It’s nearly the holiday season, and as CDM has just completed its fourth birthday, I want to give all of us a present. The idea: a holiday guide that’s a bit different.

• The first CDM treeware. We’ll have PDF and print-on demand versions. And part of the reason we’re doing this:
• Something you can share. CDM certainly has its share of (sometimes frighteningly) advanced readers. But we believe in what we’re doing enough to share it with people with less experience. So we’ll include content you can share with nieces, cousins, strangers on the street. And, of course, it’ll be Creative Commons-licensed.
• Gifts of knowledge as well as objects. You’ve seen the countless lists of “stuff to buy” in other holiday guides. But we believe in DIY tech, and that knowledge can be priceless. So we’ll include information from the best of CDM in 2008 and special guides for the occasion.
• Designed by you. This time, we want to know what you would want to receive, what you would give to newcomers, and what you would want to read. So we need your help - fill out the survey below and this will really be a grassroots effort by the CDM community.

It’s a really tough economy out there. But that’s all the more reason to invest in things that really matter, to look for value, and to look for things that can be shared freely with one another. So, in my mind, I could think of no better time to do this. Give the survey a go.

If you complete the survey, you’ll be entered in a drawing to receive another gift: a free copy of the new, cross-platform T-RackS 3 mastering and mixing suite donated by IK Multimedia. (We’ll have one other opportunity to put your name in the hat later this week, too.)

Fill out the survey below or head straight to:
http://cdm.holiday08.sgizmo.com

And watch for the guide by the beginning of December.

Advertisers: We need your support to help bring this guide to CDM readers free of charge. If you’ve got a message you’d like to get out and want to support our community, do get in touch. (We have some creative possibilities to offer, too.) Use the contact form or email ads (at) createdigitalmusic (dot) com.

We routinely talk about how the interface paradigm of a computer — screen, QWERTY, trackpad – isn’t optimal for music. But how many of you have, in a pinch, done a live laptop set with just your computer, and found some way to make it work? The Stanford University Laptop Orchestra, set to play this year’s Macworld, natch, is making the most of what it has:

“We tilt the notebook and use its built-in accelerometer to expressively control sound. We use the trackpad as a kind of violin bow,” explains Ge Wang, SLOrk’s founder. ”You can make some wild, diverse music with the MacBook.”

And why not? Designing expressive interfaces can pay off in something that’s satisfying, absolutely. But however you decide to play, a lot of it comes down to how you approach an object compositionally and musically. So, there’s two ways to look at this: on one level, it’s a novelty, and while to most of us seeing people playing behind Apple logos is nothing new, I’m sure Apple enjoys seeing a swarm of their machines. But on another, the real point is that the Stanford orchestra is getting the most mileage out of the machine. Trackpad? Check. Accelerometer? Keyboard? (Why stop there – Apple Remote? Webcam?) You’ve got quite a lot on the laptop itself to use.

We’ve looked at laptop orchestras before, but here’s still more:

Stanford Laptop Orchestra (SLOrk): Musical Macs [Story for Apple Pro by Dustin Driver]

SLOrk

Via: Stanford’s MacBook orchestra exposed [distorted-loop.com] and Macworld maestro Paul Kent’s Twitter.

Previously:

Laptop Orchestras Proliferate, from Princeton to Moscow

How to Record Laptop Performances - And Make Them Sound Live (linking to a story on the topic I wrote for Keyboard Magazine)

And for the mother of modern laptop orchestras, recently winning a MacArthur Foundation grant, see PLOrk at Princeton

ExpressCard slots on new Mac and PC notebooks look tantalizing, but buyer beware: adding FireWire audio can be perilous. Multichannel FireWire interfaces work beautifully with the proper drivers and controller, but get some element of that equation wrong, and you may find your high-end interface is rendered unusable (think glitches and dropouts). The chipset in the controller and in the laptop can have an impact, but having a TI (Texas Instruments) controller in your ExpressCard seems to be a good start.

Speaking of Rain Recording, Rain is about the only vendor I’ve found that offers a 2-port FireWire ExpressCard known to work well with audio interfaces. Now, your mileage may vary depending on the chipset in your laptop, but based on what I’ve been hearing, this looks like a good option. I’ve also seen a cheap (US$30) card floating around some random Internet vendors; it’s so cheap, I’m probably going to buy one just to see if it works. I’ll report back.

2 Port FireWire Express Card (formerly ADS Tech PYRO1394a) [Rain Recording]

I get nothing out of this, for the record; Rain actually hopes you’ll get this card with one of their laptops, but I’m just as curious to hear how it works on other machines. Of course, this would be a nice add-on not only for PCs, but also potentially for MacBook Pro users wanting dedicated FW400 ports and the TI controller – theoretically, at least. Let us know what happens if you take the plunge.

