Compare the complex model of what a computer can use to control sound and musical pattern in real-time to the visualization. You see knobs, you see faders that resemble mixers, you see grids, you see – bizarrely – representations of old piano rolls. The accumulated ephemera of old hardware, while useful, can be quickly overwhelmed by a complex musical creation, or visually can fail to show the musical ideas that form a larger piece. You can employ notation, derived originally from instructions for plainsong chant and scrawled for individual musicians – and quickly discover how inadequate it is for the language of sound shaping in the computer.

Or, you can enter a wild, three-dimensional world of exploded geometries, navigated with hand gestures.

Welcome to the sci fi-made-real universe of Portland-based Christian Bannister’s subcycle. Combining sophisticated, beautiful visualizations, elegant mode shifts that move from timbre to musical pattern, and two-dimensional and three-dimensional interactions, it’s a complete visualization and interface for live re-composition. A hand gesture can step from one musical section to another, or copy a pattern. Some familiar idioms are here: the grid of notes, a la piano roll, and the light-up array of buttons of the monome. But other ideas are exploded into spatial geometry, so that you can fly through a sound or make a sweeping rectangle or circle represent a filter.

Ingredients, coupling free and open source software with familiar, musician-friendly tools:

• Two projectors
• A monome
• Processing, the elegant and artist-savvy free software for visual code
• Ableton Live and Cycling ’74′s Max for Live, acting as the interactive glue with the sound world
• Drumaxx, Image-Line’s tasty physical-modeled drum synth
• Native Instruments Battery, the sampled drum engine
• Eclipse, the free IDE, for Java coding in this case
• Community Core Vision and reacTIVision (based on our previous info, at least), free and open source community-based projects for making the interfaces you see in movies happen in real life.

Another terrific video, which gets into generating a pattern:

Now, I could say more, but perhaps it’s best to watch the videos. Normally, when you see a demo video with 10 or 11 minutes on the timeline, you might tune out. Here, I predict you’ll be too busy trying to get your jaw off the floor to skip ahead in the timeline.

At the same time, to me this kind of visualization of music opens a very, very wide door to new audiovisual exploration. Christian’s eye-popping work is the result of countless decisions – which visualization to use, which sound to use, which interaction to devise, which combination of interfaces, of instruments – and, most importantly, what kind of music. Any one of those decisions represents a branch that could lead elsewhere. If I’m right – and I dearly hope I am – we’re seeing the first future echoes of a vast, expanding audiovisual universe yet unseen.

Previously:
Subcycle: Multitouch Sound Crunching with Gestures, 3D Waveforms

And lots more info on the blog for the project:
http://www.subcycle.org/

Let’s get straight to it: Ozone has already established itself as a do-everything mastering tool. It’s a suite of interconnected modules handling frequency and dynamics, designed to work together in an integrated interface. It does so much, in fact, that it’s hard for an upgrade to do more, but Ozone 5 promises new sound and visual feedback that could further entrench this popular tool.

And that could explain how Ozone 5 stole the Audio Engineering Society trade show in New York. AES is a flurry of knobs, dials, and faders, but some of the major buzz we heard was just this single upgrade to the software. (CDM’s Marsha Vdovin was out on the floor, and the word “Ozone” kept cropping up.)

Ozone is eminently visual software, so a lot of what’s new you can glean just by looking through the screenshots. But there are sound improvements, as well, both in the standard Ozone and the spendier “Advanced” edition.

What’s new:

• Updated modules. iZotope says they’ve “refined” their DSP algorithms. (Let’s see, carry the one…) The idea is, existing modules should sound better. There’s a detailed list on the iZotope site – aside from more subtle changes, you’ll find very specific adjustments to how parameters are controlled and how they impact the sound. To give one example, there’s a …
• New Limiter. The latest version of iZotope’s “psychoacoustics-based” limiter in the Advanced edition has a new stereo link control for handling left and right separately or together, and new intelligent transient handling algorithms, among other improvements.
• Enhanced EQ. Analog-matching EQ models analog shelf modes and frequency response, matching is easier than before, as with other modules, you can use left/right separately, and now zoom and display stereo info in your spectrum. There’s also new variable-phase functionality.
• New Reverb. Yes, sometimes you use reverb when mastering. (A little light reverb can do wonders.) A new modeled reverb algorithm adds new models and spaces and gives you unique early reflection control, as well as “cross-mix” for stereo imaging.
• New UI, workflow. I’ll let you just see what this looks like, but suffice to say parameters and labels are better-organized to be friendlier to advanced and beginning users alike. Past versions of Ozone were sometimes pretty-but-counterintuitive; this looks a bit clearer. Of course, you might not notice while dazzled by the…
• Slick visual feedback. In the standard version, metering has been enhanced. In the Advanced version, you get slick 2D and 3D plots of your sound spectrum for the Meter Bridge and Meter Taps modules. They look awesome, yes, but I also think these kind of “alien world mountainscape” views can help you better visualize what’s happening in a sound, so there is a practical use, too.

And, of course, all of this means you can easily wow clients when mastering by showing them visualizations that look like Geordi LaForge is studying abnormal quasar activity from the deck of the Enterprise. Just try to avoid opening up a cosmic string-related time wrinkle while mastering.

(And yes, when you’re all alone and no one is looking over your shoulder, you can do something useful with it.)

Pricing: US$249 (€195); US$999 (€799) Advanced.

Why is Advanced so expensive? Well, each module is also an independent plug-in you can use in your host. With that in mind, this starts to look like a better deal – some terrific reverb, EQ, and dynamics you can use anywhere. You also get the Meter Bridge and Meter Tap for analysis, fancier 2D and 3D spectrographs, and more advanced loudness meters. On the other hand, the basic version will also work with your host and gives you the sound-processing functionality minus all those more sophisticated meters you might need.

This month, there’s also steeply discounted intro pricing: US$599 for Advanced, US$199 for the standard edition. Expires December 1.

Ozone 5 was announced last month, but is now shipping. An OpenGL 2-capable video card is required for the 3D visualizations, but nearly all machines now provide that (including most integrated chipsets, too).

Ozone 5 Product Page @iZotope

For a look at what this tool can do, here’s our friend and experienced mastering and mix engineer Danny Wyatt, talking about how he works with limiting. The new UI and meters are actually a lot clearer than what you see in the video, and offer some nice, new functionality. I can tell you, Danny is a fully-converted Ozone lover, having worked with him in the studio as he mastered my own album. He’s got a big toolset of other stuff, but Ozone is very often what the real work comes down to, and — I think I can say this, Danny — he’ll be happy to evangelize the tool if you talk to him.

This isn’t a review, mind – in fact, my only significant reservation is that Ozone is so slick, it could distract from the reality that good mastering probably doesn’t need it. A great mastering engineer can do wonders with a fairly simple tool and their ear – no wild visualizations required. (“Great mastering engineer,” also known as, “not me.”) But that same person may well appreciate the level of precision iZotope, working with algorithms they’ve developed entirely in-house, can provide.

We want your feedback, as always. Ozone users – what do you think?

Users of rival products – what’s your all-in-one mastering tool of choice, and why?

Even from the birds-eye view of larger genres, the interrelations and ongoing transformation of music is dynamic, complex, and inter-connected. That’s the view in The Evolution of Western Dance Music, a map of musical styles in five-year chunks across the 19th and 20th Centuries, through Africa, Europe, the Americas, and Asia. The project is the work of London/Seattle/New York Web agency Distilled, pulling genre births from Bass Culture, Last Night A DJ Saved My Life,The All Music Guide to Electronica, and Wikipedia.

Having just edited a book entitled The Evolution of Electronic Dance Music, I find it extremely interesting to watch in this visualization the way in which European synth pop and Jamaican dub can become, at once, vessels for a lot of these other musical idioms, just in terms of their ability to carry musical ideas across geography.

What is peculiar: this is more a selection of a few threads than it is any kind of comprehensive history, and many of those threads in turn trace backwards from a few modern styles more than they do forwards over those 200 years. If you accept that, though, there’s still something interesting to watch. Even hand-picking a few genres shows some fascinating connections.

But before I say any more, I think any methodology here will raise questions, and I’m as interested in reader questions as I am commenting myself. Mark Johnstone of Distilled has offered to answer questions, so from the intricacies of how the data visualization and mapping work to thoughts on how one untangles this musical history, I’d love to start a conversation.

Specifics of the genres aside, I think it’s the geographical connections that are in many ways the most interesting – all the more so as we can inexpensively get on trains and planes, cross increasingly-open borders (with some admitted major caveats), and be somewhere altogether different – or do the same from the comfort of our chair. Appropriately, I now see Thomson are a travel/vacation agency.

Discuss.

How Music Travels – The Evolution of Western Dance Music [Thomson blog]

Interactive Music Map [Thomson]

Alexander Chen, he of Kinect hacks and subways turned to strings, is back with another string visualization. Built in the browser (an interactive version is available), this work makes a visual accompaniment to Bach’s First Prelude from the Cello Suites. If you read music notation fluently, you may find the score itself suffices, but even so, the math to make this work – and the dance of circles across strings – is compelling. Alex, whose day job is with Google’s Creative Lab, talks to us a bit about the mathematics and process. First, his description:

baroque.me visualizes the first Prelude from Bach’s Cello Suites. Using the math behind string length and pitch, it came from a simple idea: what if all the notes were drawn as strings? Instead of a stream of classical notation on a page, this interactive project highlights the music’s underlying structure and subtle shifts.

Built in: HTML5 Canvas, Javascript, SoundManager
Made while a resident at Eyebeam

CDM: How did you settle on this particular visualization of this famous work? And how did you work out the maths, that is, why this specific number of dots, the distance from the strings, and the length of the strings themselves?

Alex: When I listened to the opening of the Bach, where it repeats the same bar twice, it made me think of a call and response. So I immediately pictured two wheels that echo each other, instead of just one wheel with four dots.

Figuring out the symbolic string lengths in pixels was a fun research project. I wanted explore the simple math behind string length. I learned that you can derive an entire chromatic scale just by using two fractions: 2/3 and 1/2. These correspond to the fifth and octave intervals. It’s called Pythagorean tuning. I stumbled onto this great little worksheet [PDF link] which seems to be intended for students.

Were there other things you tried, any failed experiments?

There were important learnings. It used to begin playing the piece right away. I started the opening tuning animation as an afterthought while I was preloading the strings. But that sequence became really critical.

What’s your sense of the music now having done this? Did it change your hearing of the piece

A lot of music visualization these days is linear, like reading a score. Logic’s editor, or even games like Guitar Hero, all follow that structure. And there’s a reason for that, as it’s convenient, for both computers and humans, since we can read it (and edit it) like a book. But I wanted to try something different. I think some of the magic of watching a performer is seeing such subtle, intricate finger movements produce such moving sounds. When I watch these strings morph, it feels more like the computer is performing, not just checking off notes one by one.

Seeing the Bach Prelude in groups of 8 notes gives me a bigger picture view of the piece. Instead of focusing on the individual notes, you can see each bar as a group. The strings start shifting very subtly, but as the piece builds, the strings seem to be panicking to me, shifting more rapidly. The computer is not expressive. All notes are played at equal volume. But the notes themselves, the data of the song, is inherently expressive.

http://blog.chenalexander.com/
http://twitter.com/alexanderchen
http://www.baroque.me/ [interactive - grab the ... circles ("grab the balls" doesn't sound quite right)]

This update I believe is worth a second post, as it makes visible the otherwise-mysterious algorithms producing music in our previous post.

And yes, I believe this is “music,” naysayers aside. Whether it’s good music is in the ears of the listener, but if you can describe this much sound with this little code, imagine what’s really possible in computer music. Whatever it is you want to hear, it’s within the power of your imagination to describe it, on a score or in code, either one.

Thanks to none other than Stephan Schmitt for the tip.

If you’ve got a whole bunch of colored lights, it seems only right to do something with them. Cacheflow sends a fun little hack with a Novation Launchpad. Of course, turning a Launchpad into a live EQ display means you can’t simultaneously use its lights to, like, play the Launchpad, but provided you have another controller, this could be a fun way to liven up your stage setup.

We looked at a free e-book on Processing last week; if you’re playing with Processing, you can now use a handy, free library to integrate this simple and elegant coding tool with your Launchpad.

The ingredients:

Music: unreleased Yo Soy Sauce tune.
plasticsoundsupply.com/​release/​yo_soy_sauce_-_juke_box/​

Built with the following components:
processing.org
tree-axis.com/​Ess/​
rngtng.github.com/​launchpad/

By the way, I’ve noticed a lot of great GitHub use for music projects. Music Hack Day Montreal even did their event planning on it. I wonder, is there a way – using GitHub itself or a hack with the GitHub API – for us all to build a little CDM community there? Git gurus, I’d love to hear from you about what you might like.

Can editing sounds be as easy as editing pixels in a tool like Photoshop? That’s the question asked yet again by an audio editor, in the announcement of a new tool called Spectral Layers, seen in a new teaser.

Visualizing sound is not a simple problem, but you can do worse than the spectral view. Mapping frequency over time rather than just amplitude, the graphic spectrum illuminates components of a sound as we hear it, showing sonic energy of different frequencies in brightness and color. And audio editors have routinely made use of these views, whether as displays in various audio editors (some editable, some non-editable views), or in graphical tools like the ground-breaking MetaSynth. In fact, even Adobe themselves have weighed in on the “Photoshop for sound” notion with their own Soundbooth app, which, naturally, copies the toolset verbatim from the company’s flagship Photoshop image editor. See also: Photosounder, which perhaps comes closest to this tool, and SPEAR, which is available free on Mac and Windows and has some fascinating resynthesis features. (Spectral sound design probably deserves its own post, later on!)

Spectral Layers nonetheless looks to potentially break new ground by focusing entirely on the idea. Whereas many audio editing tools that use spectral views have had modest editing facilities, here, it’s the entire program — and with some nice twists. On-the-fly selection previewing means that you’re constantly listening to your audio, not just looking at it. Advanced selection brushes make honing in on certain parts of your sound more precise, including by essential harmonic editing tools. (We hear harmonic relationships intuitively, so editing wave spectra at the literal frequency, rather than in the logarithmic proportions with which we hear, doesn’t work nearly as well.)

Spectral Layers also works with visualizing spectra in more compelling ways than just the typical, two-dimensional frequency vs. time view. Three-dimensional visualizations make seeing details in the sound easier.

Then you get into the actual editing. The developers are promising some powerful features, from extraction to independent pitch and time transformations, all moving this well beyond eye candy to the realm of deep sound editing. (The UI shows other features as well.)

There’s a new UI tutorial, but some of the features in brief:

• Cross-platform Mac and Windows compatibility
• Non-destructive layers for editing, plus compositing audio either by adding or subtracting a selection from a sound. (The latter sounds fascinating for sound design.)
• A multi-pane UI, similar to tools from Apple and Adobe and familiar to people with a graphic software background.
• 32-bit float spectrum.
• Surround project support.
• Pattern matching algorithms for still more-sophisticated selection and editing.
• An “open project format” (presumably something XML-based or the like).
• SDK for file formats, devices, tools, and filters.

In other words, the whole thing sounds mind-blowing and gives us everything we’d want … on paper. Presently described as “alpha stage 2,” the tool is still in development. But we’ll be watching.

DIVIDE FRAME, the developer, is a Paris-based house led by engineer Robin Lobel. Unrelated to the music side of this site, they also have a GPU-based video decoder, but no trial of the audio software – yet. Stay tuned.

Spectral Layers

Updated: while this is just a teaser, lead developer Robin responds with some more details for CDM:

There are 4 categories of tools: info (to get extensive info on the spectrum), extract (brush, frequency, harmonics, multichannel, noise (wip), time (wip), and others incoming), modify (so far only erase/amplify, but much more coming to transform the sound, like blur and other graphical modifications), draw (any tool to directly draw sound, as frequencies, harmonics, noise, etc).

Available Q4 2011, no price range yet (expect it to be the high, but there will probably be a light, affordable version too)

3D visualisation can display both amplitude or phase velocity using the GPU (OpenGL), it is seamlessly integrated with the 2D view (right clic+drag to make it 3D as you want, double right clic reset to 2D)

I do independent R&D in audio/video for several years now, have worked in some French [post production] companies as R&D developer and [graphics artist], wanted to start my own business (first with GPU Decoder as a small project, then came Spectral Layers). Spectral Layers came from the need to get clean voice tracks when shooting movies (as I do short movies too), then I thought of extending the concept to a general purpose, Photoshop-like tool. iZotope RX and Adobe Audition were not enough for my needs — I found the spectral editing pretty limited — so I decided to do my own.

Thanks, Fahad, for the tip!

Computing technology is an inherently disruptive thing, wonderfully so. It solves problems you didn’t know you had. It creates problems, then creates new problems in even trying to understand those problems. Simply using a computer is a kind of design statement.

You’ve seen questions about what happens with computer performance and audience interaction. But, in AMALGAM, design student Jacob Lysgaard asks those questions, and proposes solutions, in a new way: with a giant talking robot face. (See above.)

Laptop and electronic performance produces a number of symptoms that can be problematic. As the video roboface above puts it, you might find, for instance,

“A lonely man hiding behind a big table onstage.”

Actually, I sometimes do feel lonely and like to hide. Then again, I don’t necessarily have to invite other people for that. So, in that spirit, here’s the latest in a long line of design ideas for re-imagining computer performance. Maybe at this point, this isn’t solving a problem: maybe it’s design, reorganizing the experience of musical activity around a technology that could really be anything.

The solution Lysgaard devises is really rather spectacular, conceptually. Whereas computer performance “solutions” generally involve novel performance interfaces, here, the design delineates the fundamental problem: “real” space (the live performance that’s actually happening) and “virtual” space (the performance that happens only through the machinery of the digital performance, via playback, interactive or otherwise).

In some sense, this is what all responsive visualizations of music do: they create visual evidence of what you’re hearing, producing the artefact of the activity that the virtual sound lacks.

But, then, you’re not always concentrating on what an acoustic musician is doing with their physical instrument, either; you’re often lost in the music. And that is to say, you might just trip out watching all these bobbing cubes and virtual selves. And I think that’s okay.

Here’s just the visualization of how the scheme works, in case you zoned out watching Mr. Roboto in the earlier video:

Various visualizations are presented on the designer’s Behance portfolio. Suffice to say, while the representations here are abstract, other styles are possible – even M.C. Escher variations:
AMALGAM

Read the full explanation of the project, as well as its inspirations, on Lysgaard’s blog:
AMALGAM – my bachelor exam project

The work was a degree project in visual communications for the design department of the Bergen National Academy of the Arts in Norway.

I love the logo for the project:

I’m saving my favorite bit for last: a kind of visualization – or at least visual reduction – of representations of music in Ableton Live.

Terrific work; Jacob. I’ll be interested to see how this evolves in performance.

We celebrate 3.14, PI day, with some selections of mathematics, music, and visualization…

Sometimes the results resemble scores, sometimes toys, and sometimes – more rarely – real musical instruments. But part of why I love computing as a window into music is its ability to visualize music’s mathematical beauty.

I happened across this image from Flickr. It’s a chalk pattern on pavement for a children’s game (I’m not actually sure what game). But the math-compelled photographer found in it musical, harmonic intervals. I’ll have to sketch a little Processing and Pd design that plays with this idea. I put it here because someone out there might be inspired to do the same, and this is just ambiguous enough that it could easily lead in dozens of wildly-divergent paths.

I know some of my own students are literally on a beach for spring break and the nerd elite is busy partying in Austin, but, uh, maybe someone out there will file this away for later.

The photographer explains the math:

Also not sure what this game is called, but it contains some interesting mathematical properties. Can you see the oblong numbers (2,6,12,20,30…) in this representation?

Per Mathgym:

Readers who are familiar with the theory of music will recognise the list of oblongs as the intervals in decreasing order of consonance: Octave (1:2), Perfect Fifth (2:3), Perfect Fourth (3:4), Major Third (4:5), Minor Third (5:6), etc. It is Pythagoras who is credited with discovering this mathematical relationship between music and numbers.

This discovery, that the pitch of a note is related to the length of the string which produced it, is credited as being the spark which ignited Pythagoras’ imagination and philosophy. It allowed Pythagoras a glimpse of a whole new order in the Universe, one governed by intellect and logic and capable of the sublimest of pleasures. And a glimpse was all that he needed.

With this discovery, Pythagoras and the Pythagoreans set in train a way of investigation which has proved to be one of the most productive ideas in human history – that mathematics can be used to unravel the mysteries of the Universe.

Now, after those deep thoughts, who’s worked an appetite for some PI pie?

say Hello to KONKREET PERFORMER from Konkreet Labs on Vimeo.

Berlin-based artist Shai Levy of Konkreet Labs shares their upcoming Konkreet Performer, an OSC controller application running on iOS that combines touch control with interactive visualization. The experience rethinks what A/V performance control could be, with a wild, alien interface of circles and particles interconnected with delicate meshes of lines.

If you’re in Berlin, there’s a performance tomorrow evening (I’m not, so send pics!):
http://konkreetlabs.com/

Shai also has more to say on our own Noisepages community (which is launching in full form very, very soon, by the way). Excerpt:

and then came the iPhone and the stream of new music apps grew by the day. we could see the potential of using this platform to be used as a controller, but were literally shocked to see faders and knobs being repeatedly cloned from the old physical interfaces down to the flat, yet very powerful domain of the tablets.

so we came up with Konkreet Performer! and because it’s not out yet, i’m really dying to tell you how it is to work with:
we use OSCulator to map it to our DAW of choice. so far we’ve experimented mosly with Ableton Live and Kore2.

the first thing you experience while working with KP is the good old magic of “happy accidents”.

Join in on the discussion on the intriguingly-named “We Are Artists,” which proposes asking deep questions about what it means to be an artist on these media:
Noisepages Groups: introducing Konkreet Performer

(By the way, feel free to use the Facebook login without fear it’ll litter your wall – it takes your email, once, to check to see if we already have an account for you, and then posts just once to the wall to share that you’ve signed up.)

Stay tuned for more on Konkreet Performer; it’s due early in 2011.