In 2009 Program Music became the first agency to tour the worlds first 3D Disco -  a club night based on a 3D audiovisual show.

In another world first Pete signed a mobile hydrogen fuel cell to Program Music agency and began promoting this an an alternative energy source to Festivals across Europe. The europeans festivals became extremely interested in this project as they all look at ways of greening up their events. Pete was able to combine the hydrogen fuel cell with another festival attraction the Digital Funfair (a collection of lunatic interactive multimedia entertainments) and thus became the first person to promote hydrogen fuel cell technology to Europe’s festivals.

Alongside these intersting an unique projects are the agencies fantastic audiofvisual stars:

Exceeda – from England is due to release his audiovisual DV D – Fresh Breaks in 2009. He has alos worked on Platform X in conjuction with the BFI.

Platform X is the new 80 minute long, multi-screen British train themed audiovisual performance show, created by Exceeda. This entertaining, and humorous live show is conducted over 3 independent screens via 3 laptops, 3 DVJs and 4 vision mixers. The premier performance of Platform X was in an atmospheric old Goods yard as part of the Nuit Blanch in Paris,

CB Shaw – from Canada, CB Shaw unique video DJ mixes have recived nearly 3 MILLION views on Youtube alone.

To find out more about any of the above artists/projects go to www.program-music.co.uk

ReBirth, the Roland groovebox emulation that helped launch the popularity of soft synths, is now on Apple’s mobile devices for US$6.99. (I woke up to a note from Propellerheads’ CEO Ernst left in my inbox overnight, so thanks, Ernst, for the tip!)

This is not the native iPad version MusicRadar predicted after an interview with Ernst. For now, iPads scale up the iPhone interface. But a version with “native” resolution for the tablet seems a no-brainer down the road.

Feature list:

2 x TB-303 Bassline synths
TR-808 Drum Machine
TR-909 Drum Machine
Pattern Controlled Filter
Distortion unit
Compressor
Mixer
5 user mods
Pattern sequencing
Full automation
Combine patterns to build songs
Share songs with other ReBirth users

Full details: http://rebirthapp.com/

I have a few questions about this tool that I hope to get answered. I do wonder, for one, whether people in Sweden have some sort of superhuman vision that allows them to see incredibly tiny (ahem) user interface widgets. I’ll have to test this on my iPod touch. On the other hand, the faux hardware knobs and buttons actually seem to me to make more sense on a touch device than they did with a mouse, so that element could be a lot of fun. In a way, I’m sort of happy that they did a direct port like this, visually – the only way to tell if it makes sense for you is to give it a try. I’ll reserve judgment until I do.

Updated: I did get a chance to verify the export workflow, and unfortunately… there is none. Ernst confirms:

You can import files from the Rebirth Song archive and from your computer (via a web page), but not export to anything but iPhones.

That’s a deal-breaker for me personally, because I like the handheld as a way to sketch ideas for the desktop, not just via audio. Hopefully that’s something that can be addressed. I’m sure for the way other folks work it may be less of an issue. Stay tuned; I’m putting together an overview of all the various musical apps in terms of how you could integrate them with your creative process on your laptop or studio machine.

Synthtopia has some good thoughts on why this release matters. You can tell from the exclamation points what the review may be:
ReBirth Is Back! Turns Your iPhone, iPad Into A Techno Studio!

I’m also interested to know more about that sharing workflow, and how you might use this in a studio, beyond just connecting the audio out headphone jack of your device.

Of course, if you don’t have an Apple mobile, you can still get the original ReBirth for free, for Windows, meaning various tablets and netbooks can run this, too. (It’s ReBirth Everywhere! Speaking of which, I still need to try to make it run in WINE on Linux – anyone done that?)

In the meantime, enjoy; have a great weekend, everyone. I’m back to notating a conventional score, using paper, a pen, and a laptop. Kids, ask your parents.

Updated: questions answered.
ReBirth, Reborn, as Synths in your Hand: Q+A with Ernst Nathorst-Böös

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The software synthesizer has come full circle. What was once possible only with a mid-range desktop computer is now easily accomplished with a sub-$200 device that rests in your hand and sips power. That transformation, once something people regarded in some vague time in the future, is now one that’s very present. I expect a lot of the hand-wringing about the future (some of it from me) comes from the uncertainty about just what it’ll mean. For some small glimpse, though, it’s nice to get to talk to Propellerhead CEO Ernst Nathorst-Böös.

