That’s a rhetorical question.

The answer is no.

The Eigenharp Alpha is a mishmash of music making tools all rolled into one device. Many have mistaken it for a Chapman stick, which it’s not.

It features:

• 120 pressure-sensitive keys (sensitive down to 1 micron of movement… nuts)
• 12 percussion keys (which can also be assigned to other functions)
• a bassoon-like breath pipe
• hookups for expression pedals (and let’s face it, if you’re rocking this bad boy, you’re definitely feeling the need to express yourself)
• a phantom powered microphone preamp
• a headphone amp for nerding out without disturbing anybody (unless they happen to see you)

Now I’m just waiting for some hipster indie band like Mute Math to make it their new stage gimmick and watch all the scenesters’ pupils dilate.

All that said… I think I kinda want one…

You can find out more info about the Eigenharp Alpha, and it’s light-weight counterpart the Pico, on their site.

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Call it gimmicky if you want, but there are a lot of tools out there that can make your live performance stand out as an artist. Are people more likely to remember a performance where you harnessed an interface that they’d never seen before, or a performance in which you were hunched over your laptop moving a mouse around?

We’re seeing a lot of new interfaces come out as of late; many of which seem to be object-based, where the objects interact with eachother as well as the user. Remember the Siftables?

New ways of creating sound will completely work over your creative process, and thus the product that comes out. When I write behind a keyboard, the songs that come out are strikingly different compared to when I write with a guitar in my hands. How might your final compositions change if you write with a more creative interface, rather than a keyboard and mouse?

You can find more info about the Percussa AudioCubes, including tons of video, on their site.

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Photocells detect the amount of light coming in to the bottom of the shoe, and relay that via 1/4″ cable to an interface for processing in MAX.

[here's the original]

moonwalkers

For this week’s project we chose from a list of three simple parameters: ACTIONS/THINGS/RESPONSES.

My respective choices:
-dancing
-sneakers
-music

The initial idea involved a pair of old sneakers, repurposed, to dynamically manipulate a sound file.
Basically I wanted to build shoes that would BOOM! when you walked. The louder you stomp the louder the BOOM! In a sense — “giant” shoes.

The two FSR‘s I was working with broke at the eleventh hour, and the trouble-shooting that insued, reinvented the project for me.

The Input:

Using my believe-it-not-only-about-a-year-old Saucony’s, the first step is deciding on the connection between the sensors and the microcontroller. (As a side note, my professor, Tom Igoe has switched to using the Arduino programming interface ove the PIC when teaching this and other physical computing courses). Since the original FSR’s I used were resistors and not potentiometers, I only need two lead wires connecting the sensor to the Arduino board. I know I want to keep the functionality of the shoes intact when not in use as stomping around like a giant (and eventual moonwalking awesomeness), so a detachable connection is a must. I originally thought of using CAT5 cable for it’s low cost, but then I realised i had fifty quarter-inch connectors sitting around from a project that went a different direction. It also compliments the theme of music and dance nicely.

tip: don’t use a drill press to drill through shoes.

I’ve embedded the jacks in the shoes after carefully drilling through the material using a hand drill and a utility knife. The tricky part is making sure the thickness of the sole is enough to entirely embed the jack, and still be able to lay the insole back into the without the jack digging into my heels. I made sure the jacks fit right before I solder up my sensors.

Since my FSR’s kicked the bucket, I’ve decided to use simple photocells – or photo-resistors, since they’ll give me the same analog values that I need. It is amazing how a simple logistics change such as this can change the course of the project so drastically. Now, since I can no longer measure the force of the foot coming down, I am going to have to measure basic distance from the ground, based off the “brightness” values I will get from the photocell. Because of this, I won’t be able to change the volume of the “giant” sounds, so I’ll have to switch to a different mapping of values. Well…what about moonwalking.

The basic assumption is, on a very small scale (about one foot), barring my presence on a light up dance floor, the further my foot is off the ground, the larger the values I will see coming in. This is what will determine whether I am actively moving, which is now what I am looking for over force. Having worked with photocells before in other projects such as Relay1 and Relay2, I feel confident the little variable resistors will work well embedded in the heels of the shoes.

The process is simple enough. I’ve used nails to make a sort of pilot hole in the rubber and then pass the two legs of the photo cell through to the inside of the shoe. I’ve also “counter-sunk” the sensors in the sole so the surface of the photocell doesn’t get damaged by my walk to the disco.

Solder up some leads connecting the photocell to the jacks, make sure I’ve got nothing poking out, slap the insoles back in and my moonwalkers are kickin! now for the fun stuff — how do I control Billy Jean?

The Brain:

I didn’t want to spend too much money on a one week prototype, so the Nestle’s Quick box I found laying around was a literal sweet find. Stylin’ and protective the box proves a durable and cute housing for my Arduino and bread board.

A couple of holes for the 1/4″ jacks and one for the USB out and I’m ready to start programming.

Like I said, I’m in Arduinoland now. Similar to Processing in evvironment and syntax, it’s an easy pick up for a beginner like myself. It doesn’t hurt that I’m only doing an analog in reading.

here’s the code:

#define leftLed 13
#define rightLed 12
int leftShoe = 2; // select the input pin for the shoes
int rightShoe = 3;
void setup() {
pinMode(leftLed, OUTPUT);
pinMode(rightLed, OUTPUT);
Serial.begin(9600);
}
void loop() {
int serialVar1 = analogRead(leftShoe);
int serialVar2 = analogRead(rightShoe);
if(serialVar1 > serialVar2){
Serial.print(serialVar1, BYTE);
}else{
Serial.print(serialVar2, BYTE);
//Serial.print(“\t”);
}

if(serialVar1 > 100){
digitalWrite(leftLed, HIGH);
}else{
digitalWrite(leftLed, LOW);
}

if(serialVar2 > 100){
digitalWrite(rightLed, HIGH);
}else{
digitalWrite(rightLed, LOW);
}
}

easy as pie. This gives me some nice scalable int’s into MAX. It turn out that most people use MIDI to communicate in MAX. Well, it turns out that serial isn’t so bad either. So long as your send the values from the boArduino in BYTE format, you’ve got some happy patches.

It also turns out that Michael was right, Billy Jean is not my lover, and neither, I thought was MAX. For some reasons beyond my control and other well within my control, I was unable to read serial data in to Processing. I was also unable to read serial data into Java…and Isadora. I just want to dance, and these already i’ve exhausted the three programmng languages I have become comfortable authoring in. It’s time to turn to MAX/MSP. As a first time MAX user, I am already somewhat comfortable using the graphical programming environment I’ve grown used to in Isadora. However, the project has a short deadline and I am finding it inefficient to troll through every help page. GabeBC and Chris Kairalla (both somewhat newbies to MAX themselves) came to the rescue with a few examples to help me out. With my new MAX skills I’m able to format the data to give reliable foot action reading and damned if I’m not moonwalking everywhere I go.

The MAX patch basically loads a file (in this case Michael Jackson’s ‘Bad”), then scales the volume and speed relative to the values it sees coming in from the Arduino, and subsequently, the shoes.

The result: hot.

Here’s a screen shot of the simple patch:

Part of the program’s charm was in the interface with the DS, so it loses a bit of fun because of that. It was also a bit of a workaround to get it to run well on my Mac. You not only have to install Glitch-Sequencer, but also MMJ (Java Midi Subsystem for Intel Macs), and jump through some other hoops, all which are detailed on the Glitch Sequencer page, but I always get so excited when new toys come; the last thing I want to do is install a bunch of extraneous apps to get it to run properly. That’s like buying a guitar without strings or something.

Nonetheless, it’s a very unique sequencing interface, and it’s free, so give it a go at Glitch-Sequencer.com. If you have a DS, be sure to check out GlitchDS.com too!

The best way to maximize these tools is to feed them into Live or a system in which you have a better sound bank. Check out this video of GlitchDS fed into Reaktor with RepeaterDS:

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If you’re looking for a way to get started understanding Max/MSP, Jitter and the like, pureData is a great place to start. You can download pD for free here. It’s a bit more primitive than MAX, but the principles and objects are very similar; and it beats forking out the cash for Max/MSP if you’re just testing the waters.

I had the pleasure of taking a few classes in pD back in college from Miller Puckette (the author) and Tom Erbe (soundhack). Both are brilliant guys who know sound, and know programming. Even after formal classes like those, I’ve only begun to scratch the surface as to what tools like this can be harnessed for. The possibilities are near endless with regards to what you can do if you grasp object-based programming well.

Nonetheless, if you have any questions, want help with a patch, or anything along those lines, I’d be more than happy to help out. Shoot me an email and I can offer what knowledge I have, as limited as it might be.

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Here’s a few words from Brian’s site, seeyouinsleep:

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Music aficionados rejoice. The idea of having only 1 device that combines multiple instruments, track recording, equalizer, sound editing, internet connectivity, and a touchscreen interface all into one compact package is drool worthy. The Vivace makes it all possible. Information is scarce on how the interface works but I have no doubt up-and-coming artists like FrankMusik and Bjork could do a lot with such a device.

The first thing I thought of when I saw it was actually Apple’s patent filing on a similar concept from a few years back, where the user could hot swap various interfaces like joysticks, piano keys, or a mixer in place of their MacBook keyboards.

I’ve played with all sorts of keyboard and music apps on the iPhone, and I’m not sure that I want something that’s not a physical interface. I could see a hybrid working okay, or even a multi-touch mixer being usable. The tough part with trying to mimic a piano, or other instruments that require expresivity, is that your fingers need to feel a piano to treat it like a piano. You could defnitely develop new types of instruments on it, but trying to mime out piano lines on a glass screen won’t ever be as fun as nailing them on a 9′ grand.

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The OP-1 (Operator 1) is a synth/controller/recorder/sequencer and everything else wonderful smashed into one. Seriously though… I think they even have some unicorns, rainbows and cheeseburgers in there.

In standalone mode, it functions as a synthesizer with 8 models, 8 samplers, effects like delay, flutter, eq, and more; plus a step sequencer and arpegiator to boot. It also has a built in microphone and audio recorder so that you can sample things on the fly, including grabbing content from the FM radio reciever, which is also built in (kind of weird, but why not?). Lastly, in a stroke of brilliance, they’ve built in motion sensing control for audio manipulation.

After creating a track you can either play it back on the built in speaker, or export it to MP3 right on the device. Yes, all of that is in stand-alone mode.

As a controller, it offers a keyboard, four control knobs, transport control, and 16 quick-keys for mapping to your DAW.

As far as I/O,  the OP-1 possesses mini-jack ins and outs for audio, and USB 2.0 for interfacing with your computer.

The OLED display is absolutely beautiful too. You can get some glimpses at it in this video, as well as some basic audio candy.

Though Teenage Engineering hasn’t yet set a price, they’ve listed 10-12 months as the estimated time until completion.

You can check out more about the OP-1 at the Teenage Engineering site.

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Ever since I first saw the ReacTable project a few years ago, I’ve been keeping tabs on it and where we are in the realm of new computer interfaces. I worked on trying to learn the open source protocol to build my own ReacTable and had delusions of grandeur to be the first one to break the device out in a more pop-music setting, with the intention of using it for audience interaction in the show. Fast forward to now, and a little-known artist named Bjork beat me to the punch, and another object-tracking interface called Trackmate has surfaced.

Trackmate seems to be much more user-friendly, as they even have an instructables page on how to build an interface, and Trackmate’s own “Tracker” software which uses the LusidOSC protocol to allow your computer to recognize the tagged obejects for free download. There are also several other creative and classy interfaces using the Trackmate initiative out there.

The ReacTable is hands down a more polished interface. The mounted projector gives some really beautiful animated visual feedback on the table itself, whereas the Trackmate system only detects the devices and shows you their status on your computer screen. A primary difference in the two is that Trackmate allows you to assign a tag to any object you want, and use it as an interface. The ReacTable has particular shapes that you can download (see the image above), and the software recognizes those shapes as each having a pre-assigned functionality.

When it comes down to it, if you’re looking at alternative interfaces, the best one for you is going to be the one that’s accessible and easy for you to wrap your head around. In that department, the Trackmate comes in ahead for it’s ease of use and much lower price point (about $40 in parts) to assemble.

You can get more info on Trackmate here.

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I love where this is going. David Merril demonstrated Siftables at TED this year. Siftables are small blocks used to manipulate data based on their rotation, placement near other Siftables, and other gestural cues. At about 4:45 in, he demonstrates a sequencer using the blocks, and it looks incredible. Don’t just fast forward to that part though, as the rest of the demonstration is absolutely fascinating and inspiring.

It reminds me a bit of the reacTable interface, and even has a name that begs comparison. These are definitely two different beasts though, even if they do accomplish a similar musical goal. In case you need a refresher on the reacTable:

I think intuitive interfaces are going to be the next big break through in creating an environment more conducive to music making for all people. Being at the front of that movement will be a huge advantage for you as a musician.

Other than running Fibonacci Sequences and playing Scrabble (which looks like a blast by the way), how can you harness interfaces like this to influence your life and music?

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Though I’m not sure how useful the “step squencer” mode would be with just 4 pads and 4 tracks per bank, the ease of use for hooking it into your computer is a big plus. I also think that producers will be reluctant to jump on board with it simply because they want something that can operate in stand alone mode, which is where MOTU’s BPM one-ups the NI. I would say that if you’re looking for a stand alone groove box, with some added functionality, go with MOTU’s BPM. If you’re used to making loops in the computer, and you want an interface that can help you speed up your workflow, go with Maschine.

Native Instruments released some pretty funny commercials for the Maschine, which you can see on their site here.

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At NAMM yesterday, Roland revealed that the now-popular neo-new-wave instrument has been reissued with some major improvements, including:

• Built-in sound engine with Roland synth voices
• Ribbon controller, D-Beam (in a usable location this time), Modulation bar, Knobs, and Display
• USB MIDI for quick connection to your computer
• V-Link button for video/visual control
• Longer battery life

So keyboard players, you’ll still look dorky and awkward, but now you can do it standing up!

You can read more about the AX-Synth here.

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1) It looks better. Check it out in the picture above. It’s much sleeker than the old clunky Axiom.
2) Semi-weighted “TruTouch” keybed. I think TruTouch is just the fancy name their giving to standard semi-weighted keys.
3) HyperControl technology. This looks to be just like Novation’s AutoMap feature for automatic MIDI mapping and updating. A great addition to the keyboard, enabling users to map triggers, knobs, and faders to the appropriate control for their software synth.
4) Graphic LCD. The display will hopefully ease programming and preset creation, though I haven’t seen how intuitive it is or not.
5) ASCII Keystroke Support. You can map buttons on the Axiom Pro to send out QWERTY key commands to your DAW. So I could have a button on the Axiom Pro that would be “Cmd+C” to copy, another for “Cmd+V” to paste, another for “Cmd+S” to save etc. That’s a great convenience feature.

It’s looking to be priced a bit high for my taste at $500 for the 25-key, $600 for the 49-key, and $700 for the 61-key give or a take a bit for the difference in MSRP and MAP. That makes it about twice as expensive as the current Axiom.

All in all, it looks like a great step forward from the old Axiom, but I’m not sure if I’m jumping on one just yet if those prices are accurate. You can read more about it here.

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The APC40 (Ableton Performance Controller) is a dedicated controller for Ableton Live, designed by the same engineering team responsible for Akai’s iconic MPC range of products. This is a dream come true for the Ableton Live community and an exciting first step into the world of Ableton Live for new users.

The APC40 features high quality controls for real-time mixing, remixing and production. 109 buttons, 16 endless encoders with LED rings, nine 45mm faders and a replaceable crossfader give musicians and producers complete control of Live’s Session View, effect devices and virtual instruments.

Whether you’re in the studio or on stage, DJing, making beats, running backing tracks, firing MIDI loops or triggering sound effects, you can kiss your mouse goodbye.

The APC40 was co-designed by Ableton and Akai Professional.

Learn more here.

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