Author Archive for Peter Kirn

Tiction: Animated, Nodal Generative Music App in Progress, in Processing

Electronic music is filled with grids and repeating loops. But get off that grid, and you can quickly wind up, well, floating in space. The challenge of marrying music that’s pre-sequenced with music that can generate itself, between self-evolving music and music that you can control live, is the challenge a lot of people are exploring right now. Hans Kuder has been sharing a promising-looking project on the CDM forums, built in the code-sketching tool Processing (site | CDMu | CDMo). The idea: explore nodes live and let your sequences float free on the screen.

Hans writes:

tiction - early prototype 1 from Hans Kuder on Vimeo.

tiction is a sequencing / performance application that tries to bridge generative music with live improvisation. With it you can create looping (or one-shot) sequences whose pitch and controller values change based on screen position. When a node fires its event, subtle or not-so-subtle physical interactions take place, giving life to the system.

Tiction v0.1 is now available as a free download for Mac, Windows, and Linux. I’ll be adding updates over the next couple weeks, but most of the useful features are already in place.

This is just a graphical interface; actual sound happens elsewhere, via MIDI. (Hans includes instructions for inter-app MIDI on Mac. On Windows, you should try MIDI-Yoke or Hubi’s MIDI Loopback.)

The video above is slightly older than the release you get, so there’s an extra reason to go grab it.

Free software + code + description/instructions for Mac, Windows, Linux. Version 0.1; expecting more soon!

Tiction @ Tink Thank Software

Before someone else says it, no, the idea here isn’t entirely new. It’s especially reminiscent of the work done by Toshio Iwai, best known recently for his Tenori-On hardware and ElectroPlankton DS software, who had experimented with similar interfaces — though generally minus some of the physics here. But then, we got a lot of mileage out of simple step sequencers, and they’ve evolved a lot. It’ll be interesting to see what new interfaces people can cook up.

Those of you Processing users, one tip. Hans is using the ProMIDI Java library, but there’s a better library evolving called RWMidi from our friends over at Ruin & Wesen, plus a driver that will fix problems with MIDI support and Java on some Macs — check out OSXMidiSPI for OS X (direct download).

Brilliant work, Hans! Readers with feedback, please pipe up since Hans asked for it; otherwise, I’ll be interested to see how this evolves!

One more video:

tiction - early prototype 2 from Hans Kuder on Vimeo.

Ghostss: NIN Video Remix as an Online, Creative Commons-Powered App

Online remix contests are all the rage these days. User-generated content is becoming this decade’s latest annoying buzzword. But visualist engineer Marco Hinic took a different approach. He didn’t create one video remix. He created an app that can create endless video remixes. Nine Inch Nails Ghosts, meet random visual mash-ups from Creative Commons-licensed online videos. Marco describes the effort:

A few days ago I released the web site ghostss.com; it’s my entry to the NIN Ghosts Film Festival.

It’s an online video remixing application. It builds playlists describing a mix of videos with effects and renders them as an .flv Flash Video file. All the content is on the web site — around 1 gig of video loops and a few mp3’s from NIN music.

In accordance to NIN music, all Videos are licensed under a Creative Commons Attribution Non-Commercial Share Alike license.

The web site is a mix of c++, php and javascript for the client side. Basically the client builds a playlist with video references and effects, the playlist is translated into an xml request that is sent to the web site. The video mixer on the web site render the request into an flv or mp4 file that is then played to the client.

Yep, you read that right: it’s a website coded in C++.

Where would an engineer appear with the technical chops to do such a thing? Well, as you might think, only a select few do. As it happens, Marco is behind one of the most influential desktop VJ apps available today.

I am the founder of ArKaos so I do play with pixels since so many years, I started working on video mixing software around 1992.

This is a new technology I am currently working on at ArKaos.

I think that we are close to the point were the web will be more than just used to share video and this is an example.

I could even allow people to upload some clips or customize some texts but because I have a lot of work at ArKaos so I did limit the human interaction to tweaking the settings.

Marco is actually CEO of ArKaos, as well as the engineer of its engine. Regular readers are of course very familiar with ArKaos, but I hope we attract the occasional reader to whom this is new; if that’s the case, go check out the software we’re talking about. (ArKaos are also working on a new generation of their software entitled GrandVJ.)

This brings up an interesting point, though. People are fond of hyping the blurring divide between Web and desktop apps. But they are too often focused only on the Web side, and only on ways in which Web apps are superficially becoming more like offline or “desktop” apps. The “rich” in “rich client,” by contrast, may involve elements just like the hard-core video processing seen in this app. Too often, those involved only in Web development obsess over tiny details of text rendering and UI and miss out on the media processing power modern computers have. It’ll be interesting to see that start to shift; I think the addition of more rich capabilities is inevitable.

Marco probably has a deeper perspective on this than I do, though, so Marco, we’ll have to talk about that at some point!

In the meantime, go play with remixing Millions of Ghosts of user-uploaded video. The results have an eerily ghostly quality about them, I have to admit. (And, of course, our goal as VJs and visualists is to try not to look like we’re a random algorithm arbitrarily mixing video content!)

http://ghostss.com/

Radiohead Use Creative Commons for Music Video Data; Visual “Stems” the Next Big Thing?

Labels and artists are only now catching on to the idea of letting fans remix their music, and are even slower to give those fans access to individual stems. But where musicians have embraced this idea, they’ve gotten surprisingly big outpourings of support — thank a culture that’s gotten savvy with digital music tools and consumes more music than ever.

While that change continues to spread slowly, though, audiovisual remixing could already have a jump start.

Radiohead: Big news for fans of data visualization, the coding tool Processing, and Creative Commons: Radiohead have "shot" their latest video using only 3D scanning devices in place of cameras, and they’ve made source code and the data (in friendly CSV files) free. The whole thing is released under a non-commercial / ShareAlike CC license, which is well-suited to remixes in general.  So, to anyone who was disappointed that Radiohead didn’t use a Creative Commons license for their remix contest, now you’ve gotten something you didn’t even ask for — three-dimensional, animated data of Tom Yorke’s face. And because this is essentially raw data, it’s unusually open to interpretation.

Visual stems? By total coincidence, Create Digital Motion’s Jaymis wonders aloud if the entire A/V scene couldn’t be given a jump start by two obvious (but strangely elusive) decisions: 1. release video "stems" for music videos to give people free access to them, and 2. go get a real visualist. Some artists have done #1, of course, but there wasn’t a specific name given to the result, and they’ve more often than not released full videos — so here you go.

Both stories are covered today on Create Digital Motion:

Radiohead Makes House of Cards Video with 3D Plotting, Processing; Gives You the Data

To The Next Level of AV Remix Culture: It’s Time to Release Music Video “Stems”

But I think it’s well worth asking readers here on CDMusic, too. Music sampling and even remixing may be old news — even if copyright protection remains the norm. But could opening up visual remixes and free visual interpretation re-energize how people think about music?

Of course, this isn’t just for the sake of doing it. Jaymis launched his discussion partly because he wanted something more expressive at a performance, and Radiohead’s CC decision allows them to take an experience that would be pretty limited (a few minutes of cool video) and make it far less so (live data and code remixed by especially-savvy fans). Likewise, the CC license is essential in the latter case; there’s far less incentive to fans to code their own visual software if they can’t share ownership of the result, or — just as importantly — share the resulting code with each other. (The tool the band’s video used, too, wouldn’t even exist without the open source community that created it.)

So, what’s next — particularly if you’re not as famous as Radiohead?

Aurora: Gorgeous, Open Source DJ-Style USB Controller; Details from the Creators

The Aurora 224 is a DJ-style controller geared for software like Ableton Live. The design is, as you can see, gorgeous: not only is it at the high end of aesthetics in open gear, but it celebrates its DIY nature by exposing the circuit board. It’s USB powered, and offers easy mixing control functions in a 2-channel, DJ-oriented layout. And it lights up and makes pretty colors.

Hack a Day broke the story –

Aurora open source hardware mixer

– but to be clear, it’s not actually a mixer; that is, it doesn’t mix audio signal. It’s just a controller in a mixer layout; any mixing and DJ functions are provided by your software. But it is freely-licensed from the ground up, under a Creative Commons license. (We’ve been seeing CC more and more in music projects, as opposed to the narrower and more programmer-oriented GPL and other licenses. There’s no word yet on which CC license applies to this project, whether it has non-commercial or ShareAlike restrictions, etc.; I’ll post an update soon. See discussion on the Virtual Turntable blog.)

A video with Ableton Live, plus CDM chats with the creators about more details:

aurora Open Source DJ Mixer\MIDI Hardware w/ Ableton Live from aurora mixer on Vimeo.

Project description:

aurora is an open source USB midi controller with user controlled ambient RGB illumination. It combines a standard DJ mixer with 18 effects knobs and 6 toggle switches in a form factor of only 7 x 10 inches. We envision the device as an alternative to bulkier, less affordable, less ergonomic commerical MIDI devices. Currently, many commerical controllers are designed with a wide range of applications in mind. For aurora, we wanted to return to the basics.

Many of us have asked for a controller with "two channels and and a cross fader." These familiar features are included, along with additional knobs and buttons for enhanced control. We believe this arrangement enhances the artist’s creativity and allows for greater control of the software. Using aurora with Ableton Live is a great example of this. Artists have already embraced digital audio and laptop performance. The mixer is designed to be portable. It easily fits in a backpack with your laptop and sound card.

We believe in open source. aurora is designed with this in mind, so essentially anyone can participate in writing firmware or software, or even create their own hardware. In fact, we encourage it, and hope to create a community of users that support this device.

For a technical discussion of the project, we have included a white paper on the website.

Aurora is Matt Aldrich, Mike Garbus and Maro Sciacchitano. They all currently reside in the DC metro area.

The Aurora Team tells CDM a bit more about the thinking behind the license and pricing (which is currently waiting on gauging interest):

We intended for this to be publicly available and 100% open source, so that anyone can build their own device at any time, exactly how they want. All content falls under the Creative Commons License The amount of interest in this project has been incredible. Regarding sourcing, we are waiting on quotes from a contract manufacturer and we will determine the cost of sourcing a fully assembled and tested controller. We expect to have the numbers Thursday and will hopefully announce the price that day. We are also exploring a simple kit that consists of a PCB and two programmed PICs for the guys who love soldering.

So got that? If you’re interested, drop them a line by Thursday! We’ll follow up with the response, pricing, and other details, and hopefully a full-on interview – if you have questions you want answered, ask them here and I’ll pass them along.

I love the idea of a simple kit; I hope they do that.

aurora mixer project site

kore@noisepages: Free DIY Grain Delay Reaktor Tutorial, plus Making Sense of Kore

Building and Using a Reaktor Grain Delay in Kore 2 from Create Digital Media on Vimeo.

Let’s cut straight to the reason we use this stuff: we want crazy-sounding delays we can play with. Reaktor guru Peter Dines shows just how you’d build such a thing in Reaktor from the ground up for CDM’s Kore site. He also takes it one step further by creating not only the Reaktor ensemble, but also a Kore performance preset to match. The advantage of going this route: Kore provides a way of organizing parameters for control, performance, and automation.

This is another all-free download, so have at it. Now I feel like I’m in a patching race with Peter, because I’ve got some ideas of my own for how you might modify this basic idea; let’s see if I can actually make that happen.

Making sense of Kore

The other side of the minisite is we’re further exploring what Kore is for and how to make it work. We asked readers of the minisite to tell us their thoughts on how Kore is going and how they use it, which has yielded an interesting comment thread:

How Do You Kore?

Our main focus, of course, is simply teaching people how to use the tool effectively – from there, you can decide whether it’s for you and how you want to use it. To that end, I’ve got the first half of a tutorial up that explains what for me was the biggest draw and the most initially confusing, which is the control pages Kore uses to assign automation and physical control. I walk through why you’d want this, how it works, and how you manage different levels of the control pages:

Demystifying Kore Control Pages for Automation and Performance, Pt. I: Different Page Types

We also have some important basics, like Kontakt automation, how to get a normal mixer view, and external MIDI control.

Coming soon: I’m planning some short features on each of NI’s instruments. We’ll have to call it the “get it out of the shrinkwrap” series, especially for people who got the overwhelming set of instruments that comes with Komplete.

Daily Inspiration: Oscilloscope Video by Ambient Pioneer Mat Jarvis (Gas / High Skies)

So much of the visual inspiration for digital generative visuals — even those that never leave the computer — come directly from analog electronics. There’s something organic about the motion visuals this gear creates. Case in point: the latest, short video from Mat Jarvis, the pioneering ambient artist, via his label Microscopics. Good stuff, and we’re glad to bring it to you first.

Speaking of pioneering vintage visuals, Mat Jarvis / Microscopics have also set music to the brilliant film “A Film Dealing with the Relative Size of Things in the Universe and the Effect of Adding Another Zero.” The film is the work of Charles and Ray Eames (yes, of chair/design fame), who probably deserve a CDMotion story all their own. It’s stunning to see this 1977 film predicting the worldview of technologies like Google Earth. In case you missed this on CDMusic:

Ambient music fans, here are details on the release of the album itself:

Microscopics Play with Scale on Gas0095, Give You Tiny Moog Model [Create Digital Music]

Microscopics Blog

Got some favorite oscilloscope films to share? Let us know.


© Peter Kirn for Create Digital Motion, 2008. |
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Asus Eee As Cheap, Tiny Music PC: Guitar Rig 3, Linux Tips

The Asus Eee PC is unlikely to be your first choice of laptops for music. But it’s small, it’s cute, and it’s ridiculously cheap. Some CDM-reading computer enthusiasts are biting, as we found out in March when we asked you if you had turned the Eee PC into a music box.

On the Linux side, you’ve got lots of options. Best among these, CDM reader Dan Stowell has put together a comprehensive tutorial on using SuperCollider, the powerful, free sound synthesis engine. You can even add custom GUIs using a free Java-based tool. There are also plenty of DIY environments for music working nicely (Csound and Pd included, as well), meaning the Eee can very quickly become a programmable, dedicated sound machine and synth for the price of the cheapest closed-box, name-brand piece of music gear.

Linux also supports various music tools that lend themselves to a lower-end machine, like music tracker MilkyTracker. Check it out in videos on the Eee: Eee-PC MilkyTracker Xandros, more. (Thanks, emrox!)

The surprise is, full-blown Windows software holds its own. From the NI forums, a group of intrepid Guitar Rig 3 users have fired up XP and have a pretty usable, self-contained Guitar Rig computer:

Guitar Rig on Eee PC [Native Instruments forums; thanks to Jahmal Tonge for the tip!]

The trick is, you do need modded video drivers to make use of 1000×600 resolution, thus accommodating the user interface. Forum members also suggest avoiding the newer Atom model as they believe it will be slower. Then again, while this proof of concept is tantalizing, I’d probably hold out for more-powerful mini PCs coming out — and the fact that music works this well on this machine means it only gets better from here.

Computer Music Magazine did do a review of the Eee, and were a little more practical about the Eee’s downsides (though the resolution hack here helps at least with that problem). But then, the other way of looking at this is that the Eee is just the beginning. Plenty more budget mini-laptops are coming; already machines from HP and others close the gap with “conventional”, pricier laptops. Linux distributions may soon target these configurations (Ubuntu has promised a “remix”), and Microsoft has committed to keeping XP and Vista going on these machines, as well. And that means the price divide with computer music is getting erased fast.

New Turntablism Concepts: Touchscreen Decks, Crossfader Samplers, Needles

We’re seeing more and more unique ideas for reimagining DJing and the two-turntable setup. Here are two examples from opposite ends of the spectrum: one employs a non-traditional interface to do traditional DJing in a new way, while the other uses the traditional interface to produce new DJ techniques. To me, the latter is more interesting, but both are meaningful parts of the process.

From the excellent PSFK, Dan Gould finds a project by Scott Hobbs, a Dundee University (UK) student, building a project that access sampling, looping, and scratching features via touchscreens, instead of desks. (Via Gizmodo — thanks, Goldfinger!)

OLPC’s Sugar and Music Learning: Education, Not OS, is the Point

Looking beyond OLPC: The hardware is important, software is important — but there’s more. Photo CC Mike Lee, via Flickr.

Ah, the seasoned OS zealot. Never fear: no actual issues of substance will ever distract them from one-dimensional tirades about how their platform is best. And so, in the last week or so, you may have run across angry Free Software advocates railing against the inclusion of Windows on the OLPC ("One Laptop Per Child") XO laptop — or, in a really surreal turn, people waxing poetic about XP, like this commenter on the Win Supersite: "We get a world wide audience of children who will embrace XP and gain valuable lifetime skills."

All of this is a complete waste of time, not because the OS question is unimportant, but because it’s detracting from the more important question of education, which was supposed to be the point.

Part of why the OLPC mattered — and continues to matter — is it raises questions about what computers mean for learning. That’s a question we haven’t asked enough recently in the US, let alone across the planet. Whether Negroponte and the remaining OLPC project leaders have lost their way or not, that central question of computers and learning seems to be lost in the usual blog banter. Fortunately, it’s a discussion I think will survive after the immediate technologies have faded away.

tamtam 

Tam-Tam, the innovative music app ("activity") built for OLPC’s Sugar educational environment. Here’s why I think the connection between software and learning is getting lost in tired arguments about OS.

I was lucky enough to grow up in a generation that got some exceptional educational training on computers, ironically because I think a certain suspicion of them made people more rigorous about educating with computers instead of just teaching them for their own sake. Show of hands, Reagan-era kids: how many of you learned to program with LOGO ("turtle graphics")? How many of you got to use music software? How many got to work with HyperCard? How many of you then later saw an education that later shifted to basic skills in tools like PowerPoint, instead of understanding real connections to other fields, mathematics, and programming techniques?

Platform does matter — especially given that, currently, the use of Windows breaks the Sugar interface, the educational software written for the OLPC, and critical hardware support for mesh networking, e-book reading, and power management. Maybe Negroponte will keep his word and port those to Windows; there remains reason to believe he won’t.

