Commercial developers are now releasing music creation apps for mobile game systems, in the form of the KORG DS-10 for Nintendo DS and Rockstar’s Beaterator for PSP. But some of the best ideas still come from the homebrew community.

What’s most impressive about ToneSynthDS is not so much what it does as its interface, fitting all its functionality into the DS’ two compact screens. Its minimal interface finds an elegant arrangement of everything you most urgently need, with a sequencer screen on one DS screen and basic virtual analog synth parameters on the other. A 4 x 4 matrix next to the main sequencer grid lets you switch between patterns, in a step sequencer reminiscent of the monome and Tenori-On. There isn’t a whole lot of depth to event editing in this early version, but it could be a lovely way to sketch melodic patterns. (And some of those limitations come from the DS itself. Note, though, that this app gets a full 16 real-time channels on the original DS hardware to the Korg DS-10’s paltry two.)

Developer Fanta/Hotelsinus Sound Design has been posting mock-ups, demos, and now builds as he goes. That means that he gets feedback from an audience of readers and incorporates those as he develops the app – another key difference between the DIY/homebrew scene and conventional commercial development.

More good news: this DS app should also run as a PC VST in a forthcoming version, opening up the fun to folks using netbooks and laptops instead of the DS and creating a nice mobile-to-computer workflow.

http://ndscomposer.blogspot.com/

In related Nintendo DS news: If you’re thinking about getting the new DS-10 Plus Limited Edition of the KORG DS-10, you’ll need to get it for the region coding of your DS. (In other words, you probably won’t want to import it.) The “Dual Mode” functions are region-locked, so North American and European users can’t use the Japanese DS-10. That’s not such a big deal, as North American distribution was announced, and other regions are expected to follow, but it’s good to know. See details on the All Things KORG DS-10 blog. (Thanks, DS-10 Dominator!)

Check out some demo videos and a quick run-down on specs, and if you’ve got the capability to run homebrew, you can give this a try. Thanks to Art/toitoy for the tip!

• Two oscillators with fixed oscillators, ADSHR envelopes
• Filter section (in development)
• Ring modulation and “cross” mixing (cross-fading between oscillators)
• 16×16 step sequencer, 4×4 pattern selection

Clearly, there’s a lot of work still to be done, so test this build at your own risk. But it’s already good fun, and the coming roadmap looks logical, with filter options, disk rendering, song mode, and more in store. It’s also an interesting read as far as wrangling with emulators and some of the challenges of DS development.

Today was full of good news for people interested in carrying pads in the palm of their hand.

Fans of the Nintendo DS in North America, the Korg DS-10 Plus synthesizer for Big N’s game system is now coming to your side of the Pacific Ocean. (That also bodes well, I think, for other parts of the world.) The DS-10 I think really deserves some credit for making a straight-up music title a hit on gaming platforms, and its success certainly surpassed my own expectations. It’s not a game, it’s not an interactive experience, it’s not a music game – it’s actually a synth and music workstation that happens to run on a game platform. The DS-10 Plus beefs up the original’s features, though it now has a commercially-available rival in the form of Rockstar’s Beaterator for PSP.

In Plus for both the DS and DSi:

• MUTE/SOLO built into the SONG mode
• EDIT/PLAY enabled for all modes within the SONG mode

Apparently DSi-exclusive (as I had speculated in the original story on the new edition):

• Twice the analog synths (4 of them, instead of 2)
• Twice the drum machines (8 instead of 4)
• Twice the tracks (12 instead of 6)
• Expanded song mode: programmable track mute, realtime editing (that is, edit parameters inside the song mode
• Two effects layers instead of just the usual effects routing (the equivalent of running two instances of DS-10)

(Previously: Korg DS-10 Plus Coming, with Beefed-Up Features for Nintendo DSi)

I’m also pleased that, if the Joystiq story confirming North American distribution is correct, only the extra effects layers require the newer-model Nintendo DSi. It sounds as though the rest of this functionality works just fine on other DS models.