ReBirth is a tool that convinced a lot of people that computers could stand in for dedicated music hardware. Now that it’s on an iPhone or iPod touch or iPad, there’s no question we’ve reached a benchmark. Ernst was nice enough to send some thoughts on a Saturday evening. (I do think he used a QWERTY keyboard to do it, so please, let’s refrain from too many prognostications about how new devices will eliminate the need for furniture or oxygen, etc.) There are some interesting thoughts here, and I expect fuel for others contemplating what to do with new mobile devices. And yes, this is a direct port: believe it. There’s a lot these plucky mobile chips can do.

Peter: What made you guys decide to make the leap? How did it come about?

Ernst: We’ve been watching the iPhone/Touch/iPad development closely. Monitoring what others are doing, thinking about how it fits in what what we are trying to achieve. And honestly, I haven’t personally seen anything yet that really points to the future in the way I have seen it happen a couple of times before in my life (MIDI, computers, DAWS, the whole incredible transition we’ve been going through in the years since I started making music). It’ll happen, that’s for sure, it just hasn’t yet.

And Rebirth for iPhone is not that. It is a comeback of something that changed the scene as long as thirteen years ago. There’s a bit of nostalgia involved, but truth is, the program amazingly enough still beats the s*** out of a lot of what is going on iPhone right now, when it comes to inspiring you to create and experiment and actually make a whole track. Which is exactly what the app was about all the way back in 1997.

As for how it came about, the ReBirth idea had been lurking in the back of our heads since long and then the opportunity to work with Retronyms came about and – well, we just did it.

What’s the workflow like here? The audio output of these devices is okay, but not great. I see there’s a share button – how do you imagine people might use this? (How have folks around the Props office started using it?)

We imagine people using it in may ways. To kill some time on the bus. To try ideas and get inspired. To create beats and loops for other compositions. To work together with friends, collaborate and exchange ideas. And hopefully in ways we haven’t thought of. The sharing features we have now are very functional and straightforward. You just upload the doc and tell your friends about it so they can access it. However, it’s easy to dream up extensions to those and we will monitor closely how people use it and what they will be asking for.

I see that right now it just scales to the iPad; are you planning an iPad-native version?

We never comment on future releases, simply because we don’t want to disappoint anyone. But of course we are looking at the iPad. But there are a lots of things we want to do. The iPad is a slightly different beast, compared to the phone and Tocuh and we prefer to get it right rather than to be first.

How different is this from the original ReBirth, aside from the obvious difference of using touch? In terms of sounds and features, were you able to add anything? Did you have to compromise anywhere to make it run on these devices?

This is a 100% port. It sounds exactly the same and is completely file compatible. No compromises. We only omitted functional stuff, like being able to load any Mod. But no, nothing added either, except sharing. It’s cool that the iPhone doesn’t have a file system, but it also forces you to think differently and we don’t want to try to put round pegs in square holes.

I have to ask – are you concerned at all with all of these little widgets that this thing is hard to see?

We worked hard on the navigation, the zooming and panning, to make it feel natural. It was hard since there are so many controls on the screen (look at the 808!) and you need to move around quickly and fluently while never risking changes to the document. I really like how it turned out.

It seems to me that there’s a debate on about how interfaces should evolve. In some ways, it seems that we could use new UI elements with the advent of touch interfaces, not just replicate hardware. On the other hand, replicating hardware almost works better with touch access
than it does with a mouse. Is this something you think about, as well?

I completely agree. The hardware metaphor is serving us well, but it’s just one way to go. But on something like the iPhone and iPad it really makes a lot of sense, maybe even more than in a mouse controlled environment. However, if you ask me, those control surfaces that you connect to control aspects of the software you are already running on your computer just don’t cut it. Then a hardware control is actually better, at least in in my personal opinion. Apple’s devices are all integrated, touch interface and machinery in one, and that’s a completely different thing, very exciting for the future!

http://rebirthapp.com/

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Bloop HTML5 Instrument inspired by Brian Eno’s Bloom from Bocoup on Vimeo.

