The novelty of the iPhone or [your favorite device here] may fade. But part of what matters in mobile design is thinking about how to create interfaces and uses that can scale to the size of your palm. That can mean embracing radical simplicity, and reducing an interactive, digital musical object down to its essential noise-making functions. In acoustic instrument design, that means economizing sound production in a form. In the digital world, it means finding the interactive role you’d want to bring with you onstage, in the length roughly equivalent your fingertips to your wrist.

I’m a few weeks overdue actually writing about it, but one design I really admire is Star6, developed by Jason Forrest and Agile Partners. There are no awkward, gimmicky emulations of hardware interfaces here; it’s clear this was an interface that was illustrated in two-dimensions. It has funky nerdster chic color combos, with neon pink atop wood grain. It demonstrates that, in the space of a grid, you can fit triangles. It makes use of computer wifi capability to easily load samples without mucking around with over-designed clients – or record right on the iPhone. And it’s – surprisingly – one of the few apps to make heavy use of the accelerometer, which means rather than looking like you’re trying to text message someone, you can move it around. There’s a “grain” mode so that you can randomize sounds and not have everything synced all the time. I also enjoy the “reset” button. These are all design decisions that could make sense in more commercial software – and our own home-brewed Max/Pd patches and such, too.

Apparently Agile Partners were also influenced by the brightly-colored, handheld fun of the Buddha Machine, too; see their interview with the creator.

Star6
A lovely lineup of free samples, including the Buddha Machine

It’s not a perfect app (no mobile app really can be – that’s the fun of it), and it doesn’t do everything, but I find Star6’s personality rather irresistible. The real test of all of this is whether you can use it in real music-making. And, while my inbox is full of cheezy bands trying to ride the iPhone wave, I love the offbeat Star6 music launch party from Berlin, as documented in the video below. It ranges from Jason’s own work to Warp Records artist Jackson and ex-Chicks on Speed Kiki Moorse. And there’s a crazy iPhone + banjo + accordion cover of Katy Perry’s “I Kissed a Girl.” There are even some genuinely experimental sounds – not the sort of thing you’d expect at a launch event, sadly. (I wish we could have more of that.)

An Evening With Star6 – Berlin (Compilation) from Star6 on Vimeo.

More on the artists, and some of Star6 creator Jason Forrest’s own unique work:

Jason’s own artistic aesthetic, as seen in this video for “War Photographer,” does have this quirky efficiency to it, the sense of cut-out animation (in both visuals and music, I’d argue), and saturated, rich, retro colors.

The eclectic Berlin launch.

Jackson (Warp, FR)
Kiki Moorse (ex-Chicks On Speed,DE)
Song Band (US)
Jason Forrest (CRD, US)
Guido Mobius (Karaoke Kalk, DE)
Ben Butler & Mousepad (SCT/DE)
DJ’s: Finkobot & Marius Reisser

Jacki Terrasse / Joseph (@ Maria)
An Der Schilling Brücke
10243 Berlin

For more on the artists:
myspace.com/moorse
myspace.com/jacksonand
myspace.com/benbutlerandmousepad
myspace.com/guidomoebius
myspace.com/jason_forrest
myspace.com/songbandmyspace
myspace.com/finckobot
myspace.com/mariusreisser

Video shot by Martin Sulzer
Photos by Marco Macrobi

Complete sets:
Ben Butler and Mousepad
Guido Mobius
Kiki Moorse
Jason Forrest

In the Pocket (Rhodes and Moog Light Paint) from Ethan Goldhammer on Vimeo.

Fantastic, hip, soulful keys couple with brilliant stop-motion editing, as a Moog and Rhodes keyboard are splashed with light painting, in this new music video from Ethan Goldhammer. (See his blog for more.) It’s the perfect example of how a much-seen technique can retain its novelty when used creatively, especially as the sound itself seems to dance in light-up oscilloscope patterns.

Background:

Original music by Ethan Goldhammer and S. Burke.
Time Lapse footage shot in August 2008 on Block Island, RI.
Stop motion and light paint September 2008 in Cambridge, MA.

The lesson here: gear pr0n and special effects work perfectly when they visualize the way we feel about our musical objects and sounds.

Okay, so how did he do it? Ethan responds:

Ableton all the way. Recorded as loops with an [Akai] apc, then arranged later. The secret is also, making the animations, rendering them in [Final Cut Pro] but then WARPING them in ableton to the proper timing and bouncing them back to FCP.

Nicely done. Of course, this is why some audiovisualists have turned to Sony Vegas for Windows – formerly developed by Sonic Foundry, Vegas is actually half audio, half visual software. On the other hand, Live is a comfortable and flexible tool that does many things Vegas can’t.

Ethan also has a beautiful rendering of “Air on a G String,” the second cut from the legendary Switched on Bach. Wendy Carlos, if you’re out there, please don’t stop Ethan; I’d love to see more collaboration instead.

Air on a G String (Oscilliscoped) from Ethan Goldhammer on Vimeo.

BIRDY NAM NAM – THE PARACHUTE ENDING from Steve Scott on Vimeo.

