Software doesn’t have to mean virtualizing everything and letting go of physical objects. On the contrary, it can create all sots of imaginative, new ways of mapping musical ideas to the physical world. And that’s how we wind up with a walnut drum sequencer.

There’s something about virtual drum machines and snacks. We’ve seen bubblegum and Skittles, beer bottle caps, soda bottles, and now walnuts. Don’t stop now: someone has to do Cheetos, even if it means dealing with orange stuff all over your fingers.

That said, it’s not walnuts that make d-touch an important project. Built by Enrico Costanza back in 2003, the project is now available for free download as an open source library, a server (in case you don’t want to get into the C++ code but might want to use this in your own projects), a free, usable drum machine, and a set of documentation that can help you make your own stuff easily. Enrico worked on the original reacTable prototype and has done some really important work in this field. Right now, Enrico and co are looking for feedback, but if you’re ready to just be a tester and play with this – and see what you can do musically – now’s your chance.

d-touch also combines high levels of computer readability for accurate tracking with the ability to make your own tags. Instead of using ugly-looking glyphs, you can make patterns that make sense to human beings as well as computers. Oh, yeah – and mobile fans, this runs at a full 14 fps even on S60 phones.

For more, check out the d-touch site:
http://d-touch.org/ [Register first to make the download available]
and follow them on Twitter:
http://twitter.com/audiodtouch

Thanks to Martin (of reacTable, which is moving toward a commercial product) for sending this our way. Thanks, too, to Ben, who’s working on tangible interfaces with special needs students. I really look forward to hearing how that’s going.

Sure, Wacom may be trying to get into the DJ market, but watch out for Hamilton Beach. This is a real flea market blender controlling Ableton Live beats with the aid of an Arduino and RFID-tagged fruits. Sadly, you can’t actually blend things (that might do nasty things to the RFID tags, and the blender would have to work), but it’s beautiful nonetheless.

“One-man collective” Matti Niinimäki has been giving us all kinds of goodness from his secret Finnish “ninja hideout,” working on projects like controlling real-time animation with Mickey Mouse’s head with the aid of Max/MSP.

This is only the first draft, so I hope to tune in again as the project progresses.

Ah, Fruity Loops:

The audio tracks are triggered by inserting different fruits into the blender. The buttons on the front panel control the mixing modes and you also have two different types of transformer switches for cutting the sound in and out.

The options are:

* Stir
* Puree
* Whip
* Grate
* Mix
* Chop
* Grind
* Blend
* Liquefy
* Frappé

How does it work?

* Arduino for brains
* RFID reader
* RFID tags inside the fruits
* Max/MSP for converting the serial data to MIDI
* Ableton Live for playback
* Mad skills to pay the bills

Side note: this also demonstrates why Max for Live should be nice for Live users; as I understand it, you could theoretically just drop in a plug-in style Device for inputting serial data, as easily as you can add Beat Repeat. (Speaking of which, maybe Beat Repeat needs an Osterizer Live Pack, complete with a Frappé preset. I get a cut of sales if you use that.)

Now, if I can just figure out a way to make my Breville an ambient music generator so I can make sandwiches while performing and producing. Mmmm… baked beans.

If this economy is getting you down, our friends at MeatWater, the “high-efficiency survival beverage,” have a prescription. A prescription for techno:

MeatWater MP3 Techno Remix

Now, perhaps this is just a crass ploy for MeatWater to sell more of their MeatWater-protein drinks, which come in flavors like Gyros, Beef Stroganof, Hungarian BBQ, and Dirty Hot Dog. But if there’s one thing I believe in more than the health-giving power of proteins, it’s in the stimulating power of techno. I’m steps away from the stock market, so I may take this on a boom box and hold it out front of the exchange, Say Anything-style. Well, until I get stopped.

I mean, who can feel anything but bullish as four beats pound confidently on the … floor?

By the way, if you’re wondering, just … don’t. There’s not really a rational explanation.

You can talk to the bottles on Twitter. They like German. (send them some German techno, okay?)

I usually try to steer clear of the marketing crud, but this is too bizarre to pass up. Taco Bell, anxious to jump on this whole “indie music” bandwagon, is using the only currency it has: combinations of refried beans, cheese, rehydrated ground meat, and tortillas.

Here’s the plan: they find 100 bands, and give them $500 in Taco Bell food while they’re on tour — just in case the burritos were the one thing breaking your tour budget. (Okay, there is that whole fuel cost and lodging thing, but get some bikes and a tent and you should be fine.)

The grand prize: the kind of fame that can only come from including hot sauce packets in your marketing plan. And to think, all this time people have been chasing music press and blogs and word of mouth and such. PR helpfully tell us that they’ll get “a well-known indie rock producer” to record the single. (Wait — aren’t “indie” and “well-known producer” supposed to be mutually exclusive?) But it’s really the hot sauce packets that seal the deal:

The singles will then be promoted on www.feedthebeat.com and through online advertising and in-store efforts in the Spring of 2009, as the Web site address will be featured on Taco Bell’s iconic Sauce Packet, which reaches more than 208 million people in about a month.

Oddly, talking about this has only made me hungry. I know, I know — I’ll try to find a real burrito, not a Taco Bell.

If a CDM reader happens to win this, we’ll be proud to see your name in lights extra spicy.

feedthebeat.com

Reader Mark notes that, as covered in Pitchfork, Girl Talk got the right idea after last year’s contest and shared their taco winnings with fans. Now that’s good publicity.

Readers: got better ideas for viral condiment marketing? (Oooh, wait, I shouldn’t say the word “viral” in the same breath as a fast food joint, should I?)

US$34.99, a scant 2 oz, and you even get a MIDI cable. Wire that sucker in, and you can assign MIDI messages however you like, including either omni or channelized modes. This is a very direct solution: the board actually outputs signal directly into whatever you wish to control.

Midify Product Page; story broken by hahafresh 

It’s fitting that in this twenty-fifth anniversary year of MIDI, the MIDIFY would be used to turn a microwave oven into a MIDI-controlled device. Synths and corn dogs – yes, folks, MIDI is truly delicious. (via Matrixsynth)

On display in Chi-town: giant pods to fill rooms with sound, and a man in a sound-induced, hypnotic blizzard of milk. (Yes, they have winter in northern Illinois.)

Snowy Day at MGFest 2008 from Michael Una on Vimeo.

Octophonopod at MGFest 2008 from Michael Una on Vimeo.

Behind-the-scenes commentary is available on Mike’s site, not to be confused with the domain-squatting personals site that you get if you leave out the hyphen. (Will, someday, an entire romantic community be devoted to Una Love? I wouldn’t rule it out.)

One lesson learned: milk can be incompatible with electronics.

Squarely in the “not seen at NAMM” category, the Bubblegum Sequencer uses differently-colored bubble gum balls, arranged in a grid of holes, to create rhythmic patterns. It’s not exactly a leap forward for music — you wind up with a pretty simple drum step sequencer — but it does look like fun. Or it would be, except I’d wind up eating the tangible sequencer. Note to self: make interfaces out of something I won’t devour.

What’s rather interesting here is that the whole system uses computer vision analysis — a camera spots the gum balls by color. One thing that means is that you could skip the grid altogether and apply this to something very different.

The hyper-rational voiceover I find really amusing. Now, just add hard-disk recording next year, and the Bumblegum 5000 could  in fact be at NAMM.

Thanks, Johan!

Updated! Holy crap! Analog Industries has started a blog war:

Peter Kirn got all up in our grill with a bubblegum sequencer over on CDM. Well, Peter. I’ll see your bubblegum sequencer, and raise you one done with Skittles.

“I Eat Beats” Skittle Sequencer

I Eat Beats from Kyle McDonald on Vimeo.

But, come on, Chris. I enjoy my Skittles now and then, but bubble gum is more delicious, and you can’t blow a bubble with a Skittle.

I have heard that Moog Music is introducing a Candy Sequencer OS (Old School), using salt water taffy. And looking at comments, the International Conference on New Interfaces for Musical Expression this year may just turn into a massive rumble / turf war of tangible interfaces. Which is why my tangible interface will be Pop Rocks.

Updated, again! Still more. This time, Evan from thisisnotalabel sees our bubblegum sequencer and raises us a ball bearing sequencer. Careful, though, kids. Those are not edible. Choking hazard!

Still more: it’s a dining table as musical interface, in a sonically-augmented culinary artwork:

"I could care less if the dj is mixing with two paper plates and a twinkie" – derek scott

Sorry, controllerists.

I feel like I’ve had a window into the DJing world after manning the Artificial Eyes VJ rig as drunken people came up and told us they liked the music we were playing. (I attempted to show them the projectors, the identical visuals on the computer screen, the fact that we had neither decks, nor records, nor headphones for that matter . I pointed at my ears, then the DJs, then my eyes, than the screen. No dice. Usually I don’t experience this, as I’m VJing from the opposite room, or in a closet, or something.)

Of course, you know what this means: time for a CDM challenge.

If you can send us footage of you DJing with two paper plates and a Twinkie (Arduino optional), we will see you as a minor God.

Photo: Peter Kelly Studios, via Flickr.

“People have used it as a drum machine, sequencer, as an egg timer…” said Crabtree. The open-source software can be used and altered by anyone.

Crabtree and Cain assemble most of the Monomes at their loft, a daunting process that involves countless hours of wiring and soldering. A new Monome, the 256, was about to be released to the public when we visited. Crabtree assembled one for us on the spot.

Watch closely for some videos of Brian’s performance from the CDM Handmade Music event, co-hosted with Etsy.com and Make Magazine. I have some videos I’m going through from those events, too; not fantastic but I’ll post soon.

This Handmade Life: A Moment with the Monome [Etsy's The Storque online mag]
Monome-tagged stories on CDM

By the way, if you’re curious about 256 assembly, there are some interesting updates over on monome.org.

If you are in the Bay Area, or coming into town for the awesomeness that is the Maker Faire, we would love to invite you to the party.

What: Chips + Fish + Music Party, the Maker Faire “after party”
Brought to you by: MAKE:Magazine and CDM
Who: Anyone making their own music with chips (little chips, big chips, Intel Core Duo chips), or anyone who loves to eat chips and/or fish. Makers from the Faire, locals, visitors all welcome.
When: Saturday, May 19. 7:00 pm – 9:30 pm: featured music sets. 9:30 pm – whenever: hang, DIY musical show-and-tell, eat fish and/or chips.
Where: Edinburgh Castle Pub, 950 Geary St. San Francisco, CA. 415-885-4074. (5pm – 2 am; map.)
Why: Because we love DIY music, whether it’s customized hardware, self-made software, or just lovingly-programmed commercial gear and apps.

And there’s more: I’m looking for a couple of additional featured sets, lots more partygoers, and also have a music lineup to share Friday night at Robotspeak (more performances than party there):

Featured sets and show-and-tells wanted: We still have a couple of slots left for short (20-30 minute) featured sets in the featured block, and I’d like to open that to CDMers and Maker Faire participants. If you have a set you’d like to share, and you’re an international celebrity or an obscure loner, drop me a line. (peter AT createdigitalmusic *dot* com.)

If you have a small DIY project you’d like to show and tell and, for instance, it wasn’t quite ready for the Maker Faire, bring it along. Especially handy: mobile devices, like your latest Nintendo DS / Game Boy / GP2X / Palm tracker set. We’ll be sharing stuff during the 9:30 hang. There’s also live music at the space, some of which sounds great, so I expect some people will go listen to that.

If you like fish and chips, we’ll have a pre-order form ready to make sure it’s there when you get there. I’m told they’re hooked up with the best fish & chips supplier in San Francisco.

I’ll be sure to post a reminder and details next week closer to the event, including travel instructions if you’re in San Mateo for Maker Faire like me.

Plus a Friday night Robotspeak party: Robotspeak has put together a really amazing lineup that I’m thrilled to be part of, with short music sets and artist Q&A. In the lineup, aside from me: Pineresin (Dielectric), Chachi Jones, and Daedalus (Plug Research / Ninja Tune). They’ve created a beautiful poster, too, which implies that while Daedalus is on Ninja Tune, I’m on … Mac World. (I’m guessing that’s because of my occasional contributions to Macworld Magazine. Though I may have to call up Chris Breen and see if he wants to start a Macworld record label.) Anyway, don’t be phased by that — if you get to stop by, the event is Friday at 589.5 Haight Street, at Steiner, at Robotspeak. I say that like I have any idea where that is. Happily, Google Maps knows (and now even has BART stops). That flyer really is nice: