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At your disposal is the Launchpad Pro’s brain, an ARM Cortex M3 from STMicroelectronics.
This could be huge for Launchpad Pro owners even if you aren’t a coder, because it could mean a community around the device sharing this stuff and supporting one another. To make things even easier, though, we’re talking with Novation about how some examples might be produced that will help get people started. After actually reading the linked love letter, it’s no wonder this was executed so well.
Also i wonder if that means that hacking would work with the original Launchpad and Launchpad S versions as well – or is this exclusively for the Pro model ? Good idea with taping it to avoid play around the weak point, I’m going to do that with my current (3rd) one. It should be mentioned the API for the original Launchpads was also made public many years ago. Roland has updated the firmware for the first full AIRA line (TR-8 drum machine, TB-3 bassline sequencer, VT-3 vocal processor, SYSTEM-1 synthesizer) today to version 1.10.
It’s nice to see Roland continuing to update and support these products, I’m really liking the idea of hardware that can continue to get better with time! CDM is an online magazine for creative technology, from music and DJing to motion and more. CDM by Create Digital Media GmbH is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Music software is at its best when it goes beyond cookie-cutter regularity, and spawns something creative.
We’ve been hearing from readers that many of you are tired of standard step sequencing interfaces. I had hoped to write about WaveDNA for some time, but it was so vast, I never quite got the window.
Wave DNA is a Toronto-based company that has achieved great success with their Liquid Rhythm software. Now, the problem, that I found 25 years ago when I was studying composition and first working with MIDI, was that these two, standard notation and MIDI, can talk past each other in certain ways. PS:Our final, what we call the Audio Engine, which is a separate process, and it’s Max code. One of the original ideas, even five years ago when I came on, was to integrate the WaveDNA product with Ableton’s script-ability in Max for Live. We basically took our audio engine max patch, plopped it into Ableton’s framework, and the product was prototyped within about a day and a half with a few adjustments. So Max has not only been a preferred prototyping platform here at Wave DNA, but it also ends up in our final products, in various forms. HW:When I started off here at Wave DNA, I actually didn’t know much about musical concepts nor even heard of Max. I took over the Max for Live proof of concept that Peter started and productized it in preparations for consumer consumption. More recently, my primary focus is diving into the control surface portion of the Live Object Model.
It ties the Push hardware even closer into a user’s workflow, so they can quickly make a beat within LIVE, and then switch over into the Liquid Rhythm Max for Live patch, and increase the beat complexity with all the features that we provide without breaking the musical groove. Eventually it started to hit that prototyping was really easy as opposed to programming languages that I worked with before.
DB:Although each of one of us takes on different projects, when we’re all in the main developer area we tell our war stories for the day. So basically, I solve some of the fundamental conceptual architectural issues with my designs and then I get together with Adil, the Lead Developer at WaveDNA, we communicate and figure out how to transfer prototypes into different commercialization stages, and then Peter, Chris and Hui handle different parts of our pipelines, and we can work in modular teams that way. Max just completely impressed me because I realized, here’s a language that you can use to build other things, using this world of objects and patch cords.
As a kid, I used to program in DOS, in this modular language called Foxbase Pro that I used to structure data. Foxbase Pro is dead and gone, but that concept stayed with me and that it’s a good way to work. This was a developer conference, and that was the year I had decided to fully commit to starting things going.
Later, I had dinner with David Zicarelli and I asked him, “How do I make an interface patch communicate to a business-layer patch?” So he showed me some things about coll objects and how to move data around. Now that we’re moving into our second product, I need to fully specify things ahead of the game because I want to introduce things in an ordered fashion.
One of the programming design languages for structuring the object relationships —an old one that was pre-UML— was called Data Flow Diagrams, where you have data entities and they’re connected together by wire. So I count on all my code failing at some point, unless it has a screaming reason to stay alive. So by developing design processes using a few core trick tools that allow me incredible flexibility in building modules, I can build complete systems, rip them apart, rebuild them, rip them apart, and refine a very chaotic process in a very linear way. With this latest incubating project involving a tonal patch, I have about 50 sub patches under the main project and all sorts of things working together.
