Sound technology pioneer Bob Moog’s birthday is May 23, and just about the whole Web will be in on the celebration.

Play Google like a Minimoog: Google’s Doodle, the image you see on their homepage, is one of their best yet: it’s a fully interactive, playable Minimoog synthesizer. You can even record and playback little musical sketches and share with friends. Since the Earth is round, Google Japan gets an early scoop. (Yes, the Moog sun will rise first on the land of Roland, Yamaha, and KORG.)

Bonus (for Web nerds): this all uses the Web Audio API, which promises to bring real sound into the browser. Check out the technical details on html5audio.org, but if you love synths, and you use the Internet, this is good news.

Get swag, save cash, benefit the Moog Foundation: Rags and riches will be on sale for your shopping pleasure, including a benefit for the Moog Foundation on Moog-logo merchandise and clothes, with 50% of proceeds going to the Foundation’s educational and historical mission, which goes far beyond just Bob Moog to synthesis in general. That one-day birthday sale includes the lovely new Moog travel mug (I need one, after mine sadly broke in the mail to Germany), and a huge knob on a t-shirt (nice). See image, below.

Moog Music is also discounting their iOS apps, in case you missed discount pricing on their superb Animoog synth.

I Want My Moog TV. But let’s get back to the man himself, with a series of videos shared by the folks at Moog Music.

From an 80s BBC TV special, here’s Bob Moog demonstrating the synthesizer:

Moog Music are painting their spiritual father and founder’s image on their offices in North Carolina; see a timelapse of this gorgeous mural:

And in the sweetest gesture for the day:

To #celebratebob on what would have been his his 78th birthday local Asheville piano teacher, Kim Roney, brought two of her pupils to the Moog Store to perform a song in celebration of Bob Moog’s life and legacy. Bob Moog is still inspiring creative exploration in children of all ages. Thank you Dr. Moog, Happy Birthday! How has Bob Moog inspired you? #celebratebob

Finally, here’s a five-part series on synthesis fundamentals that uses the Moog Voyager. That seems, perhaps, the best way to celebrate Bob Moog’s legacy: it’s a chance to learn ideas about sound that can allow you to unlock the world of electronic music. With that knowledge, you can use any synthesis, anywhere, with or without a Moog logo on it – or use your imagination to invent the next great music technology, something Bob Moog I’m sure would have loved to see you build.

Moog Music Inc. is proud to present Dr. Joseph Akins’ five part series on the fundamentals of synthesizer programming. Dr. Akins is an associate professor at Middle Tennessee State University and strives to teach his students a complete understanding of synthesizers and computers as tools for modern music production. In this five part series Dr. Akins uses a Voyager to teach the process through which a synthesizer’s sound is generated and the techniques needed to program your own sounds and sonic experiments. In part one of this five part series Dr. Akins gives a brief history of synthesizers, goes over basic synthesizer theory, and overviews basic signal flow.

http://www.moogfoundation.org/

With soft synths a dime a dozen, how do you set yourself apart? Defying conventions is a pretty good start, and a team of developers who built the Mixxx open source DJ tool are doing just that.

SodaSynth from Oscillicious is a soft synth with a different approach. With no effects and, surprisingly, no filters, SodaSynth is all about the oscillators. But apart from its ready-to-layer sound, the developers are also making their software run in new places: aside from a VST, there’s a version for HP’s defunct TouchPad and, more interestingly, the first major soft synth we’ve seen yet for Google Chrome’s Native Client. We’ve got some details on the latter that will appeal to you hardcore Web browser / coder geeks out there.

First, the sound: with no filters and no effects, SodaSynth’s developers say they’ve made a synth that’s easy to layer. You get five waveforms, up to 32 oscillators per note, and full 8 note polyphony. (Per-note oscillators to me is where things get interesting.) The controls are pretty stunningly simple, but with five “classic” waveforms and some unique morphing settings.

Also, for those new to synthesis – and for some of those more unusual parameter names new to all of us – they’ve added extensive in-line online support, in a nice touch. (More in the gallery/sounds below.)

I’m in. Mac and Windows VST, and should run fine on Linux machines with Windows VST support. US$23.

SodaSynth VST

Here’s what it sounds like:

SodaSynth VST Demo 1 by Oscillicious

And there’s an HP Touchpad version, which you’ll find for $3 in the HP App Catalog. Notable in that it may soon join our Doomed Tablet Instruments Hall of Fame. (Our friend Francis Preve had an instrument out for the Newton. Really.) Seriously, if anyone has a TouchPad, send us video, ‘kay?

