Once upon a time, people made things from electronics. Boys, girls, laypeople made stuff. My Dad actually tinkered with Theremins growing up and subscribed to Popular Mechanics. Now, in an age of hyper-specialization, too many people assume that making sounds with geeky-looking, handmade electronics should be left to the pros. But give people some instruction and let them make some noise, and you might be surprised how eager people are to try something out. Noise making, it seems, is some sort of primeval human instinct.

So, it comes as little surprise that the wizards of Austin got lots of people into the act of electronic sonification. Led by Dr. Bleep, Eric Archer, and 8ms, they’ve kicked off the Texas iteration of Handmade Music Night, and send us the video to prove it.

There’s no reason you have to be left out of the fun, though – you can handmade some loud noises at home. Eric Archer has expanded the site for his freebie Mini Sound Rockers, the kit he used to get folks started at Handmade Music Austin:

http://ericarcher.net/devices/mini-space-rockers/

Check out the video below to see them in action. And I think we should definitely have, in addition to the schematics, a step-by-step tutorial. The gang in Austin also promises some ready-to-buy kits coming soon, so stay tuned.

More on the Handmade Music series around the world:
http://handmademusic.noisepages.com/

And for another video of the Mini Space Rockers circuit, here’s a terrific creation from Switzerland, as suggested by Eric in comments:

The work is by datenkrieger75, using both Eric’s circuit and a hacked Gakken SX-150 bassline.

The iPhone’s glass touchscreen may be a thing of beauty, but despite its multi-touch capabilities, it would seem this device is incapable of responding to how hard you tap it. But the developers at Wave Machines Labs apparently didn’t want to take no for an answer.

The iGOG drum suite for iPhone provides drum pads and sample triggering in unique ways, most notably in its velocity-sensitive VelAUcity. How do you get velocity response from a device that’s supposedly not pressure-sensitive? Presumably there’s additional data in the touch events that makes this possible, but for now Wave Labs aren’t saying:

iGOG’s proprietary VelAUcity technology does the unthinkable and turns the iPhone’s screen into touch sensitive drum pads. Play loud, play soft, or play a full-blown crescendo on a crash cymbal, iGOG will capture every nuance of your performance. Just plug in your headphones and start playing.

Here’s the interesting twist: generally, when any of us say “iPhone,” what we really mean is “iPhone or iPod touch.” That’s not true in this case: “NOTE: VelAUcity is only available on iPhone devices. if you’re using an iPod Touch, VelAUcity is disabled.” That seems to suggest that the trick is the built-in mic, or at the very least some private API that’s iPhone-specific. (Audio triggering is most likely, as this app comes from a developer with drum replacement experience.) That would also suggest to me that you might be able to pull this off with non-Apple mobile devices and controllers in the future.

As a result, though, I can’t test it – I have only the iPod touch.

Unconvinced or uninterested? iGOG has some other approaches to how the small Apple handheld can be made more useful as a set of pads:

• Multi-positional pads that assign articulation based on location
• A mic trigger mode — which may be more useful than the VelAUcity. This mode assigns any nearby sound (like rapping a table) as a trigger. (That’s possible, of course, with a variety of software, but having the device itself be portable could be handy, so to speak.)
• Multi-samples, file management, and sequencing for doing more with the samples.
• No, real multi-sampling — 384 multisamples per drum!

Even if you’re skeptical of yet another iPhone app, I think there are some great ideas here for music software (mobile and otherwise). Here’s a look at the mic trigger mode in action:

Oh yes, and speaking of all this audio triggering, the same developer makes the superb Drumagog drum replacing plug-in. With pricing at US$199-379, you have to be pretty serious about drum replacement, but I know people who are who swear by it. There’s really nothing stopping you from whipping up your own solution, but Drumagog has a lot of niceties that make the process easier, quicker, and more powerful.

http://www.drumagog.com

If you are a Drumagog user, you can bring those files into iGOG. That makes this app all the more interesting – it can be both a fun toy for someone new to the idea, and a companion to a more serious (and more expensive tool).

More on iGOG:
http://www.wavemachinelabs.com/igog/

Editing drum patterns in RjDj/Pd from Frank Barknecht on Vimeo.

If making your own musical tools seems like a lot of work, you’re not wrong. The beauty of making your own stuff is all about making your own reusable modules that help you build musical solutions more quickly. Finding those useful modules can also help people new to programming or patching.

In Pure Data, the free and open source cousin of Max/MSP, one form of these reusable modules is called the “abstraction.” It’s an object that you can stick into your creations to help build what you need without a lot of fuss.

Translation: even if you’ve never patched before, you can start making fun drum pattern makers quickly using all-free software. The folks at RjDj, who have been creating mobile interactive toys for the iPhone and iPod touch (see our interview, recent story) have also been building a library of useful abstractions. Because that library is also free and open source and built for Pd, it works with your Mac, Windows, or Linux machine.

