This weeks Cool Stuff Collective was fully of twists and turns. Whilst we don’t have a lot of scripted gags we do have a few things that are repeated throughout the series. As we are technically half way through the guys at Archie Productions now throw in alterations to what has become an established pattern. Hence making it more funny. (That’s enough analysis of comedy writing).
In Future Tech I had the interesting musical light show the Tenori-On to talk to Vicky about. Using a live instrument with 64 buttons, and 16 modes of operating was a bit of a continuity knightmare but I tried to learn it enough that I could repeat various things as needed.

I had a few days to experiment with it and become one with it, but as i am a tech geek not a musician ….
It is a bit like the monome used to be, an intriguing shape and feel to it. In many ways its like playing with Midi equipped bubble wrap. I found it fascinating though. It generates all its own tunes and is a multi layer sequencer. Some of the drawing modes that let you swipe across and twirl around yet create some soothing electronic music feels very theraputic.
We discussed in the piece how new ways to generate and record music were being powered by tech, but that it is not a replacement for traditional instruments. Remembering back to the original days of the synth when some were heralding the end of all instruments. There is a lot to be said for the performance element of a traditional instrument, the skill needed to interact and the subtley. Still tech instruments are cool too
I also got to mention, though not show (as it was still in customs!) the Ninjen Gaki a quirky little device that uses human body electrical resistance to modify the sounds it makes. You hold onto it and grab someone else’s arm who is holding the device too and it plays notes.

However it was at the end of the piece that the twists started. Traditionally Vicky asks me a question and I stomp off in a huff saying I am not a whatever the gag is, I am a tech geek. In this one I get to turn the tables and ask Vicky a question. She strops off and I get to do the “oooooh touchy” to camera. All in good fun.
However it was in the Wall of Fame that the biggest twist hit. Not only did I get to pie the unfortunate holder of the toy that got the “pants” vote but Blowfish was in the line of fire.
Now before you look at these pictures you should know that Blowfish is actually a serious marine biologist not just a pie target, but then I am a “serious” tech geek too You can see some of his passion to ecology and the see here at School Of Fish
When you have done that check out this Saturday morning kids TV classic moment


Thankyou for being such a good sport, and yes I know what goes around comes around!
You can (in the UK) see this all, and the back catalogue on the ITV player.

It’s not all powerpoints and offices in the metaverse you know.
Claus Uriza from the wonderful PopArtLab was the driving force behind the creation of this excellant Machinima music video for Giana Factory’s new song Pixelated Truth. FuzonAcid directed the video and I think it shows that we often forget the depth of creativity that makes Second Life such an interesting medium. 20 actors performed in real time with their avatars being filmed for this. You can think of it as a form of very rich puppetry. Which when combined with great editing and and storytelling set to music is a very powerful package.
Enjoy, and think of the possibilities. You can create create things like this in a virtual world.

I have to admit not really a musician, but I do like guitars. I know a little of the lead blues scale and a few chords. I also love playing Rockband. I have dabbled with plugging my old electric guitar into the usb port of the Mac but the socket in the guitar has a bit of a loose connection so its always a crackly affair.
Getting the MadKatz Rockband 3 guitar for christmas and seeing the midi connector on it I thought it was time to try and plug that into the Mac. I ordered a MIDI to USB which just arrived and … well it just worked.

It got easier to play it than in Rockband 3 as you obviously play what you want, so it was much quicker to get comfortable with it. Rockband 3 could do with a free jam mode like it has with the drums for this purpose.
Garageband does things nice and simply but it is very easy to record and playback then change instruments or add tracks.
What was interesting was that the effects combined with my playing errors come together to sound not too bad. In this video I just played a sequence of C F and G chords and picked a few instruments to render that with.

I also discovered (as I am not sure its documented but if it is I have lost the instructions) that the start button on the Xbox guitar switches the guitar to a no strum mode. Simply pressing and golding the fret buttons creates the note and sustain. The X and B buttons step the instrument up or down octaves. I am not sure if the others do anything. As there is no Whammy bar you cant do any odd effects. Also the thing missing from buttons is string bend which is a pity but otherwise this all feels great fun and you can make proper music.
I also plugged the keyboard in, they slider effect worked nicely on that, but as I know even less keyboard I went back to the guitar.
I have been sitting noodling around the scales making up little tunes, playing blues lead on top of a few tracks etc. Every time I go back to metal strings on the real guitar, as I don’t play enough, the blisters are pretty bad. These buttons are not having any such side effect.
It’s great fun.
When I tweeted about this I got sent this link to an even flashier midi guitar by @mummabear, check this one out, the Misa digital kitara

A few years ago I remember we saw a demo of an upcoming product that let you dive directly into the individual notes of an already produced piece of music. i.e. you went from the produced target not the original source. Roo posted it at the time
It was great to bump into the website for the Melodyne editor at Celemony whilst doing some other research.
The really cool thing is they have a full demo for Mac and Windows that lets you play with 9 seconds of any tune you care to throw at it.
I used one of the loops from Garage Band, but only a little bit on this video just to show how simple it is to edit.
The first play is the original but then I move one note up. Note that in this particular view there are other notes playing too as it is part of a chord. So from a Wav file even I can change the individual notes of a track !

So this is me simply importing a wav (in seconds), and dragging a note. Done!
They have lots of flavours of the application but the Editor demoed here is only actually £300 ! The demo download link is on the product web page
Even with the 9 seconds to play with you can feel the amazing power of this. Now if I could just find my own musical talent…

One of the greatest things about the web is that whilst there may be the ability for anyone to share anything that is truly rubbish, there is also the ability to share things that for a niche audience they will appreciate and love. One such thing is this very clever, but very geek related parody of the Katy Perry/Snoop California song.