Correction: As Liam notes in comments, and as I’ve clarified above, many of the new features are indeed DSi-exclusive. That means this is probably worth upgrading if you have a DSi, and a reasonable purchase if you don’t already have DS-10, but something you’ll ignore if you have a pre-DSi system and the earlier DS-10 title. Joystiq apparently mis-interpreted the press release, which is easy enough to do; it’s confusingly written.

XSEED press release

Via Joystiq’s David Hinkle:
XSEED bringing Korg DS-10 Plus to North America

It’s drumming, the multi-player game. The Drummer is an open-source application for the Nintendo DS handheld, developed by Andrea Bianchi and Woon Seung Yeo and presented alongside a paper earlier this year at the NIME Conference (The International Conference on New Interfaces for Musical Expression). As with any Nintendo homebrew software, you’ll need a special DS cartridge capable of loading software from flash memory – though if this app were developed more, it could make a terrific DSi app.

The idea is this: while making a handheld game system into an instrument, why not take advantage of its networking features? Grab a friend (or friends) with the Nintendo DS, whip up a drum kit that’s to your liking, then play along.

Oddly, while we live in a networked, Internet age, the client-server model rarely gets applied to music. One of the things I try to explain about the protocol OSC (OpenSoundControl), aside from the fact that it doesn’t have to be about sound, is that it’s really a collection of best practices in open networking communication. It’s not simply about connecting devices to one another in serial fashion, as with MIDI, but forming a network – an idea familiar to anyone who uses instant messaging online. True, latency considerations and other complications can add another dimension of challenge. But I think there’s plenty to explore when it comes to networking devices, and it promises to make computer music a less solitary experience. The Drummer is a good step in that direction.

The Drummer project page + NIME paper
Google Code page

Thanks to Andrea for sending this our way!

Fans of the Nintendo DS may have been immune to the siren song of Nintendo’s tweaked DSi model. Unfortunately, I have a feeling a bunch of you are about to upgrade your handheld game system. Why? Because the folks at AQ Interactive are doing an upgraded version of the DS-10 software synth for the game platform, now on the DSi. Palm Sounds gets the scoop.

New in this version:

• Twice the analog synths (4 of them, instead of 2)
• Twice the drum machines (8 instead of 4)
• Twice the tracks (12 instead of 6)
• Expanded song mode: programmable track mute, realtime editing (that is, edit parameters inside the song mode

They’re also announcing distribution through retailers. The new features appear to be platform-specific — that is, all this doubling business appears to be thanks to the greater horsepower of the DSi. My guess – though this is unconfirmed – is that if you can get this for the pre-DSi DS, you won’t be able to switch to the “Dual Mode.” The other slight disappointment is that it doesn’t sound as though online features or collaborative features have been enhanced. On the other hand, AQ is promising that they’ll be in brick-and-mortar retailers, not the online-only distribution they had on the original. I’m hopeful that may also mean distribution outside the US — either for an online DSi purchase, perhaps, or for the cartridge. (The DSi still supports physical carts – hence the mention of retailers.)

The best part of all of this, though, is watching Nobuyoshi Sano – the composer/arranger behind Namco games like Ridge Racer and Tekken – do a Steve Jobs keynote impression.

Via Brandon at the best-game-blog Offworld, who notes that in US dollars this represents a $10 discount.

For those of you longing to mutate beats like so many promiscuous Petri Disk bacteria, programmer Bret Truchan is a kindred spirit. Bret has created a series of instant experimental classics for the Nintendo DS: glitchDS, a cellular automaton music sequencer, repeaterDS, a visual sample mangler, and cellDS, a grid-based sequencer you can script in Lua.

The Nintendo DS is portable and cute, but it’s not normally open to running software without the Nintendo Seal of Quality. (Insert snickers here.) To run Bret’s software, you need specialized hardware that fools the DS into running software. The DS isn’t entirely stable when it comes to things like timing, either, and it doesn’t have the flexibility of computers.

