It’s still anyone’s guess exactly what fruit parent technology maker Stantum may soon ship, but the JazzMutant Lemur touchscreen is getting a component update soon. Nat Lecaude points to a quiet MySpace post from JazzMutant with the details of a coming manufacturing change.

“…the next batch of Lemur will feature the latest generation of our multi-touch technology: better optical performances, higher precision, greater accuracy and responsiveness. It will be clearer and have brighter colors. We plan on launching the new Lemur in early October, and of course we will keep you updated as we get closer to launch date. We once again thank you for your patience, and look forward to sharing the excitement early October!”

It’s actually quite remarkable to me that JazzMutant remains alone in this market – and with Stantum focused on the mass market, that could be the case in the future, too. The issue is that doing multi-touch well still costs some money. There are basic implementations on computers that are cheaper, but that restricts you to a few computer models, because slapping multitouch overlays on displays remains pricey. So HP can get a few computers to the mass market, but not without cutting some corners and not even on that company’s full range. The iPhone has brilliant multi-touch control, but a mobile form factor makes this much easier.

I’ve got some videos demonstrating what’s possible with the Lemur coming soon, as well as some notes on how the software has evolved since I first saw it in its initial release. Even if you don’t want or can’t afford a Lemur, it’s a fascinating demonstration of interaction design and OSC, with lessons (inspiring and tough alike) for other interfaces.

Photo by Rainer Knobloch for CDM.

Touchscreens are often compared to the ground-breaking – if imaginary – designs of Star Trek: The Next Generation. But Brazilian Paulo Egidio Silva must be a real Trekker. His elaborate touchscreen panel configuration really looks like the LCARS
computer system simulated on the TV show.

Of course, that isn’t to say this isn’t a practical system. By making extensive use of the MIDI SDK for Cubase, the Dragon MIDI rig controls every element of a Cubase session, from mixing to routing to adjusting plug-in parameters. It actually has three elements:

1. A multi-screen touchscreen for selecting mix and send settings and changing routings
2. A conventional motorized control surface (the Yamaha 01V96) for mixing on real faders
3. A hybrid of screen and physical gear, by which plug-in instruments get both an interactive screen and physical encoders

If Geordi LaForge happens to be your mix engineer, you’ll be ready. Here’s my understanding of how it breaks down. (I couldn’t find additional documentation beyond the video, so Paulo, if you’re out there, we’d love to hear from you!)

Touchscreen Panel: 16-strip mixer, controlling up to 128 tracks. The idea is to use the motorized mixer for physical mixer control, but jump between and record-arm tracks, sends, and the like using the touchscreen.

Virtual patch points: An additional screen provides sends and buses and a virtual patch bay for connecting them.

Panning: A graphical display lets you select pan position – apparently stereo only for now, but surround would be an obvious application.

Windows, shortcuts, zoom, etc.: Button shortcuts along the side of the screen and zoom encoders let you easily navigate your set and zoom around.

Screen with actual physical controllers: Plug-in parameters are mapped to a screen that has physical controllers on it. You see the parameters and position on the screen, but you actually tweak a real encoder. Look about four minutes into the video — the effect is really striking.

Special Liquid Mix shortcuts: The appeal of Focusrite’s Liquid Mix is virtualizing beloved vintage gear. But these guys take it quite a few steps further, with shortcut screens decorated with photos of the real gear.

A big thanks to Primus Luta (via Twitter) for finding this!

As seen on the SOUND ON SOUND forums.

Side note: just to illustrate how incredible the fake computer displays on the 1980s Star Trek series were, the “touch displays” were originally just backlit Plexiglass. And I think that, in turn, illustrates the value of doing design in the physical world before the virtual one – if they hadn’t had to work as real-world lighting displays before being translated to virtual animations, they might not have been as distinctive. Michael Okuda, the LCARS designer, likely had no idea he would influence later thinking about how real, functional touchscreens could work.

Update: Interview, specs, photos on Paulo’s studio (translated from Portuguese)

Touchable, open-ended, modular sounds and music – it’s an appealing idea. I’d be remiss in talking this week about touch apps if I didn’t mention the free/cheap Windows tool Usine, which has recently made the jump to a touchscreen-optimized version. (Big thanks to alby75 in comments on our Kore minisite for the nod.)

Usine is a modular, patchable music and sound app that runs as a portable, USB-key-ready standalone app and VST plug-in. A free version is limited in I/O and track-count, with a pro version EUR50. The 4.0 “stable beta” offers touchscreen features, with management for interfaces, custom layouts, and other features that make it work well with touchscreens. This is generally single-touch at this point, but as hardware evolves, I imagine the software will, as well.

Other highlights of Usine:

• Sound analysis for reacting to pitch, peaks, and dynamics in your patches
• Scripting support
• Custom modules via C++ and an open API
• OpenSoundControl support
• Virtual mixing table, modular mixing mode, unlimited internal audio
• SMPTE, MIDI, MTC, MMC sync and control
• Patch organization by track and on a timeline, so you can sequence your sounds and presets
• VST hosting, VST parameter modification, MIDI automation
• Built-in patches: Auto Pan, Bass Liner, Bit Crusher, Break Beat Maker, Compressor, Expander, Filter Bank, Synchronized Filter, Forward & Reverse, Freezor, Kaos Player, Limiter, Master meter, Metronome, Phaser, Random Delay, Resonnator, Step filter, Stereo enhancer, Midi Clock synchro.
• Direct-to-disk recording

And that really just scratches the surface. Having recording and audio analysis built in, plus extensive options for easy selection of presets and sequencing presets and sound modulation is really nice, I have to admit. (Developers of other modular environments, you listening?)

I’m embarrassed not to have spent any time with Usine; hope to correct that soon. (I know what you’re saying, because it’s what I’m saying … too … many … tools …)

More on Usine at Sensomusic’s site:

Usine Product Page