This is the music video you’ve always dreamed of getting when your track gets a music video. It’s been round the Web a few months ago, but I only discovered it today via the lovely 8-bit punk Anamanaguchi (see our interview), on their Twitter feed. It’s like what you worked out when bored in grade school Chemistry class with your best friend who planned to become a comic book artist for a career, scrawled in the margins of your notebook. There’s an evil Egyptian alien sarcophagus shooting what appears to be evil sugar cubes from orbit. There’s a crazy space alien superhero who’s all Shriner and Freemason and gets special powers when he replaces his hand with a vegetable squid … thing. And good triumphs over evil, which is what we all root for. It’s the sort of trippy album art we don’t get any more, but animated.

The animation, creative direction, and concept are by Will Sweeney, who under the name Alakazam Label makes fantastic, far-out illustrations, toys, and animations with edible acid-neon colors, and hamburgers for heads, and organic tendrils like pasta or vines or tentacles wrapped through the dreamscapes. You can see more of Sweeney’s work:

http://alakazamlabel.com/

Steve Scott directed the video, did concept design, and did his own compositing, which shows you he knows his stuff. Scott, based in Australia, has his own brilliantly wonderful stuff.

Birdy Nam Nam are a French DJ crew, cool enough to name drop Peter Sellers references in their actual name. They’re proper turntablists in a world in which that has become a rarity, with the prizes to match. Remix did a good write-up of their work in 2006; the best way to keep up with them now is to follow MySpace and, unfortunately for the world’s other continents, to live in Europe.

Justice did the production, in case that wasn’t evident; the marriage works.

And, seriously, special squid vegetable hands?

Credits:

Will Sweeney – Concept designer and Illustrator
Steve Scott – Director, Concept designer and compositor

James Littlemore – Editor / Compositor
Geoff McDowall – Animator
Ed Willmore – Animator
Roland Edwards – Animator
Dele Nuga – Digital Painter

Lottie Hope – Producer
Dan O’Rourke – Executive Producer

Not To Scale – production

Thanks to Big Active

Theoretically, all of this could have gone on Create Digital Motion, but I love watching a video that makes me feel differently about the music. Having that experience, to me, is what it’s all about.

Note Pad from Charlie North on Vimeo.

This charming music video from Charlie North imagines creating your own simple music controllers with a piece of paper and a marker. (There’s some similarity to M-Audio pieces there, too.) Of course, that raises another question: could this actually be done?

Computer vision isn’t quite intelligent enough to work out automatically what’s going on here, but it seems to me that you could get a little closer. Another alternative would be using conductive ink or graphite to make the drawing itself a sensor. I’m going to leave you to puzzle out the rest.

It’s technically still a holiday weekend here in the U.S. of A., so I’m going to keep with the whimsical inspiration for the rest of the day.

Voltage from Bam Studio on Vimeo.

Oh, sure, it’s all fun and games until your modular robots have a little too much fun and your rig erupts into a fireball.

But then, modular synthesis fans – you understand, nonetheless.

William Paiva sends us his work as one of the animators and writes:

Hi everybody. I’m a reader of both Create Digital Music and Create Digital Motion, and I’ve just uploaded to Vimeo and to YouTube a short animation film about robots and synths. I think you might like it. Reards.

And you have crazy, crazy dreams, man. Brilliant work. Here’s the team:

Directed by:
Filippe Lyra e William Paiva

Produced by:
Barros Melo Animation Studio

Director of photography:
Filippe Lyra e William Paiva

Animation:
Filippe Lyra
William Paiva
Marcio Vieira
Felipe Soares
Leo D.
Tony Farias

Design:
Filippe Lyra
Marcio Vieira
Felipe Soares
William Paiva
Natalia Franca

Illustration:
Filippe Lyra
Marcio Vieira
Felipe Soares
William Paiva
Natalia Franca

Editor(s):
William Paiva
Leo D.
Filippe Lyra

Sound:
William Paiva e Leo D

Music:
William Paiva e Leo D

Just like modular synthesizers, people connect with each other in order to achieve diverse objectives. In Voltage, robots, half-human and half-synthesizer, powered by a huge amount of energy, connect to each other in an electric and chaotic trance.

Be sure to check out William’s blog. [in Portuguese, which may get named as 2009's Language of Awesomeness on CDM.]

We asked to see inside the Ableton Live sets you use in live performance, and you’ve responded with an overwhelming variety of responses. There are plenty of very practical submissions, from beginners and advanced users alike, which should give us a real sense of the ways in which people are playing Live as an instrument. Naturally, there are also some more unusual entries.

At top: Mark Gutierrez has used the Live arrangement grid as a palette for animated pixel art, with 8-bit game characters from Space Invaders and Super Mario Brothers dancing across the screen. At bottom: Manuel Palenque has connected Live to the patching environment and 3D visual tool vvvv for live, animated visuals. (Manuel, maybe you can tell us – do you output those visuals to a screen, or use them as feedback during your set?)

Insane examples, yes, but they do illustrate what’s possible. Videos after the jump.

