Yes, it’s that gift-y time of year again, which naturally means among lovers of music technology, thoughts turn to gear wishes and dreams of new hardware. We’ve asked in the past what readers want in their stockings and presents – and, just as interestingly, what they’d give to others. And you’ve come up with fascinating ideas.

This year, I’ll frame the question a bit differently: what, beyond the usual suspects, would you love to have? Books or music collections? Handmade or boutique items? Unique tools and toys that’d help you be creative? And what would you give to others – perhaps out of the gifts you’ve given yourself this year? (Music lessons, for instance?)

We’ll again pull together those ideas for next week. And we’re also looking through the best music of the year. Given the lavish presentation music itself often now has – far from disposable digital downloads, gorgeous vinyl records and limited-edition prints and books and design objects – I imagine those two questions might well merge.

Nor does this has to be raw consumerism: the best gifts, to me, can start a life-long love of music or be an object that embodies a connection to another person. If ever we, the music tech press, may just encourage endless throwaway purchases, I think it’s also our obligation as journalists to find the tools (free or pricey) that will make you musically productive and that you’ll value over a long time. (If you think that we lack that motivation, by the way, you’ve never been buried under a stack of review hardware. Ahem.)

But before I open my own mouth, I’d love to hear what you’re thinking – or what gap we might fill. Fire away.

And if this seems like “filler,” on the contrary, I know from past experience sometimes it’s what gets written in comments that I enjoy the most.

But whether you’re in the US or in one of the many other parts of the world where we count readers, let’s pause to consider what makes us thankful.

I’m immensely thankful to have the opportunity to make music. I find it’s always worth reminding myself of that, and reminding to fight for the time to do it, to keep myself sane. Highlights for me so far in 2011: playing a friend’s grand piano in Brooklyn on a wintry-feeling March day (the samples of which make up the performance Saturday), spending Hurricane Irene jamming on a Mono/Poly with King Britt and Rucyl Mills, firing up Pd and getting lost in granular samples on a gray day in Berlin, assembling a track in Reason or Ableton in a hotel room… these are the sort of moments where, all at once, you find under almost any circumstances you can reclaim your sense of center and happiness, and give everything else clarity.

I’m also, and I don’t get to say this enough, unbelievably thankful for the readers of this site and some of the print projects I do. As a professional writer, writing is not a claimed right, but a privilege granted at the pleasure of your readership. Then, on this site, I get the gift of being able to see the inventions and expressions of people around the world. And yes, even getting criticisms and hearing people argue with what I say is a terrific motivator, one I don’t take for granted, especially when print writing remains largely without feedback. For me as a musician, it’s come to be part of who I am – not only my personal output, but all this input, having the chance to write about what’s happening. It doesn’t conflict with being a musician; it’s an essential element of that process for me.

I’m so grateful, in fact, for these two things, that I feel I can always do more.

And more is coming. I’m thankful that after a lot of work behind the scenes, there are new possibilities that lie ahead to expand upon what CDM does. And yes, as some readers or residents of Berlin have worked out, I’ve personally for the last few weeks been in the capital of Germany and not the city of New York. You may also have met Marsha Vdovin, who came onboard earlier this year as Business Development Manager and who has already moved forward what CDM can do and how it can grow.

Also, as of this morning, delays suffered by our open source MeeBlip project are at last coming to a close, beginning with new shipments of the MeeBlip micro and all-new firmware for all models, available now on GitHub. (We’ll have a full update on the MeeBlip project next week, as everyone gets back from the holiday.)

Most importantly, I’m working now on plans to completely rebuild Create Digital Noise and give readers and like-minded artists the community they deserved, instead of the failed experiment we got. If you’re interested in being part of that conversation, get in touch; otherwise, more on that very soon.

But it’s those things for which I’m thankful that motivate all of this. And I’m thankful, as always, not so much for what lies in the past or somewhere off in the future, but what is halfway-done and in process, partway through the story, which is where I find the really good stuff lies. In that spirit, here’s a documentary that deals with the notion of delivering in beta, and getting things out the door – something that goes as much for music as it does for inventions, I think. (As it happens, director Gabriel Shalom and photo editor/titler Patrizia Kommerell are sitting next to me in a hotel lobby as I write this.)

What are you thankful for? Let us know – or have a look at ten music technologies I gave thanks for last year.

We’ve followed open source hardware – and generally hardware that is more open to user customization and modification – on this site since the beginning. As I prepare for a talk on the MeeBlip at Berlin’s Create Art & Technology Conference, though, I think it’s time to do a proper survey of the hardware that’s out there.

The ability to modify music gear is something that’s important to a lot of people as musicians. It means the ability to learn how the technology we use works, and therefore to have a deeper musical and compositional understanding of it. And it can mean the ability to make music hardware more expressive of your sonic imagination and creative ideas. Finally, it adds an additional avenue through which you can share your understanding and use and modification of musical instruments with other people.

