We already knew that one Next Big Thing for the Lemur – the specialized multimedia multi-touch controller – would be Ableton Live integration. Having teased that coming functionality, JazzMutant has now revealed the name (“Mu”), as well as a video showing what the features look like. What’s funny to me is that the result is a bit like what I’d imagine Live itself might look like if it were designed for multi-touch screens. That’s a real consideration for all music software UIs, given the direction of computer hardware. But in the meantime, with choices in multi-touch laptops scarce (makers like HP and Lenovo make a handful of models) and quality scarce, the Lemur hangs onto its niche. It comes with a solid set of tools for users to make their own layouts, it has the reliability of wires (which the iPad will lack, since it has no Ethernet port), and dedicated OSC functionality. While it may come to a surprise to those eagerly anticipated the iPad’s arrival next month, the Lemur’s fans are largely unswayed.

One reason is that, cool as Mu is, it isn’t alone. Musicians keep making fascinating control layouts for the Lemur, ones worth noting even if you don’t plan to buy a Lemur for yourself. For instance, Mat of music-interface.com sends along tips from his own work and beyond.

Rick Hawkins goes a different direction entirely from Mu, with a sequencer that’s esoteric enough to have “esoteric” in its name:

The EsoWave sequencer is a project for the Jazzmutant Lemur. It is a esoteric/generative midi sequencer that sends midi notes according to the positions of 32 nodes in a 2D plane. The nodes are connected along an elastic string and can be additionally controlled by two waveforms that drive the X and Y coordinates.

More info on the blog: ILL GOTTEN GAINS: The EsoWave Sequencer

Esoteric Sequencer Prototype – Ambient Session from Rick Hawkins on Vimeo.

For his part, Mat’s own work on the Sequencomat is full of ideas, with track-independent humanization and tempo, a roll pad X/Y marked by rhythmic subdivision, step sequencers, controllers, and more. Mat’s work shows part of the appeal of the Lemur, which has evolved beyond being a simple controller to be a generator of sequencing data. Just like the old days of hooking up a sequencer modular to a bay of analog synths via patch cords, the Lemur becomes the sequencer and software like Ableton Live simply the sound source.

http://www.tonvibration.de/extra/SequencomatV2.html

If you’re wondering why the Lemur fans have remained loyal, this gives you some answers. It proves that a device’s longevity can matter, in an age when (thanks, I’ll admit, to blogs like mine) newness and buzz tends to trump what lasts. While the Lemur may be old news to some, that’s part of the point: it’s taken some time for people to really work out what to do with it. And whether your future is in the Lemur or another device, I always find inspiration in what the Lemur community is doing, thinking more generally about how touch can be used with music. Sometimes my reaction is, honestly “yeah, but jeez, I’d never want to do that” – but then, that’s always why it’s interesting to see other people’s work. And sometimes, it’s just fun to watch.

Side note: if you get fatigued of all this talk of integrating with Ableton Live, fret not. I think we’ll see a lot of ideas around a lot of tools; just to take today’s news as a jumping-off point, note that the Renoise team are still working on their own, friendly API for customization with native OSC control (something Live still lacks). And variety is the spice of life, or at least, of blogs.

“It looks alien at first, it looks scary … [but] it’s like, here’s your paper; be creative.” “A tracker basically turns your computer an instrument.” -Dac Chartrand, Renoise, trying to explain Renoise to those who haven’t yet gotten religion

Renoise 2.5 is here, for real – not a beta, a nice, golden, final release. The modern take on a tracker now introduces a set of features that takes it to a new level of usability:

• The Pattern Matrix finally combines the inside-out precision of tracker arrangement with a big, birds-eye view of your music – and some people are already hacking it into a live performance instrument.
• Smarter signal routing across tracks and through “meta devices,” along with clever inventions like the “Signal Follower,” give you sidechaining and more.
• Render Plug-ins to instruments, samples – the resource-saving advantages of freezing tracks, but without sacrificing any playability.
• Enhanced MIDI mapping, internal effects, more.

None of these additions is like to make Renoise a mainstream hit, but then, that’s not the point. What it could do is expand Renoise’s already passionately-loyal user base to a new crowd, and encourage users to find expressive new ways of producing music with computers at a time when some of those processes have become stale. Thanks to its recent support for ReWire (plus JACK on Linux), it also doesn’t mean you have to sacrifice what you love about your host of choice; it can be part of your existing workflow.

For more on what’s new, check out Neil Bufkin’s terrific video interview for CDM with Renoise’s Dac from NAMM, seen at top. That interview was popular enough to become an “electric acid jungle test” demo by Hitori Tori, below, sampling Dac’s initial quote before ripping into controlling Renoise with a clever mapping for the Livid Ohm 64. (Check out more Renoise-on-Ohm action on Hitori’s channel.)

Full feature list:
http://www.renoise.com/about/what-s-new-2-5/

Ready to dive in this weekend and start learning Renoise 2.5, for instance, making use of its fully-functioning demo? There’s a full set of revised beginners’ tutorials for 2.5, and they don’t assume any previous knowledge of trackers. (Hey, it’s okay — I sure didn’t own an Amiga.)

http://tutorials.renoise.com/wiki/Main_Page

This isn’t the end of the story with Renoise, however. Dac confirms to CDM that they are working on support for OSC and easy extension of Renoise’s capabilities through Lua scripting — even without any official promises, that’s exciting news. It could make Renoise easier and more powerful for control and customization.

http://www.renoise.com/

Previously: Renoise 2.5: A Matrix for Everything, Modulate Everything; Full Scripting, OSC Coming

Before evolutionary adaptation comes mutation. Some of the weirdest stuff, in other words, could be the future – just ask biology. That was the conversation I had with folks like artist Rosa Menkman in Old Amsterdam (the one in Holland). So, as we gather back in New Amsterdam (NYC), we get a chance to celebrate the unusual.

Wherever you are in the world, here’s a look at some of those new mutations: a sewing machine converted into a musical instrument, an expressive audiovisual instrument borrowing ideas from the trumpet, and an electro-country band that covers classic honky-tonk American hits.

If you are in the sliver of our audience who live in the NYC area, of course, you can catch these folks live in a variety show-meets-science fair format. We don’t charge admission for the weird, and you can buy beer. Thanks to our new home at Galapagos Art Space, the NYC edition of Handmade Music can offer a proper stage and a lineup of live performances, along with the noisemaking and friendly atmosphere.

Live, Monday, March 8
Where: Galapagos Art Space, DUMBO Brooklyn [directions]
When: Doors open 7p
Cost: FREE
Highlights online for the rest of the planet here, later

Augmented Sewing Machine + Ensemble

Circuit Bending Orchestra: Lara Grant at Diana Eng’s Fairytale Fashion Show, Eyebeam NYC / SML from See-ming Lee ??? SML on Vimeo.

Lara Grant’s Augmented Sewing Machine, entitled “16TH AND MISSION,” takes the workings of the device and transforms it into musical control. Contact between needle and fabric and onboard switches and knobs (with help from Arduino and Max/MSP) make it a novel controller.

Lara joins myself and Matt Ganucheau providing additional electronic sounds (and possibly a surprise DIY creation or two from me), forming three quarters of the ensemble we formed to play a wearable technology fashion show. The Fairytale Fashion show, by Diana Eng, is documented below by MAKE’s/Adafruit’s Phil Torrone, with our group’s live (PA) music in the background. (See also an extensive photoblog of the designs by designer-technology See-ming Lee.)

fairytale fashion 2010 from adafruit industries on Vimeo.

Missing but rejoining me next week in San Francisco is Lara’s sister Sarah Grant. Together, the Grant Sisters work on conductive fabric sound. If you’re interested in how to work with textiles in sonic electronics, they’ve promised to share more of what they’re doing:
http://fsp.fm

The TOOB: An Audiovisual Hypertrumpet

How do you build on the idea of a trumpet? Give it digital control and control over audio and visuals, of course:

Arvid Tomayko-Peters plays The TOOB – a unique wireless electronic wind instrument that gives the performer a vast but intuitive and malleable range of sonic material, allowing creative freedom in solo or group improvisation. The instrument senses breath, finger pressure, tilt and acceleration and utilizes sound captured and processed on the fly to create expressive soundscapes ranging from comic to tragic to “a force of nature” and abstract live video.

At top, a recent short audiovisual improvisation recorded on the instrument, provided to CDM by the artist. The TOOB even made an appearance at SIGGRAPH, the geektastic visual conference. More information:

Short live video from SIGGRAPH:
http://arvidtp.net/music.php#siggraph2009

How it works:
http://arvidtp.net/portfolio/instruments.php

Performance with the TOOB:
http://arvidtp.net/portfolio/index.php#toob

And here’s what the creation looks like. Notice the clever use of a project enclosure, tubing, and force sensing resistors. (Getting the job done always earns bonus points in my book.)

Owen Lake, Electro-Country, and New Handmade Instrument Designs

They call it electro-country. This isn’t modern, top-of-the-charts, watered down Nashville pop. Think covers of classic 1950s honky-tonk, covered on modular synths and custom electronic instruments. The instrumental lineup for Owen Lake:

Owen Lake (jeff snyder) – voice and manta
Penny Hunt (kate soper) – voice and synthesizer
Tommy Byrd (matt hough) – voice and guitar
Frank Arnold (spencer russell) – bass
Buck Flash (alex ness) – live video

But alongside his love of country music, bandleader Jeff Snyder moonlights as inventor. His Manta is a fascinating new small-run, boutique touch controller with a hexagonal layout. I had been meaning to check out the Manta anyway. (Its design has caught the eye of folks like Cycling ‘74 engineer Darwin Grosse, one of the key minds behind Max.) Now I get to see it in person, with a full electro-country band behind it. Expect a full report thereafter.

Just don’t get too rowdy with the beers and start tossing them at the band in excitement, like that scene from The Blues Brothers. (Ah, though maybe we should put all these players together and try to cover “Stand By Your Man.”)

The hardware project:
http://www.snyderphonics.com/

The band project:
http://www.owenlake.com/

The Event

Event details

http://handmademusic.noisepages.com/

on Facebook

Bonus! Saturday we’re hanging out with Babycastles, the indie arcade, and the folks of Loud Objects, chip-programming sound scientists. Bring a soldering iron (if you own one; if not, it’s a worthy investment), and stop in for hacking controllers and making one-button objects. Previous details | on Facebook

Émilie Simon is a fantastically-talented artist with a unique background: her work now falls clearly into pop territory, but her lineage is just as much experimental and classical. Conservatory training gave way to time at the avant garde nerve center of Paris, IRCAM. IRCAM’s Director, Cyrille Brissot, still plays alongside her – more on his wild invention in a moment.

Simon has been a big hit in France; you may know her composition from the soundtrack to March of the Penguins. But now, she’s a New Yorker, which brings us to the topic of the headline. The singer-pianist-artist released a new record last fall, The Big Machine. I do miss some of the quirkier style on her older records, and I rather liked the singing in French (I’m sure NYC has its share of Francophones). The new record tends in a Kate Bush-influenced direction which has divided some fans. They are just as well-crafted, however, and Simon’s writing and performance is inventive as always. It’s a new direction, but it’s worth giving it some time. I think you’ll like the results, and it shows Simon’s continued versatility and artistry.

One thing with which you really can’t argue is Simon’s exceptional musicianship. I love her new series, which has her releasing studio sessions shot in her Bedford Avenue apartment. In the edition at top, the work begins with the expected ballad form, but takes a very different direction. Commanding sounds and effects from a militaristic, future-punk controller on her arm, Simon adds electronic textures, aided by a Yamaha Tenori-On and Doepfer Dark Energy synth. The wrist-strapped controller is Cyrille Brissot’s invention, aptly named “The Brissot.” Somewhere, Thomas Dolby is very jealous, indeed. (They would match his goggles.) Episode two, released yesterday, is after the jump.

Few of us would do a multi-cam rig in our apartment (I’d better make some friends), and I could do without the faux-film effects, but there’s still a terrific intimacy of the sessions, and her stage presence shines through. It’s a reminder that adding technology doesn’t have to mean removing that sense of a live performance – quite the opposite, in fact, as a solo act wouldn’t be able to do this much of this on the spot. Electronics are, as I keep saying, the ultimate renaissance of the one-man- (or one-woman-) band.

So, if you think you can do better – heck, even if not – let us know if you release a similar session. And Cyrille, Émilie, if you’re out there, I’d love to catch up on your work for CDM.

AFP - Australians are more likely to pay for music and movies online than to hand over money to read newspapers on the Internet, a survey released Thursday said.

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