If you’ve had experience with different chipsets and ExpressCard slots on Mac or PC, we’d love to hear it. And I hope to offer my own tests soon.

Updated: The StarTech EC13942 also shares the TI chipset and is available from a number of vendors if that’s a vendor you prefer. It’s the only one endorsed by PreSonus aside from this former ADS Tech card that Rain sells — and may give you better results with other, non-PreSonus hardware, based on reports I’ve read. See PreSonus’ official word on the matter:

Presonus Hardware Compatibility: Approved Chipsets [PDF]

One of the things that attracts me to computers: choice. So it’s worth noting that you do have choices when looking to laptops, PCs included. (This sounds like those lame “We know you have a choice in your travel plans” announcements you get on airplanes. Unlike those choices, though, these are genuinely different – thankfully.)

So let’s cut straight to the chase: there is a choice between Mac and PC, and there are choices on PC that keep it competitive (to say nothing of Linux). If you’re looking for a rig that runs PC-only tools like FL Studio, and you want more hardware choice to get there without being locked into a Mac, Boot Camp, and an extra Windows license, you have options.

Rain Recording has just introduced a revised pro laptop offering. You may have seen the announcement around, but I did get to talk to them while they were developing this, so I want to offer my own, semi-biased reflections. Rain is a custom system builder focused on music and audio applications. They and a handful of vendors like them do test their configurations with actual audio software, which isn’t generally the case with bigger PC laptop makers. And they offer music and audio-specific support, beyond even what Apple can offer.

Now, that said, I have to say I haven’t actually been that blown away by what custom builders have been able to do in the laptop space. The problem is, builders don’t have the kinds of options with laptops that they do with desktops; traditionally, you’ve needed huge manufacturing scale to get many choices. Even a lot of big brands get someone else to make their machines, so custom builders really face an uphill battle with limited barebones systems. Rain and others have put together some interesting systems, but at a price premium and generally lagging some of the hardware options on the mainstream laptops. For that reason, many PC users have chosen to stick it out with “commodity” machines and try to navigate to the ones that do music well.

The current LiveBook, though, is the first that I think really makes a custom builder competitive – and it’s the first I’ve started to covet for my own desk. It’s pricier than some mass-market machines out there, but it is competitive, and with far more of a guarantee for audio performance and reliability.

• Processors are now available up to 3.06GHz on the Centrino 2 “Montevina” – so it’s about as current as you can get architecturally
• Prices start at US$1999 – and that’s already a pretty fully-loaded machine
• The body is all-aluminum and offers a laser-etched case
• The GPU is no slouch: NVIDIA 9600M GT 512M standard, with a healthy 1680×1050 resolution on the 15.4” monitor (which I think is about perfect – any higher is hard to see, any lower cuts down on real estate)
• Lots of ports: three FireWire 400 ports (with the standard ExpressCard plugged in), one eSATA, a card reader, HDMI and VGA out, and two USB 2.0 ports
• Fast, audio-ready drives: up to 320GB 7200RPM (there’s also now a solid-state option, but I prefer conventional hard drives for their price/performance/capacity ratio)

Better support for music and audio is still evolving (as well as lots of stability and compatibility improvements), but I have faith open-source coding tool Processing [site | on cdmu | on cdmo ] could yield wonderful new visual interfaces for music. Daniel Piker has the latest addition, inspired by a recent post here:

FizzyNumberMusicMaker at Open Processing, a site for sharing Processing sketches – warning, makes sound immediately!

Built on the Game of Life ideas from our friend wesen (of ruin & wesen), this project uses colored cells to trigger elaborate washes of piano sound. He writes:

If the cell’s state is not just simply on or off, but a number in a range then you get all sorts of interesting musical runs and trills. You can also clearly see the connection between the colours and the sound.

The headline sums up the experience of using it. Ah, I remember countless hours spent with a desktop Yamaha GM unit and my old Roland Sound Canvas SC-55. But even if the sound of a thousand attacking General MIDI pianos makes you hide under your desk, you ought to be able to see how a simple interface can yield lots of different results. I can’t wait to see what’s next. Previously:

Build Your Own Game of Life Sequencer in Processing: Video Featuring rwmidi

Since then, I’ve gotten to hang out with wesen in Berlin. Basically, rwmidi has a little ways to go. The biggest issue is how to schedule events. Processing is set up to base timing on framerate, which doesn’t work all that well for music applications, which require greater accuracy. There’s also the tantalizing possibility of figuring out a way to slave Processing sketches to MIDI clock – so you could have Ableton Live running, then pull up a Processing sketch, for instance. wesen is working on those problems, but if you’ve seen good solutions outside the (somewhat limited) Java APIs, let us know.