Here’s a great starter tutorial, useful for even newcomers:
Editing Drum Patterns in RjDj

For more Pd learning (see additional tips in comments):
Be a Music Geek Ninja with Electronic Music Programming in Pd: New Book

If you create stuff with this, be sure to share with us! And it’s brand new, but feel free to come join our Pd group on the in-alpha/beta Noisepages:
Pd Group

I wish I could be in London in July, but since I can’t, hopefully some readers of this site can make it to the upcoming Music Hackday, which features RjDj and lots of other online music projects (Soundcloud, Last.fm, the music API for The Echo Nest, 7digital, more):
http://musichackday.org/

This Thursday night, if you’re in NYC, you’ll want to be in Brooklyn – and around the world, stay tuned as always to CDM.

Handmade Music projects will again explode into the nerdster party in Brooklyn, with more ways to get involved worldwide. The science fair-meets-music lounge event hits Thursday night, and this time, you can walk home with your very own noisemakers – no musical or electronic experience required.

Tristan Perich, composer, sound artist, inventor, and 1-bit music maker will be onhand from Loud Objects to share the Noise Toy kit. He’ll walk you through making one, talk about how it works, and we’ll make a little racket.

And once we get a few of those kits made, you’ll be welcome to join in an impromptu Noise Toy Ensemble!

If you fancy higher-fi, digital music and virtual reality, we’ve got you covered, too, with a whole bunch of software projects.

• Noise Toy workshop with Loud Objects / Tristan Perich: Learn how this cheap kit can make glitchy sounds like Bzzzzrrrreeeeepehkhkhkhhhhhhhk! Workshop + kits – make one for free, $10 suggested donation to take it home!
• Force fields: Pulsantes is pulsating musical sequencer software with interconnected rings and force fields generating rhythms, created by Spanish artist Jaime Munarriz. (Jaime can’t be there, so I’m bringing his work!)
• Nintendo instruments and organic musical chemistry: glitchDS is a free cellular autamaton-based musical sequencer, ported from Nintendo DS to PC/Mac – this and other sound toys by Bret Truchan.
• Artificial musical realities: jReality is a Java library for creating real-time interactive audiovisual apps in 3D, with fully three-dimensional sound and visuals, motion tracking, stereo projection, and more. Peter Brinkmann shows off the work of the jReality project, including his own sound components.
• Wireless Sound Objects by Eric Beug are the equivalent of a wire-free modular synthesizer, for improvisation, performance, and education.
• Free business-card kits for exploring basic sound circuitry from PAiA didn’t ship in time for last month’s event, but they’re here now — get your free kit while they last, then draw your own sound controllers with pencils!

Presented by createdigitalmusic.com with our friends at music trend-setters XLR8R.com, DIY bible makezine.com, and self-made marketplace Etsy.com

Hosted by artists’ facility and happening location 3rd Ward

7:30pm, Thursday, March 19 – FREE!
3rd Ward is located at 195 Morgan Ave., at the corner of Stagg St., in East Williamsburg, Brooklyn.
(near the Grand St L train)
Directions
RSVP: handmade@3rdward.com

More on the projects – and many of these are available online, so I’m still working on ways of holding virtual Handmade Music parties, too.

Noise Toy Kits

with Tristan Perich (Loud Objects)

Bzzzzrrrreeeeepehkhkhkhhhhhhhk! Build your own Noise Toy with this kit from electronic noise group the Loud Objects. Plug in your headphones and glitch out, or jack into an amp
and play it as an instrument. These kits come with a custom-printed circuit board, a noise generating microchip from their live performances, two buttons for modulating the sound, headphone jack and battery.

We’re asking for $10 parts if they keep the toy, and they’re welcome to just make them for free if they want.

We’ll jack in noise toys to the mixer for the end of the evening to make a Noise Toy Group Performance! Stick around (maybe have a couple of beers if that helps your Noise Toy technique).

Wireless Sound Objects

by Eric Beug

Wireless Sound Objects are like the modules of a modular synthesizer, exploded into individual physical objects that provide an engaging way to experience unique, collaborative, musical process. They exist as a variety of objects that either make sound or control the sound that other objects are making. These objects can interface with a computer, with other existing music hardware or be used as a stand alone system. They can be used for performance, recording composition, improvisation, and education.

Wireless Sound Objects

jReality: Virtual-Reality Audiovisuals

Sound for the jReality environment by Peter Brinkmann

jReality is a Java library for creating real-time interactive audiovisual applications with three-dimensional computer graphics and spatialized audio. Applications written for jReality will run unchanged on software and hardware platforms ranging from desktop machines with a single screen and stereo speakers to immersive virtual environments with motion tracking, multiple screens with 3D stereo projection, and multi-channel audio. I would like to present an overview of the capabilities of jReality as well as a discussion of its design, with an emphasis on audio.

jReality: http://www.jreality.de/

VisorLab: http://math.sci.ccny.cuny.edu/pages?name=VisorLab

GlitchDS to Roland TR-606 Sync Using Nintendo DS Trigger Mod from LifeInABox Productions on Vimeo.

glitchDS Comes to the PC + Mac

by Bret Truchan

This is Bret. ( I made glitchDS, repeaterDS, cellsDS, and Quotile-Sequencer). I’ve nearly complete with a cellular automaton MIDI sequencer written in Processing for the PC and Mac. It’s modeled after glitchDS. Same look, similar controls, etc. I made it mostly for myself but I’ll be releasing it free very soon. I read about your Handmade Music night and think it’s going to be great fun.

