For all the access we now have to online commerce, items like music instruments sometimes demand real-world interaction. (And you know how much I love Real World things.) Tom at Music Thing has polled readers there to find out where surviving music shops live around the planet. You can take a look at the map, and add your own locations.

See the map at Google

The results are heavily tilted toward acoustic instruments, naturally, though they happily go well beyond the expected Sam Ash and Guitar Center fare. I’m curious about shops which specialize in electronic gear — analog, digital, old, modern, software, whatever. Of course, not every city can be lucky enough to have a Robotspeak, which is basically CDM heaven (or credit card Hell, depending on how you look at it.) If you do have an electricity-friendly shop, though, let us know, and I’ll add it to my Desired World Tour Destinations list; point it out in comments here.

If you have a shop near you, no matter how small, be sure to mark it!

Weird Fishes: Arpeggi from flight404 on Vimeo.

Plenty of bands have jumped on the "remix generation" bandwagon, releasing music to be remixed and sampled and visualized as a publicity stunt. But, then, plenty of bands aren’t Radiohead. Readers here may have been disappointed that our favorite superband didn’t embrace Creative Commons sharing when announcing their iTunes-only stems. But a number of the artists we follow came up with some brilliant work.

In Visuals: Robert Hodgin, aka Flight404, has the enviable job of exploring new visual expressions as his day gig of sorts. Working primarily in code developed in the open-source, Java-powered Processing, he develops a technique and then iterates and iterates on it until it goes from computer gimmick to refined artistry. He blogs that process, as well, pushing forward the rest of the Processing community. His video above uses abstract, generative processes to visualize Radiohead’s "Weird Fishes", but is developed enough to become organic. It’s a voyage under the sea. Via our sister site, Create Digital Motion.

In Music: A number of readers tackled the Radiohead remix contest. Here’s my favorite: our friend Alan Molina created a sparse string accompaniment that spotlights Tom Yorke’s vocal part. He explains:

Thanks for listening!  I actually recorded and mixed all the strings.  

They are all a violin (just lots of layers of me).  My profession is an orchestral violinist–this remix was an outlet to do something different!

I used Ableton Live 7 for the effects, and used  the kind of mic that clips on behind the bridge of a violin.  Done on my couch in front of my computer!

Of course, the other direction to go is stretching the tune past the point of recognizability, with strange bizarro-universe remixes pulling the tune to experimental glitch and faux-punk. Here are a few of the more unusual takes on their music:

As the Monome, the sustainably-produced open controller hardware, spreads, it’s going from one-person gimmick (i.e., “look what I’ve got!”) to club and community (”let’s get together and monomate!”). Laptop circles like Share in New York have already introduced the digital drum circle, but Monome owners may soon be converging, as well. Last weekend, Monome users met up in Princeton, New Jersey. Kempton writes::

A quick recap, there was a little show and tell, a few instructional sessions showing what people do, and several jam sessions during which people walked around and were able to watch each other in action. MLR was the most used app, though many others were used, including some homemade apps. Everyone seemed to be coming from different genres, which created a wild mix. I think everyone walked away saying that we need to do it again, so hopefully you can make the next get together!

Monome users in other places, how about you? Perhaps a Monomefest in the device’s hometown of Philadelphia?

Here’s a time-lapse video of the NJ meetup. Granted, not any big win for, um, diversity (not visibly, anyway), but that, too, may change with time — and any time we get out of our bedroom studios and together with other folks is a welcome change:

East Coast Monome Jam (4/19/2008) from makingthenoise on Vimeo.
More Monome Meetup Videos From Around the US

Also on Vimeo:
See the Portland Monome meetup
and the Los Angeles Monome meetup — with none other than Monome celebrity Daedelus. (Daedelus, I like to think of you as Monome’s Keith Emerson.)

West Coast vs. East Coast Monome — fight!

If you want new ideas about design and interaction, ask a musician. Before the Wii remote, the iPhone, Microsoft’s Surface, and Minority Report, musicians were trying oddball ideas for music performance. That hasn’t slowed down, either, from the futuristic and space-y to down-and-dirty acoustic techniques. We’ve got quite a gamut coming up for our madcap, sound and noise-packed hour of competition happening this Saturday at NASA’s Ames Research center during Yuri’s Night, and we’d love to share them with everyone online.

For starters, here’s the rundown of the projects with links to project sites and artists, and all the judges:

Futuristic Music Design Challenge: Meet the Competitors, Judges

Join the event on Facebook

The projects: the Bubblegum Sequencer (previously on CDM), The Box custom hardware with colored lights + Reaktor ensemble, the surface-temperature tangible interface table Weather Report (previously on CDM), the strange polygonal Kromatron wireless instrumental interface, the Thimbletron gloves-as-samplers with lab coated performers project (previously on CDM), the bicycle wheel and analog tape Looping Pedal (previously on CDM), the computer-powered musical saw WaveSaw, the 28-string just-intoned microtonal casmolyra, the turntablist custom software ammoBox and the GrooveStep DS pattern maker (previously on CDM).

