Technology may be about the next Big New Thing, but as with music making in general, making music with tech is for many of us a lifetime vocation. So, it’s welcome news to find that time-tested tools, maturing over decades rather than months, are enjoying greater use than ever before. We saw Pure Data (Pd) attracting new interest as the embeddable libpd version allows use in a range of development environments and mobile platforms. Now, it’s about to be Csound’s turn.

Of course, before we get to that, if you’ve got an iPad 2 or “3″ (aka “the new iPad”), you can more or less skip this entire article and start making wild new granular sounds on your tablet. (Sadly, the original iPad is excluded here because it’s a resource-intensive application, though owners of that tablet – and other mobile devices – have plenty more to anticipate in Csound world.)

csGrain is a multi-effects processor that works its sonic-mangling magic live on sound, making use of something called “SyncGrain,” a real-time granular synthesizer. You can record from a mic or import tracks from the iTunes library (including, of course, your own music), or even use an included sample loop. csGrain then processes those sounds via a rich set of sonic tools, either live or to a recording, with sharing via AudioCopy, AudioPaste, email, and Dropbox. You also get setting randomization and a range of live effects, too. If you’re unsatisfied by the “finger against bathroom mirror glass” feeling of the tablet, you can connect an external MIDI input.

And, of course, it sounds amazing:

All of that is nice enough, but the bigger news is how this is all possible – and what is yet in store. Think Csound running everywhere, including learning about the tool and coding with it directly on an iPad.

csGrain uses Csound, the composition and sound design language that traces its roots back to the first-ever digital synthesis languages developed by pioneer Max Mathews. (It’s worth noting that Max’s ideas inspired the work of Miller Puckette on Pd and Max/MSP, too, meaning these are “all in the family,” as it were. Some even argue the model had an indirect influence on modular synths.)

csGrain is the first of a series of apps using Csound, including a massive, promising, everything-you’d-ever-want-with-Csound-on-an-Ipad app, covering documentation and code. This isn’t just an attempt to “cash in” on a geeky sound tool in the midst of the App Gold Rush — far from it. The application is as much a teaching opportunity as product. You’ll be able to use the application and its documentation to learn more about the sound processing technique, and discover the Csound code that makes the app tick. For some, it could be a first introduction to Csound, without having to be enrolled in an academic class. And for developers and sound artists who do want to make their own Csound creations, an upcoming SDK will unlock the power of Csound on other platforms (iOS being just one). That brings the power of “run anywhere” portability to text-based language Csound much as libpd has done for the graphical-patching tool Pd.

This image of a developer build of Csound Touch should be enough to set Csound fans’ hearts racing. (Okay, not a huge segment of the population at large, but I’m fairly certain most of them read this site.)

Developer Dr. Richard Boulanger, who has been a driving force behind almost every element of Csound’s recent development from the stuff under the hood to the documentation and the community, is now taking that sonic energy and applying it here. (And I do mean energy: sonic whiz “Dr. B,” as he’s affectionately called by his students, practically bubbles with enthusiasm and ideas. I’ll have what he’s having.)

He tells us that even in its first day, csGrain has made a big impact – no small task for an App Store inundated with volume and an application most would consider to be pretty niche in appeal.

The launch of csGrain has been pretty exciting. At the App Store, on day one, in the Paid Music Apps Catagory, we reached the rank of #8 (out of 4000+ paid music apps). We had over 957 people view the csGrain video at the Boulanger Labs site, and we were contacted by Richard Devine and Jordan Rudess with praise, congratulations and advice. We got some pretty great reviews at the App Store such as this one…. (I have no idea who this is by the way… which makes it even cooler….

“csGrain is a must-have effects powerhouse for the iPad. The sounds, usability, and musicality of the instrument are at least on par with the Moog apps, but the the potential for extension and customization far surpasses anything else. If you want to blow your mind in two seconds flat with this app, just press and hold any of the parameters (esp the sync grain ones) and a randomization window pops up, change the parameters and get instantly out of this world sounds. I really like the integration with Dropbox and AudioPaste functionality. And while you don’t need it at first, the manual is very well written for when you want to dig deeper. My only complaint is that the app is not yet in Retina-display, but I am sure that will be coming soon. Another nice feature improvement would be to augment the midi capability, which is already awesome, to allow for automatic learning of cc messages based on input like the way Ableton Live works. All in all, this is most powerful effects application on the iPad. Good job!”