Explanation below, or just skip to the survey, or live event in Berlin.

A Spectrum of “Open” in Music Gear

Even proprietary hardware can become more “open” in the general sense. In the early days of synths, it was commonplace to include detailed specifications and even circuit diagrams. That arguably furthered the evolution of music gear, as knowledge was shared, and it certainly allowed more advanced users to better understand how that gear worked. We’ve seen a subtle return to those days, with examples like Korg’s Monotron and MonoTribe hardware, for which the company released schematics.

The viral, revolutionary spread of the monome design owes in part a community built around modification, access to critical schematics, and some open sourced software which the community took and modified. The monome, however, focuses on a fully open-source protocol and availability to schematics. Those schematics are not free for use in your own creations, which has sometimes caused friction as makers sell modified or homebrewed variants of the monome. On the other hand, many in the monome community value the handcrafted original hardware and don’t particularly want “clones” and the like, and have found the available information more than enough to fuel their musical needs.

Open Source Hardware goes further, by placing everything under a license that makes it free for use. This would include the software (either running on the device, on an attached computer, or both), the schematics of the design, and even visual elements of the design, as well as the documentation. Projects that give their users the most freedom to work with any modifications they make also allow for unfettered commercial use; that is, you don’t have to worry if you sell a few, or even many, if you run afoul of the project’s original creators. Without going into the debate for or against such an approach, if this kind of sharing is your goal, then it follows it will important for you to make that freedom explicit. This sort of explicit use is also what is described in the Open Source Hardware definition, which our MeeBlip project has adopted because we feel the project and definition fit one another.

Note that there’s a very real debate about whether the ideals of free software are applicable to open source hardware. There’s no debating it’s an apples-to-oranges comparison: copying hardware means physically manufacturing something. (I’m surprised to see, in German, the use of the term Freie Hardware, which has generally been avoided in English. See also the Open Source Hardware and Design Alliance, which goes beyond some of these specific – and possibly not-really-applicable – licenses.)

I’ll say this: I think adding in the issues of economics, materials, sustainability, local manufacture, labor, distribution, and international trade make this question more compelling for discussion. It’s messier than software, yes – but given that all software relies on hardware on which to run, dealing with these messy and often demanding questions means engaging more of the many dimensions in which technology interacts with economics.

Resources:
Open Source Hardware (OSHW) definition / principles
Business models for Open Hardware
Amusingly, the MeeBlip continues flying under the radar as an open source hardware project, but once we actually get our shipping picture in place over the next couple of weeks, maybe we can work on that.

Let’s See the Gear!

But first, we just need to find out what’s out there. And that’s where you come in. If you’ve got a project, or use a project, or just know about a project, let us know. If it’s your own project – especially if you feel we’ve ignored you in the past (trust me, you don’t want to see my inbox or brain) – now’s your chance to tell us about it.

Because it’s the narrowest and most sharply-defined category, I’m most interested in those projects that fit the Open Source Hardware definition – not for philosophical reasons so much as taxonomic ones. But other projects are welcome, too; I’d like to hear about them.

About that MeeBlip…

And we’ll have the first of a series of updates on the MeeBlip project later this week. (The new SE and micro projects, and updated firmware, as well as vastly-expanded documentation, are all due soon, held up only by international shipping, weather, and illness challenges I’ll describe later.)

In the meantime, fire away.

Or Talk in Person!

If you’re in Berlin, this weekend join some terrific discussions on creativity, technology, and DIY, including my talk on the MeeBlip, lots of talks on hardware design and prototyping (including for beginners), and projects like the fantastic libmonome. And if you see me, say hi! (My talk is Sunday morning.)

http://createartandtechnology.de/

Survey

Direct link to Google Docs survey (login not required)

Topic:
musis

Message:
i need pad

Okay. Guess you do.

Topic:
Cassette tapes

Message:

I am having a “clear out ” at home and have several music cassettes
What can I do with them.?? Includes, some Elvis, Christmas
collections,Richard Rogers musicals,Andrew LLoyd Webber

If you have some solutions you’d like to suggest to these folks, let us know and we’ll pass them on.

Electronic music has always had a funny relationship with musicianship. It isn’t playing a traditional instrument; instead, it lies somewhere between instrumentalism and composition, between playing and conducting. Sometimes, that scale is tipped away from virtuosity of any kind.

But lately, I’ve had an increasing number of conversations with people who make the tools with which we make music about what this all means. I’ll be able to share one of those conversations in a bit, but I’m curious to hear what readers think.

Computers are fairly open-ended devices, so let’s take the familiar drum machine. What constitutes virtuosity? We’ve seen showy videos on YouTube – indeed, the presence of a community like YouTube is an invitation for challenge-style oneupmanship from drum machinists. But there are many forms of technical skill in live performance, some showier than others. At what point does a drum machine performance become musical performance? What elements, specifically, allow that to happen?

