There’s a lot of hype around the latest schemes for changing how artists get their music to fans, but not actually a whole lot of news. (It always seems to boil down to a website with some unpronounceable name.)

Well, this is news: Harmonix is opening up Rock Band to anyone who wants their music in it, and giving you the same sophistication of tools they use themselves. That’s a real game-changer – literally.

And I don’t mean just for the actual game Rock Band. Sure, Harmonix was the house that made music games a phenomenon in the US. They learned well from Japan’s Masaya Matsuura, perfected music games’ mechanics in Amplitude and Frequency, popularized the formula by launching Guitar Hero, then rocked collaboration with Rock Band before convincing the infamously-guarded Beatles to finally embrace digital tech. But the sad reality of game music in general is that it’s been a playing field for the old guard – it’s licensing deals with major labels to promote music you’ve already heard. It’s the top hits on the radio, redigested onto your game console. There’s commercial calculation behind even the tune that’s in the background while you’re paging through a screen in Madden. Harmonix has already changed some of the economics, and disrupted even what could be a hit, as kids discover classic metal for the first time or geeks grab music by Jonathan Coulton and Stephen Colbert. But that’s not quite the disruptive shift in game music so many people have expected.

I think Rock Band Network could be the first real sign of that shift.

Rock Band Network promises to be something really different. How?

• Anyone can get their music in the game. You don’t even need a label. You need a few (cheap) software tools, a computer, and some basic MIDI chops, and for a fraction of the cost of pressing a couple hundred CDs, any artist can get their work into Rock Band 2.
• It’s a real community-driven process. Your A&R people don’t have to shmooze with MTV. You don’t have to enter into some complex developer agreement with Microsoft or Sony. There isn’t even a shady, mysterious review process like the Apple iTunes App Store. Actual Rock Band fans will get to play your music and tell you that the animation needs fixing and the difficulty level needs to be fixed on the drums.
• You use Reaper – an actual music production tool for grown-ups. Harmonix could have given us some weird in-game tool they cobbled together themselves. Instead, they give us a special verison of Reaper, the brilliant, full-blown Digital Audio Workstation that inexplicably costs just US$60 but blows the pants off a lot of better-known tools. So you actually get to assemble your music the way Harmonix has been doing for years, with a real tool. Fortunately, the process has been made much easier and copiously documented, but it’s nice to be treated like adults for a change.
• If it works, Rock Band is just the beginning. It’s impossible to see into the future. RBN is a leap of faith both in the artists and the game fans, in terms of their taste and the amount of effort they’ll invest. But if it works, Rock Band Network could change the way people think about interactive user-created content, well beyond just furniture in the Sims or Little Big Planet.

Anyway, enough of the big picture – let’s talk details. I got to sit down with the Rock Band Network team from Harmonix high above Times Square in MTV’s offices this week to get a full-blown demo – including some seriously fun nerding out with composer/sound designer Caleb Epps, plus Senior Producer Matthew Nordhaus and MTV’s games man, Paul DeGooyer. (In a sign that the big media world still doesn’t quite get what’s going on in this field, no one at the Viacom security desk had even heard of Harmonix.)

The team was extremely generous with technical details of Rock Band Network, and walked me through the process of how artists would get going with RBN. Here’s a first look at that process.

I’m going to make this a minimalist post because I’ve said what I’ll say about Kodu, the one really cool part of Microsoft’s keynote yesterday, on Create Digital Motion. (Am I the only person who wishes Sparrow had just done the whole keynote?)

But have a look at the shot above. One of the complaints about generative and algorithmic music software (and music software in general) is that the interface has been so complex. Clearly, there are many other ways to design these interfaces, and in turn, to shape the way we use these to compose and perform music. Forget for a moment that games are “games,” and this this thing is “for kids,” and I think you’ll agree – there are lots of areas to explore, and lots of potential.

It doesn’t even require some futuristic music software. Imagine more complex rules in Ableton Live’s follow actions, made graphically.

Excuse me, I’m going to pick up some Tinker Toys to think about interactive design.

You Know, For Kids: Game Design, World Creation as Microsoft Research Previews Kodu [Create Digital Motion]

PS, I believe now more than ever that Music and Motion deserve separate sites, but have a look and I think you will find some overlap.

Bill Pendry wanted to use his PlayStation 3 Rock Band controllers with GarageBand on the Mac, so he’s posted step-by-step instructions to do just that. The secret formula: a wonderful utility that helps you use HID-compatible game controllers on the Mac, sans drivers.

GamePad Companion (US$15 shareware)

Of course, the nice thing here is that the basic steps apply to other controllers, just in case Rock Band doesn’t float your boat (or rock your socks, or whatever).

I ended up choosing kick, snare, two toms and one cymbal, since the other cymbal I wanted was in a inactive area of the keyboard. I re-mapped the keys in GPC, switched back to GB and gave it a try. Success! Samples were triggered correctly, the fast key repeat rate didn’t cause any problems, and latency was basically nil.

The results:

And step by step instructions:
GarageRockBand [billpendry.com blog]

More good news: Bill has updated the post with information on Xbox 360 controller possibilities. Generic Xbox controllers work just find via the Wireless Gaming Receiver. No word yet on the Rock Band controllers, though, and I think they do a little more than the standard controllers. Anyone got an Xbox 360 and a Mac who can tell us if it works?

Previously:
Game Day: Use Rock Band Drums as MIDI Controller – Windows, Yes, Mac, Soon? (and I guess we got our answer!)

Look out, PCs: you’re getting the audio engine from the Xbox 360. That’s the message from Microsoft, which abandoned the old DirectSound APIs in Windows Vista. They’ve got a new audio system called XAudio2 ready and waiting, however, and it looks good — though it also begs the question, why didn’t Microsoft ship it with Windows Vista out of the gate? (Instead, Microsoft actually suggested users turn to the OpenAL open audio architecture, and now appears to be getting XAudio2 ready for Vista SP1.)

Geek alert: the rest of this post may be interesting only to developers…

XAudio2 does look more ambitious than many other audio architectures in that it includes programmable DSP effects baked right in, plus some nice mixing and spatialization features. This stuff is largely aimed at gaming, but it could yield some interesting music applications, as well:

• Multi-channel and surround-sound support with full per-channel volume and mapping control.
• Programmable, cross-platform DSP effects framework.
• Per-voice filtering, arbitrary submixing, and multi-rate processing.
• Multicore optimized, non-blocking API design.
• Pluggable and generalized 3D spatialization support, with a full-featured implementation provided by the independent X3DAudio math library.

“Cross-platform”, though, in Microsoft fashion, should actually mean Xbox 360 + Windows Vista.

For more:

Microsoft Announces DirectX 10.1 Preview, Betas New Audio Tech [ExtremeTech]

Meanwhile, the state of true cross-platform engines is not so fantastic. OpenAL, a multi-platform, open source 3D audio library, comes closest and appears actively updated, though your mileage will vary depending on platform. DSP and many other features have to be provided on your own. Sun, meanwhile, has left the Java platform a mess; the dusty, rusty Java Media Frameworks hasn’t gotten an update since 2003, the open source Java efforts are stumbling on multimedia support because so much of what’s required is proprietary, and no one seems to know what’s happening next.

Are game music themes becoming the new equivalent of the old jazz standards? Maybe, as game covers are going from novelty to meme. Matrix of Matrixsynth sends along this YouTube find. Yes, you can get any timbre you want out of a guitar; nice violin effects, as well. (Now we only need a “Give the Children Some Tripods” fund.) And, in the bizarre world of YouTube, this is only one of many Halo theme song covers:

Say hi to this quartet over on MySpace. Sorry to Mac users who like me remember hearing this theme for the first time at Macworld Expo. How’d that all end, again? (Get your revenge by running Halo 2 under Vista in Boot Camp. Then play Myth.)

Aside from introducing me to the magic of arithmetic (I’ve been away from Sesame Street far too long), our eagle-eyed readers note that Kotaku has interviewed the violinist, Hanah Stuart. Or, anyway, there’s an extended crush-fest that you might call an interview:

That adorable, auburn-haired sprite with the exposed milky calves, hugging her violin? That’s Hanah Stuart… teenage girl, classical violinist, and the pixy who casually pranced upon a high school auditorium stage and rocked the Halo 2 theme song so hard that Steve Vai started spitting up bloody chunks of lung.

There’s nothing like a Gawker blog journalist in love. Now, before I have to re-take Kindergarten, I’m out for the holidays. See you soon.