Game and film composer Gary Kibler is back from Tuesday’s TENORI-ON launch event with words and images reflecting upon this new instrument. (See comments for lots more discussion, of course!) And for some reason, he’s been playing with his mashed potatoes… -Ed.

See also: Yamaha TENORI-ON Launch: Photos, Videos, Interviews, Demos, Details, and a Music Box

THE TENORI-ON : I know this. This means something …

Literally what TENORI-ON means in Japanese is "sound in your palm" but what I came away feeling after hearing Toshio Iwai’s story and later experiencing this innovative musical device for myself at Yamaha’s UK Launch event last Tuesday was more akin to the Richard-Dreyfuss-Close-Encounters quote. Never mind that the light-and-audio-synched performances can bring back visions of that film’s alien jam session.* I may not be articulate enough to explain fully why or how I was so affected by my short time with this snazzy gadget (my logical working-musician-self keeps on telling me that, measured by today’s music hardware standards, this is still just mashed potatoes, albeit in a very cool shape) but I do consider myself self-aware enough to appreciate the very real visceral impact it had on me. I’ve a sense the TENORI-ON is important, but not in a way most of us can fully appreciate today or probably anytime soon.

Let me start off by saying what the TENORI-ON is not:

• It is not a programmable synthesizer or sound module.
• Although it can hold some limited samples, it is not a sampler.
• It is not a compositional tool, not in the traditional sense at least.
• It has a tactile x/y matrix element but is not a Kaoss pad.
• It is definitely not the type of highly flexible "soup-to-nuts" production workstation device most working musicians would use to compose and produce their next musical opus on.

I find it commendable that Yamaha’s marketing manager, Peter Peck, was very upfront in stating the first two points at the outset, especially in a market where so many new music products attempt to be everything to everybody. It also appears to be the reason, although this wasn’t confirmed, why they have decided to market and sell these in record stores rather than music stores here in the UK.

What the TENORI-ON is:

• A well-designed piece of interactive art.
• An innovative and fully-contained musical instrument that allows anyone to easily produce very listenable music.
• A very tactile feedback-loop experience. The interplay of the lights with sound is incredibly mesmerizing and draws you in immediately.
• Incredibly immersive.
• Expensive - approx $1200 USD.

If you want a look at the future of music, DeVotchKa might be a glimpse. On first hearing, you say, “hmmm, they sound sort of Eastern European … punk.” And then you realize they’re singing in Spanish. In fact, this band, which got an extra injection of popularity from the movie Little Miss Sunshine, is a hybrid Romani - Greek - Slavic - Spanish - Latin - Punk - Folk - Rock indie band that got its start playing burlesque.

What does this have to do with digital music creation? Because if technology is every going to escape being a novelty, best left to studio recording experts or electronic-specific niches, artists will first have to liberate electronic sound. That means, much as we love the Theremin being used as a Star Trek cover instrument, its repertoire will have to broaden, finally freed from its “sci-fi” trappings.

For those of you who missed the fireworks, Native Instruments recently left its partner Stanton Magnetics (makers of Final Scratch) to pursue its own DJ strategy, which it unveiled at NAMM as (coincidentally named, I’m sure) Traktor Scratch. As with any breakup, that raised questions about support.

Here’s where the first bad news hits: the existing Final Scratch software is incompatible with Intel Macs. And that combined with other compatibility issues could mean the big losers here are Final Scratch customers, who are likely to be really unhappy when they learn the “solution” means buying new products, whether from NI, Stanton, or a third party.

Meanwhile, with NI dropping support for the software end of Final Scratch, Stanton is in the unenviable position of trying to keep their user base from leaving altogether.

At the risk of stating the obvious: now is not yet a good time to upgrade to Vista. That much is generally expected with a new operating system. What’s unexpected is that it’s some of the biggest partners who aren’t ready. Microsoft’s own developer tools for Vista are still in beta. Basic hardware drivers are missing. NVIDIA and ATI are missing drivers for major, current-generation video hardware. And worse, marketing materials from Microsoft and some of their larger partners are distorting the reality of the situation.

Unless you have drivers in hand for your computer, your graphics drivers, your sound hardware, and confirmed Vista-ready updates for your critical apps, I wouldn’t even bother putting Vista on a second partition. There’s just no benefit right now. (If you were a beta tester, of course, go for it — but I’d say even early adopters may want to wait another couple of weeks.) Now, you’ll hear lots of members of the PC press say “don’t upgrade; wait until you buy a new system.” That’s ridiculous. The whole advantage of the PC platform is upgrading. And the real problem is that even brand-new machines are unlikely to work, because the problem is drivers and apps — not how new your hardware is or whether it was “built for Vista.”

Based on what I’m seeing, I do think the current incompatibilities are unlikely to last long; I’ve seen some encouraging signs that people with simpler setups may be able to update in the next few weeks to two months, and, frankly, given the size of this OS, that’s not all that bad. But right now, the upgrade process is likely to be a nightmare for almost everyone. And the really frustrating thing is that the very companies claiming to be ready are often the ones who aren’t.

Whether you choose Mac OS X, Linux, Windows XP, or Windows Vista — or some combination as I do, and let’s not forget your hacked Commodore 64 — your OS choices should be based on fact. As you know, we’re not exactly big fans of over-aggressive Digital Rights Management and content protection. But readers here have found ways of using their tech the way they want: importing unrestricted, legal music from CDs into iTunes, loading MP3s and OGG files onto portable players, and so on. And there are DRM restrictions we can live with; I haven’t ever had trouble with DVDs, for instance. DRM only becomes a problem if it gives you no choice, or interferes with your work.

The problem is, some pundits have been so anxious to blast Windows Vista that they’ve started to spread information that is inaccurate or exaggerated. I was suspicious of the “Sky-is-Falling” gloom-and-doom accusations of content protection in Vista. Sure enough, those of you with actual technical experience wrote in to confirm that at least some of this information was overblown. Readers using Vista haven’t had reliability and usability problems in Vista in general. DRM restrictions are optional; they apply only when you buy hardware built to play the content and only while you’re playing the protected content (like a Blu-Ray disc). And driver signing requirements, while they initially made us a little nervous, aren’t a major hurdle: you can turn off signing requirements to install unsigned drivers when you need to, developing signed drivers should be practical for most developers, and signing requirements may stop misbehaved drivers from trashing your PC system.

Incidentally, take a look at comments; this site attracts a lot of people whose day job is developing drivers and applications for Windows. A lot of you know what you’re talking about.

Microsoft’s program managers have also responded to the content protection concerns:

Wallace is CDM’s resident turntablist, and he’s also immune to blind gear lust. I’m waiting to pass judgment until I get first-hand contact with Xponent, but I’m equally confused from a product perspective. Now, let’s see — we could copy and paste a press release here. Or we could try Wally. I just hope we’re able to figure out what he really thinks. -PK

Let me get this straight - an overpriced control surface is what’s gonna change DJing?

M-Audio Torq Xponent

M-Audio announced their Xponent control surface/USB audio interface today, and this long-time DJ is distinctly underwhelmed. You know, when all there was to the SynchroScience line was the Torq software, the Conectiv and the X-Session Pro, I had this idea that they were building this mini-galaxy of interoperable DJ gear that one could purchase bit by bit and eventually put together a nice, integrated digital DJ system with all the bells and whistles. However, the emergence of the Xponent today turns out to be a bit of a head scratcher.

…because M-Audio’s front page has a countdown timer assuring us that tomorrow “DJing will never be the same”, along with a little Torq logo. I wish.

I don’t know how many times I’ve been assured by manufacturer propaganda that “X” will never be the same, but it’s got to be one of the most overused cliches around. Frankly, I’m no longer surprised by these silly ad pitches, but I’m not any less insulted.

