It’s iPhones being used by cute babies! And if that doesn’t sum up the ways in which Apple’s mobile is divisive, I don’t know what does. It’s time for our Monday round-up of the latest from the Apple iStuff world.

I’ve never been an advocate of the iPhone and iPod touch; the idea is to cover all digital music platforms on CDM, and as regular readers know, I have no love of Apple’s strict NDA and restrictive developer policies. But I did find this reader comment by PLP amusing:

I was getting annoyed with the amount of iphone info on CDM as well…then I broke down and bought one today :) i really like itouch midi. little XY pad perfect.

If you’ve found yourself in that boat, today’s round-up of iPhone and iPod touch news brings some very good news: BtBx, the PSP Rhythm creators’ wonderful beat machine, in action, iDrum working with round-trip workflows and operated by babies, and a multi-touch OpenSoundControl app on the app store.

The Monome project, a USB MIDI and OpenSoundControl control surface for music and art, was built on open source principles, on its users making the product better as they used it. Its community has already built custom housings and elaborate software setups. But a clone based on the Arduino microcontroller promises to do still more.

Created with Admarket’s flickrSLiDR.

The “Arduinome” gifts the Monome with two new possibilities. First, it’s a breakthrough on the availability front: at a time when official Monome kits are backordered, it makes it easier to make your own Monome on a budget. Second, it makes hardware hacking on the Monome far easier, by allowing people to make microcontroller-level modifications on the relatively friendly Arduino platform. (The Arduino was designed not for electrical engineers, but for artists just dipping their toes into electronics, even for the first time.)

Now, if you went out and cloned, say, the latest Roland keyboard, they’d understandably take issue. But part of what tells you this is a different kind of product is that the Monome creators have actually taken an active interest in the Arduinome’s development. Support won’t go through the Monome team, and there are still plenty of reasons to buy the real thing, but true to those open principles, both projects stand to benefit.

I got the scoop on the details of this project, what it’s about, and the gory details of how caffeine can fuel a massive electronics project even with relative newcomers to the craft. Jordan Hochenbaum, a leader of the project, talks to CDM (with some additional comments by his partner in crime, Owen Vallis. (Jordan and Owen, students at CalArts, also won CDM’s Futuristic Design Challenge earlier this year — video of that coming soon, I swear!)

(Skip about two minutes into this video for some side-scrolling LED action.)

Arduinome Nerdscroll Demonstration from BricK Table on Vimeo.

Why clone the Monome? What’s special about this project?
The Monome represents not only a controller interface, but also a new way of thinking about interface design. The very heart of the Monome concept is its minimal, open-ended form. This ideology is reflected in Monome’s decision to make the firmware and software open-source. Coupling these ideas with the strong community development support in the Monome forum, it became clear that the Monome was the perfect interface to try and port to the Arduino microcontroller. What makes this project special is Monome’s willingness to make their controller open-source. No other manufacturer would dream of letting people see how their stuff works, or letting a bunch of curious individuals try to build a clone.

Being expressive and productive creatively is all about finding a workflow that fits you. Form factor is part of that, because location matters. (I discovered this when trying unsuccessfully to operate my MacBook on a bus to Boston this week that wouldn’t accommodate my knees. Mobile devices suddenly had more appeal.) Naturally, not everyone has the same needs or interests. So today, we have some survey data on how readers feel about mobile tech, as well as an update to the iPhone/iPod touch Beatmaker app that could have a big impact on how you use that device in conjunction with your primary laptop or desktop computer.

This site has always been about making music with computers and digital technology. Today, we increasingly have access to powerful computers in mobile form factors. But, despite the simple fact that all of these are ultimately computers, I’ve quickly learned that mobile music production is a divisive issue. Some of you are as passionate about hating mobile tech as others of you are about loving it, perhaps propelled by a strong uptick of iPhone hype and accompanying resentment. Don’t worry — I won’t be swayed too much by either group; I’m committed to computers in all forms, tiny and large, and accompanying digital synths. And analog synths. And, really, anything that makes sound.

That said, the survey results we did on mobile tech are very interesting. Story topics for CDM aren’t a popularity contest, but your responses do reveal a lot. (The best reading turns out to be the write-in portion.)

First up, here’s a look at what mobile platforms people own. I expect the survey is somewhat self-selecting (some of you in the “none of the above” category likely didn’t respond), but note how the game platforms dominate.

That’s platforms you already own. But which are you interested in reading about? The margin on each device increases significantly. (Sony’s PSP doubles; Linux triples.) So that demonstrates that people are interested in learning about the larger landscape, and may be basing future purchase decisions on what’s available for music creation. (It also appeared that stronger support for PSP and Linux came from Europe than North America, possibly in part due to painfully-inflated costs for iPod touch and iPhone in that market.)

Zany Write-In Response

Okay, enough demographics. The best part of doing the poll was getting your write-in responses.
Google’s Android platform unsurprisingly got a number of write-in votes; GP2X got fewer, but I expect people just (rightfully) answered “Linux.” We did get some interesting responses, though:

Mobile device suggestions:

• Boss Micro BR
• Buddha Machine
• Graphing calculators (careful; with the readers here, you might get your wish
• Korg Kaossilator
• MPC 500
• Psion organizers
• “steam powered”
• Yamaha QY100
• Speak and Spell
• PlayStation 1 (that’s mobile?)
• Nokia N-gage (but now I know you’re joking)

And then there was the hater/lover argument:
“PLEASE GIVE THE IPHONE A REST! BORING YUPPIE TOY. soz for capitals.”
“Not all of us have tiny little girlie fingers!!!” (ouch!)
“The above statement should be “I really couldn’t care less.” As it happens, I am interested in all of them, so I really could care less.”
“mobile audio coverage is getting ridiculous”
“Just keep it to a minimum, guys =)” (Well, it is by definition miniature, right?)
“more iphone!!!! screw the haters”
“Everything. If there’s something new and interesting done with a C64, it could be worth going out to buy a setup.”
“every - f***ing - thing !”

If you’re interested in generative and algorithmic music – music that evolves organically rather than being pre-composed in start-to-finish linear fashion – you won’t want to miss this site. Nodal is a free (for non-commercial use) app for developing generative musical systems and transmitting MIDI. You’ll need a Mac (PowerPC/Intel) to run the software, but even if you’re on Windows or Linux, you’ll find a number of interesting research papers on the site. vinayk writes:

The program is called Nodal - osx only, BEAUTIFUL interface, and FREE, it does a bit more sophisticated things but I basically plugged the output into sculpture - and it sounded amazing… well worth a look! And if anyone can tell me how to sync this to live or logic then i’d be much obliged!

Since it sends MIDI, it’d also be interesting to use this hooked up to visuals or triggering clips in Ableton Live.

Nodal Project Page, Tutorials, Examples, Research [Monash University]

I’ll be giving this a try soon. If you know of other generative software and research we should be checking out, perhaps we can put together a full round-up.

See also Noatikl / Mixtikl, from Intermorphic – developers who built the ground-breaking Koan generative system for Brian Eno. And we’re getting close to the release of the game Spore, which will feature a new generative engine and Eno’s composition.

noatikl: New Generative Music Engine, So You Can Rock Out Like Eno

Generative iPod? Deep Modular, Generative Music System Bound for iPhone, Phones, Windows, Mac

(Note that we learned this week that Mixtikl is not coming to iPhone in the immediate future. It’s available on plenty of other platforms, however, and if you’ve got a Mac for both, let the generative music making commence!)

When I first saw the iPhone at Apple’s keynote in 2007, my first thought was, this could be an interesting controller: big, pretty display, accelerometer sensors, and multi-touch input. It’s not without some problems (namely, small amounts of latency, the lack of tactile feedback inherent to touchscreens, and the size of your fingers reducing accuracy). But with refurb iPod Touch devices going for US$200 and the flexibility of having an interactive, handheld display, it remains an intriguing possibility.

Nonnus’s new iTM MidiLab (released by Silicon Studios) is a suite of MIDI controller apps. It’s free, with a planned future commercial version. It only works with networked Mac OS X 10.5 computers, so Windows and Tiger users are left out for now (because of the client app required).

Unfortunately, the app itself is held up by contract and distribution issues which seem to be plaguing many iPhone/iPod Touch developers; see a separate article on things mobile Apple developers are unhappy about. But in the meantime, Nonnus sends some details. Updated: Nonnus also notes that latency reports from users have been very positive.

See also the project site:

iTouchMidi (the original project name, rejected by Apple)

And discussion on the Ableton forum:

http://www.ableton.com/forum/viewtopic.php?t=95117

Nonnus sends along some additional details in a rough/informal email, with images, to CDM:

Resolume Avenue 3 Introduction from Bart van der Ploeg on Vimeo.

If you’re interested in audiovisual performance as well as audio, here’s an app to keep an eye on. Resolume “Avenue” 3, announced today, is a ground-up rebuild of a popular VJ app. Now, things like GPU-native video may not mean much to the musical readers of this site. But how about features like this?

• Beat-synced audio triggering alongside video – using the soundtrack inside video clips, or using separate audio files
• VST audio effects, synchronized to visual effects and controls
• MIDI and OpenSoundControl (OSC) support
• Cross-fading of audio and video
• Beat-synced loops

We’ve been playing with an early betas at the live visualist-oriented Create Digital Motion and will have detailed hands-on reports soon. In the meantime, here’s a detailed look at what’s in Resolume Avenue 3:

Resolume “Avenue” 3 Announced: The Audiovisual App to Beat? [Create Digital Motion]

You can see the results above with Missy Elliot, but naturally this could also be used with very different source material as a glitchy audiovisual experimental ambient set, or as a way of triggering videos and audio backing tracks alongside a band.

It’s not without limitations. You can’t yet use VST instruments, so you couldn’t drop a synth or sampler into your visual set and play that – at least not in the first release, due in September.

But it’s clear an audiovisual convergence is happening. You can add this to the recent debut of GrandVJ, a live visual app with a virtual MIDI keyboard in the display and “Synth Mode” for triggering, or, at the opposite end of the spectrum, the addition of VST effects support in the visual patching environment vvvv. And we’ve likewise seen interesting ways of combining Ableton Live and other music apps with live visuals, as in Momo’s tutorial for A/V cutups with Lucifer.

The Aurora 224 is a DJ-style controller geared for software like Ableton Live. The design is, as you can see, gorgeous: not only is it at the high end of aesthetics in open gear, but it celebrates its DIY nature by exposing the circuit board. It’s USB powered, and offers easy mixing control functions in a 2-channel, DJ-oriented layout. And it lights up and makes pretty colors.

Hack a Day broke the story –

Aurora open source hardware mixer

– but to be clear, it’s not actually a mixer; that is, it doesn’t mix audio signal. It’s just a controller in a mixer layout; any mixing and DJ functions are provided by your software. But it is freely-licensed from the ground up, under a Creative Commons license. (We’ve been seeing CC more and more in music projects, as opposed to the narrower and more programmer-oriented GPL and other licenses. There’s no word yet on which CC license applies to this project, whether it has non-commercial or ShareAlike restrictions, etc.; I’ll post an update soon. See discussion on the Virtual Turntable blog.)

A video with Ableton Live, plus CDM chats with the creators about more details:

Ableton Live controllers are suddenly everywhere, in commercial products and DIY creations. But an in-progress prototype being designed by Serbia-based creator Sasa Djuric, found on the CDM Flickr pool, goes the extra distance to integrate more effectively with the software. The hardware looks more like the on-screen UI, for starters – an elusive objective for many controllers. And by working with the Mackie Control protocol, Sasa is able to make communication between hardware and software fully bi-directional, so the controller gives you essential feedback. There’s even a facility for scratching. The design is based on the popular MIDIbox platform.

Sasa writes with details of what the creation process is like. It’s all still very much in progress, so we’re really excited to see how it evolves into a finished design.

Sasa explains (with videos to follow):

Something very funny has happened in the world of music controllers. It started with the rising popularity of Ableton Live, along with the likes of Reaktor and Max/MSP, as musicians started creating more dynamic, rich live performances with computers. Supposedly, this shift should have created new controller designs. If Live was the killer app, where was the killer hardware?

Instead, what we’ve gotten is a sort of primordial soup of controller experimentation, with people hacking together circuits, appropriating Wii remotes, abusing and warping commercial controllers, and generally resisting any standardization. The results have been, in short, fabulously chaotic. And maybe that’s the point – just as, even with relatively standardized music tools, musical variety remains virtually infinite.

Of course, there’s one little problem: working from scratch might (ahem) not leave you any time to make the actual music. (Doh!) So, if there’s not a killer single piece of hardware, what might a platform for experimentation look like. MachineCollective responds to a pretty nice wish list:

• Modular components you can mix and match at will
• Agnostic components that might be picked up by people building instruments, synths, controllers, circuit-bent projects, visual apps, or even non-musical electronics projects
• Easy combination with platforms like Arduino and Wiring and software like Processing, Max, vvvv, Flash, and other programming environments
• Rapid prototyping and manufacturing
• Get stuff shipped, or use your own local tools / local fab facility
• Fully open source licensed (it’s actually not clear which license – the CC non-commercial license would presumably mean you couldn’t build one of these and sell it, which I think builders might want to do)

That sounds great. So what is it, actually? The “platform” for now is just the physical components: a top panel of acrylic, an aluminum base, and a bottom panel. You do get machined holes and connectors, though, which could help you radically speed through the stuff that’s hard to do on your own – that is, machine solid cases. And if this catches on, it’s not hard to imagine people swapping circuits and software patches and such that puts some life into that case.

Looks great on paper; we’ll have to see what the actual platform is like. But in the long run, could locally-manufactured, open platforms someday stand alongside the conventional musical hardware industry? I think it’s very possible.

Thanks to everyone who sent this my way!

machinecollective.org