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Unfortunately, developer documentation is Apple Confidential information and not something CDM can share.
Note that not all of those devices will support all of iOS 7’s features, but so far, it appears they will have common audio functionality. And a new iPod touch seems a good choice for a developer wanting a handheld to bang about with the new beta on, rather than their main phone. Could this mean that Audiobus’ developer has been hired by Apple and the officiel API is actually audiobus ? Do this be meaning that it would be possible for devs to allow the option for us to individually route drum parts out of their drum apps to individual tracks in auria for example? 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. I was impressed playing the keyboard at Musikmesse earlier this year, but cost put this innovative instrument out of reach of many would-be experimenters. Half the width now also means half the price of the bigger sibling, opening up the hand-built Endeavour to keyboard experimentation.
In the meantime, they’ve significantly overhauled the software that comes with the evo. Plug and play an Ethernet cable, and you can now work directly with the evo on Mac or Windows. Haken is more expressive and keytars are cheaper (and sexy) but… I still love the concept! I imagine this giving me a similar feel to playing SynthX, Animoog and PPG WaveGenerator… which is a very very good thing!
So you think a lot of people are going to spend 1000€ in a keyboard that kinda saves you three minutes automating things that they are going to use in like two tracks in their entire lives… yeah, I hope you made your keyboards tasty too, you are going to eat a lot of them. The update has the same basic design as the original, but updated with styling from its Pro sibling, and RGB color behind the pads for more visual feedback. Advanced users, customization: Linux, Windows, other apps, all work, too, because the Launchpad has class-compliant drivers. Plus, I still can’t kill my original Launchpad (serial #7, believe it or not), even after copious amounts of abuse. Ableton’s Push remains the hardware to beat as an expressive instrument with lots of other features.
This looks great, and good to see them using more realistic performances by inspirational producers like Buddy Peace rather than the crazy preprogrammed midi lights shows that are so very 2010. Every Warper Party and other music event I attend or perform at is an advertisement for Novation gear. An obvious point to make, but the price point will be key in terms of whether I upgrade from the original to this version or the Pro. Another think, does anyone know of the Launchpad 95 author’s plans to upgrade to MK2?
His sound art works are often focused on ecology, environment, and the relations between the people, places, and sounds.
Some people call what you do acoustic ecology; your main the range of interest is always connected to the environment and some of the effects and impacts of human activity on nature.
The Favourite Sounds project is slightly different from Sound From Dangerous Places in that I’m interested in the urban soundscaping, in which we, as Western people, live. And since starting the project in London, it’s been done in Beijing, Chicago, Prague, other cities in the UK like Manchester and Birmingham, and now in Berlin.
Several people mentioned that hearing the national anthem played in the morning in Tiananmen Square was something that they can relate to in Beijing, and that became a very important sound to them.
And I was asked to do a project in a place called Southend-on-Sea, which is the mouth of the river Thames, where it goes into the North Sea. Quite a lot of ships pass by South End and if you listen there, you hear a droning sound often — a very low-pitched, often quite beautiful drone. In the meantime, I made recordings of other ships going past all the time (and I took photographs), and some of them were dredging ships.
What impressed me was the fact that the environmental public relations of the both companies were identical; they could have been written by the same person. Since seeing that place, I discovered that were similar mines in Poland, slightly smaller in the Czech Republic and also in former East Germany. Berlin, a city on the move, in transformation, is the next site for Cusack’s audio journalism. Can you tell — only by the sound of its motor — if you are listening to a very expensive car or a cheap one? But, for example, Prenzlauer Berg is now full of cafes and full of children, so there are playground sounds, people sitting outdoors in the summertime, drinking, eating or just talking.
When you said that you’re here mostly for one year and you’re going to leave soon, probably, do you have a lot of new material? On the website on London College of Communication, it is written that you also collaborated with visual artists. Yeah, there are also written disciplines that you’re into, like acoustic ecology, sonic journalism, collaboration with visual artists, and the last, especially, caught my eye.
Well, I collaborate with a lot of people, and some of them are visual artists, that’s for sure. Well I played bouzouki once, but me being a first person playing it in England, that’s a complete nonsense, forget it!
KORG’s MS-20 mini, a circuit-for-circuit analog re-release of the original MS-20, stole the show last year. Not so this year’s MS-20 Kit, announced today and released as a limited edition this spring. Units produced in the earlier period used a filter noted for its distinctive distortion and self-oscillation, while the filter used in later units was a low-noise design with a more mellow character. But if you have the cash, you get an MS-20 that’s more reliable than the original and adds MIDI, in the full-sized design. KORG also naturally tells CDM that they’re doing more this year than just taking apart their MS-20 and letting you put it back together again.
I would actually pay more than $1000 for being able to ditch the keybed and build a custom case for it so I think the price is fair. However, you can guarantee that over time it’ll drop in price… the thing that held me back from considering the Mini version WAS the mini keys and controls. According to Engadget there will only be 1000 units made, so I’m afraid that this one will just be a niche product that sells out way before it hits the streets. And while remote launching is something you can do with Audiobus, for instance, the inclusion of these features as official APIs may mean that iOS 7 apps play well with Audiobus and JACK even without official support.