I’m bringing a netbook loaded with the new sequencer and a MachineDrum.

Pulsantes

by Jaime Munarriz

Pulsantes is a Processing work in progress. Simple pulsating objects generate rythms within their inner structure, visible by their coloured rings, and they are interconnected, sending messages to each other.

At the moment, messages stop/start other pulsantes. I’ve tried an slaving relationship, with a dominant imposing his own tempo to others when they move nearby.

The background acts as a force field. One idea, implemented at some of the sketches, is to alter the way the pulsantes react to this forces, being atracted or repelled. The performer can change this, converting the environment into an instrument. I plan to include wind, explosions, that you can control when performing with this system.

Check out this project (among others):
http://tagmagic.wordpress.com/

I love the idea of artists translating their work into interactive packs of sonic exploration – like releasing an album for fellow electronic musicians. If you’re enjoying our exclusive 808 “less cowbell” Live Pack for Ableton Live and want more sound goodness for free, good news. Puremagnetik has released a set of entirely free “artist packs” with drum kits, clips, and (from Neon Stereo) effect racks. Note that even if you don’t have Live or just want to use a different app, the audio contents of these packs will work anywhere.

In this lineup: Gregory Shiff, our friend Elijah B Torn, Paul Rose, Kalahari Surfers, Brian Best, Kamoni (Micah Frank), and Neon Stereo. You do need to sign up for a Puremagnetik account, but there’s no financial obligation.

For more tips and mad scientist antics from Elijah, see our previous story:
Elijah B Torn on Odd Sound Techniques, Ableton Live

And I got to drop by the DUMBO, Brooklyn studio of Puremagnetik’s own Micah Frank, as pictured here. It’s quite small and packed with fantastic gear in regular rotation. The good folks of TRASH_AUDIO had a nice interview spotlight on Micah late last year:
Workspace and Environment: Kamoni
You can also check out Kamoni’s new rig on his site.

All of this is well and good, but being, erm, me, I’d love to see more oddball stuff, too. How about a Pd Pack or Csound Kit – anyone?

Monolake as I’ve said before once released an album with a Max/MSP patch. In a way, this sort of release of sonic content could be a way of releasing music in a different way, one that assumes active participation by your listener. There was a time when people regularly passed around Max patches and sort of influenced each others’ music virally. I think there’s plenty more to explore in this category – and I’d happily buy sonic content alongside music releases, too, from folks I love.

Puremagnetik Artist Page

If you could have an ideal drum machine and sample-slicing workstation, taking the physical control of hardware but the flexibility of software, what would it look like? We talk a lot about hardware control of software, but hardware usually comes second – software gets designed first, and then either you have to figure out how to map hardware to it, or someone else comes along and designs gear. That means there’s usually a disconnect in the design and workflow of the two, and most of the time, you have to reach for the mouse to make up the difference.

Maschine (pronounced as the German, mah-SCHEE-neh) was developed at Native Instruments with the goal to design the hardware and software simultaneously, not separately. That’s not an easy goal, and I don’t expect Maschine to be perfect or please everyone. But I got to visit the prototype at NI while I was in Berlin in October and see it in action, and I can say at the very least, the folks who created feel the way many of us do – they love software, they love hardware drum machines like the Elektron, and this is an attempt to be a real hybrid.

So, while contrary to rumors, NI does not have a box that does any audio generation in the hardware, this is a real attempt to fuse the controller and software in terms of design and workflow. The idea is to use the screen for visual feedback (you do have this big, pretty monitor on your desk or notebook), but to be able to work without a mouse.

Maschine can also work as a plug-in as well as a standalone app, depending on how you like to work (or how you want to play live). That means if you’re already in love with something like Ableton Live, you ought to theoretically be able to put the two together. Unfortunately, you can’t yet use it as a sequencer to drive other software, which would be an ideal next step; sequencing is as big a part of what Maschine does as sampling and sample manipulation. (No official statement on MIDI output has been made yet.)

Maschine’s hardware also works as a controller. So, for those keeping score, you could put Maschine next to the just-announced Akai APC40 and use them both to control Live – or Maschine could compete with the APC for your Live-controlling dollar – even before you touch the Maschine drum machine software.

Here’s NI’s intro video, which gives you a sense of how this stuff ties together (and we are officially the first to post it).

We’ll naturally be looking more closely at Maschine soon (I’m going to buy a new espresso maker and not sleep for the next few months). Here’s a quick overview:

• 16 pressure-sensitive pads, which light up for visual feedback
• Step sequencing
• Polyphonic recording (so it is a real sequencer, too)
• All software features are available quickly “on the surface,” so not only do you not need the mouse, but unlike a lot of hardware and even controllers, you don’t have a bunch of submenus and buttons to press to do stuff. That includes tasks like automation editing and even sound editing
• Automatic sample mapping, beat slicing, note repeat
• Real-time audio recording and resampling – so you can not only record, but resample what you’re working on, MPC style
• Effects sends “from conventional to experimental” (basically, you can enjoy the kind of sound mangling goodness we’ve had on Kore and Reaktor lately)
• Kore-style sound browsing, with a multi-gig library to get you started

Availability: April 1

Pricing: US$669 list (EUR 599)

The hardware has a top-notch feel and metal casing; at least from what I could judge from the prototype, this should look and feel absolutely fantastic. My only real disappointment was that there’s no synth engine, but that’s just because I love drum synths. Then again, I love the simplicity of Maschine, so perhaps the best fix would be to add the ability to either host plug-ins, as Kore does, or to provide MIDI output capability to other software, so that you could drive synths and other creations. (Heck, you could even sequence visuals in that case.)

What’s unique to me about Maschine is that it isn’t simply an emulation of an MPC; it still takes a software approach to sequencing, it still supports plug-ins and the things you like about software, and it still has NI-style effects. By virtue of being software, in fact, you can really change how you use it relative to hardware. You can drop it in Live or even in a tracker like Renoise. You can use it not as a drum machine but a pattern-based effects unit and insert it after your voice or an instrument. Then you can switch to a VJ set, ignore the Maschine software, and use it as an intelligent plug-in for running live visuals for your friend’s band. None of this is nearly as practical with a conventional hardware drum machine – and this is a whole lot cheaper.

Also, unlike some attempts to unify hardware and software in the past, the visual relationship isn’t slavish. You see something that looks like it makes sense on a screen when you’re editing; it looks like software, but you can easily control it with hardware and not the mouse. (Nothing against the mouse – it’s fantastic for many jobs; sample slicing and music editing just happens not to be one of them.) When you’re ready to perform, the displays on the device mean you don’t have to look at the screen at all.

It’s also worth noting that this is very different from today’s Akai APC announcement. The Akai is clearly better suited to mixing and clip triggering, but the Maschine has velocity-sensitive pads the Akai lacks, and is better suited to hardware control of beat slicing and editing operations. (That said, someone may decide to use Max for Live to turn Maschine into a hybrid machine that also controls and edits Live itself, so everything is suddenly wide open.) And the APC is all about a host (Live), whereas Maschine is all about adding a drum machine / workstation to a host (which could be Live, or Renoise, or Pro Tools, or something else altogether).

In fact, to me, the real competition is Ableton Live’s Drum Racks, groove extract, and slice to rack features. It’s mouse-based, but it also integrates with a host and can host plug-ins itself. I’m personally excited about using both, so it’ll be interested to see which I wind up preferring for which tasks. And you can meanwhile bend your brain around the idea of Maschine instances running inside Ableton Live Drum Racks and other odd combinations.

If there’s any criticism of Maschine, my guess it that it’s likely to be criticized for over-simplicity: as opposed to the first release of Kore, the approach here is really minimalism; NI did less in the hopes that you’d get more out of hardware integration, and the rest you can make up by working with your favorite existing tools and plug-ins. That’s not to say it’s dumbed-down, from what I can see, though I just have to use it.

Whether NI has nailed this one is another question, of course, and one I’ll want to test vigorously. But I love the idea. Mainly, I just want to get my hands on one so we can try this out. You’ll definitely want to stay tuned.

http://www.native-instruments.com/maschine.info

Corrections: In the first draft of this story, I suggested that Maschine could output MIDI to other software instruments or host plug-ins; at least as of version 1.0, the software can’t. You can use it as a controller, though, and output MIDI to other hardware (so you could sequence hardware synths or even other drum machines). The thing I’d like to see there is MIDI output to other software; we certainly have enough hosts (NI’s Kore being one of those hosts). I also overstated the connection to Kore (which is why I was confused about plug-ins). Like Kore, Maschine is integrated hardware and software, it shares the Kore browser, and it shares some of the other design features of the current generation of NI software. But Maschine is its own creature – and honestly, that’s a good thing. Stay tuned for more details.

And nicely enough, there’s a strong emphasis on cheap and DIY projects, meaning these can be ideal even in tough economic times.

SX-150 button mod from Collin Cunningham on Vimeo.

MAKE: Blog > Music Makers’s Gift Guide

Assembled by our friend (and Handmade Music regular) Collin Cunningham, these are the geekiest DIY treasures you can find. I got hands-on with a couple of these recently. The plastic Theremin kit is fun, although you won’t get fantastic results out of it. My favorites: the awesome SX-150 synth kit (above), previously seen only in Japan, and the Thingamakit (which also got mentioned in our holiday guide). They’re both affordable and make some lovely sounds the moment you start using them, with hacks possible later.