I’m also pleased to announce…

The judges:

• Roger Linn, father of the modern drum machine (in my opinion, anyway) and creator of the MPC60 for Akai, plus recent creations — and he plays the mandolin
• Liz Enthusiasm, lead singer of Freezepop (check out their albums or just play a Harmonix game) and evidently an expert on Dr. Pepper
• (Matt) Ganucheau, a mastermind of Yuri’s Night’s music and art, a composer and sound designer (and teacher of sound design for games), an electronic musician, and creator of the NSFW "foreplay robot" Moaning Lisa
• … and yours truly as emcee

Speaking of Roger Linn, Tom at Music Thing just posted an auction on the pre-Akai prototype.

Hopefully we’ll get to do some quick interviews with the judges, as well, for Planet CDM. Stay tuned on yuricdm.com.

Hello from Ground Control: this week, I’ll be coming to you live from CDM’s micro-blog for Yuri’s Night Bay Area, ground zero for the global space rave celebrating human exploration of the cosmos. CDM’s challenge: to bring all the goodness up close and personal to you, from California to wherever you are on Planet Earth.

Watch the minisite now, during the event, and in the couple of weeks following at:

http://yuricdm.com

or subscribe to the yuricdm.com RSS feed.

Yuri’s Night needs special nerdster love for a number of key reasons — a huge lineup of music, art, and science, plus a special CDM event and booth:

• Music: The likes of Amon Tobin, Tycho, Christopher Willits, and many others … and our friend Ganucheau, too
• Motion: Interactive installations and visualists everywhere, including our man Joshua with his incredible Wii-powered SuperDraw, built with Processing
• Space and Science and Games: Here’s where I get especially excited — it’s an event on the airfield at Ames Research Center, not typically a place non-NASA employees can go, and we actually get to play there and listen some of the world’s top scientists. And Will Wright (creator of SimCity, Sims, and the upcoming Spore with its generative music) will be there, too, just in case your geek circuits weren’t overloaded yet.
• CDM @ the Hangar: We’re running a special Futuristic Music Design Challenge competition, and we’ll have the CDM booth for much of the evening where various musical / visual makers will be showing off their inventions (with more of our friends elsewhere at the event). So stop by and say hi.

Everything has an “API” these days, but what that means in practice is often not so exciting. You can make little widgets for Facebook, or post recent Twitter messages, or do other simple developer tricks. Echo Nest’s “Musical Brain” API is more far-reaching: it’s an API for music. All music online. The first of a series of developer tools, “Analyze” is designed to describe music the way you hear it, figuring out tempo, beats, time signature, song sections, timbre, key, and even musical patterns. More developer tools will follow.

Twelve years in development, the Musical Brain is a bit like a digital music blogger. It’s been crawling the Web while you sleep, reading blog posts, listening to music to extract musically-meaningful attributes, and even predicting music trends. It’s like almost like a robotic, algorithmic Pitchfork. (And I’m serious — it may be April Fools’ Day, but this is real. That’s what the “brain” claims to do, backed by research at UC Berkeley, Columbia, and MIT.)

What does all of this mean? The Musical Brain may not be replacing your friendly local music blog any time soon, but what it can do is infuse some musical intelligence into applications like music visualization. The Matmos album at top used the Analyze algorithm to map the timbral profiles of songs on an upcoming album; that graph was then rendered by an artist in watercolor, translating the digital into traditional paint media.

The Analyze API could also enable everything from Web music apps and mash-ups to live audiovisual performance tools, or even smarter music games. That’s the reason co-creators Brian Whitman and Tristan Jehan, both with PhDs from the MIT Media Lab, chose to open up development to a broad audience. I got to speak to Brian a bit about the project.

A crazy scheme in which you pay a monthly fee and get unlimited music, huh? Imagine that.

Part of what was strange about flat fee advocate Jim Griffin’s new proposal for an ISP monthly fee for music is that subscription-based music lives already, from digital radio to music services. Amidst rumors that Apple might add subscriptions, the Zune, Rhapsody, and Napster all have flat-fee subscriptions right now, thank you very much. (I’m even told there are music players aside from iPod, though I don’t know if I believe this.)

I was a big fan of YottaMusic, a friendly Web front-end that connected to Rhapsody, and mourned its passing at the beginning of this year. But here’s good news: you can restore Yotta’s best feature, which was keeping track of music played in a Web browser for the superb Last.FM music community service.

