What could a pocket-sized computer be? It could be a new kind of album extra (yawn), a new kind of generative musical format that samples and responds to the world around it (whoo). It could be a more effective controller (fun), or an Indian drone (really). The Apple iPod touch / iPhone, as always, brings both wonder (potential as an art platform or recording device) and trouble (respectively, restrictions on who can see your art and problems actually getting mic input or transferring files). So here’s this week’s snapshot of what’s happening on Apple’s micro-sized pocket Mac phone mediaplayer thing.

First, some quick updates that I’m genuinely pleased about:

Controller Updates

A lot of you have been having a great time with OpenSoundControl and the OSCemote tool released last week. It’s worth noting that even if you don’t have an OSC-compatible app, you can use a tool like OSCulator (Mac) or GlovePIE (Windows) to use this as a controller.

But here’s some more good news: the iTouchMIDI apps are making their way onto the iTunes app store, now under the name “iTM.” You no longer need Leopard to run the Mac client that receives MIDI over wifi, and creator Nonnus says a Windows client is coming soon, too. iTM MCU, the all-in-one software controller, is available now (pictured above), as are a number of apps including the free iTM MidiLab. Well worth giving these a try; I expect to post hands-on information soon.

Version 1.3 has made improvements in reliability (see Palm Sounds for more). By working with Mackie Control, you can integrate more tightly with software like Ableton Live, Apple Logic, and the like.

i, Art Platform?

I’m hearing a lot of speculation that Apple’s mobile devices could be a platform for artwork. I certainly like the idea of having a mobile palette to create intimate digital performances; I wondered this aloud on Create Digital Motion after seeing a mock-up of a sensor-driven, faux 3D animation. With tiny devices, tiny screens, and tiny projectors, the idea of creating something personal has some appeal. But as I hear more word of people making this kind of work, I wonder: if exclusively targeting Apple’s gadgets, isn’t there a danger not only of limiting the audience to gadget owners, but becoming overly tied to Apple’s proprietary platform?

With that caution in mind, here’s a very interesting app called RjDj that makes use of the accelerometer to respond to surroundings and even samples sounds via the mic:

And here are some folks playing with it:

(See coverage on Making Music, and screen shots and lots of info on the RjDj blog.)

The idea is not just a single work, but a collection of works by different artists which you can manipulate — work that’s never the same twice.

Most interesting, the RjDj team is using Pd (Pure Data); not only is it open source and multi-platform, but Pd’s scenes structure is perfectly suited to this kind of generative, interactive music. (No accident that Pd was also used in the creation of the generative Brian Eno soundtrack for the upcoming game Spore.) I’m quite eager to hear how he’s able to make Pd work and get this approved on the App Store, but we’ll see. Expect more detailed coverage soon, as I’m really looking forward to having a conversation with the developers about the possibilities of non-linear, generative, and interactive musical works, on mobile devices and beyond.

While on the subject…

He tends more toward the visual side, but Chris O’Shea reflects on the possibilities of software art. So far, Andreas Muller and Golan Levin each have works coming, though interestingly just ports of previous works, not actually new stuff for iPhone.

Snow Patrol and More

MusicRadar reports that SnowPatrol are planning an iPhone app release with their album. Wired’s Listening Post reports that this is just the tip of the iceberg; expect iTunes releases to have accompanying apps with interactive album extras.

Okay, I’ll say it: this sounds actually pretty dreadful. The iPhone and iPod touch already have online connections, yet I imagine many of these “apps” will simply duplicate existing content. If these really extended the album artistically in the way that brilliant album cover art did, that’d be one thing, but it’s hard not to be skeptical. And everyone seems to forget that this idea has been tried before, with various takes on “enhanced CDs.” I owned quite a few of these back when we are all buying CDs. I don’t think I ever saw the feature used in an interesting way, and the storage capacity wasn’t actually all that different.

That said, I’d love to prove me wrong. Speaking of Brian Eno, maybe a fully generative EnoApp? Or perhaps Laurie Anderson releasing some cool interactive experience? (Anyone remember the Puppet Motel CD-ROM from Voyager, or was I one of the only owners?)

Still, here’s my bet: the really smart artists will unshackle themselves from Apple distribution altogether, and release “content” on formats that allow a more expansive experience. Think DVDs or Blu-ray discs in hand-crafted cases, or limited prints, things that are the tangible counterpart to the digital realm.

A Visualizer

I wondered if someone would figure out a way to do this: iQualizer is a visualizer for your phone. I imagine this won’t do wonders for your battery life, but having spent more than my share of time blissing out at my computer monitor when the first mass-market visualizers appeared in the 90s, I can see the appeal.

iQualizer, via Palm Sounds

Next step: an easy tool for developing your own, so you can use the video out jack of an iPod or iPhone to add live visuals behind your band.

Recording

It’s kind of silly that Apple leaves out recording to begin with, and even skimps on including a mic at all on the iPod touch. But filling the void is Plum Amazing’s Plum Record:

Plum Record Page | iTunes Download Link

Now, that leaves only two problems. First, there’s the mic. I spoke to Plum’s Julian Miller, and he confirmed that you should be able to use the app on an iPod touch by buying a third-party mic (which could theoretically improve upon the iPhone mic’s quality, as well). But Plum hasn’t personally tested these, and neither have I — anyone out there gotten one of those mics?

Second, there’s the issue of how to get the files to and from your computer. In their infinite wisdom, Apple has decided you shouldn’t have any way to get files on or off their device outside of iTunes. Plum has a “server” app that you run on your computer to make this happen — Mac only for now, but with Windows and Linux coming soon.

All in all, it’s anything but an ideal recording situation, but if you just want to make a quick recording of a musical idea or practice session, it could do in a pinch. And I love the interface. This could be a fantastic way of keeping an audio “diary” of sorts, if we could just solve the mic problem.

Let us know if you try any third-party mics.

Go Indian: Sruti Box

Finally, here’s an app that’s actually unique: Sruti Box emulates the drone used in Indian music and spiritual practices. Creator Henry Lowengard writes, “It’s pretty simple: 12 virtual reeds, four interval scales, chorus, random interval perturbation, timbre adjustment. In this case, simplicity is good.”

US$2.99, available now:

SrutiBox Product Page | iTunes Link

Update: There’s a new release that came out as I was writing this (there’s a bit of lag as updates head over to Apple, before they get posted). Henry writes:

version 1.0.1 is available in the AppStore.
SrutiBox 1.0.1 is a minor update from 1.0:

• less off-centered icon (can’t tell from the store, but trust me)
• slower chorus speeds available
• lower base frequency now: 10 HZ (you can get some interesting beating with a low frequency mixed with high harmonics)
• changes to the Instructions.

Known annoying thing: I left in an extra ‘<' in the Instructions page's tuning description table. That is gone in the next version, which may be called 1.1.0, since it's got a lot of changes.

That’s it for this week’s round-up. Releases are settling down a bit, which means time to actually use this stuff and make some music. iPod/iPhone owners, let us know how your experience with these and other apps we’ve mentioned on CDM are going. Non-iOwners, we’re curious to hear what mobile apps and tools you’re into, so let us know that, too.

More iPhone/Touch Music Stuff

Last week’s round-up: iPhone/Touch Roundup: BtBx Acid Bass, iDrum Workflow and Babies, OpenSoundControl App

Mobile Music Platform Survey Results, Plus Beatmaker MIDI Export

iPhone News: iDrum, BtBx In; Mixtikl Out Citing Apple Rules

Pro Tools Controller for iPhone, iPod Touch Available; More DAWs Coming

Noise.io, “First” Synth for iPhone/iPod Touch, Will Bring Gestural FM Synthesis Control

BeatMaker for iPhone: Upcoming Features Q&A, Video Review

One of the things I love about the rapid pace of technological advancements in the audio industry is that I am always learning: a new keyboard shortcut here, a new way to use automation there, a new modulation routing to yield a new sonic treat. In this sense, my logical and rational brain is always being stretched. But this has always been a double-edged sword for me, because while I�m always learning new things and new ways to use the tools I�m given, that is time that could be spent honing my purely musical skills � practicing scales, studying modes, experimenting with new meters, or working with a new melody. In this sense, my creative brain is always left wanting more. I�ve always thought that having a real piano in my studio would be the simplest solution � the sheer immediacy of the instrument and the relationship a player has to it provides the perfect marriage of the brain hemispheres. Unfortunately my current space doesn�t allow for The Real Thing�and thus I�m forced to stay digital for the time being.

In my experience, it is rare in the world of electronic music to find an application or tool that pushes you both creatively and logically the way that an acoustic instrument can. But I am happy to say that I believe I have found just such a tool � a product, that blurs the distinction between tool and instrument and thus challenges both sides of the brain: Quantum Leap RA.

Overview

East West/Quantum Leap has been putting out astoundingly good sample collections for years, so it is no surprise that this groundbreaking library comes from the same producers who brought us EWQL Symphonic Orchestra, Stormdrum and the Drumkit From Hell. RA is the largest, most complete, and most detailed ethnic sample collection yet compiled, and producer Nick Phoenix and his team have truly outdone themselves with this library. In similar fashion to other EWQL collections of this caliber, RA is a massive 14 Gigabyte Virtual Instrument utilizing the Native Instruments Kompakt player. In its scope, RA covers a broad spectrum of instruments from all corners of the world, including Africa, the Americas, Australia, Europe, China, Japan, India, the Middle East and the Turkish Empire.

Transcending the Virtual Instrument

If you think RA sounds impressive based on the above information or the spec sheets, wait until you open up the 118 page PDF manual. It is here that I first began to realize that RA was not just another virtual instrument, but something that begins to transcend the typical sample library.

The manual � provided only in PDF format (save the trees!) � reads like an essay on World Music, providing brief overviews of each sample instrument, its origins, construction, and, most importantly, its use and capabilities in performance. What�s that you say? You�ve never seen or heard an Afro-Brazilian Berimbau? The manual not only provides a photograph, but offers a brief explanation of how the instrument is constructed and how the instrument is played. For those inexperienced with any particular instrument in this collection, this brief overview provides invaluable information as to how to accurately and realistically utilize these sounds in your projects.

In Use

RA provides a number of ways to start using each instrument out of the box. Programs are broken down into 3 basic categories: Keyswitches, Live and Elements.

For experimenting and getting a general idea of what each instrument sounds like and how it might be played, the �Live� selection is used. These are the most typical techniques and articulations for each instrument, and are designed to be very �playable� without having in-depth knowledge of the instrument or requiring a lot of tweaking.

The Elements folder contains each of the basic programs of the instrument, as well as some special FX programs if you�re looking for very unique sounds from a particular instrument. Some composers don�t like to use Keyswitches, so the Elements folder provides an alternative way to access all the sounds available for a given instrument.

For those composers who like accuracy and immediacy, however, the Keyswitch programs really show the power and versatility of this library. Each of these programs will typically contain all of the articulations available for the instrument. Through creative playing techniques or post-processing and tweaking of MIDI note data, utilization of the Keyswitch programs allows the full breadth and depth of each sampled instrument to be explored. Using the KS programs a composer can quickly move from aggressive to subtle articulations while still maintaining a flowing melodic line.

In my composing, I�ve found the KS programs to be the most useful. While I�m certain I could achieve similar results using combinations of the Live or Elements options, the immediacy of the KS programs allows for efficient line writing while exploring the full dynamic range of the instrument.

