You’re now approved to DJ with your iPhone. Or at least the app is. I’m not sure if I can take credit for getting Apple’s attention, but Apple has approved the TouchDJ application from Amidio. That’s big news, partly because developer Amidio has consistently been at the forefront of musical development on the platform, including their Noise.io synth and wild hexagonal JR Hexatone Pro.

This also is a big blog to the theory that Apple is intentionally blocking DJ apps — and a big boon to the theory that the App Store is just plain clogged, even if it may be disproportionately affecting more sophisticated applications.

Features in the release:

• “Visual mixing,” with a clever interface that uses overlays atop side-by-side waveform views
• Pre-listening using a special left/right adapter
• Faux vinyl and spin effects
• Real-time scratching, looping, positioning, EQ, effects, re-pitching
• Onboard sampler with 3 WAV sample slots, recording from the mic
• Uses a separate MP3 library with companion apps, since it isn’t possible to DJ from the library you sync from iTunes

Now, to me, that last point is a fairly significant one. You have to load tracks you wish to DJ separately, in MP3/M4A format. And I’m sure that this will start various debates about whether you’d want to DJ on your iPhone in the first place. But don’t look at me — I just work here. I’d be remiss if I started out the week talking about apps stuck in iPhone limbo, only to ignore them immediately becoming available. And I will say, Amidio is one of the smartest mobile music developers out there, so it’s worth checking out the range of what they’re doing.

Whether petitions and news stories did help this app to get to the top of the queue or not, I have no idea. I think maybe I’ll start running screaming headlines with things I want in them, if only for good luck.

Tomorrow on CDM: “You Know What Annoys Me? The Fact That We Don’t Have Unicorns. Magic Unicorns. Who Speak OSC.”

Yesterday, I talked about two complaints of music developers writing applications for the iPhone. These come from developers who are really iPhone fans, who just want to get their software released and (for many music devs) better categorized on Apple’s store. Pajamahouse Studios, maker of the new Sonorasaurus remix application, follow up with a more detailed explanation of their situation.

These are not rejections; at least rejections are generally accompanied with some sort of suggestion of what would need to be changed. They represent the dreaded iPhone developer “limbo,” in which an application is neither rejected nor approved. For Sonorasaurus, that’s been the state of affairs for over two months. As the developers explain, there seems to be nothing unusual about their app:

• Library access: It doesn’t access the iPhone/iPod music library. (no application is allowed to do that, which incidentally limits a lot of the DJ app possibilities of the device) Clarification: The status of the music API itself is unclear; some developers report just this sort of approval delay when trying to use it. [Source] Also, access to files inside the media library is not directly possible, which can be compared to the status of Android.
• File access: A separate http server is provided, with a parallel library, for users to store their own tracks – again, something found on numerous other approved applications. This doesn’t use the included library.
• Included music / music distribution: Five included songs are for testing only – something found in a number of other, similar applications that have been approved. The application is not an alternative to iTunes for distribution.
• Media decoding: Custom MP3 decoding technology – something not provided on the iPhone – was separately licensed. Clarification: This was not meant to imply that you can’t do MP3 decoding; the developers meant to make the point that they were not violating patents or licensing by using their own decoding, which presumably they did for the purposes of building a DJ app.

Of course, whatever the reason, we’ve seen in past applications suddenly approved after weeks or months, so who knows what will actually happen with this app.

Read the full explanation:

In Limbo Pt. 1 [Sonorasaurus]

While reading that, though, I also have to observe how significant these workarounds are. Without launching into an Android versus iPhone debate – believe me, there are many, many things to criticize about the Android as a platform, especially relative to music –  none of these is an issue on the Android. Forget platform wars or fanboys. Alternatives are good. I’d hope that we do have more than one approach to how to do this. These approaches should have to compete with one another, as they offer different tradeoffs and advantages.

If music is becoming an application, this kind of freedom is important.

A powerful DJ application for your iPhone or iPod touch may be a tantalizing prospect. But several would-be candidates aren’t available to you yet. Why? They’re languishing in Apple’s approval process, with no sign of whether they’ll be released or not.

