Well, this is the first time I can remember this happening. Tuesday, I covered a GBP20 Max object for independent tempo and pitch modification in Max 5:
elastic~: Pitch, Speed Control Module for Your Max 5 Patch

I wasn’t personally so blown away by it, but it looked interesting, and it uses algorithms used in a number of commercial projects. But Max guru Devin Kerr put his money where his mouth was — or is that, no money where his … um … ears are — and released a free version. Unlike elastic~, it uses all included Max objects. Aside from saving you some dough, that has the significant advantage of being able to easily share patches based on his patch with fellow Max users.

Devin writes:

So I took 15 minutes and made a simple patch and video demonstrating what I’m calling “Free_Elastic”. This Max patch uses high-quality, FFT pitch shifting and is based on the standard groove~ object. It allows for much more control and customization (fft size, overlap, etc.) than “elastic~” does, and it’s FREE!

Free_Elastic: Independent Pitch/Speed Control in Max [Devin Kerr's blog]

Even if you like elastic~, you can’t really argue with the nice work Devin did on his patch. Hope this leads to some other great patching work. Now, can we get a Pd (Pure Data) port for a truly free experience, anyone?

More Goodies

Andreas Wetterberg (of Covert Operators) points to Mattijs Kneppers’ wonderful work. Object-oriented patching? Check. An MPC-inspired drum sampler? You got it.

And most notably in this context:

Real-time, natural sounding granular time stretcher / pitch shifter, version 009, patches only. Download test sounds here.

Time stretching and pitch shifting without artifacts (Max 5 only).

This patch uses the pitch~ object by CNMAT, that you can download here:
http://cnmat.berkeley.edu/downloads.

Granular time stretching has the advantage over a spectrum-based (phase vocoder) approach that it has no inherent latency. This patch aims for the same sound quality (absence of artifacts) as the time stretching features of mainstream applications such as Ableton Live or Reaktor.

That said, actually, you might enjoy those artifacts. But if you’re a Max user (or Pd user willing to do a little bit of porting), this should more than satisfy your appetite for warping. And, Andreas, I’m with you … I prefer the granular stretching sound. (Because it’s really a grain sampler and not just a delay, you may also want to check out the terrific video tutorial Peter Dines did in Reaktor. And there’s a lot more of this stuff elsewhere, as well.)

If you’re looking for pitch- and speed-independent warping and other sonic effects, and Max 5 is your modular patching tool of choice, a new tool is now available to add to your arsenal. elastic~ is an object similar that allows high-quality audio warping. The developer claims it uses the “same algorhythm as software giants Cubase, Ableton Live, and Kontakt.” I’m personally still quite happy with granular tools in software like Reaktor — and have recently gotten interested in exploring implementations in the free and open source SuperCollider, but of course there are great advantages to working in Max, and the implementation here seems unusually elegant and easy to use.

The developer writes:

With elastic~ it’s easy to tempo match loops together (either to each other or a global tempo); create a sampler that doesn’t change the speed of your sample as you change pitch; correct out of tune samples; create harmonizers; and just generally loop and bend and warp and stretch and……

elastic~ Product Page

The software is the creation of Simon Adcock and Joe Jarlett.

Product price is GBP20 — though thanks to the US Dollar surging against the Sterling, that’s not so bad. If you grab this and make stuff with it, let us know. Got an external you prefer, or other tool (a la SuperCollider) for audio warping, let us know that, too. (Warping audio is a personal and intimate process. I can’t imagine you’d share it with just any tool.)

Update: The engine in question is Elastique — quite nice, in fact, to have this “ported” effectively to Max/MSP! (And check out how many places it’s used — fascinating.)

Facial music, indeed. Daito Manabe has made the music the controller and his face the controlled in a new project. (As several commenters were quick to note, I got this exactly backwards when I posted this a few minutes ago: his face is the output, and the music the input.)

Daito Manabe is a Japanese-based composer, media artist, and DJ who does strange and wonderful things with inputs. This time, he’s hooked up electrical outputs to his face, so multimedia software Max/MSP, his usual tool of choice, can sequence muscle movements via electrical pulses transmitted directly to the surface of his face.

This is just one tech demo, but as an artist he does work in more fully-formed, full-length works — and happens to be coming to New York in November as part of a multimedia show at the Japan Society. Daito, if you’re out there reading I hope to catch up with you then, and perhaps buy you a Kirin, my honorary beer since it’s typically how my name is misspelled. (Peter Kirin is my typo Japanese alterego; the more popular Peter Kim my typo Korean doppelganger.)

Here’s another video; thanks to oscillateur and cptn for catching my jet lagged error.

Reconstructing The Eraser with the monome from makingthenoise on Vimeo.

Via Monome virtuoso Matthew Davidson (aka Stretta, the man who has built a lot of the patches that give the Monome its unique personality), here’s a video that really demonstrates how the Monome turns a set of buttons into a way of arranging and performing music. Adam, aka makingthenoise, covers Tom Yorke’s “The Eraser” using a Monome 40h, Ableton Live, and the SevenUp Live software setup.

(You may remember makingthenoise from the East Coast Monome Jam, a Princeton convergence of Monomes and the musicians who love them.)

The killer ingredient here is Adam’s SevenUpLive, a Java application that combines 8 different Monome apps in one and integrates more tightly with Ableton Live.

SevenUpLive

On the software page, you’ll find a full file pack to recreate The Eraser as in the video.

It’s AES this week in California; I won’t be there, because I have a family engagement. But what I find interesting is that this homespun way of controlling music is very different from the typical studio/mixer paradigm you’re likely to see at a trade show. It may be a better model of the actual music.

Monome on CDM

Monome Life, indeed. What makes the Monome so wonderful is not so much that the hardware and software itself are open source — nice as that may be — but that they have become a platform for experimentation and personalization. Max/MSP, now freshly injected with life following its version-5 release, has a similar ethos. Here are a couple of the creations that have impressed me most recently: a hacked-together implementation of The Game of Life in Max and Monome, and an impressive DJ app, dj64.

This is Your Life

Bean (blog | twitter | flickr) clearly very much loves his Monome, as indicated by the slideshow above. I recently spotted an interesting creation on the CDMusic Flickr Pool — an implementation of the iconic Game of Life simulation/game — and asked him about it.

I made it mainly just because I figured it should be possible. It’s not terribly efficient, and occasionally stutters, but that feels like part of its charm. It is monome tailored, but would run stand-alone with a little tweaking.

I’ve got the cleaned up version posted on my page of monome-specific patches:

http://www.fourthirtyeight.com/monome/#maxlife

There are a number of downloads there, including that one, so Max users, have at them!

It’s not animal-friendly, constructed of black leather and snakeskin, but it is fashion-forward. It’s Rucyl Mills’ over-the-shoulder, wearable MIDI controller, complete with pads, knobs and faders (looking mysteriously like they were liberated from an M-Audio Trigger Finger). Rucyl describes her creation:

I built the elektro-07 so I could control the sonic and visual parameters of my live performances without having to look deep into the eye of my laptop, hunched over in computer music stance. I’m still learning how to play it.. Software wise, it runs a maxMSP/Jitter patch smoothly, connected to my laptop by a long usb cable. Major thanks to Luke DuBois.

I have to agree: I’ve seen people with great stage presence hunched over laptops, but hunching is … well, uncomfortable. Note, by contrast, her relaxed pose.

Rucyl is a NY-based electronic musician and artist, with an impressive portfolio of interactive works.

Rucyl Mills site

As for the “Sexy Computer Nerd” reference, that’s a reference to Rucyl’s love ballad to you PHP-coding, blinking-LED-heart heartthrobs out there:

Not happy with what you can get off the shelf? Build your own. That’s increasingly the philosophy of people working on music hardware. But a second economy is growing around these unique, boutique projects. By open-sourcing the designs, they offer the opportunity to build upon their work, buying something from a small group of designer-musicians and then modifying it to your purposes. The latest addition is the Aurora, which just became available for sale this week. CDM got an exclusive hands-on look at the new hardware and a chat with one of its designers. Here’s our first look at open source hardware’s newest musical gadget.

The Aurora is called a DJ “mixer,” but it’s really a control surface. It connects via a USB jack for power and to transmit serial-over-USB data, then uses free software to translate that data to MIDI messages for use with software like Ableton Live. The project is the work of a three person team, with Matt Aldrich designing electronics, Mike Garbus designing firmware, and Maro Sciacchitano working on the form factor and look and feel. They have an impressive background in making stuff. I got to hang out with Matt in Boston, where he’s joined MIT’s Media Lab Responsive Environments group, so I expect more good projects out of him soon. Matt and I talked frankly over coffee and pastries about the strong suits, weak spots, and future of the device and other projects.

Kit Availability and Pricing

Availability of the first aurora224 model was announced today:

• Complete unit: This kit requires only basic assembly. The PCB is pre-assembled, as are top and bottom panels, and all parts are included. Basically, you just put those panels, boards, knobs, and button caps together using a hex screwdriver — no soldering required. US$340.00. ($420 international)
• DIY kit: This is the one with all the soldering — not recommended if you’re new to soldering, as there’s some tricky stuff in there. US$270. ($350 international.)

Aurora Mixer Project Site
Order Page
Previously: Aurora: Gorgeous, Open Source DJ-Style USB Controller; Details from the Creators

You don’t get that much of a price break via the kit, so I expect you’ll only want to do that if you really enjoy the smell of solder as much as I do.

Onto the hardware itself:

A big surprise announcement from Livid, the VJ software / boutique A/V controller maker: Livid Looper is a new, free audio looping tool, built in Max 5.

Click through for the full image; it’s quite lovely with … um, butterflies and such. (Strap that solar panel to your MacBook and take it camping!)

Built around the Ohm hardware controller from Livid, but certainly adaptable to the interface of your choice, the Max 5-based software has some very nifty features for live performance:

• Audio looping, slicing, dicing, and scrambling
• Built-in audio effects, plus VST support – and a built-in Granulator for time-shift / scrambling effects
• Instant audio recording
• Interactive waveform display for selecting loops (or chop them up automatically)
• Beat-synced, sequenced gesture recording – meaning effects can be added in performance and locked to the loop
• MIDI learn (in case you don’t have an Ohm)
• OpenSoundControl support, for easy networking of data to other laptops, or multiple apps / VJ apps on one laptop

As you can see below, it is Ohm centric – making that already very sweet controller this much sweeter – but is likewise generic enough that you own preferred controller should work just fine. Livid also promises that this could work well with a cheap laptop like the Eee (though for now you will need Windows or, at the very least, Linux + WINE).

You’ll need the full version of Max 5 to edit it, but once you do the patch is fully open source, so you can hack it do your own thing. (Max 5 is great, but I wonder if anyone will port to Pd for an end-to-end open source experience? Or perhaps there are some similar Pd patches to consider, dear Pd community? Pd would also give you instant Linux compatibility – at least until Max is available on Linux, ahem, Cycling ‘74.)

It’s too bad Ableton Live doesn’t support OSC, as these two would go together quite nicely linked via OSC (though you should be able to sync them via MIDI, I’d imagine).

Available now for Mac and Windows, fully free as in beer and freedom and beer freedom:

Livid Looper

Let us know how you like it when you give it a try!

XLR8R TV Episode 71: Daedelus from XLR8RTV on Vimeo.

XLR8RTV has a fantastic video interview with one of my favorite artists, Daedelus. The man is, as always, like pure musical joy. He talks about his musical influences, the early connections he made (including at USC, alma mater of a number of the CDM community), his approach to live performance, the virally-popular open source monome controller, and, yes, that pro-Obama song. (The original lyrics were catchier.)

The monome connection is an interesting case in music technology. Daedelus was the first artist to gig regularly with the device, possibly helping both him and the monome gain some buzz. It’s not just a gimmick, either, because he remains one of the most virtuosic, erm, monomists on the planet.

But technology aside, Daedelus is one of those guys who can charge up your faith in the future of live computer music. Enjoy!

(And Daedelus, if you’re out there, we’ll have to have you sit down with the CDM TV cameras next time I’m in LA. I promise … well, poorer production values. But maybe we can add some special effects in post or something that XLR8R was too tasteful to do. Like have you fly on your monome as though it’s a magic carpet.)

In other news, CDM’s own Liz “Quantazelle” McLean Knight is featured in a podcast look at the Chicago scene.