Every so often, something comes along that’s just irresistibly lovable. So it was with the Korg monotron. With a price of US$60 (or far less), a pocketable size, the ability to run on batteries, a nice, glowing red LFO knob, a delicious filter, and toy-like playability, everyone loves the monotron. People who have racks of vintage synths love the monotron. People who have never seen a synth before love the monotron.
Then, along came the Korg Monotribe, which grafted ultra-simplified analog drum circuitry and a sequencer, and … somehow, you wanted to love the thing instead of just loving it. I talked to a number of people who struggled to find something to say about the Monotribe – it didn’t have that magical effect the monotron did. Readers didn’t like thd drum sounds. The unit was bigger and pricier, but still lacked real control voltage or MIDI without hacking. Some of these units found very happy homes, to be sure, some mods were impressive, and it was great to see the circuit designs, which are quite clever, released. (Look closely at that design, and I think you begin to appreciate what was beautiful about the Monotribe that a lot of people missed: the circuits for the drums, while some folks maligned them, are incredibly elegant and simple.) But the bottom line: the Monotribe simply wasn’t the sensation the monotron was.
Well, Korg has wisely returned to the cute, impossible-not-to-buy, pocket-sized monotron package with two new models. And suddenly, that feeling — that “yeah, I have to have that” feeling, rather than the “I think I might want it” — is back.
The monotron DUO looks like it’s just a monotron with a new paint job, but it’s not. In addition to bumping from one VCO to a far more interesting two, the X-MOD circuitry comes straight out of Korg’s ridiculously-brilliant Mono/Poly classic. (Edit: I should add that the X-MOD is not specifically what made the Mono/Poly great – but it is nice to see anything off the original. In this case, it’s essentially a pitched FM, as readers point out, and as you can see in the video.) And that turns to another lesson learned from the monotron: bring back great circuits (like the filter on the MS) into modern designs. Like tasting the Tootsie Roll candy you had as a kid, it remains every bit as sweet. It’s otherwise the same monotron VCO square wave synth (double doubling your enjoyment in the process), but the addition of X-Mod should be good fun, as was the LFO on the previous model. Update: it appears the DUO also has the key range switch present on the Monotribe – bonus!
Then there’s the monotron DELAY. The silkscreen looks like it escaped from a movie tie-in toy for The Last Starfighter. But what you get is both that brilliant analog filter (the MS-10/MS-20) and a new “Space Delay.” I’m guessing the delay is digital, as it offers “analog-style echoes,” but no matter. Korg may have just created something more useful than the original monotron, because now you have a simple delay unit and the filter and the Stylophone-style controls in one unit, with an audio input jack.
Yeah, the ongoing emphasis on the “analog muscle” in these is a little funny, but let’s be honest: you want these. 2011 just got its first obvious Christmas list entries. And some of us will be looking for a holiday we can make up just to get them sooner.
Hope to have a hands-on — and some sound samples of the delay, which we know only by its silkscreen YouTube demos from Korg JP right now — soon.
Apple’s GarageBand music creation and amp simulation on iPad is now also on the company’s handhelds, with iPhone (3GS, 4, 4S) and iPod touch (3rd-generation and better) support. You only have to buy GarageBand once; the app runs on all those platforms, so if you had the iPad version and also own a compatible device, you can automagically add it.
The iPad is definitely the roomier device, so what can you do with the handheld?
Touch Instruments (pictured here) let you quickly tap out musical ideas.
Amp and stompbox models work. As I’ve said in the past, that makes the handhelds into usable practice amps or pocket-ready effects boxes.
Lay down multiple tracks (recording external audio one at a time), and edit in a simplified GarageBand track editor.
You can still exchange files – up to eight tracks of recorded or generated music – with GarageBand and Logic on your Mac. That makes this a usable pocket sketchpad.
In short, not only does your Mac have little to fear, the notion is that these handheld apps could actually give you added incentive to do production back on the desktop.
Also in this update are features that will be useful to the iPad version, too, but are clearly intended to make the palm-top edition more usable. “Smart Instruments” let you play along with chords – ideal if you can’t quite twist your fingers into strumming positions on your phone. And there’s a historical musical precedent for this, too: think autoharps and frets and capos, musical innovations intended to make playing an idea easier.
If you want a bit more sophistication, the instruments expand to provide features like glissando, Leslie simulation, tuners, and so on.
Our friend Jim Dalrymple of Apple-focused tech site The Loopspots other enhancements. If you discovered the previous version frustratingly didn’t let you change keys without transposing audio, or didn’t let you set 3/4 or 6/8 time signatures (“do I hear a waltz?”), those holes have been patched – useful in the iPad version, too. Also, you can export to AAC or uncompressed AIFF even without going via GarageBand or Logic, a helpful issue.
US$4.99 new, or free update for existing customers. (Fear not for starving programmers. It turns out that this “Apple” company also makes those “iPhone” and “Mac” things, too.)
But this is all feature talk. What’s impressive to me is the way Apple has boiled down the interface of GarageBand into a smaller space. What’s left is only what is strictly necessary – complete with some photo-realistic imagery, yes, true to Apple’s notion of polish and texture. It makes a stunningly clear and obvious interface design, and that to me is inspiring: not as something I hope other developers will copy, but the kind of clarity I hope they’ll find in their own voice. After all, GarageBand for iOS shares DNA with Logic, not just mobile apps, and therefore a far more complex heritage.
Playing the glass surface of your phone as a musical instrument is likely to be relatively limited – compare a tangible instrument, which feels fun to play. But as a sketchpad, and as a pocket reduction of other things, this has appeal.
Images courtesy Apple. (Check out high-resolution versions.)
Instruments like the Theremin may be trying to shake off their association with fear, dread, and the unnatural. But the synthesizer has no such concern: after all, the Moog is pretty much a rock star, literally. So, for anyone fiddling around with the Animoog – hopefully including iPad owners who are newer to synthesis – you can now grab a bunch of presets to provide the perfect sonic accompaniment to this Halloween. The sounds are the work of synthesist/sound designers Drew Neumann and Kevin Lamb.
And as if the app, currently on sale for $.99, weren’t already a steal for people who already have the iPad, the presets are free. Just move quickly: the price jumps to US$29.99 on November 18.
Of course, what would also be a lot of fun would be some sort of proximity sensor for your app, for use at a party… okay, we have a few hours left if anyone can wire up the Arduino hardware link on Android or the camera on the iPhone or the motion sensor or … something. Go!
Got other Halloweeny news for us? Let us know!
Installation instructions from Moog (by popular demand):
Image-Line are quick to attach lots of disclaimers about when the work will be ready, but a teaser video demonstrates they have builds of their FL Studio Mobile software running on Android devices. It looks like a particularly good match for tablets, and is the latest indication that their may finally be a horse race in tablets for music. (Insert more disclaimers here.)
The phrase “low latency” is likely to make prick up some ears. No computer is “zero latency”; digital systems introduce some delay from recording to playback. The quality of the user experience, therefore, is having things happen without too much latency, whether it’s when sounds from a microphone or line input are processed or when a touch event or MIDI input results in a sound. iOS at least puts that latency in the acceptable range. Android devices, meanwhile, have earned complaints. Some of these issues appear to have to do with the way the platform itself works, in scheduling and the hardware abstraction layer, whereas other challenges arise from the variety (and, let’s face it, inconsistent quality) of Android’s various devices.
However, there are signs that developers might make this situation more manageable. We hear there are changes in Android’s Ice Cream Sandwich release that could impact both the way native access to the audio system and scheduling work; it’s too soon to evaluate those changes, because the OS isn’t done yet. But that leads to the other important development: Android developers are beginning to test performance across devices for some harder numbers. Those kinds of tests could benefit from easy software distribution and the (relatively) open source nature of the operating system — or at least, to be fair, from freely distributing genuinely free-software apps for testing. It’s also worth saying that not all applications require low latency, or, indeed, concern themselves with input-to-output latency. (Not all apps use an audio input.)
It’s not yet clear what Image-Line’s own “low latency” engine is about, but it’ll be interesting to watch. First promised in June, at least, it seems Image-Line is making some headway. More details: http://www.image-line.com/documents/android.html
I’m still far, far from being able to recommend purchasing an Android device for use with music – iOS wins handily. But developers naturally want to look ahead, beyond the present situation to what might be possible in the near future, especially since they’re the ones making the apps. And there, the picture is worth examination.
“Panzer” is beyond any mobile studio you’ve ever seen. It’s basically a tank with speakers and a cockpit containing beat-making gear. (Mackie mixer, Roland sampler, Akai MPC, Korg KAOSS, as near as I can see, plus … the machinery to drive the tank.)
And to make sure it’ll fit in your garage:
H 250 cm x L 350 cm x B 140 cm
Nik Nowak, born in Mainz and based here in Berlin, has a whole portfolio of re-imagined speakers and motorcycles and flames and I’m glad I’m not a curator or art critic because I would be tempted to use phrases like “installations made completely of awesome.”
Nik, if you’re out there, please tell me you still have this and can drive it out to an event. Otherwise, I’ll come to you. Just don’t shoot … or … boom or whatever.
I was going to add the images to this story, but I’m not sure I want to see a takedown notice from Nik. It might actually set me on fire.
Native Instruments reveals some big news for Maschine that’s … well, smaller. A new package has smaller hardware and lower price, with the same full-sized software. And an iOS version lets you use Maschine on iPad or iPhone.
As their drum machine / drum sampler / groove workstation with plug-in hosting and doubling as plug-in matures, and becomes a focus of NI’s production and performance side, things are starting to heat up. And yes, this news comes just as we learn more about an upcoming analog drum machine. It’s a Labor Day full of drum machines.
Shrunken Maschine: Maschine Mikro is, for me, the best news. It’s cheaper than the full Maschine package. It’s smaller and lighter, with a more compact controller. You might expect NI trimmed down the samples set – nope, it’s the same 6 GB ibrary. Or maybe they added a “lite” version of the software – nope, it’s the same, full Maschine version. And you still get full-sized pads. The Maschine pads are some of my favorite currently on the market – controller or otherwise – so that’s quite nice, indeed. You do sacrifice some hands-on control: the Mikro lacks the big, beautiful screens on the full Maschine, and the additional knobs and triggers. The eight macro knobs on the full Maschine are pretty handy, as are dedicated group buttons.
So, why would I think Mikro’s a good idea? Simple: when you’re on the road, or performing live onstage in cramped spaces, the Mikro looks like a winner, and all with the same software and at a lower price. For studio use, the full Maschine is still your best choice. But I’m personally going to switch out to the Mikro, especially because – like many people, I suspect – it’ll ultimately be combined with another controller in my workflow. You can have a closer look at our two product shots from NI and decide for yourself. (Yes, there’s a Maschine Bag, and yes, I was just talking to King Britt about his on-the-go luggage setup with his Maschine, but I’m still partial to smaller and lighter!)
Finger drumming video: NI has also released a promo vid of finger-drumming virtuoso Jeremy Ellis tearing apart their new hardware. It’s supposed to make you want to buy a Mikro, or something, except it may make you feel somewhat … inadequate … with your own finger drumming, instead.
Really Shrunken Maschine: If the Mikro isn’t small enough – say, you’re on the East Coast “Chinatown” Fung Wah bus and don’t really have room for your knees – NI also has a Maschine coming for iOS in October. It seems eminently practical:
four tracks
sampling (perhaps the most fun part of having this be mobile)
“high-quality” effects (no reason that couldn’t just be ported from desktop)
instrument and drum sounds from the standard Maschine library
bring back your sketches into the full Maschine and edit them there
I’m only sorry it’s called iMaschine. Oh, well.
Komplete integration: As a footnote to this other news, NI notes that Maschine and Maschine Mikro each now support sound browsing and parameter mapping for instruments and effects in Komplete/Komplete Ultimate – the kind of tactile control originally in Kore, now entirely focused on Maschine.
Bottom line: For lovers of this workstation, it sounds to me like Maschine for iOS on the bus, Maschine software on your MacBook on the plane, Mikro in the hotel room, standard Maschine in the studio.
An example score produced with MuseScore’s new lead sheet features.
Music notation software has long been seen as a two-horse race, a Pepsi versus Coke stand-off between Finale and Sibelius. But not only are there other alternatives, too, here’s one tool that’s making free and open source notation viable. I’ve spoken previously about engraving tool Lilypond, but it’s not entirely graphical, even with GUI front ends. MuseScore will look more familiar to users of something like Sibelius, and just as the latter released a major upgrade, it also had a big 1.1 release with major new enhancements.
MuseScore has a robust notation engine, capable feature set, and it’s even catching on in a number of academic institutions around the world. There’s an iPad-based score reader, which in turn is a revenue source (no reason open source software can’t generate income). You can enter music with keyboard, mouse, or MIDI, use the usual complement of symbols and layout features, and import and export both MusicXML and Standard MIDI files. You won’t find a big orchestral sample library as in Sibelius 7 and Finale’s Garritan-based sounds, but there’s still support for soft synth playback, and you can run for free on Mac, Windows, and Linux. It’s been translated into some 43 languages and counts more than 2500 downloads daily.
Given the coincidence of Sibelius and MuseScore getting their upgrades at the same time, I asked the MuseScore developers directly how they thought they compared. Let’s bring on the fighting words – after all, a little friendly competition drives better tools. (Ask the engineers on contests like Robot Wars.)
Improved interoperability also means you don’t have to choose sides. With MusicXML import/export in MuseScore and recently expanded in Sibelius 7, you can exchange files between the two tools – as you should. (After all, the whole point of notation is the ability for anyone to read it — for the exchange of ideas.)
First, here’s what’s new in MuseScore 1.1, with improvements like jazz and lead sheet functionality:
Lead sheet enhancements, including MuseJazz jazz font, chord symbols on bars without notes, keyboard shortcuts for moving between bars, more chord symbols, and slash notation (via a plug-in) … see the beginner and advanced tutorials, and separate blog post.
Connect is a Web-baed social feature for sharing scores, checking out tutorials, and following Twitter MuseScore discussion, all within the program. (Actually, I’m surprised more music software doesn’t do something like this.)
Improved stability and reliability, including 60 bug fixes. To be honest, that’s probably what has held me back from spending much time with MuseScore, so I’m intrigued. This isn’t a review, but I’ll have to do some scoring work so I can try it out.
MuseScore Connect adds tutorials and social and score-sharing features to the software interface itself.
MuseScore isn’t as fully-functional as tools like Sibelius and Finale. For may purposes, it will do the job; it just lacks some of their maturity and extensive feature set, which means you should research its current features if you have particular notational needs. But that’s changing. On the roadmap for a more significant version 2.0 are critical notation features like tablature, and linked parts so you can edit music simultaneously in extracted parts and full score.
Sibelius versus MuseScore?
I asked MuseScore developer Thomas Bonte to follow up on how MuseScore relates to Sibelius with news of the two coinciding:
Well first off all, we have to be honest about it, Sibelius is a superb product. Many of my friends use it and I dropped the ambition to convert them to MuseScore However I learned that every year there is a new group of aspiring musicians following music education. The way we see it, is that MuseScore is growing up together with them.
MuseScore strongest selling proposition against Sibelius and others is it’s price: $0. While that seems an unbeatable price, MuseScore faces very steep competition from pirated versions of Sibelius or Finale. When I go around in music conservatories and I ask who has a legal version, only the teacher raises a hand. So MuseScore needs to do better than just the price and that’s where the Open Source kicks in.
If you look at it economically, it’s all about reducing production costs. Translations, documentation, import & export filters, plugins, … The only thing we (the core team) need to take care off is that the contributor community can work together. To facilitate this collaboration, we invested a tremendous amount of time in building a full featured community website on musescore.org using Drupal CMS. It is the main reason why the contributor community around MuseScore has doubled every release, up to 150 people for 1.0. You may have an open source project, but without people, that means nothing. And that’s how we really compete. With our community of contributors and users. The former improves the product, the latter does the promotion.
It’s just a matter of time before MuseScore can handle professional typesetting work. Via initiatives such as the Open Goldberg project, we want to show that MuseScore is getting ready for more demanding work. Open Goldberg @ Kickstarter
One more thingy related to Sibelius: finally, Sibelius 7 has MusicXML export on board! A huge amount of users were asking us how they could convert their Sibelius files to MuseScore. (e.g. https://www.facebook.com/caleb.foreman/posts/10150374776437678 ) The Dolet plugin was obviously way overpriced to be a democratic solution. This is a huge relief now for e.g. educators, who have lots of material in Sibelius and wanted to convert it for their students who are using MuseScore.
Some of Sibelius 7′s features do have comparable features in MuseScore – and in some instances, MuseScore was first. Thomas observes:
MuseScore had a tabbed document interface (like a web browser) since the start of the project
MuseScore is of course native 64 bit (if compiled on a 64 bit machine)
PDF export has also been there from the beginning
Multi core playback is not available in MuseScore but the synthesizer runs in a second thread (so at least dual core)
MuseScore had import of SVG images since many years now
Upcoming MuseScore 2.0 has full screen support
Version 2.0 is likely to be the big release, in my mind; we’ll be watching. Thomas says they’re also working on improved branding and visual appearance in preparation for that release, and all of this is boosted, he says, by revenue from the iPad score reader. That makes an interesting new model for free and open source software.
A side note, as my biggest criticism of the free engraving tool Lilypond at the moment is its lack of two-way MusicXML file interchange. Thomas notes:
MuseScore exports Lilypond. It used to have Lilypond import as well, but that was dropped in 0.9.6 because it was better to spend out limited resources on improving MusicXML import. We expected to see MusicXML export in Lilypond anyway, but apparently that’s far from trivial since it still didn’t happen.
And what about compatibility for ABCjs, a JavaScript-powered, text-based notation format so simple it’s been implemented on mobile phones and Web browsers?
Yes there is. And the way this works is a very nice example of how hackable MuseScore is. It’s written out nicely in this post here but basically what happens is: a plugin in MuseScore let’s you browse for the ABC file, it then sends the ABC file to a web service at http://abc2xml.appspot.com which is made by one of the MuseScore developers, and finally that web service sends MusicXML back. Et voilà. (Note: as stated on the announcement: The webservice uses ABC4J. ABC4J supports ABC 1.6 only)
This may help you to get an idea where MuseScore is and where version 2.0 is heading.
One note: MusicXML export is not available in Sibelius Student or First. Only in Sibelius 7. Bummer.
I think it should be plainly obvious: there’s room for more than one notation tool. There’s room for more than two notation tools. Competition between tools can drive capabilities forward, and better motivate tools to match what users need. Free and proprietary tools can both learn from one another, and even exchange files – there isn’t a gulf between free and open source and proprietary as some may have found in the past. The availability of better tools means the expanded ability of musicians to express themselves.
And MuseScore is becoming a viable option for notation. That can only be a good thing. If you use it in your work – or you have anything you’d like to share about how you create digital … scores – we’d love to hear from you.
If you’re looking to turn an Android phone or flashy, new Android tablet into a touch controller for music, you’ll be really glad to see OSC and MIDI controller Control. Furthermore, here’s a solid, powerful app based on the Web that lets Apple and Android fans play well together.
I’ve sung the praises of Control’s philosophy before. Templates are built on Web/HTML5 (WebKit) rendering, not proprietary, inflexible interface widgets, and can be created in JSON. You can make templates dynamic, too, because of everything JavaScript does.
(Non-jargon-filled translation: you can use the goodness of the Web to make control layouts that do whatever you like.)
The iOS version is a great option, but now Apple and Android owners (or people with both) can both get in on the action. The Android version already has multitouch on supported hardware, Bonjour/Zeroconf networking support, OSC support, and interface downloading. That means it’s already a usable wireless controller for musical and visual performance. Soon, it’ll also add sensor input and MIDI.
With new tablets from Samsung and Toshiba – the Samsung thin and slick, the Toshiba hefty but with tons of ports – the timing seems right. Also, because the app itself is open source, developers curious about adding any of those features to their own apps can share code and (ideally) contribute back to the project, which could accelerate Android development. I’ll leave our audio API gripes for another time – this is a controller app, so therefore doesn’t make sound – but for those looking for more mobile tools, this is unqualified good news.
Full feature list:
- Outputs Open Sound Control (OSC). MIDI coming soon!
- Handles multitouch on capable devices
- Bi-directional communication: use Control to set values on your computer, use your computer to set values in Control
- Dynamically add and manipulate widgets via OSC messages
- Reads and outputs data from Accelerometer and Compass sensors (on applicable devices) with adjustable update rates
- The ability to script behaviors for widgets using JavaScript
- Auto-discovery of wireless networks via Bonjour
- Interfaces can be pushed to the phone via OSC or downloaded from the web
- Supports both portrait and landscape interface orientations
- Interfaces work on both phones and tablets (tested on Droid and Asus Transformer)
- Free
And here’s some of the new, dynamic jQuery functionality, relevant to both iOS and Android users. The idea is, using OSC, you can dynamically create your own interfaces:
For connecting music hardware from the 80s, 90s, 2000s, and today, you can’t beat MIDI and the standard MIDI connector (5-pin DIN). This week, both IK Multimedia and Line 6 announced adapters that support Core MIDI. Previously possible on iPad via the Camera Connection Kit, the new adapters support the 30-pin dock connector for the iPad (no additional adapter needed), iPhone, and iPod touch.
IK’s iRig MIDI has a number of features that set it apart from previously-available iOS adapters:
It’s got MIDI Thru. MIDI Thru means you can route MIDI into your iOS device, so an external keyboard can play an iPhone synth, for instance, and route that same signal “Thru” to another device – say, if you want to also record your playing, or layer another synth with the same notes an octave higher. (I can rant about the disappearance of Thru on other hardware some other time; it’s great to see it here.)
There’s a USB power port. This one’s huge, especially having tested Line6′s adapter. Normally, any hardware you plug into your iOS device takes over the jack you’d use for power – so you have to watch your battery life as you use it. By adding an additional USB jack for power, you can connect both MIDI and power – problem solved. That’s especially essential if you plan on using this a lot, or onstage.
A Gig of Sounds, to Go… IK Multimedia is also bundling a new SampleTank app for iOS so that anyone buying the adapter gets sounds straight out of the box. SampleTank has 1 GB of sounds (500 of them), 20 insert effects, and a master reverb-delay — yes, really on iOS, for free. (8 GB owners may not be thrilled about that, but those of you with more storage might.) You get acoustic, electric, and electronic instruments, and even orchestral and sampled Moog sounds.
FL Studio Mobile, previously announced for iOS, is now available for iPhone, iPod touch, and, in an “HD” edition, on iPad 1 and 2. The biggest feature: if you’re an FL Studio user, you can take your projects and load them on the mobile version for on-the-go editing. That makes FL the first major, non-Apple studio app to do round-trip workflows between mobile and desktop.
The release is also causing some mainstream outlets to notice, like BetaNews, who suggest this breaks a 13-year, Windows-only FL Studio run. That’s not entirely fair: Image-Line have released cross-platform software. The issue is that the full-blown FL Studio desktop version is deeply tied to Windows. FL Studio Mobile is a ground-up app. But it’s still big news.
BetaNews notes that the round-trip isn’t as easy as you might like:
Like Garageband for iPad, pulling files off of the iPad is kind of a chore. In order to load FL Studio Mobile projects into FL Studio for Windows, users need version 10.0.5 or later of FL Studio, and files must be dragged and dropped from the FL Studio Browser (or Windows folder) to the desktop one by one. There’s not yet an easy export feature for fast file sharing.
That could change, though, if the application adds iCloud support – and even this, as described, sounds easy enough to me.
Other features:
Piano keys, drum pads with flexible layouts – so you can arrange, say, multiple stacks of keys or drums the way you like.
Instruments, kits, and loops included.
99-track sequencer, piano roll and step sequence editing.
Import/export not only FL Studio projects, but WAV and MIDI files, too. Unfortunately, sample loading isn’t available yet, but is coming.
An Android version is also in the works:
What about Android OS? It’s on the roadmap, stop nagging! We have a development team working on a low-latency Android audio-engine and there are many screen resolutions and device specifications to consider, it’s not as simple as you may think
FL Studio for Mac is still in the “forget about it and stop asking” category, so no change there:
Does this mean FL Studio on Mac OSX soon? FL Studio Mobile is not a port of the Windows version of FL Studio. It is the product of a completely separate development team, and code, so FL Studio Mobile, while compatible with FL Studio has no impact on FL Studio development and vice versa.
Just expect to read about this everywhere, thanks to a viral contest Image-Line is running. Guys, take it easy: I think people would blog your FL Studio Mobile without having an iPad to win. FL Studio Mobile News
On the road from futuristic instrumental concept to real-world product, the Yamaha Tenori-On as shipped lacked some of the functionality its creator, gifted media artist Toshio Iwai, originally imagined. Notably, wireless networking, which promised social music-making with other devices, was gone, replaced with a more-limited MIDI connector.
Now, in a surprisingly literal translation from the hardware to iPad, it appears the Tenori-On has added that feature – but lost some of its charm. An iOS developer notes to me that pitches don’t sound when you tap the screen, only when they are played in the sequence. That fundamentally changes the interaction with the sequencer: you can’t hear notes until they’re sequenced, and you would presumably lose the sense of playing an instrument. That report is happily incorrect; both the developer and I were mistaken from our video impressions. That makes this far more useful.
My reaction here should be taken with a grain of salt – this is only a demo video. But in observing what is new (networked features look terrific), it’s likewise worth saying that something is lost when you move to tangible hardware. To me, a lot of the appeal of the Tenori-On was tangible: the machined metal case, with curved edges designed to be comfortable to hold, and the feeling of running your fingers against discrete, round keys on the array of buttons. Those are lost by necessity. Yet, oddly, some of the Tenori-On’s features designed primarily for hardware – the menu system and navigation keys – are reproduced here, features necessary on a hardware design but not a tablet.
Yamaha Japan, apologies for going on a rant on a product I haven’t yet used, but I’m concerned at what seems to be a missed opportunity. And designer Toshio Iwai has already conceived imaginative touch-based interfaces that are designed for a screen, in works before iOS had even been announced, like ElectroPlankton for the Nintendo DS and interactive installation work going back some 15 years or so.
Simply translating hardware designs to a screen is novel, but rarely usable. Just ask Tascam, who were roundly (and rightly) criticized for making a Portastudio app for iPad that required you rewind every single time.
At least the good news is, some of the musical personality of Toshio Iwai’s work remains, and in a form that doesn’t require a costly hardware investment. Updated – also, via readers, there’s evidence of MIDI support.You’ll find other videos on Yamaha’s official Japanese channel.
Just mark my words: the hardware is still cooler, and there’s a lot of potential in hardware and software sequencers alike beyond this yet to be realized, whether by Yamaha or by someone else.
Updated: I want to re-emphasize that there appears to be auditory feedback as you press buttons for sequences, which is great news and vastly improves usability. And while I stand by some of what’s advantageous in hardware, I’m excited to learn that we may get both networked and MIDI functions here, as we’ve seen in apps from makers like KORG.
Reader comments are very positive, so amidst this hopefully constructive criticism, I think it’s encouraging that the software looks promising and people are eager to try it! (And being critical of some features does not mean you can’t eventually like the product – part of why I tend not to shy away from criticism.)
Two spacey ways of finding media: music collections, heirarchy, and images of planets in Planetary for iPad, top. Sound and loop collections, “magnetic” relations, algorithmic categorization, and rapid torchlight auditioning in Soundtorch 2.0 for Windows, bottom.
If your music and sound collections seem like outwardly-expanding universes, two new tools promise to bring order by representing media as virtual planets and stars. One works on albums and tracks on the iPad; the other uses computer-aided analysis of loops and samples (not just music) on Windows. One will make your eyeballs pop; one might help you manage gigs of samples for a game design project.
Built in the open-source framework Cinder by an all-star team of media artist-designers (Ben Cerveny, Tom Carden, Jesper Sparre Andersen and Robert Hodgin), Planetary should satisfy space nuts and eye candy lovers. The metaphor is pretty direct: artists are stars, albums are planets around the artists, tracks are moons around the planets, and you can filter “constellations” by letter. That means the actual structure is heavily hierarchical, actually, in the tradition of iTunes (and, before it, its predecessor SoundJam). I’m not sure what happens with, say, compilations. But let’s face it: the real draw is that it’s incredibly beautiful to look at. I’d be just as entertained looking at a visualization of my system folder if it looked this pretty.
For now, Planetary is some fascinating eye candy with at least basic playback capabilities, iPad-only. That brings some good news – Airplay wireless works, and since it makes use of standard media code, even features like Last.fm scrobbles function. It also brings some bad — while Apple added support for libraries to third-party apps, Home Sharing isn’t included, so you’re limited to what’s on your iPad. Playlists aren’t supported, either. But hook this up to a projector or large screen TV with some of your favorite music, and I don’t think you’ll be complaining. And as a free tool, it’s incredible.
Less pretty, but with greater facilities on the utility side, is the Windows-only Soundtorch. (Thanks to Kristian Gohlke for the tip!) Visually, it offers a similar metaphor: media assets live on a continuous plane. Functionally, though, it’s more algorithmic than hierarchic, using something called the Computer Aided Sound Exploration engine (C.A.S.E.). The set of algorithms, which the creators say were based on evaluation of human listening, performs a sophisticated set of extractions of some 600 features from each sound file.
Rather than limit itself to albums and tracks, C.A.S.E. is tuned for audio files and loops. It’s fast enough that it can plow quickly through gigs of material. So, if you’re on Windows and have amassed an enormous collection of loops, samples, field recordings, sound effects, and the like, Soundtorch will use C.A.S.E. to first map all those relationship, then visualize them. You can use the mouse to produce new collections of assets, map relationships visually, export those relationship to XML, copy sounds to the clipboard, export to WAV, or open them in Windows Explorer. That is, all that eye candy is a genuine interface, not a barrier between you and what you might do (as so often happens with these sorts of experimental interfaces).
In fact, you might argue that, despite outward appearances, Soundtorch is entirely different from Planetary, but they share one common conceptual assumption. Related media “orbit” or attract to common materials. The difference is that Soundtorch is relational. In Soundtorch, if you “magnetize” a file, it – and any similar files – become attracted to attractors called “magnets.”
As is appropriate searching for media, the “torchlight” metaphor shines a light through files. Everything under the light plays back simultaneously, so you don’t have to audition sounds one at a time. (That sounds slightly terrifying to me, but I have to spend more time with it in an actual library.)
The creators describe the magic thusly:
Have you ever listened to a sound and felt that there was a similar one somewhere on your hard disk? And the sound you can’t find would just work so much better right now? Well, Soundtorch also remembers all sounds that you ever listened to. Just select any sound on Soundtorch, and let the system suggest the most similar ones from your whole collection.
In other words, SoundTorch is as much about what you can’t see as what you can – the intelligence to determine similarity behind the scenes. Check out the tech talk in the video above for more information on how “aurally and visually-enhanced audio search” could also apply this technology. More research at: http://www.accessive-tools.com/
Finally, if you want to hear the “Optimist” track by Zoe Keating without that voiceover and just enjoy Planetary’s gorgeous visuals, here you go:
From innovation in the visual interface to the intelligence underneath that changes how the computer interprets relationships between files, finally, there’s hope. Music and sound might not forever be trapped in views borrowed from spreadsheets, tables modeled on the needs of accountants 30 years ago.
Apple users may not know the name – FL Studio, formerly Fruity Loops, is a favorite on Windows – but FL is a favorite music making tool of the bedroom computer producer everyman. (Everywoman?) So, its imminent appearance on the iPad tablet is eagerly anticipated, even in the aftermath of GarageBand. Developers Image-Line, an independent software house from Belgium, delivered the first hands-on video today.
It’s worth pointing to the work of stretta, to compare the sorts of things people imagined the iPad would do before it did anything. Formerly of MOTU, and best known as the creator of wonderful patches for the monome grid, he imagined the product demo below before the iPad had even shipped:
The software is a functional prototype running in MaxMSP which I recorded with a screen capture program. I composited this onto a foam core cutout of a picture of an iPad with After Effects. The finger touches are a complex choreographed dance that I had to memorize and perform in one take.
See his blog post today. The video is striking. Of course, I still wonder – what’s the next big idea?
Update – since I seem to be potentially misinterpreted here – yes. These are all ideas seen elsewhere, seen regularly on the Lemur. I’m not making any claim on the novelty of stretta’s original mockup – actually, I’m more amused by how hard it was to try to fake an iPad without one in hand! If there is a lesson here, I’d say it’s ship your ideas, and consider what sorts of ideas other people won’t ship.
Android just got a whole lot more interesting for hardware development. We can already run music apps and tools like Processing and (via libpd) Pure Data patches on Android. Now, you should soon be able to plug in joysticks, custom hardware, sensors, and other devices and make Android a go-anywhere live music and visual platform. Updated: USB audio class is in fact supported; awaiting other details.
The new hardware APIs allow anyone to develop hardware accessories for Android, from individual DIYers all the way to brands. You don’t have to sign an NDA, and you don’t need a special hardware license – the aspects about which I’ve complained in the past with regards to Apple policies. Anyone can do it.
In the keynote, Google even showed an Arduino MEGA-based board for doing I/O. This should theoretically be open source hardware, though we don’t yet have specifications or code. Based on the way it was described, I would imagine other Arduino boards would work, too, at least with modification.
It’s also unclear what the relationship of the new Arduino-based stuff is to the existing IOIO project, also based on Arduino and Android and with more or less the same capabilities. It’s very possible that what Google has done is add official support. Official SDK support seems like a good thing; I’m just unsure what it means if you’ve already got an IOIO or how the two things relate. (It should be a step forward in at least some ways. If you read the specs on IOIO at Sparkfun, you’ll note that – because of missing OS support – IOIO has to implement host mode itself. And handset support is limited. But IOIO is a much better name.)
I wanted to get out there with the news, so I’ll let you look through the documentation if you’re interested. Since Google IO isn’t covered by an NDA (cough, Apple), I’m hoping we’ll find out more details.
One very nice detail, aside from the Arduino support: the documentation specifically calls out USB bus power.
This leaves some significant questions unanswered, however. For one thing, despite Apple’s restrictions for hardware connected to the Dock Connector, Apple has a very liberal policy and some brilliant hardware work when it comes to USB connections made via the Camera Connection Kit. Power is often an issue, but Apple’s iOS on iPad supports a wide range of USB device classes, including USB audio and USB MIDI devices. There’s still no word on whether that’s supported on Apple – which would be a major detail for music use. (MIDI doesn’t have to be a dealbreaker; you could certainly perform the same functions via the existing classes, or even create your own Android-to-MIDI adapter. But the lack of quality audio I/O could hamper the use of Android for music applications.) USB audio is confirmed, as Google themselves cite it as an example. Waiting on other specifics.
Separated at birth? The IOIO project. Photo courtesy sparkfun.com, who still sell this board – and incidentally, it remains useful for prototyping!
That said, let me review: we’ve now gotten things I’d never really have imagined given the early development of mobile apps. We have Arduino-based and basic USB hardware on Android (possibly more), and USB MIDI and audio devices on iOS.
And furthermore, I think people will do really, really cool things with this stuff. The refrain from many advocates of mobile and next-generation platforms has been that users don’t need or want the kinds of capabilities that we get from conventional computer experiences, and that us pundit nerds should stop making comparisons to computers and let average users just check their Facebook accounts. Yet I’m pleased that engineers at places like Apple and Google have added just those features, because I think a wide variety of people – not just nerds like me, indeed – can do great, expressive things with them, and that that’s been a lesson of computing over the past decades.
In the blurring areas between gaming and creation, toys and tools, there’s certainly a lot of action, spurred on by platforms for sharing software.
Pulse is a new title for the iPad, an ambient rhythmic gaming experience with a unique interface centering around a series of concentric circles. The graphic design looks gorgeous in its abstraction, as much music visualization and animation as game UI. The developer, Cipher Prime, has done this kind of terrific work before – their work includes the ambient streams of colored particles in Auditorium, the Flash-based browser game, followed by the Mac + PC game Fractal. Items of note here:
The game combines melodic and rhythmic gameplay elements.
Pulse is as much interactive album as game, accompanied by a release of songs (including the single below).
Gameplay can be collaborative, not just single player.
The title is built in the awesome Unity engine, which means, by the way, Android development isn’t ruled out. Ahem. Let’s hope those OEMs get their tablets straightened out – I repeat my mntra, choice is good.
In addition to the existing tracks, the developers are looking for indie musicians in Philly looking to get in on the action. Game developers: the new record labels.
The title is already earning praise and recognition, including topping the charts and getting featured as iPad game of the week.
Interestingly, as the iPad morphs into game platform, that hasn’t stopped people from reconsidering game platforms as venues for music creation tools. So, by way of contrast and comparison – and in case your Xbox is feeling lonely with all the iPad news – it seems only right to counterpoint Pulse with a new Xbox 360 title also released last week.
Music Box is a Tenori-On-inspired music sequencer for Xbox Live Arcade. It’s fairly simple in conception, but makes clever use of the spare controls on an Xbox game controller, and at only a buck, it’s almost certainly a must-buy for music lovers with an Xbox.
Developer Vadim of Facetious Creations built Music Box with Microsoft’s XNA toolset, which opens up the possibility of Windows Phone, too. He says the response so far has been terrific. I find it fun to play with – and an interesting diversion for a game console.
For all our complaints about iOS and even Android, game consoles remain the most closed platforms out there. (Indeed, some of the anxiety over iOS I believe stems from concerns the game consoles locked-down model will spread to other computing hardware.) That said, Microsoft arguably does more than any other console vendor to promote indie game titles; amidst some noise, there are some real gems on the Xbox Live Arcade.
So, there you have it – two very different models for two different platforms. Let us know what you think.
Addendum: Many, many games have taken on the idea of games as albums, or at least with strong musical dimensions. There’s a nice list of inspiration listed in the sidebar of the blog for Cipher Prime, just to name a few that offer indie and ambient goodness:
Aether
Blueberry Garden
Eufloria
flOw
Knytt Stories
Machinarium
Osmos
Passage
Samarost 2
Windosill
However I learned that every year there is a new group of aspiring musicians following music education. The way we see it, is that MuseScore is growing up together with them.