As I began to explore the depth and breadth of this library while using the KS programs, it occurred to me that I was learning as much about the capabilities of the originating instrument as I was about how to actually use and program it within my DAW of choice. As a case in point, one of the included instruments is the Japanese flute known as the Shakuhachi. You might recognize this sound from a variety of film scores, Peter Gabriel�s “Sledgehammer” or from your own collection of world music. Never having seen or played one in real life, my understanding of the instrument was quite limited � until I started exploring the keyswitches.

The number of articulations for this instrument is astounding and exploring the variety of effects is half the fun of this library. This instrument in particular has 14 different keyswitch layers, resulting in a roughly 20MB sample.

Learning to use these keyswitches effectively in composition is another matter, and a great deal of patience, trial and error, and an occasional stroke of luck is needed. While I�m certain that actual players of these instruments could easily tell when an articulation is out of place, it is entirely possible to create dramatic and very passable arrangements for a wide variety of instruments if you spend enough time. I�ve taken the time to whip up a quick demo of one of my favorite wind samples from the collection, the Duduk. Hans Zimmer made good use of this instrument when he recruited legendary Duduk player Djivan Gasparyan for the score to the film “Gladiator”. For this sample, I�ve used the Bulgarian Duduk (there are three different instruments to choose from), which is one of my favorites.

Duduk melody sound sample [MP3]

For this sample I used a variety of different keyswitches, all from the same KS patch. I added only a bit of Logic�s Space Designer reverb to give the patch some additional space. As you can plainly see, this is quite simply an astounding library.

Conclusion

Mammoth sample libraries such as RA aren�t for everyone. Many composers and producers prefer to work with loops or phrases when dealing with ethnic music. For those composers who tend to be more �from scratch�, however, it is hard to deny the value of this collection. You�d be hard pressed to find a more cohesive, expressive and extensive set of ethnic samples. You will pay a price for it, but producers who must have the highest quality and most flexibility will not balk at the price for such a collection. A library like this is particularly useful if you�re doing mock-ups for what will later become full orchestrations. With such versatile samples, your musical ideas can be expressed much more easily, even if you don�t know how to verbalize what articulation you want the musician to play. You can simply say to them, “Make it sound like this!”

There are certainly some gaps in terms of what instruments I�d personally like to see represented, but given the already huge size of this library, I�m certain that Nick Phoenix and company could easily create a RA2 and have another hit on their hands.

In short � this is quite simply one of the best sample libraries I�ve had the pleasure of using, and I highly recommend it to anyone who is looking for the absolute best quality ethnic samples short of hiring the musicians themselves.

To the editors, my name is Rene T.A. Lysloff and I am the ethnomusicologist quoted in the Wired.com article on 8-bit composition.

I want to clarify a couple of points regarding the quoted passages of my comments found in a recent Wired.com article. First, I was discussing a specific recording, a compilation of “covers” of past rock tunes done in 8-bit midi style using text to speech software (sounding much like Windows .mid files) . I was not impressed with the compilation nor did I believe that “it” (the compilation) reflected an exciting new trend in contemporary digital music. Second, using 8-bit sound is obviously a legitimate compositional technique in new digital music. I used it myself when I was creating MODs (Digital Music Modules) in the 1990s. However, just because one uses 8-bit sound does not mean the composer is freed from being creative and interesting in making music. “It” (the compilation I was asked to comment on) was not, in my opinion, very interesting nor particularly skillful, neither in the way it was conceived nor in the way the way any of the pieces were executed. I know that there is far better 8-bit music out there. Third, I differentiate between midi music (those old Windows .mid files using GM) and true MIDI based music, and I made that clear to the writer. He chose to ignore that part of my comments.

Since the late 1990s, I have moved on to MIDI based music myself, using Emagic Logic (now, unfortunately, owned by Apple) and Abelton Live, working with Reaktor and other soft synths as well as various hardware synthesizers. For me using 8-bit sounds, or scratchy old vinyl recordings, is a legitimate (and even fascinating) compositional technique. But, the idea is to use these techniques skillfully and innovatively.