What examples have inspired you? (YouTube videos here.) How have you resolved these challenges in your own work? Or have you resolved it? I’ll leave that question with you over the weekend. Have a good one.

Next week I’ll have another take on this question, as well; stay tuned.

After seeing Dave Cross’ post on showmanship, I will editorialize just in regards to the question:

Musicianship has only recently become primarily concerned with whether people are watching. In fact, most musical traditions from Balinese wedding music to music for religious purposes to dance music (square dance? tango?) isn’t necessarily watched intently. I would also question just how entertaining it is to watch musicians even in the classical tradition. Expression it seems may be more complex than what you see, coming down to whether on an emotional, physical level there’s a connection between what you’re doing and what’s heard, whether anyone is watching or not. (And since virtuosity requires endless practice, by definition, a lot of it is something you do alone – so you’d better be comfortable without an audience at least some of the time.) I’m curious to see if others agree and if that tempers your answer.

As the inevitable “best music of 2010″ arrive, so, too, do complaints. Why are the lists the same? Why is an obvious choice overlooked? Why is a less-known choice overlooked?

So, it’s time again for readers to discuss. What was your favorite music of 2010? Mixes, albums, singles? Unless your favorite was recorded entirely to tape, nearly any genre and instrumentation has gone through the filter of digital recording, mixing, and mastering. Almost anything might be said, rightfully, to qualify as digital music. What were the albums that inspired you, sonically, compositionally? What were your favorite performances?

In particular, I hear regular complaints, even from people who develop music software, that electronic music lacks the element of human musical performance. Even without the criterion of virtuosity, what music challenged you? Obvious choices from major labels should not be overlooked, but so, too, should unknown netlabels and Creative Commons recordings.

Let us know, and wherever possible, do include a link to the music. You can also use our Google form below if you’d rather not just discuss, unstructured, in comments.

Direct link to the form

See also our call for the Best Music of 2010 on our sister site.

We’ll celebrate the New Year with a round-up of a few of your choices and editorial choices to go with it. Also, I hope we can get input from some record shops and curators, so if you’re in that capacity, do get in touch. It’s always a nice way to spend January, revisiting the best music of the previous year.

We users may sometimes gripe, but music technology gives us an impossibly wide variety for which to be thankful. From free (as in beer, as in freedom) to high-end and spendy, from software plug-in to acoustic instrument to solid-state electronics to toy, you’d run out of time and money long before you ran out of exceptional, music-inspiring choices. I think the passion people feel for music is the cause: economics and logic be damned, we’re all glad to make music part of our life, both as makers and consumers. Tools aren’t everything – it can be hugely helpful to do more with less, to impose restrictions. But that means the tools we do choose can be invaluable.

Now, normally “gift guides” tend to pick items you’d rarely buy as a gift. So, speaking of restrictions, this year I’m imposing a price limit: $200 maximum, meaning the kinds of things you actually would buy as gifts. (There are many worthy items above $200, but I’m assuming anyone spending more than that already has made up their minds.) And, we went to you, the readers, to tip us off on the items that mattered. Pulling those together with some of my own selections, here are a few current tools that have some real musical value, whether you’re giving or receiving.

There’s plenty that didn’t make the cut in this lineup, including some products we talk about a lot. Think of this as a tightly-curated list, one on which I tried to leave things out. We even get some great picks under twenty bucks, and a few surprises. Have a look…

Software

Reaper

Cockos
reaper.fm
US$60 ($150 commercial); $40 limited-time deal gets upgrades through 4.99 if you purchase this month
Recommended by: John Townsend

Also consider: “light” versions of tools like Logic, Pro Tools, Ableton Live, SONAR, Cubase, etc., if someone on your list has a specific preference

With Windows, Mac, and (WINE) Linux compatibility, no DRM, a clean interface, and a supportive community, Reaper is a general-purpose music production tool you can feel confident giving or receiving. You can even use it to author Rock Band Network content, meaning you can give it to a musician who has everything and they’ll still appreciate it. And the pricing here isn’t a cut-down limited version; it’s the whole enchilada. It’s a gift that’ll keep on giving: buy version 3, get versions 4 (teased last week) through 5.99 free.

Renoise

Eduard Müller (Taktik)
renoise.com
US$77.51
Recommended anonymously

Geeky but approachable, retro-fun but modern and housebroken, extensible — all the stuff we value here on CDM. With support for Mac, Windows, and (native) Linux, Renoise is a good gift to give or receive for someone wanting a different approach to music.

The Mouth

Native Instruments
native-instruments.com
US$79
Recommended by Flick

Mic input and vocals get their due in Tim Exile’s superb Reaktor-based instrument. Whether you use it as a vocoder, a melody generator, a unique effect on percussion, or to perform far-out vocals live, it’s a terrific example of where musical design can go. As contributor Flick puts it, “I could go on, but Mr. Exile does it better than I could.”

