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.

What You Need to Get Started

$60 Reaper + free plug-ins + a computer + Windows to beam over the music + an Xbox 360 to test on.

1. Reaper (Mac, Windows) For the authoring itself, you may be surprised: you don’t need some special tool. You use Cockos’ brilliant, lightweight, Reaper. It’s not even Reaper Rock Band Edition. Reaper for Mac will work, too. Cost: US$60 for the standard license, or US$225 if you’re already a huge rockstar.

http://www.reaper.fm/

2. Reaper plug-ins (Mac, Windows) Reaper plug-ins: this download is the real magic, adding everything from shortcuts for making tempo maps to color-coding tracks to helping you add lyrics, animations, and everything else that makes your song into a Rock Band track… game. Gamesong? Songgame? Cost: Free.

3. MAGMA Packaging Tool (Windows) MAGMA is a simple tool that facilitates getting those files packaged up with artwork and keywords and such, and moving them over to the Xbox 360 for testing yourself and for sharing with the rest of the community. It is Windows-only because it relies on Microsoft’s networking functionality with the console, but Harmonix says they’ve had no problem using it on the Mac via an emulator or Boot Camp. Cost: Free. (or the cost of Windows if you’re on the Mac).

4. Xbox Creators’ Club Membership: Join Microsoft’s game development community, and you get access to a special Rock Band creators area that lets you upload and share your tracks – and other tracks from other users (which is where item #5 comes in). Cost: $99 /year (Note that there are some discounted ways to get at this for shorter terms, and you get all the game developing features of the community, too, in case you want to try to make your own game in XNA.)

5. An Xbox 360 and Rock Band 2: You do want to actually play the results, right? (Unfortunately, because of the reliance on Creators Club, Sony’s PS3 isn’t yet supported, though some sort of PS3 distribution is planned for the future.) Cost: About to come down thanks to sales – and now you get to write off an Xbox 360 on your taxes.

Total cost: as little as $100-160 or so with the various pieces, or a little more if you need to pick up an Xbox 360 and the game and/or equip your Mac to run Windows.

By the way, Ars Technica claimed this month, based on the experience of one developer, that Xbox Live [is] not ready for user-generated content. That claim is simply wrong. Sure, LittleBigPlanet is cool on PS3, but the infrastructure for moderating content is there, on the community created for the XNA game development platform. And the tracks for Trails HD (the game mentioned in that article) or even LittleBigPlanet really pale in comparison to what Harmonix is about to unleash. It’s the first time a game has really been a platform, which was long the vision of Harmonix’s founders.

Now, let’s get into actually making your music.

The Tempo Map

Since Rock Band is assuming …well, a rock band, you’ll need to allign a tempo map with the audio so the software knows where the bars are. Caleb Epps showed me some of the nifty shortcuts that make moving from bar to bar snappy and automagical. Reaper itself has actually incorporated feature enhancements to accommodate the Rock Band workflow – which, in turn, means that the wider Reaper community may find improvements that impact them outside of preparing tracks for the game. I’ll cover this process in more detail once Harmonix unveils the wider beta.

MIDI Mapping and Animation

Here’s where the real work begins. When I visited Harmonix in Cambridge as they were developing the first Rock Band game, I found one guy hunched over a copy of Cubase doing just this: adding MIDI events for the game play at different skill levels. Now, in Reaper, you’re doing a process that’s just as sophisticated – it’s just much more user-friendly and quicker. (Harmonix says they’re gradually adopting the tools for the Rock Band Network internally, and some of their work already uses it.)

Especially nice: you’ll see color coding that matches the different game controllers.

MIDI isn’t just used for the notes in gameplay, though. You also add notes for the vocals, with the “+” key signifying a syllable extending across notes and another character designating notes that can’t be sung. (Bob Dylan, I’m looking at you.)

Most interestingly, you can tightly control animations, down to when the onscreen drummer chokes a hat or the camera cuts to the singer or the lighting in the venue activates, all using MIDI events. Check out the “Text Events” dropdown in the screen grab above.

If this sounds like a lot of work, it is. Fortunately, Harmonix says that the finished release will include tools that, say, allow the software to intelligently generate the animations. You can come back and tweak those if you wish, but you won’t necessarily have to manually add every single camera move – even though that’s traditionally how Harmonix does it.

All of this gets saved as standard MIDI files, so theoretically DAWs other than Reaper could perform the task, too – though for now, I can’t imagine wanting to leave Reaper, given the level of integration and documentation. But it’s nice that Harmonix hasn’t invented some crazy closed format, because if this takes off, I could see people creating other tools.

The Simulation

Now, if you had worked at Harmonix up until recently – as I saw when I did that first office tour – you’d then have to figure out how to get this song over to an Xbox console to play test it. Happily, you don’t have to do that any more. A convenient plug-in will pop up a graphical representation of any of the four parts. You can watch them animate through and get a real sense of what it’s like playing the game.

This is implemented as a standard plug-in, but the UI requires Reaper to work properly, so for now, it’s restricted to Reaper.

MAGMA and Play Testing

Good game design is all about play testing. So, when you’re distributing your music as a game, it’s essential that you actually play it as a game.

Yep, that’s right. This is the stage of the process where you have to play your Xbox. (Shame.)

MAGMA is the tool that packages in artwork and beams the track over to your Xbox 360 console. Provided your computer and your console are on the same network, the process of getting a built track to the Xbox is nearly instantaeous.

You can “audition games” locally, thanks to a patch to Rock Band 2 allows anyone with a Creators Club membership to play the games. That means you can easily test your own tracks on your Xbox, but also explore what other people are doing. And the community will ultimately determine which tracks are good enough to be approved.

In other words, if you don’t want to make your own Rock Band tracks, but want to become a virtual Xbox music “scout,” you could sign up for a membership and look for the next big thing by playing their music – interactively – on Rock Band.

That’s got to be better than dealing with all the CDs that usually show up in your mailbox.

The best part of all of this to me is that people can offer feedback. You can get through the first pass of your music, but then see how it’s playing with other people. Need to fix a camera angle? Dial down the difficulty on one level? Now you’ll get real feedback.

Interestingly, this also complements Microsoft’s other purpose for the Creators’ Club, which is to encourage independent game development using their elegantly-designed XNA game tools, some of which ultimately make it to Xbox Live Arcade. I think there’s actually a chance this could breathe some life (and users) into that service. Now, if only Microsoft would build more robust audio tools into the game toolkit so some crazy indie developer can built the next Frequency or Amplitude …but I digress.

Q&A

Anticipating the kind of questions you may be asking yourself…

When does it all happen? The network is now in closed beta. A larger beta is planned for next month, with a full launch expected around October.

So who will use all of this? I think there will be several groups:

1. Indie bands with tech savvy.

2. Indie bands who aren’t tech savvy, who will learn Reaper to get this working – and wind up using Reaper and other computer audio tools to produce their next album. (Harmonix promises extensive documentation to give them a hand. I’m sure CDM can help, too.)

3. Electronic artists who build a cottage business around prepping other people’s tracks.

4. Game developers and game fans who pick this stuff up because they love Rock Band, and wind up getting further into music.

And while 1-3 are certainly interesting to CDM, I hope we get to interract with people in that fourth category.

Isn’t this going to be too hard for some people?

Yup. Yup, it is. On the other hand, Harmonix is going to great lengths to make this easier – and if you are a skilled MIDI sequencer, you’ve just found a business opportunity.

I’ve got a Mac and a PS3.

Don’t sweat it. A lot of the Harmonix folks are Mac users, alongside the happy Windows users. It could be well worth running in an emulator or a second partition, and you can still do all your music production on the Mac. As for the PS3 – well, you can either make friends with an Xbox owner, or watch for the sale I hope is coming. You do need a hard drive, but otherwise this seems a reasonable investment.

Will I get paid?

We’ll talk more about this in a future story, but yes – thanks to the Xbox Creators Club payment infrastructure, you can expect to get paid early and often (payments arrive quarterly), meaning this could be a decent revenue stream at a time when they’re hard to find.

Performance licensing is apparently not applicable to Rock Band (I did ask about that); that’s, again, a topic for a separate article.

What if my instrumentation doesn’t fit Rock Band?

Check out the Rock Band catalog. There’s some flexibility here, as long as the game play works. You just need to make it work for the default setup so that people with a mic, a guitar, a bass, and a drum kit in front of their TV can have a good time.

And as I talked to Harmonix, we talked about the fact that previously unavailable genres could look really fantastic in the game – yes, Norwegian Death Metal, your time has come! (Now, if we just got vocal harmonies as in The Beatles…)

I also expect some really, really odd submissions in the community. (“The World’s Hardest Rock Band Track,” anyone?)

Meanwhile, I’m hoping that Harmonix will re-release their back catalog, Frequency and Amplitude, on Xbox Live Arcade, and then doubly hoping they’ll let people author for them, for all of us fans of electronic music with unusual instrumentations, and the unusual gameplay mechanic of those games. (Their new PSP game, incidentally, quietly returns to that game style.)’

On the other hand, I don’t expect Harmonix to do everything here. If this works, Rock Band could be just the beginning.

Changing the World of Music

Harmonix has long talked about wanting to create a “platform” for music, but I think it’s really Rock Band Network that could get them there. Rock Band alone can’t be the exclusive future of interactive music – that’d be boring. But if Harmonix pulls this off, it could be a real catalyst for transforming all recordings into an interactive experience – not just the established hit parade we’ve already seen. And that’s utterly huge.

I also think it’ll be well worth the time of CDM to watch as this evolves. We talk a lot about alternative controllers, about interaction design, about the merging spheres of games and music, but also about musical integrity and creativity and new outlets for spreading musical material. Rock Band Network could bring all of those ideas into mainstream consciousness in new ways.

And, oh yeah – it’ll be a heck of a lot of fun to play those tracks, and to get people playing your music. Stay tuned.

Sign up for the beta and get more information here:

http://creators.rockband.com/

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.

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!)

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.

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.

Joystiq has the full scoop, but here’s the recap: “The $99 subscription grants you access to the (tentatively titled) “creator’s club,” which will also offer downloadable sample games to help would be game developers get started. Unfortunately, these sample games will not be available outside of the subscription service to entice curious coders to participate, but they are a launching point for the most exciting, innovative, and (understandably) long-term goal of this project. A community-powered Xbox Live Arcade gaming space.”

Microsoft’s Chris Satchell went on, “XNA Game Studio Express will ignite innovation and accelerate prototyping, forever changing the way games are developed,” Satchell said. “By unlocking retail Xbox 360 consoles for community-created games, we are ushering in a new era of cross-platform games based on the XNA platform. We are looking forward to the day when all the resulting talent-sharing and creativity transforms into a thriving community of user-created games on Xbox 360.”

This is an exciting devleopment for developers, gamers, and fans of the homebrew scene. Imagine a homebrew-Elektroplankton-type-game, networkable via Xbox Live, and brought to you by the boy-genius-next-door! While the possibilities are mindboggling, the depth and extent of this system is yet to be tested. This is something we’ll be watching very closely and we’ll bring additional reports as more information is available.

And if any of you homebrew or indie developers are planning on jumping onboard the XNA Express (ha!), drop us a line!

Additional Links: Microsoft XNA Team Blog and the Microsoft XNA FAQ.

Chopin’s Dream Screens at Kotaku

Bungie, of course, is the developer and — ha, just kidding. No, this one is from Japan. (Pretend to be surprised.) Trusty Bell: Chopin no Yume is the official name (trusty bell?!), and other than that, you can really only look at the images, awestruck.

I’m trying to think of something stranger, like a 3D badminton game with Beethoven or a first person shooter starring atonal music theorist Allen Forte, but it all rings hollow. The game itself looks like it could be interesting, though it’s hard to tell from the screen grabs. (Looks like a sort of anime-esque Myst-y exploration/adventure/puzzler?) Naturally, we’ll keep you posted.

Chopin, for his part, looks awfully cute.

Much has already been written about Microsoft’s new console, the Xbox 360. We have a bevy of game reviews, accessories to buy, Live Arcade titles to play, and even future releases over which we drool. But not much has been written about the audio performance and capabilities of this first-of-the-next-generation contraptions. In this short review, I hope to give you a quick breakdown of the how the system has been working for me.

First off, let it be said that audio fidelity is, without question, top notch on this console. For the AAA titles I’ve played thus far, I have yet to cringe at a poorly downsampled audio segment, music that suffers from washy reverb tails due to poor compression algorithms, or any kind of clipping, distortion, or voice-allocation issues. The ability to fully utilize 5.1 surround is another big bonus. Games like Fight Night really sound fantastic and put you inside the action, with crowd noises coming at you from all sides. So from an audio specifications perspective, this system is without question the most sophisticated gaming console to date. (PC’s are not considered consoles, and thus I’m not including them in that statement.)

Now that is not to say that every game I’ve played sounds great. Indeed, the Tomb Raider demo I played had some poor choices in sound design. The sound of a rolling boulder was almost cartoon-like in its use of percussion (likely timpani or floor toms) to mimic the sound of rolling downhill. A shameful oversight in an otherwise great sounding game. I plan on checking out the full version of the game to see if the same samples are used, or if perhaps these were placeholders that somehow were never replaced in the demo.

As a media hub, I’ve only gone so far as to setup my Xbox for audio streaming. I have a PC in the other room which serves all of my audio files – over 6000 at present. I use it to stream music to my mobile device, and occasionally bring up an album or song at work using a cool application from Orb Networks. I’ve also installed the Media Connect app from Microsoft, which lets the Xbox ’see’ all of those MP3s as well, turning my Xbox into a living-room jukebox, capable of accessing all of my music, creating custom playlists, and serving up some nice visuals if you’re hosting a party. The playback sounds great, and I haven’t run into any issues with connectivity on the Xbox side, though my PC’s wireless is a bit finicky. Mac users aren’t left out, either. Using a third party app called Connect 360 Mac-heads can stream their MP3 libraries to their 360’s as well.

Some of you may recall a story we ran last year regarding the controversial feature of custom-playlists-as-soundtracks to be included in the 360. We followed that story up with interviews with some influential figures in Game Audio. At the time, everyone was a little concerned at how the feature would actually be implemented, but the general consensus was that it wouldn’t negatively impact the need for a well-composed soundtrack for most titles.

Fortunately, this has turned out to be true, and I actually really like the way that Microsoft has implemented this feature. Because I have wireless access to my PC’s media library, I can choose to listen to any of my MP3s as the ’soundtrack’ for the game I’m currently playing. I simply navigate to my Xbox Dashboard, select the album or artist I want to listen to, and press play. The music streams, replacing the in-game soundtrack without affecting the rest of the game audio. While the music clearly can’t ‘adapt’ to gameplay, it is nice to have the alternative to the pre-composed game score. No disrespect meant to the Soule brothers, but when you’re level grinding for hours on end in a game like Elder Scrolls: Oblivion, it is nice to hear some different music once in awhile.

I don’t think this feature is what The Fat Man had in mind when he suggested that games should ship with more music content. But the acceptable industry ratio of 40-hours of gamplay to roughly 1-hour of composed music is really a shame. I think most gamers and composers would be pleased with more…So this feature, while not exactly the same as having a few more hours of custom composed music, is a good alternative. And who knows? Perhaps some aspiring composers will even get the idea to compose their own soundtracks to popular games and offer them for download. That way players could just use these songs, rather than those that ship with the game…The possibilities are great and hopefully some budding entrepreneurs will find new ways of using this feature in conjunction with the Live Marketplace.

I’m only a few weeks in with my Xbox, but so far I’m very impressed with Microsoft’s choices, and I think they’ve done a lot of great things with this platform. Its capabilities offer great opportunities for gamers and game developers – including us audio geeks – as well.

I will be sure to report back as I get more playing time.

Ed: Others got Xboxes, you lucky bastards? Let us know your impressions of the system. -PK

Here’s CDM’s resident game composer with the perfect opportunity for lovers of remixing and gaming. Why do I have a feeling that you’ll get disqualified if you mash Halo 2’s music with Animal Crossing or, for you long-time Mac/Bungie geeks out there, Marathon? (Maybe an odd quote from Myth . . . “Casualties.”) -PK

Tired of waiting for Halo 3, Gears of War, or Prey? Or is your music gear gathering dust since you setup that new Xbox 360? In either case, Sumthing Else Music Works (notable video game soundtrack record label), has a treat in store for you!

In conjunction with the recent release of the Halo 2: Volume Two soundtrack, a mash-up/remix contest has been launched. Once you register on the site, you can download stems from the original Halo 2 soundtrack, along with a Mashup Mixer application (if you so desire). You remix and mashup the stems to your heart’s content – using the provided Mashup Mixer or your preferred software tools – then upload the finished mixes for a chance to win some great prizes including Xbox 360 consoles, DJ equipment, and even a “high-end” Fender guitar signed by Nile Rodgers.

For those looking for some game-related fun, or those hoping to get a jumpstart in the game industry, this could be a fun and interesting way to get the ball rolling. Samples of the soundtrack are available on the site, and there are some great sounds in there, just waiting to be taken to the NEXT LEVEL by our CDM readership.

If you decide to submit an entry – or if your entry is chosen among the winners – let us know so we can showcase your work!

Also via Music thing, CDM’s friend Thomas Wilburn has built a a drum set in an Excel spreadsheet. That may sound utterly useless, but the creator has a great twist: audience members with wireless Xbox game pads can play the beats. It gets better: Thomas’ friend Andrew has now hacked the spreadsheet further to make it a full-fledged drum machine with a sequencer. (Thomas previously sent us details of his music making tutorial for ElectroPlankton, the Nintendo DS game; expect more on that as the game hits US shores next month.) Disclaimer: Neither the synth nor the drum pad seems to work on Mac. (Correct me if I’m wrong, Mac gurus.)

Excel doesn’t give you much reason to pitch your drum machines or synths, so is there anything really useful you can do with Excel? Here are some ideas:

Databases of music: The Amateur Chamber Music Players have a list of chamber music databases in Excel format, perfect for finding new music and rare chamber pieces.

Tracking your music library: A reader on the MacAddict forum has devised a method for converting an iTunes music library to HTML via Excel.

Analyzer/calculator for keyboard tunings: Do tunings and temperament make your head spin? Yeah, me, too: if you’re not in 12-tone equal temperament, tuning gets complicated fast. A clever doctoral project resulted in an Excel spreadsheet that does the calculations and analysis for you.

Given the range there, this seems like only the beginning for Microsoft’s humble spreadsheet software, especially since there’s a copy of Pocket Excel included with Windows Mobile PDAs and phones. More ideas, anyone?