Enter the netbook. The netbook is nearly as portable, completely open to running whatever you like on Windows or Linux, and boasts easy USB connectivity, a big screen, and … well, you know, all the things you like about laptops. When it comes to musical productivity, much as I love the DS, the netbook has a whole lot going for it, and still has that added ultra-portability that makes you feel you can make music anywhere.

Bret recently made the jump to desktop software with Quotile, a step sequencer you can live-code for mighty morphing beats. Quotile is cool, but for many, glitchDS was the star. Now you can run glitchDS anywhere – just the job for a laptop you were going to retire, or that new netbook.

Not Sequencing, Glitch Sequencing

Glitch-sequencer is a sequencer, so it needs to either talk to a software synth or external hardware. Bret likes to hook it up to his machinedrum and monomachine. Our own Handmade Music event was the (unofficial) first public outing of the software, and included an HP netbook and the machinedrum, which makes for a sweet, mobile combination.

Despite the appearance of a grid and sequences of levels, this isn’t an app that works like a conventional sequencer. Here’s the basic breakdown:

• Cellular Automata via a seed + playback grid
• Trigger and value sequencers to determine which MIDI events the organically-generated mutations produce
• Pattern length, clock division settings for setting metric values
• Sync settings

There are two grids, a “seed” sequencer that initializes a starting pattern, and a “playback” sequencer that provides feedback and control of the pattern that plays as the software runs. These two grids operate via principles of Cellular Automata, specifically the John Horton Conway Game of Life model, a evolutionary grid “game” that has been popular in computer music for its simplicity and the way it becomes animated in time. (The Game of Life is a “zero-player game,” which I suspect is probably the only truly fun way to play Monopoly.)

The playback sequencer is just a set of cells. To determine when each cell actually trigger events, you use a neat, color-coded trigger sequencer, which, as it sounds, is what calls MIDI events. Using the value sequencers for each color-coded swatch, you determine what that message is. In fact, if you wanted, you could use glitch-sequencer to control only effects parameters or envelopes instead of notes – or visuals, or anything that can be triggered by MIDI.

As you’ve got seeded grids doing their organic, unpredictable thing, you’ll likely want a little bit of control, too, and you have mechanisms for that. There’s a pattern length grid which determines pattern length in a more conventional way, plus a clock division setting for setting the master rhythmic division. There’s also a snapshot setting, which itself is presented as a grid so you can make little glitchy song arrangements by triggering different settings.

Where all of this gets fancy is the additional trigger settings. In addition to the MIDI event values, you get:

• Gate percentage for randomized probabilities
• Clock division
• Loop length
• Quantization for pitch (none, Ionian, Phrygian)

You can also manage the color-coded swatches as layers and mix their volume independently.

My one-line version of the manual: with that many parameters, screw around a bit and you’ll get something pretty unpredictable and glitchy.

This concept is related to other attempts to do similar, Game of Life-based sequencers, particularly Lazyfish’s Newschool for Reaktor, and (applied to an effect) Audio Damage’s Automaton. Because tiny implementation details can have a big impact on the resulting sound, though, it’s always nice having a new take on this, and I think Bret’s creation is unique in its ability to tightly control the sequence or completely screw things up with a lot of parameters.

It is all built in Processing, the free, open-source Java-based coding environment. I’m hoping to get a scoop on some of the experience Bret had with timing and Java, so stay tuned. Processing coders, the MIDI library Bret used is themidibus. There’s a trick to getting MIDI working on the Mac thanks to the fact that Apple decided to stop supporting a standard Java API in their implementation (doh!), but once you hurdle that, you’ve got Mac + Windows + Linux support – and this could be ported to Android, too, with a little work.

The Cupertino-Mushroom Kingdom gap has been closed: you can now mix and match DS and iPhone/iPod touch for wireless control of music and visuals. DSMI, the homebrew library that has enabled wireless and serial MIDI connections from the Nintendo DS, has come to iPod touch and iPhone. That means anyone building instruments and controllers on the iThing can now add wireless MIDI controllers that talk to computers – or other mobile devices, including the DS. It also means that DSMI’s acronym standing for “Nintendo DS Music Interface” has only one word that describes all the things it does.

If you’re a developer, you can grab the open source (LGPL-licensed) code. If you’re a user, apps are already supporting the new wireless features. There’s MIDI Motion Machine, which provides tilt and 16 triggers, and iXY, a 99-cent app for KAOSS Pad-style X/Y touch control. The MIDI Motion Machine author, TheRain, takes an interesting approach: there’s both a free and pay version, and the free version has source code.

Tobias Weyand, DSMI’s original co-creator along with TheRain, writes:

My friend TheRain has ported DSMI to the iPhone! This enables iPhone deveopers to easily integrate wireless MIDI in their applications, making it possible to control any MIDI application on the PC with the iPhone. The Wifi-to-MIDI bridge is the same DSMI server application that is also used for the DS, thus it works with Windows, OSX and Linux.
Also, like on the DS, both OSC and MIDI are supported!

DSMI for iPhone is available from our Google Code site (http://code.google.com/p/dsmi/) together with an open source example application called MIDI Motion Machine that is a tilt-based xy-controller.

The cool thing is that this library takes away all the hassle of communicating MIDI messages to the PC and makes development of MIDI controllers very very simple. So, we hope that people will use the DSMI to create a lot of innovative iPhone MIDI controller apps.

Pretty cool, isn’t it? :-)

By the way, if you’re a loyal Nintendo DS developer and think this whole iNonense thing is useless, the main library for DS also got a lot of improvements, cleaner coding, and collaboration on Google Code.

What about using OpenSoundControl instead of MIDI? On the iPhone/iPod, it’s a non-issue: OSC is a networking protocol, so it’s already wireless-ready. On the DS, DSMI’s source includes an OSC example, and unlike the MIDI in DSMI, you don’t need a piece of software receiving on the computer end.

Now, any suggestions for how to broaden the acronym DSMI so it’s more accurate? Digital Signal Multimodal Interface? Digital Sound and Music Interface? Damned Sweet Machine Instrument?

Or, to go recursive: DSMI Sure Means Ideas.

DSMI Official Site
CM Software Designs (home of iXY, MIDI Motion Machine, more apps and tutorials – must-visit)
DSMI at Google Code

The creator of the wonderful glitchDS, repeaterDS, and cellDS Nintendo homebrew music apps has turned his sights to the free and open coding-for-artists desktop tool Processing. The result: a drum machine that mutates and morphs in wonderful ways via a command-line interface. (I almost put the command line bit in the headline, but while I actually adore command lines, I think the more interesting part of it is the way it mutates its patterns in lovely ways. No boring endless step sequence repeat here.)

The tool is called Quotile, and since it is built in Processing and the code is entirely free, you’re welcome to try it out and change it around if you like! Apparently the Mac camp are having some troubles, but I don’t see any reason it shouldn’t work on Mac; the problem is generally that getting Java MIDI running on Mac has some tricky bits because Apple dropped support for the Java MIDI API, even though it’s a standard part of the Java platform. In this case, I expect it’s the library’s reliance on mmj or people having trouble installing that MIDI subsystem that’s the culprit. Keep the faith: it can work, and I hope we can get a standard, reliable MIDI library soon.

The sound source above: Machinedrum, of course.

I’ll give this a try on Linux later today, on the platform that I think has the best MIDI support, hands-down – yes, even compared to the Mac. (I’ll explain why I think that soon.)

Speaking of MIDI libraries, the Processing library this is based on is a new one called MIDI Bus. It’s very similar to wesen’s rwmidi, which we’ve covered before.

The project:
Quotile – new PC MIDI sequencer written in Processing at glitchDS

The free library for Processing (Mac + Windows + Linux)
Small But Digital – themidibus

Previous musical creations in Processing:
Strange, New Musical Interfaces, Built in Processing
DIY 3D Controller: Inspired by Theremin, Powered by Arduino, Processing
Tiction: Animated, Nodal Generative Music App in Progress, in Processing
Build Your Own Game of Life Sequencer in Processing: Video Featuring rwmidi
Help! I’m Trapped in an Acid-Colored Wash of a Thousand General MIDI Pianos!
Spaces and Roots: Manipulating Sound with Processing + Touch, Tangible Interfaces

The Nintendo mobile is a solo instrument no more. Lovers of the Korg DS-10 cartridge for the Nintendo DS handheld are making their own ensembles. And one such trio is a selection of who’s who in Japanese game music.

The Korg DS Trio performed a celebrity concert after the Tokyo Game Show. GameSetWatch has an extensive interview with the three. Nobuyoshi Sano (composer, Ridge Racer series) and Yasunori Mitsuda (Chrono Cross and Chrono Trigger) are two familiar names, joined by Michio Okamiya of Final Fantasy hard rock cover band The Black Mages. All three had input into the creation of the DS-10; two connected over drinks. (That’s one of my favorite places to have product meetings, coincidentally.) As a trio, they have the unique opportunity to cover their own music.

It’s interesting me, this aesthetic interest in miniaturizing and making the DS into this sort of musical device. It’s an interest that has been particularly strong traditionally in Japan, it seems. They have a lot to say about DS-10 and game music:

GameSetInterview: Korg DS Trio Talk App Creation, EXTRA Concert

Of course, part of the vision of DS-10 was to create a democratic tool for music creation, not just a toy for some of Japan’s leading game composers. (Hey, they do need to unwind, too!)

ThisIsNot shares his own DS-10 jam, this one a four-way jam in Melbourne, above. (Thanks for sending us the tip! You may have seen the jam blogged elsewhere, but I think some of the sites missed the video, which gives you some idea what they were up to.) He writes:

I was invited by Jed to join a korg ds-10 jam at More Bass recently as part of 13 years of IF records
there was Jed, Enclave, one others and myself playing. We didn’t sync the DS’s over wi-fi or anything and had no pre planned approach , so this was purely improvisation and jamming along.

4 way nintendo ds jam with korg ds-10 [Acid Box Blues]

Audio:

Lastly, our friends over at Boing Boing’s Offworld gaming blog have been all about the DS-10 lately. Receptors, aka 8-bit Operators curator Jeremy Colosine, has an exclusively DS-10 album. (Okay, the novelty is wearing off a bit after the all-Tenori-On and all-Kaossilator album and whatnot, but if it’s musically satisfying for the maker and the music’s good, I’m game!) It’s free for download from last.fm, so the music-per-dollar equation is off the charts.

If you haven’t yet seen it, you should definitely check out the DS-10-as-talkbox video demo, but the man who created it – Jetdaisuke – now puts together everything mobile we’ve been talking about for the last six months and plays, all at once, Bloom (iPhone / iPod touch), Mokugyo (with Cat) (iPhone / iPod touch), ElektroPlankton (DS, by Tenori-On creator Toshio Iwai), and Korg DS-10 (DS), plus a Korg Kaossilator. Impressive, but it is missing a Game Boy running Nanoloop and LSDJ, a PSP running PSPSEQ and PSP Rhythm, a Palm, a Windows Mobile device, a Nokia, rjdj, LPDJ, a SIDstation – the battle is on.

For those of you who are sick of mobile music, watch this video and see how high your blood pressure can go!

In fact, now, with the Game Developer Conference coming up, I think we need a DS Boys’ Choir with one hundred of these things playing at once, like a swarm of so many digital bees. Anyone know a good party to crash?

Big news from the homebrew Nintendo DS scene: OpenSoundControl is now supported, thanks to a community contribution from Tim Wood. That means you can drag your stylus around and send high-resolution data straight to software running on your computer. From the DSMI site:

OSC is an emerging standard for exchanging music control signals that is much more flexible and modern than MIDI. For example, OSC can directly communicate via network, so the PC-side DSMI server is not required.

fishuyo also made a nice demo with a Kaoss pad and sliders of the new OSC capabilities. It comes with a pd patch that is a nice little synth. Check out the demo’s source code! OSC is really easy to add to your application. And it’s the future! So, get libdsmi v3.0 now!

Add this to controller apps for the iPhone/iPod touch, and it’s easy to turn your mobile device into an additional controller. (Think an easy-to-add X/Y pad, for instance, that you can plop on that blank space on your keyboard.)

Full details:

http://dsmi.tobw.net/

I got lots of requests in our holiday guide survey for tutorials on Pd and tutorials on OSC, so – be sure you’re going to get a Pd + OSC tutorial!

For the record, this opens up OSC to as many as 84+ million units of hardware. (and that’s before you decide you want to get the new model just for the color red)

Marc “Nostromo” Resibois, aka “m.-.n,” lives the digital life of computers. The Belgian musician and hacker [@MySpace] is renowned as a Game Boy musician, as the inventor of legendary Nintendo tracker LittleGPTracker, and even has a day job as a programmer for VJ software maker Arkaos. But lately, his thoughts have turned to more traditional synthesis hardware – hardware that acts as tiny computers. Nothing is going to shake me from my love of computers, but that doesn’t mean I’m not interested in having what he describes sitting next to mine. Here’s what he imagines – and it’s a variation on a theme I think we’ll see a lot in the coming weeks and months here on CDM. And without giving away the punchline, that Nintendo DS is going to make another appearance.

I’ve always loved small, self-contained units. Because I’m a software guy, I’ve been developing music software on handheld consoles for years. I love these little guys. They are tiny, fairly powerful, and their physical interface gives you a good amount of control, leading to a growing stack of interesting applications.

However, recently, a couple of interesting projects started to emerge from the hardware side of things. That makes it possible to start dreaming about building your own little synth, even for people like me who can’t even deal with sticky tape.

My first hands-on with hardware was when I started fiddling with the Arduino piano. You might argue that once it’s built, it’s still software platform, but I really enjoy working on this bit of kit. The interaction is even more straightforward than game consoles: press a button, turn a knob, and get sound. Although it might seem limited compared to software synths, it also has dimensions that a lot of virtual instruments lack. I’ll call these qualities depth and exclusivity.

Depth: When you turn a pot on this hardware, you’re really in control. You may argue there’s a lot of controllers out there, but compared to the 1024-level resolution of the Arduino, standard MIDI Control Changes turn out to be bogus for smoothly controlling parameters. Just playing with the default FM patch of the Arduino piano makes it obvious. [Ed.: Of course, I will add there are ways around this – higher-resolution MIDI control messages, plug-in automation, OpenSoundControl, and audio-rate / audio-stream control, to mention a few, not to mention even simple interpolation of lower-resolution MIDI controll messages. But then, we’re talking a very, very cheap piece of hardware on the Arduino, so there’s a big point here. –PK]

Exclusivity: When you play with hardware like the Arduino piano, it’s the only thing you do. You can’t fire Google or start reading your mail, and I think it’s really valuable. Every music "tool" should be able to immerse you enough so that the rest of the world doesn’t exist. All computer-based synths have failed to do that for me.

Of course, the greatest thing of all is that this domain is only at its very beginning. It’s a small spore in your hands waiting to morph to the next level. You decide its fate. And that’s where it gets exciting. Playing with the Arduino piano and looking at it as a synth development platform, I started to think about what I could dream of making with it. What would make it "timeless" for me, using existing available technology?

Here’s what I ended up with:

1. The core: At this point, it doesn’t really matter if we’re talking Arduino, Propeller or any other chip. The point is that there are programmable chips out there that will support development of your very own personal synth. They might run at very low sample rate, they might have the tiniest memory for programs, but they have soul. In the 80s, when digital synths hit the mainstream market, they were likewise limited in resources. Still, they were powerful enough to be admired and loved.

2. The engine: Ideally, the processor should be fast enough to allow a fairly configurable synth engine — something that would allow switching between ‘presets’. You don’t want to have to flash the chip every time you want a new sound. It doesn’t take a major CPU to be able to do something decent. For proof of that, look at Korg’s DS-10 running 6 parameterized synths on a lowly Nintendo DS. Maybe the Arduino is too limited to be a good enough candidate for this, but there are plenty of other possible platforms.

3. Controllers: As I already mentioned, direct hardware control is a joy that can’t be overstated. Having high-resolution pots connected directly to the chip provides an easy and cheap way to tweak your sounds in real-time, in ways you’ve probably forgotten (assuming you haven’t recently used analog hardware and the like). Let’s call them generic controllers: we want them to act in the most expressive way depending on the ‘presets’ that were built for the synth engine.

4. The keyboard: It doesn’t take long playing with the Arduino piano to realize the keyboard is not going to take you very far. Not being a keyboard player myself, my idea is to ditch it and keep a few switches for direct action like switching patches, transposing, etc. I’m pretty sure there should be a way to integrate a decent keyboard in this setup, but how to do that is beyond my reach. One could trigger the sound with just a button. A few pots and a “push me” button – sound familiar? Ed.: See the Dave Smith Mopho, though generally people are hooking MIDI keyboards to it so they can easily input pitch. But then, why use a keyboard at all? Quite a few synth lovers regret the addition of keyboards to synths, because they don’t allow for expression between notes, as on instruments like violins or the human voice. I’m not sure a single button is an improvement, but then, you could create the architecture of the synth to easily allow analog input, thus enabling anything you want. -PK

5. The deep end: This is where it gets fun. So far, we’ve got something fairly basic — running a synth on a chip, triggering sound, and having patch-based control on expression parameters. What could make this synth totally self-contained would to some means for editing sounds from the unit itself. There was a recent post on Analog Industries wondering whether people preferred a simple interface or access to all parameters. In my view, an ideal synth should provide both: when editing a patch, you should get access to all the parameters. When playing it, you should get access to only those parameters that make sense for the sound. The first example I remember of this is the Nord Modular: it provides modes geared for a sound designer or a performer. That’s true with the wonderful morphing effect rack in Ableton Live or the generic parameters of the aforementioned Mopho. But how to do this in a small, self-contained unit? The pots give us a performance mode, but the challenge is how to navigate the deeper possibilities of editing a synth engine? I just don’t want to have to use a computer. I’d be checking Facebook or uploading moods to Twitter instead of making noise.

There happens to be a mobile, compact unit that could be perfect for the job, however: the Nintendo DS. It’s got a small form factor, a few additional hardware controlers, a very playable touchscreen, and a serial interface that could enable bi-directional communication with the synth engine. By throwing the NDS in the picture, we could gain:

• A user interface to edit the synth’s parameters (why not implement a touchscreen based VCS3 type matrix, for example?)
• The possibility of running a small sequencer
• Some additional performance capabilities, a la Kaoss Pad, to control the synth.

So in the end, we have a hardware/software hybrid that’s very powerful, yet fits in a very small form factor, and whose cost (beside the blood, sweat, and tears of building the whole thing) wouldn’t go past the USD 300 mark.

Anyone with too much time on their hands? I’d like one, please :)

Ed.: Some really interesting ideas here. I’m not sure I’m so crazy about the Nintendo DS as a closed platform, though. Reimagine this more broadly as hardware DSP / embedded microcontroller synth engine plus some sort of small mobile computer, and you’ve got lots and lots of possibilities. I’m not tossing my computer – I can close the Internet and focus on music for a while even on a computer – but even as a lover of sound design on a computer, I find all of this very tantalizing. I also know we have some other folks working in similar directions and on other mobile ideas, so stay tuned. -PK