Rhobbler

Rhapsody is clever enough not only to work in Web browsers on multiple platforms (even Linux), but generates an RSS feed of music you’ve been playing. Rhobbler hooks into that RSS feed and uploads to Last.FM. It’s a kludge, certainly — I’d love to see this built into the Rhapsody interface, along with other improvements. But it works: sign up once, and you’re done.

As some commenters noted in regards to the Griffin story, there’s a lot of music out there to keep track of — and a lot of us are listening to more than ever before. But that’s why it’s so nice to have tools like Last.FM. I also find, curiously, that subscription music for me feels like on-demand radio; instead of reducing how much music I buy outright, I just buy music I’m even more excited about.

If you’re not already a member, be sure to join our CDM group on Last.FM:

CreateDigitalMusic @ Last.FM

… and yes, promoting your own music there is encouraged! (Albums at right represent albums heard last week by CDM members. And, uh, dude … the group is all guys at the moment. I know ladies reading the site, and Last.FM has plenty of women, so join in and share your listening tastes!)

I apparently had better things to do this weekend than hear the latest self-righteous, all music is free, the Web changes the fabric of reality post about the music business, this time from Michael Arrington of Techcrunch. The title is intended to get a rise out of people. (”These Crazy Musicians Still Think They Should Get Paid For Recorded Music.” Uh … thanks?) But tracking through links, I came upon this quote:

Recorded music is nothing but marketing material to drive awareness of an artist. Websites that bring that music to listeners are doing artists a favor. In fact, they’re doing them a favor that they should (and will) be paid for.

Now, regular readers know CDM is all about new business models for music, all about ditching DRM, not at all about archaic royalty schemes. And certainly I can’t think of a good argument for the prompt for Arrington’s piece, which was that Billy Bragg thinks artists are owed money retroactively by a site to which they’ve already uploaded their own music.

Here’s my answer to that:

Recorded music has value to consumers.

“Sure, the OLPC project is supposed to do wonderful things for children of the world, but what has it done for me, lately?” Well, if you fancy yourself one of the Earth’s children, the OLPC organization has assembled 8.5 gigabytes of sample content that’s free and Creative Commons-licensed — free to acquire, and free to use.

Jacob Joaquin, who runs the terrific thumbuki blog and the Csound Blog and is part ofthe team developing Csound for the OLPC’s XO laptop, shares the news via Dr. Richard Boulanger at Berklee. (See the press release as a zipped .doc.)

Plenty of people contributed top-notch sound: the Berklee College of Music, Csound developers around the world, electronica celebrity BT (himself a former Berklee and Boulanger student, among other alums), M-Audio and Digidesign, and the Open Path Music Group.

They’re donated under a Creative Commons Attribution license, so you can “freely create, compose, mix, remix, share, distribute and redistribute these samples and use them for any purpose as long as you clearly attribute the source.” That means anyone, anywhere can make use of this library — no OLPC required.

http://wiki.laptop.org/go/Sound_samples

http://wiki.laptop.org/go/Talk:Sound_samples

Csound, OLPC Style

Whether you like the OLPC laptop itself or not, there’s plenty going on with the project. There’s the immediate impact of the hardware and software, yes — and plenty of opportunity to praise or criticize its utility there (perhaps the mark of a good, ambitious project). But there’s also the secondary impact. The OLPC has captured imaginations in terms of what future computers might be, and what they might mean to more of the population of the planet. More importantly, perhaps, it’s building a family of open source, Linux-based (and cross platform technology-based) tools, which could ultimately outlive the hardware platform. I have my own doubts about the OLPC itself, but the ideas for open sound making are about more than just that hardware. (For instance, just testing Processing, Arduino and Java on this kind of mobile platform can improve that software.)

The sample library is only part of the story; software tools is another part. Powered by Csound, the OLPC team wants to put sound synthesis and music production in the hands of kids — we’re talking serious digital synthesis here, not just GarageBand-style looping. That goal could ultimately go well beyond just the OLPC.

Csound is a free and open source development tool for sound design, synthesis, and signal processing, with a lineage that goes back to original developer Barry Vercoe and in turn descended from the first digital synthesis tools created by Max Mathews. It is the audio/music development system for the OLPC project, with integration with Python (though I’ve heard we should also see additional Java development).

Those geeky details aside, you’ll see in many of the reviews of the OLPC writers mentioning unusual and fun music toys. Those journalists are stumbling upon some of the projects below, and the process is just getting started.

Jacob had shared some brief looks at what he’s working on on his OLPC, but here’s the full overview from Dr. Boulanger, because there’s quite a lot happening: