Musically useful!

Every so often, I surf the internet looking for interesting music-related software. The things that I find vary from freeware with a wide range of qualities, through shareware which tends to be as good if not better than many more overtly commercial versions, to commercial software, where my rule of thumb is that the smaller and more dedicated the programming team is, the more worthwhile the software will be.

Some freeware is a by-product of academic research, and there are sometimes gems to be found here. It is all to easy to be put off by sparse documentation, or worse, documentation which points to a conference paper containing formal methods mathematics. But perseverance can reap huge dividends when you find something that is clever and useful, or maybe amazing and a stroke of genius.

One such marvel is ixiQuarks, which is 'hidden in plain view' here on the Apple.com download site. There's no need to feel guilty if you passed it by, by the way.

At this point I have to comment about an interesting use of words by the UK television channel called 'Channel 4', who responded to my query about why I could not view their TV programme online catch-up service on my Mac with a comment about them looking at ways of providing the service to 'non-Windows' computers - I had never, ever, thought of having a Mac or a Linux box as owning a 'non-Windows' computer! To try and balance this rather biased view of computing, I have to report that this software does not work on 'non-Macintosh' computers.


ixiQuarks is freeware from ixi audio, who describe themselves as: "an experimental project concerned with the creation of digital musical instruments and environments for generative music." This sounds rather like a music-oriented version of the very broadly-based 'arts and technology' collective that I'm a founder member of: the Curiosity Collective.

ixiQuarks, as the name suggests, contains a number of separate units of musical generation, processing, or utility. The first thing to do is to read the documentation, which means going to the bottom of the help file, and reading the section called 'Getting started: few studies'. This explains the importance of loading files into the 'BufferPool' utility, and provides help with setting up audio inputs and outputs. For me, it all went smoothly, and I was soon trying out the very neat user interface to the Karplus-strong algorithm generated sounds in the 'Quanoon' (presumably a clever play on words for the Latin phrase 'sine qua non' which means 'without which not' and which is interpreted as meaning 'an essential requirement', which is pretty accurate if you want a versatile plucked-sound controller.) instrument, and using 'SoundScratcher' to smear audio files using granular synthesis. Granular synthesis can provide a daunting array of controls, and so something that makes times-smearing simple and mouse controlled is exactly what I've been looking for - think of it as a bit like the Smudge brush in a bitmap paint program, but for audio.

But the highlight for me was rather played down in the documentation: 'ScaleSynth'. The user interface looks deceptively straight-forward: the screen fills with pale green rectangles. But moving the mouse around the grid and clicking (or holding the mouse button down) rapidly reveals the purpose as the rectangles go increasingly orange in hue: horizontal and vertical movements control pitch using a menu-controllable scale. It gives a marvelously simple and intuitive interface to controlling pitch, and I'm now wondering why more electronic music software does not use this type of front end. This is probably my best 'find' for this year, although Puremagnetik's Vector is a close second.