I should also direct owners of the first-generation iPad to Richard’s explanation of why you can’t have the app:

It really doesn’t work on iPad1. It’s optimized for iPad2 and the new iPad. In particular, the stereo granular processing is both efficient and amazing, but… it’s also pretty heavy for the iPad1 and we would get some
breakUps in the audio on that platform – so we just made if for the 2 and the new.

But let’s get to what’s coming next. Dr. Boulanger gives us the full scoop. I imagine him sounding like Vince, the Slap Chop guy (and with good reason):

[Last week] was the release of csGrain (one of Boulanger Labs’ focused/targeted “spin-off” apps) and there are others coming over the next few months. But Csound Touch – which is coming in about 1 month – is ALL of Csound on the iPad…

The Csound for iOS API and SDK will be offered in the next day or two with all sorts of working models…
It will blow you away… how “easy” it is to develop audio apps with Csound as the DSP engine.

our .csd files are all offered with the apps.

One will be able to incorporate Csound into their own apps, games, whatever.

csGrain is just ONE huge .csd file – running under the hood… and there is a button there to see the code and it’s in the manual that is included too.

- we are sharing many tricks right there. But there are also tons of tricks shown in all the models that come with the SDK

Csound Touch IS Csound – all of Csound – for the iPad.

It is built upon and synchronized with the latest version of Csound5

It supports the realtime “rendering” of any Csound “.csd” file.

It can render .csd files from within the Csound Touch App or from the Internet.

It includes realTime “Console Output” (for diagnostics and progress monitoring) and supports “OFFline Rendering” for the realization of the most complex and demanding of “orchestras and compositions.” (For instance, if you wanted to create a sound with ten thousand oscillators and five hundred reverbs and two thousands filters it’s not a problem. This is Csound… all of Csound… and with Csound the only limitation is your imagination!)

Csound Touch supports Realtime MIDI control of any Csound-based MIDI instrument.

Csound Touch supports Realtime iPad/GUI Control of Csound Instruments via custom OnScreen Sliders, Knobs, XY controls and a Piano Keyboard.

One can Save to Disk or Render to the speaker or any pro audio interface in RealTime or once can do both Simultaneously! Jam and Capture! Remix and Record.

Csound Touch supports Interapplication File Transfer on the iPad Import/Export via DropBox, Email and AudioCopy.

To get you started with Csound; to inspire your creative spirit; and to support your study and exploration of Computer Music Composition, Software Synthesis, Signal Processing, Algorithmic Composition, Physical Modeling, and so much more…
the Csound Touch App includes:

Chapter 1 of Boulanger’s “foundational text” published by MIT Press – The Csound Book

The “classic” Boulanger Csound “Toots” from the Csound Manual

Boulanger’s “Mastering Csound” Tutorials

and there’s more!

We include the latest Csound FLOSS Manual (and all the Floss Instruments)
We include the Canonical Csound Reference Manual (and all the Manual Instruments)

and even more….

Selections from Boulanger’s Csound Instrument Catalog (30 years of Csound Instruments)
Selected Csound Compositions from the Boulanger Collection and The Csound Mailing List

Selected Algorithmic/Generative Compositions

A diverse and useful assortment of Dr.B’s favorite DSP Instruments
A varied collection of Dr.B’s favorite MIDI Instruments

A collection of OpenSource Audio Samples from the OLPC Sound Sample Archive.

Of course, this isn’t just about iOS: Csound is now in one form another either available or coming soon to Android, Ableton Live (via Max for Live), Max/MSP, standalone desktop applications, and the Mac AudioUnit plug-in format. I agree when Richard calls it “The Csound Renaissance of 2012.”

By the way, I think Richard has given those of us working on Pd, too, a real sense of what we could do with that tool (as well as an excuse to play with Csound anew). He tells us:

PS…. The Pd Rennaissance is also very very wonderful – the new book, the new code, the new possibilities…. all extremely exciting. After reading your blog on bit ago, I ordered the book and am very inspired by this initiative as well. So…. all cool and extremely important.

I couldn’t agree more.