So now, with this central Max document, one path is for it to turn into an Ableton Live patch. Now this shiny new thing that hasn’t been in existence before now has a way to communicate to everybody in a way that they can understand. DB: Well, the great thing that I saw lost between standard notation and MIDI was that standard notation allowed you to specify relationships between the notes in a compositional manner. So if you scored a small motif —think of Beethoven’s 9th, if you like —you could then take the basic pattern material and re-deploy it under different transformations to create motivic variations that evolve that motif into a series of phrases or a full piece. We then use these core patterns to describe every temporal relationship across an eighth note, and across the bar at different resolutions.
Well, the general problem that people have when they play in MIDI, is to record something into MIDI, and then want to quantize it.
And once we can find the initial patterns that make up this underlying bar of music, within our coordinate system we can then allow you a rich set of permutations to transform your ideas.
What I find these days, in talking to people who talk about the philosophy of music making, is that with tools today like Ableton’s Push and various arpeggiators and what not, it’s easy for people to come up with their first idea. The hard problem lies in how do I come up with my second idea, and how closely is it related to my first idea. Our goal with Liquid Rhythm, on one hand is, yes, we want to introduce a tool that makes phat beats and helps people with what they’re doing.
All of the things I’ve touched on are explicit in our user-interface and our Music Molecule ‘data visualization and representation system’, so to speak, which evolved over a number of iterations.
Now, on the flip side, that digging might take you into areas that you either didn’t want to go or might not want to explore.
Finding that balance is what we talk about, so we kind of have a Max developer support group and say, “Yes, I screamed at my code again this week. Luckily there’s a global support group in the form of the Cycling ’74 forum where there is a gold mine of information. You may not find a solution right away, but if you follow links and other’s suggestions, eventually you’ll come across something that you can think, “Oh, maybe that will solve my problem.” Very likely it probably won’t, but at least it will give you some new ideas to try. DB:In some ways, I think the camaraderie that comes in the Max community is that this is a community of people on the bleeding edge. So of course people are going to run into problems and are screaming, because this is the land of trying things for the first time.
One of the most important things in this entire article is the Push integration….Any video clips showing how this works? MIDI controller mode, transforming the Analog Keys’ keyboard into a dedicated MIDI controller keyboard for other hardware and software. But while the former obviously isn’t relevant, the latter also works on the Analog Four once you connect an external MIDI keyboard. The Analog 4 is a wonderful instrument which I am just starting to understand and get what I need from it. The Analog Four is certainly looking like a better deal, even with these differences – street is now hovering around just under 1100€. The feedback possibilities are the same on both machines – and they are even wilder with the new OS. Does anyone know from experience with the Analog Four, if sequencer parameters can be modulated by synth LFO ? Avid, the parent company of music product makers Digidesign, M-Audio, and Sibelius, has decided to assert the brand of its mothership more aggressively.
Avid has also unveiled a new logo made, cleverly, to look like transport buttons on video and audio equipment.


And more important than branding is how Avid relates to its customers, and how the company operates.
The press release promises not just a new identity, but a “new strategy” and “a new operating model.” But it isn’t clear, yet, what that actually means in the real world, particularly on the audio end. Having invested heavily in Sibelius over the years I have watched with mounting unease since Avid acquired them. But the different divisions of Avid do not seem so far to play that nicely with each other, so perhaps under one more assertive banner they will have to stop any infighting. The bottom line is that the amalgamation of these brands has so far led to a little confusion imho.
What I believe Digidesign and Avid have meant by this issue, so far has been more in the realm of file format interoperability. Well Peter, while I certainly wouldn't disagree with very much that you said there, words _do_ have meanings ! Now you have a company that is recognized (Avid) with a brand that is recognized (ProTools) that are both class leaders.
In this work, I created a GUI-Controller Library which allow me to Develop very rapidly Multitouch Interfaces for other Audio Environments.
