Reader Franz (Franz Keller, VJFranzK) has been blissfully happy with a Tenori-On-inspired application for Apple’s iPad, and he’s committed his enthusiasm to video. I love his presentation style, a bit like a cheery authoritative voice from a vintage newsreel. From his description:

Aurora by 4Pockets for iPhone, iPad etc. The newest amazing synth program to enter the iScene! 14 sparkling tracks of improvisational music briliance… a full on Tenori type experience for the great price of $10!

There appear to be some tradeoffs here in the transition to the iPad. One of the strong features of using the Tenori-On was the tactile feel of those buttons against your fingertips; the feedback and precision are lost here. It’s also nice to have MIDI connectors for controlling other, often (ahem) better-sounding equipment to the Tenori-On. But there are advantages, too. Having the keyboard at the bottom and context-sensitive menu options makes programming friendlier on the iPad, and that’s to say nothing of the ability to use the iPad for other things, at a price that’s less than Yamaha’s hardware.

And, incidentally, it is very true that the iPad does multitouch better than any other widely-available device — though my big question now is, will others soon catch up? (If they do, we’ll be indebted to Apple’s developers for beginning to create usable design patterns via the iPad and iPhone.)

Thanks for the review, Franz! Now, cue the commenters complaining about the use of “Tenori-On” and “iPad” in this post. (Hmmm… if you can’t beat ‘em, join ‘em. I may have to write an automated script that posts additional made-up comments along the same lines.)

Émilie Simon is a fantastically-talented artist with a unique background: her work now falls clearly into pop territory, but her lineage is just as much experimental and classical. Conservatory training gave way to time at the avant garde nerve center of Paris, IRCAM. IRCAM’s Director, Cyrille Brissot, still plays alongside her – more on his wild invention in a moment.

Simon has been a big hit in France; you may know her composition from the soundtrack to March of the Penguins. But now, she’s a New Yorker, which brings us to the topic of the headline. The singer-pianist-artist released a new record last fall, The Big Machine. I do miss some of the quirkier style on her older records, and I rather liked the singing in French (I’m sure NYC has its share of Francophones). The new record tends in a Kate Bush-influenced direction which has divided some fans. They are just as well-crafted, however, and Simon’s writing and performance is inventive as always. It’s a new direction, but it’s worth giving it some time. I think you’ll like the results, and it shows Simon’s continued versatility and artistry.

One thing with which you really can’t argue is Simon’s exceptional musicianship. I love her new series, which has her releasing studio sessions shot in her Bedford Avenue apartment. In the edition at top, the work begins with the expected ballad form, but takes a very different direction. Commanding sounds and effects from a militaristic, future-punk controller on her arm, Simon adds electronic textures, aided by a Yamaha Tenori-On and Doepfer Dark Energy synth. The wrist-strapped controller is Cyrille Brissot’s invention, aptly named “The Brissot.” Somewhere, Thomas Dolby is very jealous, indeed. (They would match his goggles.) Episode two, released yesterday, is after the jump.

Ed.: Resident hardware hacker and sound artist Michael Una chatted via phone with the creator of ThinkGeek’s $50 Bliptronic instrument. We’ve already got some early tips on how you might hack this design into custom creations, which could make the Bliptronic 5000 an ideal hardware hacker choice. (And, because it is cheap, you may be a little more adventurous with the thing.) Designer Ty Liotta also talks about prototyping, the design process, and reveals an entirely toggle-switch prototype that I wish they had actually shipped. It’s a must-read for hardware geeks. -PK

I just spoke to Ty Liotta, the head of ThinkGeek’s custom product group. They’re responsible for the playable guitar/drum kit t-shirts, and a number of other fun geeky things.

The development team started working on a grid-button synth back in April, inspired by the Monome and the Tenori-on. Their goal was to make it as low-cost as possible while retaining a sense of fun and playability. Cost was a big factor in their design process; the Thinkgeek team is well aware of the exisiting devices in the marketplace and didn’t want to directly compete with the APC or the Launchpad’s price points.

The first prototype was inspired by the grid layout but had a set of 64 switches instead of membrane buttons and LEDs:

You know the grid craze is in full steam once ThinkGeek offers a $50 clone. The Bliptronic 5000 is somewhere between the Tenori-On and monome. It certainly looks like the monome, with an 8-by-8 grid of light-up pads in a square form factor. But like the Tenori-On, it has built-in sounds and speaker, it’s made of aluminum, and it runs on batteries. The Bliptronic also simplifies its user interface. Its 8×8 pads are simply an eight-note octave with eight steps. There’s a play button, and knobs for tempo and tone selector. There’s also the ability to link up devices and play them together – bonus points for that, as aside from basic MIDI function, the Tenori-On as shipped by Yamaha failed to deliver some of the original collaborative features promised by designer Toshio Iwai’s original proposal.

The “old-skool” sounds are pretty lo-fi-sounding from what I can tell, but this unit does have a certain charm. If you’ve got a monome and a Tenori-On and a Launchpad in every room, you can amuse your friends by keeping one of these in the lavatory. And who knows, someone might pick this thing up and do something terrific with it. (I sure can’t argue with the price.)

Mostly what it reminds me is that it would be really fantastic to pair a synth chip directly with the monome, for a standalone monome synth, perhaps even an Arduino-programmable model (particularly since the monome already speaks serial).

Updated: Wait, hold the presses — this isn’t the work of some anonymous creator; Ty Liotta is doing the gadget design. That means this could be an eminently hackable little device, which is a good thing. Stay tuned.

Thanks to Louis Muloka and everyone else who sent this in.

The specs from ThinkGeek:

The Tenori-On, the grid-based musical instrument with whimsical sequenced lights created by Toshio Iwai, has been gradually becoming more affordable. The original model, complete with its rounded metal case, has already been cut to US$999 here in North America. Now, Yamaha announces that it is making an “Orange” version which also slices costs. A plastic case stands in for the metal one, the lights are orange instead of white, and lights appear only on one side. Yamaha says this is for “home use” — that is, you don’t need the device lighting up on the other side if no one’s watching you. Unfortunately, by removing this novelty and eliminating the Tenori-On’s fantastic battery power option, I suspect Yamaha may also be slicing out some of the appeal of the device.

In the UK, MusicRadar reports the device will ship at £649. Here in the US, I’ve confirmed with distributor Keyfax that the price will be $699. Now, unlike other recent grid rivals (Launchpad, APC40, Ohm64) and the monome, the Tenori-On is capable of making sound. But I’d be inclined to either spend the extra $400 and make it light up on both sides and use it in bed sans wires or skip the idea altogether. I’m curious to know if others feel the same way.

MusicRadar also gets the scoop from Yamaha in the UK that a firmware upgrade is due for the Tenori-On fixing its somewhat problematic MIDI sync:

We’re told that this will address a number of areas, including syncing of the Tenori-on to DAWs and also the MIDI sync implementation.

Yamaha announces ‘more affordable’ Tenori-on Orange [MusicRadar]
Tenori-On product page [Yamaha worldwide]
Tenori-On USA [Keyfax]

It’s worth poking around the store if you do own a Tenori-On. Those brave early adopters can now make the instrument a pretty practical addition to a live set, with a nice case, stand, and (finally) stand mic stand adapter to feature it in your sets. And in another nod to the design, the Tenori-On recently entered the permanent collection of the Museum of Modern Art in New York.

In the meantime, I’m still curious to see if someone mashes up a synth engine and monome to make a computer-less monome.