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/

The Apple iPad has terrific, responsive multi-touch input, but for many, using it to control music would mean carrying an iPad and a computer. That’s a cheaper combination than using a JazzMutant Lemur with a computer, but it’s still two pieces. With a number of PCs gradually adding touch capabilities, it seems inevitable that integrated touch for music will become at least a compelling option. These machines also have some features the iPad lacks, such as USB and other conventional I/O, and true pen input, which can be more precise for arts applications …and they’re traditional computers, with all the flexibility that entails.

Argentina-based DJ Pablo Martin gives CDM the scoop on his new Emulator software. The descendant of the Lemur-style MonotouchLive control, Emulator looks more mature, and adds multi-touch support. It’s ready to run Traktor out of the box, but other tools are possible, too. With a revision of HP’s TM2 expected this summer, we could have an interesting, more powerful alternative to the more limited tablets about to follow in the iPad’s footsteps. (I’ll say this – it would have been a better machine on the trip I’m on currently, both for the touch/tablet capabilities and longer battery life than my more conventional Asus laptop.)

I’ll let Pablo explain the rest. I’m in touch with HP and others, so I hope to offer some information on what these solutions are like, alongside the iPad, of course.

This are the first images i make public of my new touchscreen MIDI controller (now with mulitouch support). The older Monotouchlive is now discontinued and the new software born is called EMULATOR.

The first version i plan to launch very soon, including control for traktor on internal mode; the other interfaces are under development (traktor external ableton etc etc)

This software is designed to work with tablet PCs, the model i suggest for use with my software is the wonderful HP TM2, or the older model TM2Z. It also can be used with lenovo multitouch tablet and DELL XT tablet. All these tablets support multitouch, have capacitive digitizers, but again i suggest the HP TM2, due to it having a wonderful capacitive digitizer from WACOM; it’s really good quality tablet.
The CPU power of TM2 is perfect to run Traktor; I tested with Ableton without any troubles. Some guys think the CPU on HP TM2 doesn’t have enough power, but that is wrong.

The major problem with present touchscreen controllers is that you don’t have tactile feedback (you can’t feel with your fingers knobs, buttons, sliders etc etc), for that reason you need put your eyes all time on the touchscreen device for use the controller, and lose the focus over music software.

Emulator is a software where you have all what you need on same screen and combine the power of multitouch, the useful standard mouse and the native interface of software to be controlled all in one nice and useful GUI.

This software runs under windows 7; the first version I plan to launch only works on tablet PCs with 12.1 inch screen (1280×800). I decided to do this because the big LCD multitouch screens available on the market aren’t really accurate and enough for pro usage; [optical sensors can] generate false touch, ghost touches, etc. and you lose portability [on larger screens].

No pricing or release yet – Pablo is looking for a sponsor (HP?) – but I’ll keep you posted. Let us know what you think of the design.

For all the focus on clever little music apps on your phone, it’s the slate/tablet form factor that seems to hold the greatest promise for live performance. Thanks to a larger screen area, these devices look far more usable for control – equipped with multi-touch, they could be reasonable substitutes for hardware control surfaces, a la the Lemur.And with greater horsepower under the hood, you might not need to use them as a controller – you could run an entire live gig off them.

With this week’s Consumer Electronics Show (CES), many onlookers expected news on these devices, particularly as industry buzz anticipated a big announcement during Microsoft chairman Steve Ballmer’s keynote last night. And we got that news – sort of. Unfortunately, manufacturers teased “concepts” and prototypes, without much in the way of details – a repeat performance of 2009′s fuzzy glimpse at this device category.

That said, having been wrong about when it’ll happen, I’m still convinced we’re about to see a flood of new PC devices with interesting potential for music performance. Here’s what we’ve got so far:

Dell has a tablet “concept.” Dell’s own keynote included a brief mention of a five-inch tablet. That could make a nice form factor to stow on a keyboard or music stand as a controller. That’s about all it’ll do, as the pictures show only an audio output jack. But it will evidently have multitouch. This is only a “concept,” with no details publicly released; I’ll be following up with Dell if they announce an actual product. Photos:

Dell Tablet Concept [Flickr]

More on Dell’s new lineup (the rest of it is shipping, and may interest you more, anyway — Dell is taking advantage of wildly cheaper PC component prices to deliver some amazing machines under $1000)

HP’s Slate: Seen briefly in Ballmer’s CES keynote, the Slate is a “consumer notebook” in a slate form factor. The only good news relative to Dell’s model is that this is supposedly hardware that will ship. The bad news is, HP isn’t saying much else. The device does have a nice, sizable screen, at at least 10″ or larger (if my ability to tell the scale of things relative to Steve Ballmer’s torso is correct). That could make this an appealing alternative to other devices and form factors.