Korg Legacy Collection Instruments

Korg
korguser.net/shop/software/
US$49.99 each

So, you’re not winning that eBay bidding war, and there’s no more room for more gear, anyway. Korg’s Legacy Collection Instruments are faithfully-reproduced versions of legendary synths like the Polysix and Mono/Poly. And while the MS-20 has inspired iPad and DS apps, it’s tough to beat the convenience of dropping one of these as a plug-in. At $50, pick out one and install it – any one of them could be a favorite synth. (There are even digital options like the M1 and Wavestation.) In an era of enormous bundles, it’s nice to have instruments you can really spend some time with.

Tattoo

Audio Damage
audiodamage.com
US$79

A darned-near perfect drum instrument, Tattoo has an elegant, clear interface, smart sync modes, X0X-style synthesis or MIDI out to any instrument you want, and integrated sequencing. It’s got deep routing options, but unlike a lot of all-in-one drum machines, it’s not overwhelming – making an ideal gift. And, of course, it runs in any host.

pure:dyne

http://puredyne.org/download.html
EUR23-26 (including shipping, worldwide), or use your own key
Recommended by Kim Cascone

Loaded with free and open source tools, this is about as much software as you can pack into this price or amount of memory. It’s “a USB stick you can boot from that contains all the software anyone would need to make electronic music,” says Kim. If you’re curious about experimenting with free tools, from Processing to Pd to Ardour, this is an easy way to do it without any hassle, on any machine, even if you’re a Linux newcomer. You can get it preloaded onto a USB key, or go out and get some funky USB stick (Mimobot, anyone?) and load it yourself.

Electronics and Gear

monotron

Korg
US$59
korg.com/monotron
Recommended by Andy Foltz

“It’s like a toy, and it’s like a synth. With cool filters,” says Andy. The monotron is an elegant, tiny synth with ribbon input and simplified controls. But it’s not dull: the classic analog Korg filter and spectacular sound make it a pocketable instrument. There’s a modder community out there, but in a way, the fact that it’s so minimal is the appeal. It might even inspire a whole EP.

Nebulophone

Bleep Labs
bleeplabs.com/nebulophone
$55 ($80 built)

The Nebulophone is a great beginner kit / stocking stuffer, a bit like having an Arduino-powered DIY stylophone (complete with stylus control). Nice features like a light-controlled filter, arpeggiator, and multiple waveforms make it good fun to play. There’s also easy-to-read, modifiable Arduino code for those who want it. You can even sync this by infrared. If you don’t mind the lack of a case, that might help the Nebulophone trump the (also excellent) Korg Monotron. And it’s weirder – in a good way.

MeeBlip: The hackable digital synth – SOUND DEMO by cdm

MeeBlip

Reflex Audio and Create Digital Music
meeblip.noisepages.com
$129

I have to put the MeeBlip here, because it’s a project I believe in and have worked on: it’s an open source synth you can modify, hack, and play. We’ll be doing a lot more with this in January and throughout 2011. The quick-build version doesn’t require any soldering or knowledge of code; just plug it in and play. Unfortunately, while the kits should still ship in time if you order now, the quick build we can’t ship before Christmas 2010 (unless you live in Canada, in which case you might well get it in time); estimating shipping by December 17 based on current backorders. (MeeBlip is made in Canada.) Current backorders will ship first, if you’ve already ordered one. But if you’re willing to give yourself a New Years’ Gift / Orthodox Christmas Gift / celebrate my birthday in January, you’re good.

DA5 Amplifier

VOX
voxamps.com/da5/
US$139 street

It’s tiny, easy to lift, and powered by batteries. But the DA5 is also loud and sounds much better than a $140 amp should. It’s the perfect answer to all those times when you wish you had an amp and didn’t. Heck, laptop users could even get two and go stereo. It even comes with some surprisingly-usable effects and plenty of I/O. For would-be buskers or mobile musicians, couple this with an instrument with battery power (yes, even your laptop), and you can make noise anywhere.

Tascam DR, Zoom H Series Mobiles

tascam.com
samsontech.com (Zoom)
Street US$100 and up

All under $200, both Tascam and Zoom have exceptional mobile recorders that have plenty to recommend them. Starting at US$100, you can get a Tascam DR-03 with pitch control and looping to help you transcribe and practice, or a Zoom H1 with broadcast WAV compatibility. Spend a few dollars more for extra features and improved quality. Quick buying advice: for $100, grab the Tascam if you care more about pitch control, the Zoom if you need a tripod stand. For $200, you add a bit more bulk to offerings from each company; choose the Zoom if you want something that doubles as a USB mic. There’s a tie here because they’re all great options and great gifts.

By the way, I like the idea of recording with an iPhone or iPod touch, but there are some serious counts against those options. Mic accessories aren’t guaranteed to be compatible one generation to another, you have your battery to worry about (since it may also be your phone), quality options are more limited, and the price of a mic attachment often rivals the cost of a mobile recorder. And the mobile recorder has removable memory.