Keep your Live sets coming. Grab a screenshot or video and send to:

• our Live set Flickr group or
• email to pictures (at) createdigitalmusic.com

Ableton Live 8 bit Space Invaders from mark gutierrez on Vimeo.
TP2 from Manuel Palenque on Vimeo.

As seen in Japanese on Hideyuki Fukasawa’s blog.

Related:

vvvv Adds Music Features; Get Your Synesthesia Patching On, Free on Windows

We hear a lot about remix culture, but what does it actually mean – and does it mean anything? The founders of RemixAmerica.com hope to promote video mash-up as political discourse, by feeding Web denizens clips historical and new and remix, videocasting, and discussion tools. They’re lucky enough to have Sanford and Son and People for the American Way pioneer Norman Lear at their helm, too. We’ve got the story over on Create Digital Motion:

A New Online Community Focuses on Political Video Mashing; Here’s America Gone Psychedelic

I do want to point specifically to the video from Emergency Broadcast Network co-founder Brian Kane, particularly because of the musical score, by out-there electronic maestro David Last of Brooklyn. It’s a remade look at America’s 200th birthday, via animator Vincent Collins, and it illustrates just how important the sound of the remix can be.

Well, that and pulsing pink psychedelic Americana is just the thing for the after-4th of July week and election season here in the US. A good watch, all around.

I believe digital culture is about more than just remixes, and that buzzwords sometimes get ahead of the actual work. But part of what brings back the power of sampling is a return to its roots in political discussion – whatever your point of view may be, making some noise. Got other examples? Got a trippier animated film than the one above? Call them out in comments.

Don’t forget, if you’ve lost track of our visualist sister site, you can subscribe to Create Digital Motion’s feed.

What you’re seeing is actually the user interface for Renoise, an app in a category of music tools called “trackers”, being animated directly. The little characters you’re seeing light up are events in the sequence, so as the sequence plays, so does the animation. (What you’re hearing as the musical background in the video is essentially unrelated, I’m guessing, but it’s nonetheless a wild idea.)

Seems a fitting way to celebrate the latest upgrade to Renoise and its arrival on Linux. making it tri-platform. (Very 2008 thing to be.)

By dodgyrecordings, who has some other good stuff; this entry is from a Beat Battle competition.

See dodgyrecordings.com for more.

Squarely in the “things Ableton Live was not necessarily built to do”: animating visuals, one frame at a time.

Cousin Throckmorton whipped up a retro visual feast of Space Invaders, Pong, and other games classics, using MIDI to step through frames individually.

You can MIDI sequence Live’s locators to jump between frames, thereby giving the effect of animation. Sprites/frames are drawn using blank MIDI clips; unfortunately, the resolution is limited by the Y-axis size, as Live doesn’t allow you to resize that. Live’s skins are somewhat tied to MIDI already, so you can “ride” the skins field to change background colors (it updates on midi notes on(?) Audio track is made of samples of video games, trails effect at end achieved via hacked Live skin. Sets/skins available for you to toy with at my myspace: myspace.com/cousinthrockmorton

Mind you, this is unlikely to shake the visualists on Create Digital Motion from specialized tools for visuals — and you could just as easily (uh, scratch that for far more easily) use MIDI to trigger a visual app. But the work is really incredible, and I think as Live grows in ubiquity, users will increasingly show their Live chops by hacking harder than ever before.

And for the record, this is the same Throckmorton who gave us a ribbon controller made from a drivers’ license, a drum made from a laser, and pennies as drum pads, among others. More MIDI-as-visual-control tips, too:

db3ll Channel

Prescient spam comment: “i am so lonely, i just broke up with my ex” says cutechick90201. Worry not, uh, imaginary cutechick. You’ll be surrounded by boys as you seduce them with the siren song of your drivers’ license.

Thanks, Cousin!

Translation: you jam, eye candy runs in the background. On the Mac, you can even easily assemble whole sets of songs using Rax with Quartz Composer visualizations, as seen here previously.

I’ll be teaching a workshop on some of these basic techniques and interactive animation and video/image processing in general. The workshop will be here in Brooklyn later this month, and I’d like to invite Create Digital Music readers in the area. We’ll focus on Quartz Composer because it’s quite easy to learn, but the techniques will be applicable to other software on both Mac and Windows. The fact that QC integrates so nicely with Rax should make this especially interesting to musicians wanting to add live visuals.

The class runs August 24 through September 12 at 3rd Ward, the Brooklyn studio space and gallery recently featured in the Bushwick Art Projects event. (See a video at Cool Hunting.) Unfortunately, space in New York always costs money to rent and 3rd Ward is a for-profit space, but I can offer a discount:

Create Digital Music and Create Digital Motion readers will get a special discount off membership or workshops in the space:

Enter code PK0806 to receive a 10% discount on a 3-month trial membership or 1 free workshop at 3rd Ward. 3rd Ward is a 20,000 sq. ft. workspace and studio facility for artists & creative professionals, located in East Williamsburg.

Digital Media Classes @ 3rd Ward
More on the class and the discount/membership from Create Digital Motion

If we don’t get enough people registered, we’ll have to cancel, so please forward to anyone interested. Thanks!