And, oh yeah, Apple: Here’s the power of Apple: PC makers, who have been shipping tablets for years, and who have shipped alternative form factors for years more, are accused of ripping off an Apple product that isn’t yet public, and about which most of us know nothing about (including, indeed, if it actually exists in the form we think it does). Not only that, but sight unseen, I’ve heard many people who assume that the Apple model of this currently-nonexistent product category will be superior, even though they don’t know what OS it’ll run, what it’ll do, what it’ll look like, what size it’ll be, or what it’ll cost. PC vendors, of course, had the opportunity to provide a clear alternative, and instead made their picture somewhat murky, too.

I don’t just mean Mac fanboys, either, who could be excused the pre-emptive positive review. Even The New York Times got in the act. Ashlee Vance of the NYT Bits blog wrote in advance of Ballmer’s speech:

It could be one of Steve Ballmer’s riskiest trade-show moves in years.

On Wednesday, Mr. Ballmer, Microsoft’s chief executive, will unveil a novel take on a slate-type computer … This product better be good because Apple is expected to unveil its take on the slate/tablet form factor later this month … The last thing Mr. Ballmer wants to hold up is a me-too device.

Yes, how dare he … announce … a product … that might compete with a product that no one has seen yet? What a risky move! (Deep thought: can a product be “me-too” even before there’s a “me,” or in this case, an “i”?)

That said, yes, most industry analysts expect an Apple announcement later this month. I’m skeptical about whether such an announcement will be useful to our audience, however. If Apple chooses its relatively locked-down iPhone-style operating system over the Mac OS, and if there’s no hardware input and output, and if the focus is buying magazines and books from iTunes, I think I’ll pass. Of course, some PC vendors may go a similar route.

And, in fairness, I’m sure part of what has prompted PC makers to unveil prototypes of non-shipping products is fears of what happens if Apple gets there first. It’s too bad Apple doesn’t leak a secret plan to solve global warming, or give away chocolates.

Android is a big winner. Murky as the slate announcements were, the one message that has been clear out of CES is that we’re going to see more of Android.
HP may even ship a version of HP Slate running the OS, says TechCrunch. Ordinarily, this would be relatively bad news; on Windows, you can run any music software, whereas Android is relatively limited. But I think that could improve, with open source controllers and work on porting free multimedia tools like Pd (Pure Data) and Processing.

Just keep in mind…

Don’t forget “traditional” tablets for multi-touch. Sure, these smaller slates are interesting, apparently an attempt to blend the appeal of e-readers like Kindle and Nook with handhelds like the iPhone. But why carry a tablet and a laptop when a multitouch laptop could be both? Yep, tablet PCs are back, now with multi-touch input as well as pen. And their convertible form factor means you could have multi-touch control without your arms getting tired.

Case in point: Dell’s Latitude XT2 joins entries from Lenovo and HP. HP’s TouchSmart tm2 (as seen on Engadget) finally improves on HP’s previous, somewhat underpowered entry; I’ll be looking more closely at it. Also appealing: the HP is the first of these devices I’ve seen to pack discrete graphics, which could give you a machine with enough graphics muscle to do live visuals and video, plus music, all with multi-touch control and the I/O ports you’d expect on a laptop. It could be an all-in-one live performance beast if it pans out; I hope to check it out soon.

More analysis of the options – and why the upcoming battles could be a battle for computing’s soul:

Gotta Be Mobile has long been a stalwart analyst of, and advocate for, the tablet PC. Here’s the surprise: even die-hard Tablet PC fans are skeptical about just what the new “tablet” or “slate” means. And the bigger surprise: even outside of the world of music and visualist sites like CDM, people are asking the question about whether the future of slate/tablet computing is passive consumption. Here’s Tablet PC MVP Warner Crocker writing for the blog:

Then there’s the question of what do we do with these things now that we seem to be on the threshold of seeing them everywhere? That boils down to content and in most cases that means consuming it, not creating it.

Floating on a Sea of Tablet Paradoxes

Christophe Stoll of precious, the Hamburg-based design firm responsible for everything from familiar soft synth user interfaces to rock band graphic looks, has similar skepticism. His take is even more far-reaching: in the midst of rabid gadget consumption, what about affordability, ecological impact, and truly open, community development? His first story looked at some of the shiny possibilities in the future:

The tablet innovation race: Three commented examples of what Tablet Computers could look like in the near future.