For fans of the Arduino electronics/microcontroller platform, see Collin’s separate guide.

The monome didn’t make the guide this year, though it topped our list, but given that you have to basically preorder the moment a run is announced, that’s not exactly a slight.

wire to the ear > Five inexpensive Chistmas gifts for musicians

This small but neat selection is just perfect, I think, from the Moog schematic on a t-shirt (above) to flash memory earrings to Live sound packs from Puremagnetik.

Digital LoFi > The 2nd Annual Digital LoFi Holiday Gift Guide for the Disenfranchised

Digital LoFi has some fantastic selections: buy one, get-one-free offerings from Soniccouture (makers of fantastic Kontakt scripts, by the way), a pay-what-you-will EQ, and wonderful donationware plug-ins. The site also calls out CDM’s own Winter Guide print-on-demand – thanks!

Pt. I
Pt. II
Pt. III
Pt. IV

Honorable mention: The wacky scientists in residence at New York’s Eyebeam research center have introduced Hack Me Elmo. (Thanks, Chris Hahn!) That’s right: it’s a blockbuster holiday toy from years past, hacked into something very odd. Check out our own Mike Una’s how-to on circuit bending if you want to transform a toy into something musical and wonderful, also in our Winter ‘08 guide.

And yes, the rest is here:

Not happy with what you can get off the shelf? Build your own. That’s increasingly the philosophy of people working on music hardware. But a second economy is growing around these unique, boutique projects. By open-sourcing the designs, they offer the opportunity to build upon their work, buying something from a small group of designer-musicians and then modifying it to your purposes. The latest addition is the Aurora, which just became available for sale this week. CDM got an exclusive hands-on look at the new hardware and a chat with one of its designers. Here’s our first look at open source hardware’s newest musical gadget.

The Aurora is called a DJ “mixer,” but it’s really a control surface. It connects via a USB jack for power and to transmit serial-over-USB data, then uses free software to translate that data to MIDI messages for use with software like Ableton Live. The project is the work of a three person team, with Matt Aldrich designing electronics, Mike Garbus designing firmware, and Maro Sciacchitano working on the form factor and look and feel. They have an impressive background in making stuff. I got to hang out with Matt in Boston, where he’s joined MIT’s Media Lab Responsive Environments group, so I expect more good projects out of him soon. Matt and I talked frankly over coffee and pastries about the strong suits, weak spots, and future of the device and other projects.

Kit Availability and Pricing

Availability of the first aurora224 model was announced today:

• Complete unit: This kit requires only basic assembly. The PCB is pre-assembled, as are top and bottom panels, and all parts are included. Basically, you just put those panels, boards, knobs, and button caps together using a hex screwdriver — no soldering required. US$340.00. ($420 international)
• DIY kit: This is the one with all the soldering — not recommended if you’re new to soldering, as there’s some tricky stuff in there. US$270. ($350 international.)

Aurora Mixer Project Site
Order Page
Previously: Aurora: Gorgeous, Open Source DJ-Style USB Controller; Details from the Creators

You don’t get that much of a price break via the kit, so I expect you’ll only want to do that if you really enjoy the smell of solder as much as I do.

Onto the hardware itself:

Hardware

The Aurora is configured with DJs in mind, though it could also serve as a nice control surface for DJ-style mixing for laptop musicians, or as a controller for visuals. (I like the two-channel layout for visuals, so I’m quite eager to work on that.) Unlike something like Livid’s Ohm, it has mixing functions only, not triggers of any kind — but that could make it an ideal companion to a Korg kontrolPAD or (in the open-source spirit) Monome.

The controllers:

• A/B crossfader, with two channel faders (ideal for 2-channel mixing)
• 24 backlit knobs (ideal for EQ, effects)
• 8 backlit buttons (could be used to switch on and off effects or for other purposes)

The controller layout is likely to be the real draw for some. What’s especially nice is the spacing of knobs, which never feels too cramped. For people who like lots of effects control and simple two-channel mixing, it’s about perfect.

It’s important to note what’s missing: the unit doesn’t come with any caps for the faders and cross-faders. I think you’ll certainly want some, which may mean sourcing extra parts from a DJ maker or fashioning your own. Of course, part of what makes these projects interesting is customizing them, so if anyone has good ideas for unique fader caps, I’d love to hear them. Unless you enjoy the feeling of somewhat sharp bare metal, though, this is something you’re likely to want to address pretty quickly.

