“Sure, the OLPC project is supposed to do wonderful things for children of the world, but what has it done for me, lately?” Well, if you fancy yourself one of the Earth’s children, the OLPC organization has assembled 8.5 gigabytes of sample content that’s free and Creative Commons-licensed — free to acquire, and free to use.

Jacob Joaquin, who runs the terrific thumbuki blog and the Csound Blog and is part ofthe team developing Csound for the OLPC’s XO laptop, shares the news via Dr. Richard Boulanger at Berklee. (See the press release as a zipped .doc.)

Plenty of people contributed top-notch sound: the Berklee College of Music, Csound developers around the world, electronica celebrity BT (himself a former Berklee and Boulanger student, among other alums), M-Audio and Digidesign, and the Open Path Music Group.

They’re donated under a Creative Commons Attribution license, so you can “freely create, compose, mix, remix, share, distribute and redistribute these samples and use them for any purpose as long as you clearly attribute the source.” That means anyone, anywhere can make use of this library — no OLPC required.

http://wiki.laptop.org/go/Sound_samples

http://wiki.laptop.org/go/Talk:Sound_samples

Csound, OLPC Style

Whether you like the OLPC laptop itself or not, there’s plenty going on with the project. There’s the immediate impact of the hardware and software, yes — and plenty of opportunity to praise or criticize its utility there (perhaps the mark of a good, ambitious project). But there’s also the secondary impact. The OLPC has captured imaginations in terms of what future computers might be, and what they might mean to more of the population of the planet. More importantly, perhaps, it’s building a family of open source, Linux-based (and cross platform technology-based) tools, which could ultimately outlive the hardware platform. I have my own doubts about the OLPC itself, but the ideas for open sound making are about more than just that hardware. (For instance, just testing Processing, Arduino and Java on this kind of mobile platform can improve that software.)

The sample library is only part of the story; software tools is another part. Powered by Csound, the OLPC team wants to put sound synthesis and music production in the hands of kids — we’re talking serious digital synthesis here, not just GarageBand-style looping. That goal could ultimately go well beyond just the OLPC.

Csound is a free and open source development tool for sound design, synthesis, and signal processing, with a lineage that goes back to original developer Barry Vercoe and in turn descended from the first digital synthesis tools created by Max Mathews. It is the audio/music development system for the OLPC project, with integration with Python (though I’ve heard we should also see additional Java development).

Those geeky details aside, you’ll see in many of the reviews of the OLPC writers mentioning unusual and fun music toys. Those journalists are stumbling upon some of the projects below, and the process is just getting started.

Jacob had shared some brief looks at what he’s working on on his OLPC, but here’s the full overview from Dr. Boulanger, because there’s quite a lot happening:

Java may not be on the radar of the average Mac user, but to the Java development community, Leopard has been a bombshell. Apple’s been slow with Java releases before, but something’s different this time: there’s been almost no information on the topic, and Apple has even pulled an existing Java 6 development build (released for Linux, Windows, Solaris, and every OS on Earth late last year). While Java and Apple apologists alike bend over to explain why this doesn’t matter / isn’t really an issue, we received an interesting comment here on CDMusic that suggests something big has happened they’ve all missed. This tipster argues Apple has all but eliminated its Java development team, and future development may (finally) fall to Sun. From our comments:

i had a long chat with a sun engineer over tea today where this issue came up as well. he was basically saying:

• apple has moved all developers from the java team to the ical team except for one poor bloke who is mainly working on a stable java 1.5 version
• the guy doing the actual 1.6 port left apple, apparently finishing the port is just a piece of cake, could be done in a few days but for legal reasons he cant do it anymore.
• apple will most likely never release an opensource version of their vm because it is a big dirty mess using various old frameworks all tied together in spaghetti code/ secondly it seems to require sourcecode access to the mac os x standard frameworks sources e.g. coreservices etc.
• some people at the java fx team at sun have started making their own java 1.7 runtime for os x which hints that eventually sun might take java for mac back under its control
• speaking of sound and other java things missing in osx - the answer is: wait for java fx! its very promising, you’ll be surprised.

Why this sort of rumor may be wrong: Note that it’s not clear how much of this is an accurate picture. Java isn’t dead in Leopard — on the contrary, Java 5 has been updated for the new OS, even if Java 6 is missing. And there are still developers at Apple working on Java, as they regularly appear on the java-dev list — and there’s more than one person. Even among Java developers frustrated with Apple’s progress, it’s clear that those engineers do a terrific job — though they may need more resources, and it is unclear whether it’s still advantageous for Apple to be maintaining Java in place of Sun in the first place.

Java everywhere, media everywhere: Why bother putting this on a site called Create Digital Music, and not, you know, Create Digital Java Applications? Because Java is a key, cross-platform development platform for music and multimedia, in the form of tools like the open-source coding-for-artists platform Processing, and a significant amount of media research. The alternative is generally less-elegant, more time-intensive C and C++ code; Ruby, C#, Python, and others haven’t really proven themselves for multimedia applications.

It’s the music of the spheres. Or at least, the music of the various, floating geometric shapes, bouncing around a virtual galaxy with gravity simulation. Kepler’s Orrery is a (newly) open-sourced generative music maker, based on a gravity simulation algorithm. As bodies collide, they make sound; it’s a bit like what would happen if you crossed a music box with a snow globe. Different worlds represent different songs. You can reach in and grab some of the objects, so it’s possible to “perform” with the project.

The application runs directly in a web browser (assuming your Java is up to date), and since it’s open source, digging around in the code could inspire your own Java-based musical environment.

Kepler’s Orrery Project Page, with notes, source code, and a live applet
Creator Simran Gleason Talks About the Project on java.net in a podcast (MP3)

And yes, there are some similarities here to the generative music of Brian Eno (soon to be heard in the upcoming Will Wright game Spore) and sound artist/composer Toshio Iwai’s ElectroPlankton game. Perhaps we have a whole genre of musical creation in the works here.

Related:

• Flash-Powered, Animated Musical Painting: Visual Acoustics
• NuSofting’s Collide and Play plug-in uses a similar, physics-inspired interface
• Videos and more featuring Nintendo ElectroPlankton and Tenori-On creator Toshio Iwai
• Why ElectroPlankton is wonderful — but falls short of being the music tool it could have been
• Brian Eno, with Will Wright on Spore and Generative Systems, Sound, and Paintings

All rational arguments for development on mobile phones aside, some phone owners are driven by the irrational, purely personal need to tap into their phones and do stuff. Our friend Sebastian Tomczak reports back on a first experiment with the mobile version of Processing, the Java-based “coding for artists” tool.

Simple Live Synth for Phone

This is nothing fancy, but that’s the point: simple is the best way to get started. It’s the sound version of “Hello, World.” In programming, I find, even simpler than I think is necessary is often the best place to start. Erm, especially if you’re me and screw things up really quickly.

Mobile Processing is an example of what the future could look like if we could program phones with standard Java libraries. After all, your phone is a computer — often a pretty expensive computer, considering. And then, when you upgrade, it becomes useless without service. Recycling phones into something useful is only natural. And because they’re simple computers, there’s an opportunity to return to the days when programming was actually considered a killer app — for “end users.”

And yes, this does fit in the category of “things you can’t do with Ajax on iPhone and can do with zillions of other, cheaper phones.” I’m glad to be over the “what might actually impact iPhone sales” category and into the “completely useless phone applications that appeal only to insanely geeky musicians” area again. Phew! Much better.

Non-Processing/Java geeks can stop reading here, but I should elaborate a bit.

Apple made a controversial announcement at the World Wide Developers’ Conference, which went something like this: “We’ve got a new, innovative way of giving you developer access to our phone: we’re not.” (I’m paraphrasing; see the full quote below.) In less than 24 hours, this has devolved into an online debate between defensive “traditional” developers and Web developers, Apple critics and apologists. Many have tried to turn it into a debate over what whether or not web apps are applications. That’s silly. Of course web applications are apps. Here’s the real problem in a nutshell:

1. Apple is ignoring what makes non-Web apps valuable. That’s their choice — it’s their phone — and we could forgive them and maybe even agree with them, except –

2. They’re then trying to distort reality around them so that things they’re saying that happen to be wrong wind up being right. Lots of companies do that, but this being Apple, some people are actually listening, and I hope they’ll stop.

I’m going to say this the long way around, because I type fast and think in sprawling, high-word-count ways. Our friends at Rogue Amoeba, one of our favorite audio developers for the Mac (notice how multimedia keeps coming up), put this more succinctly:

Web Apps Are Not Applications

We know that making SDKs is not easy, and so it boggles the mind that you were able to create a complete iPhone SDK so quickly! So much access, provided so seamlessly - it is really quite amazing.

With this new SDK, we can create something neither of us could possibly have done alone, and make the iPhone platform the mobile platform to develop for.

Anxiously awaiting his copy of the iPhone SDK,
Sarcastic Developer

Web apps are wonderful. I spend huge amounts of time in them. But as musicians, you know why web apps alone aren’t enough. Hardware access and multimedia capabilities are vitally important for some (but not all) tasks. Take them away, and your expensive computers become instantly less useful. This matters to some more than others, but that doesn’t mean it doesn’t matter. In fact, try this experiment: take your Mac. Remove all audio and MIDI device support, allowing only iPhone and the OS to make sound. Now you can’t even record a voice memo or phone call — no mic input. Next, reinstall your browser, removing Java and Flash. (Good: I can read Penny Arcade and CDM — well, most of CDM. Bad: I can’t watch Homestar Runner. Or YouTube. Or use embedded Flickr apps. Or use entire websites. Uh-oh.)

A phone is not a Mac, and that’s a good thing. But to assume these two things equate just doesn’t make sense. Design is about compromises, and that’s a good thing. But now design is about making compromises, then changing the reality around you so that they’re not compromises any more?

Here’s a short list of other things an iPhone web app can’t do that (with the notable exception of multi-touch) the vast majority of phones can — yes, including that crappy low-end Nokia you got free with service. Really. Look up the developer site for your phone, and check it out.

Looks can be a powerful agent for changing how we think about sound. Pairing liquid, organic speakers with equally fluid and dynamic visualizations, the launch of Muon last month in Italy made this principle readily apparent. I’m all about lo-fi, cheap gear here on CDM, but if you absolutely must launch luxurious aluminum speakers with spectacular animated visuals at a posh party in an Italian salon, I sure won’t complain. Pass the prosecco, please?

Muon Project Page, documentation videos at chrisoshea.org
See coverage at ze | d | esign, toxi’s project blog, MoCo Loco, elsewhere. (Yeah, CDM’s motto is: cover things last. Was a bit busy with Maker Faire!)
Created by Moving Brands

Details on the installation and how it was done:

Evan has been hard at work on his free Wii remote drum machine for Windows, and he’s got a fantastic new version with an updated interface, more features, and nunchuk adapter support. All you need is a PC (or Mac) running Windows, a Bluetooth adapter, and Wii remote. (Hey, speaking of which, anyone know if this works with the Mac Bluetooth adapters and Boot Camp?)

My Wiimote Drum Kit [thisisnotalabel.com, Evan's site]

The basic idea: make a hitting motion, get drum sounds. (It uses a straight trigger, meaning it’s likely to be very reliable.)

Advanced Readers: Program Your Own

Just in case you’re interested in programming your own project (yeah, I know, lost 95% of the room there), there are solutions for interfacing with the Wii. Evan used Brian Peek’s managed library for .Net (C#/VB.NET):

Managed Library for Nintendo’s Wiimote [Coding4Fun, a great site for MS-platform programmers]

There’s also a beta-version Java library out there called WiiRemoteJ, though that also seems to be Windows-specific. (Someone who knows about Java Bluetooth support, feel free to chime in; that’s beyond my knowledge level.)

Wiimote via Java [Willi.org, the awesome wiki/community site for all things Wii]

More Wii Music Control

Wii Sound Spatialization, Aided by Pizza
Wii as Lightsaber: More Kyma-Synthesized Goodness, But the Original was Cheaper

Another tool, this with quite a few more options, via looping capabilities from Max/MSP:
Free Mac Looper for Wii Controller, Wii MIDI Hacking Round-up

..and my personal favorite demonstration of Wii remote as musical interface:
Expressive Wii: Open Sound Control - MIDI - Wii - Kyma on Mac

Programming offers incredible possibilities for music creation, and with the free Processing development environment for Mac, Windows, and Linux, even non-programmers can get into the artistic horizons of code. But code doesn’t always think like composers do. That’s why the new sound library jm-Etude looks promising:

New sound library: jm-Etude [Code & form]

jm-Etude for Processing, and the Java library jMusic on which it’s based, allow you to structure your code more musically with notes, phrases, parts, and scores. Combine this with the Sonia synthesis library for Processing (or, for Java development, the corresponding JSyn plug-in), and you have a serious compositional environment. I can also see this as appealing to people coming from the land of Csound and wanting something that lets them code notes and other musically-useful units.

I’d love to see a similar library that helps deal with performance environments, helping structure into scenes and elements — Chris from Pixelsumo was just asking me how you might use Processing in a VJ performance. For live music or visuals, it’d be helpful to have a library that lets you structure what you’re doing over time for performance. Anyone know if there’s something like this already out there (short of coding the thing yourself, which might ultimately be better)?

[Updated:] I missed the major point of this, which is that it lets you use Processing as an interactive MIDI sequencer. (Follow that link for a promising-looking interactive table, built in the “app no one wants to use any more,” Director.)