Ucreate Music

Mattel (really)
myucreate.com
Street US$20
Suggested by Nate

Would you believe you might want a $20 toy in your studio? Nate explains: “The Ucreate Music is a little effect box/sampler designed for kids in mind, but it has some really killer features and effects that are useful in all genres of music. It has a built-in mic for recording some samples (albeit the sample length is not very long, and only at 8 bit quality), it allows for connection of an external mic or any other sound gear (via a 1/4 inch stereo jack). It has 8 different effects that are controllable by a cool, lit up ball shaped XY controller. These effects are killer, and the real time manipulation it gives you is awesome. It has lowpass filters, delay, flanger, phaser a pitch looper and my favorite a looper with loop time, repeat and forwards or reverse controlled by the xy thingy! You can glitch, stutter and get all your favorite BT-style effects with this little box. It is really affordable (I bought 2 for separate stereo processing) and easily hackable, great for any CDM reader.”

Pedals

Pedals get a special category, because whatever instrument you play, they can be a terrific deal and a perfect gift (when most useful hardware sets you back far more than $200). You can use them as effects with your computer, netbook, iPad, synth, guitar, bass, electric violin – anything. There are loads of fantastic options here, but here are a couple of favorites.

BOSS Pedals

BOSS
bossus.com
Varies; various with street of $200 or less

Even with ridiculously-powerful computer software and phones that can do DSP, sometimes you need to be able to stomp on your tools. (And you probably don’t want to stomp on your iPhone.) Enter BOSS with a number of invaluable tools. The $100 street ST-2 Metal Stack models a Marshall Amp stack. The TU-3 keeps you in tune. And for $150 street, the PS-6 Harmonist adds 3-part harmony and Super Bend. But I might shop around for a deal on the RE-20 Space Echo, which has had street prices as little as US$200 lately. I’ve seen them coupled to laptops, Game Boys, and guitars alike. It’s not quite the same as having a real Space Echo, to be sure, but it does give you the basic utility and design in a compact box that’s absurdly affordable.

Electro-Harmonix Pedals

Electro-Harmonix
ehx.com
Varies; many under $200 (or $100)

Electro-Harmonix makes loads of great-sounding pedals that are a staple of soundmakers the world around. Invariably, when I ask someone about their signal chain, one of these boxes is included, almost by default. This also grants a wish from more than one American-based reader who asked for US-made electronics. Yes, they exist; Electro-Harmonix even makes their stuff inside the five boroughs of New York City. (Wherever you live in the world, supporting local goods is important. That’s not anti-trade or protectionist – even if you’re a free trader, you have to agree, the global marketplace only works when we all make stuff.)

Keyboards and Controllers

Novation Launchpad

Novation
novationmusic.com
$149 street
Suggested by Cândido Almeida

I can’t ignore this hardware, not after reader Cândido Almeida puts it this way: “Well, it’s everything you need in one small square with a lot of botons, especially if you use Ableton.
I have wet dreams with it…” And yes, there’s some especially nice stuff you can do with the Launchpad and Renoise, one of our software picks. (Credit due to the monome that inspired this grid craze – having set the budget for this piece, here’s hoping you were lucky with recent runs of kits and grayscale 128s. And hey, I’ve seen Launchpads and monomes coexist at monome community meetups.)

Midi-Fighter

DJ Tech Tools
techtools.myshopify.com
US$125

Who says music can’t be button mashing? The 4×4 Midi-Fighter matrix is a perfect first DIY controller project – it’s easy to assemble, easy to customize, and gives you satisfying-feeling arcade buttons. There are great pre-mappings if you DJ with tools like Traktor, or you could easily adapt them to Ableton, Renoise, Maschine, and other tools.

Akai LPK-25

Akai Pro
akaipro.com/lpk25
$70 street

Ultra-compact keyboards on the go or in tight spaces are fantastic, and the LPK-25 from Akai might just have the edge. Derek Morton writes: “I know I am bit of an eccentric gear-oholic. I tend to favor instruments or software that is a bit different, innovative or just helpful in some way. This little cheap USB midi keyboard controller is not the perfect controller by any means. It lacks pitch and mod wheels and the keys are quite tiny which makes it difficult to perform anything complex. THE BIG HOWEVER is… this little guy has a super fun built-in arpeggiator and latch. Bring up a drum machine instrument or samples and the fun begins here! I don’t know any MIDI Key controllers that have this feature. You can spend upwards of a half of a grand on ultra-programmable controllers that have knobs, dials, faders and LCD readouts without a basic arpeggiator.”

Alternatively, consider the Korg nanoSERIES microKEY — as reader Greg puts it, “So I can do some sequencing at Starbucks.” Just try not to spill your Gingerbread Spice Latte on it, okay?