Form Factor and Lighting

The other aspect of the Aurora’s design that gives it less of a finished feel — though it looks fantastic — is the fact that the case isn’t fully enclosed. The top plate and bottom plate are both beautiful, and it’s lovely actually seeing a bit of the PCB. But that means the USB connector is a bit exposed, and the PCB and bottom plate are open to dust and the like. It’s very, very pretty, but you’ll need a way of enclosing this for transporting it around. I got to talk to Matt a bit about that; we didn’t come up with any perfect solution, but there are plenty of possibilities for those who want to come up with their own enclosure ideas. Ideally, you’d stick with the clear plexiglass-style solution as that’d keep the look right, but it is likely to be expensive to get that made to these specs.

Part of the reason for the clear baseplate and design is to allow the LEDs to show off nicely. In a darkened room, they look really fantastic. The LEDs on the base are pretty simple — just one red, green, and blue LED — but they’re adjustable, and bright enough that when bouncing on the base they do provide a nice effect. There are also dim color bands around the knobs. You can control the LED lighting in sync to music using the included software patches.

Note that these pictures (and Aurora’s video) are of the prototype, which featured engraved labels. I quite like those, but to keep costs down, the shipping units use silk screening. Haven’t seen those results yet, but I’m promised they look good, too. I’ll post a photo if we can get one.

Bundled Software

Like many DIY microcontroller projects, the Aurora communicates with a computer using serial over USB — that is, it doesn’t behave like a normal USB device. It plus in via USB and receives power over the USB bus. But you need special drivers to make it work on Mac, Windows, and Linux, which work by allowing your computer to see it as a serial device even though few computers today (and no Macs) have actual physical serial ports.

For a sense of the setup, have a look at the Windows and Mac setup guide. The most important ingredient is the virtual COM port drivers from the chip maker, FTDI:

Virtual COM Port Driver Page

For Windows Vista, I installed the “setup executable” option 2.04.06 at the top of the list; for Mac OS X Intel I downloaded the special Mac 2.2.10 driver. That works perfectly; on Windows, for instance, the Aurora installed like any other hardware and showed up as COM7. (This process should be familiar to anyone who uses the Arduino; the Aurora is not based on the Arduino but uses the same virtual serial setup.) I haven’t tried Linux, but there are Linux drivers available and the process is fairly similar. (Linux users could also use the available Pd patches.)

If you’re handy with patching or coding, you might be done at this point — you can fire up Processing (cdmo tag | cdmu tag) and talk to it using the serial library. (I’m going to try working on a serial library for the Aurora; stay tuned.)

But, of course, since that will only be a minority of you, the Aurora team have created some software that’s intended to be relatively friendly. The software receives incoming serial data and sends MIDI messages to your software of choice. That means you need a way of routing MIDI between applications — think MIDI-Yoke on Windows or the built-in IAC bus on Mac OS X. (I think I helped out the developers a bit on how to use the IAC bus, because those instructions are now included in the docs!) Once you can do that, though, you can use the Aurora just as you would any other MIDI controller.

There’s an added feature, as well. Using ReWire, the Aurora can add some tempo-synced lighting effects by receiving tempo information from your software. So, for instance, you could fire up Ableton Live and have custom, flashing lighting in time to your music. I would be even happier to do this with just MIDI clock rather than ReWire, as I don’t think the timing is quite critical enough to necessitate ReWire; I hope to have a patch that does MIDI clock soon.

The software is all built in Max 5, but it’s compiled for Windows and Mac so you don’t need to own Max 5 to use it. There are also Pd patches, which keeps your software open-source — it’s worth downloading the free Pd-extended for your OS of choice to play with them. And if you do own Max 5, the Max patches are editable, as well. That naturally means you could also directly interface the Aurora with your Max or Pd patches for controlling stuff you’ve built.

Using it with Ableton Live

I was curious to learn more about how the Aurora team actually make use of this device. After all, often the best creations are the ones designers build for themselves, not for anyone else. Matt showed me a basic 2-channel Live setup, pre-mapped to the Aurora. I convinced him to release that set as a template, so it’s now downloadable in the files section of the Aurora site. You can see how they’re making use of it: two channels, EQ, effects. If that’s your preferred mapping, you can even make use of this template directly. Of course, it’d be equally as possible to customize it or make assignments for software like Traktor, FL Studio, or whatever you want. (I’m going to give mappings for Kore a try for our Kore minisite, which will be an excuse to create a “DJ” rack for Kore.)

You may need to adjust the template to properly receive data.

Here’s a video from the Aurora crew of the results in action:

aurora Open Source DJ Mixer\MIDI Hardware w/ Ableton Live from mcubed on Vimeo.

Impressions

The Aurora really is something special; you can tell that it’s not the typical store-bought controller and people do respond very well to it. Also, while there are control surfaces with cross-faders like Novation’s adorable Nocturn, I can’t think of anything (amazingly) with this particular, balanced layout of effects controls and two-channel mixing. And it really is open source: the enclosure specs, schematics, firmware, and computer software are all available for editing.

It’s important to acknowledge that the Aurora was built as a DJ control surface, and built for MIDI. Messages transmitted over the USB port are all MIDI-formatted, so what this isn’t is a blank-slate control surface using OpenSoundControl like the Monome. It’s really MIDI first.