So, once again, the timeline for the Revolution:

Coming soon (in a month)

Csound Touch – all of Csound on the iPad! Run any opcode, run any orchestra, run any composition. Run the entire Csound Book, Csound Catalog, Csound Manual. It all works and it’s all there!

and the a few weeks after that….

More Csound Apps such as:

csSpectral – Realtime vocoding, convolution, and spectral processing.

csFuzz – a rack of guitar effects.

csVoice – a vocal synthesizer, harmonizer, processor.

csGen – algorithmic, probabilistic, and generative composition systems.

csModel – a collection of Physical and Physically Inspired Models.

csClassics – a collection of synths based on the classic techniques – FM/AM/RM/WaveShaping/Granular/Additive/Etc.

The Revolution will not be televised, but it will be at:
http://boulangerlabs.com

You can find csGrain on our exclusive, multi-platform Apps section:
csGrain @ apps.createdigitalmusic.com

An, as always, don’t miss the central repository for all things Csound:
http://www.csounds.com/

We’ll have an interview with Dr. Boulanger later this week, so if you’ve got questions for him, ask away!

Too much comment here will spoil the fun, so enjoy – particularly with Dubstep how-to videos becoming, bizarrely, some of the most viral things online. (Hmmm… it’s almost like kids are interested in producing a wildly-popular music genre. Strange. But I hope you’ll stick around for CDM’s new Csound Drones That Hurt Your Ears series, comi– hey, where did everyone go?)

I at least can see lovers and haters of the genre now known as “dubstep” (not to be confused with the previous genre known as dubstep) finding this amusing. But should I turn off comments, just in case?

Thanks to Berliner and serious sonic scientist Martin Backes for the find. Yes, Martin, I am stalking your Facebook page. In the blogger “journalism” field, we call that “research.”

We’re here today not just because people like synths, or electronic music, or even music itself, but because the advancement of technology depends on kids learning about science and math.

That was certainly the history of Bob Moog himself. What he got as a student opened up the doors to the knowledge and interests that gave the world Moog synthesizers. Dr. Moog himself long credited his education – as a youngster at Bronx High School of Science in New York City, studying physics at Queens College, Colombia, and Cornell, and even making kit Theremins and discovering electronics – for what would come. Look to any other synth pioneer, or modern inventor or software developer, and you’ll find a similar story.

That’s not to say we need to turn the entire population of the planet into synth builders. But what music technologists do inspires science just as science inspires music. A lot of the young boys and girls who played with Theremins – or, later, Moog synths – went on to advancements in everything from space exploration to medicine. People accomplished amazing things motivated in part by the politics of the Cold War. Imagine what we could do motivated by the desire to do new things – and make new sounds.

All of this makes the mission of the Moog Foundation vitally important. Led by Bob Moog’s daughter Michelle and an elite crack team of synth experts, they’ve already begun reaching kids in schools around Asheville, North Carolina and Jamaica. They’re using synths as a window into science and physics. (Waves underly huge amounts of the universe, and it’s tough to find a better way to understand those waves than playing an electronic musical instrument.)

A funding drive to take this local project national is about to run out of time, and it’s well short of its funding goal. So now’s a great time to look at the project and consider giving even a small amount of support.

You’ve got only a little time left: at the end of Thursday March 1, just before midnight, Eastern time, this fund drive is over.

There are two important things you should know.

First, the Moog Foundation is not associated with Moog Music, the private company started by Bob that makes products like the Voyager and Moogerfooger. The Moog Foundation is entirely independent, and not-for-profit. Science (science!), not selling Moogs, is their mission, and they’re driven by your support – not sales of gear.

Second, since it’s awesome to get swag along with your feelings of good will and acheivement, yes, we’re going public TV/radio fund drive here and telling you that you’re going to get some excellent stuff to commemerate your contribution and fill your studio (or the bumper of your car, if you’ve got one) with synth love.

Marc Doty, who has been involved with developing the curriculum, tells CDM more. (Marc is known recently in these parts when, in a bizarre instance of devil’s advocate, I wound up advocating analog synths and knobs and he iPad apps, all leading to some good discussion and I thought some nice insights.) He explains the mission of the project, and details the curriculum:

Bob Moog pursued his passion for musical instruments through his talent for electronics. As a result, his work changed the landscape of electronic music history, music history, and even history in general. The application of his creativity and innovation has resulted in tools and knowledge that inspired thousands from multiple generations.

