Novation’s Automap is coming to the iPhone – meaning a handheld device can provide interactive visual and textual feedback about what you’re manipulating in, say, an Ableton Live set.

Our friends at Hispasonic (Spanish-language) bring us the news. (Thanks, Xavier!) Photo credit: the new blog SaM’s burrow:

Novation Automap for iPhone in beta stage (first screen captures)

That gives you a closer look. I’m not even going to try to wonder what happened to Novation’s NDA. (We seem to be getting mostly “D.”) But, Novation, if you’re out there, trust me – buzz already suggests this is a good leak for you.

On the Ableton forums, some naysayers wonder why you’d want to run a Live set from an iPhone. The answer is, naturally, you wouldn’t – I think they’re missing the point. There are two larger issues here. One is, having a handheld device means there’s just another intelligent way to control your music set. It might be something you prop atop your keyboard or drum pad controller as a small dashboard, or that you carry with you so you can hear the sound in a venue during sound check. The other message is, interactive control with actual labels on parameters is the future for a lot of devices, not just the iPhone. That’s in stark contrast to the primitive way in which MIDI refers to everything in terms of (typically) meaningless numbers.

In fact, there are some promising other attempts to more easily see and manipulate clips away from your laptop screen, on devices like the Lemur. Thanks to the Live API (on which Max for Live’s control of Live is also based), it’s possible to finally get a full, controllable view of your clips. My only criticism would be that we still lack a single, open standard for this stuff. If Ableton Live supported OpenSoundControl (OSC) natively, it’d open all sorts of applications – without the hacking currently required. But that’s a topic for another day, and not just directed at Ableton.

Here’s the full text of this announcement from the Ableton forums. Stay tuned; hopefully we’ll hear official news soon.

No doubt about it: touch is coming to more screens near you. But there’s no need to disappoint your current beloved laptop. $200 kits can turn your laptop into a functioning touchscreen.

Now, as I’m working with JazzMutant’s Lemur this week, before you get excited, this is no Lemur – or even anything like your iPhone or iPod touch. Sensitivity and accuracy are workable, but not exceptional, the overlay is pretty simple (as you can see in the video) rather than integrated with the display, and this is single-touch only — not multi-touch. Lastly, on a conventional laptop that isn’t convertible, you may miss the ability to fully extend your laptop perpindicular to your body. (Having the screen be parallel can put your arms in a fatiguing position.)

But that said, there’s a lot of potential once you have the ability to reach over and make quick gestures on a laptop screen that control a set. You might make your own instruments and effects or controller dashboards in a tool like Processing or Reaktor. And at $200, this could be a brilliant way to retrofit a machine and breathe new life into it. There’s support for Mac, Windows, and Linux; you just plug in via USB.

This is going to get confusing, isn’t it, with a product name like “Record”? (A “Record Tutorial”? A “Record Video”? Maybe it’s just me…)

Anyway, if you’re hooked up with the Record beta and looking to get started, Propellerhead have posted a video tutorial to get you going, with more planned. There’s also a new Record blog:

Record Blog

There’s an update on the state of beta testing, and you’ll find some notes from Props CEO/founder Ernst on why they’re creating Record:

When we designed Record we went back to our original roots, the drive that made us create Reason a long time ago. In 1998, when the Reason design came to life, there were already incredible synthesizers. You could already make music with your computer. There was immense power in the solutions that existed.

Now, I’m sure that won’t calm down any of you who won’t use Record because it has a dongle, or because it lacks MIDI output for talking to your hardware synths. But, then, that’s why we have more than one tool from which to choose in music technology, both commercial and open source.

For instance, since I know there’s a rabid Reaper community out there, I’m happy to see these two apps face off in an audio software slam.

Just to be contrary, I’m going to tag this post “DAWs,” because even if Record isn’t a DAW, I think it clearly can be an alternative to DAWs as a “piece of software that allows you to record and make music.” Really, while there’s no convenient acronym for that, that’s the whole point of all this software, right? (Then again, that’s all the more reason not to call anything a “DAW,” because “workstation” is a meaningless word that has little to do with actually using computers to make music.)

And, sure, if I had it to do over again, I might simply call this blog “Create Music.” Or “Music.” Or just “ate.”

Sibelius today gets the biggest upgrade I’ve seen from the tool in a long time, with major improvements to the way the notation package lays out musical objects on the score, and ReWire support so you can integrate it with your host of choice.