Those things said, I think it’s worth noting both the Aurora’s strong and weak suits, having played with it for a couple of weeks.

Strengths:

Put simply, this is a very nice controller layout. People who want it are likely to be attracted to the Aurora; people who don’t will obviously move on. The difference is, as an open, DIY project, instead of that decision being made by a large manufacturer, it was made by a group of tinkerers who have opened up the fruits of their laborers to the music community.

The open source nature should make it possible for those in the know to do unusual things, like add a tilt sensor or other things that wouldn’t be possible with a store-bought unit.

The Aurora looks gorgeous and unique, and I really love the exposed design aesthetically — if you can find a way to safely enclose the case.

The controls feel great, too — the knobs aren’t anything particularly special, but the buttons are wonderful and the tension on the faders in particular is nicely tuned. That is, if you can add caps.

Caveats

The biggest caveats have to do with MIDI and serial. By using MIDI, the Aurora doesn’t differentiate itself much from existing commercial MIDI controllers – and making matters worse, you will have to deal with an additional piece of software to route that MIDI into your computer. The arrangement works, but it’s slightly less convenient than having real MIDI drivers. It would be nice, given the need for software between the hardware and your software anyway, if the Aurora used something like OSC and translated that to MIDI. That’s something we might see on future projects.

The other issue is the fact that the form factor isn’t really quite finished. The case is exposed, and you don’t get caps for your faders. That might be a deal breaker, except that with this kind of hardware, you almost don’t want a finished product — the fun is in finding ways to customize the unit. But by the same token, I wish the design made this a bit easier. There’s almost no clearance on the edges of the faceplate or around the screws, and the lovely-looking curved edges would be hard to work into a design. My guess is that you’d sort of build a clear box around the thing. I’m interested in the problem, so I’ll be investigating and asking around some people I know who have worked on these kind of projects — and we certainly welcome your feedback.

Lastly, though it’s a niggling point, I’m not in love with the knobs, I think partly because I’ve been spoiled by the amazing encoders used on Native Instruments’ Kore controller. I don’t mind the lack of EQ center indents, because I can’t imagine using them that way, but that may also be a small drawback for DJs.

Open DJ

The image above sums up what makes the Aurora different from other controllers — and what outweighs some of its current weak spots. Courtesy the Aurora Mixer project.

Despite these weak points, it’s a really remarkable piece of hardware, and one you can get right now and immediately open up and reprogram / repair / rework if you wish. The real test will be to see how people respond to its open-source design, whether that translates into people using it creating some of their own solutions to housing, customization, and software operation in the way they have with some other open projects.

In other words, Aurora isn’t perfect — but that’s actually kind of terrific, because it’s something more important: open.

And I have to point out, the price is very appealing. I really do hope this is the beginning of more open source hardware to come. The key to me will be establishing strong platforms for development (Arduino is a start, as are microcontrollers like the PIC18LF4525 used here) and better models for fabrication, enclosures, and distribution that help keep costs down and (ideally, to support people doing development work) bigger margins.

Bottom line: it can’t be understated that this not only a unique controller, it’s a controller you’d have no problems taking apart physically or in terms of software to change something. And that’s a very exciting thing, indeed.

Would I buy one? As far as DJ-style controllers go, absolutely — this would be on the top of my list.

Stay tuned for more specific hands-on, and let us know if you decide to pick one up. A big thanks to Matt and the Aurora team for sharing the project with me prior to launch and for responding to feedback!

All photos by Peter Kirn/(CC) Create Digital Media unless otherwise noted.

]]> http://createdigitalmusic.com/2008/08/27/hands-on-with-aurora-open-source-dj-control-surface-shipping-now/feed/ 32 http://createdigitalmusic.com/2008/07/24/live-fm8-drum-kit-love-free-fm8-drum-kit-download/ http://createdigitalmusic.com/2008/07/24/live-fm8-drum-kit-love-free-fm8-drum-kit-download/#comments Thu, 24 Jul 2008 18:00:46 +0000 Peter Kirn http://createdigitalmusic.com/2008/07/24/live-fm8-drum-kit-love-free-fm8-drum-kit-download/ ]]>

Gustavo Bravetti has put together a free, exclusive FM8 drum kit in Ableton Live for CDM readers. More on the kit, FM8, and how to make the most of it, plus our download, at the Kore@CDM NI minisite:

Free Exclusive Download: FM8 Drum Kit for Ableton Live from Gustavo Bravetti

Here’s what the kit sounds like, using the demo clips included with the package (naturally, you’ll want to make your own patterns):

fm8kit.mp3

I love that it’s a synth kit rather than a sampled kit, as you can do things like this — just a quick demo I whipped up, same clips, modified only using synth and effects parameters in FM8, to "mess up" Gustavo’s pristine kit:

fm8kit_2.mp3

A quick survey revealed quite a few Live users I know who use both Operator and FM7 or FM8 from Native Instruments, proof positive that you can never have too much synthesis or too much FM. I know I regularly swap between the two, plus Image-Line’s Sytrus.

