Part of the beauty of the iPhone from its launch date was the notion of a Mac you could fit in the palm of your hand. That makes it ironic that, for so many developers, mobile platforms in general have turned into a way to fragment software, to make it run fewer places instead of more. There’s something to be said for designing to a specific mobile device, but on the other hand, how many developers would want to restrict where their creations run? And particularly in music, isn’t the appeal of mobile creation the ability to have your tools work in more places? Maybe targeting just one gadget is the right choice for a given tool, but it shouldn’t be the only choice.

On the iPhone, the application Thump has plenty in common with a range of mobile music making tools. It’s simple but fun, a groove box with sequencing, subtractive synths, drums, and a set of basic effects, plus the ability to load your own samples and export songs.

Thump also demonstrates how simplifying sonic capabilities can produce musically-beautiful results, by focusing on the essentials and creating something with personality. Here’s a track by its creator showing off its sounds:
thump soundreel by mazbox

Well worth checking out the app on your platform of choice:
http://www.mrkbrz.com/thump/

What might not be immediately apparent is that under the hood, Thump makes use of the open source environment openFrameworks. As a result, the same code runs on iPhone, Mac, and Windows, as well as Linux. (It’s not distributed for Linux, but it could be. Hint, hint.) Creator Marek Bereza gives back, too – he ported the openFrameworks audio library to the iPhone, where it’s available to anyone.

Updated Marek notes in comments just what this means. The video below is, essentially, the same app. In place of the iPod screen, he has used a massive lattice of physical controls. A separate installation at the same show used a large touchscreen and simplified interface. And this really demonstrates what cross-platform means. Guy Kawasaki in the 80s mocked “ports” as a cheap wine. The idea is not to simply dump your code on a different platform and hope for the best – in fact, in this case, the changes from one platform to another were radical. The key is maximizing what’s essential, what really is not specific to a single device.

Physical Sequencer from Marek Bereza on Vimeo.

Creative Applications has a detailed write-up of the installation with more documentation.

If you’re interested in creating your own projects, oF has an elegant syntax based on Processing, but adapted to C/C++ coding paradigms and libraries.

I would recommend trying desktop development first as you’re learning, but when you do want to go mobile, setup is absurdly easy:

Setup instructions for iPhone

Having this as a foundation means more freedom for users and developers alike, the ability to run where you want, and a shared community of artists helping one another out. It does not mean sacrificing revenue, either – which is important, because revenue is often what enables (and encourages) developers to make new things. Here, we see a commercial mobile tool and distribution via the iTunes store, with free-as-in-beer distribution of desktop apps. But even the Free Software Foundation actually encourages charging for distribution – and to many people, the FSF is the most extreme example.

The bottom line is, you’re free to create what you want, where you want – and it doesn’t even have to have a price of free.

The use of openFrameworks is possible because the iPhone allows the execution of native code. Apple does not allow the Java virtual machine, which locks out many useful platforms and tools — including Processing. Naturally, that should not be the case with forthcoming non-Apple platforms based on Linux; more on that soon.

Thanks to Memo Akten for the tip — and for his exceptional documentation of iPhone openFrameworks development.

GPU-tiful and Cross-Platform

Updated Another framework I left out is the lovely libnui. The tagline says it all: “C++ API, multiplatform (Mac OS X, iPhone, Win32, Win64, Linux), 3D hardware accelerated GUI and more…”

On the iPhone, Intua’s elaborate Beatmaker software and David Wallin’s bleep!box have both been made with libnui. I want to single out bleep!box because of its UI – note how UI elements are simplified and scaled to the size of your fingertip. That’s something that, speaking of multiple platforms, could be equally important with touch hardware coming to Mac, Windows, and Linux platforms (some of it here already). I saw a huge fan of Windows tablets loving Propellerhead Reason on a tablet. He probably would be less enthused running Reason or Record on a touch interface; the UI elements are way too small.

bleep!box is also worth a look for the same reason as Thump: elegant UI, simple functions, and a lot of fun.

Pd, too

Pure Data, the open source patching cousin of Max/MSP, can also run on mobile devices. It’s currently powering the application RjDj, but because Pd is free, that could be just the beginning. In May, I wrote about the work being done by Hans-Christoph Steiner, who has been porting Pd even to ancient PDAs and iPods – including those, notably, without native floating-point capabilities (the kind of number crunching usually associated with sound).

Well, now Hans-Christoph is looking toward other, current-generation devices, too, kicking off with a workshop on making interactive sound on the iPhone using Pure Data. Here’s a taste:

OK, kids, you won’t believe how easy this is. Once you have Pure Data installed on your your iPhone or iPod-Touch, creating and uploading your own sound-processing and sound-generating patches is as trivial as copying a text file to your device! You’ll still need an Apple Developer License, but because Pd patches are treated as media files, they don’t have to go thru Apple’s elaborate code review — so, you can just dive right in, turning your phone into a pocket synth within minutes. In this 3-hour hands-on workshop, interactive sound whiz and Pure Data developer Hans-Christoph Steiner will lead you through all the steps.

Hans-Christoph will be talking Pd on the iPhone at a conference next month at Carnegie Mellon University in Pittsburgh. That will also include Memo Akten and Zach Gage talking about openFrameworks. And for nearly-entirely open source hardware, there’s a tantalizing-looking workshop combining Android with Arduino, too.

http://artandcode.ning.com/

There’s quite a lot more to say about this, but I hope this whets your appetite.

And, of course, riding the train to Pittsburgh or your nearest university or open source workshop, now you’ll have Thump which which to make some thumping tracks on your iPhone.

jumping beans & .tape. from la bisogno on Vimeo.

What might a jar full of Mexican jumping beans sound like if composing their own ambient music? Scott Worley points us to a musical experiment by his labelmate Daniel Romero aka .tape, on netlabel yo.yo.pang!.
.tape programmed a sound environment in the free multimedia patching environment Pd (Pure Data). Contact microphones listen for the beans to jump, then use Pd’s onset detection (an analysis for transients) to trigger the sounds. Daniel reports the technique is “easy, but wholly effective.”

I’ll say – the music winds up being quite lovely, and rather than having a boring software-based random event generator, there’s something mesmerizing about watching the beans. You can download a free MP3/OGG file of the track, as well (and it sounds as though more projects may be coming):

pet-o-matic [asociación cultural la bisogno]

Descripción original en Español:

empezamos esta serie con la picante unión entre el músico Daniel Romero (aka .tape. ) y Pancho, Emiliano y Marcos, tres frijoles saltarines mexicanos

Sonidos y programación por .tape. secuenciación en directo por los 3 frijoles saltarines mexicanos micrófono de contacto + un “onset detection” en pd para disparar los sonidos. fácil pero rotundamente efectivo.

In other Pd news, the creators of the RjDj interactive/generative iPhone music app, which employs Pd patches, will be holding another sprint. This one will be located in London October 2-4.

The PowerMate from Griffin is an affordable, very compact USB knob with glowing blue LED feedback and push-and-turn functionality (so it’s a button, too). But using just one knob may not be all that useful for control. We’ve already seen Robert Hodgin VJing with four PowerMates, but our friends Bill Van Loo and Joshua Schnable have come up with a novel solution. Using Schnable’s custom software built in Pure Data (Pd), they’ve not only mapped the PowerMate to MIDI, but using switches and the push function allow you to control four or eight channels at once using just the one knob.

At the end of last week, they offered a first look at the solution, with a basic demo in Ableton Live (though any MIDI-capable software will work), and downloadable Pd patch and manual to get you started. The patch is open source-licensed.

announcing CTRL4 + CTRL8: MIDI Control for Griffin PowerMate + PureData

Of course, if you’d rather use OSC or create an instrument right in Pd, you can do that, too, with this as a template. But if you want to get up and running with your PowerMate – even if you’ve never used Pd – this should be quite accessible.

Check it out in action in the video below. More documentation is coming.

The manual itself is written from the Mac perspective, but with any MIDI loopback tool on Windows, it should work, too – and I believe some people are even using the PowerMate on Linux. If anyone wants to share how you’re using this on another platform or with another setup, that’d be great, in a noisepages post/blog or anywhere you like – just let us know. (Documentation, suffice to say, is a huge part of going open source.)

This might be worth trying with similar hardware like the (discontinued but still available) Logitech NuLOOQ Navigator, as well. (The NuLOOQ is more expensive list, but looks like prices are as low as $30, and it adds additional controls like a ring on the top.)

Griffin PowerMate

Logitech NuLOOQ Navigator

FIRST LOOK: Joshua Schnable’s CTRL8 Powermate/PD control software from chromedecay on Vimeo.

Editing drum patterns in RjDj/Pd from Frank Barknecht on Vimeo.

If making your own musical tools seems like a lot of work, you’re not wrong. The beauty of making your own stuff is all about making your own reusable modules that help you build musical solutions more quickly. Finding those useful modules can also help people new to programming or patching.

In Pure Data, the free and open source cousin of Max/MSP, one form of these reusable modules is called the “abstraction.” It’s an object that you can stick into your creations to help build what you need without a lot of fuss.

Translation: even if you’ve never patched before, you can start making fun drum pattern makers quickly using all-free software. The folks at RjDj, who have been creating mobile interactive toys for the iPhone and iPod touch (see our interview, recent story) have also been building a library of useful abstractions. Because that library is also free and open source and built for Pd, it works with your Mac, Windows, or Linux machine.

Here’s a great starter tutorial, useful for even newcomers:
Editing Drum Patterns in RjDj

For more Pd learning (see additional tips in comments):
Be a Music Geek Ninja with Electronic Music Programming in Pd: New Book

If you create stuff with this, be sure to share with us! And it’s brand new, but feel free to come join our Pd group on the in-alpha/beta Noisepages:
Pd Group

I wish I could be in London in July, but since I can’t, hopefully some readers of this site can make it to the upcoming Music Hackday, which features RjDj and lots of other online music projects (Soundcloud, Last.fm, the music API for The Echo Nest, 7digital, more):
http://musichackday.org/

Digital technology has the power to transmit information more efficiently, to make the invisible visible, and to express new things. It can also be pushed so far to the limits of actually transmitting information to be meaningless. It can push well beyond what we can even perceive in a useful way. What’s bizarre and wonderful about Johannes Kreidler’s work is that he’s not afraid of pushing toward that boundary. The results may have only a shred of remaining meaning, or be intentionally, comically meaningless. But he’s nothing if not inventive.

Compression Sound Art (2009) [“Comments on Music – Musical Zip-Files … Time is relative!”

The video above, politically speaking, is Not Safe For Anything – where else can you bring up Hitler and Britney Spears and condoms? But the only visually tantalizing information is the brief view of a condom speaker membrane and a chest with pasties.

The creations range from:

An oven pipe imported in 1972 from Alaska to New Zealand, vibrated at 574 cycles per second using a gasoline motor. Then, in 2003, this recording was manipulated and filtered on an old atari computer using hacked software.

…to:

Immanuel Kant: Critique of Pure Reason, played 22,000 times in one second (audible only to bats).

The controversial nods and humor aside, I think this really does say something about time and data. I could tell you, but I’d need a microsecond. Let’s just avoid any mention of datamosh.

Johannes Kreidler does know how to encode information in useful, accessible ways, too, however. He’s done just that with a terrific book on Pd (Pure Data), the open source, visual programming environment in which he created works like the one above. Can’t dance to it? You can do other things with Pd, too. You can dance to it? Then, by all means, go for it:

Be a Music Geek Ninja with Electronic Music Programming in Pd: New Book

Previous Kreidler sightings:

A song made from 70,2000 samples

The stock market declines, as a song

Handmade Music hits Brooklyn again Thursday night with a terrific lineup:

• Robotic gamelan instruments with the Gamelatron, created by Zemi17 and the League of Electronic Musical Urban Robots (LEMUR) – check the video above!
• Rescued PDAs and iPods making music, with the Linux-powered ReWare project (which even allows you to run Pd on an old iPod), by Hans-Christoph Steiner – expect a box full of handhelds making noise
• Gestural Android handheld music, as I demonstrate the possibilities of the Google Android platform and G1 phone for OSC
• The Arduino-based Hard/Soft synth, designed by Gijs Gieskes and built by MAKE’s Collin Cunningham

Full project details at:

http://handmademusic.noisepages.com/

How to participate:

Online! Wherever you are in the world, you can join our live video stream:

http://www.ustream.tv/channel/cdm-tv

Apologies: while a test of the connection had worked for us last time, network performance was inexplicably poor. We’ll try to work on a better solution for the future. It’s the challenge of relying on a connection other than your own.

Schedule:

7:00p Online chat with the creators

7:30p Public event starts

8:00p Performances + demos

You can also ask questions to our creators by leaving them in comments here, or the day of / during the stream by sending a Twitter message with hashtag #cdmtv. (Follow CDM on Twitter) We’ll have clips of the show available by Friday

In NYC:

FREE, at Brooklyn’s 3rd Ward, 7:30p Thursday. rsvp@3rdward.com or on Facebook

Directions

3rd Ward

Thanks to Pabst Blue Ribbon for the free beer, plus our co-organizers at MAKE, Etsy, and XLR8R.

Last-minute NYC-area projects! If you have a project you want to bring, we will have a PA, amp, and projector. We welcome those last-minute projects that manage to come together. Just bring it by and find me at about 7p.

In Your Neighborhood:

We have folks interested in starting up Handmade Music around the US and internationally. Sign up via Google Docs if you have any interest in helping organize (no commitment) and expect information in the next couple of weeks.

Reware your PDA from Hans-Christoph Steiner on Vimeo.

Give a hoot – don’t pollute with your old mobile gear. Make musical creations with it instead, powered by Linux.

Sure, there are wonderful things happening with mobile music applications on platforms like the shiny, new iPhone. But remember how technology was supposed to democratize access? Lots of us don’t have the money for a new iPhone or iPod. And how many of us have outdated Pocket PCs and Palms collecting dust? How many of these highly toxic devices get thrown away?

Linux to the rescue.

One of the biggest hits of my talk at the OFFF Festival in Lisbon, Portugal was the mention of the Reware, a project by Hans-Christopher Steiner, who is doing research at New York’s Eyebeam. He has literally a box full of old PDAs – the kind a lot of people would give away at this point – which he has rescued in order to reuse as development platforms and musical devices.

There’s something just stunning about watching an old Pocket PC transformed into an interesting musical device. It’s like the feeling you get when you save a puppy with the help of a rescue / adoption agency, and instead of being put down, Buster turns out to be an agility champion. (Sorry. I really love dogs.)

Reware Project at Eyebeam

For a sample project, here you can dual-boot Linux on an old Palm:

Reware your PDA: dual boot Linux on a Palm TX from an SD card

Once you’ve done that, you can run your own creations and even Pd patches on your mobile. Even old iPods can work.

Pd Music Patching on PDAs

It’s a little trickier to recycle older embedded devices than it is desktop computers: for one thing, many of these devices lack floating-point calculation capability. (The FPU on the iPhone is one of the things that makes it so nice.) For fans of the multimedia environment Pd (Pure Data), the variant PDa (“Puredata anywhere”) is the solution. It rewrites signal processing as fixed point (integer) processing. It’s nowhere near as fast as a floating point-native Pd, and there are some other caveats, but there’s still a whole lot you can do with it. This is also good news for the currently-shipping Google Android handset, the HTC G1, which also lacks an FPU.

PDa 

Gunter Geiger is responsible for PDa, with help from lots of other folks. Now Hans is packaging all this stuff together to make it easier to run.

See it in Person; More Soon!

If you’re in the New York area, next week Hans is coming to Handmade Music to show off the work he’s doing. Check out the lineup on our new, evolving Handmade Music minisite:

http://handmademusic.noisepages.com/

That’s free, 7:30pm Thursday, May 21 in Brooklyn at 3rd Ward.

For fans of Android, I’ll be talking about development on Google’s own open source, Java-based mobile platform, which also runs the Linux kernel.

Android is itself getting ported to alternative platforms, again thanks to the magic of GNU/Linux and open source. Here’s just a small sampling:

Android Ports and Hacks Round-up

If Android also gives us native library access, it could become powerful for music. Even with just the 1.5 SDK, there’s a Java library for interactive music production. Both projects should cross-pollinate, though, because of the common Linux kernel between them.

If you’re not in the New York area, we’ll post details early next week about a live webstream. And we should have additional video after the event.

Hans and I are also working on getting Pd running on the BUG, which is both open-source software and hardware.

To round things out, here’s a video by Public Radio International’s Takeaway, showing how Hans is working with hackers doing other super-cool projects at Brooklyn’s NYC Resistor. It’s just one of many hacklabs sprouting all over the globe.

You may have heard about Pure Data (Pd), the open-source cousin to Max/MSP and a powerful tool for visual programming or “patching” music and multimedia. Pd has even appeared in the iPhone app RjDj and creating generative music for EA’s hit game Spore. But actually learning how to use the thing? Or learning some of the more advanced possible techniques in sound synthesis and processing? That’s another matter.

Johannes Kreidler writes to let us know about his new book for people wanting to learn Pd. It starts at the beginning and teaches you not only the ins and outs of the Pd environment, but all of the advanced music processing techniques, as well. (Given the similarity of Pd and Max/MSP, that should make this just about as useful for Max devotees, too.)

The book is available for reading free online, or in paperback format from Wolke Publishing House. It’s available in both English and German. Johannes writes:

This tutorial is designed for self-study, principally for composers. It begins with explanations of basic programming and acoustic principles then gradually builds up to the most advanced electronic music processing techniques. The book’s teaching approach is focused primarily on hearing, which we consider a faster and more enjoyable way to absorb new concepts than through abstract formulas.

The patches described are available for download.

He notes that because Pd is free and open source rather than commercial software, there isn’t a company behind it that can focus on documentation for new users. That’s been a common complaint about Pd, and this book does a lot to fill it — as well as a lot to fill the need for better documentation of sound techniques, as well, for users of any environment. Some of the juicy topics covered:

• Additive, subtractive synthesis
• Sampling
• Waveshaping, modulation synthesis
• Granular synthesis (something I try to eat a bowl of every day, seriously)
• Fourier analysis
• Sequencers
• Connecting to hardware, network transmission and OSC
• Basics of visuals

It’s a really elegantly-organized set of topics, and absolutely of interest to users of Max/MSP and other environments, as well. With this and a new SuperCollider book coming out this spring, we’re really getting some wonderful resources for learning greater ninja skills. Stay tuned, as I hope to create a forum for folks working on learning this stuff.

Resources

Book site, including downloadable patches and online reading:

http://www.pd-tutorial.com

Direct link to downloading all the patches as one zip (thanks, mic, in comments!):

http://www.kreidler-net.de/pd/patches/patches.zip

More info, including the paperback version:

http://www.wolke-verlag.de/musik_u_t/loadbang.html

http://www.buecher-zur-musik.de/assets/s2dmain.html?http://www.buecher-zur-musik.de/53108697370a2cb3f/5310869bc400a7a02.html

Author’s site:
www.kreidler-net.de

The authorship of the book was aided by a grant by the Music University of Freiburg / Germany.

Previous appearances by the author:

A song made from 70,2000 samples

The stock market declines, as a song

More Pd Books

bang | pure data Free, online

Creator Miller Puckette’s own The Theory and Technique of Electronic Music, free online in various formats and also in print

Miss the Clapper ads? Want to randomize your music sounds by clapping your hands? (You! Kore! I demand you randomize my player! Make it so!)

Guiliano Cantini, an enterprising Pd (Pure Data) patcher, has done that with a simple patch routed to Kore Player. The combination is free and works on just about any OS. Silly, perhaps, but then it also demonstrates some of the fun you can have with performance rigs.

Naturally, this patch could be easily ported to Max/MSP and any MIDI-receiving software, not just Kore, but I do like this combination. I’ve written up some more details on how you can get this rig going your own using the downloadable, free patch, for our Kore site. (To my knowledge, Reaktor doesn’t have exactly the same sort of transient detection possibilities, so I think Pd is the right choice here.)

Hand Claps Randomizing Kore Settings, with Pd [kore+CDM]

Thanks, Guiliano! Keep this stuff coming.

Previously in free Pd patching adventures:
How to Turn Theremin into MIDI, Free with Pd

Free and open source software is nothing on its own. Like any technology, it’s the users and the community around it that make it meaningful. Musical practice grows out of culture and community; so does music technology.

I’ve heard lots of people buzzing about Expo74, the Max/MSP/Jitter conference in April, and rightfully so – it’s the first major Max event of this kind, and the format looks very cool. But free and open source lovers also have upcoming events in both North and South America.

Pdcon is the third international convention of Pd users, following Austria 2004 and Montreal 2007. It’s like the Olympics of Pd, in other words. (Insert Michael Phelps joke of your choice here.) Brazil has already staged a national event on Pd, and have generally demonstrated themselves as being ridiculously cool and tech-and-art-savvy. They’re looking for more support for international travel, so anyone who can help with that, it’d help make this truly international and democratic.

The event is July 19-26 in Sao Paolo. There’s also still time to submit works; the deadline in March 15.

Pdcon09

For SuperCollider fans, there’s a combination of a workshop series in New York at Harvestworks and a big symposium at Wesleyan. Unlike Pd, SuperCollider began as commercial software. In my view, it’s the most modern and complete code-based language for sound.

Event highlights – at Harvestworks:

• Beginners’ intro (Saturday 4/4 day, repeating 4/6 evening): Nick Collins, Dan Stowell, and Jan Trützschler will get you started.
• Intermediate workshop and tips (4/5 day) with the same cast
• “Just-in-time” programming – synthesis and live coding with Powerbooks Unplugged (4/7 day, 4/7 evening)
• Full-day clinic with flexible topic (4/8 day)

Details on Harvestworks’ site (also pasted below)

Symposium at Wesleyan, 4/9-12:

• Launch of The SuperCollider Book, MIT Press
• Keynote by original SuperCollider creator James McCartney
• Talks, workshops, performances, installations

SuperCollider @ Wesleyan

The call for works is closed. But hey, anyone up for a little CDM party in either Middletown or New York? I think there needs to be a SuperCollider dance party.

Wesleyen also has a special place in my heart as a center of gamelan music; if we got really lucky, there could be some sort of SuperCollider Klenegan. (SuperKlenegan?)

Harvestworks workshop details:

SuperCollider workshops will be offered at Harvestworks in New York in early April, in the run up to the 2009 SuperCollider Symposium (see info about the symposium below) to be held at Wesleyan. This is a rare opportunity to learn from some of the SuperCollider developers themselves. SuperCollider is an incredible environment and programming language for music and audio. It provides an interpreted object-oriented language which functions as a network client to a state of the art, realtime sound synthesis server. SuperCollider was written by James McCartney over a period of many years, and is now an actively maintained and developed open source project. It is used by musicians, scientists, and artists working with sound and audiovisuals.

All workshops require attendees to bring their own laptops; tutors will assist with installation on OS X (10.4 or later recommended) and Windows as necessary (SC also runs on Linux but it’s assumed you’d have compiled and installed it yourself in advance of the workshop if you’re using that platform).

Location:
Harvestworks Digital Media Arts Center
596 Broadway, #602
New York, NY 10012
Subways: F V D B 6 Broadway/Lafayette, R W Prince, 6 Bleecker

The workshops being offered are:

1) Saturday 4th April: Beginners day (11am-6pm). A friendly introduction to SuperCollider for absolute beginners, aimed at artists and musicians. Aside from a little familiarity with the digital arts, no prerequisites, though some prior exposure to computer music (perhaps through Max/MSP or Csound) may be helpful. (led by Nick Collins, Dan Stowell, Jan Trützschler) $100

2) Sunday 5th April: Intermediate workshop day (11am-6pm). For those with some experience, but wanting to refresh and broaden their SC skills. Topics will include sound synthesis and analysis, interaction via GUI and controllers, generative and network music, SC programming tips and tricks and SC architecture. We will also be adaptable to participants needs, can take requests for topics, and have some general question and answer sessions. (led by Nick Collins, Dan Stowell, Jan Trützschler) $100

3) Monday 6th April evening (7-10pm). Beginner’s evening session. A friendly introduction to SuperCollider for absolute beginners, aimed at artists and musicians. Aside from a little familiarity with the digital arts, no prerequisites, though some prior exposure to computer music (perhaps through Max/MSP or Csound) may be helpful. (led by Nick Collins, Dan Stowell, Jan Trützschler)

4) Tuesday 7th April daytime (11-6): Abstract pressure cookers and virtual steam machines: Just in time programming in networks.
Not tweaking machines, but writing letters: Programs that program programs, machines that recombine structures. Replacing their parts, in effect writing their user manual at runtime. Instead of giving in to pressure to become virtuosos, we listen how the machines take the pressure Рfrom spooky action at a distance to new exploring logics of distributed noise music. A collective workshop for live coding, sound synthesis, randomness in order. (led by Powerbooks Unplugged: Alberto de Campo, Echo Ho, Hannes H̦lzl, Jan-Kees van Kampen, Julian Rohrhuber, Renate Wieser) $100

5) Tuesday 7th April evening (7-10pm). Compact version of Tuesday daytime session (led by Powerbooks Unplugged) $50

6) Wednesday 8th April daytime (11-6) SuperCollider Clinic. Flexible topic sessions, following participant needs, adaptable to all intermediate levels (beginners would find Saturday or Mon night helpful before this workshop). Developers will be on hand to answer questions, to present on special topics, and to demonstrate projects and works built with SC. (led by an all star cast of developers) $100.