Laptops for music are nothing new. But better versions of Linux make no-hassle music production easier and more powerful – and new netbooks make it cheap and ultra-portable, too, for times when even that 15” laptop feels clunky. Netbooks aren’t for everyone, and I imagine some people will miss Windows and Mac OS, even with better compatibility and powerful features on Linux. But if you are looking for an additional, more mobile machine, the combination is definitely worth a look.

A significant revision to the one netbook customized for Linux music has just become available today – you read about it here first.

The elements of Linux-based music making have reached a nice convergence with the release of Ubuntu 9.04 – the combination of a polished, mature Linux distribution with a newly-updated real-time kernel for low-latency audio is looking especially potent. At the same time, the increasingly-popular netbook has also improved in the latest generation. Ronald Stewart of Indamixx, a custom Linux mobile computer builder and OS packager, writes to brag about his latest generation. And he’s even found a way to do mobile music in his vehicle. (Let’s hope traffic in the LA area isn’t so bad that you’re actually adjusting beats in a tracker on the road, however.)

Indamixx has three products here, one software and two hardware:

• The original Indamixx portable studio is built on Samsung’s OLPC platform. I reviewed it for Keyboard Magazine. It’s really, really ultra-portable, and is something of a technological achievement. But most of us would prefer something more like a laptop, with a little more power and a conventional keyboard/mouse. Good news:
• The Indamixx Laptop is a netbook, with more power and more conventional uses – but still pre-tuned to run Linux audio, and still ultra-portable.
• Transmission is Indamixx’s custom Linux distribution, built on Studio64 and Ubuntu 9.04, but with extra tools to make hosting Windows VSTs and importing your existing projects easier.

Transmission should be available soon for people who already own a netbook. You get more than you get with a stock Ubuntu install. For instance, the included commercial product ardourXchange allows you to import AAF files from Pro Tools, Logic, and the like into the open source Ardour DAW.

It also ships with the commercial app energyXT. I think it’d worth buying a copy of the superb, modern tracker Renoise, which has excellent Linux support. Renoise also got a significant update, now in beta, which I’ll talk about by next week. Ardour 3.0 is expected to be a major update, as well, with support for MIDI and VSTs – that could be a game-changer when it happens, so stay tuned.

The laptop is what especially intrigues me. Linux is great, but it is nice having a configuration that’s static, because it helps navigate around potential compatibility issues with specific hardware specs. (That’s a problem we see regularly on Windows, too, and even occasionally – as with a specific wifi bug on an early build of Leopard – on the Mac.)

Indamixx has a special version of the MSI Wind that comes pre-optimized for Indamixx. Ronald describes the newly-updated Indamixx Laptop specs. (We saw the laptop here on CDM first in November, but this is a significant upgrade from that model):

• Transmission OS 3.0, which thanks to the new kernel and Ubuntu 9.04 has various enhancements and does a much better job of handling network 3G / HDSPA cards for mobile connectivity
• A 2.0 GHz CPU – the only overclocking-capable netbook
• 2 GB pre-installed RAM from the factory, which (sadly) is rarity in netbooks
• 160 GB HDD (doubled from the previous model)
• 10.2” widescreen display, up from the somewhat-cramped 8.9” on the previous model
• Large-style keyboard layout, roughly 95% of the size of a regular keyboard
• 2.6 pounds, up to 4 hours battery life

The 2.6.29.1 kernel is new to Ubuntu 9.04. Combined with the real-time JACK, you get excellent low-latency performance. (Incidentally, I’ve found that also applies to Windows software running in Linux under the Windows compatibility environment WINE – I’ve had success with NI’s Reaktor. Not officially supported, but quite a lot of fun. Ronald reports at least one user running Guitar Rig 2, as well.)

Indamixx also throws in a carrying case and free FedEx shipping.

I’ll be installing Ubuntu 9.04 on my main PC laptop soon, and possibly also my MacBook. Stay tuned for more on the latest Linux OS and what you can do with it for creative music making.

