createdigitalmusic posted some hacking tips, including information on how to build your own MIDI clocking and how to create a "switchonome". Another post by runagate describes how to Turn A $50 Bliptronic 5000 Into A Monome Controller [update: Bliptronome conversion kit for $68 USD].

Information via ThinkGeek:

Product Features

* Unusual retro synthesizer is played with a grid of glowing buttons
* Create looping patterns and change them dynamically while playing
* Chain multiple units together and create more complex melodies
* One octave range. 8 notes can be played simultaneously
* 8 different old-skool synth sounding instruments to choose from
* Sounds created using FM waveform synthesis
* Set the BPM (beats per minute) from 60 to 180 in 20 BPM increments
* Built in speaker with headphone jack and line-out jack
* Front panel is constructed from brushed aluminum
* Includes, manual and 2 link cables for connecting additional Bliptronic units
* Requires 4 x AA batteries (not included)

The company Cycling74 announced Max/Msp 6 which will arrive fall 2011. Prices have been lowered, starting from $59 for a student 12-month license. Upgrade prices for existing Max5 users will be $199, if there will be a "max for live" upgrade fee is not known at the moment.

Main news are:

1. Performance: code generation, HTML5 and a new 2d Graphics API in Javascript has been announced.
2. Quality: "output gaps" should not be audible anymore when working on running patches, as well as "an advanced toolset for high quality rendering 3-D objects" has been announced. Jitter comes with a new physics engine and better support for 3D model and animation files. Better support for cameras and lighting, as well as a new "materials" systems have also been introduced.
3. Workflow: a new attribute monitoring and editing workflow, as well as a "new project feature, where you can see all the patchers, code, and media files you’re using" has been announced.

You can read the full announcement at the Cyling74 website, as well as read the @cycling74 twitter feed for more recent updates.

The release notes according to Ableton:

Improvements and feature changes

• Added bank names for Amp instant mapping, which in turn fixes a problem with the Axiom DirectLink control surface.
• Fixed problems with the Mbox2 related to non-integer sample rates.
• Added control surface support for Akai Professional LPD8.
• From now on, betas will ask to check for updates only once a week, and starting a week after first run.
• the "Peek" button on the Axiom Pro now works as a momentary control

Max for Live improvements and feature changes

(Note: Most of these changes require an update to the latest version of Max, which is available from http://cycling74.com/downloads/)

• Devices inside Racks can now be accessed via the Max for Live API
• Return tracks can now be observed via the Max for Live API

Live devices and parameters can now be much more easily mapped to controls in Max devices. Devices can safely be moved within a Live Set without breaking any existing mappings. Also, devices and Sets can be saved and loaded without breaking existing mappings. The following changes make this possible:

• There is now a simple way to observe the selected parameter via the Max for Live API, using "live.path live_set view selected_parameter." This can be used, for example, to build a custom "map mode" to quickly map parameters in your Live Set to controls in a Max device.
• Live objects like tracks, clips or parameters retain their identity (id nn) during operations like move, save/restore, cut/paste, delete/undo, the identity is global and can be communicated via Max's Send and Receive objects.
• live.object, live.observer and live.remote~ are now able to remember their target objects when Live sets or presets are saved and restored or when objects are moved within the Live set.
• Ableton protected samples can now be used in Max for Live device, via the Live.drop object
• fixed a bug where clip slots would lose their id on moving a clip
• fixed navigating and observing control surfaces via the LiveAPI
• Repeatedly calling "goto control_surfaces" on a live.path object was producing a different id each time
• Fixed a crash that occurred when deleting a Rack containing a Max for Live device, where a Remote~ was controlling one of the Macro knobs, and then Undoing the delete action
• Navigating the Live Object Model is about two times faster
• Fixed a crash that occurred when moving tracks that contained automated Max for Live devices
• Fixed a crash that occurred when replacing one Max for Live device with another if certain modulations existed
• If a native Ableton device has parameters that are mapped to a Max for Live device, the mappings will be preserved after hot-swapping the Ableton device
• The Track/Chain Activator and Song Tempo are now accessible via the "selected_parameter" property and their path can be queried
• "live_app" and "live_app view" can now be persistent in the Max for Live API
• Mapping some mixer component on the APC40 (for example) through the Max for Live API wouldn't work without pressing the Pan or Send button on the APC40, which reset the component. This has been fixed.
• "goto live_set tracks 2 devices" in a set with one track produced id -1, which is wrong. Now it produces id 0.
• If the LOM id of the observer is persistent, the property of an observed LOM object is persistent, even if it is dynamically changed using a message.
• Max for Live devices that control the Application objects (e.g. live_app (live_app view)) or which get information about the Live version and document name (e.g. get_major_version (focus_view)) will work when loading the Set, without requiring user interaction.

Bugfixes

• Fixed a problem with nested Macro mappings when the range of a mapped ON/OFF switch, or of a selector switch (such as a filter type switch), is not at default values. In such a case, the right value would be displayed, but the wrong value would be used internally.

Note: with this fix, you will now hear what you see, although this may mean that previously saved Sets that contained the bug may sound different.