There’s nothing more lame, in my opinion, than a bad piece of music hiding behind the latest trend or radical idea. To all those digital composers out there: by all means, use 8-bit sounds, use text to voice software, dust off that old 386 (or 286) in your garage, go low-tech, go retro–but do something interesting and do it well. I’d advise anyone interested in 8-bit compositions to check out the old MODs by composers such as Purple Motion, Awesome, or Skaven (go to www.united-trackers.org or www.maz-sound.com for info).

Thanks, Dr. Lysloff, for elevating this discussion — and it’s unfortunate that, as a CDM reader had suggested, the Wired story took your words out of any meaningful context. If anyone else wishes to comment — particularly on where to find music that is meaningful to you, and not just as a fad — please join in.

We welcome back Cris atariboy Pearson, the Melbourne-based musician and plasq developer/artist, for another installment of Dithered is The New Black. He’ll be checking in weekly with great independent music, much of it free, for taking your playlists to new places:

Hey all. Welcome back to the second edition for this new column. Thanks for the suggestions and keep them coming.

This first site is not direct suggestion, but a great way to discover lots of
music. It is a communal site that allows you to share and download
playlists
other people have put together. These playlists point to MP3s found for free
all over the Net: Webjay.com

A lot of you probably already know about magnatune.
There is a wealth of great music to be found there. Being addicted to the cello,
I must point you to Claire Fitch’s two albums on magnatune. Ambiencellist 1 & 2 – both great albums to bliss and chill out to. magnatune also offer compilation
albums of each ‘genre’ to give you a selection of their wares.

Now a suggested link I received after last weeks column. Sam at soplerfo.com has
a couple of really nice releases licensed under Creative Commons so check them
out. I know I’ll be listening to these some more. I also spied this link on
his news page to Gamelan
Angklung music. After the jump is 3 tracks by 3 winners of a 1989 contest
by Bali Records. Really great stuff and if you like that, scope out the rest
of that site, lots of great
stuff. Ed: Check out that whole site for all kinds of Asian classical music — the kind you find on cassettes from the region. Great stuff! -PK

Finally, if you want more net music food, check out Mark Teppo’s column, BITFLASHING over
at the ever great, igloomag.

Missed last week’s column? Check out DITNB part I!

We continue to interrupt Moog Week for Weird Plugin Day. Forget parody plugins — truth is nearly as strange as fiction. Just watch the latest on KVR:

Turkish Folk Instrument goes Virtual: First, there’s the Volko Baglama (via). The thousand year-old Turkish folk instrument known as a Baglama or saz has been converted to Windows VSTi. Great; I can see it now: the master Baglama player shows up to a gig only to have been replaced by some youngster with an Oxygen8. (at least it doesn’t sound half bad.)

Great Plug-in? BS! The “unfortunate plug-in branding” award has to go to a developer named bismark, who calls his plugins things like “bs-16,” “bs-1,” and “bs-spectrum.” My suggested motto: “if you sound good, you must be full of BS.” And if you’ve been reading KVR really religiously, you know the BS-16 just fixed a problem with an infinite loop on some drum presets. Hey, we’ve all known drummers like that . . .

Now With Seizures! Of course, my favorite odd plugin of all time has to be the Hypnos Vocoder. Is it really capable of finding an entrainment frequency of your brain? Based on what I know as the kid of two psychologists, probably not without dedicated biofeedback hardware. But come on: what other DirectX plugin costs US$800 AND can cause a seizure? (Tom at MusicThing covered this in December while I was too afraid, but hey, always worth a mention.)

Curiouser and curiouser . . .

A reader named Atomic Afro (so glad I’m requiring you to register now!) is more astute than I am (not saying much). Mr. Afro points us to a new SynthEdit-created Windows VSTi called Luxor. Apparently this plugin “contains the magic powers of ancient egypt dietes and pharao’s.” (So, they were a people of hieroglyphics — no wonder they can’t spell.)

If you’re channeling ancient Gods via a VSTi plugin, there’s only one place to go — KVR.