VJ News, Reviews & Resources
Posts tagged touch
iPod touch 2nd Gen Review (2G)
Sep 7th
Enjoy Dvds And Videos With The Funniest Ipod: New Released Ipod Touch 2
Aug 24th
The second generation Apple iPod Touch was unveiled in Spetember, 2008. âiPod touch 2 is the funniest iPod weâve ever created,â said Steve Jobs, Appleâs CEO. It is perfect for Music, Movies& Games.
Compare with the first generation, iPod touch 2 packs more new features into a sleeker design. For the sleek new design, iPod touch feels much better in your hand. Volume buttons are built into the left side of iPod touch, giving you easy access to the most frequently used controls. Longer battery life enable you to keep on rocking ?and watching and playing?even longer. A built-in speaker lets you hear the music, dialogue, and action without headphones, perfect for casual listening. iPod touch 2 also offers built-in wireless support for Nike +iPod.
Â
iPod touch 2 puts an amazing gaming experience in the palm of your hand with its groundbreaking technologies. Developers all over the world are creating exciting games unlike anything youâve ever seen on an iPod or mobile device. Many games come alive with stunning 3D graphics and immerse you in the action with the advanced technologies in iPod touch. Thereâs even a speaker built in, so you can hear all the action. Also you may use touch 2 to browse the web with Wi-Fi to get rich HTML email, directions and live traffic reports. The wireless function can connect your iPod touch 2 to the Internet no matter where you are.
iPod Touch 2 is also a musical genius. Music on iPod touch not only sounds amazing, it looks amazing, too. And movies and TV shows have never looked so perfect on a portable device. Clear 3.5-inch color widescreen display, 6 hours video playback enable you largely enjoy the Hollywood blockbusters. General music and movie files can play with iPod Touch 2. It supports audio formats include AAC (16 to 320 Kbps), Protected AAC (from iTunes Store), MP3 (16 to 320 Kbps), MP3 VBR, Apple Lossless, AIFF, and WAV. For videos, it supports H.264 format: up to 1.5 Mbps, 640 by 480 pixels, up to 160 Kbps, 48 KHz, stereo audio in m4v, mp4 and mov file formats. MPEG-4 format: up to 2.5 Mbps, 640 by 480 pixels, 48kHz, stereo audio in m4v, mp4, and mov file formats.
Besides the smart device, another third part software is indispensable for you to enjoy the iPod touch movies and music. [url=http://www.nidesoft.com/dvd-to-ipod-converter.html]Nidesoft DVD to iPod Converter[/url] is an excellent iPod Converter software which could rip DVD to iPod video and music in high quality at fast speed. It enables you to enjoy your DVDs on this smart iPod touch 2. [url=http://www.nidesoft.com/ipod-video-converter.html]Nidesoft iPod Video Converter[/url] is a powerful iPod movie and iPod music software which provides an easy and completed way to convert iPod video and music form all popular video files. It can convert almost all kinds of video format files to iPod such as AVI, MPEG, WMV, MOV, RM, RMVB, DivX, ASF, VOB, 3GP, etc. So you may enjoy all kinds of videos in your iPod touch 2 with this software.
Next I will tell you the step by step way of how to get DVDs and videos to iPod touch 2 with those two software.
[url=http://www.nidesoft.com/downloads/dvd-to-ipod-converter.exe]Download Nidesoft DVD to iPod Converter[/url].
Step 1: Insert the DVD disc into the DVD Drive. Click the Open DVD button, browse your computer, find the DVD folder of the movie, open it and select tiles and chapters you want.
[img]http://www.nidesoft.com/forum/youtube/6.jpg[/img]
Step 2: Click the âprofileâ button and select the âiPod Touch Video MPEG-4 (*.mp4)â format. You will get mp4 video for your iPod touch. If you just want music from DVD you may select the âMP3 â MPEG Layer-3 Audio (*.mp3)â format.
Step 3: Click the âconvertâ button to start the conversion.