The question of learning, though, has been lost. I do believe that free software could be powerful for education, but it should be as a means to an end — not an end in itself. It’s one thing to say the software is free, it’s open source — another thing to figure out what it is you’re teaching. Free software opens the doors to the classroom, but it’s only a first step. And, honestly, those questions are important enough that we should be asking them about Windows and Mac software, too, software on proprietary platforms. Getting hung up on the free software question seems to derail that discussion — and allow people to conveniently duck all the real work of developing the tools.

Pippy

Python programming: you know, for kids.

The only really good analysis of the OLPC situation I’ve seen comes from Ivan Krsti?, the head of security architecture for the OLPC before he (like so many recently) left the project:

Sic Transit Gloria Laptopi

Worth reading in full, but this for me is the bottom line:

But really, I digress. The point is that OLPC was supposed to be about learning, not free software. And the most upsetting part of the Windows announcement is not that it exposed the actual agendas of a number of project participants which had nothing to do with learning, but that Nicholas’ misdirection and sleight of hand were allowed to stand.

In fact, I quit when Nicholas told me — and not just me — that learning was never part of the mission. The mission was, in his mind, always getting as many laptops as possible out there; to say anything about learning would be presumptuous, and so he doesn’t want OLPC to have a software team, a hardware team, or a deployment team going forward.

Yeah, I’m not sure what that leaves either.

There are three key problems in one-to-one computer programs: choosing a suitable device, getting it to children, and using it to create sustainable learning and teaching experiences. They’re listed in order of exponentially increasing difficulty.

It’s disturbing stuff — but then again, I’m convinced that there are enough people who really do care about the deeper issues of learning that the issue will be alive — assuming the dunderheads in the blogosphere don’t let this disintegrate into a meaningless Linux vs. Windows debate.

Software and ideas could go well beyond just one piece of hardware — even carrying some of those hardware design principles to other devices, which arguably has begun to occur with the popularity of affordable laptops like the Asus Eee. That’s why I think some of the good news in all of this is former OLPC president of software and content Walter Bender founding the Sugar Labs Foundation. It suggests a future for the free and open-source learning software and unique "activity-based" interface on the XO, one that could work on other inexpensive laptops and your personal computer, too:

Sugar Labs

Sugar’s game-changing UI generated a lot of discussion — and often-warranted criticism. But one thing I noticed is that almost every review mentioned the music applications favorably. Music is one of the major draws of computing. And that’s not only for kids, but the adult reviewers, as well. If you think about how this can be built over time, music is a superb medium for talking about sound, physics, mathematics, aesthetics, time, and fundamental principles of communication, expression, and perception.

Music learning — and learning in general — also benefit from some of the other aspects of Sugar:

  • Focusing on activities: I really love this interface. Everything you do is based on "activities" — files and applications allow you to pick up an actual project where you left off and continue work, logging what you’re doing in a persistent journal. It feels fantastic for creative work, not just for "kids." I expect we could see this interface pop up in other places.
  • Teaching programming: Built-in apps teach Python coding, even to non-programmer children. It brings computing full circle to the days when PCs like the Apple II shipped with BASIC (incidentally, the product that launched Microsoft — otherwise Bill Gates would presumably still be an obscure college dropout). And the ability to code simple tools makes sure that computer users don’t hit walls with their ability to make the machine do what they want.
  • Free, open-source, easy development: Forget about the philosophical aspirations of the free software movement for a moment. The ability to easily extend a computer with free software, and to see lots of source code for what you’re using as an example, has practical benefits. One real-world result: Sugar can live far beyond the OLPC if that project goes away.

Sugar does appear to have a future independent from the OLPC. It’s already included with a couple of major Linux distributions. It’s relatively easy to install on your PC. Activities run on cross-platform, open Python, which could eventually bring their benefits to Mac and Windows — no specific hardware required. (Java is getting added, as well.) The music software is perhaps the deepest and richest, based on Csound as a synthesis engine. I’m also interested in the partly-finished port of the Java-based coding language Processing — or ways in which Processing itself could benefit from

Again, the execution in Sugar may not be perfect. But the point isn’t whether it’s perfect. It’s not the OLPC, or Sugar, or Linux, or even free software as an ends in themselves. It’s figuring out what’s essential to building better educational tools for computers — and that’s a far more interesting question.

Ironically, amidst all this controversy, an OLPC developer XO machine just arrived at my doorstep. So I’ll be working to code for it, and will share what I make and what I learn about the device. I’m also in touch with other music developers working on the XO. Whatever happens to the project, I think there’s plenty to be learned. Stay tuned.