HTML5 and Javascript Synthesizer from Corban Brook on Vimeo.

Pioneers like Max Mathews’ Bell Labs team taught the computer to hum, sing, and speak, before even the development of primitive graphical user interfaces. So it’s fitting that the standards that chart the Web’s future would again turn to the basics of electronic sound synthesis.

A group of intrepid hackers and Mozilla developers and community leaders are working to make an audio API a standard part of this generation of Web browsers. (Note: not some unspecified future browsers – they’re making it work right now.)

We’ve already seen some pretty amazing experiments with Flash and Java. This would go further, opening buffer-level access to new, faster, just-in-time compiled JavaScript engines. The upshot: you get to code your own synthesizers and real-time audio processing in a way that works right in any browser, on any platform. Standardize the API by which this works, and adding an FM synth to a page could be as easy as assembling a table or inserting a picture.

There’s no plug-in, and thanks to faster JavaScript engines, JavaScript can be the language. To the end user, you just get a Web page that automatically loads the audio goodness.

I’m in touch with the developers, and hope to have a full-blown Q&A session with them. On the agenda: what this is, what it means, how it works, how people can get involved, and how to get started with these early builds. I’m going to start out with some of my own thoughts, though, because I’ve found myself thinking about this a lot. I’ve been a slow convert to the gospel of the browser and JavaScript, but I’m beginning to “get” it, I think. (If I’m off-base or missing something, we’ll get to cover that, too.)

HTML5 3D FFT Visualization with CubicVR from Bocoup on Vimeo.

To understand why this is incredibly cool, though, I think it’s first necessary to understand how incredibly stupid, primitive, and backwards a Web browser is. (I just lost a bunch of Web developers. No offense – there’s a reason it’s that way – but follow with me.)

I’m serious. The Web concept was rooted in an age in which bandwidth and computing restrictions constrained online communication to text. But even as the Web was first catching on, computers themselves had rich multimedia capabilities far exceeding what the browser could do. Today, a lot of Web nuts talk about how the browser could replace desktop applications, or become an “operating system.” But the browser is another application running on your hardware, running on your operating system. The question you might well ask is, why is the browser so limited? Why can’t it do the things the rest of your computer can? The idea that having a tag that specified playing audio or video took until now is kind of silly if you think of it that way, right? (You might ask the inverse question of the “desktop” apps: you do know you’re connected to the Internet, right?)

The idea of the audio API would be to change that, and not only play back sound files, but open up real-time synthesis and processing in standard, accessible-everywhere ways. You can, as you see in the (working, real, not-mock-up) examples, do all kinds of powerful magic. You can visualize music as you play sound files, or perform on instruments right from the browser window.

It’s one thing to talk about some distant future. Fortunately, you don’t have to wait. The code is working right now. You can finish reading this post and then grab a nightly build of Firefox, write a few lines of JavaScript code, and build a synth in the browser.

“Because it’s there” is usually a good enough reason to start hacking. But to musicians, I think there are actual creative benefits, too.

Endless compatibility. The work the Mozilla crowd are doing is already free to download on Mac, Windows, and Linux, stripping platform barriers across desktops, laptops, and netbooks. We’ve heard a lot from certain Mac advocates in particular about how you can only have “first-class” applications if they’re built for a specific OS. That’s fine – depending on the application. But as an artist, at some point I also want some shared tools. If I want to collaborate with someone, they’re what’s first class to me. There’s nothing worse than saying “oh, uh, I guess you have a Mac and I have a PC, so we have to…” It’s creativity-killing. Having browser-based tools on par with the tools outside the browser means we can keep our idiosyncratic tools of choice, but also have a shared set of tools we can access without so much as running an installer, let alone worrying about an OS, processor, or version.

Connectivity and sharing. Being in the browser means instant access to a musical application from anywhere, and instant data for that application. Right now, part of the reason computer musicians have a stigma of staring at computer screens is because the user interfaces we design live on individual machines and are designed to be used only by one person at a time. The connectivity in the browser means it’s easier to build sharing and collaboration directly into a software idea.

Browsers could make your “desktop” apps cooler. One of the myths of browser-based applications I think is the idea that they’ll somehow replace other applications. On the contrary: they could make your existing applications smarter. Unrelated to this particular effort, our friend Andrew Turley built a proof-of-concept application that connects a Web browser as a controller to other apps over OSC. With a little refinement, a free local Web server combined with a browser-based controller app could connect all your traditional music apps to computers in the same room or across the world.

In-browser Synthesizer and Sequencer with Envelope and Filter control from Corban Brook on Vimeo.

The power to make noise – any noise – and a tinkerer’s sunrise. Noise often appeals to hackers (even non-technologist hackers) more than anything else, and that should give you hope. One interpretation of current technology trends runs with the idea that tinkering is in danger, or even on the decline. I think we should be wary of some of those trends; some are simply anti-intellectualism in disguise. I also think tinkering with sound has a bright future. So long as there is raw buffer access somewhere, it’s possible to build something that makes sounds on a level as high as “give me a middle C” or as low level as “I want to invent a new form of synthesis.”

This isn’t just for propellerhead types. With readable code, even those new to programming and sound have an opportunity to start toying with their own experiments. And unlike almost any other medium, sound is both immediate and always satisfying. That is, even if you make some sort of ugly splat, you may still have a good time. That quality makes it perfect for learning and experimentation, whether you’re young or old.

From Babel to common code languages. I’ll also go out on a limb and say there’s potential to get more tools speaking the same language. On the visual side, right now, you can directly copy code from Processing.js (where anyone can easily see it) to a Java-based desktop Processing (where you get higher performance, full-screen and multi-monitor display, hardware access, and the like), often without changing a line of code. The same could happen here. People are already porting Csound examples to this freshly-minted audio API.

Nihilogic’s HTML5 Audio-Data Visualizations from Bocoup on Vimeo.

Open standards, open 3D. By making a standard, too, we have a lingua franca both technologically and in how tools can run. If it were only audio, that’d already be useful. But this extends to other efforts, like the work on WebGL. And WebGL is a good indicator, too: by supporting OpenGL ES 2.0 in the browser, both the “native” or “desktop” app and the “browser” app can share code and capabilities. The same could begin to be true for audio.

Anyway, enough of my third-party sense of what this could mean. Here’s where to go learn more:

David Humphrey is a man you can thank for making this happen. Check out his blog, and read in particular:
Experiments with audio, part IX

May 12 in Boston, there’s a “future of Web audio” event introducing these ideas, if you’re in the area. I’ll see if we can’t get events elsewhere. (This would be ideal for another CDM online global hackday – more so than our previous topic.)

The big post to read:

Alistair MacDonald covers the thinking, the potential applications, the history, and what’s happening now:
Web Audio – All Aboard!

And see:

http://wiki.mozilla.org/Audio_Data_API

Alistair sums up why this important:

A web browser that allows for such fine granular control over video graphics using tools like Canvas and WebGL, yet provides no equivelent control over audio data, is a web browser that is very lopsided. In human terms, web browsers have always been very lopsided. They reflect a specialized facet of ‘the human requirement’. This is unfortunate as the web can potentially encompass a far more balanced and expressive set of features, encapsulating our humanity. Fortunately the modern movement towards a more human browser, appears to have gained significant velocity… in the right direction.

Or, if the Muppet Animal were writing this, I think that would go more like:

NOISE…. MAKE NOISE. LOUD NOISE. MAKE LOUD NOISE.

More HTML5 Goodness

On CDMotion, spectacular 3D graphics, even for the lazy, plus Processing.js resources.

And perhaps more generally useful – especially for working with the 1,000,000 iPads Apple has just sold – Chris Randall has a brilliant and detailed post on hacking the SoundCloud player so it works even when Flash isn’t installed.
Something Wicked This Way Comes…
Or, I should say, by “brilliant,” it points out just how screwed up that particular situation is. So, SoundCloud developers, go read that and report back, okay? (I’ll be in Berlin in three weeks. We can all get some coffees and put together a generic solution that works everywhere. How about that?)

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