David Zicarelli has announced that Cycling ‘74 is discontinuing Max/MSP Pluggo-based products, meaning the company will no longer develop Pluggo, Mode, Hipno, or UpMix. More significantly, this means an end to the use of Max/MSP as a way of developing plug-ins; David writes that there will be “no further development on … their supporting technology.” It’s the supporting technology that Max patchers have relied upon to make their own instruments and effects for VST/AU/RTAS Mac and Windows hosts, and its demise to me is the real news here for the Max community.

The article touts the upcoming availability of Max for Live as an alternative. Now, I think Max for Live is a very exciting technology – I’m finally editing some videos and discussion with Jeremy Bernstein, so we’ll have a preview next week. The flipside is:

• Less compatibility. Ableton Live is just one host. Pluggo support RTAS, VST, and AU on Mac and Windows, so you could use your Max patches as plug-ins in tools like Logic or FL Studio, too. (Ultimately, having to figure out how to support all those things was part of Pluggo’s demise, but the desire to do so still holds.)
• No free runtime. Cycling ‘74 has been clear in that Max for Live will be a paid product. So, whereas a developer could create a Pluggo plug-in with Max/MSP and deploy it for free use anywhere, now you have to assume that the person using your plug-in will buy both Live and (separately) Max for Live.

For an example of why the Pluggo technology has been important, see examples like Ms. Pinky’s Wrecked System (though I appreciate the irony of that screenshot being Ableton).

Max for Live is awesome, it just isn’t Pluggo exactly – for better and for worse. The good news is, some of the oddball Pluggo instruments and effects will be available for Max for Live when it comes out, and existing owners will get that at a discount. But you might want to keep an old Mac or PC around running Max 4 and some of the strange plug-ins in the Pluggo collection.

Pluggo Technology Moves to Max for Live

Thanks to Jonathan Bailey and Nick Inhofe for sending this in.

The upshot to me is that Max/MSP is no longer such a viable development environment for effects and instruments, if you want any kind of wider consumption of what you’re making. It can be, at the same time, an utterly brilliant environment for yourself and for other people working with Max and Live. But on the other hand, part of the reason this may not be earth-shaking news is that there are alternatives – see below.

That’s not to argue with the fact that the Max + Ableton Live combination will rock and be a big deal – no argument there.

So, I actually think it may be a good thing for Max to have this focus, especially because, if you do want to support other hosts, there’s no reason to limit yourself to Max.

Open Source and Commercial Flavors

What I think is happening – perhaps naturally so – is a differentiation between the proprietary and open paths. If you choose the commercial Max/MSP – Max for Live – Ableton Live route, you get a really unparalleled level of UI polish and usability, and extraordinary integration between your Max creations and the host (Live).

The open-source altnerative now increasingly offers greater compatibility and flexibility. We’ve seen Max’s open source cousin Pure Data (Pd) run as the back end to a commercial game (Spore), on Linux on PDAs and old iPods, and as the back end to commercial iPhone apps.This is enabled by the fact that Pd is open source and community-supported, just as the ability to interoperate more deeply with Ableton Live was enabled by a commercial development process. (ChucK has also shown up powering successful mobile apps, like Smule’s Ocarina.)

That’s not to say one route is better than the other. On the contrary, it’s important to look at these two choices side by side because they’re different, and differently suited to particular situations.

And focus can be a good thing. In the case of Cycling ‘74, the decision was that plug-in support was no longer practical:

…we have had to face the fact that it is simply not cost-effective to support three different plug-in specifications on two different platforms, particularly given the increasing absence of standardization of host platforms we have observed over the past several years. Supporting our Max/MSP-based plug-in technology involves trying to make the entire Max environment run inside another host application. This was never a simple matter to begin with, and it has only grown more challenging with time.

It may indeed not make sense for Cycling to continue to provide this support. But it could be possible for others to support that – and, I hope, for us to someday have a better cross-platform plug-in standard, though that’s another discussion.

Alternative Plug-in Development Tools

There are other tools that are focused on plug-in development, and depending on your needs, they could fill the void left by Pluggo.

