Mobile music creation week continues! Happy Valentine’s Day, a few months early. This February, you’ll be able to light some candles, pour a bottle of wine, and start developing real applications for the iPod Touch and iPhone, fulfilling a dream a lot of us had when we first saw the iPhone last January. (And yes, this means that iPod Touch interface for MainStage you’ve been imagining can now be a reality.) Sayeth CEO Steve (on Apple Hot News; no direct link yet):

Let me just say it: We want native third party applications on the iPhone, and we plan to have an SDK in developers’ hands in February.

So what was the holdup? Building a secure platform:

Some claim that viruses and malware are not a problem on mobile phones—this is simply not true. There have been serious viruses on other mobile phones already, including some that silently spread from phone to phone over the cell network. As our phones become more powerful, these malicious programs will become more dangerous. And since the iPhone is the most advanced phone ever, it will be a highly visible target.

To some of Apple’s defenders who claimed this was the plan all along, this will be a “told you so” moment. They may be right, they may be wrong; it’s impossible to know what’s going on inside Apple. But either way, I think it’s safe to say that months of criticism from the developer communities and Mac community as a whole sent a clear message to Apple that open platforms and open development are important. Whether it influenced the decision to build the SDK, increased its priority, or simply prompted this announcement, it did have an effect.

And that’s a message not just to Apple, but other hardware makers. We’re living in an age of developers. JavaScript is great. But real apps are great, too. Developers want open platforms they can build upon. Savvy users are increasingly able to hack unusual creations to customize the hardware they buy. And non-programmer users very often want to choose how they use the gear they invest in. The iPhone and iPod Touch are already terrific devices, but they’re likely to be even better when users can use them the way they want.

Regardless, Apple: thank you.

A team of artists has turned the Nintendo Wiimote into a controller for an adaptive, 3D sound environment. Claudio Midolo, Edgar Castellanos, Natan Sinigaglia, and Pedro Mari worked together on the project, and have posted extensive technical details if you fancy trying something like this yourself.

Chris O’Shea sends along his latest project, a collaboration with sound designer and composer Owen Lloyd called Drop Spin Fade. Part of the Future of Sound tour, Drop Spin Fade allows users to position, sculpt, and play with sound in a 3D environment using gestural control.

Drop Spin Fade

The music/sound environment: Through a series of iterations, Chris and Owen have started simple and built increasingly-sophisticated sonic control using the setup, manipulating granular samples by spinning and bouncing them around the space. It’s not just positioning at work here: you can actually shape the sounds you’re hearing by interacting with the geometric forms in the environment. Eventually, the designers hope to give users more compositional control, making this into a kind of 3D sequencer.

The guts behind the scenes: The work was built to showcase the Illustrious positional sound system, which can use positioning data to create 3D sound environments. For control, the project uses the Gametrak game controller hardware, which you may have seen used in inexpensive golf and other sport games. It happens to be a very nice gestural controller, as well, with extremely low latency when compared to video camera tracking solutions. Visuals and hardware interface are performed in Adobe Director, routing positional control to Illustrious via MIDI and playing a live sound patch built in Max/MSP via OpenSoundControl data. There will be yet another piece as work proceeds on support for the Nintendo Wii controller.

I’m actually quite surprised that more work hasn’t been done with 3D interfaces — though I suppose I shouldn’t be too surprised, as it’s extremely labor intensive! 3D has focused largely on positioning, but with powerful hardware and software capabilities bring 3D to the masses, 3D interfaces are surely next. Iterations and shared research are vitally important to any medium advancing, so I hope we’ll have more projects in this area. (I happen to be working on something different but related in the 3D space in my own research, which I’ll share when I’m ready.)

Previously from Chris O’Shea land: Muon Speakers, with Processing Visuals

We’ve talked a lot on CDM about the future of instrument design. Here’s one for you. It’s entirely wireless. It’s touchless, but it uses sophisticated gesture tracking to translate motions into sound. Incredibly, it’s able to track the exact position of your body, wherever you are. It requires no electricity. No matter your skill level or experience, or even if you have any musical background whatsoever, you always sound exactly like your favorite guitarists. It only produces music you love; it doesn’t function with music you don’t.

Sophisticated new instrument from researchers at an academic institution? Straight out of the skunkworks at a major Asian electronics company? Nope. Just some people dressed up in embarrassing outfits waggling their fingers, actually.

Gnarly. Air Guitar Nation gets its wide US release in March 2007. Via Axehole.

(PS, I think you can cancel that whole New Interfaces for Musical Expression conference. This looks like a lot less work.)

Remember patent 0060026536? It’s the multi-touch, gestural patent Apple filed that was clearly the precursor of the Apple iPhone. Here’s the curious thing: the iPhone, as demonstrated at the Macworld keynote, isn’t all that focused on multi-touch. With the exception of Apple’s clever zooming gesture, most gestures are single-touch. Most are horizontal and vertical strokes similar to what you can already do on laptop touchpads.

A lot of what gets put into patents never shows up in shipping products, but I would be very surprised if Apple’s multi-touch abilities didn’t start to spread to new stuff. Touchscreens and eventually multi-touchscreens are likely to appear on more computers, PC and Mac alike. And other devices have likely lacked touchscreens only because the digitizer hardware — and the processors to deal with tracking multiple touches — hadn’t yet reached the right economy of scale, something that’s likely to happen soon (the iPhone in June being a good indicator). Phones have the advantage of subsidies from the phone carriers — the iPhone would presumably cost hundreds more if it didn’t have Cingular reducing the cost to get you on a 2-year plan. But the touch trend is likely to continue.

And that brings us back to the original patent. Could Apple in fact be working on a music mixer or other touch-enabled music interface? Or was this just a demonstration of an idea they had, and not a working product? Time will tell. I’ll repeat my concerns: touch is great in its flexibility, but losing tactile feedback is not — maybe something Apple themselves have discovered. But that’s unlikely to stop manufacturers from integrating touch into products for musicians in the near future, whether it’s Apple or someone else. And it won’t just be the Lemur.

Okay, no remaining stories this week will have headlines in the form of a question; I promise. “NAMM: New DJ Hardware????”