A follow-up story, however, responding to comments by me and others, wondered if a more open, sustainable, hype-free future could apply more intelligent design:
Tablet innovation race II: Some more critical thoughts regarding the ongoing hype around tablet computers.

Bottom line: by this time next year, I do expect that we’ll have some powerful, new, affordable solutions for multi-touch control and portable music and visual performance. Just what form that will take, though, isn’t much clearer now than it was this time last year. I hope that situation will change soon – and I hope Apple doesn’t prove to be the only company able to articulate a vision for the category.

There’s plenty of rightful skepticism about the use of mainstream displays for multitouch in general purpose computing. And why not? As a full-time replacement for other input, multitouch probably doesn’t make sense. But for music, the equation is changing. Multitouch capabilities are showing up on commodity-priced PC computers like the multi-touch enabled HP laptop models – the tx2z seen here starts, incredibly, at US$850. And because computer musicians are looking for more control, having a touch-enabled display (even single-touch) just makes sense.

The screen for a laptop musician is a huge piece of real estate. Finally, instead of sitting dumbly in front of you glowing, it can become an X/Y controller or give you shortcuts for controls or provide additional parameters. Yes, using a touchscreen exclusively can result in the dreaded “gorilla arm.” The ergonomics of using a vertically-oriented screen are extremely poor – if you use it exclusively for an extended period of time. But if you look at the way people are using these touchscreens, for incidental control in combination with other things – and the ability of convertible laptops to transform into a horizontal orientation – I think this is no longer the deal killer it once was.

At top, an HP laptop ($850) plus the free version of Sensomusic’s Usine is all you need to create a multitouch interface for Ableton Live. Correction: right now this is limited to single touch only, but multitouch is supported in the hardware, in drivers, soon in Windows 7, and support is promised for a future version of Usine. The point still stands — as does the ability to optimize controls for your fingers. Being able to use more than one at once will, of course, be that much better.

Fractal (see Myspace) uses the combination to play Ableton Live with some simple controls. If you get hooked on Usine, you can get the full “Pro” version for EUR70 with additional patches and objects.

The one major remaining obstacle to multitouch, at least, is cost. If you don’t especially fancy buying a new HP laptop, add-on kits still run in the range of US$800-900 (meaning, ironically, you might as well just buy the HP instead). Laptop vendors are still slow to adopt the technology, though that could change when Windows 7 ships later this year. (On the other hand, tablet PCs, even when they were shipping in relative quantity, often were constrained in available configurations and either skimped on specs or demanded a significant premium.)

But let’s not complain too much. The simple reality is you can add an HP laptop now to a live rig as a performance instrument for under a grand.

To see something else with Ableton Live, here’s a video by Andrew Coenen from earlier this year of Pance Party’s Bartelby playing Live with the open source Max Multitouch Framework. This is a more sophisticated setup – it requires a table-style setup using the Frustrated Total Internal Reflection tracking method. But the idea is basically the same. (By the way, Max 5 is an optimal choice because of its excellent widgets, and it’s great having this choice, but it’s a little odd having an “open source” framework in proprietary software. If you want a fully open source solution, there are options like PyMT, which we recently saw on Create Digital Motion. And that said, there’s no reason you can’t try out both.)

And yes, someone has done Reason, too (poor-quality video, but gives you an idea).

Updated: As I’m posting this, I see that Oliver Chesler is writing about how effective touch interfaces can be for synthesizers – just using iPhone as the example (but the idea still holds). And, in fact, you don’t necessarily even need multitouch to make this work; single touch would be effective.

The example: an upcoming iPhone/iPod touch synth from the folks who gave us the Curtis granular synth, The Strange Agency.

Sound Scope Space for the iPhone [Wire to the Ear]

Sound Scope Space demo from strange agency on Vimeo.

Of course, I have to point out at this point, this is another reason that OSC (OpenSoundControl) support becomes essential. Whether or not conventional gear vendors adopt OSC, it’s a logical way to deal with the growing number of touch-enabled devices, from your own display to your iPhone.

I expect this could all accelerate as we near Windows 7′s release. (You don’t need Windows 7 – HP is doing just fine without it – but the presence of in-box APIs for paging through photo galleries and the like is almost certain to encourage Microsoft’s hardware partners.) Stay tuned.

More Examples

$200 Makes Your Laptop Touch-Enabled; Usine Music Demo

Sensomusic Usine + Ableton Live = Modular Touchscreen Interface