It is the belief of the Bob Moog Foundation that the spirit of creativity and innovation evinced by Bob Moog has the power to continue to inspire; not just in regard to music, musical instruments, or electronics, but also in regard to creativity and innovation in general. We live in a time where unique and inspired approaches to problem solving make the difference between mediocrity and brilliance, and where a fresh outlook has the power to revolutionize thinking. Just like Bob’s work inspired a revolution in thinking.

Bob was an educator, so what better way to spread his legacy than through education?

Doctor Bob’s SoundSchool is a curriculum designed to portray the science of sound through the magic of music. It was authored in 2011 by a variety of skilled professionals who had been inspired by the work of Bob Moog, and is the result of their combined knowledge, talents, experiences, and inspiration. It focuses on the physics of sound, and delivers scientific content in an innovative and inspiring way consistent with aspects of Bob’s pursuits, as well as consistent with successful educational practice.

At the core of the curriculum is “The Wiggle.” The Wiggle is a creative way to portray the nature and behavior of sound which can be effectively and accurately demonstrated without simplification or generalization to students of all ages. The focus of the curriculum is the portrayal of the life cycle of the wiggle; how sound is generated, how it interacts with its environment, how it travels, how it is changed, and how it is perceived.

The curriculum is divided into 7 different sections; 5 of which address the nature and life cycle of The Wiggle. Using a variety of tools and media (including tuning forks, oscillators, and even real theremins!), the nature of sound is explored and revealed. The way sound is generated, the way it moves through various media, how it can be converted into electronic form, and how it it can be observed and measured are all covered in detail and in creative and compelling ways which are consistent with the multiple various learning styles of students.

One aspect of the curriculum is the “chain of sound.” This is a fun and creative set of cards which portrays sound in various ways from its origin to its perception that can be arranged in multiple configurations to portray the life cycle of the sound wave. Students can employ creative thinking in their arrangement of the cards, and the rules of arrangement help students understand the physical behavior of sound.

Currently, the curriculum is being implemented in Asheville City Schools at the 2nd grade level, which is the age at which the state standards suggest that the physics of sound should be introduced. This implementation is a test run where we fine tune our efforts through a process of measurement in regard to the effectiveness of the curriculum.

We are currently engaged in an Indiegogo campaign which will hopefully fund our efforts to expand Dr. Bob’s SoundSchool nationwide.

Marc Doty
Archive and Education Specialist

P.S. People still bring up our little interchange about the Animoog. It has been the source of a variety of interesting conversations! Thank you for that opportunity!

Thanks, Marc.

Among the prizes, pictured here: a Moog Voyager Select Series Synthesizer signed by Moog-inspired artists including Brian Eno, Moby, Wayne Coyne, Edgar Froese, Passion Pit, Chromeo, Ghostland Obervatory and many other bands who performed at Moogfest 2011. The Moog Foundation says donors can also win a VIP weekend for two to Moogfest 2012 featuring a stay at the breathtaking Grove Park Inn Resort & Spa in Asheville, NC and a pair of VIP tickets to Moogfest 2012.

But those nice bonuses aside, I think it’s worth noting that the entire impetus for the project came out of an outpouring of letters and support following Bob Moog’s death. It’s something we saw at CDM, and it’s fantastic to see out of what was initially grief, something new blossoming.

More information:
http://www.indiegogo.com/Bob-Moog-Foundation-Dr-Bobs-SoundSchool
www.moogfoundation.org
Photo gallery of Moogfest Voyager: http://bit.ly/wYY9mZ
Twitter: https://twitter.com/#!/MoogFoundation
Facebook: http://www.facebook.com/BobMoogFoundation

And to see this in action, don’t miss:
Pilot Program of Dr. Bob’s SoundSchool Begins

Yes, it’s that gift-y time of year again, which naturally means among lovers of music technology, thoughts turn to gear wishes and dreams of new hardware. We’ve asked in the past what readers want in their stockings and presents – and, just as interestingly, what they’d give to others. And you’ve come up with fascinating ideas.