The kit is calling out for a Koresound and a full Live Drum Rack, so I’ll see what I can do. But I really do enjoy fabricating drum kits with synths. Whether I do it terribly well or not, I always feel closer to the resulting sounds. (Previously, Gustavo made bass drums and snares with Operator in video tutorials, though I prefer the FM8 sounds he’s done, personally!)

]]> http://createdigitalmusic.com/2008/07/24/live-fm8-drum-kit-love-free-fm8-drum-kit-download/feed/ 7 http://createdigitalmusic.com/2008/07/15/intua-beatmaker-arrives-for-iphonetouch-sequencer-sampled-drum-pads/ http://createdigitalmusic.com/2008/07/15/intua-beatmaker-arrives-for-iphonetouch-sequencer-sampled-drum-pads/#comments Tue, 15 Jul 2008 13:07:41 +0000 Peter Kirn http://createdigitalmusic.com/2008/07/15/intua-beatmaker-arrives-for-iphonetouch-sequencer-sampled-drum-pads/

Intua is the first to get a full-fledged music creation app on the iTunes App Store, with an MPC-style sampler and step sequencer, plus effects, for the iPhone and iPod Touch. This isn’t just a toy for triggering sounds or a useful utility like a guitar tuner; it’s an actual music app on which you can produce whole songs. As with any mobile app, there are tradeoffs versus a desktop tool – but its simplicity is likely to be part of its appeal. US$19.99.

Most importantly, it’s available now.

The basic features:

• 16-pad sample triggering. Drum kits and other samples, with “auto chop,” pitch, tuning, reverse, mute, and even a nice wave editor for touch-selecting where you want sample start and end points.
• Step and song sequencer: Create patterns with a touchable step sequencer, then arrange them into bigger songs using a multitrack editor.
• Live performance support: Pattern triggering and recording is live, so you could use this as a performance tool.
• 2 effects channels: Synchronized delay, 3-band EQ, bit-crusher capabilities
• Pre-loaded kits and samples
• Sync with desktop audio: Apple doesn’t provide music apps with easy ways of getting files in and out, so Intua has built one: a synchronization tool that lets you load in new audio kits and samples, and export audio back to your machine.

We can certainly see some of the strengths of the platform. The app looks absolutely gorgeous in screen shots; elements are big and friendly and don’t appear to strain the eyes. The touch capability works beautifully for pad triggering and step sequencing – there’s even a nice, draggable velocity and “groove” graph for the step sequencer.

So how does BeatMaker stand up to the competition, at least on paper?

On the upside, you get a fast, friendly, fun interface, and one that has looks befitting Apple’s beautiful gadget. And, notably, this is an official app you can use without hacking your device. But some power users may still opt for gaming devices for more advanced mobile editing and synthesis. BeatMaker lacks any synthesis features, as on tools like PSPSeq or the upcoming Korg DS-10. (Perhaps we will see some in the future, though, since they got effects working – a bassline synth, perhaps?) You also don’t get wireless MIDI control and sequencing, as on the Nintendo DS’ DSMIDIWiFi, so you can’t connect BeatMaker to a computer studio in the way you can with NitroTracker on DS or the touch controllers aka.iphone and i3L on the iPhone/Touch.

BeatMaker’s real nearest rival may be PSP Rhythm on the PSP. I’ll be interested to hear whether BeatMaker’s audio engine stands up to PSP Rhythm’s on quality. BeatMaker has its lovely interface and touch capabilities, but PSP Rhythm has a synth (bassline and a general purpose wave synth) and a hardware-style interface some may prefer.

These aren’t criticisms – on the contrary, I think differentiation is a good thing. I’ve been having a number of conversations with developers, and part of what I’m hearing is that certain platform features continue to direct developers to different mobile platforms. Not everyone is migrating to Apple – meaning Intua has a chance to stake out a real niche here.

BeatMaker is the serious music creation app the platform has been waiting for, and it app gives you way more power for your dollar than a lot of what I’ve seen on the iPhone. It’s real, worthy, powerful app. If you’ve got an iPod Touch or iPhone and would like to test drive the app for CDM and write up a review / video a review, let me know!

Intua BeatMaker

Direct iTunes Link

(Thanks to everyone who sent this in! That’s always a good indication there’s excitement in the digital musician community around the device and this specific app.)

Update:

Mathieu has some more details: MIDI export is coming very soon. (Mic recording could be possible if there’s a better input solution.)

And one site already has a video hands-on (though CDMers, I’m sure you can do even better – we’ll have one or two of you on this soon).

BeatMaker for iPhone: Upcoming Features Q&A, Video Review

Previously:

Big Updates for Handheld Homebrew Music: NitroTracker 0.4, PSPSeq 3, PSP Rhythm 8

Beyond Mobile Music Making: Organizational Musical Uses for iPhone, Other Smart Devices

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