More info:

http://www.indamixx.com/

Indamixx Laptop @ Amazon: Indamixx Portable Studio Netbook Edition Model 2

(also available from Musicians’ Friend)

What if all the technology you loved, everything that ran on electricity, came to life and played one epic musical performance?

That’s about as best as I can sum up the “Emergence” event happening in Ontario and in an online stream. It’s a workshop. It’s a performance. It’s Commodore 64s and surplus parts. It’s cybernetic theory. There’s a robotic singer. It’s at a computer museum. Nerdtastic.

Rod Adlers describes his own setup: “3 Commodore 64’s running Cynthcart and MSSIAH, iPod Touch using Brian Eno’s ‘Bloom’ program, Korg MS2000 and M50, and Fruity Loops.” Nice – it’s like the radio station phrase, “the greatest hits of yesterday and today.”

Valentine’s Day, indeed — if you’re dating a robot / computer / nerd (or robotic computer nerd), you know how to celebrate. There’s an online stream, happily, for all of us too unlucky to be in Ontario this weekend. If you are there, “video, photography and interviews” are all “encouraged.” Please do share with us on planet CDM. Syd Bolton writes:

You can see some newspaper coverage from today at:
http://pcmuseum.ca/media/ExposFeb2009EmergWeb.jpg

The show will be broadcast live the day of at:
http://www.ustream.tv/channel/emergent-behaviour

Our page for it is at
http://www.pcmuseum.ca/emergence.asp

Full details:

The Personal Computer Museum proudly presents Emergence: A Cybernetic Musical Series that launches an international tour in Brantford, Ontario, Canada.

Join Dr. David Ogborn (Regina, SK) as he takes you on a musical experience with original music, robotics, and lyrics that will make you think about the future of cybernetics.

Join us for a free workshop at noon that explains how to use microcontrollers to control robotics and then see it in action during the afternoon performance.

Classic computer musicians Rob Adlers (Kitchener, ON) and Leif Bloomquist (Toronto, ON) will open for Dr. Ogborn with a musical experience like no other.

Admission to this event is by donation to the Personal Computer Museum.

DOORS OPEN AT 10:00 AM

Browse the museum to explore the rich history of computers and making music. Various programs and pieces of hardware await you on your tour.

FREE WORKSHOP AT 12:00 PM

Sound Art with Computers, Microcontrollers and Surplus Parts: Dr. David Ogborn, creator and performer of Emergence, will demonstrate the use of readily available technologies (laptop computers, Arduino and PIC microcontrollers, surplus parts) to create art objects, musical performance devices, and cybernetic performers – such as the robotic singer CESARE featured in Emergence! The workshop is for anyone interested in music, electronics and computers, and will be at an introductory level – no prior experience is assumed or required.

Rain Recording make audio-ready notebooks – that is, they’re pre-tested to function well with audio software, with Windows tweaks, driver selection, and configuration all chosen and tested for music and visual production, and no crapware installed. They’re one of a handful of music-friendly vendors that does that (see also: PCAudioLabs, etc.). Given that the PC music making experience can range from awesome to awful depending on which hardware and (particularly) drivers you’re on, that’s no small matter.

Rain has always styled themselves a premium brand. But the latest Diablo really does go to extremes spec-wise. It’ll cost you – base price starts at US$4000, though that’s not as high-end as these sort of desktop specs commanded more recently. Intel and AMD/ATI really are economizing, even at the high end. But cost aside, this machine really maxes out components. You have to admire the results:

• Quad CPUs: up to 2.53GHz Intel Core 2 Quad 12MB/1066 MHz “Montevina” Centrino 2 — the most powerful brain you can put in a laptop right now
• Up to 8 GB DDR3 RAM (and if you boot a 64-bit operating system like Vista x64 or – cough – Linux, you can use all of it)
• ATI Radeon MR HD3870/512M DDR3 RAM — just about the most powerful GPU (and some people do prefer ATI to NVIDIA), giving you up to two discrete GPUs
• 17″ display at 1920×1200
• Optional dual 320GB 7200RPM SATA drives with 16MB cache
• 1x eSATA, 3X USB2, 3xFireWire (yeah, you read that right – one onboard FireWire, plus two more using a bundled, TI chipset PCI ExpressCard that pops into that slot, also standard on the lower-cost LiveBook)
• 1 x HDMI, 1 x VGA, card reader, headphone out, mic in, gigabit RJ45 Ethernet, fingerprint scanner

The key specs, of course, are the quad CPU, that ATI GPU, and the maxed-out-res 17″ display. Given those specs, the weight actually isn’t all that bad – 8 lbs. with the 12-cell battery (which you’re going to want, as this machine is likely to suck up electricity in a hurry).