Sound designer, technologist, and remix artist Francis Preve sends us some gifts of techno and technology to celebrate his first solo release. For your brain, we’ve compiled the tutorials he’s been working on for Beatportal, which together provide a really great look at some basic music production skills. For your ears, we have his new Ableton-produced single “Caboose” which, coupled with a Josh Gabriel remix – and a free iPhone ringtone exclusively provided to CDM by Josh’s label Different Pieces.

Being a technologist often makes actually finding time to make music a big challenge. But I’ve always been impressed at Fran’s ability to do both. Whether this is your type of music or not, it means that when he talks about techniques, he’s talking about stuff he actually applies in his work – and he has eight Billboard Top 10s to prove his remixing skills, including one for Justice. Here’s what he had to say to CDM about making Ableton Live into a way of reimagining just two samples into a whole track:

The interesting thing about the production of Caboose is that - with the exception of the drums - it was made entirely from two very short vocal samples, entirely in Live 7. There were no third-party plug-ins or softsynths. Every sound was either looped and effected, or placed in Simpler and sequenced, or ‘Sliced to MIDI’ and manipulated. Even the bass is that same vocal sample, tuned down two octaves, distorted, then filtered and compressed. The process itself was so much fun that I’ve since incorporated aspects of it into the follow- up tracks I’m working on now.

In the meantime, Francis has compiled for us a complete index to the tutorials he’s been developing for Beatportal, including synthesis, sampling, effects, Reason’s new Thor synth, and other skills:

Hello, harp feedback!

I love my job. I get to watch as Peter Dines, contributor on our Kore/Komplete site for NI, constantly cooks up brilliant ideas for sound design. His latest screencast plumbs the depths of Native Instruments’ Massive synth, which he uses in conjunction with Kore. We’ve already seen Peter make song arrangements out of morphing sequenced patches. Now, he focuses on preset design – and gives away some free presets for you to enjoy.

Feedback, Routing and Modulation in Massive from Create Digital Media on Vimeo.

Feedback, Routing and Modulation in Massive, with Free Patch Downloads [Kore@CDM]

Part of why playing with routing and modulation is such fun in Massive is that it has this semi-modular, drag-and-drop architecture. That’s something I’m gratified to say has been improving in soft synths in general; rather than simply emulating the interface of hardware synths, we’ve really seen some interesting ideas in how to design interfaces as software. I’d also include in this category instruments like Future Audio Workshop’s Circle, which I hope to look at a little more this month. Circle, in fact, was compared to Massive, but while they both have drag-and-drop, color-coded routings, the actual implementation is very different, they’re philosophically different, and sonically different.

Have a look, and let us know if you have your own thoughts on Massive, tips, questions, or anything else.

Squarepusher has taken over the music page of the Guardian, and the results bring joy and smiles to children and the young at heart. Just how great is it when Squarepusher is in charge?

Music singles are complete and utter fluff, and he’s not afraid to say so, picking them apart one at a time like an angry, deconstructionist Casey Kasem.

Noise and Italian Futurists get their due. Fluxus is the sort of cinema that accompanies your popcorn.

A gentleman drops by to talk about aesthetic theory, and … uh, something about how great Steve Reich is. Got a little lost on that one, in fact (not that I don’t love aesthetic theory and Mr. Reich).

Squarepusher (and Alex Thomas) demonstrate what music can sound like if you’re a musician. (Note: no fancy delays necessary to make it sound like they’ve got rhythm. Quite unlike when I’m playing, in fact. Well, not that I’m much good with Drum and Bass anyway. That’s real Drum and Bass, you see.)

And best of all, he provides commentary for the above video.

"Sometimes I cave right in." As he walked along the edge of the field, the earth seemed to splinter at each step. A glance along the cold hedgerow hurt his eye. Everything he looked at sent dread through his viscera, none the less sharp for all of its familiarity. Stones underfoot seemed to chatter and sneer, the Luton-grey sky was an idiotic, mocking expanse. He paused at the brook, cold dirty glass. Dull pain accompanied a frame of memory; he had bathed his feet here as a boy. Nearly losing his balance, he said, out loud as if to silence the roaring dead air of the November morning: "That water is too shallow to drown myself in."

The Luton-grey sky was an idiotic, mocking expanse, indeed.

It feels good to hate that video.

Enjoy.

Thanks, wesen and Resident Advisor, via Twitter.