As I mentioned to Marco, I think a nice possibility with this setup is the ability to add a row of dials that can be slid and moved over the screen to control different aspects like mixing, effects, etc. What if a drum machine were as small and appealing as those old Game & Watch portable Nintendo games? That’s the latest design challenge undertaken by the mad scientists at Teenage Engineering.
The board made its appearance for the first time in the general public at the panel I moderated at Moogfest, alongside Moog’s Cyril Lance. The size is about the same as a Game & Watch (or a slightly-oversized business card), but via parameter locks, you can make use of its mere two knobs. There’s no MIDI (though it is supported on the chip onboard, theoretically), but you can chain devices via audio input and output jacks.
Still, for $50 it can sound like a chorus of mousetraps for all I care, especially if they leave a debug port open. This is fun news But I think they’ll probably consider an enclosure for the final product, for robustness. The beautiful thing about modular synths is making connections physically – each link with an actual cable between them. But for sheer utility, it’s hard to beat what KOMA Elektronik this week was showing at Musikmesse.
Screw the Kabelhanger into your Eurorack rig, and it extends from your modular setup to keep cables nearby. That makes it the perfect accessory for the smaller suitcase rigs many people are using these days. And speaking of mobility, you can unscrew this with your fingers and toss it into your backpack, making this a quick-and-dirty, set-up-your-hanger-onstage. This is nothing new analogue haven has had cable holders for years, the difference is this one eats up 2hp (as Apeirophobe noted) which is not a good option for me.
This seems useful for small single case modular synths but doesnt actually look like it would hold very many? If the album business model is collapsing, the frantic rush to everything else is at least interesting.
Hip hop as a genre, of course, came from a deconstruction and reconstruction of the album, from the early evolution of DJ techniques and sampling.
Instead of downloading stems, Blend provides would-be remixers with Avid Pro Tools, Ableton Live, and Apple Logic Pro session formats, the exposed ingredients of the tracks.
The site has so far been popular with nerdy electronic music producers – not so much hip hop.
But it seems Wu-Tang is hopeful that this is a new direction – both for opening up hip hop to new audiences, and reshaping the industry. Yeah, I was disappointed about that when I found that – and I deserve getting dinged on this one.
And, since it turns out the post is covering some unknown rap crew shamelessly hyping themselves, I will flip that hype. Peter correct me if I’m wrong, but it looks like someone pulled a fast one on you here.
In some ways, it’s more interesting that Power is the figure behind Wu-Wear and the like (both in the 90s and more recently), because it means he sniffs some sort of business opportunity in Blend, not just a creative one. Power is the member who is associated with Wu-Tang Clan, and this is still under the larger Wu-Tang umbrella.
But I should have provided more background on the actual artist project here, and didn’t, in my rush to get the story out in time with the news release. Yeah, wondered if anyone would bring that up… I can imagine some music developers dumping Dropbox over the hiring of former Sec.
And, inspired by recent Head of Product Innovation Dave Hodder has even written a screed about hacking. Fun hacks light light shows and games are possible, and might be an enjoyable way to learn. It opens up the possibility of having standalone hardware in the studio you can use with or without a computer, ready to perform the tasks you want in your music creation process.
Of course, the whole initiative from Novation does owe a huge debt, though, to the monome line, and the fact that that maker and its community really championed and popularized the idea of sharing open musical solutions around a piece of hardware. And if you have feedback on that API or what you’d like to see, let us know in comments.
I hope this lives up to the hype, and isn’t weirdly hobbled in some way that makes it useless to hackers. Not only did they do it but they did it right: code examples, everything on github, vagrant+VB virtual machine, simple MIDI upload. There is indeed lots of interesting stuff there but it hasn’t been updated since 2013, sadly. Not quite this extravagent and requires you to software on the pc, but Novation has been doing right by the launchpad for awhile.
And just in time: all the AIRA kit has shown up here at CDM, meaning we get to be the last review, but also the review that goes into depth as these machines grow up a bit. From roll tweaks to external patterns to better pattern playing, the TR-8 is easier and more fun to play. Because the VT-3 requires a driver I do not believe a stand alone USB to MIDI class compliant device such the Roland UM-ONE would work. Can I still use a separate small MIDI keyboard to control pitch (like an LPK or something)? Design grooves and velocity by color in an accent editor, or re-groove existing materials with something they call GrooveMover.
