In the never-ending quest to find just the right combination of faders and knobs for piloting your music, here’s a thought: add expansion capabilities. An upgrade to the Block, a grid grid and knob control surface by boutique Texan maker Livid, does just that. And for good measure, they’ve got a short-run iPad dock alternate, too, for those of you who want touch control and apps but want hardware control, too. That raises another set of ideas gaining traction this week: why not add tangible controls to these multi-touch tablets and such?

Room to Grow

At the heart of Livid’s controllers is something they call the Brain – the basis of a modular control surface. DIYers can build controllers from the ground up as part of their Builder system, or you can buy a controller like the Block that works out of the box. What Livid has done on the Block is effectively to give you both. You can use the controller out of the box, but you can use the 1/4″ jacks to connect sensors or foot pedals, and a pin header connection that adds eight more sensors. It means you can do a smaller DIY project for just the stuff you need, but without having to do all the hard stuff necessary to get the knobs and light-up pads the Block already has. More details in the Livid blog post, or see the demo video below.

Block Expansion Jacks

So that’s taking a tangible controller and adding to it. But what about the tablet and multi-touch control surface craze? Musicians are subverting the very feature of these tablet computers that supposedly makes them popular. DIYers are liberating control from those shiny, black, hermetically-sealed consumer goods, a bit like cracking into some alien artefact. We’ve already seen hardware from one commercial maker – Akai – that sits an iOS device in a keyboard dock (the SynthStation line). New options go still further:

Beyond the Tablet

Livid is doing a very limited run of the Block that includes a place to sit your iPad. (I’m actually a bit sorry that they make the space form-fitting, rather than have just an open shelf – in case you later swap tablets to something that’s a different size, for instance. But it’s a limited-run, and I guess if I want that, I’ll have to just commission Livid.)

As seen on Synthtopia, the design is now available. You get a class-compliant, driver-free controller that’s USB powered, features MIDI in and out jacks, 64 programmable, light-up pads, and the aforementioned expansion jacks. It’s a pretty full-featured product for US$460.

Block Station Hardware

It’s just a prototype, and may never be available, but Livid also mocked up how their Code (a big array of knobs) would work with the iPad. I love the Moog-style angling of the shelf and the smaller footprint of this design. And it does appear that it’s a design that could accommodate different tablets, in case you have an iPad and an Android tablet. (Well, that’s true of a bunch of people who went to Google’s developer conference this week, if sadly I wasn’t one of them.)

From Touch to Tangible

Tablets, by merging display, computing, and touch control, make software easier to control. What they can’t do is provide the function tangible controls do. That is, they do what the mouse and display and keyboard do better in some instances, but they can’t replace knobs and faders.

A research project by Mike Kneupfel for New York University’s ITP digital media program investigates these issues.

Touchscreens like those found on smartphones and tablets have enabled a new generation of versatile user interfaces. My thesis project, Extending the Touchscreen, aims to further this versatility by using conductive materials to construct a series of physical, mechanical, and electrical devices that touch, interact and communicate directly through the touchscreen interface. My goal in constructing these external devices is to make touchscreen interactions more tactile, physical and potentially more expressive and fun.

As seen in the videos, he takes two approaches. One works directly with the sensing capabilities of the touchscreen itself, augmenting it with different hardware that would come in contact with the screen. The other makes use of the hardware connection.

For all the Apple fetishism, I think that Google may be able to pull away some folks tinkering with this with their new, far more open approach to hardware development. But what’s nice about Michael’s project here is that Google’s announcement this week that they were vastly expanding hardware I/O capabilities validates his research, and suggests lots more potential that can work even in a consumer, not just a tinkerer, context.

Lots of crazy stuff on his blog; see also the thesis page and coverage in Creative Applications.

Side note: it seems some of the add-on hardware you plop on a touchscreen doesn’t work all that well; see Victor Agreda, Jr.’s disappointed review of those stick-on joysticks. (CDM readers had tipped me off about those before.) But the other approaches here do show potential.

And whether a tangible controller or touchscreen tablet, having control that has room to grow has some serious appeal.

Owing to a tradition that goes back to the first samplers and hip-hop pioneers, sampling and digital performance have become a kind of instrumental technique. You might play well, you might play poorly, but even working with samples, you can actually play.

You can look at the simple design of the monome as the hardware embodiment of digital, a reflection of an array of pixels. You can see it as an extension of Roger Linn’s MPC and other drum machine concepts. It’s probably both those things. But since the monome itself makes no sound, it’s been software that has made that design musically relevant. While the original vision of the monome was as a blank canvas that could perform any function, ultimately a community of musicians focused their efforts on expanding a single patch, creator Brian Crabtree’s original mlr. Talk to these monome players, and they’ll very likely tell you about some little modification they made last night to use in a set they’re playing tonight, because they wanted some feature or another, or a little subpatcher they borrowed from a friend to solve a problem. Add up all those little hacks, and you get evolution.

Now, descendant mlrv has evolved into a live music-making environment of its own, and not just for the monome. Version 2.0, released this week, supports monome-like controllers such as the Novation Launchpad, Akai APC, and Livid Ohm/Block, but also conventional MPC-style grids like the Akai MPD.

The word the creators use to describe the playing technique: “hypersampling.”

mlrv is built in Max/MSP, so if you have a Mac or Windows and version 5 of the software (or Ableton’s Max for Live), you can edit the patch. Otherwise, you can download a free runtime and use the patch itself for free. Pay US$18, and you get your name on the startup screen and special email news and downloads. Pay US$80, and you get limited edition vinyl from artists galapagoose and ‘%’.

The project is the work of Trent Gill, Michael Felix, and parallelogram; check out developer galapagoose playing with it live in the video at top. (I will say, though, even as I am writing on a Website, you get more out of being in the same room with a live performance.) All the details:
http://parallelogram.cc/mlrv/

The software will be available February 1, with a release party that evening for the software and music. Also, while we’ll have details tomorrow, Handmade Music will host performances by galapagoose, %, and other monome artists (alongside chip music, MeeBlippery, and laptopism) on Saturday February 5. Both events happen in New York City at Culturefix.

On February 5 with CDM, you can come at 3pm and check out an open lab to get your hands on mlrv and talk to its developers. Then stay for the party Saturday night – US$20 buys you admission, supports the artists, and nets you a two hour open bar of beer and wine recently celebrated by the NY Times’ drink critic, Frank Bruni. Full details coming in a separate post, or in the meantime, RSVP on Facebook.

Tuesday night launch party details, NYC
http://bit.ly/hmfeb5 = Handmade Music party Saturday night, complete with hands-on during the day, more live performances at night!

Finally, here’s the obligatory, somewhat amusing, preview vid:

The grid is in. While the monome remains the standards bearer for hardware with grids of buttons on it, arrays of buttons are suddenly everywhere, in the commercial Akai APC40 and Novation Launchpad, and, from Livid Instruments, the Ohm64 and now the Block. I think it’s a real compliment to the monome’s creators – and the community that has authored ingenious open software for the monome – that there is this excitement around the design.

The latest entry is Livid’s Block, a compact, aluminum-and-wood controller that’s easy to carry and which weighs less than 3 pounds. It’s not a monome – it eschews the monome’s stringent minimalist design aesthetic and adds knobs on top, faders on the side. That layout has made the M-Audio Trigger Finger a blockbuster hit, so I think it could attract people who want more than just buttons. (That’s why choice is generally a good thing.) But just as importantly, the Block takes cues from the monome beyond the skin-deep. As with the Ohm64, Livid is working to open-source both the guts of the hardware and the software on the computer. The instruments are made by hand using sustainable materials and finishes, manufactured in Texas in their own shop rather than the lowest bidder overseas. The hardware itself encourages hacks and customization. These are principles championed by the monome’s Brian Crabtree and Kelli Cain, and they’re badly in need of some company. Livid, like those monome creators, is a handful of individuals rather then a big company, but they give us new hardware that embodies sustainability, openness, and local production – and that makes the monome and its principles stronger. (Livid has been crafting performance hardware and Max patches for many years.) And while this bus-powered USB MIDI device doesn’t yet support (OSC) OpenSoundControl, that could come – without sacrificing conventional MIDI connections to outboard gear when you don’t have the computer connected. (Clarification: as with the Ohm64, OSC support is not yet available but should be possible. Stay tuned.)

Basic specs:

• 8×8 backlit keypad with corresponding knobs, function buttons, and faders
• Square layout that can be used at any rotation (so the USB port lies where you want it)
• Runs a suite of apps built in Max/MSP from Livid – including a sampler, synth, sequencer
• blockEditor for customizing layouts, lights
• US$399, available November 1

I’m interested in more open software, so I’m working on making an editor in Java and would love to hear what else people might want. (SuperCollider looper? Pd algorithmic grid controller? Processing library?) These I hope to make work both with the Livid hardware’s added faders and knobs, and the monome’s more minimal design. Of course, OSC will be terrific for computer applications if that comes to pass, but I love the idea of gear that can also talk to MIDI hardware.

I really like Novation’s Launchpad, but for a little more money, you get a beautiful case, additional controls, and added flexibility, all in gear handcrafted by the maker and with an open approach to hardware and software. Without getting into a debate over the merits one way or another, consider this: you can choose. We didn’t use to have these kinds of choices in music hardware. The fact that we do now – not only the ability to choose the nameplate, but the very philosophy behind the device’s manufacture – I think can benefit everyone, users and manufacturers alike. It opens up the entire music tech industry to new ideas and new variety.

http://www.lividinstruments.com/hardware_block.php