The pocketable DJ tool Pacemaker is now available here in the US at $499. That price is considerably more realistic than expected pricing earlier on, though it still fits in a funny sort of slot: it’s not quite the equivalent of pro DJ gear, which costs much more, but it’s still pricier than your run-of-the-mill DJ player. For those with the pocket change (cough), I could imagine it’ll be fun.

And you do have to admire the Pacemaker for being a really unique hardware gadget idea. It’s a glimpse of what music technology could be like in the very near future. Generically, you might describe it as:

• a specialized embedded mobile gadget with sonic-manipulation capabilities
• a connection between a mobile device and a computer-based editor
• a cloud-based, online community for sharing work

Take that as the template, and I think you’ll agree there’s a lot of potential in the basic concept. The specific idea here may be a tougher sell. It’s actually like the DJ-centric “Pro iPod” I remember Jason O’Grady of PowerPage.org and I once imagined in the first months of Apple’s iPod release. Whether DJs actually want that is another question – particularly with the iPhone and other mobile devices adding this functionality in software. But in the specific, as in the generalized view, the Pacemaker is nothing if not intriguing:

• 60 GB storage
• Touch controls
• DJ playback functions: auto-beatmapping, synchronized loops, reverse, bend, pitch speed, timestretch, cue points, vinyl-style scrubbing / pausing
• Visual feedback: beat graph, graphical effects visualization
• Onboard effects: EQ, normalization decimator, filter, wah, echo, delay, key, effects crossfader for adjusting levels and beat sync on a lot of the effects
• Two onboard channels (virtual channels, though – if this thing just had a line in function, I think I’d absolutely want one)
• Independent headphone out jack, adjustable mix
• Lots of audio codec support: MP3, MP3 VBR, M4A (AAC-LC), AIFF, FLAC, WAV, Ogg Vorbis and SND (!)
• MiniUSB connection for a computer

Product page: http://www.pacemaker.net/Default.aspx

US sales: Tonium Pacemaker Pocket-Sized DJ System @ Amazon

I think that’s actually a pretty extraordinary set of specs, and it reveals just how fast the embedded space is moving forward. In fact, I think it may not be too long before the music tech manufacturers (Korg, perhaps?) start to embrace mobile/embedded applications for development. The result: even if the Pacemaker isn’t your thing, mobile music gadgets are looking increasingly like computers, which could get very interesting, indeed.

Will you use it on the beach, like this? For me, um, no. I’ll be hanging out, doing beachy things. If I tried this, I think I would trip over someone’s beach chair and make a very embarrassing scene.

And yes, if you’re getting a steady diet of DJ gigs, you can afford this. Enjoy. (If anyone gets their hands on one, I’d love to hear what you think.)

Updated:

Our friend Nilay Patel at Engadget was one of the first in the US to get a Pacemaker in for review. Now, when is an unboxing of a product actually interesting? When the packaging adds touches like this:

Each cable is individually packaged in tissue paper inside its own box, and the flaps all have different little fortunes printed on them, from "Your future is looking sound" to our personal favorite "Listen to your mother."

Tonium Pacemaker unboxing and hands-on [Engadget]

David Merrill, working with Jeevan Kalanithi and (for the audio engine) Josh Kopin, wowed audiences at the TED conference with his Siftables interactive blocks. These strike me as what the Audiocubes have tried, sometimes unsuccessfully, to be — physical objects that react to the proximity of other objects, allowing you to manipulate music and media by moving around tangible blocks. Siftables are gifted with multiple expressive controls (tilt helping them break the plane of the surface), and intelligent screens that make them more adaptable and provide more visual feedback.

The music sequencer is very cool, though I think it’s actually the Scrabble-like game that may be the winner among the demos. But while TED celebrates all things cool and futuristic for their easily-digestible novelty, sometimes I think the most important design achievements are as significant in their shortcomings as their successes. Siftables raises some important questions. Sure, you can now use two hands, as opposed to the single mouse pointer. But do those same tangible blocks actually limit the kinds of interactions you can have, even compared to a traditional UI? Does it sound any different/ And note that — a little bit of tilting aside — the interface is still essentially two-dimensional. I’m personally really stumped by the question of how you can make a successful three-dimensional controller. Yet three dimensions is how all of us interact with space and movement daily. Maybe it’s the fact that we do so much of this, comprehend movement so richly, and take it for granted, that makes mapping those gestures so challenging.

That’s not a criticism of the project – or a claim that I can do any better. On the contrary, I think it’s important to do this sort of work because it can raise those kinds of questions. We’re gifted as a generation to try out and test these ideas with flexibility that was never before possible — and the intelligence built into these objects shows the potential of that power.

More of Siftables after the jump. And it’s well worth checking out David’s other projects, too – when I last ran into him, he was showing off the totable, Linux-powered Audiopint sound-processing box. Oh, yeah — and he’s the face control for guitar guy!

Siftables Music Sequencer from Jeevan Kalanithi on Vimeo.

Siftables project page

More Merrill Goodness

For mobile work, your choices have traditionally come down to one of two choices: either lug your laptop and audio interface, or get dedicated recording hardware with far fewer capabilities. We’ve been following the evolution of the Linux-powered Trinity mobile recorder for over a year now because we’re interested in what could happen between those two extremes.

Prototype Trinity recorders initially failed to impress on the software side: the bundled software focused on Audacity 2.0, a fairly basic waveform editor. That already allows far more than what’s possible with dedicated hardware recorders, but maybe not quite enough to warrant leaving your laptop at home. Since we last saw it, though, the Trinity has gotten two major improvements. First, it’s not naked any more; it’s got a lovely, brushed aluminum case. More importantly, though, it’s got an application worth writing home about: a new, mobile/embedded edition of the powerful, free DAW Ardour called Ardourino.

Ardourino isn’t just Ardour running on the Trinity: it’s a special, customized version of the DAW intended for mobile devices. You get the capabilities of Ardour, a full-featured open source DAW that also runs on desktop Mac OS X (natively, no less) and Linux, but adapted to smaller screens. That shows some promise for the open source audio software; I can’t think of any other major pro audio software that’s mobile device ready. And, of course, that also means you can work directly on your desktop DAW on the road, without any import/export of files.

Since the Trinity is running Linux, other applications are possible, too; one prototype photo already shows it running the Hydrogen drum machine.

For many readers, the Trinity rightfully has competition from laptops; you may just not want another device. Nonetheless, though, the Trinity provides an interesting glimpse at what the future of mobile/embedded audio devices might look like, and some of the potential of Linux for music and audio. As far as the Trinity itself, we look forward to learning more about the finished project.

Ronald Stewart’s Blog on the Trinity (and other Linux audio musings)

Previously:
Linux-Powered Mobile Trinity DAW in the Wild
Portable, Linux-Based Trinity Recorder Development Continues; New Specs