Now, it doesn’t have a MIDI DIN port, which brings us to…

Rock Band 3 Wireless Keyboard

Harmonix / Mad Catz
rockband.com/games/rb3
US$130 street with Rock Band 3 game, $80 for just the keyboard

A keytar for a game may not seem a serious music tool, but make no mistake about it. The Rock Band 3 keyboard works with hardware using standard MIDI DIN output, has a great-feeling keybed for the price, and finally gives you a “keytar” that’s light, ultra-compact, portable, and battery-powered. As a mini keytar, it’s unparalleled. (No word yet on using its wireless Bluetooth features, as works with the Xbox.) Bonus: get the game for fun, and discover something you can actually practice with. That means a serious tool that a musician might game with casually, or a serious game accessory that might convince your friend/family member to explore music production.

Acoustic

Whirly Tube sound hose

stevespanglerscience.com
US$6.95
Suggested by Dan D.

“Gosh, I would love to sample these and make nice, airy pad with it,” says Dan. I’ve got a similar noisemaker (though not under this name); it’s good fun. Can’t beat the $7 price, either.

GL1 Guitalele

Yamaha
uk.yamaha.com
Street EUR60-70
Recommended by Ronban

What happens when you combine a guitar and a ukulele? Maybe just the perfect hybrid instrument – take that, keytar. It’s compact, inexpensive, and shares some of the best sonic characteristics of each. It’s the “ultimate travel and fun guitar,” says Ronban.

Fellow North Americans, I’m not actually clear on whether you can buy the GL1 or not; I can only find UK and Europe availability (no idea for Asia/Pacific/South America, either). I think there are some similar models, though; if you know more than I do, which is very possible, shout out in comments.

Wearables, Accessories, and Design

Ghostly Store

theghostlystore.com

If you could have a gift certificate from anywhere, this might be the place. Gorgeous, music-inspired art. LPs. Digital music. Cool stuff for your desk. It’s probably the worst place to recommend to go shopping for someone else, as you may wind up just gifting a lot of stuff to yourself. Ghostly International was one of the best labels of 2010, but they also are happy to remake your lifestyle and make your walls more artistic and give you inspirational notebooks. It’s so cool, it’s kind of disgusting.

ISO50 Shop

merchline.com/iso50/

Known both as a designer and by musical alterego Tycho, Scott Hansen is a Renaissance man of tasteful sounds and eye candy. His ISO50 shop matches that aesthetic, with beautiful prints and, yes, fashionable MIDI shirts. If you’re a design nerd and music geek, it’s heaven.

Wearables and Swag from KORG, Moog, Ableton, etc.

ableton.com/shop
korg.com/vintagetees
moogmusic.com/moogwear/

Can’t afford to get someone the real deal? Get them a t-shirt instead. (I can wear a Mono/Poly shirt on days when I’m not wearing my Harvard Law School t-shirt or Leer Jet jacket.) Korg has a delightfully-designed set of vintage-inspired t-shirts. Ableton apparel is almost single-handedly responsible for keeping many laptop musicians from freezing, buck naked, and now there’s a clever dance steps t-shirt. (Wear it at your next set to see if someone takes the hint.) Moog Music always has lovely accessories, but this year is special – pick up 40th anniversary pins and apparel to celebrate the Minimoog.

Tracks Headphones

AIAIAI
aiaiai.dk
DKK375, or about EUR50
Available at Dijitalfix, US$65

Copenhagen-based design firm and “lifestyle audio” house AIAIAI makes the TMA-1 headphones. The TMAs are brilliant DJ headphones with minimal design and thoughtful features that lie right at the US$200 cusp. But I’m actually going to recommend the Tracks headphones instead for the gift guide, because they’re easy to give to everyone you know. They’re lightweight but rugged enough to carry with you, and share the minimal design essence of the TMAs. They also sound incredible given their cost and size. A built-in mic also means you can comfortably give them to someone who’s listening on an iPhone, and tell them to please, please throw out those awful earbuds. (The mic also means you can listen to reactive environments in RjDj.) The over-the-ear design also fits when earbuds don’t, perfect for hitting the ellipse machine at the gym without your buds falling out all the time. And boys and girls all like the custom colors. At $70, they’re also a lot easier as an impulse buy. I now alternate between these, the TMAs, and for studio monitoring, studio cans.

What Did Santa Miss?

Got more ideas – particularly those in our modest budget? Let us know in comments.

A man named Don Waugh, friend of a CDM reader, is facing some serious challenges. He’s just lost his wife, and faces severe, possibly life-threatening health problems. There’s a campaign underway to get him a liver transplant. But Don doesn’t only want to fight for his health: he wants to make music, too. While significantly hearing impaired (or even arguably mostly deaf), he wants to make some of the industrial music he loves.

