Amidst some of the gimmicky options, some serious tools are making their way to Apple’s mobile platform. Case in point: Faber Acoustical, a developer of audio analysis and acoustical tools for the Mac, has new iPhone apps for generating and analyzing signals.

SignalScope is a real-time spectrum analyzer and oscilloscope. Interestingly, it’s not just for sound – you can even analyze signal from the built-in accelerometer. That should make this a prized educational tool. You can zoom in and pan analysis displays with multi-touch gestures and save images to the iPhone photo album. US$24.99.

SignalSuite is a signal generator with basic waveforms, session saving, and per-channel left/right control. “Suite” is a bit misleading, as it’s just one app. (Well, I guess it’s a suite of waveforms.) But it should be useful for testing purposes. US$9.99.

Faber Acoustical iPhone Products

Thanks to Tommy Birchett for the tip. He writes, “I’d love to see a synth that takes advantage of the iphone’s multi-touch and motion detection for changing frequency, amplitude, pan, etc. maybe even utilize the GPS somehow.” I agree – and if we see better sound synthesis capabilities on other mobile devices (Android, perhaps?), this could be a possibility on mobile platforms in general.

We did see one accelerometer-controlled synth in the form of iPhone Synth, as spotted in our iPhone round-up. That isn’t an official App Store app (yet, at least), but it’ll be interesting to see how it evolves.

In other news of “serious apps,” on Create Digital Motion we take a first look at a DMX controller for lighting rigs and other devices. It’s really a full-blown app, with a price to match — US$99.99.

Luminair: Gorgeous DMX Controller on iPhone, iPod Touch Runs Your Rocking Light Show

Matrixsynth points to this gem, from the US educational kids’ program 3-2-1 Contact, produced by Children’s Television Workshop. (I can’t think of any science programs today for young people quite like it, sadly. Ordinarily I’d hold off for Matrix’s wonderful Week in Synths, but I just can’t wait on this one. Good Sunday evening watching.)

Suzanne Ciani, the synthesis pioneer, multi-Grammy nominee, and composer of everything from New Age music to classic 70s jingles and sound effects (including the distinctive synthesized Coke-unbottling sound), explains the fundamentals of acoustics and synthesis in terms children could understand:

A Prophet figures prominently, but other than that it’s almost an all-Buchla show. She’s a virtuoso at patching a Buchla patch. And between her and the host, I guarantee you’ll be extremely calm within the first few seconds.

For many of us, our studio and our home are one and the same. The speakers we use to monitor mixes are the ones we use for rehearsals, improvisations, and casual listening. I first got interested in the Anthony Gallo A’Diva series speakers partly because I’ve long admired Gallo’s home speaker products, but also because the Gallos seemed to be comfortable walking this home/studio line.

Normally, engineers steer far clear of home audio equipment when it comes to monitoring. But producer Neal Pogue has been using the A’Diva speakers for just that, including five songs on the new Stevie Wonder album, and projects for Nelly Furtado, Indie Ari, Earth Wind and Fire, and Outkast. (See studioexpresso profile, or a 2004 interview in Electronic Musician for more about Pogue’s production background.) That’s pretty unusual for speakers aimed at the home market.

Having lived with a 2.1 set of the A’Diva Ti satellites for a while, I’m impressed, as well. The sound is uncolored and clear, with really gorgeous high-frequency definition. It makes these speakers sound both much larger than they are (you can fit them in your hand), and much more expensive. (They run just over US$200 a speaker, but you could easily fool someone into thinking they went for more.) That could make these ideal for complementing your existing set of monitors. I got to talk to Anthony Gallo, the speaker’s creator, about his background and, most importantly, why the speakers are spherical in the first place.

We hear lots of discussion of how to make better digital instruments. But to fully understand instrument design, it’s often best to look at instruments from around the world that have evolved over centuries. (Hey, these synthesizers and such, by comparison, are mere infants.)

Here’s a fantastically virtuostic performance from 11 year-old Sirena Huang, via June Cohen on the TEDtalks blog. Following the music, she discusses in frank terms why the instrument is such a timeless design. She’s got a smart audience for such thoughts: the performance comes from the Technology, Entertainment, Design conference, a legendary gathering of “thinkers and doers”. And while Sirena feigns surprise that her violin would be included with “real” technology like an iPod, I think she recognizes the violin is the better design by far.

Embedding their videos doesn’t seem to work, so I suggest checking out the story directly:

Sirena Huang on TEDTalks [Video links and comments, TEDblog]

Thanks to our friend Matrix of Matrixsynth fame for this. The TEDblog has plenty of other music coverage, including a similarly virtuostic video of pianist Jennifer Lin, not to mention lots of other general cool tech and non-tech topics.

Notably, on the topic of violins, the blog has a mini review of the book Stradivari’s Genius by Tony Faber, exploring the history of the most famous of violins.

Will digital instruments ever match an instrument like the violin? I tend to look at it the other way: watching a great performance is as much about the player as it is the design of the instrument. Practice your favorite digital instrument for a lifetime, and see what happens. And keep in mind that “easier” isn’t always better. A violin is anything but intuitive, and sounds awful when you first play it.