You can put audio on a dedicated chipset (the TI, which isn’t currently available from Apple). You can run two drives in RAID-0, or opt for solid-state drives (which have been improving in performance and value at a pretty impressive rate). And the ATI chipset means this is a pretty powerful visualist / visual production workstation – that also happens to be faster than a lot of high-end gaming laptops, for your off-hour enjoyment..

This is usually the point where someone says, “but do I need all that power to –”

No. You don’t. This is a bit like buying a souped-up supercar — and likely to be about as fuel-efficient. You might “need” this if you want to play Crysis between Pro Tools sessions. (I’ll let you bend the definition of “need” there.) That’s not to say you won’t get a lot of performance out of this, though, and it’s nice to know you have this option if you want it. The GPU only really impacts visuals at the moment, but with the push to do more processing on the GPU, that could change soon even for audio.

Actually, maybe the reason Rain keeps misspelling the GPU as “discreet” is that you can “discreetly” buy one of these and hope your significant other / the IRS / your conscience doesn’t notice you just bought a killer gaming rig as your (ahem) pro audio machine.

For mere mortals, I like the $1999-base-price LiveBook from Rain. It actually gives you a fair amount of this performance, all of the same I/O specs, and compares favorably on specs against Apple’s rival (including offering some serious FireWire and expansion the Apple lacks). And, incidentally, it isn’t a bad gaming machine, either, in case you want to join some of the CDMers the next time they fire up Left 4 Dead.

I do find all of this interesting, though, on two points. One, if any had doubts that you could buy a pre-configured PC and know that it’ll work reliably on audio tasks, Rain ought to put those doubts to rest. I’ve tested the previous Diablo and LiveBook, and out of the box they were ideal audio machines – no tweaks required. It’s absolutely possible to build or buy a mainstream PC that does that, but the luxury of knowing someone at the other end has actually tried running Ableton Live and SONAR sure is nice. (Heck, that’s not necessarily true of Apple – as people found out the hard way during some buggy early releases of Leopard, happily since fixed.)

This also demonstrates that said PC vendors don’t have to fall behind the “enthusiast” custom builders who cater to gamers – if you want to push the envelope on your laptop for audio and visuals and not just games, you can do that, too.

I certainly know not everyone can — or should — spend $4 grand and up on this particular machine. But just like that supercar, it’s sort of nice to know it’s there. And hopefully it can start to serve as a wake-up all that there are communities pushing their PC to the bleeding edge who aren’t primarily gamers.

Diablo Product Page [Rain Recording]

Diablos don’t hang around long, but I do hope to get my hands on a current-generation Rain soon; stay tuned.

Now for US$999:

• NVIDIA 9400M graphics (meaning this is mainly a story for visualists, so see our take on Create Digital Motion – but the rest of you can more easily enjoy World of Warcraft, if so inclined)
• Newer Core 2 Duo, still 2.0 GHz but now with a faster 1066 MHz frontside bus for a marginal performance improvement
• 2 GB instead of the ridiculous 1 GB RAM, meaning you don’t necessarily have to buy a RAM upgrade to use it
• Bluetooth 2.1

More important is what didn’t change: it still has FireWire. And it’s still the cheapest new mobile Mac you can buy. It also still has the older-style Mini-DVI video connector, but it does not support the old adapters or TV out.

If you’re looking to run Windows or cross-platform software, of course, the PCs in the same price range remain competitive. But then, if you want Mac OS, Logic, and various Mac-only tools, that isn’t really an option, is it?

We routinely talk about how the interface paradigm of a computer — screen, QWERTY, trackpad – isn’t optimal for music. But how many of you have, in a pinch, done a live laptop set with just your computer, and found some way to make it work? The Stanford University Laptop Orchestra, set to play this year’s Macworld, natch, is making the most of what it has:

“We tilt the notebook and use its built-in accelerometer to expressively control sound. We use the trackpad as a kind of violin bow,” explains Ge Wang, SLOrk’s founder. ”You can make some wild, diverse music with the MacBook.”

And why not? Designing expressive interfaces can pay off in something that’s satisfying, absolutely. But however you decide to play, a lot of it comes down to how you approach an object compositionally and musically. So, there’s two ways to look at this: on one level, it’s a novelty, and while to most of us seeing people playing behind Apple logos is nothing new, I’m sure Apple enjoys seeing a swarm of their machines. But on another, the real point is that the Stanford orchestra is getting the most mileage out of the machine. Trackpad? Check. Accelerometer? Keyboard? (Why stop there – Apple Remote? Webcam?) You’ve got quite a lot on the laptop itself to use.

We’ve looked at laptop orchestras before, but here’s still more:

Stanford Laptop Orchestra (SLOrk): Musical Macs [Story for Apple Pro by Dustin Driver]

SLOrk

Via: Stanford’s MacBook orchestra exposed [distorted-loop.com] and Macworld maestro Paul Kent’s Twitter.

Previously:

Laptop Orchestras Proliferate, from Princeton to Moscow

How to Record Laptop Performances – And Make Them Sound Live (linking to a story on the topic I wrote for Keyboard Magazine)

And for the mother of modern laptop orchestras, recently winning a MacArthur Foundation grant, see PLOrk at Princeton

Speaking of Rain Recording, Rain is about the only vendor I’ve found that offers a 2-port FireWire ExpressCard known to work well with audio interfaces. Now, your mileage may vary depending on the chipset in your laptop, but based on what I’ve been hearing, this looks like a good option. I’ve also seen a cheap (US$30) card floating around some random Internet vendors; it’s so cheap, I’m probably going to buy one just to see if it works. I’ll report back.

2 Port FireWire Express Card (formerly ADS Tech PYRO1394a) [Rain Recording]

I get nothing out of this, for the record; Rain actually hopes you’ll get this card with one of their laptops, but I’m just as curious to hear how it works on other machines. Of course, this would be a nice add-on not only for PCs, but also potentially for MacBook Pro users wanting dedicated FW400 ports and the TI controller – theoretically, at least. Let us know what happens if you take the plunge.

If you’ve had experience with different chipsets and ExpressCard slots on Mac or PC, we’d love to hear it. And I hope to offer my own tests soon.

Updated: The StarTech EC13942 also shares the TI chipset and is available from a number of vendors if that’s a vendor you prefer. It’s the only one endorsed by PreSonus aside from this former ADS Tech card that Rain sells — and may give you better results with other, non-PreSonus hardware, based on reports I’ve read. See PreSonus’ official word on the matter:

Presonus Hardware Compatibility: Approved Chipsets [PDF]

One of the things that attracts me to computers: choice. So it’s worth noting that you do have choices when looking to laptops, PCs included. (This sounds like those lame “We know you have a choice in your travel plans” announcements you get on airplanes. Unlike those choices, though, these are genuinely different – thankfully.)

So let’s cut straight to the chase: there is a choice between Mac and PC, and there are choices on PC that keep it competitive (to say nothing of Linux). If you’re looking for a rig that runs PC-only tools like FL Studio, and you want more hardware choice to get there without being locked into a Mac, Boot Camp, and an extra Windows license, you have options.

Rain Recording has just introduced a revised pro laptop offering. You may have seen the announcement around, but I did get to talk to them while they were developing this, so I want to offer my own, semi-biased reflections. Rain is a custom system builder focused on music and audio applications. They and a handful of vendors like them do test their configurations with actual audio software, which isn’t generally the case with bigger PC laptop makers. And they offer music and audio-specific support, beyond even what Apple can offer.