The Music Molecule provides structure to raw MIDI by grouping notes into modular containers. And it’s the least I can do to sing their praises for their boutique-level care and attention. For someone, who would want a really warm, analog sound all the way, the Mopho X4 is certainly a better deal than the AKeys. As near as I can tell, that means you won’t see the M-Audio, Digidesign, or Sibelius brand names any more – along with video maker Pinnacle. But because I expect many pro audio folks will react similarly on first brush, I decided in the interest of bloggy disclosure to go ahead and publish my initial reaction. And even though I realize that Digidesign has been a part of Avid for quite a while, the Avid brand has always seemed kind of evil to me. On the other hand, if there really is a different strategy behind all of this, that could change the way people feel about Avid in the future.
I think the new logo is embarrassing, and possibly the worst piece of design we've seen for quite a while in this industry.
For example, why does PT MP not allow users to get the most out of low latency M-Audio gear? Pro Tools has made some steps forward, and I know some of the Avid video products have — Final Cut Pro gets mentioned in the press release. Well, on the video side, Avid is a very, very well-known name as both the vendor and the product. Putting those opposable thumbs and sensitive fingertips to work, multitouch controllers are growing in number, variety, and sophistication. How is this different (as for the hardware part) from upcoming multitouch displays (PackardBell already announced its 1680×1050 20" multitouch display, to be released in October)?


And the creation has some serious lineage: Jesper Kouthoofd, CEO of Teenage Engineering and designer of the new board, contributed to the original Machinedrum. There are various cable racks available, but they’re generally mounted to walls and such.
Made of strong but lightweight aluminum, it’s 2HP in size (with an arm of 21 cm or 26 cm). I especially like the little suitcase modulars, partly because they force musicians to be choosy about which modules they use (which can lead to more focused musical applications), and mostly because I like things that are affordable and lightweight.
So, the fact that Wu Tang is skipping the conventional release altogether is new, but it’s also connected to history.
But now I have to look through Ableton sessions and see if there are any that’d work.
Power is actually an interesting character – childhood friend who then led up all these hugely successful business projects. Now, the jury is still out on the actual result — Blend may not do as well as the apparel. Then, you build on a command line or in Eclipse and upload via MIDI – fairly easy stuff.
And it means you can imagine something and get it working on hardware without the daunting task of trying to build something from scratch.
It’s difficult to overstate the impact Brian Crabtree, Kelli Cain, and the monome musicians have had on the industry, as well as all the people who have been organizing these hack days and producing creative ideas.
But instead, the whole range gets USB backup and restore, and functionality around working with patterns and MIDI gets a whole lot smarter. You can now use your computer, as it should be used, as a way of managing your work on the hardware.
The containers preserve whether the notes occurred on strong or weak beats, for example, and in this way, the Music Molecule can capture relationships between related notes.
And if you can live without the additional Keys features above, an A4 could be a way to save some money and space, if you’ve already got a master keyboard controller you like.
A Mopho x4 will set you back $1300 (street price), this adds a damn fine sequencer and effects, and all the CV interactions for those with modular or vintage control needs.
If you do want to make this your main axe and you’ve got the cash, then I can see going Analog Keys. The good news is, having one brand and one brand strategy probably does make a whole lot of sense. Digidesign and M-Audio, meanwhile, touch wider user bases, and have real resonance with musicians.
Sony has tried to do just this, with less-than-stellar results – perhaps because the video, audio, pro music, and “consumer” music markets (and their many factions within those umbrellas) are so particular.
It’s tough to know just how anyone could find a way to relate that to a person buying a $100 plastic MIDI controller at the other end of the market, so I don’t envy the job of the business folks at Avid. How ridiculous that a company in trouble is spending money on rebranding (because, yeah, that always saves a company, right?) rather than fixing the big problem that Digi (and Avid to an extent share): no new high-end, next generation products for people to buy or upgrade.
