There are times when something happens that reminds you why you make the sacrifices to do what you do. A real highlight of 2011 for me was Gwydion ap Dafydd appearing with the MeeBlip, our open source synthesizer, baked into a cookbook.

I knew Gwydion had gotten creative in making a housing for his MeeBlip kit, and I knew that it was a book. But then, he opened it up to reveal the MeeBlip’s controls popping out of a cookbook page, with I/O ports conveniently located on the side, and even the ability to remove the panel to get at the board. And then… the pig’s eye lit red to indicate MIDI messages and power, and I was floored.

Synth in a Book [Konkreet Labs, also here in Berlin]

I can share some good news from the MeeBlip project: we’re now shipping a US$39.95 MeeBlip micro kit, an ultra-compact variation of the MeeBlip. It’s in stock in Canada, in transit within 48 hours. I’m especially excited, because the MeeBlip micro is designed to allow MeeBlip users to surprise us. With pins for analog and digital input, you could connect any arbitrary number of controls in any layout. You could have one giant filter knob if you wanted, or turn it into a wearable project in a purse. Or you could just make a nice, little housing and control it via MIDI. (We now provide full MIDI control of all of the controls.) And we’re excited that it’s forty bucks, because it makes a kit highly accessible to hobbyists. A fully-assembled version will be available soon.

Meet the MeeBlip micro: Small, Hackable Project Synth, Shipping Now, $39.95

http://meeblip.noisepages.com/get-one/

We can’t wait to see what you do with it. We think the simplicity of the MeeBlip’s design, its low cost, and its straightforward MIDI operation could mean people will turn the micro into things we can’t yet imagine. (At least, that’s why we designed it that way!)

In 2012, we’ll again be offering MeeBlips in quantity that come with cases, and affordable MeeBlips (and now MeeBlip micros) that you can get pre-assembled, so the need to solder something together won’t keep your synth on a shelf. Now, with MIDI input in place, we’re ready to get back to MeeBlipping and playability. James Grahame has worked feverishly on the engineering of the current MeeBlip generation, and I look forward to us getting to share the work he did, and how he did it. He’s also been working on how to make the thing easier to manufacture and ship, so we’re ready to share that, too!

It’s also been fascinating to watch people use MIDI – and even iPads – to control the MeeBlip.

Gwydion’s MeeBlipBook (MeeBook?) made another surprise appearance (it sure as heck surprised me) in a teaser video for Lemur on the iPad. In case you missed it:

I had been playing the MeeBlip, when my keyboard or laptop weren’t handy, with the excellent Little MIDI Machine for iPad. I’m looking forward to playing with some other non-computer MIDI solutions, too, not just the iPad.

I’ve seen at least one Lemur template in the works, too; will link to those – and perhaps Pd patches and such – when they’re ready.

In the meantime, the fact that the MeeBlip is out in the world doing things and making sounds, and that we’re at last shipping them again, means I actually have a reason to be festive this holiday season. And, MeeBlip, what are you doing, New Year’s, New Year’s Eve?

meeblip.com

Something I always appreciated about classical music training was learning to appreciate the particulars of each instrument, whether or not you played them yourself. A French Horn, for instance, is not an instrument without challenges: everything from tuning to balancing dynamic range to how you look when you add and remove muting can be demanding. And in technology – whether acoustic instrumental or digital – every design is about tradeoffs. You very often can’t get one thing without giving up something else. So I stand by the questions I asked about iPad synths in general last week, particularly as I had Moog’s own, brilliant analog synths and effects as a point of comparison. My aim was not to dismiss the iPad or Animoog – I was quite serious in my praise for Animoog and I think I’ve been reasonably committed to ongoing, often enthusiastic iPad coverage since its launch. Instead, I wanted to begin a conversation about how these tools are used as instruments that includes real critical discussion.

And that’s what I think we got. Readers responded en masse, and amidst some heated discussion (some of it having more to do with whether I’d lost my mind than the particular merits of Animoog), I thought there were some compelling points. I heard from developers, too, on and off the record, and I suspect this will continue to lead to experimentation in mobile software. I also really enjoyed Marc Doty’s impassioned response, which I thought raised some equally worthwhile questions about soft synths on computers. Incidentally, I also heard from a lot of people who went out and bought Animoog because they saw the story on CDM.

In the meantime, hordes of synth lovers have descended on Moog’s Animoog, making it very likely the most successful virtual iPad synth launch yet, at least in the traditional synthesizer mold.

Learning Animoog: The best of these videos is at top, a video tutorial as many readers had requested. Tip of the hat to Synthtopia here for following up on this issue. The video tutorial makes it really clear how to navigate Animoog’s deep and powerful synth interface. See also the official Moog tour at second from top for a speedier walkthrough.

Working out how to play it: Other videos investigate performance. One common theme with Animoog, and iOS apps in general, is whether you’ll focus primarily on the touch interface or external control hardware. Animoog applies a unique control solution to the touch UI, and one that many readers seem to feel is very effective. This gives you two principal advantages of the iPad as a tablet: you get the novel multi-touch controller, which allows gestures that something like a MIDI keyboard wouldn’t, and you retain the device’s superior mobility.

Mark Jenkins’ extensive video review really does the best job, I think, of examining the Animoog on its own terms, as a standalone iPad synth, using the multi-touch interface. I couldn’t possibly have topped the depth of this video review; kudos to Mark.

On the other hand, that won’t stop people from experimenting with adding an external interface. As our friend and MeeBlip co-creator James Grahame put it, the tactile experience of the iPad is the same as running your finger along a bathroom mirror. Instruments have frets and keys for a reason; tactile feedback allows you to play them without looking directly at them. So, I think it’s an advantage that iOS’ MIDI input hardware support at least gives you a choice. You still get a software instrument that runs on an instant-on tablet rather than buried in menus on a computer. And as readers point out, it’s affordable, though I’d say the cost of Animoog isn’t exactly “$1″ — you do have to buy that iPad and its dongles and keep it running, just as a computer requires care and feeding. Even if you only ever ran Animoog on your iPad, though, you’d be at the cost of a lot of low-end synths that are far less interesting in the hardware domain.

Geert Bevin has been talking to CDM behind the scenes – more on the Eigenharp soon — and I think has some real insights into comparing the iPad’s input and an external input. Like me, he has some good things to say about Animoog’s solution; he just suggests that you can have even more fun with an additional controller. A MIDI keyboard might well be disappointing, so enter the more-exotic Eigenharp. He also uses the Alesis iODock for better I/O capabilities; at least one reader via Twitter complained that the Animoog wasn’t “professional” because of the iPad’s poor built-in minijack. So, what you get in this rig is definitely not a “pure” iPad experience – you’re adding some weight and additional devices. But it might be one that you really enjoy, and that still gets you away from your MacBook for a bit.

This video gives a brief overview of the Animoog’s features and also shows how expressive it is when played with an Eigenharp Pico over MIDI using poly-pressure.

The Eigenharp and Animoog seems like a match made in heaven since the Eigenharp is able to send three independent detailed per-note performance data streams and the Animoog is able to react to this on a per-note level. Also, the visualization of the sound on the Animoog is marvelous, it gives a great representation of what your sound is doing.

The iPad is hooked up to my MacBook Pro using USB MIDI from the Alesis iODock, the Eigenharp Pico is also hooked up to the laptop and sends MIDI from the EigenD application to the ‘dock’ MIDI port. This uses a small MIDI-only Eigenharp Pico setup that loads very quickly and provides 16 MIDI playing keys with poly-pressure and three independent data streams for each key (pressure, left/right, up/down), as well as two 3D controller keys that are somewhat similar to little joysticks and are sending each three independent streams of MIDI CC data also.

The sound: A video compares audio fidelity of Animoog to the “real” thing — analog hardware. A number of commenters also noted that Animoog most likely uses sampled wavetables as its oscillator sources rather than modeling, but that approach can indeed yield good sounds. I’m not terribly surprised by the success of the Animoog in standing up to these other instruments; years of experience in soft synths suggests that you can get good results from virtual instruments. In fact, I remain more interested in what people actually do musically, and what about an instrument makes them happy more than splitting hairs about audio fidelity. If this video helps liberate you to go play with Animoog, have at it!