Chris G aka Metrosonus, Don’s friend, tells CDM he’s working on getting a gear drive together. What’s going unused in your closet could well prove something really meaningful to Don. I expect we might be able to wrangle some of the expertise here, not just the material stuff, to help get Don producing. Since I don’t know Mr. Waugh, I’ll simply post the details from Chris on the Harmony Central forum below and let you ask questions to him. But it sounds like a great idea – and, more generally, it’d be great to get unused and otherwise wasted gear and experience to people who need it everywhere.

Incidentally, about that liver transplant – check out the National Transplant Assistance Fund.

From the Harmony Central forum:

This is my friend Don.

http://www.brandnewliver.com/

He is deaf along with having an autoimmune disorder (whose wife just died of it this year) who is also facing a liver transplant and is also living off of social security. He’s the strong and silent type, to the point where he’s a pain in the ass because he won’t let anyone help him.

Anyway, he loves industrial music and has always wanted to toy around with writing some. He pitched the idea about buying ableton live on his livejournal.com account today and I thought you know, someone out there has to have a live lite they never registered that came with one of their controllers or something.

I know he has a computer so here’s what im asking.. if you guys have any gear laying around that you don’t use, please consider giving it to this guy a christmas gift. it doesn’t have to be anything great either..

That old 25 key controller you won’t bother to sell because you won’t get much for it.

A lame behringer audio interface that came with a something something..

Softsynths that you no longer use.

Headphones

Especially live lite if you have it.

It would go to a good cause. Seriously. Please consider it.

I would love to kick down this guys door with a pile of gear.

If you have anything you’d like to donate, please post here or contact me via PM.

thanks

** edit.

I just wanted to add since it’s been asked, how he can like music if he’s deaf. Deaf people usually aren’t 100% deaf. I guess, politically speaking, that makes him hearing impaired. He has hearing aids and I’ve been able to carry on normal conversations with him face to face. It’s also true, generally speaking, that hearing impaired people tend to like dance and music with heavy bass to it because they can hear as well as feel the vibrations. This is especially true in his case and why I have such a personal interest in this.

Thanks, Chris.

What’s truly wish-worthy? Is it a manuscript paper notebook? An iPhone app? A glitched-out hardware effect? A DAW? A sample library? A CD or book?

Before we put together some of our own suggestions for this year’s gift guide, we want to hear from you. You can add to your own wish list. You can add something you’ve gotten yourself you think someone else – or even a beginner – might want themselves. If you make something you want people to know about, be you a large vendor or garage maker, you can pitch us here, too.

There’s only one requirement: this year I’m absolutely looking for practicality. Sure, someone leaving a restore Buchla 100 Series modular with a bow on it would be nice, but there are too many terrific affordable choices to fail to focus on those. Be aware I’ll be skimming lots of answers, too, so get your elevator pitch right or find a snappy few words as a headline if you want our attention.

Enter the Google Doc directly, or fill it out here; form below.

For an artist, being productive and being happy are often closely intertwined. Whether you’re polishing off an album, practicing your instrument, patching or coding a new musical tool, or managing your career, music requires immense levels of focus and discipline. Then there’s the matter of the stuff that tends to be an obstacle: your day job, your to-do list, your taxes. Most musicians aren’t full-time, but even if you are, sometimes the greatest challenge is simply hurdling everything that isn’t your music, leaving you time for what is.

Digital technology is naturally the bread and butter of the site, but lately, the computer has been blamed for a lack of a focus. Certainly, computers do provide opportunities for abuse: browsers with multiple tabs, always-on Internet connections, and endless capacity to switch tasks could make your computer a distraction machine. But I do have to admit, I’ve found recent allegations about the Internet frustrating. Anecdotally, they just don’t make sense: I doodled and daydreamed in class as a kid long before the Web. I’ve never really needed advanced technology to be distracted. I also can find immense, profound focus using technology. It just doesn’t add up. To make matters worse, a lot of claims that the Internet was “rewiring” your mind made heavy use of blood flow imaging of the brain, long a suspect and incomplete means of modeling the complexity of human thought.

Happily, Science may be on my side. My friend Nick Bilton wrote a superb round-up of the flipside of the argument, pointing in particular to cognitive scientist Steven Pinker’s rebuttal.

The Defense of Computers, the Internet and Our Brains [New York Times Bits Blog]

It’s well worth reading – if, like me, you don’t mind reading on a screen from beginning to end, thoughtfully.

Okay, so the medium isn’t to blame. But that leaves the responsibility square in our court. Blessed with one of the great miracles of the universe, your mind, how can you tap into your deepest channels of creative expressiveness – and get all the business of your life out of the way?

Disciplined focus

Techniques, like computers, are just tools, but they can be useful nonetheless. I’m particularly pleased at the moment with the Pomodoro Technique, in case you didn’t guess from the tomato picture that leads this post.

The idea is this: work on a task, just one task, without distractions or multi-tasking, for 25 minutes. Then take a five-minute break.