Now, that said, I have to say I haven’t actually been that blown away by what custom builders have been able to do in the laptop space. The problem is, builders don’t have the kinds of options with laptops that they do with desktops; traditionally, you’ve needed huge manufacturing scale to get many choices. Even a lot of big brands get someone else to make their machines, so custom builders really face an uphill battle with limited barebones systems. Rain and others have put together some interesting systems, but at a price premium and generally lagging some of the hardware options on the mainstream laptops. For that reason, many PC users have chosen to stick it out with “commodity” machines and try to navigate to the ones that do music well.

The current LiveBook, though, is the first that I think really makes a custom builder competitive – and it’s the first I’ve started to covet for my own desk. It’s pricier than some mass-market machines out there, but it is competitive, and with far more of a guarantee for audio performance and reliability.

• Processors are now available up to 3.06GHz on the Centrino 2 “Montevina” – so it’s about as current as you can get architecturally
• Prices start at US$1999 – and that’s already a pretty fully-loaded machine
• The body is all-aluminum and offers a laser-etched case
• The GPU is no slouch: NVIDIA 9600M GT 512M standard, with a healthy 1680×1050 resolution on the 15.4” monitor (which I think is about perfect – any higher is hard to see, any lower cuts down on real estate)
• Lots of ports: three FireWire 400 ports (with the standard ExpressCard plugged in), one eSATA, a card reader, HDMI and VGA out, and two USB 2.0 ports
• Fast, audio-ready drives: up to 320GB 7200RPM (there’s also now a solid-state option, but I prefer conventional hard drives for their price/performance/capacity ratio)

This issue of specs has already started a debate, even among Mac users. And that’s the world we live in: PC buyers are considering Macs, and at least a handful of Mac users are seriously considering PCs. (At the very least, it’s not uncommon to find people with both.)

From the angry thread about FireWire missing in the (non-Pro) MacBooks, one MacRumors reader points to this very Rain LiveBook. Here’s what I’d put in the pros column:

• eSATA is very useful for high-speed storage (you could add it to the MacBook Pro, admittedly)
• The Rain has a TI chipset for its ExpressCard-provided FireWire, which has been more stable for audio performance – even on Mac OS
• Rain has up to 8 GB RAM, and with 64-bit Windows you can use it
• Blu-ray is an option
• You get a dedicated numeric keypad, which is a big boon for shortcuts – think Sibelius on the road, for instance (the notation editor relies on the numeric keypad for quick input)
• For some, Mac OS is the big draw – but for others, Windows is, depending I think largely on the apps you want to run if not everything you use is cross-platform

Don’t get me wrong: I think the Apple machines stay really competitive. The I/O gripes aside, the new machines are pretty remarkable. And you lose a lot going to Windows from Mac OS – Core Audio and built-in inter-app and over-network MIDI, for instance. On the other hand, I’m perfectly happy running FL Studio, SynthMaker, SONAR, Vegas, and Sound Forge on my Windows laptop and not having to use Boot Camp on a Mac to get there, and with solid ASIO drivers, I can get terrific performance from Windows. I don’t personally agree with the conventional wisdom that makes people just “default” to either choice – I think the choices are interesting.

Specs aside, Rain really does test every configuration with audio software, and they think about the impact of specific drivers and components. That’s not so much of an issue on the Mac, but part of the variability of quality on the PC has absolutely been about certain configurations and driver issues causing problems. You can get audio software pre-installed from Rain, you can call Rain about audio questions, and they’ll even install Windows XP for you, if you like. (I’ve been to New Jersey and seen Rain’s facility and talked to their testers. Another vendor offering similar services is California-based PCAudioLabs – they’re also worth checking out; I’ve heard nothing but good things from people using machines from both makers, which says something, too.)

This comes back to the question of what your ideal configuration would be. If I had my dream machine on this LiveBook, I’d have a couple more USB2 ports on the LiveBook, and DVI or mini-DisplayPort plus TV out for video. But it is a nice-looking system. Rain will certainly be hearing my feedback, and they do offer a fair number of custom options.

Interestingly, ASUS and Intel have teamed up to do a site where they get communities voting on what they want from a laptop, called WePC.com. It’s the opposite of Apple’s design process – though I suppose, arguably, it could result in The Homer Effect. (Episode of the Simpsons in which Homer designs a car and gets something … well, overdesigned. But Homer didn’t know anything about cars. Odds are, as a computer musician, you actually do know what you want and need.) Anyway, just so we’re heard, do go vote for audio stuff.

The bottom line for me: I don’t think we always benefit from someone else choosing what we need.

It’s really not worth debating which laptop choice is better, because there’s not an answer to that question. Laptops – even Macs – are bundles of literally thousands of detailed hardware decisions, and I’ve never seen two users doing exactly the same thing with their machines. That means it’s almost impossible to get a machine that’s absolutely perfect, anyway; it’s more about finding the right compromise. And OS arguments tend to devolve into meaningless debates. The actual internals of what makes operating systems work is so technical and involved, it would take a lot more than a few lines to talk about with any accuracy.

But it’s not about which is better; it’s which is better for you. So, instead, I’ll ask: got a laptop you love, Mac or PC? In the market for a new machine, economic downturn be damned? Which one are you thinking? And what would your perfect machine look like – within the realm of possibility?

Disclosure: I recently bought a cheap ASUS (pronounced ah-SOOS) laptop to replace a sudden failure of a machine. (I got an M51Sn-C1; more on that later.) I own a MacBook which I use pretty heavily, too. I’m writing stories for Rain. Heck, I just generally like computers – and I’ve got some gripes for every OS and hardware maker out there. So, like you, I’m biased about everything because I live and create on these machines – more hours than I sleep, I think.

By now, you likely already know that Apple came out with new laptops today. I could talk about the new features at the existing price points or about how the new machines are very pretty, but you can easily find that elsewhere. Instead, I want to address some unfortunate details on the new laptops in terms of ports. After all, small details can make a big difference for audio users.

For connecting drives, audio interfaces, MIDI devices, and the like, you get:

• MacBook Pro: Two USB 2.0 port, one FireWire800 port, one ExpressCard/34 slot
• MacBook: Two USB 2.0 ports
• MacBook Air: One USB 2.0 port

Those are Pro specs for laptop ports, really?

So FireWire is gone from non-Pro models. FW400 is gone from the Pros, though that turns out not to be entirely a deal-breaker (you can use FW800). And eSATA is still missing, which I personally think is too bad given the increasing availability of great external drives. (eSATA is an external SATA connector. In the real world, it blows away USB2. In theory, it also blows away FW800, but in practice, they’re typically neck and neck and both pretty great. Problem is, having just one FW800 limits flexibility.)

Note: A holdout from the previous generation, the white polycarbonate MacBook and 17″ MacBook Pro live on — at least for now. The US$999 white MacBook is a good buy if you don’t need the NVIDIA 3D graphics, with a FireWire 400 port and (now) a SuperDrive. The US$2799, 17″ MacBook Pro has a third USB port and a FireWire 400 port the “improved” models lack. I would guess both models will be phased out soon, however.

With Apple leaving their price points more or less in place, that means now could be a great time to snap up some deals on used or refurb models if you’re thinking of upgrading and want to save some cash versus a new model. And it means the MacBook, for at least some users, just got less appealing, not more.

FireWire 800 vs. 400

First off, FireWire 400 is gone entirely. On the MacBook Pro, this doesn’t wind up being as bad as it sounds. The FireWire800 jack is still available, and using an adapter, that means fairly easy backwards-compatibility with FireWire 400 audio devices. Here’s what MOTU has said in the past about using their popular FireWire-400 audio interface with FW800:

Also, you can use a FireWire 800-to-400 adapter to plug a MOTU FireWire interface into a computer with a FireWire 800 port. As our FireWire interfaces are FW 400 devices, there will be no performance increase by connecting them to a FW 800 bus, but there will also be no detriment to MOTU FW performance either. Using a FW 800-to-400 adapter simply provides you with more connectivity options.

In fact, I believe you will still get the benefit of bus power via the FireWire 800 jack. That actually makes this less annoying than using FireWire on PC laptops, as most (though not all) PC laptops use a 4-pin jack that doesn’t use power. (The upside of the 4-pin jack is, because it doesn’t carry power, it’s also not likely to fry gear when hot-plugged. I have heard isolated incidents of that happening, at least with video cameras.)

I’m also really disappointed that Apple hasn’t added eSATA. This is widely available on PC laptops, and allows superb drive performance – ideal for recording – and doesn’t involve squeezing anything else on our overburdened USB ports. Sure, you could use FW800, but many drives include eSATA in place of FW800, and you’ve just taken up your FW800 port with your audio interface. See the problem?

The break for the MacBook Pro is that you can make use of the ExpressCard slot and add functionality you don’t get, though that is an extra investment and you only get one slot.

MacBook Deal Breaker?

But let me be clear: there’s really, really bad news for the MacBook. FireWire 400 is gone. There’s no way to add it back, because the non-Pro models lack ExpressCard. You can’t edit video from a DV camera, you can’t plug in audio interfaces from the likes of MOTU and RME, and you’ll have to do all audio, MIDI, and external storage through two USB 2.0 jacks.

In fact, given this, I think I have to revoke my recommendation of the MacBooks. I’d suggest getting a US$999 plastic MacBook, which is still available, if you’re on a budget. It’ll run software like Ableton Live and Logic Studio quite well, and it offers better connectivity than the new MacBook. Otherwise, if you want a Mac, you should opt for the US$1999 Pro – or, if you want something in between, look for a used or refurbished previous-generation MacBook Pro, which has none of these compromises.

Apple: Stop Killing Our Ports!

I think Apple deserves a lot of the great press they’ve gotten lately. I think there are real reasons people switch to the Mac that aren’t related to marketing or image, which is something Microsoft often fails to recognize. But this does reveal a weakness of the Mac platform, which is that you are constrained to what Apple gives you in hardware choice. It’s worth noting that this is a definite mark in the plus column for standard PCs running Windows and Linux. That might not change your mind on OS choice, but there is still a choice, and each platform choice involves tradeoffs.

And OS choice aside, I hope Apple reconsiders and finds a way to occasionally add a port and not just take them away.

Yes, there is a lot of other news on these models, and I’m sure for some, on balance, this will be great. Go have a look at the specs and decide for yourself. I’m going to pass on this one, though – just my personal call.
MacBook Pro Specs
MacBook Specs

Updated: It’s time to talk to Apple, say fellow Mac users. Eugenia of Eugenia’s Rants and Thoughts is encouraging unhappy Mac users to tell Apple they want FireWire back on the MacBook:

No firewire on new Macbooks
Apple – MacBook – Feedback

As several of you noticed, the BBC has discovered 1951 recordings of computer-synthesized music, predating the previous earliest recordings from New Jersey’s Bell Labs in 1957.

‘Oldest’ computer music unveiled [BBC News]

So, who gets the credit for the first digital synthesis? This particular recording doesn’t change much, in that Bell was never recognized as the first computer-created music – they just happened to have the earliest recordings still available.

Here’s the timeline:

Australia: CSIRAC

Australia’s CSIRAC computer is generally recognized as the first computer to play a musical melody. Bonus points: the CSIR Mk1 played music in August 1951, before just about anything else, and it did perform in real-time. But it doesn’t count as the first digital synth, because it just sent raw pulses of data directly to the speaker. (Digital-to-analog converters didn’t actually exist in practice at that point.) And since no one seems to have recordings of the CSIR Mk1 from August, the UK Ferranti Mark 1 recording for BBC wins in the documentation category.

That said, the CSIR Mk1 definitely wins cool points for its unusual sound production methods, and it even got a program for easier, more musical entry of melodies later (1957, via Thomas Cherry.)

More details here:

The Music played by CSIRAC [Melbourne School of Engineering]

CDM loves Australia, so perhaps we can simply say that Australia gets the credit for the first computer-programmed musical materials, just not digital synthesis as they lacked a DAC.

UK: Ferranti Mark 1

The BBC recorded the recording above several weeks too late to beat Australia, but the computer in question is the heir to a very important machine. Baby (Small Scale Experimental Machine) is credited as the first “universal” computer – that is, it had the marked advantage of functioning with a range of custom software rather than needing to be rewired each time you wanted to change tasks. Baby predated Australia’s CSIRAC by about a year. The recording here is of the Ferranti Mark 1, which is a production-ready descendent of the Baby.

The recording itself is very interesting, because like the CSIR Mk1, the software used allowed for basic custom programming of melodies. Likewise, while the primitive music was little more than a novelty, it did illustrate to the public that computers would have broader applications than most had initially imagined.

Like CSIR Mk1, though, this isn’t really “computer music” as we now understand it – though it did involve basic sequencing.

US: IBM 704 and MUSIC

The legacy of Max Mathews and Bell Labs remain safe, though, despite these early discoveries. The key is the content: early computers could make noise, but Mathews’ team at Bell could (ahem) create digital music. It was one small step for sound, one giant leap for software. Whereas the CSIR Mk1 and Ferranti machines involved primitive tools for sequencing melodies, the Music I software allowed for control over synthesis, relatively sophisticated and musical descriptions for scores, and an architecture that’s (incredibly) still widely-used in music applications today. (A direct descendent is even included in the XO Laptop project’s Sugar software suite, though nearly any modular computer synth would recognize Music-N as its grandfather.)

The key moment is 1957’s recording of a 17-second composition by Mathews on an IBM 704. (That also means that Music N and Mathews handily win the first original computer music prize.) Max tells some great stories about that train ride over to Manhattan from New Jersey to feed the 704 music. The 704 wasn’t yet speedy enough to handle real-time sound generation, either – let alone counting the train commute time.

Bell did it again in 1961 with a computer-synthesized singer, as heard here during 2007’s Maxfest – arrangement by Max, voice synthesis technology from a team led by John Kelly:

To me, though, these achievements are related. There’s the initial proof of concept, even one as simple as sending data words to a speaker and arranging a melody – then the all-important architectural breakthrough, one that can actually act as a real foundation for the future. And as much as people talk about rapid technological change, conceptual achievement really led the way. Harry Nyquist imagined the basics of digital signal recording as early as 1928, later proven by Bell and MIT’s digital maestro Claude Shannon. (Indiana University has a great big-picture overview of these developments.)

And while these particular examples from Australia and Manchester aren’t entirely musical, I think it’s equally fascinating that the chiptune, circuit bending, and DIY electronics scenes are all returning to the fundamentals of digital synthesis. To these younger musicians, it seems to be a way to get more intimate with the organic qualities of the technology.

Thanks to all of you who sent this in!

In case you haven’t seen this, James Houston has produced a short film in which an assortment of old computer gear “plays” Radiohead’s “Nude.” We’ve seen various bicycle parts and such performing music around here, but not the actual components of computers in this way. James features:

Sinclair ZX Spectrum – Guitars (rhythm & lead)
Epson LX-81 Dot Matrix Printer – Drums
HP Scanjet 3c – Bass Guitar
Hard Drive array – Act as a collection of bad speakers – Vocals & FX

He explains:

I grouped together a collection of old redundant hardware, and placed them in a situation where they’re trying their best to do something that they’re not exactly designed to do, and not quite getting there.

It doesn’t sound great, as it’s not supposed to.

Sorry, James. You’ve failed thoroughly. It sounds fantastic.

Not only that, but I think it’s quite a nice reminder that even in regards to technology, sometimes sounding bad or primitive is wonderful. Yorke’s songwriting prowess comes out even as the music is translated to an entirely different arrangement. It’s humbling to hear — it means that, technology or no, being able to write great ideas sure helps. And it strips away some of the justification for having the latest and greatest soft synths, erm, not that it’ll stop us any time soon.

By the way, I hadn’t heard that Thom Yorke thought it was impossible to do remixes in 6/8. Come on, really? Okay, maybe for people whose heart beats four on the floor…

Time to dig into my equipment closet and see what will make sound. Peace out.