In few minutes, the conversion will be completed and you will get videos or music for your iPod touch 2.
[url=http://www.nidesoft.com/downloads/ipod-video-converter.exe]Download Nidesoft iPod Video Converter[/url].
Step 1: Click âaddâ button to import your videos from your computer. Select the video files you want to convert. Also you may preview your video in the right window.
[img]http://www.nidesoft.com/forum/youtube/4.jpg[/img]
Step 2: click the âformatâ drop-down list and select the âiPod Touch Video MPEG-4 (*.mp4)â format for your touch video. But if you want to get audio files from the video you may select the âMP3 â MPEG Layer-3 Audio (*.mp3)â format for your iPod touch music.
Step 3: click the âconvertâ button and start the conversion.      Â
Also in few minutes the conversion will be completed and you can enjoy other videos in your iPod touch 2 now.
Tips: both of them are useful, if you want to get both of them, you may get the [url=http://www.nidesoft.com/dvd-to-ipod-suite.html]Nidesoft DVD to iPod Suite[/url] which includes these two software but cheaper than get them individually.
Ok, now if you have some idea about iPod touch 2 or some question about these professional software, just post here. We can discuss together in this forum.
Â
iPod Touch Unboxing
Aug 3rd
Just wanted to share with you guys…… Forthose who want to follow me on twitter and get any inside info, follow me here: twitter.com For those that want to be made aware when I start a BlogTV, Go here: www.blogtv.com and subscribe me in the middle of the page for SMS text or twitter for show starting announcements
Android on HTC Touch
Jul 23rd
Richie Hawtin Teases Modular iOS Ableton Touch Control at SONAR
Jun 19th

Touch performance control on devices like the iPhone and iPad has become increasingly popular, but the question remains: can developers push these interfaces further? Richie Hawtin has initiated a new touch control project and promises more “advanced” control of Ableton Live for iPhone, iPod touch, and iPad users.
Details remain murky – developers Liine say they’ll tease out features over the coming weeks. But the system, when fully revealed, will be modular, with a set of touch objects and gestures across a set of apps that provide touch control. The first application is Ableton Live-specific, and provides a new mechanism for controlling Live’s grid of clips. The developers say Griid makes it easier to find clips and see information about them, even when navigating large sets of clips. (You know who you are, those of you with enormous Live sets with a zillion colored clips.)
Different editions will scale to different screen sizes, with Griid Pro for iPad, and Griid for iPhone/iPod touch, plus a Lite version for free.
What all of this means or whether it lives up to these claims is, well, a complete unknown outside of the Plastikman stage. That is, unless you happen to be in Barcelona at SONAR this weekend. Tomorrow, Saturday, Richie will be demonstrating the app in person. Liine tells us:
“At the hands-on Richie will show how he uses the app in his Plastikman Live show. There will also be another laptop or two set up and hooked up with Griid so that they can give it a try themselves.”
If you can make it and want to report back to the rest of us, I’d love to hear it. And I expect to bring more info to CDM soon, if not. But it certainly works for Richie; check out the video below of him using the tool at Detroit’s Movement festival, for his new Plastikman Live show. (And yes, this is bringing back Plastikman and more of the live performance, rather than simply DJ, the side of Richie a lot of us love best.)
http://liine.net/griid/
http://liine.net/
If you’re at SONAR, check out http://ghost.m-nus.com/ (and if you’re not, that site has live streams and audio – warning, audio auto-plays!)
View full post on Create Digital Music
How to rip DVD to iPod Touch on Mac OS X 10.6 Snow Leopard
May 31st
The new released Mac OS X Snow Leopard improve its running speed and iMovie/ photo editing ability. At the same time, it also faces a series of compatibility issue.
At present, in order to ensure ripping DVD on Mac OS X Snow Leopard successfully, iSkysoft improve its product. The new version iSkysoft DVD Ripper for Mac perfectly compatible with Mac OS X 10.6 Snow Leopard.
iSkysoft DVD Ripper for Mac is a professional DVD ripper for Mac OS X Snow Leopard, which rip both encrypted and unencrypted DVDs on Mac OS X Snow Leopard.