Synthesis, Still the Frontier: One closing thought: part of what interests me about synthesizers is that, even with a huge volume of music made with them and some generally-understood conventions, there are really no shared rules about how to play them. In acoustic instruments, there is at least a rough notion of certain folk traditions, or classical traditions, or “extended techniques” as something that stands apart from common practice. I think we’re still learning what the heck synths are.

Every aspect of the design of a synthesizer can therefore be fair game for consideration, including the spaghetti tangles of modular patch cords or the keyboard + mod wheel + pitch bend Minimoog-style arrangement. What synths are, how they might sound, and how we might play them and turn them into music remain open-ended. So, I hope that any criticism is not grounds for hand-wringing, as someone put it, but an added motivation to go and experiment and play. I know it is for me. Synth on.

Next up: we’re long overdue giving a look at the various iPad synths and how you might use them. Since Animoog isn’t the “first professional” synth, it’s time to line it up with some of its rivals. Unlike with a computer soft synth, though, you probably aren’t terribly concerned with outlay of cash; it may be a more “what are all of the synths you’d buy” question than comparing x, y, and z. If you have nominees you’d like to see explored, or ways in which you’d like to see us cover iOS (or anything else, for that matter), let us know. And remember, tell us what you really think — okay, I probably don’t have to say that. (ducks)

I took a look at Omnisphere 1.5, the synth so big it’ll make your head hurt, for Keyboard in a story out now (and readable now). As I begin the story:

Seeing its six DVDs of sound content, you might be tempted to duct-tape a key down and let Omnisphere finish your film scoring gig. While the director would probably love the results, you’d be missing out on the real fun.

In other words, what I discovered in that review was that Omnisphere, particularly with additions in the new 1.5 update, is a powerful creative sound design tool, not just a preset machine. The highlights:

• Granular section, pictured, made nicer with the ability to combine with glide and intelligent parameter control design
• Harmonia, which allows you to control each harmonic component of a sound independently using individual oscillator and synth controls
Waveshaper, which can not only add bit-crush-style effects, but work its magic on each element, polyphonically
• Individual independent arpeggiator, plus MIDI file drag-and-drop
• An Orb for exploring sonic capabilities – we’ve seen these sort of X/Y controllers before, but here you can even dynamically assign parameters in realtime, and add features like inertia and gesture recording
• iPad control via a really wonderful controller app

Being able to navigate multiple sonic parameters in real-time with touch, and combining sound-bending, far-reaching sonic tools like Harmonia and the granular features means you can really take sounds far from their original source – and sync them to tempo, if you like, with those MIDI and arp features. I need to pick up the whole tool again after the review and see what new sounds I can make; if there are any other users who wish to share, I’d love to hear what you’re making, as the possibility is really deep.

And yes, they now have done a dubstep bass tutorial, so everybody playing at home should take a shot.

Read the full, detailed review at Keyboard Magazine:

Spectrasonics Omnisphere 1.5 [Review by me for Keyboard]

How does it all work? Here are some relevant videos:

Cakewalk’s Z3TA+ has long been a favorite virtual analog / waveshaping soft synth, so much so that it consistently hits top 10 lists of software classics, even as it’s been (in past, at least) a Windows-only offering. Years, later, though, it’s most definitely due for an update. Cakewalk has released a video of what’s in store this week, with a redesigned UI, new effects, deeper editing options (which, incidentally, had been my disappointment with the first generation), and improved sound quality.

Highlights:

• New sound content, many from original Z3TA+ sound designers
• New waveshaping functionality
• New filter types (check out the “parallel/dual” routing visible in the video)
• Enhanced effects routing, with drag-and-drop support
• Graphical arpeggiator

Visible in the video, “time morph”, having something to do with wave morphing, is looking very interesting.

Correction: Cakewalk confirms this will remain Windows-only.

The soft synth market is a crowded one, but I like the straightforward look of the design here, and the emphasis on waveshaping and time modulation. CDM should get a chance to look at this very soon, so let us know if you have questions.

Sampler? Synth? Workstation? Or just big bucket of sound? There are some impressive rabbit holes for sound designers out there, and Steinberg’s offering just got a big refresh.

While looking at the latest flagship from a music hardware giant (Roland’s Jupiter-80), it’s revealing to compare the software side of the fence. Computer software instruments may not be directly equivalent to all-in-one keyboards, but they do each embody the latest thinking in how to build expressive instruments and new sounds. German maker Steinberg is at home at this week’s giant Messe trade show, and they’ve taken the wraps off the upcoming landmark release of their own flagship synthesizer sampler workstation. It does … a lot.

HALion is really two instruments combined, both a virtual analog synthesizer and a sampler and sample playback workstation. The new version has dockable, movable, and resizable windows, function tabs, and screen sets – UI features generally associated with hosts, but necessary here to navigate HALion’s complex interface. There’s even a full-blown mixer desk inside.

The big change, though, is an expected one, bringing HALion in line with Steinberg’s latest ideas on what to do with VST plug-ins and sequencing. I looked at these features in my preview of Cubase 6′s note-by-note expression editing and VST 3.5. New features for adding expression to individual musical notes and sequences require updates to the associated plug-in software and sound content, so that’s where HALion comes in. Put the two together, and you have a better way of coupling stored sequence information with musical-style expression, whether modeling real instruments or storing transformations of sound parameters with synth sounds. The idea is to give sequenced music the same sorts of information about how sounds change across a note that a musical score might.

With or without those features, HALion 4 is full of sound design tools:

• A mixing engine with unlimited buses per program and layer and free routing – think DAW-like mixing inside each sound patch. Then route those to 32 stereo output channels or 6-channel surround. (Ow! My head!)
• Some 44 effect processors – this is before you drop HALion inside a DAW and add effects – including convolution reverbs, studio EQs, rotary cabinet emulation, morphing filters.
• Internal phrase arpeggiator.
• A new version of MegaTrig, which allows you to create series of conditions for triggers – basically, a graphical interface in place of the textual scripting in tools like rival sampler Kontakt.
• “Quick Controls” for mapping parameters to macro knobs, as we’ve seen in … well, many places. Your brain can keep track of 8 things more easily than it can 80.
• 15 GB of sound content.
• 32-bit and 64-bit versions for both Windows 7 and Mac OS X 10.6.

More images (click any of these for larger versions), all courtesy Steinberg:

And all of this costs you EUR349/GBP295, including VAT. US$329.99 retail in the US. (It’s cheaper because we’re less tax-y, folks.)

And that’s, really, kind of ridiculously cheap for a synth, a sampler, a mixer, a sound design toolset, and gigs of sounds, if you think about it. Lots more HALion here:
http://www.steinberg.net/en/products/vst/preview_halion_4.htm

Updated: Here’s a photo of MegaTrig – think Kontakt’s KSP scripting environment as a GUI. Which is more powerful? We’ll find out when HALion ships.

Love patching. Hate running out of patch cords.

For all the quantity and inventiveness of iOS music-making software, only a few titles have become contenders as must-have apps. KORG’s iElectribe often tops those lists. What makes the iMS-20 especially interesting news is that it may have a bit of an edge even on hardware. Touch is a natural interface for patching sounds with virtual patch cords. We got to see a small taste of that with the stylus-driven, MS-20 inspired Korg DS-10 for Nintendo DS. With the iMS-20 for iPad, you can take advantage of the tablets far more-sophisticated sonic and UI capabilities. And you never have to run out of patch cords.

The iMS-20 is as much descended from the Nintendo DS title as it is the original Korg MS-20 analog synth. Like the DS cart, the iMS-20 combines KAOSS Pad-style X/Y control, and a “studio”-style rig with synth, drum machine, mixer, and sequencer, plus patch cord-equipped sound design.

• 16-step “analog” sequencer
• Claims to recreate the full MS-20 analog synth (hmmm… okay, who has the original?)
• MS-20 mono synth, six-part drum machine, mixer
• Kaoss Pad X/Y control. (Analog synth returns, coupled with a touchpad – sounds familiar.)
• Share songs on SoundCloud. (very cool – although DropBox might be more convenient for adding those sounds to your computer DAW.)

The other thing that’s interesting about KORG is, alongside the likes of IK Multimedia, they’re quietly working to make iOS apps worth a little more. US$15.99 is the intro price, with the final price of $32.99 after January 31, 2011. At the same time, you get the sense that the software is something you could spend a lot of time with. It’s definitely not a throwaway. Whether that answers critics or not is another matter; overhead on Facebook: “f*** ipad – avoid this consumption madness! the more tools people get – the weaker music they produce! music is in minds – not in tools!!!!!!”

(To me, that suggests you should learn the banjo, which I have to admit, is pretty awesome.)

I’m last with this news (I was busy … you’ll understand), but that means I get to say this – both the iTunes store link and the KORG page are actually live now!

KORG iMS-20 @ iTunes
http://www.korg.com/ims20 (now live — really)

Here’s how on-the-ball those iPad users are, though: there are already not one but two hands-on videos, plus the sound samples (embedded below) from KORG by way of SoundCloud.

Takes elsewhere:
“Let’s hope the knobs and connectors are as fun and easy to use as on the iElectribe.” Wire to the Ear
Synthtopia

Videos and sounds from DE.BUG, phono1337, and DETUNE/KORG:

Gain by Denkitribe

KAMAITACHI by mryat

No Compromises by iNALOG

Eyeshut by KORG

More details from KORG, via their just-released press release.

Ever since the launch of the MS-20 in 1978, this distinctive monophonic synthesizer has enjoyed unbroken popularity for its thick and solid sound, aggressive analog filters and inexhaustible potential for creative patching. Using Korg’s proprietary CMT (Component Modeling Technology) the iMS-20 completely replicates every aspect of the legendary MS-20: the two Voltage Controlled Oscillators, Voltage Controlled Filters, two dynamic Envelope Generators and a Voltage Controlled Amplifier. iMS-20 also features high-pass/low-pass self-oscillating filters with the same unique distortion elements that made these filters popular back in their day, and still coveted today.

The Korg SQ-10, also introduced in the late 1970s, is effectively recreated for the iMS-20 app. Featuring 16 steps, this analog sequencer can produce either a series of pitches or create a cyclic pattern of control changes to the volume, panning, filter brightness and other synthesizer parameters. The iMS-20 version also includes new improvements not found on the original, such as easy control of notes, volume, pan, or synth/effect parameters. All of the SQ-10’s classic and unique functionality, such as three channels of voltage control and six types of sequence modes, is also included.

The iMS-20 also features a six-part drum machine. By simply pressing the step buttons, drum parts can be quickly created, with each hit having independent control of pitch and gate time. By using the seven-channel mixer, complete with several Insert effects, users can bring together the MS-20 and drum machine components to create full musical phrases.

In addition to being a complete electronic music production studio, the iMS-20 can function as a dynamic performance instrument as well. It is equipped with dual Kaoss pad control surfaces – one for note creation as made famous by Korg’s KAOSSILATOR, and one for manipulating parameter values in real-time, as found on Korg’s KAOSS series of effects processors.

Users can share their creativity via the SoundCloud integration feature. SoundCloud provides a way to publish songs or to collaborate on new music with friends anywhere in the world. Audio data exported by the iMS-20 app can be quickly published and shared, and users can access the SoundCloud server right from within iMS-20.

I still want a real MS-20, but between the Monotron and this, it’s nice to see KORG partying like it’s 1978. (Good vintage.)

Update: if you do want the iElectribe, it’s now just US$9.99, says MatrixSynth.

UK-based Novation are known these days mainly for making MIDI controller keyboards for computers, but the company first made its name in synths. Novation’s virtual analog synths were beloved for their distinctive sound, accessibility – both in price and ease, and compact design. And some of that legacy, frankly, has been missing in recent years, even with the fun Xio keyboard.

UltraNova could be the hardware that brings back Novation’s soul. And the timing couldn’t be better, with a rekindled love for hardware synths even among dedicated computer users.

As the name implies, the UltraNova recalls Novation’s best-loved synths, the SuperNova and SuperNova II. Novation have brought back some of the spirit of the previous synths quite literally, with the design work of Nick Bookman (more on that soon). They’ve hit an absurd price point for what they’re promising, with a street anticipated around $699 here in the US. The UltraNova combines the kinds of tasty features people like – single part virtual analog synth with wavetables, effects, bus-powered USB and USB audio, software editor, and built-in arpeggiator and vocoder. But it also has a novel, touch-sensitive set of rotaries for editing.

And while there’s plenty of competition in the entry-level synth category, from boutique offerings from Dave Smith to big-name entries from Korg (MicroKORG II) and Roland (GAIA SH-01), I think the UltraNova’s feature set could make it a major competitive force.

Below, check out a high-resolution (1920px) gallery of the new instrument. Spec breakdown and promo video after the jump.

The specs that look most compelling:

• Good-quality keybed: The UltraNova uses a 37-key, Fatar-made keybed. I think Fatar makes some of the best beds out there. (I need to check with them on which variety this is, but I believe it’s one of the semi-weighted synth actions.) And it has channel aftertouch.
• Wavetables plus subtractive synthesis: Virtual analog, as expected, but there’s a bonus – 36 wavetables, for additional sound design possibilities, which should appeal in particular to Novation’s dance music crowd. (18 voices / 14 filters / 5 effects slots.)
• FX: distortion, chorus/phaser, delay, reverb, and gator plus compression and EQ.
• USB, with bus power. Not only is there USB MIDI and two-in, four-out USB audio, but the entire keyboard runs (quite amazingly, I think) off bus power – no dongle needed. It’s also class-compliant, Linux users / people who hate drivers.
• Sensible I/O: Balanced line-level and stereo S/PDIF outputs, plus MIDI In, Out and Thru ports. Look for that on similarly-priced synths — and good luck.
• Vocoder and other goodies. Finally, someone other than KORG figures out you like gooseneck mics and vocoders. Other extras: an arpeggiator, three LFOs, six envelopes, a noise source, two ring modulators, three oscillators with density and detune controls…
• Those touchable rotary controllers. Perhaps learning from the kinds of controls available on MIDI controllers, editing is available via eight, instant-access “touch and tweak” controls. In a unique move, these rubber encoders are also touch-sensitive, which effectively makes them buttons as well as encoders. There’s also a big knob for fine control of any parameter. It’s a clever arrangement, and I’m eager to try it.
• Free software editor. If you like to be able to manage patch editing onscreen and not just on the front panel, free Mac/Windows editing software is available as an aid. It’s not necessary, but it does make use of your screen (as seen running on the MacBook Pro above).

Pricing:
UK: RRP £587.49. Estimated street price £499.99.
USA: SRP: $849.99. At dealers for $699.99.
DE: UPE €679.99. EST €599.99.

I must say, this is the most I’ve been excited by a Novation product in a long time. Stay tuned. The UltraNova ships in Q4.

Novation promo video below (and yes, this is some of the folks at Novation trying to show it off)!

The headline says it all. Oh, sure, as if it isn’t enough to recreate the legendary EMS Synthi synth – one of the most creative vintage analog instruments ever devised – this artist takes it one step further, controlling parameters with a piece of colored paper tracked by a webcam. It’s an achievement of sheer patching genius, taken one step wackier.

The patch is entitled Le Synthé V5; the creator is Pierre Couprie. And yes, you can download this for Windows and Mac – even Mac PowerPC. Cost: US$15/EUR10, which is, I must say, insanely cheap.

Video in French with English subtitles.

Pierre Couprie | Le Synthé V5 [Description, download]

Thanks to Lee Ray for sending this in.

Online retailer audioMIDI has begun a new sale I really love called the “No Brainer” series. They offer some carefully-selected instruments and effects for prices like $5, $15, or $20. These aren’t clearance bin deals, either; they’re some of the best plug-ins on the market, in either full versions or slightly stripped-down (but fully-functional) editions. audioMIDI has exclusively released details of the deals they’ll offer Monday to CDM, and among them is the wonderful XILS 3 – a virtual instrument with the matrix editing of the classic EMS synthesizers.

Expiring

First, you have until midnight 11/30 to grab AAS’ fantastic modeled virtual analog, Ultra Analog, for $15 (instead of around $200). Ableton has their own version of this instrument called Analog, but if you’re using other hosts (or you don’t have Live Suite and want to save some cash), this is a great option.

AAS Ultra Analog VA-1 for $15

Ongoing

The Overloud Breverb is a multi-function reverb plug, normally going for $369. The audioMIDI edition comes with room and plate reverbs – nicely matching the free TC Electronic hall reverb we got last week – for five bucks.

Breverb audioMIDI Edition

Rhetorical question: could a great Breverb inspire a profound Bromance?

Monday

It’s actually the upcoming deals that go live Monday that have me especially enthusiastic.

Blue Analog Trackbox from NOMAD Factory is a tube-emulating multi-effects unit with loads of timbral options and modules for gate/expander, compressor, and EQ. After a quick play-round, it seems to sound great. It’s normally US$189, but from Monday, it’ll be $15 through AudioMIDI. Expires December 6. 

Trackbox offer link (will go live Monday, won’t work any earlier)

XILS 3 is a virtual modular with matrix editing. The creators don’t mention it by name, but the hardware in question is the legendary VCS 3 – a brilliant analog synth from EMS. The EMS synths are overshadowed somewhat here in the States by the likes of Moog; if you don’t know the VCS 3, go look it up.

Matrices were a great idea back in the day on hardware, and they remain a great idea now. Lovers of the EMS or synth sounds in general won’t want to miss this, especially with sequencer and synth modules and the ability to use the XILS 3 as an audio processor on live input. You’ll get a slightly stripped-down version, but at a steep discount – US$20. Expires end of December.

XILS 3 offer link (will go live Monday, won’t work any earlier)

I’m playing around with all of these, so if I have tips to share, I will. Let us know if you bite on any of these offers.

The iPhone has become an almost absurdly-popular platform for music apps this year, even given more capable, more plentiful PCs. But to those who don’t yet “get” the appeal, talk to a mobile music addict: having the ability to be creatively musically in corners of time that would otherwise go unused, like a cramped bus ride, can be a beautiful thing. (Now, you start talking about taking away my PC/Mac experience, and I will start screaming in agony – but that’s a topic for a separate post.) The question is, what form should that app take? Today, I’ve got an iPhone round-up going as I clear out my news inbox, but that thread lies beneath all the stories…

I’m working on putting together a collection of truly productive, non-gimmicky/non-toy music apps now that the platform is maturing. But two apps released this week I think deserve special mention, and mention together – partly because of the different angle they take.

They’re both essentially handheld grooveboxes. They’re both relatively powerful, bringing desktop-style production to the platform. They’re both good options, and at this price, you might go buy both. But as I go off to test these two apps, I’m already struck by the contrast between the two.

One is the kind of app that we’re seeing a whole lot of on the iPhone, just as we once saw it in me-too apps on desktop computers. It assumes that the way to reach more people is to give them a whole bunch of canned loops that already sound like the styles they might want to play, and assume they’ll be pretty limited in their ability to do much with those loops.

The other of the two apps eschews the obligatory audio loops for real synthesis, and strips out the usual “let’s try to look like hardware” interface for something a lot more minimal and (I think) touch device friendly. That’s a design lesson that might well be applied beyond the iPhone, too.

First, consider the looped audio approach.

From IK Multimedia, GrooveMaker is a real-time app for manipulating audio loops. Interestingly, IK brought it over from the Mac/PC software. There are some powerful features, real-time control over audio, WiFi upload to your computer. It’s all well and good, so far.

The problem is that GrooveMaker is yet another app that assumes the only way people can have fun is to start with a bunch of canned loops and genres. GrooveMaker comes with hundreds of loops in house, hip-hop, and club styles. But that’s it – there’s no way to really easily start a track from scratch. (Update: Note that I should say you can at least sequence from scratch, but only with the stock content – which would have made GrooveMaker bigger news on this platform were it not for the release of iDrum and BeatMaker first.)

Now, don’t get me wrong. I’m not anti-sample. It’s not my own working style because it just doesn’t inspire me, but that’s a personal feeling, and not one I’d impose on anyone else. In fact, some of my best friends (ahem) are capable of doing things with sampled loops that blow my mind. The problem I have is with lowest-common-denominator thinking. In fact, I think synthesized tracks, tracks that give you real control over the sound, are often more fun for beginners.

Take, for instance, Smule. As founder Ge Wang discussed with CDM, their Ocarina and Leaf Trombone app are aimed really at non-musicians. But because these instruments use synthesized sound, people are free to really play with them and make whatever noise with them they like, rather than getting stuck with canned sounds to “remix.”

Now, perhaps a future version of GrooveMaker will make it easier to bring in other audio. Even then, it’ll have a lot of catching up to do with Intua’s far more powerful BeatMaker having been on the market for some time and offering features like integration with noise.io’s soft synth. But let’s talk for a moment about the flexibility of synthesis.

More Funner, with Synths?

bleep!BOX takes a different approach. Now, there have already been some 808 and 909 emulations on the iPhone. But you really have to see this instrument in action. Creator David Wallin has done some interesting work to make lots of sound parameters accessible.

David writes us:

I wanted to drop you a line to let you know that my iPhone groove box app is finally approved and live in the app store. It features 10 drum/synth parts (808 / 909 emulations of snares, hihats, etc and 4x 2-Oscillator analog synth parts). All sounds are generated realtime and are highly tweakable – no samples are used.

Compare the results: with the canned loop, you get something that sounds good right away – though it also sound predictable. It then actually requires a fair amount of effort to make that sound your own, if you succeed at all.

Using synthesized sound, on the other hand, you initially get, well, nothing at all. But you can very quickly get to something you’ve created yourself, even if your skill level isn’t all that high.

That’s an oversimplification, of course, but I think it’s at least born out in the design philosophies here; bleep!BOX allows the user to be more constructive than passive. (Audio manipulation techniques are capable of some tricks all their own – especially when you get into time manipulation and granular resynthesis. But that’s just the means to the end. There’s a difference between synthesizing music and consuming – or even passively remixing – music.)

I’m looking forward to spending some time with bleep!BOX as a sketchpad for beats. I’ll be interested to see how it might evolve to allow easier integration with desktop music workflows.

But notice what you can do with synthesized sounds – you can actually play. I think this is part of what made the Korg DS-10 such a smash hit on the Nintendo DS, even given the DS’ extremely constrained audio fidelity. (The iPhone – and, incidentally, Sony’s PSP – fare much better.)

Whether you’re a beginner or advanced user, “play” and expression are really what it’s about. A kazoo, for instance, doesn’t have canned sounds. It doesn’t come with presets. It can, frankly, embarrass you. But it’s fun to play, because you can feel a certain amount of freedom with it.

Ironically, I think it actually requires a fairly advanced user to have that kind of freedom with pre-canned loops. Aiming at a “lowest common denominator” is too often disparaged, when it can really mean aiming at a large public.

But maybe the reason “lowest common denominator” gets a bad name is that more advanced tools are often more fun. I’d love to see more work done on synthesized sound that’s really fun to play with.

The choice is yours, naturally. The two instruments:

http://www.groovemaker.com/
http://www.bleepboxapp.com/

So, iPhone/iPod touch users – now that the novelty has worn off, have you found apps you continue to use over time?

And, since you do come to CDM for opinions, anyone care to disagree with my take (or nod approvingly)?