While we’re having a weekend of Live tutorials, here’s another one for you, this time using your iPhone / iPod touch. Now, I’m not sure I’d want to do a whole set like this, necessarily — but here’s a thought: you could use this to do some sound checks out in the house instead of stuck behind your laptop listening through monitors. I’m sure there are other applications, as well. Enjoy!

The secret ingredient this time is i3L (pronounced “eye thrill”), the MIDI bridge app from VJ superstar group artificial eyes out of Turkey. They note that Mexican audiovisual collective Nortec are also making use of i3L (for video triggering).

See our iPhone/iPod touch music tool round-up from earlier this week for other goodies to load up on your device. To me, the iPod touch is the real bargain here; it’s going for under US$300, with used/refurb models going for a bit less — especially given you don’t need a mobile phone contract. Now if only there were a hard drive model…

Multi-touch controller goodness is now as close as your nearest iPod Touch or iPhone; all that remains is to hook it up to some creative music, visuals, or others. (I would prefer the iPod Touch for this reason; then you don’t have to worry about using it as a phone — draining the battery in the process — or needing AT&T service.)

Olle Holmberg has a new solution for using the Touch/iPhone as a controller, by translating input to OpenSoundControl (OSC) and, if you prefer, MIDI messages. He writes:

I was searching everywhere for a way to get my new iPod Touch to work like a wireless touch controller to Pd (and hence to everything else), but couldn’t find one — so I made one. It’s really just an OSC mapping for routing the default Mrmr “Performance.mmr” interface, but if you’re interested it would save you heaps of time, even though it’s not really anything difficult to make.

Mrmr is an “open protocol for mobile devices” for dynamically creating interfaces; we’ve covered it on Create Digital Motion, where vade has interviewed the creator, and we’ve seen it in action coupled with upcoming visual app 3L. Those solutions used proprietary software like Max/MSP/Jitter, though, whereas this works with the free and open source Pd. (We love Max, but having an alternative is good, especially if you just want to hook up your iPod Touch to Ableton Live or Reaktor, etc.) As far as I know, this should also mean compatibility with Windows and Linux, but maybe someone can verify that.

The Pd patch is below — homely but functional, and you can extend it if it doesn’t do what you need.

For more information and download of the first release:

PdiPod - Mrmr to Pd on iPhone & iPod Touch [on pissypaws.tumblr, Olle's blog]
Pd Forum Announcement and Discussion
Files/download

There are various ways to bridge the gap between vinyl records and computers, as we saw last week. You can cut records with digital timecode. You can build controller hardware that simulates the resistance of a motor, or mechanically control digital media using the turntable platter. And then there are the brute force methods, like strapping mice to turntables.

Squarely in the brute-force camp, our friend Ean Golden at DJ Tech Tools has added 7" records to the wheels on Vestax’s VCI-100 USB controller. If you want to do the same violence to your VCI-100 (I love how abused Ean’s VCI is looking, especially with those custom arcade buttons), Ean has a tutorial:

Add Records to your VCI-100 Jog Wheels [djtechtools.com]

The VCI still doesn’t feel like a turntable; I think it’s best thought of as something new and digital. And you do lose access to some of the controls. But I love that it’s customized in this way. Maybe I’ll add hubcaps to mine.

Hardware sequencers were a fantastic idea: you had a box that did nothing but sequence other gear. Then along came the computer, then the idea of trying to make the computer do absolutely everything all the time, and the standalone MIDI sequencer disappeared. In a bizarre twist of fate, it’s back — on Nintendo DS.

Jed (beatsnbleeps.com) writes to let us know about his DS sequencer, DStep. It’s partly an “homage to the KP3″ from Korg, though unless your fingertip is the size of a DS stylus point, it should be a bit more accurate touch-wise. It’s a very elegant little step sequencer, shown here controlling a Nord Micro Modular. (The modular patch you see on the computer screen is the Nord editing software.) Hardware MIDI support gets hacked into the DS via Collin Meyer’s DS MIDI cable hardware/code solution.

It’s funny, because to me this brings the way you integrate a computer into a studio back full circle. It’s not that you dump the computer — on the contrary, you simply use it as a component in a set of gear.

As for mobile gadgets to work with, this also illustrates some advantages of the DS over the iPhone — well, aside from the obvious facts that it’s far cheaper, you’re not saving up battery life to make calls, and you can play Mario Kart. The old-fashioned game hardware buttons actually come in handy, and they’re ergonomically placed, you get the added precision of a stylus, and the DS hardware is more hackable. Multi-touch would be nice on those faders, though.

If you’re ready to give this a go, here’s what you need:

DS MIDI hack

Tob’s DS MIDI Website

DStep details and ROM download

It’s still in development, so we’ll be watching.

Previously: GrooveStep step sequencer / pattern maker for DS

My friend Ilia, aka Tonearm, has released his set of Windows XP-compatible shortcuts for Ableton Live. (Got to play out with Ilia last month and hope to do it again.) Ableton, if you’re listening, here’s another argument for more customization of the program.

Even if you’re not on XP, it’s worth having a look and even downloading the ZIP and readme for some inspiration as far as what could be possible with Live shortcuts.

Install the executable for Windows, and you get:

It’s Flash 909, and Amiga Flash.

Code wizard Andre Michelle has already made a name hacking audio capabilities into Adobe Flash and ActionScript 3. We got to see his work in the form of real-time audio effects processing in the GarageBand-like online sample-and-compose interface for Splice:

Interview: How Splice.com Has Taken Music Real Audio Processing to the Web

Well, there’s more, well into the “Things Adobe Wouldn’t Normally Expect People to Do With Flash” category. There’s 8BitBoy (warning: link autoplays music), a Flash-based player for Amiga MOD tracker tunes. There’s a 909 emulation (cutely named FL-909). There’s open ActionScript 3 source called popforge [@ Google Code] with all the Flash-hacking tricks needed to do audio.

Now, the most tantalizing bit yet: Andre has a new music environment coming, and to tease its arrival, he’s put up a little application with Roland emulations and stompboxes — and it’s all part of the Rich Internet Application of the Future:

Audiovisual performance has a history stretching back through the decades — from the 90s Japan audiovisual scene to 60s Acid Tests and whole heck of a lot of other places. Heck, I’m fairly certain people were shooting up on morphine or getting happy with the opium and chilling out to magic lanterns and colored lights at the end of the 19th Century. But there’s a new excitement brewing globally around live music and visuals. That’s important, because it could push the scene forward — a critical mass of performers could pressure more venues into better projection, from avant-garde to club, and raise the level of chops and artistry in the medium. And you won’t even need opium.

The growing interest in A/V performance was part of what made us so excited about Serato’s VIDEO-SL, as seen in our exclusive hands-on with dj rndm. It’s unquestionably the best (well, even arguably the only) true, integrated DVJ tool in computer software form, certainly as far as digital vinyl control.

But curiously, one of the tools at the center of this movement isn’t really a DJ app in the traditional sense, has no scratching capabilities for audio let alone video, only limited video support, no live video triggering support, and no projection support. It’d be as though, collectively, the world decided in 1965 everyone was going to build flying moon buggies by first buying themselves Chevy Novas.

That’d make no sense whatsoever, except the app in question is Ableton Live.

And suddenly, it’s a natural choice: Live is a favorite tool for slicing and dicing sound live, so why not visuals — even if only by transmitting MIDI to a dedicated visual app? There are a number of approaches.

Squarely in the “things Ableton Live was not necessarily built to do”: animating visuals, one frame at a time.

Cousin Throckmorton whipped up a retro visual feast of Space Invaders, Pong, and other games classics, using MIDI to step through frames individually.

You can MIDI sequence Live’s locators to jump between frames, thereby giving the effect of animation. Sprites/frames are drawn using blank MIDI clips; unfortunately, the resolution is limited by the Y-axis size, as Live doesn’t allow you to resize that. Live’s skins are somewhat tied to MIDI already, so you can “ride” the skins field to change background colors (it updates on midi notes on(?) Audio track is made of samples of video games, trails effect at end achieved via hacked Live skin. Sets/skins available for you to toy with at my myspace: myspace.com/cousinthrockmorton

Mind you, this is unlikely to shake the visualists on Create Digital Motion from specialized tools for visuals — and you could just as easily (uh, scratch that for far more easily) use MIDI to trigger a visual app. But the work is really incredible, and I think as Live grows in ubiquity, users will increasingly show their Live chops by hacking harder than ever before.

And for the record, this is the same Throckmorton who gave us a ribbon controller made from a drivers’ license, a drum made from a laser, and pennies as drum pads, among others. More MIDI-as-visual-control tips, too:

db3ll Channel

Prescient spam comment: “i am so lonely, i just broke up with my ex” says cutechick90201. Worry not, uh, imaginary cutechick. You’ll be surrounded by boys as you seduce them with the siren song of your drivers’ license.

Thanks, Cousin!

Ed.: Circuit bending too destructive for you? Don’t let that scare you away from this year’s Bent Festival, in NYC, LA, and Minneapolis. Key pioneering circuit benders like founding artist Reed Ghazala are quick to argue that bending is a creative, not a destructive act — though some more radical benders might disagree. You say creation, she says destruction — let’s call the whole thing off: this year, handmade instruments and art of all kinds are welcome, say conference organizers, who are…

… continuing to open the Bent Festival to performers and artists that create their own electronics as well as to those who hack, bend, modify and destroy them

Full details:

The Tank is currently accepting proposals for Bent 2008: The Fifth Annual Circuit Bending Festival:

Guitar Hero makes you feel too much like you’re in a Japanese video game arcade? (Heck, they have taiko drums and stuff.) Rather use it as a way of reinventing how you play the guitar — aside from, of course, spending thousands on a robot guitar from Gibson or experimenting with new tuning systems?

Here’s yet another Guitar Hero hack, which finds a remarkably complex way around the fact that the controller has five buttons and no frets:

Hmmm… interesting. But I want more acceleration data, so you can create music by tilting your guitar over your head, or throwing it at something. (Preferably something soft, in case you want to reuse it.)

Handy tip: If you’re a man or woman looking for marriage proposals, this could be a way to do it. UK-based YouTuber Jessica sighs, “This is fantastic. I love you. Marry me.” That’s right: post crazy Wii controller hacks, and you’ll break hearts. Imagine what a Pd patch controlling arrays of lights or a homebrewed synthesizer would do. Do I see a Web mash-up of Instructables and Match.com coming on?

Via our forums, a reminder to Team CDM of why we’re working on building new forum software so they’re mo better. (Stay tuned.) Keep the tips coming!