It is able to rip DVD to various video and audio formats, like WMV, AVI, MOV, M4V, 3GP, MPG, MPEG, FLV, MP3, WMA, M4A, AAC, AC3, etc. for many portable devices, e.g. iPod, iPhone, PSP, cell phone etc. on Mac OS X Snow Leopard..
For Mac OS X 10.6 Snow Leopard users, iSkysoft DVD Ripper for Mac perfectly supports ripping DVD to iPod Touch, Nano, classic etc. and iPhone, PSP etc. players. You can rip DVD to your iPod Touch on Mac OS X 10.6 Snow Leopard with fast speed and output quality.
Guide: How to rip DVD to iPod Touch on Mac OS X Snow Leopard?
iSkysoft DVD Ripper for Mac has been improved as supporting newly Mac OS X Snow Leopard. You need not worry about any compatibility issue any more, iSkysoft DVD Ripper for Mac can rip DVD on your Mac OS X Snow Leopard perfectly for you.
Free download and install DVD to iPod Touch Converter for mac on your computer
Intel Version and PowerPC Version
Step1. Add DVD Movie
Click “Load DVD” button, or “Load IFO” button to browse your computer, find the DVD folder or the VIDEO_TS folder you want to convert from your hard disc or DVD-ROM and click OK.
Tip: Select a video file in the file list, click Play button in the video preview window. When the video jumps to the image you like, click Snapshot button, to store the image in the snapshot folder.
Step2. Edit DVD
1. Trim DVD Title or Chapter
If you want to capture a clip from the current title/chapter, you can click the Trim button to open the Trim window and trim the current title or chapter by dragging the Start Time slider to set the start time, and dragging the End Time slider to set the finish time. Then you can only rip segments from DVD on mac.
2. Crop DVD Video
If you want to remove the black edges or just convert an area from your movie video, you can click the Crop button to crop the video of the current title or chapter. You can specify an area either by dragging the frame around the video or setting the crop values: Top, Button, Left and Right. Above the crop pane, you can select an output aspect ratio and the available options are: Keep Original, full screen, 16:9 and 4:3. You can preview the video in the select aspect ratio on the main interface and during the conversion process.
Step3. Output Settings
Filename: Name the output file for the current title/chapter.
Subtitle: Regular DVD movies usually have several subtitles such as English, French, German, etc.
Audio: Select an audio track from the available audio tracks of your DVD movie.
Select an output format: Here you need to select one of video formats which you want to convert, such as iPod Touch Video MPEG-4 (*.mp4).
Set Video and audio solutions: If you want to customize the output video quality, you can click the “Settings” button to open the Settings window and set video resolution, frame rate, bit rate, encoder, etc. You can set audio resolution, frame rate, bit rate and encoder on the “Settings” interface.
Tips: Merge into one file: If you want to join the selected titles or chapters into one file, check “merge into one file” option. Set an output directory to save the output files.
Step4. Start Conversion
After setting the output settings, you can just click the Convert button to start converting your Movie. You can choose to shut down your computer or open the output folder after conversion so you don’t have to sit before your computer waiting for the conversion to finish.
Android 2.2: Badly-needed Improvements to Audio, Touch, More; What’s Missing (UPDATED)
May 21st
Android 2.2 boasts enormous boosts to performance in Java, JavaScript, and the browser, plus nice end-user features like tethering and tons of developer goodies. But developers interested in pushing the multimedia capabilities of the OS have been eager for some specific good news – particularly with Android a candidate for tablets and new embedded platforms (think new, Android-powered DIY music gadgets).
2.2 isn’t likely to satisfy all those concerns, but it is a step forward. There are some subtle but key aspects you might miss, since they aren’t quite headline news for most gadget sites. Apologies for an atypically technical post, but this stuff is important if the platform has a future for readers of this site. And if anyone doubts this is news, let me tell you – talking to music developers from a variety of backgrounds, I hear both immense desire to look at Android, and some significant skepticism about the limitations, many of them specific to performance.