It’s incredibly simple – and, to me, incredibly effective. I’ve tried it while working on music and coding, and felt more focused. I find it does two things. For one, it gives me the discipline to avoid checking a browser tab to procrastinate when I get stuck on a task – always with the knowledge that I only have to keep up this level of focus for less than half an hour. Avoiding multitasking is essential: it allows you to make the Internet a powerful tool for inspiration.

Oddly, the other advantage has actually been that it forces me to take breaks. Often, I have no problem plunging into a task, especially something like music. The problem is, over-abundant focus can be as energy-sapping as distraction: sitting at a computer or desk, your body begins to tense up, you forget to drink water and stretch, and so on. Even working with music, that can mean that you begin to lose focus or perspective. Returning to the Internet as a tool, those five minute breaks could be a chance for a quick Internet injection of ideas from off the fovea, off the central focal point of your eye. Creativity is sometimes best stimulated by something that has nothing to do with the task at hand.

Generally, I found the technique had the opposite impact from what I expected: it made me more able to lose track of time, by keeping my body and mind in a rhythm.

See Lifehacker for more:
The Pomodoro Technique Trains Your Brain Away From Distractions

There’s even a Google Chrome extension, which is nice when you’re browsing: Chromodoro Adds a Pomodoro Timer to Chrome

Pomodoro is a native Mac app; it provides loads of configurability.

Focus Booster is an AIR app (also available in the browser) with a nice, graphical progress bar.

For everything else, I just use a stopwatch on my phone. Any stopwatch will do; you don’t really need a dedicated app.

Task management

In addition to focus, though, I’m interested how readers manage tasks. For me, this fits into two broad categories:

1. Elements of big projects, stuff I care about
2. Everything else

Task management for me is taking care of the “everything else” stuff so I can focus on the big projects. And that usually means segregating lists. I like Gina Trapani’s incredibly-elegant command-line todo tool, which I’ve found to be the quickest way of adding tasks, sorting them to find out what you should be doing next with a small slice of time, and getting them done and forgotten about – minimal management required. (I use the Python fork; see a recent happy birthday post. If I ever have time, I’ll whip up a quick Android version to keep my ‘Droid coding skills sharp.)

That’s just one tool, though; Remember the Milk is excellent on the Web, desktop, iPhone, and Android. So is paper.

What about tracking progress on big projects, though? An in-progress music album feels different than a long list of random tasks (send in a tax form, invoice so and so, pick up laundry detergent). But it can be helpful to divide big projects into smaller steps – and it can be essential to remember small details of something like a piece of music as you work. How do you manage those tasks?

For collaborative projects, a lot of people I know are great fans of simple, subscription-based Web project management Basecamp. Years after this was a highly-hyped tool, it remains helpful; it’s what I’m using now to collaborate on an electronics project and to work on an elaborate redesign of CDM.

Basecamp doesn’t make much sense if you’re polishing off your album, though, necessarily. So what tools do you use?

Mindfulness

I’ll close with one simple thought, which is that what binds all these things together for me is a simple sense of mindfulness. It’s a concept from Buddhism, reinforced in Psychology, but I find even without disciplined meditation or something elaborate, basic awareness can have a profound impact on your work and focus. Just taking a moment to take note of my breathing, stop thinking about other things for a moment, or be aware of how my body feels can radically alter my day. As I’ve talked to artists – as I did while meeting with various folks in Germany and Portugal traveling over the past weeks – I’ve heard similar things.

As it happens, the image I found above comes from a Norway-based composer and sound designer named Harry Koopman, who himself focuses on this very issue – and has short films and soundtracks to accompany them. Those films could be ideal sources of audiovisual meditation if you need something online to focus your head before an extended work session.
http://www.mindfulness.nl/

None of this is directly related to music, but for the kinds of music being produced on this site, I think it’s very relevant. Readers on CDM are often assembling their own tools and assembling their own music from scratch, working with the incredible abstraction music production on computers demands, working with scores, and getting close to the most personal, intimate sense of self-expression in musical creation. Without discipline and focus, it’s possible to wind up frustrated and downright depressed fast – and the opposite is true, too. for me is a great time to think about this stuff; it’s the break in the academic calendar (and I still am often teaching), it’s a big seasonal shift here in North America, and amidst travel and occasional trips to the beach, my head is clear. With dissertation research, software to code, documentation, writing, blogging, and music, I know I have plenty to keep me busy. Maybe having the winter mindset in the midst of summer (see photo above) is part of what makes this all work.

So I’m curious what you think. Hopefully we can follow up with more tips for keeping you creative. And digital. And musical. Creatively digitally musical.

So, let us know:
1. How do you stay focused when working on a computer?
2. Does the Pomodoro work for you?
3. How do you manage tasks – little ones, or big ones associated with musical projects?
4. How do you keep your mind happy?

I look forward to your responses.