This year, I’ll frame the question a bit differently: what, beyond the usual suspects, would you love to have? Books or music collections? Handmade or boutique items? Unique tools and toys that’d help you be creative? And what would you give to others – perhaps out of the gifts you’ve given yourself this year? (Music lessons, for instance?)

We’ll again pull together those ideas for next week. And we’re also looking through the best music of the year. Given the lavish presentation music itself often now has – far from disposable digital downloads, gorgeous vinyl records and limited-edition prints and books and design objects – I imagine those two questions might well merge.

Nor does this has to be raw consumerism: the best gifts, to me, can start a life-long love of music or be an object that embodies a connection to another person. If ever we, the music tech press, may just encourage endless throwaway purchases, I think it’s also our obligation as journalists to find the tools (free or pricey) that will make you musically productive and that you’ll value over a long time. (If you think that we lack that motivation, by the way, you’ve never been buried under a stack of review hardware. Ahem.)

But before I open my own mouth, I’d love to hear what you’re thinking – or what gap we might fill. Fire away.

And if this seems like “filler,” on the contrary, I know from past experience sometimes it’s what gets written in comments that I enjoy the most.

Presenting artists from around Earth to viewers around Earth, a center in Beijing has found a way to do live performance for a sleepless world without waking the neighbors.

Let me start out by saying this: if you read CDM from China, say hello. We’re in the wrong language, we have no translation, and I seriously doubt our Texas data center is delivering this site with any speed (until we upgrade to an international CDN), but the only reason I still run CDM is in order to reach people, and to hear from a wider world that knows things I don’t, and imagines things I can’t. And if you’re not in China, we still get very nice, high-quality video streaming. Think about that for a second: we’re on a planet that has a circumference between poles of about 24,860 miles (40,000 km), and we can share video and recording as if we’re in the same room. That’s pretty ridiculous; almost more impressive than recording itself. (I had similar thoughts a few years ago, somewhere in the jetlag going from New York to its nearly-furthest point on the globe, Perth, Australia.)

Shan Studios is a platform for artist conversations, residency, audiovisual performance, and learning. If you’re in Beijing, China, this center is forging connections between European audiovisual practice and China — and it’s a place where you can go to learn tools like Ableton Live, SuperCollider, and Max/MSP/Jitter. But if you’re anywhere else in the world, tonight/today you can watch a performance of audiovisuals. (That’s 11:59p Beijing time, 4:59p London time, 11:59a New York time).

The best part of this: by broadcasting to the Web but being silent in person, the performance won’t disturb the neighbors.

Using an array of webcams, DIY synthesizers, medical equipment, projectors, busted radios, and many unconventional instruments, the performers will create a completely immersive audiovisual experience in the Shanstudios sound laboratory. But the actual performance space will be silent – as to not wake the neighbors and simultaneously experiment with the best distortion box ever created (the Internet!) – all sounds will be processed digitally and virtually. The event is entirely exploratory and will hopefully lead to greater investigation of the Internet as a viable medium for other such experimental performances.

Shan Studios is the brainchild of multimedia artist Sheng Jie (gogoj), who returned from studying in France with artists and education to share with young people in China.

That pattern is very familiar. In fact, it’s hard to imagine where we’d be now without international exchange. First, research centers exchanged knowledge and technology – think, for instance, American Miller Puckette visiting Paris’ IRCAM to go on to create what would become Max/MSP, but also investigations spanning Brazil, Japan, Australia, and so on. With more democratized access to technology (read: s*** gets cheaper), that’s gone beyond any centralized locations to knowledge and artistic ideas that cross all six populated continents.

Whereas this was once one-directional – even in the US, aspiring artists often headed to Europe – now I think the compass could spin in all directions.

Anyway, I should be quiet so you can go watch the video:

http://www.livestream.com/gigonline (something interesting happening there already, and I think they’re just warming up)

http://shan-studio.com/?lang=en [English Shan Studio info]

Side note: if anyone is interested in making a Mandarin-native site companion to CDM, do get in touch. We’re not, ahem, sponsored by Intel, but I can see what we can do. Hell, I’d be pleased to have one page, or content in English that does a better job of what’s going on on the other side(s) of the globe.