What’s improved:
Audio gets a separate priority. Changes to AudioManager mean that audio can gain focus. Currently, audio processes on Android often get preempted by other processes, so that literally, another service syncing data can screw up your sound. What I can’t tell here is whether the audio focus helps successfully prioritize sound – or if it just helps mix sound with other apps. At the very least, it should avoid other apps cutting into a music performance app without you wanting that. If we’re lucky, Google has also improved audio performance, so that audio apps can set shorter buffer times without adding clicks and pops. (I’ve found disabling data sync stops sound from skipping, but that’s not how it’s supposed to work – not even close.) It’s possible these issues could be positively impacted by improvements to the Java virtual machine (in fact, it’s almost a sure thing).
Android 2.2 blog post, full revisions; NDK changes on the NDK site.
Media recording APIs are finally set up right. As Google puts it, “New APIs in MediaRecorder for specifying audio settings for number of channels, encoding and sampling rates, sampling rate.” Or, as I’d put it, less charitably, “MediaRecorder API no longer involves pain.” This is also a big deal for Android applications that take audio input, including in-progress ports of free synthesis environments Pd and SuperCollider, and Jasuto, whose developer got tripped up on this very problem.
MotionEvent has been improved, for better multi-touch event handling. Developer Luke Hutchison has had to manually write code that works around some unreliable multitouch processing. Google promises better reporting in the new version. Unfortunately, I don’t think we’ll know until this build ships; this can only be tested on devices.
Better storage. Flexibility in storage is a key advantage of Android (cough, Apple) in some areas, but needed work. Now, the ability to (finally) install apps to the SD card means that music-rich apps or interactive music albums become possible. And automated data backup could be a boon to people using Android as a creation device.
A smarter NDK. Debugging. ‘Nuff said. And that’s something native developers (see, again, SuperCollider and Pd) can download and use right now, today.
By the way, motion fans should be happy with doubled camera preview FPS and YUV support in OpenGL, among other tweaks.
Now, the bad news.
What’s Missing
JIT (Just in Time) compilation for Java translates to vastly improved performance, so you can’t wish for more. But there are still things musicians could use.
Everyone’s been writing open letters to Steve Jobs. Let’s make this an open letter to Google.
Why should Google care about musicians? How about because Google threw down the gauntlet today on its comparative “openness,” compared life with Apple devices to 1984, and prides itself on its Linux heritage?
No, actually — let me put this better: don’t you want Android to be a rock star, Google?
- Native audio access. This NDK added still more support – native access to image buffers, which will help people writing graphics apps. But with that and OpenGL finished, audio should be next on Google’s list. Android devices all appear to use Linux audio standard ALSA. There’s really no reason native DSP code shouldn’t talk directly to the audio output. Google: pay attention. Audio apps have been some of the biggest hits on Apple’s App Store; Smule alone has made ocarinas, AutoTune, and Glee fandom cultural phenomena on the iPhone. Android really does need improved audio performance to compete. Unless a miracle has happened on the Java side, that means providing the NDK as at least an option. And it’s self-selecting: the only programmers who would even try to write their own DSP code and ALSA interfaces would be the ones who already know what they’re doing. You’re not going to get stupid questions about this on IRC like you do with people who haven’t read the UI documentation. Get it?
- Reach out to better multitouch hardware partners. I’m beginning to think that waiting for OEMs to stop sucking at multitouch on phones and tablets is a losing game. So, Google, you’ve got the biggest tech brand power on the planet now. You’ve got smart people. Find a way to hook up your mobile partners with the people who can make touch hardware and firmware work, and the whole platform wins.