Could it be that one purpose of this is to cetralize other intruments to Garageband not depending in third parts like Audiobus? But its piano-style keys and high-performance internals are custom engineered from the ground up for additional expression.

It’s otherwise got the same guts as the original 48-key model, which is now at 999 €. If you really want, you can take all that low-latency, high-resolution data and then dump it as MIDI on a conventional soft synth. This hardware has also been well supported by the community for apps ranging from Bitwig to Renoise, partly because of its low cost.
And Novation has done a superb job of rounding out their lineup with options for every use case, rather than a one-size-fits-all approach. That said, my original first run launchpad still works flawlessly, as does the one at the community studio I help run – no reason to upgrade. That said, I’m also considering the LK XL – is that the same size as the original (and now RGB) version or the same size as the LP Pro?
A leading practitioner of sound art at the intersection of ecology and music, Peter Cusack is a uniquely inspiring voice in music making. He belongs to the English musical avant garde, played improvised music with the Alterations quartet for many years, and collaborated with flutist and journalist Clive Bell, composer Nicolas Collins, and musician and writer David Toop, just to name a few.
One of his most popular projects is Favourite Sounds of London, which started in 1998 and has since spread worldwide.
In other words: getting information from sound recordings of an event or place without too much speech.
Now there are many similar sites from all different cities and countries, as well as some other sound maps. Other people have asked if they can do the project in New York, for example, and I don’t know who they are, but I am very happy if that happens. And so the Chinese national anthem was mentioned quite often as a favourite sound by Chinese people. At that point, the river is quite wide and also ships pass by, even though the docks in London are now closed, there are other ports up the river, which ships still use. Nothing to see here – but beneath the surface of the water, an environmental drama plays out, one Cusack has made audible.
I later discovered that they’re building a new port area very close to South End to take the biggest container ships. That’s a very big environmental engineering task, and it creates a lot of damage to the environment underwater. That’s clearly the public relations technique that these huge international companies use for dealing with environmental questions. Quite a lot of German (and Polish, Czech…) energy and electricity is created by burning brown coal.
It not only makes electricity from coal, but it has also been involved in nuclear power and now in green energy.
I’m working with other people on this project, including Milos Vojtechovsky from Prague and we will do a bigger project in couple of years on brown coal. Well, if you make a photograph or a recording and just wait, in the end it becomes history. But I think that talking about nostalgia, or this part of history, people have it more connected with music more than with sound.
I mean, it’s easier to find out about historical music, than about historical sounds. But when you record music, like Bartok, and people went around small villages in Europe or United States, they recorded musicians, but of course you record other sounds at the same time. This is actually the Gleisdreieck train station, so not the sites mentioned in the story, but … yes, here it is. Berlin is interesting because it’s changed so much since the Wall came down over 20 years ago. The rents have gone up, the people who used to live there have been forced out and it has been a big social change there. Found the parts about nature, public relations and historical documentation most interesting.
But apart from adding a MIDI input, there was one glaring change that would distinguish the mini from the original – the whole thing was shrunk down. And like the mini, it cheats a little to give you MIDI input and USB MIDI input so you can send notes from something other than the built-in keyboard. Fans of the sweet aroma of solder will be disappointed to know that the boards are all soldered in advance – this is a kit you assemble from a few parts, not from scratch. You can choose which filter you use – the unruly original or a tamer design (which also sounds rather nice) introduced shortly thereafter.
That’s a $700 premium for basically the exact same synth with a tiny bit more sheet metal and slightly bigger keys. Since both JACK and Audiobus already make use of Core Audio, odds are you’ll just see all of this stuff get better and more powerful.
For example, a series of apps could publish audio streams of instrument tracks while another uses the combination of these streams to compose a song.
And yet again, iOS has under-the-hood support for features audio users love – as other platforms struggle to keep up. JACK still not supported on iOS 7, 7 is not a step forward for older phone users but two steps back. High-speed connections mean lower latency than is possible with MIDI, and touch- and pressure-sensitive keys allow additional ways of adding to a performance, all in an aluminum case hand-built in Germany. No availability or pricing yet (damn you, unstable Euro), but you can sign-up for notification.
The Pro, meanwhile, is brilliant in that it works with MIDI, and much to my surprise will support standalone operation. That lets you be modular and carry just what you need, and that, I think, is a very good thing. So we’re keen to welcome Czech-born writer Zuzana Friday Prikrylova to bring her conversation with the artist, for the first time in English here on CDM. He also started music label Bead Records in the early 70s, focusing mostly on improvised avantgarde music.
In his ongoing project Sounds From Dangerous Places, Cusack focused on the impacts of Chernobyl disaster in Ukraine and Wales, oil fields in Azerbaijan, and inflows of the Tigris and Euphrates rivers, where controversial dam construction is planned. Is it just something you personally feel you need to do, or do you hope that with your works coming public, you can help to raise people’s consciousness about what’s going on?
So I started that in London, which is my home city, and to try and find out what other people thought of the soundscape in London or the sounds of London, I asked them what their favourite sound was, but also why.
I don’t think that anyone in the UK has ever mentioned the national anthem as a favourite sound, and certainly nobody in Berlin and nobody in Prague.
Unless you live in a place next to the sea, or next to a port area, you would not hear this sound, you would not know what it is.
So also in the same area, there are many wind generators, and there’s a bio gas station. And although photography was invented before sound recording (so there are many old photographs in the world now), the idea of old sound recordings is less familiar.

The transformation of Berlin from being a divided city and a divided nation, to being the capital city of the united country means that there are big changes in Berlin which are unique to Berlin. In Prenzlauer Berg, I’m working with students from sonic studies courses in UDK and they are asking people questions. It crosses into many areas, into science, law, politics – and into all kinds of other media.
Inter-App Audio also provides for MIDI control of audio rendering, remotely launching other registered Inter-App Audio apps and more. It’s not necessarily the most responsive controller in terms of pressure sensitivity (I still like Push and Maschine for that, or the Linnstrument if I want to get really serious).
He moved to Berlin in 2012 to work on his project Berlin Sonic Places, so we interviewed him at the end of May 2012, slightly updated in April 2013 by Peter himself. And you learn different things about it than if you’re asking questions about how it looks, its visual impact. And when you do the same projects in very different cities, then it makes it possible to compare how people listen in each city and how they think about the sounds of those cities, and also how the cities differ in the way they sound. So it’s a very interesting way of finding out different things about different countries and also quite personal things, personal stories.
But the river Thames at a low tide is only 11 meters deep, which is obviously a problem for the port [chuckles].
It went to work somewhere else, it was working in the Baltic Sea the coast of Russia, where the border of Estonia and Russia is.
Of course, you can never check whether what they say actually happens, nobody will ever know. In a couple of years they will just not be there, so it would be also a slightly historical set of recordings. But certainly, they exist, now they go back almost a hundred years, or maybe more than a hundred years already. Who knows whether they play it right as it was played 500 years ago… I mean, people research that and they know a lot about it. It’s interesting that Cusack has the same approach towards urban areas – they are part of the ecology, too, after all! And people there had kind of a different philosophy in the sounds that they hear — rather more poetic, I would say. But it creates damage to the fishing, it stirs up mud, which has been lying there for centuries and contains a thousand years of pollution coming down from London, so it causes great damage underwater. But that’s very difficult, because you need to be there when the ships that dig the channels are actually working.
They have a special train that takes the coal from the mine to the power stations, and because it’s very heavy, the tracks are industrial-strenth tracks. The majority of the electricity comes from brown coal, but growing around it is kind of this green energy to give it a different face, and I find that interesting, as well.
For example, a lot of industry, particularly in the former East Berlin, was immediately closed down. So I think it’s impossible to work with sound and to try to understand its space, culture, and society without collaborating with other people.
So in Berlin you hear far more people sounds or you hear it more clearly; you hear more distance.
And when you ask them why they like the particular sound, often it had to do with particular sound of their life, so you would find out about their whole life story. And otherwise, they have to dredge sand and mud from the bottom of the river Thames to make it deep enough for the new big ships to get to the port. So the fishing grounds are destroyed, the local fishing industry have their livelihoods badly affected.
So I followed some of the dredgers and found that they went to the middle of the sea or the channel. After that, documentary films had sound of environment, where they were making the pictures.
Those areas are now being rebuilt, the factories are going and housing is being built, for example. They dredged up pure sand and took it back to London, where it was unloaded onto the shore on the bank of the river. But it is public relations and I became, through that project, interested in the public relations to do with the environment.
This place is called Garzweiler and it’s a huge hole in the ground with very, very big machines digging out the brown coal.
You can look in paintings, because in paintings you see people doing things, which would obviously create sounds… so you get some idea from painting and literature and writing. So the area has changed in 20 years from an industrial area to a residential area, a new community, that was not there before, is moving in and growing and forming. She’s a video artist, or, primarily and recently, her main work comes out in the form of video.
And when they do that, their first days and weeks in Beijing are often quite scary times and quite traumatic times. The only thing I could do was to just sit and watch and wait, and see if it happened when I was there.
I looked at the Russian port website and the river Thame’s port website and I read what they said about the environment and the damaged. And it’s a very closed system, so in one area here, the mine is producing the brown coal and here the power stations are burning it and out come pilots of electricity to fuel the area. You expect the big open hole to be fairly quiet and it is quite quiet, but they’re nevertheless very deep drones.
But maybe the important thing is just to work how you can study and talk about sounds in city and what they mean to people.
They both say that they will cause damage, but they also all say that they will repair it, and if a wildlife area is destroyed here, they will build a new one there, and everything will be fine.
So everything happens in one place, which is rather interesting, and the company controls the whole area. They were dredging and collecting mining sand for the construction industry, but they weren’t involved in building of the new port. The theme there is “Future Soundscapes,” imagined soundscapes of what it may be like in 30 years time or something like that. Two motorways are disappearing and all the people from the villages have to be moved, have to find new places to live. But there will be quite a lot of material, there will be a website and maybe a publication, I don’t know.

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