• Deleting time in the Arrangment View could delete crossfades in certain cases.
• When using an APC40 and Scratch Live, Scratch Live would sync to the APC but would not initially show the return tracks .
• If the VST plug-ins folder contained shorcuts/aliases to files in another location on disk, the folder would be rescanned each time Live starts. This has been fixed.
• When launching a scene with via Key/MIDI mapping or a control surface such as the APC40 while "Select on Launch" is enabled, the Master track became selected. This would result in the selected device switching to the device on the Master track. Now, launching a scene via remote control behaves the same as when launching with the mouse; the device selection doesn't change.
• Fixed a crash that could occur when clicking the status bar, while it displays "Media files are missing", and just after having adjusted a Macro knob.
• Fixed a crash that occurred when adding an audio clip, scrubbing in the clip detail view, and pressing Undo while the mouse was still down for scrubbing.
• Fixed a crash that could occur when switching between certain audio interfaces on a Mac
• updated Complex Pro libraries to prevent a potential crash
• fixed Transport button behavior for the Akai MPK61 and 88
• fixed a crash that could occur when opening very large Live Sets
• fixed a crash that could occur when a clip referencing a sample was in the clipboard and when pressing the Edit button (in the File Manager or Clip View) to set the sample offline and then on again
• Holding a note while recording a MIDI clip and stopping the transport while the note is held would result in a silent note during play back
• If a clip was in Gate Mode, releasing the trigger key within the launch quantization period would still launch the clip
• Fixed a bug that caused a clip in Gate launch mode to continue playing after clicking another clip for a very short time
• Fixed a bug in how MIDI effect Racks handle latency. Now chains compensate properly against each other

via wiretotheear: going 8bit with yudo iphone apps

8Bitone is a combination of a nonlinear audio editor and a chiptunes synthesizer. Vocoder SV-5
8Bitone (iTunes link) and Vocoder Synthesizer SV-5 (iTunes link) look like very nice and compact audio tools for the go. There so many other junk iPhone apps out there that actually something retro-fresh like those two apps really make my day. Together with the Nintendo DS I can build a minimal space sound studio soon ;)

see also:
* 8bitone on myspace
* creativeapplications.net - a closer look
* matrixsynth: behind the mask
* 8bitone review on macworld.co.uk

Owl Project is a collaborative group of Manchester based artists who share interests in human interaction with technology and process led art. Over the last few years they have become known for a distinctive range of wooden musical and sculptural instruments that critique human interaction with computer interfaces and our increasing appetite for new and often disposable technologies.

While the idea of the hardware alone is already nice, I was wondering how that instruments sound. As you can decide by yourself (I inserted the videos from the owl website right to this posting) - there are some people that are fascinated after seeing the creators (Simon Blackmore, Antony Hall and Steve Symons) perform.

"Admittedly I just didnt “get it” at first. From a solely audio perspective, the sounds produced didn’t appeal to me. It seemed like a near random collection of sounds, which although generated in a unique and unusual way didn’t have any meaning.
However, when they performed live infront of us my opinion changed. It turned from being a video on the screen to a entertaining engaging show, in which the performers were totally immersed. Perhaps the process of making the sounds is more important than the sound itself." (pixel-junkie.com)

While this seems to be a new and nice idea at first, lots of people I know doing DIY technology end up creating wooden cases to hold their prototypes. The main difference might be that owlproject uses wood for their finished products. Makes me remember my old synthesizers with wooden panels.

The following information is compiled from the owlproject website just to give you an overview of the instruments they have.

Log1k

Log1k Definition 2001
The Log1k is a sequencer & sampler, which also contains; Signal generators and other noise making devices.It has several, Mic inputs and 8 Audio outputs. It requires around 24 AA batteries. A mains 240v Fluorescent tube provides a screen like glowing panel which also provides electrical interference. The Log1K is defined by being constructed from a fully circle log section. This is divided into two half's and hinged at one side; thus giving it a laptop like appearance.

The Log1K was removed from operation after damaging several sound systems and catching speakers on fire.

m-Log

It's the latest development in Owl Project technology; a powered USB controller interface. Like the iLog, the m-Log fits in the palm of your hand and is made using a semicircular cross-section of a branch. Personalise yours with switches, wooden knobs and an accelerometer. The m-Log has plug and play compatibility with a wide variety of applications, notably MAX MSP and SuperCollider.

Want an m-Log?

Get your saw and soldering iron ready. Either make it yourself with the full kit, or come to the next m-Log workshop! The Owl Project will guide you through building and using your new m-Log. (you can contact them via email or phone. go to the owlproject website for more information)

iLog

ILog Definition 2008
The iLog is a stand alone noise generator. It is powered and outputs an audio signal.
The iLog should fit in the palm of the hand and is normally made using this semicircular cross section of a branch. At its base is the power socket and at its top is the audio out put.

Maybe you’ve got thousands of Logs in your pile. Maybe you have just a few. Maybe you like creating noise on the go. Maybe you just wanna grab a log and run. No matter where or what you want to do, there’s an iLog made for you.

ILog models
Metro - Beat generator (2001)
Signal - Tone generator (2003)
Rustle - Voice sampler (2005)
Photo-synthiser - AM detector (2007)
Modulator - Effects & feedback (2008)

Sound Lathe

Sound Lathe is a new piece of work by the Owl Project that explores of the sonic properties of woodwork.The Sound Lathe produces audio data, saw dust, noise and wood chippings. With this human powered machine, turned spindles are shaped into complex sounds such as tones, glitches and beats..

Unlike many electronic instruments, the Sound Lathe produces a unique wooden object at the end of each performance. This object serves as a memory of the performance, slightly faulty and incomplete as it represents the conclusion rather than an accurate recording of the process.

Checking out the owl project website is highly recommended. Besides the videos and pictures I already embedded here, there is a lot more of information available on their projects - and maybe you want to build your own wooden-electronic instruments?

via weburbanist: "The study of musical instruments (’organology’ – no, really) is the study of the human condition. Every culture is defined by its own distinctive set of trills, whistles, parps, honks and beats, and every corner of the world has evolved its own location-specific indigenous instrument to renew a sense of cultural identity through noisy self-expression. And instruments evolve – never more so than now, in the midst of a technological revolution that has opened up entirely new ways to make music. So settle back and compose yourself as we look at ten new instruments that look set to accompany us into the world of tomorrow."