Drum machine lovers, you now have the beat gear equivalent of Matt Harding and Where the Hell is Matt?. Kamoni, aka sonic creator, composer, and experimenter Micah Frank, takes his favorite devices out on the road, piecing them together into an epic YouTubular jam.

Doepfer and Korg, Elektron and Akai, plus a lot of other devices make their way around New York and Brooklyn and other parts of the world. Ableton I think figured into editing the video clips in time — thank you, Live, for video. I could point out individual devices, but then I’d ruin your fun, wouldn’t I?

Of course, this could be both emulated and expanded. We could perform a single rhythm, played by MPC and Machinedrum owners around the planet. (You could even get that laptop running on battery.)

I can see it now. Internets, go!

And yes, this does demonstrate where puremagnetik gets all those beats for their line of sampled things. Micah gets his hands on a lot of gear.

Updated: Replaced with a Vimeo link. Google seems to be having a bad week. We like Vimeo better for videos, anyway.

If you could have an ideal drum machine and sample-slicing workstation, taking the physical control of hardware but the flexibility of software, what would it look like? We talk a lot about hardware control of software, but hardware usually comes second – software gets designed first, and then either you have to figure out how to map hardware to it, or someone else comes along and designs gear. That means there’s usually a disconnect in the design and workflow of the two, and most of the time, you have to reach for the mouse to make up the difference.

Maschine (pronounced as the German, mah-SCHEE-neh) was developed at Native Instruments with the goal to design the hardware and software simultaneously, not separately. That’s not an easy goal, and I don’t expect Maschine to be perfect or please everyone. But I got to visit the prototype at NI while I was in Berlin in October and see it in action, and I can say at the very least, the folks who created feel the way many of us do – they love software, they love hardware drum machines like the Elektron, and this is an attempt to be a real hybrid.

So, while contrary to rumors, NI does not have a box that does any audio generation in the hardware, this is a real attempt to fuse the controller and software in terms of design and workflow. The idea is to use the screen for visual feedback (you do have this big, pretty monitor on your desk or notebook), but to be able to work without a mouse.

Maschine can also work as a plug-in as well as a standalone app, depending on how you like to work (or how you want to play live). That means if you’re already in love with something like Ableton Live, you ought to theoretically be able to put the two together. Unfortunately, you can’t yet use it as a sequencer to drive other software, which would be an ideal next step; sequencing is as big a part of what Maschine does as sampling and sample manipulation. (No official statement on MIDI output has been made yet.)

Maschine’s hardware also works as a controller. So, for those keeping score, you could put Maschine next to the just-announced Akai APC40 and use them both to control Live – or Maschine could compete with the APC for your Live-controlling dollar – even before you touch the Maschine drum machine software.

Here’s NI’s intro video, which gives you a sense of how this stuff ties together (and we are officially the first to post it).

We’ll naturally be looking more closely at Maschine soon (I’m going to buy a new espresso maker and not sleep for the next few months). Here’s a quick overview:

• 16 pressure-sensitive pads, which light up for visual feedback
• Step sequencing
• Polyphonic recording (so it is a real sequencer, too)
• All software features are available quickly “on the surface,” so not only do you not need the mouse, but unlike a lot of hardware and even controllers, you don’t have a bunch of submenus and buttons to press to do stuff. That includes tasks like automation editing and even sound editing
• Automatic sample mapping, beat slicing, note repeat
• Real-time audio recording and resampling – so you can not only record, but resample what you’re working on, MPC style
• Effects sends “from conventional to experimental” (basically, you can enjoy the kind of sound mangling goodness we’ve had on Kore and Reaktor lately)
• Kore-style sound browsing, with a multi-gig library to get you started

Availability: April 1

Pricing: US$669 list (EUR 599)

The hardware has a top-notch feel and metal casing; at least from what I could judge from the prototype, this should look and feel absolutely fantastic. My only real disappointment was that there’s no synth engine, but that’s just because I love drum synths. Then again, I love the simplicity of Maschine, so perhaps the best fix would be to add the ability to either host plug-ins, as Kore does, or to provide MIDI output capability to other software, so that you could drive synths and other creations. (Heck, you could even sequence visuals in that case.)

What’s unique to me about Maschine is that it isn’t simply an emulation of an MPC; it still takes a software approach to sequencing, it still supports plug-ins and the things you like about software, and it still has NI-style effects. By virtue of being software, in fact, you can really change how you use it relative to hardware. You can drop it in Live or even in a tracker like Renoise. You can use it not as a drum machine but a pattern-based effects unit and insert it after your voice or an instrument. Then you can switch to a VJ set, ignore the Maschine software, and use it as an intelligent plug-in for running live visuals for your friend’s band. None of this is nearly as practical with a conventional hardware drum machine – and this is a whole lot cheaper.

Also, unlike some attempts to unify hardware and software in the past, the visual relationship isn’t slavish. You see something that looks like it makes sense on a screen when you’re editing; it looks like software, but you can easily control it with hardware and not the mouse. (Nothing against the mouse – it’s fantastic for many jobs; sample slicing and music editing just happens not to be one of them.) When you’re ready to perform, the displays on the device mean you don’t have to look at the screen at all.

It’s also worth noting that this is very different from today’s Akai APC announcement. The Akai is clearly better suited to mixing and clip triggering, but the Maschine has velocity-sensitive pads the Akai lacks, and is better suited to hardware control of beat slicing and editing operations. (That said, someone may decide to use Max for Live to turn Maschine into a hybrid machine that also controls and edits Live itself, so everything is suddenly wide open.) And the APC is all about a host (Live), whereas Maschine is all about adding a drum machine / workstation to a host (which could be Live, or Renoise, or Pro Tools, or something else altogether).

In fact, to me, the real competition is Ableton Live’s Drum Racks, groove extract, and slice to rack features. It’s mouse-based, but it also integrates with a host and can host plug-ins itself. I’m personally excited about using both, so it’ll be interested to see which I wind up preferring for which tasks. And you can meanwhile bend your brain around the idea of Maschine instances running inside Ableton Live Drum Racks and other odd combinations.

If there’s any criticism of Maschine, my guess it that it’s likely to be criticized for over-simplicity: as opposed to the first release of Kore, the approach here is really minimalism; NI did less in the hopes that you’d get more out of hardware integration, and the rest you can make up by working with your favorite existing tools and plug-ins. That’s not to say it’s dumbed-down, from what I can see, though I just have to use it.

Whether NI has nailed this one is another question, of course, and one I’ll want to test vigorously. But I love the idea. Mainly, I just want to get my hands on one so we can try this out. You’ll definitely want to stay tuned.

http://www.native-instruments.com/maschine.info

Corrections: In the first draft of this story, I suggested that Maschine could output MIDI to other software instruments or host plug-ins; at least as of version 1.0, the software can’t. You can use it as a controller, though, and output MIDI to other hardware (so you could sequence hardware synths or even other drum machines). The thing I’d like to see there is MIDI output to other software; we certainly have enough hosts (NI’s Kore being one of those hosts). I also overstated the connection to Kore (which is why I was confused about plug-ins). Like Kore, Maschine is integrated hardware and software, it shares the Kore browser, and it shares some of the other design features of the current generation of NI software. But Maschine is its own creature – and honestly, that’s a good thing. Stay tuned for more details.

DIY lovers and drum machine nuts alike should be very excited by what our friend Wesen has been up to lately. Working on his projects MidiCommand and MonoJoystick, two hackable boutique music hardware gadgets for MIDI control and joystick manipulation of MachineDrum, respectively, he’s built a powerful MIDI library integrated with the Arduino development environment.

Say what?

Well, it means three things, basically:

1. There’s an evolving library of MIDI goodness with the friendliness of the Arduino, but built to do things you need to do in the real world (as tested by Wesen’s hardware and musical needs)!

2. We have drum machines doing fantastic, tasty polyrhythms.

3. The MidiCommand MonoJoystick are going to seriously rock.

Library feature set in a nutshell – and why I’m so excited:

• MIDI I/O via MIDI connectors or USB
• Display to a “GUI” (read: a screen for your DIY project)
• Tools built right into the library for MIDI sequencing, scaling, mapping, functions, LFOs … wow.
• Works with MachineDrums
• Tight MIDI Clock and sync – meaning you could build a DIY project and use it as a clock source for your software rig, if you like
• External storage

Even if that means nothing to you in that you don’t have time to build your own project, this means you could benefit from kits and boutique gear that take advantage of these functions – like the brilliant hardware Wesen himself is working on. And if you have dreamed of building your own gear like this, you’ll have some powerful new tools (including hacking the Ruin & Wesen gear, leaving them to sort out the tough part sourcing and hardware design issues).

Wesen is sharing all his code, so I could imagine this evolving into something very useful for other projects. As it happens, I’ve also been watching an evolving perfect storm of fantastic, open music hardware – more on that in the coming months of 2009. (For starters, how about this evolving step sequencer?) If these projects can mature and begin to converge, I think we could see a real revolution in the gear we use for noisemaking and control, not only for DIY nerds who love the smell of solder fumes (guilty), but novices, as well.

My New Years’ Resolution: make all this as accessible to y’all as possible, regardless of your knowledge level (which means catering both to those of you who are brand new to this, as well as those of you who know way, way more than I do so you’re at least hooked up with the awesomeness).

A peek into MidiDuino with some code samples

More MidiDuino with juicier details

Wesen of Ruin & Wesen has been doing some amazing stuff with the MachineDrum – and sharing every last detail with friends via the Web.

Ruin & Wesen blog

We’ve already seen his DIY hardware, including a joystick for the MonoMachine. Here’s my favorite hack so far, though: using the MIDI Command hardware, he’s set up his MachineDrum as a 16-voice polyphonic synth. That means, instead of just tweaking buttons and such, you can actually hook up a keyboard. (Hmmm… so, Keyboard Magazine, can I now write a MachineDrum + MIDI Command review for you?)

Joy of Streaming: I like Wesen’s latest idea — he’s live-streaming an informal apartment from his studio online using the service Stickam.com. Stickam carries events like the live BFF premiere with Paris Hilton. This particular stream is … well … a bit different in tone. (Think an international convergence of music tech lovers chatting about details of Wesen’s setup. Paris, you don’t know what you’re missing. Music is hot.) 

If you want to join us, the event is happening now, and I’m sure there will be more like this soon:

Sign up (for chat capability) at: http://www.stickam.com/viewJoin.do

Watch at: http://ruinwesen.com/live

Live streaming could be a great way to connect with fans of your work, try out new setups as you’re developing them, or just to hang out. I keep meeting people doing amazing work who aren’t in the same place geographically. (Imagine online hackathons.) So, that brings me to my next questions:

• Seen any interesting uses of live streaming for music?
• Any good tips on the best services / servers to use? (Maybe it makes more sense to use a DIY server solution, or are the hosted servers an easier way to go?)

Now, if you’ll excuse me, I’m back to listening to Wesen and cleaning my apartment, or I’m not going to be able to do any streaming events any time soon.

Updated – recording: If you weren’t there last night, here’s the technological highlight from Wesen’s hardware, plus an MP3 of the music:

Thanks to everybody who was there, it was super fun! Sadly the video recording option on stickam broke down and didn’t save the recording, but here is an mp3 of the liveset: Stickam Liveset. I was not very concentrated so it is quite raw, and when I was chatting I was not changing much, but it was super fun to play. I presented the new feature for the MIDI Command: tweak recording, turn a knob and record it, and it will play back tempo synced to the controlled device. It’s a very useful feature, very easy to use, and allows for a host of new possibilities.

I’ve been following Ruin & Wesen’s development as they’ve been hard at work on new, petite MIDI controllers, promising to be the first of a line of DIY-friendly controllers. “Open source hardware” has been getting a lot of play as a concept, but the idea here is really built around the product: their stated claims emphasize musical usefulness, documentation, extensibility, and customization in addition to the making code and schematics available to hackers.

Today, Ruin & Wesen have launched their website, with two nice-looking products ready for pre-order. The MIDI Command is a small box with five endless rotary encoders on it and a “Macro Knob.” Here’s where things start to get interesting: not only does the unit ship with support for Ableton Live and Elektron Machinedrum support out of the box, but you can flash your own firmware using SysEx. There’s also an LED display, so combined with the software editors and MIDI mappings, this could even allow you to “roll your own” Kore-style controller.

Elektron fans should be even happier about the MonoJoystick, as featured in the video above. As a companion to Elektron’s MonoMachine SFX-60, it gives you six buttons and joystick control over the boutique drum machine. It’s obviously suitable for emulating Elektron’s own joystick add-on, but it’s again hackable for custom firmware and features, and as seen in the video, allows control even Elektron does not. Given those features, I’d actually be interested in seeing the MonoJoystick re-purposed as a software controller for those of us who aren’t lucky enough to own the MonoMachine.

Both units are handmade in Germany. The MonoJoystick is EUR130 / USD190; the MIDI Command is EUR180 / USD265

Ruin & Wesen Digital Products

I’m in touch with R&W, so hope to have more on this soon. I do think we’re seeing the birth of a new business model for music hardware, one built around open source. You’ll notice that it’s often the interface of open and closed but extensible tools that may be the most productive (like an open source controller for the proprietary but well-supported Ableton Live). Naturally, a lot of the open source ideas out there won’t work — that’s the nature of business — but the ones that survive could be wonderful for the music landscape.

More at Music thing, Die Monster, and an ongoing thread at Elektron Users. From that forum, here are some thoughtful words from member Toni:

Sad and shocking news indeed. The only comfort I can think of is that Daniel got to see his dream come alive while he was still living. Elektron made the music machines that emit the feeling of unconditional love for the true musical instruments, rather than be just a passing products for consumer markets. In this sense, SidStation, MD and MnM, were completed and continue to inspire musicians through out the world.

Indeed, condolences to Daniel’s family and friends, and the Elektron team and community.

Information on where to send notes and donations (the World Wildlife Foundation is suggested) at the Elektron site:
Elektron.se

Photos of Daniel

Daniel is someone who many in the music community did get to know face to face; I’m sorry I didn’t get that chance. Many more knew him through the instruments he created. Roger Linn sends along a couple of photos of his own (my apologies for incorrectly linking a different Daniel at Elektron via Flickr). Roger writes:

Daniel was a great guy, friendly and fun to talk to, passionate about getting the details right in a product, and a true lover of ideas. It’s a tragic loss to creative musicians everywhere.