system like Ms. Pinky or Traktor Scratch reads speed, direction, and absolute position. Position is the hard part, and the part that’s dependent on sophisticated error correction. What’s clever here is not that AmmoBox is likely to replace those systems (that’s not the point), but that by breaking the rules of how you’re supposed to do digital vinyl, Nathan’s created something different and expressive.

Nathan describes the system in greater detail: