Connecting stuff is one of the things musicians naturally do with gear. So, there’s really no reason that musical gear shouldn’t network as easily as Web servers. And yet a basic protocol, built largely on existing standards, meets with responses like this:

“We’ll support OSC when there’s hardware out there.” “Name one piece of hardware that supports OSC other than the Lemur.”

OSC has some major advantages as a network protocol, as a way of connecting software with software, software with hardware, and yes, even hardware with hardware. It doesn’t have to “compete” with MIDI – you can even send MIDI message data over OSC, thus taking advantage of features OSC has that MIDI doesn’t (like time stamps, which your tools could use to calculate latency even if you don’t use them directly). Yet I’ve been listening to this argument for years now. “Any computer” counts as an OSC device, but even when tens of millions of iPhones and iPod touch devices hit the market (not to mention other mobiles), software developers were still pointing to a (completely absurd) “lack of hardware.” How tens of millions of gadgets can count as “nothing,” I don’t know, but maybe it’s because a lot of them were phones, not music devices.

Well, here’s a combination that ought to get someone’s attention. With the iPad about to launch next month – likely to be followed by more multitouch devices running Android, Linux, and Windows – we’re not just talking phones any more. And the folks at Symbolic Sound, makers of the insanely-powerful sound generation Kyma environment, are adding a proper OSC implementation. Even if you have no interest in the (wonderful) Kyma, now available in more-affordable Paca(rana) devices, this is one to watch.

What you can do:

Use OSC directly, via a direct connection and even onboard Ethernet on the Paca(rana). That opens up the use of devices like Lemur, and, yes, iPad.

Use MIDI over OSC from your existing MIDI devices and software. Explanation (again, worth reading even if you aren’t in the market for a Kyma):
http://www.symbolicsound.com/Learn/BidirectionalMIDIStreamsOverOSC

Before evolutionary adaptation comes mutation. Some of the weirdest stuff, in other words, could be the future – just ask biology. That was the conversation I had with folks like artist Rosa Menkman in Old Amsterdam (the one in Holland). So, as we gather back in New Amsterdam (NYC), we get a chance to celebrate the unusual.

Wherever you are in the world, here’s a look at some of those new mutations: a sewing machine converted into a musical instrument, an expressive audiovisual instrument borrowing ideas from the trumpet, and an electro-country band that covers classic honky-tonk American hits.

If you are in the sliver of our audience who live in the NYC area, of course, you can catch these folks live in a variety show-meets-science fair format. We don’t charge admission for the weird, and you can buy beer. Thanks to our new home at Galapagos Art Space, the NYC edition of Handmade Music can offer a proper stage and a lineup of live performances, along with the noisemaking and friendly atmosphere.

Live, Monday, March 8
Where: Galapagos Art Space, DUMBO Brooklyn [directions]
When: Doors open 7p
Cost: FREE
Highlights online for the rest of the planet here, later

Augmented Sewing Machine + Ensemble

Circuit Bending Orchestra: Lara Grant at Diana Eng’s Fairytale Fashion Show, Eyebeam NYC / SML from See-ming Lee ??? SML on Vimeo.

Artist and design Yoshi Akai (no relation, as far as I know) treats analog electronics as an art form, a sculpture, an instrument, and an exercise in interaction design, all wrapped in the velour of vintage hardware design. For everyone who misses the deco elegance of meticulously-engraved surfaces and tastefully-appointed enclosures of early-century electronics, Yoshi’s work will be a special treat.

These aren’t just pretty boxes, though: they work as instruments. A prolific inventor with a background in textiles and design, Nagoya-born Yoshi Akai has spun out countless playful experiments in musical interaction, and all make fascinating sounds. There’s a turntable that scratches Swedish rye crackers as though they’re records, a step sequencer made from a telegraph, thumb-controlled instruments, and various synths, noisemakers, effects, and drum machines, some quite practical. Some emphasis electrical, analog sounds, while others go chip/8-bit in timbre. All look beautifully handmade, with some tending toward luxurious front panels while others flaunt intentionally disorganized arrays of knobs.

(Just don’t say the word “steampunk” — the designs seem to be to be placed pretty firmly in the electrically-powered early 20th Century, and there’s even a reference to Czech proto-science fiction landmark R.U.R..)

Yoshi Akai Artist Site + Gallery

MrYoshiAkai YouTube Channel

There are many models, so it’s worth investigating the full YouTube gallery and his site gallery. I’ll call attention to the two most theatrical. First, LEGO blocks form the playing pieces for a musical sequencer. That’s fitting: Ableton CEO and founder Gerhard Behles once revealed to me that he adored playing with LEGO blocks as a child, a design element that resurfaces in the sequencer he helped design. LEGO blocks are modular, they’re playful, they’re neatly color-coded, and because of their shape and interchangeable design, they easily represent blocks of sequenced time in music.

Here’s a video of the LEGO sequencer in action:

The monome meme continues to spread virally through your music gear. With some custom code (made freely available) and a little assistance from the free Arduino platform, Philly-based hacker Wil Lindsay has converted the $50 Bliptronic 5000 device from ThinkGeek into a monome. That gives you full compatibility with the community-made patches that support the real thing, for a song.

If you’re handy with this sort of thing, you can follow the code and basic build instructions provided and mod your Bliptronic yourself. If not, you have two choices – the first half dozen early adopters can pay Wil to hack and test their Bliptronic for a fee to raise money for a PCB, and then once that happens, anyone who wants an all-in-one, more fully-documented kit will be able to choose that route instead.

Bliptronome V2 : tests, kits, and code released

Bliptronic 5000 @ ThinkGeek

It occurs to me that someone might be able to do something different with that source, as well.

The way I’d still recommend assembling a monome if you can’t get in on one of the official products or kits would be the Arduinome, which is best-documented at FlipMU’s Arduinome site. But I like that the Bliptronic is now an option, too. I wouldn’t be surprised if some monome owners pick one up for the heck of it. I’ll send an update if Wil is successful with that kit.

OTO Machines’ BISCUIT is new 8-bit effect processing hardware from a boutique design firm in Paris. The essential effect is all 8-bit: using 8-bit converters and processing, you can add crunchy, digital waveshaping, delay, pitch shift, and step filter effects. But because those processes produce distortion and aliasing, BISCUIT combines its 8-bit effects with an analog resonant filter. (It’s switchable, so if you want to retain all the artifacts, you can – but you also have a filter at the ready.)

The whole design is a lovely exercise in reducing a set of sound capabilities to their most essential elements. The appearance of the front panel, though, is deceptively simple. Multifunctional uses, all provided within the eight buttons at bottom and the parameter controls at top, allow effects from filtering and basic bit reduction to wild, radical bit destruction, step-sequenced filtering, delay, and even a little synthesis.

The BISCUIT is also fully MIDI-enabled: every control sends MIDI, and every function receives MIDI CC. Critical to its step-sequenced and delay functions, BISCUIT receives MIDI clock, as well, or you can use tap tempo.

Finally, quality and local production figure prominently in the OTO: the company advertises that they don’t outsource production and work entirely with local companies in France.

Price: EUR529 including VAT (so 442,30 if you’re outside Europe). Available now:
http://www.otomachines.com

That’s pricey, I know, but it also packs as much sonic power as a collection of several Moog effects – and likewise might be the only effects box you need.

And, oh yeah – the future of BISCUIT may provide more than it does now.

I got to look more closely at the BISCUIT (think “bis-QWEE” as in French), at least on paper. I’ve also had the chance to talk to one of the creators about the evolution of this box, which reveals something of the process of hardware creation in general.

First, let’s take a closer look at the hardware.