Here are just a few:

pdvst, free + open source, Windows

You know how Cycling is talking about how they have to run Max inside the host? That’s what this does for Pd. It looks like binarines are only available for Windows, but I see no reason this couldn’t be ported to other OSes, too. (I also remember some sort of solution for making LADSPA plug-ins with Pd, but maybe I just dreamed that.) I gave it a shot, and it’s actually quite nice.

Plogue Bidule, US$75, Mac + Windows

Plogue may actually come out on top as a cross-platform, commercial tool for building VST and AU plug-ins – only Reaktor here does that, and Plogue is quite a lot cheaper. ReWire works, too. That means Bidule will work with any host you like – even Reason – instead of just Live. If you only use Live, that may not matter, but if you use anything else … well, you get the point.

See our previous story: Plogue Bidule Modular Music App: Get Started, Meet the Creators

SuperColliderAU, free + open source, Mac

For people using the elegant sound coding language SuperCollider, you can now turn your creations into Audio Units, with full OSC control retained. Again, it’s quite easy to do.

SynthMaker, US$133-255, Windows

SynthMaker is tightly focused on instrument and effect creation, more narrowly-so than Max but as a result very powerful for the task. Also, if the Max for Live / Ableton combination doesn’t do it for you, SynthMaker is now included with FL Studio. It’s Windows-only, but you can develop plug-ins not only for FL but any Windows host.

SynthEdit, US$50 (shareware trial available), Windows

The gold standard of DIY plug-in creation, SynthEdit is actually sometimes notorious for its popularity (as in, “crappy SynthEdit plug-in). But don’t let that dissuade you: this is a powerful environment for making your own VSTs, and some truly brilliant instruments and effects have been created in it. There’s also some extensive documentation.

SonicBirth, free + open source, Mac

Why SonicBirth isn’t being widely used is really beyond me – maybe the death of Pluggo will wake people up to its potential. It’s a graphical patching environment for MIDI, audio, and instrument creation, it’s quite elegant to use, and it’s utterly free. The only bad news is, the open source version or promised commercial successor seem not to have gotten much development love lately.

Reaktor, $399 street (academic discount), Mac/Windows

Reaktor has the same limitation Max for Live does in that there’s no free runtime. But a Reaktor patch can run – and be edited live – inside any Mac or Windows host.

csLADSPA, free + open source, cross-platform

Still can’t figure out what this new-fangled Max thing is about when your CSound is working just fine? csLADSPA lets you write your own instrument and effects plug-ins in CSound and run them on any LADSPA host (it even works on Windows). Geeky, yes, but as I think about it, that’s pretty cool.

This is not an attempt to be a complete round-up, so anything I’ve left out, do let us know. I’m particularly interested to know how, say, SuperCollider or Pd users could target Mac, Windows, and Linux hosts.

Not Using Plug-ins

There is one … other alternative. Plug-ins have their uses, but everything Cycling is saying about the challenge of using them is absolutely true.

Ultimately, it’s worth thinking about why you’re using a plug-in. Do you just need to route audio or control from one place to another? Do you just want your strange, DIY step sequencer to sync with a track?

ReWire is one alternative, and Max continues to support ReWire.

But you can also use technology like JACK to route audio and (on Linux) sync and MIDI from place to place. In fact, while there are tools for creating your own LADSPA plug-ins on Linux, I don’t know anyone using them for this very reason – the support for jacking audio, sync, and control from place to place is so good, you can simply start your different music tools and you may not care that they’re not plug-ins.

Your Thoughts?

Okay, that story wound up being quite a bit longer than I had expected, but that’s the point – you have lots of alternatives. I’m curious to what you DIYers and patchers out there are imagining you’ll be spending your time doing over the coming months, whether it’s all Csound or all Max for Live.

Ah, the seasoned OS zealot. Never fear: no actual issues of substance will ever distract them from one-dimensional tirades about how their platform is best. And so, in the last week or so, you may have run across angry Free Software advocates railing against the inclusion of Windows on the OLPC ("One Laptop Per Child") XO laptop — or, in a really surreal turn, people waxing poetic about XP, like this commenter on the Win Supersite: "We get a world wide audience of children who will embrace XP and gain valuable lifetime skills."