But more practically…

You can run SodaSynth right in Google’s Chrome Browser. We’ve seen plenty of synths and even full-blown workstations employing Adobe’s Flash. And there have been some projects built in JavaScript for Mozilla’s Audio Data API, previously called the Web Audio API (which I liked better as a moniker). Tons of examples via the Chromium site; Chrome and now an experimental Safari build have added support:

Web Audio API Samples

Soda Synth uses a third avenue, one which I’ve heard lots of people talk about but no one actually try. Google’s Native Client allows you to run native code right in the browser – not this JavaScript kids today love so much, but good, old fashioned, C/C++.

What does that mean for synths? Think low-latency live audio that out-performs other solutions, at least for now. SodaSynth isn’t just the first NC synth in the Chrome Web Store; according to the developers, it’s the first Native Client app, period. (Answer to the question “who cares whether you use native code ever again?” is, of course, “audio people.” I’m sure JavaScript advocates will be happy to chime in here, but even if JavaScript matches C/C++ performance, the ability to run C DSP code natively will continue to have advantages down the road.)

It’s free, so add it to Chrome now, and you get a synth you can jam with – there’s even a 4-bar live looper so you could produce actual sound snippets with the thing. I’m curious to hear your experience.

SodaSynth, free for Chrome Web Store

Developing in Native – Why it Matters, What it’s Like

I’m all about getting the nitty-gritty details – yes, including not only why this is exciting, but what the development process is like, warts and all.

Developer Albert writes:

Why is this news? It’s native compiled C++ code running our synthesizer in a browser at full speed, for the first time. While there’s some other pro-audio web apps like AudioTool, nothing can really get the latency low and run efficiently without native code. We think this might be a peek into a future where we there’s real pro-audio web apps.

I asked Albert specifically what challenges, if any, they’d encountered. Albert tells CDM that NaCl (get it?) still has some rough edges and needs further testing, and significantly isn’t enabled by default for some users. He did qualify that by noting NaCl’s developers have been generally helpful.

The Pepper Audio API that NaCl implements is pretty similar to SDL and performance seems to be good. The three big advantages of using NaCl over Adobe Flash for this sort of thing are raw performance, being able to directly set the audio latency, and that most audio apps are already written in C/C++, so they’re easier to port. Being able to just upload your binary to “deploy” it instead of building Windows/Mac/Linux versions is a huge time saver too.

Currently, I’m only hosting binaries for x86 and x86_64 because the Native Client doesn’t actually work on ChromeOS yet. One of the main
NaCl developers mentions this [2], though perhaps that’s been miscommunicated by Chrome’s marketing team, because I too thought it
was supposed to work.

The next milestone for the Native Client team is to implement “Portable Native Client”, or PNaCl [1], which will mean that NaCl apps will get distributed as “LLVM bitcode” instead of compiled architecture-dependent binaries. In other words, you will compile your application once, and it should run on x86, x86_64, and ARM. I think Google is waiting for this before pushing NaCl into ChromeOS.

“Early days” seems to be the key phrase here, but I’m eager to see Google put some resources behind this and turn this into a solid solution, especially on their nascent Chrome OS. (Too bad, as I was looking forward to seeing someone fire this up on a ChromeBook.)

For further reading, via Albert:

[1] The gory details about the proposed PNaCl plan
[2] Chrome/NaCl engineer at Google saying it doesn’t work in ChromeOS

More Images + Sounds

A song without and with effects, using Renoise:

SodaSynth VST Demo 2 (Dry – No Effects) by Oscillicious

SodaSynth VST Demo 2 (Wet – With Effects) by Oscillicious

The VST version:

Image of the ill-fated HP tablet version:

http://www.oscillicious.com/

Electronic musician, vocalist, and inventor Tim Exile is back; while the Google Doodle today of an interactive Les Paul inspired lots of people to invest some time fiddling and hacking, in Tim’s case, it inspired a whole song. And, to my knowledge, it’s the first time the homepage of Google got its own ode.

Bet the Googlers didn’t expect this response.

All of this serves as a serious reminder: sometimes simple and ubiquitous is good. It also shows the serious value of silliness. Here, here.

Previously: Les Paul Google Doodle, Animated – and Scripted with SuperCollider

Electric guitar pioneer Les Paul is one of the all-time greats in music instrument invention, so the guy clearly deserves an animated Google Doodle of his creation that you can play. Strum chords, pluck with the mouse, and even record phrases on Google’s homepage. (See video, above.) Since Google Doodles are archived – and since you can look at the code by choosing a View Source feature in your browser – these little novelties also have a life beyond their one day of glory. (Note, you may need to visit the US site if you’re in a part of the world that doesn’t have this Doodle, since they’re localized.)

Here’s where things get a little geekier:

Using the free and open source tool SuperCollider (Mac, Windows, Linux), composer and coder Nick Inhofe scripts Google’s interface, using the ability of SuperCollider to talk to keystrokes. You can download SuperCollider for free and try it out – it’s an insanely powerful real-time synth and processing engine – or just hit the Google shortcuts to hear the results. Full details:

Google Doodles with SC [SuperCollider mailing list]

Good, clean fun.

Check out Nick’s SoundCloud account, too, for some good listening:
http://soundcloud.com/exit_only

Adding hardware to tablets, as it has with decades of computing technology, can open up new worlds for software and music. It can animate a conventional piano, or provide new physical interfaces for touching music. But let’s not wait for it to happen; let’s get hacking.

Following on today’s line of thinking about hardware-augmented touch, I’d like to look a bit at the recently-transformed landscape on Android. iOS users can connect to external hardware via the Core MIDI protocol or, via official channels, through the Apple Dock Connector. That’s not a perfect situation, however. Hardware developers have to be approved through the Made for iPod program in order to make accessories, there’s no standard class support apart from MIDI, and while Bluetooth can connect you to other iPads, you can’t connect arbitrarily with hardware via Bluetooth. (At least, that’s what I’ve found speaking with iOS developers, though some Bluetooth gamepads appear to work, possibly because they simply act as keyboards). WiFi wireless connection is also a possibility, one I expect will continue to be exploited.

But Android does have some interesting options here – a reminder of why getting familiar with more than one platform can be enlightening. A lot of those possibilities could open up new ideas in music hardware, ideas that could work not only on Android but in some cases (as with standard USB support) with desktop and tablet Mac, Windows, and Linux machines, too.

Case in point: check out a Motorola XOOM controlling a piano above, for a kind of hacker’s Disklavier. (Apologies to Yamaha.) Yes, it’s a great deal messier than existing USB MIDI devices (more on that in a moment), but it’s a visual reminder of why we do this in the first place – and it doesn’t have to be quite this hacky on Android, either.

Simplified, your options are:

Android Open Accessory

Currently the best wired common denominator, the Open Accessory program allows you to use a third-party accessory as the USB host, even on devices that lack USB host support. You just need a device with Android 3.1, 2.3.4, or greater. In a much-ballyhooed feature, there are prototyping possibilities with the open Arduino platform. Google’s own hardware is obscenely pricey, though, at around $400. Instead, DIYers will want to use a standard Arduino. Two early examples:
Android ADK with a standard Arduino Uno and USB Host Shield
Google’s open accessory development kit on standard Arduino hardware

These prototypes could, in turn, be converted into simple kits or even standard off-the-shelf accessories, without asking anyone’s permission.

See a video at top for one of the Arduino Uno examples in action.

Also, for the actual code, look at:
UsbAccessory

More on DIY implementations that don’t require $400 hardware kits (more like … $40, tops):
http://developer.android.com/guide/topics/usb/adk.html

Microchip also promises an open PIC24 library with a driver for ADK

That said, because Google’s implementation is specific to Android, those accessories aren’t useful anywhere else. That’s why it’s worth considering USB host mode.

USB Host Mode

Tablets are the Android devices about which I’m most excited at the moment, because as with the iPad, the tablet devices wind up being more flexible and capable than their phone handset cousins.

One key feature: Honeycomb tablets support actual USB host mode. That means you can connect standard USB HID devices like joysticks. It also means you should be able to make a MIDI interface that isn’t kludged together from a bunch of proto boards and $400 Google Android kits and that works with Android but not your computer, as above.

In fact, the existence of this option made me a bit puzzled when I read Phil Torrone’s* editorial in Make. (See postlog, though, on why listening to Phil is still a good idea.) Phil focuses there on Arduino, and doesn’t mention standard USB host.

Why Google Choosing Arduino Matters and is This the End of “Made for iPod” (TM)?

Now, Phil’s correct that the Arduino is currently the easiest platform for hacking with this stuff. But I actually think even that could change. There are already a number of AVR-based platforms for doing USB host implementations. Like Arduino, you can develop for them with free, open tools and a wide community. Unlike a standard Arduino I/O board, though, it’s easy to create something smaller, cheaper, and more flexible – and to plug your creation into any device that supports standard USB hardware. Now, actually implementing some of these things is nowhere near as simple as Arduino at the moment, but that to me is a testing and documentation problem more than anything else. I’m bullish on the possibilities here; it’s part of the reason we chose a standard AVR platform for our MeeBlip synth and not Arduino. I’ve started messing with its firmware, finally; more on that soon – it’ll also be relevant to playing with DIY hardware for Android.

The Arduino stuff is absolutely cool, don’t get me wrong. I just think you could substitute “open hardware” more generally in that article for “Arduino,” specifically. (The article’s nonetheless well worth a read for some stimulating ideas.)

Executive summary: I betcha we can come up with a really simple DIY MIDI interface, via both wireless and wired connections, for Android that doesn’t touch the Arduino side of things and will work with your computer, too.

See:
android.hardware.usb in the Android documentation

IOIO – a Chat with the Developer

Following CDM’s coverage of the Google announcement of the ADK in the first place, a number of commenters pondered the inexpensive, DIY IOIO board marketed by Sparkfun (pictured).

Developer Ytai Ben-Tsvi shares some thoughts about how IOIO relates to the ADK:

First, you can see some of my (and others’) thoughts on this thread:
https://groups.google.com/d/topic/ioio-users/3JDn6XZJ9aE/discussion

Aside from what’s written there, I have immediate plans for implementing IOIO on top of ADK. This means that when IOIO is connected to an Android device, it will first try to establish and ADK (accessory-mode) connection with it and if that fails, will seamlessly attempt to fallback to ADB. ADB will still be used for firmware upgrades, as I believe this is the most secure way of making sure the user is involved in the decision to update the firmware (via enforcement of a single signed application that IOIO agrees to talk to).

In the (hopefully near) future, a similar behavior will be achieved by connecting a Bluetooth dongle to IOIO instead of an Android device, enabling a remote connection between Android (or even the Android emulator!) and IOIO, on expense of reduced bandwidth and increased latency.

Some points to emphasize:

• IOIO is targeted at the hobbyist/educational community. I believe ADK is primarily targeted at serious hardware developers. As a result, in terms of support, design considerations, feature prioritization, ease of use etc., IOIO is more likely to stay loyal to the hobbyist community in the future.
• At the time of writing, IOIO seems to be the cheapest solution for communicating with an Android.
• IOIO currently provides a high-level Java API which hides underneath it a rich protocol for controlling many of the board’s features from Java. “Mainstream” users will never have to touch embedded programming when working with IOIO. My hope is that this API will eventually become a standard, and that people will implement it on top of other boards as well. If that happens, application developers will be able to easily port their applications to different hardwares.

IOIO is available now for US$49.95. Honestly, if you’ve got a phone that it works with, it’s a fantastic choice.

IOIO @ Sparkfun

Bottom line:

At first it seemed like there is conflict here, but now it appears to me like there really isn’t! IOIO is an end-to-end solution for physical computing (a-la Arduino) from your Android device, ADK is a protocol for enabling you to connect peripherals to an Android device, and this is Google’s motivation in this game. The boards that came with ADK are just reference implementations, and to me they seem in no competition with IOIO at present. So IOIO and ADK will probably be good friend in the future, when ADK provides the underlying connectivity and IOIO provides the high-level platform for the hobbyists.

Updated: There’s already good news.

Since he wrote the comments above, Ytai got everything working with IOIO and ADK:
IOIO over OpenAccessory (ADK) Available [Ytai's "Microcontrollers, Electronics & Robotics" Blog]

He makes a strong argument for why IOIO may be your best solution. In fact, for my money, IOIO plus USB host development is just about perfect.

Bluetooth

Enough about all these wires: you do lose some of the beauty of these mobile devices when you attach a lot of spaghetti to them. Enter Bluetooth. It’s reasonably cheap, light on power consumption and well-suited to embedded hardware (key differences with wifi). It’s also gotten steadily more robust. For wireless MIDI and wireless control, it really can work.

On Android, it’s possible to interface directly with hardware over Bluetooth. That opens up the chance to do, for instance, MIDI over Bluetooth without a wire in sight. For lots of thoughts on this, the best reading is Peter Brinkmann’s blog. (Peter is also the primary author of libpd.)

I hope we’ll get to talk more about this soon. Ahem.

http://nettoyeur.noisepages.com/

I’ll admit: I’m actually kind of a sucker for wires. So I’m glad to have Peter around to encourage me not to create giant, ugly tangles of crap.

Postlog – Phil Torrone and Mobile

I just want to add one background note on Phil Torrone.

Phil deserves loads of credit for seeing this stuff coming long before it was popularized. Here’s what he had to say in 2002:

A simple hiking stick was way too low-tech for Macromedia Flash expert Phillip Torrone.
So Torrone equipped his stick with GPS and Flash applications that let him identify trails and track information on local flora and fauna — and leave messages for other hikers.
He’ll show off the hiking stick and more of his quirky creations, such as a digital belt buckle made from an old Palm V, when he discusses wireless fashion at a Flash conference here Friday.
His inventions are sure to delight his geeky audience of developers and designers at FlashForward. But his audience will start taking notes when he brings out mass-market, Flash-enabled devices such as a Microsoft Pocket PC Phone Edition and an O2 XDA, two Pocket PCs that are also phones.
Flash developers believe mobile devices like these are the wave of the future, Torrone said. “Last year, wireless phones outsold PCs for the first time,” he said.

Lots of Flash, Even More Sizzle [Wired, July 2002]

In music, we have the opportunity to test these same ideas not only for a quick geeky hack, but as a real means of self-expression, in deeply emotional, intimate ways.

And just remember, for anyone caught up on platform debates, at some point even words like “iPad” or “Galaxy Tab” will seem as distant as “Palm” and “Pocket PC.” But the ideas behind actual work for those platforms will remain. (Oh, and… I guess we still have Flash, huh?)

Now … who wants to do some hacking this summer for music? (And science!)

The gaming industry has made their bet, and it’s that touchscreens go better with tactile controls. Might digital musicians reach the same conclusion?

A funny thing has happened on the way to the touch era. The vision of a device like the iPad is minimalist to the extreme: an uninterrupted, impossibly-slim metal slate, as impenetrable as some sort of found alien scifi object. The notion is that by reducing physical controls, the software itself comes to the fore. It’s beautiful conceptually … and then you find yourself tapping and stroking a piece of undifferentiated glass. For navigating interfaces – and even, I’d argue, exploring sound design and composition – it works brilliantly. But for live digital performance (what to game lovers is called “gaming”), for anything that wants tactile feedback, it can be imprecise or unsatisfying, or both.

Watching this shake out as a design problem is fascinating, especially coming from the perspective of music. Digital musicians were exploring alternative interfaces since before it was cool. Given the ability to make any sound we can possibly imagine, the question of how you design an interface around sound is compositional, philosophical, essential.

Whatever winds up working in the marketplace, there are some fascinating ideas for combining touch with tactile. Since both are good at certain tasks, why not do both?

We’ve seen several examples among musicians and researchers exploring how to augment the touchscreen with physical input:

Mike Kneupfel’s research at NYU’s ITP program, in the video at top, investigates adding additional inputs. See: Extending the Touchscreen.

We saw that kind of extensibility in an iPad dock concept by Livid Instruments.

While it lacks additional tangible controls, I/O extensibility is featured in a still-as-yet-unreleased “pro” dock by Alesis, and most recently in a DIY dock by circuit bending pioneer Reed Ghazala.

Now, game vendors are moving in the same direction – even with prototypes that look quite a lot like the research project above. (Sometimes, arriving at the obvious conclusion is necessary for a great design.)

Sony’s PlayStation Vita, successor to the PSP mobile game platform, augments touch input with tactile controls in much the same way as Michael Knuepfel’s work does. Notably, it also proposes how these inputs can coexist in a form factor that’s larger than a phone, but smaller than a tablet – scaled roughly to a comfortable holding distance between your two hands. (Microsoft and Apple each unveiled standard split keyboards on Windows 8 and iOS 5, respectively. The era of thumb ergonomics is now fully underway.)

Nintendo’s Wii U controller combines a lot of sensing capabilities into one device. Like Sony’s effort, the centerpiece is the combination of the interactive touch display with analog controls. But true to its Wii heritage, Nintendo is packing other sensing technology, too. While its evolution has been more piecemeal, the same is true of the Xbox 360 in the Kinect era. The Kinect camera is really a bundle of mic and stereoscopic camera sensing with software intelligence for motion analysis and even speech analysis via a variety of methods. While Kinect is touchless, the conventional gamepad still plays a role.

What’s the relevance of all of this evolution to music? Digital music’s demands parallel gaming, requiring precision, accessibility, scalability from beginners to hardcore experts, and real-time interaction. Also, music research has often been at the forefront of experimentation with a variety of means of translating sensory data to expression. And since musical practice itself is roughly as old in human evolution as language, if not older, it’s a key way of glimpsing how ubiquitous interfaces can become meaningful.