This is an especially meaningful upgrade to me, as I’ve spent a lot of time with Sibelius since its first Mac release about a decade ago, both composing and teaching with it. In case you missed it Friday, I just spoke about some tips that can help with working in both education and composing:

Five Sibelius 5 Notation Tips, for Education and Experimentation with Scores

A couple of the recent upgrades, while nice enough, were not necessarily “must-haves” – a natural part of any upgrade cycle. But this to me looks different.

Here’s what’s new in Sibelius 6:

• Magnetic Layout: Sibelius has always been “magnetic” in that it automatically reflows objects and page layout to keep everything looking “tidy” as its English creators would say. It’s also always been fast at the task. The problem is, a lot of objects have still required lots of manual tweaking. Sibelius users, you know what I’m talking about: hours spent fine-tuning dynamics and text indications, rehearsal marks, and the like. Basically, all the objects that we’ren’t magnetic now are. (see above)
• Magnetic Layout implementation: In addition to the more intelligent objects and space optimization, you’ll see clever collision avoidance, and red-colored collision highlighting when a collision is unavoidable. It also looks like there are nice new guides for, say, making a forte, piano, and hairpin descrescendo all line up, something that required painful manual tweaks previously.
• Versions and comments: Scores now track and manage revisions, and you can create comments on the score. Theoretically, this is for collaboration and teaching, though I imagine it’ll be useful even to a solo composer as a score is developed – enough so that you may start to haul your laptop to rehearsals instead of just paper.
• ReWire: Sibelius will now act as a ReWire client, so you can record the output of the notation software itself (see the new instruments), or simply sync Sibelius to an existing project. Avid is naturally talking all about Pro Tools, but because the integration is with ReWire and not just Pro Tools, Ableton Live, SONAR, Logic, DP, and the like all become possible, too. I’ve never much liked the notation facilities in standard DAWs, so that’s good news – and this should be huge for the composer just wanting to record a quick mock-up with virtual instruments as well as someone doing film score.
• Notation improvements: Slurs have always been reasonably elegant and automatic in Sibelius, but when it comes to manually overriding those controls, they’ve been more challenging. Sibelius 6 includes (appropriately enough) six handles for controlling slurs. There are also optional stemlets when beaming across rests (hugely helpful for people who write complex, cough, rhythms in their music), automatic feathered beams (instead of the hack we’ve been using), and smarter articulation placement. There are new jazz repeat bars, and cautionary accidentals are finally added automatically. These are minor things, but quite frankly, it’s little details like that that often make the biggest day-to-day difference. (The cautionary accidentals alone might be worth an upgrade.)
• New integrated instruments: Profiting from Sibelius’ acquisition by Avid (formerly its Digidesign unit), Sibelius now acquires the lovely virtual instruments from the AIR team who have been doing soft synths for Pro Tools. There’s a new player, plus M-Audio’s General MIDI sound player. This replaces a previous player from Native Instruments. I love NI, but the NI player in Sibelius often wasn’t quite plug-and-play, and this promises to be an improvement. (See additional notes below.)

Creating digital music is about more than audio. Notation remains an essential way to communicate among musicians. Notation is deep and complex, so there’s plenty to talk about. As a long-time Sibelius user, though I want to discuss some core techniques that I find open up a lot of other possibilities, techniques to which I continually return. I happen to be sharing this at a discussion at the City University of New York Graduate Center today, so the timing seems right.

Teachers and experimental, avant-garde composers have something in common: you often need to convince notation software to behave in a way that’s contrary to the expected norm.

To save you time, notation software generally assumes that all music has bars, and that those bars go from left to right with everything visible. This is especially true in Sibelius, which is able to perform as quickly as it does because everything you see on a score is relative to a position in a bar, rather than being set up arbitrarily as you would in a page layout program.

That works much of the time, but what if you have music that isn’t in a time signature? What if you’re transcribing early music or world music that doesn’t operate in 4/4? What if you’re making a quiz in which you don’t need bars, or want to have a blank space for students to fill in answers?

Updated: Just days after this feature, Sibelius announces Sibelius 6. Relevant to this story, this means at least some of the manual hacks for things like beaming across bars and feathered beams will now be automatic! Neat! I’ll have to do new tips for Sibelius 6 when it arrives.

Technique 1: Staves and Instrument Types

Oddly enough, the answer to all of these questions is basically the same: change the way the staff is displayed. You’ll still need to account for bars behind the scenes, but once you learn how to handle Sibelius’ staff options, this isn’t so difficult. This step is a bit confusing for those of us (hand raised) who have been using Sibelius since 1.0, as Sibelius 5 changed the name of this option from Staff Type Change to Instrument Change. (The latter makes more sense in conventional music, even though the former will make more sense for this tip.) But the technique is basically the same.