FWIW, I happen to really love my M-Audio Conectiv. Having been a MsPinky user from day one, the Conectiv solves a lot of my problems. I used to have to set up using two external phono preamps (with their own power supplies) running into my RME Multiface, and the Conectiv eliminates a lot of the wires and almost all the hassle. The Torq software is nifty too, if a bit more busy than I like my interfaces. Given that I already had a crapload of Gen 1 - 3 MsPinky vinyl (the rewards of being a hardcore beta tester in the early days), buying an interface/DJ software system built around the pink vinyl was a no-brainer for me.

Apple’s iPhone prototype is a beautiful culmination of user interface design and industrial/product design. But the core of the product really is its multi-touch interface, which should gratify readers of this site. Almost from the moment this site was founded, you’ve advocated the possibilities of touch and multi-touch interfaces. CDM first covered the JazzMutant Lemur (later distributed by Max/MSP powerhouse Cycling ‘74) in November 2004, and readers of CDM were pouring over the interface possibilities of multi-touch as revealed in Apple’s patents back in February, along with experimental, projected multi-touch interfaces and even Windows multi-touch.

Musicians, after all, understand the importance of physical interfaces — it’s the essence of musical performance, and anyone who works with MIDI is intimate with the process of translating gestures into numbers.

So now the iPhone is (almost) here. It’s a brilliant design that, unlike my Windows Mobile-based UT Starcom VX6700, seems to actually understand what a phone is.

With months left until release, a lot could change. But, while I’m very excited about the iPhone’s design, two major questions concern me:

1. Will Apple lock down the iPhone, blocking Flash, Java, custom widgets, and open development from its new platform?

2. Could Apple’s multi-touch patents actually stifle growth of new, interactive displays?

While a lot of CDMers looked at iPhone and thought “that’d make a nifty music controller”, a possibility that now seems more remote, these questions of course have much deeper implications. So, with everyone else to ooh and ahh over Apple’s as-yet-unreleased phone (check out the hilarious faux unboxing), I get the chance to play skeptic.

Several of you have written to point to a new article by Peter Gutmann, who argues that content protection (known commonly as DRM, but arguably broader than that) will exact a major cost in Microsoft’s upcoming Windows Vista. These issues should be of special interest to Windows musicians: Gutmann predicts Vista’s new content protection features will disable video output functions, eliminate open source and unified drivers, consume more resources, and cause a major loss in device compatibility and system reliability.

I can’t take it any more. In one corner, we have PC pundits negatively reviewing Apple’s possibly-upcoming iPhone weeks before it’s announced — reviewing a product they know nothing about that may not even exist. (Incidentally, Microsoft’s new MadeUp Pro 2007 Edition — total crap. So is the new Imaginesoft NeverNeverLand iMadeUp Express.)

And in the other corner, we have a never-ending flood of reviews of Microsoft Windows Vista, weeks before third-party developers have shipped most of the drivers and application releases that would let them fully test it, bashing the new OS based on old, often misleading arguments. In a way, it’s only fair. After years of getting unfairly slammed in the press (remember the late-90s, when every Apple news story began with “the beleaguered computer maker”?), Apple now has some of its most vocal advocates helming the computer analysis for the New York Times, CBS, Chicago Sun-Times, Newsweek, and Wall Street Journal.

CDM Senior Editor W. Brent Latta sums up everything I’m about to say, only much more succinctly. “I’m not one to let Microsoft off the hook, but I want to know what is different about Vista - not what makes it a copycat of OS X. I have to use both OSes.”

Amen.

Now, I’m all for comparing Vista to OS X, because for the individual consumer, there is a choice. Apple hardware owners can even dual-boot Windows on their own machine, so they could theoretically make an afternoon of trying a new Microsoft OS — and wind up choosing both. With millions upon millions of users, operating systems are some of the most important technology on the planet. They’re worth criticizing. And it’s about time someone pointed out the real advantage of the Mac is its operating system, which often offers reliability and features well beyond Windows. That’s not just because Windows is “bigger” or more “backwards-compatible” and these features are impossible. For music, Core Audio and Core MIDI offer superior compatibility and performance versus Windows XP. The fact that XP is a usable OS and a favorite for many musicians suggests to me that Microsoft could and should compete with these features.

The only problem is, I’ve heard primarily two criticisms of Vista, and neither seems fair: