For many, mobile technology and developing for the iPhone and the iPod touch is a fad and a Gold Rush. Good designers, though, take a longer view of how interaction can be expressive. And there are few people with a better sense of the big picture of small devices than Dr. Ge Wang. The co-founder, CTO, and Chief Creative Officer of Smule has a background that goes well beyond the latest Apple platform. Along with Perry Cook at Princeton, Ge Wang is the co-originator of ChucK, a real-time programming language for synthesis so efficient some people use it live onstage. (ChucK, as an open source project, now has a terrific team of people behind it.) ChucK is the sonic engine that powers Smule’s projects. Ge Wang also teaches at Stanford, working with students and fellow researchers to explore new ways of interacting with music technology.

Ge Wang joined me for a lengthy phone conversation recently. He really contextualized why the iPhone is important in the grand scheme of things, but also how the people at Smule and Stanford (and Princeton) can approach technology for musical interaction, focusing on what devices are rather than what they’re not.

(The audio here, believe it or not, is extensively edited – Ge Wang is that easy to talk to. I hope the next time it’s over beers rather than Skype.)

The full interview can be played below, or downloaded directly.

Play this track:

Download MP3 of the interview

Thanks to KORG and the Nano Series for their support of programming on createdigitalmusic.com.

Lastly: a video of the Smule team headquarters and playing around with Leaf Trombone for a Zelda duet!

More information:
The Mule Chronicles [Smule Blog]
http://smule.com/
Center for Computer Research in Music and Acoustics (CCRMA), Stanford University

Previously, for more on Ge Wang and CCRMA:
Make:TV Meets Stanford Musical Inventors, Feedback Piano

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Smule, the folks who brought simulated Ocarina to the iPhone, are now thinking multiplayer. Instead of just playing a machine or a few of your friends as in Guitar Hero or Rock Band, Smule’s latest app turns your creations into a reality show with online judging. And the killer app itself? It’s a simulated, touch trombone.

It’s pretty wacky stuff, but Smule’s had some hits on their hands already, so I think the wackiness may be part of their secret. And it comes from a heavy hitter: Dr. Ge Wang, the founder, is also a professor at Stanford’s CCARMA research center, director of the Stanford Laptop Orchestra (SLORK to the East Coast’s PLORK), and creator of the ChucK Programming Language.

New in this version:

• Teaching tools: Floating leaves guide first-time musicians to learn songs in “self tutorial” mode, and a browser-based composition tool helps teach you to compose.
• Global judging: Online audiences can judge songs with emoticons and text and a 1-10 scale. Everything is integrated with the app itself (see image). Tromboning with the Stars, anyone?
• The Power of Silliness: The most important feature, though, may be that everyone sounds a little goofy playing it, which can actually be liberating. As Dr. Ge Wang puts it, “It’s like singing in the shower.” Well, except with judges.

The app is simple, but the concept I think is pretty remarkable. We’ve seen interactive instruments, and we’ve seen music games. By adding the judging element, though, this is a free-form instrument that can also be a game. Now, without getting too ahead of ourselves, you could do the same thing with a Worldwide Online Kazoo Contest. In fact, maybe that’s a great idea. I suppose you could say music itself can be a kind of social game, played out on a stage. But nonetheless, making it an iPhone app can help free people up to get that message.

Oh, yeah, and got any doubts about the business model for open source? ChucK is a completely free, ridiculously powerful programming language for synthesis. It’s infinitely deeper than Leaf Trombone. But that power, packaged for a broad audience, can become a hit business – and likely to be popular well beyond musicians. If that’s possible, I imagine more could be soon. Remember, too, that whatever the Apple fanboys tell you, the iPhone is not a dominant mobile platform – nowhere close. Apple’s proprietary hardware means it isn’t really intended to be.

I hope someone working on platforms like Symbian and Google Android takes note: pack in geeky, nuclear-powered synthesis features, and people will find ways to put them to use in consumer apps that appeal to everyone. Leave them out, and you miss the boat. Or the trombone, anyway.

Direct iTunes App Link [99 cents]

http://smule.com/

Now, some very amusing videos of this thing in action:

Musical Applications for Multi-Touch Interfaces from BricK Table on Vimeo.

Across series of colored bars, sounds warp and mutate. Vines entangle as organic threads of music. Fingers and objects traverse sonic landscapes in surprising, mysterious ways. Welcome to the worlds of BricK, the musical table interface by Jordan Hochenbaum and Owen Vallis, which, charged with software by Dimitri Diakopoulos, Jim Murphy, and Memo Akten, explores new musical frontiers. The tool uses a combination of open source tools for tracking fingers and objects on a table, then feeds those into sound and music environments.

Just following the landmark, long-awaited release of Processing 1.0, BricK demonstrates the expressive potential of the open-source platform. Processing allows quick and elegant development of stunning visual interfaces, while other tools (ChucK and Reaktor, for instance) serve as sonic engines. Sometimes the sounds themselves are not revolutionary, but by simply replacing the visuals and interaction – just as with changing the look of a score – the music is transformed, too. (At top: experiments with different interfaces for music using the platform they’ve built.)

CDM got to talk to Owen and Jordan about the projects. And now’s a perfect time – the gorgeous Roots is looking for a home, in case we have any curators / galleries / other interested parties in our audience. First, a review of what these platforms are:

The Monome project, a USB MIDI and OpenSoundControl control surface for music and art, was built on open source principles, on its users making the product better as they used it. Its community has already built custom housings and elaborate software setups. But a clone based on the Arduino microcontroller promises to do still more.

Created with Admarket’s flickrSLiDR.

The “Arduinome” gifts the Monome with two new possibilities. First, it’s a breakthrough on the availability front: at a time when official Monome kits are backordered, it makes it easier to make your own Monome on a budget. Second, it makes hardware hacking on the Monome far easier, by allowing people to make microcontroller-level modifications on the relatively friendly Arduino platform. (The Arduino was designed not for electrical engineers, but for artists just dipping their toes into electronics, even for the first time.)

Now, if you went out and cloned, say, the latest Roland keyboard, they’d understandably take issue. But part of what tells you this is a different kind of product is that the Monome creators have actually taken an active interest in the Arduinome’s development. Support won’t go through the Monome team, and there are still plenty of reasons to buy the real thing, but true to those open principles, both projects stand to benefit.

I got the scoop on the details of this project, what it’s about, and the gory details of how caffeine can fuel a massive electronics project even with relative newcomers to the craft. Jordan Hochenbaum, a leader of the project, talks to CDM (with some additional comments by his partner in crime, Owen Vallis. (Jordan and Owen, students at CalArts, also won CDM’s Futuristic Design Challenge earlier this year — video of that coming soon, I swear!)

(Skip about two minutes into this video for some side-scrolling LED action.)

Arduinome Nerdscroll Demonstration from BricK Table on Vimeo.

Why clone the Monome? What’s special about this project?
The Monome represents not only a controller interface, but also a new way of thinking about interface design. The very heart of the Monome concept is its minimal, open-ended form. This ideology is reflected in Monome’s decision to make the firmware and software open-source. Coupling these ideas with the strong community development support in the Monome forum, it became clear that the Monome was the perfect interface to try and port to the Arduino microcontroller. What makes this project special is Monome’s willingness to make their controller open-source. No other manufacturer would dream of letting people see how their stuff works, or letting a bunch of curious individuals try to build a clone.