- Hardware support (question mark). The Droid already supports USB host mode – so why isn’t it a standard? And why shouldn’t Android benefit from the Linux kernel and provide external hardware support in the API? Help the device live up to the “open” hype you keep espousing; it doesn’t make for a flattering comparison if the iPhone OS has more hardware features for developers than Android, especially with tablets on the horizon. So why a question mark? It looks like good stuff is happening here. Tablets show promise, and the announcement of Google’s TV product suggests not only video out but USB, too. So the key is, will developers be able to use those features? It’s not really an “open” platform if the answer is no. It just seems at this point like we’re waiting on standard APIs and documentation. TV video out is a safe bet when Google’s promised TV SDK appears early next year. But by then, Apple may have a similar offering – and it’d be unfortunate if Google didn’t extend capabilities to their whole line, rather than slice up the platform.
Specific as these things are, they could be the detail that makes a (pardon the word) “magical” app for the platform. And hey, that’s also mean some rockstars using Android. That can’t be too bad, can it?
I’m hopeful. And I think the vision of the platform could be extraordinary. Imagine an Android phone that connects to a music rig onstage, an audiovisual app that makes the audio output really shine, or an interactive album you can watch on an Android-powered TV accessory from your couch? On that last question, imagine people listening to albums in their entirety, blissing out to specialized generative visuals? (Return of the psychedelic prog rock album cover!)
Users, take all of this with a grain of salt, because I still want to test 2.2 to evaluate real-world performance. But it’s worth saying, because the fact that we have 2.2 means Google’s talented Android team is already moving on to the next thing.
Updated – More from I/O, and Native Audio Access
Here’s one major difference about developing for Android – developer events aren’t under an NDA, and you can find out about what’s happening to a platform in advance and respond. You can share information, follow open bug reports, and see as they’re changed. This shouldn’t be rocket science; it’s certainly a given in the free software community. But it is a marked difference relative to something else beginning with ‘A.’
Accordingly, while I couldn’t be at I/O, I do get to talk about it. And notes from a session on Advanced Audio Techniques suggests the 2.2 changes to audio are significant – and are accompanied by an upcoming hook for doing native audio.
From the roadmap notes, OpenAL and OpenSL may be the ideal native hook to the audio buffer. OpenAL itself leaves a bit to be desired for musical applications; it’s a fairly primitive API, not really a direct analog to OpenGL. But if well-implemented on Android, particularly in how it talks to the audio output, it could solve many of the problems Android users now face; it’s all in the implementation. What’s coming:
- OpenSL native API to provide audio track stuff in native code
- OpenAL support. Has a shim over OpenSL. should help port games.
- Add autio effects processing
- Expose more low-level APIs.. a Java api that lets you build the player graph in your application. If you have a streaming support that we don’t support, previously there hasn’t been access to codecs.
- WebM support. VP8 + Vorbis
- FLAC decoder
- AAC-LC encoder for device that don’t have hardware support
- AMR-WB encoder
(encoders will be open sourced)
You can read those notes from the session here, thanks to an attendee; I’ll post a link once this goes up on YouTube:
https://wave.google.com/wave/#restored:wave:googlewave.com!w%252B3kgmObZwQ
Via Bug 3434
Also very awesome – hardware-accelerated processing.
NDK FPU and SIMD NEON support means that Android applications can now take advantage of the floating-point and specific hardware acceleration features of the ARM-based hardware architectures underlying these devices. If there was any doubt that Android could become a major solution for embedded musical hardware, this should change that. (The iPhone/iPad will reap some similar benefits, so this is as much about the iron underneath as it is the OS.)
ARM claims 60-150% performance gains as a result. (Thanks to Martin Roth for the tip!)
I expect I’ll be talking to developers more at Droidcamp this coming week in Berlin.
View full post on Create Digital Music
Ethereal Dialpad Touch App, Development Experience on Android and Beyond
May 6th
Google’s Android has been a relatively slow starter for mobile music software, but a gem like Adam Smith’s free Ethereal Dialpad proves it’s a viable option, and the app is an inspiring musical toy, to boot. Perhaps more important than that, behind the scenes, Adam is employing a really beautifully audio engine of his own design with an elegant approach to coding sound.
Ethereal Dialpad features a set of basic modules for using touch to produce synthesized sound with real-time effects. The concept isn’t new – Adam says he was inspired by the pitch mapping on KORG’s Kaossilator – but it’s nicely executed, and the software is fun and responsive. I’ve tested it with some non-musician Android owners, and they were simply delighted. And yes, you can plug it into external effects and go absolutely wild – see the video below for one example.
Of course, these sorts of applications are relative commonplace on the iPhone, but few and far between on Android. So it seemed the perfect time to ask Adam to share his thoughts on developing for the platform.
Along the way, Adam has some great thoughts on live coding and sharing in the development community that go well beyond any one platform.
Mobile applications in general have often been self-contained, limited-lifespan creations; the simpler ones are almost like bubblegum – suck out the sugar and move on. But by sharing code, these simpler applications can have a greater life, as they’re extended and incorporated into other projects. That could suggest greater longevity over time for unusual interactive musical software creations in general. And with this application fitting into just 35K – yes, amazingly, even with all the packaged Android assets and Java code – the emerging landscape could even begin to resemble the demoscene of old.
Adam writes with some of the behind-the-scenes details of coding audio on Android:
The whole Ethereal Dialpad project started as an experiment with the AudioTrack api in the Android framework and, without any real planning, it evolved into a reimplementation of one of the presets on Korg’s Kaossilator synth toy (which I’ve enjoyed playing in the past). At one point, I was thinking of adding more Kaossilator-like features (loop recording, more synths, etc.), but interest in starting new projects instead of improving old ones won out.
The synthesis core of the app is hand written in Java. You can see an example of working with my DSP library edited down from the real source here: http://gist.github.com/376028#file_usage.java The design of the library was strongly inspired by that in ChucK, a programming language for musical livecoding that I’ve used for a few other silly projects (http://chuck.cs.princeton.edu/). Using the library, the app sets up a little modular synthesizer on startup and uses touch events to tweak parameters. It is possible for the synthesizer to be reconfigured a run-time (adding or rewiring components), but I didn’t end up using this functionality anywhere in Ethereal Dialpad. Perhaps someday I could expose the live synth construction process to users with some graphical interface — right now you have to edit the source to change the synth.
Devices like the G1 I was working with have terrible floating point performance (improved none by running code in a virtual machine!), but going ahead with the simplest solution turned out to work just fine. In another free Android app, Iteration, I used fixed-point arithmetic in C via the NDK to get the performance I wanted (http://github.com/rndmcnlly/iteration/blob/master/jni/iteration.c#L279). At one point I was having trouble with the audio stream in Ethereal Dialpad when some background processing (such as Twidroid waking up to refresh tweets) took too much processor time, but simply cutting the audio sample rate in half was an effective fix (with little effect on my output which didn’t have too much in the high frequencies at the time).
I suppose it would normally be overkill to build a synthesizer from scratch like this to get the output I did. If I knew I were really going for what Ethereal Dialpad is now from the start, I could have simply embedded a fixed set of pre-recorded tones and not mucked about with sines and cosines. One fun result of doing it the hard way is that the package you download is only 35KB (with a lot of that space dedicated to the silly icons for each dialpad). Doing as much as possible with code instead of bulk data is in line with the demoscene aesthetic which I’ve enjoyed for a long time. Generative art has long been a passion of mine, but playing with real electronic music hardware during the past few years has convinced me to try more tangible projects, exploiting the touchscreen in this case.
As an aside, there seems to be a really positive, sharing-oriented culture in the hobbyist Android programmers that I have run into. I got the idea to make Ethereal Dialpad (or at least play around with audio on Android) after seeing the Synthesizer 2 application. I could tell, just by using the application, that the developer must have been using some API for live streaming that I hadn’t noticed in the documentation yet. In response to a email to the developer I got a pointer to the exact API I was seeking, and we’ve sent Java snippets back and forth since. Another developer emailed me to figure out how my app worked and, several source-filled emails later, Ethereal Dialpad contains the “Moonblink’s Grid” dialpad, a volunteered submission.
I asked for some reflections on Android, in general, as a platform, as well, although that discussion quickly turns more generally to tools for quickly coding creative sound on computer platforms, too.
Regarding inspiring Android music apps, it was actually the (I suppose I’m qualified to say this) disappointing experience I had with Synthesizer 2 that really pushed me to think “Man, I could make something that sounds better (after I ask him how he pushed an array of floats through the speakers, that is).” After finding the right API, it was just one dusk-till-dawn hacksession before I produced CurveSlinger (http://adamsmith.as/typ0/k/CurveSlinger.apk), which is essentially the core of audio Ethereal Dialpad with no graphics. The idea of mapping both axes of the touchpad to two synths was lifted directly from the L.12 patch on the Kaossilator. I didn’t think to attempt to bolting on a pluggable GUI system for another month perhaps. Plug-ins are a whole story of their own — turns out there is a section of the Android userbase that universally ignores update notifications. [Ed.: If rumored "auto-update" features finally get baked into Market apps, I would expect that situation to improve, though it hasn't happened yet. -PK]
In the larger context, the drive to create a synth toy from scratch was inspired by participating in the culture around livecoding languages like ChucK, Impromptu [Mac audiovisual livecoding environment], and Pd (TOPLAP is the name I feel compelled to drop here). In livecoding I can bridge the gap between the otherwise sometimes cold, engineering practice of programming and the artistic, improvisational practice of live music performance. I’m overwhemled by how easy it was to make a mini trance sequencer (http://www.youtube.com/watch?v=lVOtH5Uiatc), a tangible controller for wave playback (http://www.youtube.com/watch?v=DhDeYxhnKkY), and an infinite random claim generator (http://www.toplap.org/index.php/User:Adamsmith#.22endless_interesting_claim_generator.22 — http://adamsmith.as/typ0/k/voxbox/claims.html). How can I convince the general population that being a healthy consumer is not a healthy state of being and that programming is an amazingly underappreciated approach to being a creative producer? Well, I’ll hack something nifty stuff really quick and tag a note onto the app description: “Like what you feel? Consider learning to program. It’s some serious magic.”. I’ve gotten maybe 15 email responses to this last note, but it is hard to get people who have no experience into a position where they can do the same thing.
The drive to use the touchpad for something interesting draws directly from playing the Korg EMX-1 which uses a linear touch sensor to control the arpeggiator. Sure, I’ve fun with Kaossilator, but that two inch strip on the EMX-1 sucked me in for hours at a time. It was magical, and I wanted to make that kind of magic too.
I suppose I have to acknowledge the Internet at large as a major, implicit inspiration. It is impossible to remember which video here or there lead to this or that other idea. I’m sure, running your site (which I didn’t know of until you contacted me), you experience the same thing.
For your viewing pleasure, here are two of those quick audio creations. At top is a demo of livecoding in Pd (Pure Data). At bottom, in what must be a geek singularity powerful enough to actually create a depression in the fabric of space time, “a YTMND dramatic reading of some Half-Life fan fiction” with a Nintendo 64 controller and the rapid audio coding environment ChucK.
Android I think is overdue for a round-up of available audio software. (Honestly, I had put it off partly because the landscape was somewhat scarce.) Candidates so far include Sonorox, Beatpad, Uloops, Musical, and FingerPlay. Got nominees? Let us know in comments.
The “killer” apps for Android may turn out to be in-progress ports of Pd and SuperCollider. More on that topic soon; if you’re interested in contributing, or in learning more about Android music software development, you should check out the Android Music Developers Google Group.
And since so much geektastic material comes up in the interview, let Adam know if you have other questions for him.
View full post on Create Digital Music
ReBirth Arrives for iPhone, iPod touch; $6.99
May 4th
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
View full post on Create Digital Music
