BeatMaker, the all-in-one music production tool for iPhone / iPod Touch, has hit hip-hop after just a few days on the market. Producer Henny, of the Bizness, has done a full-blown demo tutorial. And it sounds simply amazing. (Okay, suffice to say I can’t tap on a phone and swing properly so you get a good groove, but Henny can.)

Henny makes beat on iPhone 3G using Beatmaker!!! from Henny on Vimeo.

Thanks to Mr. Get It Poppin, Kapo, and everyone else who pointed us to this. I’ve gone from being jealous of the iPhone to being jealous of the producer’s insanely rapid skills. Nice.

Back on the technical side, Mathieu from Intua writes to say that the software is making rapid progress. PDF documentation is up now. A beta of the file synchronization tool, BeatPack, is available, so you can start transferring files to and from your Mac or PC. The 1.0.1 update is very close, with small feature improvements and bug fixes. And we anticipate MIDI export of patterns not long after that. I don’t normally cover incremental updates, but I know this is big for you as I’ve gotten lots of reader emails. Stay tuned!

Downloads available, including BeatPack for OS X 10.4 and later and XP/Vista:

Intua Shop

BeatMaker page

I think Hank Shocklee’s contribution to Public Enemy, as a producer and co-founder, had a deep influence on the approach to sampled sound and digital sound ever since. In Brisbane, Australia in December, I got to sit in a room full of students at the Art of Record Production conference and listen to Shocklee walk through the album "Fear of a Black Planet." I realized it was a bit like needle-dropping Sgt. Pepper with George Martin.

Shocklee describes his role with Public Enemy as a kind of teacher, helping Chuck D, poet, meet digital production technology. In the years since, he’s expanded that teaching role to include young people around the world, and he’s got some strong opinions about the importance of learning the craft of recording and music in general.

Fittingly, we sat down for a few moments in a classroom.

Interview: Hank Shocklee, Pt. I – On music making from cdm tv on Vimeo.

What a lot of people may not know about Hank Shocklee is that beyond being a Public Enemy veteran, he’s also been deeply involved in the music industry. Unlike so many armchair industry quarterbacks, Shocklee has worked with the major artists (from Madonna to Peter Gabriel) and had a significant stint as Senior Vice President for Universal MCA Records. That means when Shocklee criticizes the industry as musically illiterate, he speaks from the perspective of someone who’s been on both the inside and outside of the majors. (He’s now producing and scoring music independently, and drove his entrepreneurial spirit into his own Shocklee Entertainment.)

Criticizing is one thing — but Shocklee had advice for how artists can guide the direction of their own career. He talks about the limitations of the industry, how the music community can grow beyond it, and how visual media could finally become a serious domain for musicians. (We agree with that.)

Interview: Hank Shocklee, Pt. II – On music business from cdm tv on Vimeo.

We see all kinds of novel controllers and input devices for music on CDM, but don’t always get the chance to see how these are used in actual music making. Uraguay-based Gustavo Bravetti is a master of live laptop performance with alternative controllers. (See previous video of him from Colombia.) He talks to Liz (aka Quantazelle, a laptop virtuoso herself) about the scene on the other side of the Americas and how he’s able to fire up crowds with unusual performance techniques, via three-axis light control and the P5 interactive glove. And, really, we didn’t put him up to all the plugs for this site — I’m much more excited to find out how people are able to use some of these resources in front of an audience! So, Gustavo, we’re thrilled to learn about what you’re doing. Take it away, Liz. -PK

What’s the scene like in Montevideo / Uruguay? How does it compare to other locations? Is it conducive for you to work?

Uruguay is a very small country, we have just 4 million people, and the electronic scene is growing and getting smarter. I think that thanks to the internet, we are updated in what concerns to music and technology, we also are well informed on the global scene, that wouldn’t be possible without the invaluable tool that is the internet. Anyway, the Internet is a double sided weapon, and must be handled with care.

I’m a very positive person. I think that any scene is conductive for my work, especially in “your own city’s scene.” I mean, if they know you from the neighborhood, they will be harder to impress, and therefore will be more people that will criticize you, but if you take the good part of this, it would be positive for your work.

Promoting yourself with a demo can mean all kinds things, from selecting a couple of tracks to help connect with a collaborator to getting yourself a composing gig or record deal. Producer/musician Quantazelle herself has seen plenty of demo discs and has assembled some tips for how to make them work. If you’ve got ideas or questions of your own, be sure to sound off in comments. But the best idea of all may be getting people together for an in-person event to share music and visual reels. -Ed.

A demo is short for “demonstration,” and its purpose is to show others what you can do, musically. In the past, a band with major-label aspirations would scrape together a bit of cash for a few hours in a studio and crank out a few copies of their best songs on a tape or a record and then send it off to various A&R departments, hoping for a record deal and a contract with a fat advance. These days, technology has made the concept of a demo and its applications somewhat different, but we’ll always need to share what we’re capable of with others.

If you’re in Chicago this Tuesday… During my time at Modsquare a few years back, I organized a Demo Swap at a club in Chicago, where guests would get in free if they showed up with a stack of 10 or more or their demos on CDR. Not only did I discover talented local acts who I featured on our free online compilations, I met artists that I would later book at events, and learned that fellow attendees who had met at the night ended up collaborating on projects. Since I had so many people asking me to do another one, we’ve reincarnated the night at Ramp Chicago. So if you’re close to Chicago, show up at Sonotheque on Tuesday, July 17, 2007 at 9pm with a stack of demos or promotional material, get in for a reduced cover, and start meeting your fellow musicians and industry types (Peter Kirn of CDM will be there!). Read more about it here: Demo Swap July 17 at Ramp Chicago.

Where’s it going?

Figure out your intentions with the demo. Is it to get signed to a label? To book gigs? To find like-minded potential collaborators? To get work scoring a film? Similarly, determine the audience. Is it the A & R people at a label? The talent buyer at a club? Other musicians? Each of these requires a different approach.

Make no mistake: when it becomes part of the soul of music making, software gets under your skin and into your blood. So while Josh Mobley has his Reason tattoo, Jo Ardalan writes us to let us know she’s got Reaktor permanently embedded on her wrist.

Lest you think Jo’s some random fan, she’s not: she’s a veteran of Reaktor’s creator, Native Instruments, and Waxploitation, an experienced sound designer/editor/engineer, and founded the software developer – A&R – business development/consulting – community FixedNoise.com. In other words, a Reaktor tattoo really does mean to Jo what a Harley-Davidson logo or “Mom” might mean to someone else. Check out her MySpace page for more. (I actually was already familiar with some of Jo’s terrific sound designs for software; she’s done some great work.)

And as you can see in the photo below, she really does sport the Reaktor love while playing — and she’s also an Ableton user, presumably making another power user of the Live/Reaktor combo. (Hmm — meaning there’s also a candidate for her right wrist?)

Jo’s not alone in wrist-branding land. In case you haven’t been watching the CDM Flickr Pool, happiness is the Monome, Korg kontrolPAD, and Atari:

So, we’ve got Reason and Reaktor. And Atari. (Technically, they’re a music maker — think Atari ST. Or chiptune, for that matter.) Any suggestions on the ultimate Ableton or Max/MSP tattoo, which would seem to follow next? (Let’s see, Max/MSP — loadbang? Or actually a whole patch? Ouch.)