Let me put that another way: the stuff game companies are doing now looks a heck of a lot like what computer musicians have been doing for years.

While much of the acclaim for platforms like the iPad has been for their transparency and unadorned interfaces – and while I believe those are valuable concepts – bundles of capabilities for interacting with the world can become powerful. That means efforts like Apple’s addition of USB MIDI connectivity to the iPad, or Google’s nascent work to standardize USB host mode and open hardware development (based on Arduino), take on new meaning. Add to this additional connectivity via Bluetooth and wifi, and it may be that we only really see what these platforms do when, like the PC, they start geting sociable with a range of other gear.

This could also mean that communities like the music community have a chance to prove that the “post-PC era” is a little different than it’s been described in the mainstream press – and maybe a little less a radical departure. The “post PC era,” we’re told, is less about being a hub for a lot of hardware. But as people look for tactile feedback, some of the coolest applications of these platforms may not be in the mainstream use as “consumption” devices, but at the fringe.

I’ve just come from the launch of the Samsung Galaxy Tab 10.1 in New York. You’re not missing much; there were a handful of people snapping up the tablets. (I think the 10.1, and a few other Honeycomb-based tablets, do have a bright future, though their growth may be a bit slow at first as developers get their hands on them and give people a reason to buy them.)

What was most compelling to people at the launch, though, was a planned appearance by pop star Ne-Yo (at least according to some staffers to whom I spoke).

But the connection was, at best, tenuous. It may be when devices like these tablets are made more viable for musicians onstage that that connection starts to make sense. And that may mean that Apple and Google/Android vendors alike need to start to think more aggressively about the larger ecosystem and hardware applications. Remember all those futuristic promises from Apple about hardware accessories? Right now, the most significant hardware is the Square payment add-on, and it uses a hack to make it work through the audio jack. Both Apple and Google can do more work to open up hardware development.

It’s all well and good for the tablet to be a “post PC” device, to be different from PCs, to be better. But they may simultaneously need some of the openness to other gadgets that made the PC age so revolutionary.

Indies, don’t fear the Apple. The world with Apple’s iCloud doesn’t appear to be that radically different than the one we had before. And that’s a good thing: the Web, not any one cloud sync service, is still the most revolutionary technology for connecting music to listeners.

Updated: commenters online read this as complaining, so let me clarify: cloud sync has already had unfair expectations placed on it. It remains a no-brainer for Apple to implement. The question is, from an artist’s standpoint, what expectations should you have about the impact of the technology on what you’re doing. In the short term, some of those prove to be more limited, and now that there are some details, it’s worth analyzing those details.

I expect developers granted an early test version of iCloud and music will be breaking their NDAs shortly so we hear more details, but here’s what we know.

The Service: Useful, Maybe, Just Not Earth-Shaking

I think Apple’s value proposition is stronger than Google’s or Amazon’s. It looks far more complete, far better-designed, and genuinely usable.

On the other hand, like those other services, what it actually does remains relatively conservative:

Automatic sync – if you buy from iTunes. iTunes’ cloud service will work with files manually synced to iCloud, or with purchases from iTunes.

Benefit from being in iTunes’ store catalog, even if your listeners don’t buy there. For US$24.99 a year, Apple will “match” your music from other sources to entries in their iTunes Library – and “upgrade” them to 256 kbps AAC (though for people buying in FLAC format and the like, that’s not really an upgrade).

Sync files locally. Reportedly, Apple will offer streams and downloads alike. That means at least downloads are an option for people wanting higher-quality files. Just how this works is a bit unclear while we wait to test it. It’s not entirely clear why some reports (like TuneCore) suggested Apple had streaming capability; they have confirmed that instead they synchronize files locally prior to playback.

Sync anywhere you want, as long as it’s made by Apple. iTunes for Mac, iTunes for Windows, iPod, iPhone, iPad. Actually, in fairness, that’s relevant even to players other than iTunes – even the recently-released, open source Miro can talk to your iTunes library.

Don’t get me wrong: it looks like Apple is unveiling the first really viable cloud music service. That shows some serious ongoing leadership from the company that popularized the desktop player that’s still #1 today (iTunes), popularized online music buying with an online store that’s still #1 today (iTunes Music Store), popularized the mobile player that’s still #1 today (iPod), and maintains a nice, healthy chunk of the mobile market (especially if you look at all iOS devices together).

As of today, Apple’s still setting the bar for everyone else. It’s just that, in contrast to the revolution unleashed by iTunes and iPod, the results may not be as seismic this time.

Outlook Cloudy

Let’s review: we’ve waited a long time for online sync. And here’s what we’ve got:

Different services for different devices and different stores. Buy your music from Amazon, Google, and Apple? Own an Android smartphone, an iPad, and a Windows PC with Winamp? You can look forward to beautifully-integrated solutions for … each of those. Separately. Great.

No clear benefit for music makers. Digital Music News points to the folks at Beyond Oblivion. They note this service will simply sync people’s pirated music:
But Wait: Isn’t the iCloud Just Reinforcing Bad Habits?

Because even if rights owners are properly licensed, this is merely making billions of stolen music files more accessible. And that’s supposed to be a solution? “We can’t enrich the music industry, we can’t enrich artists, we can’t enrich life, society and culture by continually going to the same 5% who already pay for the music,” Beyond Oblivion CEO Adam Kidron said this morning. “We have to go to a new market.”

I’m not the sort of person who is kept awake at night by thoughts of piracy, but look at this the other way – in contrast to Apple’s initial unveiling of the iTunes Music Store, I don’t see any clear evidence that this will encourage people to buy more music. Not yet, anyway. Your best hope is that somehow this fairly modest sync ability will encourage people to buy more music, likely from iTunes (or Google Music for their Android, or Amazon for their likely-upcoming Amazon tablet). But that’s a stretch, and likely to be a drop in the bucket compared to the ongoing slump of the CD.

Hello? Anyone? I’m the Web? Did you forget me? Although it’s not as mind-bogglingly inexplicable as it was with Google, Apple seems to have forgotten the Web. Apple themselves pointed to the growing popularity of the camera on the iPhone, but ignored in the keynote the reason for that popularity – the ability to spread your photos with Twitter, Facebook, Web apps, Instragram, and the like.

For a service that takes music online, there’s really no ability to use that online information to share what you’re listening to, or get recommendations from other people. Nor is there any kind of API that would allow artists, labels, and creative developers to help build an ecosystem – even though such an ecosystem would potentially benefit music.

In fact, looking to rival Google, YouTube is far more relevant to getting your music out and actually generating new listeners and fans there than this cloud service is.

From a purely business perspective, the cloud so far looks surprisingly barren. It’s a huge gamble that some modest sync features – themselves designed to remove obvious, counter-intuitive annoyances – will make online music listening any more popular, or help musicians earn more from their work.

Winners, Losers, and Vinyl

I’m awaiting a response from Merlin, the folks who represent a huge share of independent labels, and who have protested their treatment in the licensing process.

I’m also hoping to hear more from services like TuneCore, who, for an annual fee, allow unsigned artists to get their work on iTunes. (I’m testing this as an artist and as a journalist myself.)

My bet: the one winner here is TuneCore. Artists may now have to pay the $50-a-year “tax” (erm, make that “service fee”) to TuneCore just to ensure their music will work with iTunes Match – and that people eager to buy cloud-ready music can. Don’t get me wrong: TuneCore provides some valuable services, but irrespective of what they offer, we’ll see whether this winds up being something that brightens independent artists’ day — or is just a pain in the … uh … cloud.

And all of this…

I…

I’m, sorry, I feel a blasphamous, snarky comment coming on. Oh, screw it. Turn to your blogger side. Filters off.

Vinyl records right now are more relevant to independent musicians than cloud sync.

There, I said it. I’m not even sure if I agree with it, but I might, and at least it sounds damned good.

The Good News

Maybe it’s time to stop looking to big companies like Amazon, Apple, and Google to chart the future course of music. Maybe the biggest platform doesn’t come from any one company, or any one, shiny device.

Maybe it’s just the Web. After all, it was the Cloud before anyone thought of calling things the Cloud.

I’ll believe in it, until I go to — borrowing Jobs’ words — that great, big hard drive in the sky.

Google Translate’s pronunciations may or may not impress you, but the thing’s got some beatboxing skills. Reddit user harrichr notes a fun result:

1) Go to Google Translate
2) Set the translator to translate German to German
3) Copy + paste the following into the translate box: pv zk pv pv zk pv zk kz zk pv pv pv zk pv zk zk pzk pzk pvzkpkzvpvzk kkkkkk bsch
4) Click “listen”
5) Be amazed

Does it count as beatboxing if the voice is non-human? (Okay, okay, yeah, you could do this on your own with just about anything by slicing off the plosives on words. But if you’re procrastinating on this Monday workday, it’ll seem utterly amazing. And don’t be surprised if Google takes over beatboxing, just like everything else. Thanks, vade!)