Some psychedelic HPRIZM sounds to get you through your weekend:
PROJECT-Xmp3 by HPRIZM

And it’s worth revisiting Anti-Pop Consortium’s podcast for our friends at XLR8R Magazine:
http://www.xlr8r.com/podcast/2010/10/anti-pop-consortium

What’s a bit unique about this event is that it couples digital music with visual art (with, you know, actual paint) and teaching. NYU’s Hip-Hop Education Center” is a collaborator, teaching people young and old the craft of hip-hop music.

Invisible Instructions Exhibition + Micro-festival Site
Dubspot Blog Post

Psychedelic solstice Tuesday, anyone?

Want to see hundreds of pieces of music kit from keyboards to oscilloscopes, plus some 1500 mini-Theremin toys for students, coupled with US-wide education to help introduce young people to science? That’s the idea behind a grant proposal by the Moog Foundation. The Foundation’s MoogLab teaches science through sound – a worthy cause. Not only was Bob Moog’s life in electronic music ignited by discovering the Theremin, but many of today’s generation of scientists and thinkers were raised on electronic sound kits a few short decades ago. Without the same exposure to science and sound, young boys and girls may not get on the same path.

If you like the idea, the project needs votes. Michael Gallant (formerly an editor Keyboard Magazine, still a contributor) writes with this update:

We are up for earning a $250K grant to take electronic music instruments into schools to teach under-served kids science via the Moog Foundation’s MoogLab program. The catch is that we’re ranked #92 now by public vote and we need to be #1 or #2 by the end of December in order to win the funding.

Voting is daily; that is, vote early, vote often. Voting every day in December gives the project you want better chances.

More information:
http://www.refresheverything.com/bobmoogfoundation

The Refresh Everything grant aside, I’d love to hear more discussion of how to bring electronics and sound to young people around the world – your ideas are certainly welcome.

Now that digital technology allows rapid creation of new interfaces for music and sound, the question of how to represent those elements visually has new life. But whether digital or not, practitioners of music have long been interested in applying further descriptions to music, from the Baroque Doctrine of Affectations to the involuntary association of color in Synesthesia.

Applying colors to the notes of a musical scale is one particularly common idea, but the late master composer/orchestrator Arthur Lange had a different idea: why not give colors to range? Building on ideas from orchestrators Francois Auguste Geveart and Rimsky-Korsakov, he applied colors to registers of tone across each instrument. This way, it’s possible to see, in livid color, how ranges are applied in orchestrations, even down to unisons and harmonic density.

Lange wasn’t just any composer/orchestrator: he was a four-time Academy Award nominee, head of MGM’s Music Department, a Tin Pan Alley mainstay, a bandstand and studio regular from the 1920s, and an orchestrator on everything from 20s dance band numbers to MGM’s “The Maltese Falcon.” Seeing his creative and more-than-a-bit idiosyncratic approach says a lot about the ingenuity of America’s musical Renaissance at the time.

Here’s the twist: aside from suggesting how color might be represented in digital systems, the Spectrotone Chart could even be applied to audio equalization in music production, as EQ and orchestration are closely coupled. (Tin Pan Alley’s orchestrator with a pen could be today’s mastering engineer on Cubase.)

I know some of this only by coincidence: Alexander Publishing, a major music and educational publishing house, has decided to re-release Lange’s self-titled “Spectrotone Chart” with training materials as a US$20 download. As they are selling it, Alexander doesn’t want to give away all its secrets, but here’s the basic system. Range is divided by adjective and color:

White = Brilliant
Yellow = Bright
Green = Pleasant
Blue = Rich
Orange = Golden
Red = Glowing
Brown = Warm
Purple = Mellow
Grey = Dull
Black = Indefinite

These sections are then, as illustrated in these excerpt images, applied to frequency and instrumental range, with various applications for using the resulting color system to understand orchestration and harmony.

What might this have to do with recording and EQ? From the press materials at Alexander Publishing:

The Spectrotone Chart is organized by the 88 keys of the piano with each key numbered, from the bottom A being 1 to the highest C being 88. Because of its application to mixing and EQ, Alexander Publishing added below each piano key its Hz frequency. Similar to many EQ charts, above the piano keyboard are the colorized tone colors within each instrument’s range.

With the Spectrotone Chart, an engineer sees the range of the EQ’ing along with the tone colors being affected. “For arrangers and composers not trained in recording engineering, the Spectrotone Chart helps them understand EQ from an orchestration perspective,” explained Peter Alexander, author of the Professional Orchestration™ series and How Ravel Orchestrated: Mother Goose Suite.

If you’re interested in exploring Lange’s system, $19.95 buys you a digital download with the chart (as an 18″x24″ poster, scalable to Letter, A4, and the like), plus two detailed “training guides” for how to use it.

But I’m also interested in how color might be applied to new musical interfaces and interface design, and how you use color to think about your music generally. After all, as MGM themselves demonstrated, a world in Technicolor is somehow more vivid, if a bit riskier. Just ask Dorothy.

Ask a machine to emulate human creativity, and at the very least, you’re guaranteed to learn something. Modeling creative rules and intuitive algorithms as generative code is itself an eminently human activity – think of it as interactive theory. And where the computer fails to sound like a human, you learn something, too.

Improv-Visor is an artificially-intelligent jazz improviser tool, but it’s quite a lot more. It can be used to make lead sheets, to experiment with jazz harmonies and solos, and – by asking human students to fill in their own parts – a teaching tool. It continues some of the legacy of Band-in-a-Box, but it seems to be more in keeping with current-generation software, it supports more platforms, and it’s free and open source. (Yes, it even runs on Linux.)

Rendered in low-fidelity, unaltered General MIDI soft synth sounds, I’m not sure you’ll be tossing your Bill Evans records in favor of the computer’s attempt. But looking past the superficial quality of the sounds to the musical content, the software is pretty impressive. And because it’s a multi-purpose jazz tool and do-everything lead sheet utility, I could see all sorts of uses.

Franz Keller, CDM reader and son of the developer Robert Keller, forwards a description from his father. There’s actually a bit to wrap your head around as far as how this might be used, so I welcome some constructive comments. I think the tool looks great, though; it’d be interesting to hear this integrated with more traditional jazz songwriting and practice workflows.

Impro-Visor, by Prof. Bob Keller and students at Harvey Mudd College

Impro-Visor (“Improvisation Advisor”) is a software tool designed by musician and computer scientist Bob Keller to help jazz musicians work out, hear, and record solo ideas, including studying the work of others. It provides a notation capability for lead sheets that consist of a single melody line and chord changes. Melody content can be entered by a point-and-click interface, typed text, or a MIDI keyboard. Chord progressions are entered by typing the chord names or loading from an existing text file. Using the point-and-click interface, notes are sounded with the corresponding chord background as they are entered. Visual feedback is provided by an optional coloring scheme: chord tones show as black, color tones or tensions show as green, chromatic approach tones show as blue, and everything else shows as red.

A typical use of Impro-Visor is to ask students to compose a solo of one or more choruses over a tune being studied. By working out lines for the solo, a better understanding of both the tune and of line construction is acquired. In addition to the visual and audio feedback described above, there are various ways of getting suggestions for ideas, such as using scales, cells, licks, idioms, and quotes. These are part of Impro-Visor’s vocabulary and are automatically transposed to the chord of the moment. The user can then tweak the melodies as desired or choose alternatives. Ideas can be saved in the vocabulary for later reference. In one use, students submit their solos to the instructor, who then collects them and projects and plays them in the
classroom, for mutual critique.

Another feature of Impro-Visor is the ability to generate brand new licks over a chord progression selected by the user. Lick generation is based on a specific “grammar”, and different grammars can be used to get different styles. Grammars can also be used in conjunction with Impro-Visor’s play-along capabilities to support trading fours or eights with the user playing in real time. Looping over the entire chorus or a small segment is supported. The accompaniment is generated automatically from the chord changes, and various styles can be specified. Grammars can be learned by Impro-Visor from a set of one or more transcribed solos that have been entered as leadsheets. A large collection of chord changes for standard tunes is available in leadsheet form from the Impro-Visor user group. Users can also create new styles, enter voicings using a keyboard interface, etc.

Reference links:

main page: https://www.cs.hmc.edu/~keller/jazz/improvisor/

user group: http://launch.groups.yahoo.com/group/impro-visor/

solo samples: http://www.cs.hmc.edu/~keller/jazz/improvisor/Solos/index.html

tutorial (translates to many languages):
http://www.cs.hmc.edu/~keller/jazz/improvisor/ImproVisorTutorial4.htm

wikipedia description: http://en.wikipedia.org/wiki/Impro-Visor

Could busking – street music performance – be a tool for social change? It’s an idea I’ve heard artists mull before. Here’s one opportunity to do just that next month, in April, in support of building badly-needed school facilities in southern Zambia. And yes, digital musicians can participate, thanks to terrific, affordable, battery-powered amplification.

I do hope this could launch a discussion, though, on how to organize this kind of action, and how to make busking work for good.

Ben Matthews, founder of the charity, writes:

LearnAsOne,a UK-based charity dedicated to funding schools in Africa, announces the launch of its first annual BuskAsOne, a week of busking events around the world from 19-25 April 2010. The charity is hoping to raise £22,800 to help build schools in rural Zambia.

The busk is open to any musician, singer or instrumentalist, so if any readers of Creative Digital Music would be interested in joining in with BuskAsOne, they should register at www.learnasone.org/busk where they will find all the tips and guidance they need for a safe, hassle-free busk.

In July, the LearnAsOne team will return to Zambia and share stories, photos and videos from the schools to show it supporters exactly how the funds they raised are spent.

The communities that LearnAsOne work with are extremely dedicated. They are happy to make tens of thousands of bricks by hand and contribute labour for free to give their children the opportunity to go to school. But they can’t afford raw materials such as cement, roofing sheets and windows. This is where the busking money comes in. £22,800 will allow LearnAsOne to fund four new buildings – two new classrooms and two teacher’s houses. This will secure the education of 60 children every year.

The video at top features an orphaned eight-year old young woman who must walk 14 km every day to attend her school.

I had some follow-up questions for Ben:

Why the connection with music specifically?
At LearnAsOne we try to come up with fundraising ideas that allow people to take part in things they enjoy and also raise money to fund schools at the same time. There’s WalkAsOne, a series of sponsored walks for people who are active. BakeAsOne, a month of cakes sales, for those who like their baking. And BuskAsOne, for musicians.

What do you think the role of musicians can be in this case?
The main role is to help raise funds to build new classrooms and teachers’ houses at Simakakata in southern Zambia. But there is also another way musicians can help. We believe that everyone who donates has the right to see their money in action, so we use our website to share stories, photos and videos from every community we work. By displaying a poster while they are busking, or mentioning our website on their blog, MySpace or twitter feed musicians can ensure donors see the difference their spare change will make in Zambia.

Is there some sense that this kind of support for schools can eventually lead to self-sufficient school construction funding in places like Zambia?
Self-sufficient school construction is unfortunately just a dream at the moment. The Zambian government simply doesn’t have enough budget to construct all the schools the country needs, which is why many communities rely on the support of NGOs such as LearnAsOne.

Our aim is to fund schools in a sustainable way. We only work with resourceful communities who can prove they really want a school. At Simakakata they had made 60,000 bricks by hand before we first met them, and the community are happy to provide labour for free. But they simply cannot afford the raw materials such as cement, windows and roofing sheets. That’s where the busking money comes in.

After the construction is completed the school will become self-sufficient in many ways. If there are proper classrooms and teachers’ houses the government will provide trained teachers for free. And as the teachers arrive the government is more likely to provide the school with text books they need. Our goal is simply to provide the infrastructure the school requires and then move on to help another community. And then another.

More on Busking?

I discussed some of this project with our friend and artist Onyx Ashanti, who has himself reflected on ideas for how busking could work as aid. He noted that you may need to do some more research here, like working out how to get charity status or get around noise ordinances. (Here in NYC, for instance, you can’t just go out on the street right away, though it’d be interesting to combine this with established outdoor performance events.)

There are also questions of how to establish financial accountability.

This is a great start, though; I hope it inspires some conversations about the role of busking, ways in which street performance can be de-marginalized throughout the world, and ways in which that art can better support artists and other causes. And if you do decide to participate in this event, let us know. Electronic music has deep ties to street performance, from the roots of many or our musical idioms to the one man band tradition. It’s about time to re-forge that connection.