All of this is a complete waste of time, not because the OS question is unimportant, but because it’s detracting from the more important question of education, which was supposed to be the point.

Part of why the OLPC mattered — and continues to matter — is it raises questions about what computers mean for learning. That’s a question we haven’t asked enough recently in the US, let alone across the planet. Whether Negroponte and the remaining OLPC project leaders have lost their way or not, that central question of computers and learning seems to be lost in the usual blog banter. Fortunately, it’s a discussion I think will survive after the immediate technologies have faded away.

I was lucky enough to grow up in a generation that got some exceptional educational training on computers, ironically because I think a certain suspicion of them made people more rigorous about educating with computers instead of just teaching them for their own sake. Show of hands, Reagan-era kids: how many of you learned to program with LOGO ("turtle graphics")? How many of you got to use music software? How many got to work with HyperCard? How many of you then later saw an education that later shifted to basic skills in tools like PowerPoint, instead of understanding real connections to other fields, mathematics, and programming techniques?

Platform does matter — especially given that, currently, the use of Windows breaks the Sugar interface, the educational software written for the OLPC, and critical hardware support for mesh networking, e-book reading, and power management. Maybe Negroponte will keep his word and port those to Windows; there remains reason to believe he won’t.

The question of learning, though, has been lost. I do believe that free software could be powerful for education, but it should be as a means to an end — not an end in itself. It’s one thing to say the software is free, it’s open source — another thing to figure out what it is you’re teaching. Free software opens the doors to the classroom, but it’s only a first step. And, honestly, those questions are important enough that we should be asking them about Windows and Mac software, too, software on proprietary platforms. Getting hung up on the free software question seems to derail that discussion — and allow people to conveniently duck all the real work of developing the tools.

The only really good analysis of the OLPC situation I’ve seen comes from Ivan Krstić, the head of security architecture for the OLPC before he (like so many recently) left the project:

Sic Transit Gloria Laptopi

Worth reading in full, but this for me is the bottom line:

But really, I digress. The point is that OLPC was supposed to be about learning, not free software. And the most upsetting part of the Windows announcement is not that it exposed the actual agendas of a number of project participants which had nothing to do with learning, but that Nicholas’ misdirection and sleight of hand were allowed to stand.

…

In fact, I quit when Nicholas told me — and not just me — that learning was never part of the mission. The mission was, in his mind, always getting as many laptops as possible out there; to say anything about learning would be presumptuous, and so he doesn’t want OLPC to have a software team, a hardware team, or a deployment team going forward.

Yeah, I’m not sure what that leaves either.

There are three key problems in one-to-one computer programs: choosing a suitable device, getting it to children, and using it to create sustainable learning and teaching experiences. They’re listed in order of exponentially increasing difficulty.

It’s disturbing stuff — but then again, I’m convinced that there are enough people who really do care about the deeper issues of learning that the issue will be alive — assuming the dunderheads in the blogosphere don’t let this disintegrate into a meaningless Linux vs. Windows debate.

Software and ideas could go well beyond just one piece of hardware — even carrying some of those hardware design principles to other devices, which arguably has begun to occur with the popularity of affordable laptops like the Asus Eee. That’s why I think some of the good news in all of this is former OLPC president of software and content Walter Bender founding the Sugar Labs Foundation. It suggests a future for the free and open-source learning software and unique "activity-based" interface on the XO, one that could work on other inexpensive laptops and your personal computer, too:

Sugar Labs

Sugar’s game-changing UI generated a lot of discussion — and often-warranted criticism. But one thing I noticed is that almost every review mentioned the music applications favorably. Music is one of the major draws of computing. And that’s not only for kids, but the adult reviewers, as well. If you think about how this can be built over time, music is a superb medium for talking about sound, physics, mathematics, aesthetics, time, and fundamental principles of communication, expression, and perception.

Music learning — and learning in general — also benefit from some of the other aspects of Sugar:

• Focusing on activities: I really love this interface. Everything you do is based on "activities" — files and applications allow you to pick up an actual project where you left off and continue work, logging what you’re doing in a persistent journal. It feels fantastic for creative work, not just for "kids." I expect we could see this interface pop up in other places.
• Teaching programming: Built-in apps teach Python coding, even to non-programmer children. It brings computing full circle to the days when PCs like the Apple II shipped with BASIC (incidentally, the product that launched Microsoft — otherwise Bill Gates would presumably still be an obscure college dropout). And the ability to code simple tools makes sure that computer users don’t hit walls with their ability to make the machine do what they want.
• Free, open-source, easy development: Forget about the philosophical aspirations of the free software movement for a moment. The ability to easily extend a computer with free software, and to see lots of source code for what you’re using as an example, has practical benefits. One real-world result: Sugar can live far beyond the OLPC if that project goes away.

Sugar does appear to have a future independent from the OLPC. It’s already included with a couple of major Linux distributions. It’s relatively easy to install on your PC. Activities run on cross-platform, open Python, which could eventually bring their benefits to Mac and Windows — no specific hardware required. (Java is getting added, as well.) The music software is perhaps the deepest and richest, based on Csound as a synthesis engine. I’m also interested in the partly-finished port of the Java-based coding language Processing — or ways in which Processing itself could benefit from

Again, the execution in Sugar may not be perfect. But the point isn’t whether it’s perfect. It’s not the OLPC, or Sugar, or Linux, or even free software as an ends in themselves. It’s figuring out what’s essential to building better educational tools for computers — and that’s a far more interesting question.

Ironically, amidst all this controversy, an OLPC developer XO machine just arrived at my doorstep. So I’ll be working to code for it, and will share what I make and what I learn about the device. I’m also in touch with other music developers working on the XO. Whatever happens to the project, I think there’s plenty to be learned. Stay tuned.

“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:

Over these past two months the CsoundXO Developers – especially John ffitch, Victor Lazzarini, Andres Cabrera, Jacob Joaquin, Cesare Marilungo, and Greg Thompson have really pushed out some new and important tools and activities for the XO.  Links to some of these are below.

A most important result of this development initiative is the fact that John and Victor got the CsoundXO subset of Csound5 to be FULLY SYNCHRONIZED  and TOTALLY COMPATIBLE with the current release of Public Csound (and automated the process so that they will ALWAYS be in sync!) and Andres has a CsoundXO manual that is fully synchronized as well!!!!!

http://wiki.laptop.org/go/Csound
+ Links to the Csound Activities, the new RPM!, the developer tools
(by Victor), and the toots.

http://wiki.laptop.org/go/Csndsugui
+ Victor Lazzarini’s AMAZING new GUI TOOLKIT for Csound Activity
Development on the XO
+ Victor has developed a wonderful small collection of tutorial
activities with sliders and buttons controlling CsoundXO
- waves – a simple additive synth
- synth – a subtractive synth with USB keyboard control
- playfiles – an 8 track remixer with record capability
- GMplayer – an iterface and instrument for loading and playing any GM file with Csound – using the Avid/M-Audio donated Sample Set

http://www.thumbuki.com/20080317/step-and-funny-talk-for-the-olpc.html
+ Jacob Joaquin’s new Activities developed with Victor’s Toolkit and
his blog and tutorials about the process.

* coming soon (within the next two weeks) by Greg Thompson

- CsoundEditor/Launcher – with virtual MIDI piano keyboard and CsoundXO manual integrations
+ including ALL the Boulanger Tutorials – TOOTS, Csound Book Chapter
1, Mastering Csound, Scanned Synthesis
+ including thousands of instruments and models from The Csound
Catalog plus dozens of compositions and MIDI instruments,

- CsoundRemixer – for jamming with the OLPCsound Sample Archive (and adding Csound FX instruments)

- GMPlayAlong – for playing general MIDI files with Csound and visualizing the tracks on the ascii keyboard, virtual piano keyboard and pianoroll

- PlayAlong Keyboard – for playing Csound Instruments from a USB and/or Virtual Keyboard: GMplayer, Sampler, SynthExplorer (all sorts of synths)

* coming soon (within the next two weeks) by Cesare Marilungo

- Image2Sound – for the sonification of pictures and drawings from the Journal and other OLPC Activities using his new image opcode collection.
http://wiki.laptop.org/go/Talk:CSound – some thoughts on Csound for press and others

Here are the links to the XO Bundled Sound Activities (including especially the Csound Masterpiece by Jean Piché and Company
- TamTam Mini, TamTam Jam, TamTam Edit, and the SynthLab)

http://wiki.laptop.org/go/Tamtam – all Csound – AMAZING – INTUITIVE – POWERFUL – and for Children!

http://wiki.laptop.org/go/Pippy (Some Csound)

http://wiki.laptop.org/go/Memorize (Some Csound)

http://wiki.laptop.org/go/Measure (Making the Csound connection now)

http://wiki.laptop.org/go/Record  (capturing audio for Csound and Photos for Image2Csound conversion – thanks to Cesare Marilungo’s new
Opcodes!)

http://wiki.laptop.org/go/Draw (paint program which with Image2Csound and Cesare’s opcodes – can now be transformed to audio.)

CPS is a powerful host for plug-ins. Like Native Instruments’ much-hyped platform KORE, it can be a plug-in in other hosts or host plug-ins itself. CPS is unusually powerful, with some truly unique features (aside from the normal VST/VSTi hosting on Mac and Windows). Director and Web browser supports makes this particularly worth a look if you’re building an interactive kiosk or a project involving live animation:

1. You can patch stuff: A powerful graphical patching feature set lets you create complex performance scenarios. And if that’s not enough:
2. You can code your own stuff: An SDK supports C++ and Java so you can create your own code


3. You can use it with Adobe (Macromedia) Director: CPS is the only app I’ve ever seen of this type that interfaces with interactive visuals and multimedia in Adobe’s Director, making this perfect if you’re one of the niche of people building museum kiosks or other Director-y applications.


4. It’ll run in your Web browser: Yep, you read that right; thanks to Director support you can publish to a Web-compatible version


5. Csound users will be at home, because it uses the structured audio standard estbalished in MPEG-4


6. It works with sensor input if you’re attaching I/O boards via serial so you can, for instance, make sounds by waving your hands over photocells. (See my ongoing coverage on this topic.)


7. It’s a great learning environment if you want to try out input from sensors, basic programming, patching, MPEG4 opcodes, and more.

CPS Introduction

CPS isn’t going to be entirely without updates, fortunately. It’s not quite as complete on Mac as Windows, but it does run on both, and the creator plans to update it with a new version of Sun’s Java Virtual Machine (so obviously, the whole thing runs on Java). It’s had a cult following in academia, not surprising given its feature set. Now if the creator would just open source the thing (if that’s possible) . . .

Thanks to CDM’s Atomic Afro for this one; Afro’s got his eyes permanently peeled for free music software. More discussion on the CDM forums.

Doh. Got the HTML screwed up here — now updated and fixed.

Okay, I expected I’d get called down by a reader for criticizing Csound. Instead, electronica legend BT is here to set the record straight. And, as the hackaday post said, part of the reason Csound is popular is because it’s so easy to learn, right? Wrong. BT says, “”It’s a b****, the learning curve on Csound but once you get in there . . . I’m just like, I’ll build an oscillator that splines between rhythm and pitch.”

“Literally, we have a class in my studio where we study Csound every week. We have homework and everything.”

BT is also a fan of the free Mac audio software Super Collider. Now, in my defense, BT’s audio gurus have been telling him many things are easier to do in Cycling `74 Max/MSP. That’s next on his learning agenda, so stay tuned. And incidentally, another advantage of Max — easier to perform with than Csound (though, believe it or not, the latter is possible, and as I said in the last post, you can integrate the two if you want to go uber-geeky with sound).

Bottom line: if you want to get deep in sound design, regardless of the tool, leave some homework time. And on that note, I’d better get back to Max patching. More geeky tutorials coming soon.

Previously: Hackaday working on cool Csound tutorial, I complain about Csound, everyone waits for the “how to build your own hardware tutorial”