More variants: check out comments.

Google’s Android platform has gotten only a fraction of the attention for music making that iPhone OS and iPad have, but that doesn’t mean the OS doesn’t have some advantages of its own. Thanks to being an open OS, it’s also easier to install custom OSes, and repurpose older devices and build cheap embedded computers on a platform like BeagleBoard. The remaining challenge: convince Google that beefing up real-time audio hardware access is important. So, with Google’s own I/O conference this week and me in Berlin next week during DroidCon, now seems like the perfect time to talk about handheld music on the platform.

Bradley Berthold (developer “niko twenty”) writes with news that he’s releasing two apps for Android. Electrum Drum Machine is a simple 808-style groove box / sampler. It’s not as pretty as some of its rivals on iPhone OS, but the ability to drop samples right on an SD card – no additional software required – is a big edge. Accordingly, there’s a nice interface for editing waveforms and sample points, and you can export to WAV or MIDI, then pull that SD card and drop it somewhere else. (In fact, that means you should be able to take an SD card and plug it into hardware samplers with MIDI or audio file support, without ever touching a computer. Kick it oldskool.)

US$3.99.

Electrum Drum Machine is a full featured 6 sound drum machine with a traditional 16 slot pattern sequencer, along with a step sequencer to sequence patterns into a song. Up to 32 patterns can be created. Each sound can have its pitch, volume, start and end points modified. The drum machine also has a shuffle feature, as well as multitouch pads for playing. Supports WAV/MIDI export.

ReLoop is a music sequencer, which should fit nicely into a workflow with Electrum. It reminds me in look and function of some of the older Palm apps, but that’s not a bad thing.

ReLoop Music Sequencer is a loop-based sequencer for Android devices that allows you to drag and drop loops and one-shot samples onto an unlimited length timeline to compose a track. 8 tracks are supported and are high quality 44Khz stereo sound. Each track can be adjusted in volume, and each one-shot event on the timeline can also be varied in pitch. Loops are stretched to fit the current BPM. The sequencer supports WAV export, and looping mode, as well as an 8 track mixer dialog with mute function.

Best to see how it works in a video:

More info at the niko twenty site:

http://nikotwenty.webhop.net/

Score one for standards. According to second-hand sources and a post to a public mailing list, the upcoming Apple iPad accessory adapter for cameras, the iPad Camera Connection Kit, will support audio interfaces that are compatible with the USB Audio Class. I don’t have official confirmation from Apple, and the adapter itself appears not to be shipping until later this month, so file this as “likely, but unconfirmed.” But it’s one to watch, and comes as a surprise to me. (Generally, camera accessory kits aren’t a way of providing audio expansion.)

Let’s assume, as these sources suggest, that USB audio devices were available via the standard stereo output (or even input) for the public Apple APIs for audio I/O. In that case, the other good news is that iPad apps would be able to support your third-party hardware without special modification of the software, or a signed hardware license agreement.

Most pro audio interfaces are not class-compliant; it’s more common to use custom drivers, even for USB 1.x-compliant interfaces. Custom drivers would be out of the question. But there are a number of interfaces that do provide class compliance, like the M-Audio Fast Track or Edirol UA-25. (I have a Cakewalk-branded, Roland-manufactured SPS-25 that works as a class-compliant device with the “advanced” mode on the back switched off.)

Incidentally, devices that support this spec will also easily work with Linux, and possibly upcoming updates to Android, if the latter adds similar USB host support. That means there’s now ample incentive for audio interface vendors to investigate providing class support, as it could mean more customers not only from iPad owners, but owners of other slates and tablets, too – including those we don’t yet know about. (Google tablet, anyone?) That further illustrates why up-to-date class descriptions for hardware are so badly needed (though it also, sadly, reminds us how much isn’t covered by these generic classes).

Before you get excited about connecting a MIDI keyboard to your iPad, I don’t know that this will mean support for the MIDI device class. But it’s nothing if not a reminder of the power of standards. (See also the Nintendo Wii remote, which enterprising musicians have used as a controller on multiple operating systems, thanks to its support for the Bluetooth spec.)

And yes, this means the prospects of the iPad becoming an all-in-one, live performance machine are looking brighter. DJs are still likely to be unsatisfied, as I doubt that this will allow separate audio cuing, but given that I didn’t see this coming, who knows?

Supporting evidence:
Re: iPad USB Audio Class 1 and Update on OSX Class 2 [Apple Core Audio API Mailing List]

Thanks to Art Gillespie for pointing this out. He’s got a connection kit coming, so expect a full test.