For all the success of Apple’s App Store, some developers and users continue to express frustration at what they believe is a sluggish, unpredictable approval process, restrictive Apple policies, and Apple’s complete control over distribution and categorization. That now leads to two complaints from music developers. A number of music developers want more delineation from Apple’s categories, so that the flood of general music apps don’t drown out powerful, creative tools. Meanwhile, developers of DJ applications claim that Apple is discriminating against DJ apps, which they say has led to delays without explanation.

“Open” development is relative, without question. Game system makers require developers to prove to them why they should be “allowed” to create titles, leading to a tightly-controlled stream of approved titles. But the success of Apple’s relatively open development model has prompted many software creators to hunger for greater freedom. I’ve increasingly heard people enthusiastic about the more flexible distribution model on Google’s Android (and other Linux) platforms, which allow users to install apps they want. I even moderated a mobile music platform panel at the CMJ music conference at which a Verizon representative, no less, talked about wanting to be more open to applications. The benchmark was Apple, for being perceived as overly restrictive.

iPhone/iPod touch developers, however, aren’t simply ranting against Apple. They’re complaining because they’re enthusiastic about the App Store. They want changes from Apple and believe there’s potential to get what they want. That said, I think they also illustrate potential for rivals like Google to outdo Apple – assuming those rivals invest more time and effort into courting these kind of applications.

Is Apple Blocking DJ Apps?

First, some developers believe that Apple is intentionally blocking DJ applications from being approved. Whether intentional or not, a number of potentially ground-breaking applications are unavailable after a significant delay. Kasabian Kasabianmeister writes:

If you think culture has become too disconnected from the Earth, “Harvest” and the Terrafon instrument surely count as a shock to the system. A traditional ensemble picks up an enormous tone arm and transducer and, through back-breaking labor, drag it across arable fields. It’s part sound art and performance, part agriculture. But it certainly counts as a gramophone – it’s just a really big one that reads the grooves of the earth.

Beat juggling with two of these I’m guessing is largely out of the question.

One half of the artistic creative team, Olle Cornéer, writes with a description:

Harvest (2009) is a new art piece for the new instrument terrafon, traditional ensemble and cropland – by Olle Cornéer and Martin Lübcke.

In this performance Alunda Church Choir, conducted by Cantor Jan Hällgren, plays the soil of northern Uppland (in Sweden) on terrafon. Harvest by Alunda Kyrkokör was exhibited at the Volt Festival in Uppsala the 6th of June 2009. Terrafon is a large agricultural version of the horn gramophone, amplifying the sounds in the track it ploughs.

There is more to come. There are still many croplands still untouched by terrafon. The only thing needed is a powerful local musical ensemble that can sweat it out. This is indeed a demanding piece.

Video illustrates what this all means in practice:

Critics frequently attach the phrase “lock-in” to Apple’s iTunes Store – iTunes – iPod/iPhone combination. But, in the post-DRM age, what does that mean, exactly?

First, you have to recall that while for many of us the manual drag-and-drop music management is appealing, it isn’t so for many average consumers. They want sync. That means that music will be stored in iTunes and synced to Apple devices and nothing else. Apple is serious about locking you to their store and their devices, enough so that they frequently update their software with special keys that prevent the use of devices. iTunes is “free,” but Apple determines which mobile devices you can use and which you can’t. And Apple has gone after anyone who dares give you the ability to use your own music software or own devices, including efforts (ironically) to make their iPhone and iPod work with Linux and open source players.

These efforts don’t protect the music or prevent privacy – they protect users of Apple’s software and mobile devices from using anything but Apple’s tools. Yet Apple has used the Digital Millenium Copyright Act to take legal action over anyone who dares to even talk about how to use legally-purchased music and hardware:

OdioWorks v Apple

Perhaps suspecting their case was too thin to defend, Apple eventually backed off that particular claim — after, says the Electronic Frontier Foundation, “7 months of censorship and a lawsuit.”

Apple Withdraws Threats Against Wiki Site

But the software and hardware locks are unchanged. And Apple has won, in my view, an even more important battle: they have a monopoly over mindshare.