Is it rfeally because the Digi products don't offer such low latency, and that there is rivalry going on to make the Digi stuff look better? I have some questions about the long-term viability of formats like VST, ASIO, and AU, too, because they are really proprietary formats that happen to have wide adoption, more than standards in the sense of having oversight of more than one company, and there are plenty of technical complaints one might have, as well. And Daniel can speak to this, because Sibelius has had a long history of making progress on file format interoperability, none of which changed when they were acquired by Avid.
That's nothing against the people for whom the Pro Tools model works, but there is a difference. It's a big market, which is why Avid acquired the company, and why you now see Sibelius-powered notation facilities in Pro Tools.
Berlin-based artist Marco Kuhn shows off his beautiful creation, the PlayBox multitouch hardware, and its first app, PlayLive.
On the Lemur, the screen really is too small to make a really useful layout (IMO), and the friction is too high, but Marco's table is very open and slick.
It wasn’t done in time, but a limited 200-unit run will go out to artists, before a more complete model is available to the rest of us soon.
My $900 OP-1 has needed to go through Teenage Engineering’s multi-month repair process three times.
Tempting stuff, especially given that a really nice handful of boutique modules can be had for the price of a Mac laptop (or less). Pro Tools, Live, and Logic are your three choices here, but FL Studio, Maschine, and GarageBand are supported, too, with more promised.
If Wu-Tang or any other artist wants to win over producers, they need to provide more materials than that. Not a smart choice, unless they (blend and dropbox) team up to to offer a _very_ convenient discount on dropbox space. It’s USB class-compliant, so it works with other devices and operating systems, like the iPad and Raspberry Pi.
Definitely hope they get back to it; re-posting the hackathon love letter there seems like a great way start back into it. It appears 1.1 fixes the sound quality issue, by gating noise and managing volume levels as you work with characters. And Roland has ticked off my list of complaints – you can record external patterns, you can record and sequence slide and accents. In colored patterns, arrayed in bars and wheels, you can produce all kinds of new rhythms, then integrate deeply with your host software. Standard notation can capture some of these relationships, but not in the same modular, re-usable way as our system. What we got, while nice, sure does seem a lot like Elektron’s Analog Four, only with a keyboard attached. This is not to say it is perfect or that the misstated sound byte that it can be the center of the studio applies (though you can write a significant chunk of a composition on it, or an entire song on it if you are so inclined).
There is nothing in the feature set in the DSI products that would automatically make them warmer or more analog sounding than the A4. Sony has much bigger brand recognition than Avid (understatement), but even that hasn’t really made products like Acid or Sound Forge or (for video) Vegas substantially more popular. I’m going to assume all of that gets sorted out in practice, so I’m not actually worried about this, but I did have to point it out. That first software focuses on Ableton Live performance, but Live could be just the beginning – Marco has worked with Pd in the past and promises other apps to come. If they’re thinking this for nerds only, by all means, skip the enclosure, it looks very cool. We looked at GitHub earlier today for notation, but that tool was built for code (and text) first. And most importantly, it turns into something more of you might actually want to use, with external MIDI keyboard control of pitch (including on the vocoder).
We believe our system is more suited to today’s production environments, and doesn’t require a textbook to grasp. All you are left with is a spray of isolated notes — unconnected atoms instead of structured molecules. It works for Apple, but that’s because people associate Apple’s products with the computers they buy – and, well, they’re Apple and normal rules don’t seem to apply. He’s interested in selling this device in the future, and he shares with us the tools he used to create this work for those of you doing development along similar lines.
So, you might want to stay glued here in a couple of weeks if you want to know more, or just come along and drink Aquavit with us – either way. And it works in a variety of standalone modes, so you can use it to play hardware without connecting to a computer. I must have been in sync with a lot of other AIRA users, because this gets to the heart of the kinds of changes that would make me use them more.
Whether you’re using Drum Racks or notes, you can automatically see what pattern goes with what, working in real-time with everything visible as you go. There’s a whole suite of tools with more than enough of what you could explore in any host.



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