Working in open source code for any platform, Brazilian artist and developer Jeraman has produced a charming project that imagines musical interfaces in dynamic, whimsically-simple sketches. Like doodled knobs, cartoons of guitar pedals, interactive devices on the touchscreen control musical activity.

And because it’s open, cross-platform code, everything from a computer-powered multitouch table to an Android tablet could get in on the fun. Jeraman explains:

It is a digital musical instrument that allows the control of real-time recorded loops through collaborative performances based on relationships between sketches and sounds, intended to be ludic and playful.

Developed in Processing and OpenFrameworks, it mixes multitouch technologies with the interaction metaphor of guitar pedals, by using a FTIR DIY multitouch table – built with PVC tubes, tapes… – with a modified old keyboard as pedal, following a high-end / low-tech approach.

Here’s an example of performance using an early prototype. By the way, sorry for the poor musical quality… I’m not a professional musician!

The project is also open source and the code, that may allow the instrument to be ported to others plataforms like Android, iPad and cardboard boxes (yes! using this http://sethsandler.com/multitouch/mtmini/), will be released soon.

This is possible due to the independence of the gui module (developed in processing) and the looper module (developed in openframeworks).
for the communication between both, it was used OSC protocol.

Some pictures can be found at:
http://www.flickr.com/photos/jeraman/sets/72157626935130739/

For further informations, check this site (sorry, in Portuguese):
http://jeraman.info/illusio/

It’s a fascinating-looking project! Do keep us posted, Jeraman — and readers, if you happen to play with the code, let us know! Oh, and never apologize for Portuguese – it’s a gorgeous language!

See also some nice examples of Jeraman’s previous work:

See, previously:
Robotic Twitter Songwriter Generates Tweet Poetry

As we’ve been looking at live looper options from BOSS and VOX, Mike Nelson from Boomerang points us to his company’s live-oriented loopers, boutique-made in Texas. And they look as delicious as Texas BBQ.

What’s unique about the Boomerang III “phrase sampler” is just how much it can do with loops once recorded, with computer-like manipulation of your samples. You can undo and redo, play back one-shots, stutter, re-sample, line up loops in sequence, play up to four loops as once, sync to tempo, drift to different tempos, fade, play at half speed, and play in reverse. (Software makers, take note.)

Of course, you could do all of this with a computer, but having this in a dedicated box has a lot of appeal, particularly if you’re an instrumentalist. There’s also expression volume control support. And your computer doesn’t have a “Bonus” button. (Well, mine doesn’t, anyway.)

There’s a lot more; see the full specs:
Boomerang® III Phrase Sampler

The one thing I’m looking for that isn’t here yet – and that would help integrate this with a laptop setup, if you so choose – is expanded MIDI support. Right now, you can use MIDI to upgrade the firmware, but can you control the looper with MIDI? Mike says:

Not yet. The next MIDI addition will be the ability to respond to a companion pedal, called the Side Car, that will be released in about 2 months. It will allow all of the III’s many functions to be available by foot control at once.

See our image of the new front panel below.

You can get the Boomerang III from your local dealer; street price in the US is well under US$500. That’s a premium versus the larger brands, but you get what looks like a unique pedal, and it’s made in Texas. Now, that’s right, you may not be from Texas, but I hear Texas wants you anyway.

Without further ado, the promised videos — first, from the makers:

And here’s an independent hands-on review:

For one candidate to challenge the reigning BOSS Loop Station line, there’s rival VOX. While they’re both loopers with some things to stomp on, the designs are quite different. The BOSS units can store up to three hours and 99 phrases; the VOX VDL1 stores two loops with a total recorded time of 90 seconds. Nor do you get the utility of the BOSS’ USB storage transfer. And the Vox is mono, whereas the BOSS is stereo.

In place of those features, the VDL1 focuses more on live looping and effects:

• Live effects: Pedal/Wah (Clean/Comp/Crunch/Overdrive/Distortion), Mod (Chorus 1/Chorus 2/Flanger/Phaser/Tremolo), Bass (Electric 1-4/Synth 1/ Synth 2), Acoustic (four models). Pitch, stutter, EQ, delay, reverb, “sci-fi.”
• Loop effects: volume, crossfade, reverse, “loop in loop” (no idea on that one), pitch, speed, scrube, stutter, mod, filter, delay.
• Master limiter.
• Mono input jack, mic in (no phantom power)
• Undo and redo in overdubbing.
• Infinite layers.

In other words, looping is about all these two approaches have in common. BOSS makes what’s really a looping sampler with stereo recording, tons of storage, and connectivity via USB, all in a mobile form factor. VOX makes a bigger box that’s mono, uses only enough sample length as you’d need in a live performance, and does effects. The BOSS is a stereo looping sampler; the VOX a mono multi-effects looper.

I have to say, in terms of what I’d want to play with or hear someone else play with, I prefer the BOSS’ focus on sampling to another box with loads of built-in effects. But the fact that you can choose between two boxes says that you as the musician really get to choose what you want in looping in the first place.

And in an industry in which you often have to choose between two pieces of gear that are nearly identical, here are two pieces of gear that are totally different, but each appear to be pretty good at being what they are. Kudos on that to both BOSS (Roland) and VOX (Korg).

I’m curious to hear your take.

http://www.voxamps.com/us/pedals/vdl1/ [Note: Vox's site was very much up and down at press time]

You might not see it on a magazine cover or tattooed to someone’s arm, but the lowly looper is one of those things many musicians find invaluable. And in hardware loopers, the BOSS Loop Station reigns supreme – I’ve even seen a San Francisco-based musical act who call themselves LOOP ! STATION.

Believe it or not, the (actual) Loop Station hardware from BOSS has just turned ten. In one of the more overlooked hardware announcements this week, BOSS has rolled out some significant and promising-looking upgrades to these well-loved, affordable tools. There’s a new RC-3 stereo stompbox-style model, as well as an updated “dual track” model, the RC-30. (That lets you run two stereo tracks at once. No question, the RC-30 would be the one I’d get; it’s still reasonably portable, and having two tracks means geometrically more musical options in my opinion. But I can see the appeal of the RC-3 being small and stompbox-like.)

One weird thing about hardware is that it’s tended not to keep pace with storage capacity in computers and mobile devices. That’s not the case here – both models, even including that little stompbox, can record up to three hours in stereo. I’m not quite sure what people will use that storage capacity for – stompbox version of Erik Satie’s Vexations, perhaps?* But it’s nice to know it’s there.

How do these models compare to the previous models, and to competitors?

• More processing power (a six-fold improvement)
• Aforementioned three hours of stereo recording. (Seriously, you’d probably use that for more loops – up to 99 phrases – not one really long loop.)
• True stereo recording.
• Auto-quantize, which Roland’s Amanda Whiting describes as “forgiving looping.”
• Tempo-synced effects on the RC-30.
• USB 2.0 for import/export of audio, making this a foot-operated mobile workstation of sorts. (Try that with an iPhone or iPad. Actually, really, don’t – just had visions of broken glass and bloody feet.)
• Battery-powered for extra mobility.

If stompbox is what you want, Roland tells us the RC-3 is substantially easier to use. (Any RC-2 users who can tell us what they might mean?)

Check out the shot below of the back of the RC-30, too – it’s nice seeing a proper XLR jack on this kind of device and not just 1/4″; it’s even got phantom power. That makes this practical for acoustic instrumentalists and vocalists who might otherwise ignore this sort of gear.

There’s more to talk about – see additional specs below — but I was already sold on the Loop Station. Having a better Loop Station is just icing. Having talked to many, many musicians, it’s a perennial favorite among everyone from fairly large stars to obscure Game Boy artists. Roland’s Amanda Whiting is quick to tell CDM that competing loop pedals are limited to around half an hour of mono-only recording with no mic jack, but I’m guessing part of the reason I’ve never heard anyone using one of the competitors is that people found that out already.

The real rival: While it’s not a stompbox (no pedals) and therefore is a bit apples-to-oranges, the one competitor I think worth mentioning (and thanks to readers for chiming in) is Electro-Harmonix 2880. It’s the one box that can take on BOSS, provided your hands are free: it’s stereo like a BOSS, it’s got loads of storage like a BOSS (1GB card now), and it has USB connections like the BOSS. While I think it’s not as friendly or accessible as the BOSS may be, it has some advantages in other respects: there’s four-channel recording instead of two for some really advanced looping, and it has the one key feature missing on the Loop Station – MIDI sync. It’s a shame BOSS missed the opportunity to add a MIDI IN, at least on the RC-30. EH is actually here in NYC, and they assemble their gear right here, too, which almost no one does. (In the five boroughs, no less. It’s one of the only things Queens manufactures that’s not a doughnut or other pastry item.) So expect to see more of that EH, ideally close to the source.

RC-3 Loop Station

• 99 phrase memory
• Records to 44.1 kHz WAV, stereo.
• USB Mass Storage class compliant for file transfer. (Actually, here’s a twist: that means you can transfer files from this to an iPad, using the Camera Connection Kit. Or a computer, if you prefer.)
• Tap tempo, and/or play a “guide” rhythm with built-in percussion sounds.
• 1/4″ in (stereo pair), 1/4″ out (stereo pair), plus an aux stereo minijack. (Can’t be used simultaneously, but handy.)
• 9V power; use an alkaline or buy an adapter separately if you want a wall wart. 3 hour expected battery life.

RC-30 Dual Track Looper

The RC-30 has what the RC-3 does, but with some extra goodies:

• 2 track stereo recording.
• Effects: “BEND DOWN, STEP PHASER, SWEEP
  FILTER, TEMPO DELAY, LO-FI.” It also boasts indicators so you can see what those effects are doing. (Sorry, Daleks. No Ring Mod, apparently.)
• XLR mic input with a dedicated level knob.
• 48V phantom power.
• 7.5 hour expected alkaline battery life. (Longer than the RC-3, because you can add more batteries. Did I mention that I would recommend the RC-30?)

The RC-30 even has that handy aux jack for an 1/8″ stereo – another use for your iPad, or your Game Boy, or your Teenage Engineering OP-1.

I’ll try to get an RC-30 in for review, but I’d be curious how you’d review it. Let us know.

*Vexations, by astonishing coincidence, neatly sums up how I felt browsing hotel rooms in Anaheim a few weeks ago. I can stick my head under a fluorescent light, play my BBC sound effects CD cue for crowd noise, and hoarsely shout a press release. It’s just like being there. Oh, and yes, I’m a classical music nerd, too. Bring it.

A lot of the music tech industry involves incremental improvements and fairly routine hardware. Amidst the crowd, certain devices are special. They might not even appear so to a general audience, but they have a special place in someone’s music making.

For whatever reason, some Roland percussion controllers fit in that category. As electronic musicians ponder how to make live performance work, the handful with adept percussion skills can pick up one of these boxes and play hard.

So, while it was overlooked by most folks, I think one of the stars of the new gear announced this week at NAMM may well prove to be the Octapad SPD-30. It’s a long-awaited improvement on the SPD-20. (As it happens, I was just talking to an SPD-20 owner about how he wanted a new version.) Specs on the new model:

• Updated triggers, based on the current-gen V-Drums. These really are quite amazing, in the ballpark of the kind of response you get from high-end, custom hardware, but in a pretty affordable box.
• New phrase looping features that turn this into a real performance instrument. The previous Octapad worked as a controller and a sound source, but now it can be a self-contained performance tool, which could also nicely complement a laptop setup. And as you can see in the demo, it can loop effects changes as well as notes, getting you into Korg KAOSS category — only with a serious percussion instrument.
• USB for MIDI, backup connectivity. Standard on newer Roland hardware, but new to the Octapad.

I normally hate demos, but the Roland rep demoing the SPD-30 was great:

And this is in addition to layering features and drum trigger inputs familiar from the Octapad. It all makes me want to practice my percussion chops. Also, unlike the original Octapad – and updated from the most recent SPD-20 – you get a bunch of internal sounds on this instrument, too. Now, that said, I’m not a seasoned Octapad/SPD owner, so I’ll be curious to hear from SPD-20 (or earlier) models if this addresses what you wanted out of a newer year — or not. Be honest and tell us what you really thi– uh, okay, judging by recent comments, that shouldn’t be a problem.

It’s easy to complain about the iterative nature of gear shown at NAMM, but some hardware is worth revising over time.

Pricing: Already seeing US$699 from a couple of outlets.

SPD-30 Product Info [Roland]