You will see if you click through ti YouTube Skyway Flyer has put the transcript of the lyrics too, in case anyone who is not so geeky has to look up Flux Capacitor.
I bumped into this one though on Buzzfeed. Yes another service to help us thread and aggregate interesting things.
It was here Buzzfeed (thanks to Rita King and Jerry Paffendorf for pointing me at it) lets you rate and badge content from elsewhere and then spread the word.
I have been dabbling with a few things on there as epredator
It is sort of categorized into LOL and GEEKY etc. For these geek parodies though I suspect they will fill up the feed very quickly If they are as good as this one and the previous New Dork one then I am happy.
Nerdcore as a music form seems to be ever on the increase, creative people who are also tech geeks taking a tongue in cheek look at life and sharing it over the very medium they are spoofing.
Maybe I need to give it a go to. I have a smattering of musicality (though only a smattering), lots of kit and a world audience to find a few people who might like it. If nothing else the ballad of the metaverse may be a better way to share a story than an old school book. Though…. that may have to be a geek opera rather than a youtube short

It is well worth checking out 100 Robots, this video Jim Purbrick just posted is really well put together, a catchy song with a bite of social commentary and some great mixing in with Aleks’s interviews from the Digital Revolution (I still have not managed to get to a live gig much to my own annoyance)

” song about biometrics, click tracking, online privacy, Phorm, governmental data loss, corruption and the surveillance state. Features interviews with Chris Anderson, John Battelle, Sherry Turkle and Lee Tien from the BBC Digital Revolution rushes. Filmed and directed by Chris Cole.”
Nice work I think. The lyrics indicate the potential benefit that someone has of providing a “free” service but that we pay with with our information, our Kudos, our time or our support. Done well of course it can be for common good. Done badly, i.e. like a government system that loses data, or where information is abused for profit to the detriment of others, it is a concern.
Of course you can just sing along with the hook

This is great, and props to @GemmaCocker for tweeting and blogging it
New Dork – Genius

I have been listening and nodding away in agreement at Chris Anderson’s Free and reading Don Tapscott’s position on Digital Britain. In particular it was interesting to hear the history of the music industry and how is has shifted since the 1930′s. Each step challenged by the incumbent powerhouse, though the industry flourishing and growing despite that.
I paraphrase part of chapter 3 of
Free: The Future of a Radical Price: The Economics of Abundance and Why Zero Pricing Is Changing the Face of Business

In the 1930’s radio emerged.
Artists were paid for a single live performance, though this seemed unfair when compared to a concert hall of ticket paying audience when in fact it was broadcast to millions.
ASCAP insisted on royalties based on gross advertising revenue of the station at a high rate.
They wanted to raise the rate in 1940 when contract expired, which caused the radio stations a problem.
Whilst negotiations were on more stations started to use recordings as the technology had evolved and now had a use.
The record industry responded by stamping “not licenced for radio broadcast” on records.
Th US Supreme Court ruled if the station bought a record it could play it.
ASCAP persuaded major artists to stop producing records, hence cutting the content flow to the radio stations.
Stations were faced with either crippling royalties, or no content.
So they self organized their own agency BMI
This became a focal point for those niche artists and styles previously ignored by ASCAP.
Country & Western and R&B etc.
These “niche” musicians just wanted exposure so let the music be played for free
Radio then became a prime marketing channel for music not a direct revenue engine
Artists made money from records sales and concert sales and it moved back to live performance again.
With a combination of a smaller royalty formula and the rise of the Disc Jockey the top 40 era emerged. The music industry grew because of this.
Now the industry is about merchandise and live performance in concerts and still thriving.

Now of course we have the ability to both buy digital music at relatively cheap prices, and also for people to share them with one another for free. The powerhouses will say that this will kill music. It will if no one ever pays of course. However then no one will have any music and the human need for that will drive the creation of music. Live performance however still needs to be live, the tech will improve to allow the experience to get closer to the real thing as we see with virtual worlds. It then becomes about being at the event, being part of the event not just being broadcast too. The artists get to perform and get the adrenalin payoff for delivering to a crowd. Money will change hands, people will make a living.
The sands will shift, new patterns will emerge?

Of course piracy is a constant conversation and battle, but if something is good some people will show their appreciation , either by paying, donating, or spreading the word and acting as a salesperson to reach the people who will pay.

I am writing this as a someone who seeks to get paid for what I do, those things are very often about live performance of some sort. Generating ideas, inspiring people, explaining. Equally though lots of people expect that turning up to talk and generate ideas should be free, but they may pay for a “deliverable” some code, documents etc. Likewise much of what I share here is obviously giving away some ideas. Something that traditionally has been regarded (before the ability to share so widely) as something you keep close to your chest. Now blogs and twitter are my radio station playing my records that I create myself in order to help people know what I do, what I think and how I can come and perform for them and build their ideas in emerging tech and virtual worlds.
The various conversations about Digital Britain and clamping down on people worry me greatly. They have elements of the ASCAP example above, though I suppose this sort of restricted practice is needed in order for the industry to flow around it and grow. Having an threat or an enemy brings great resourcefulness. The danger is that the powers that be manage to crack down so much that we set the business innovation back too much.

My feeds today led me to look at a brilliant YouTube video that is over on New World Notes called Impressions by Willow Caldera. This video is wonderfully shot and shows a the very creative and expressive side of Second Life. It acts as a reminder (probably to those of us who preach about “business use” or who are starting to finally grok it all that there is much much more to all this than a bit of powerpoint and some business dressed avatars. I would recommend popping over to NWN and taking a look.
In following the links I saw this video too on the same channel about the U2inSL Warchild benefit gig.

U2 are back in the news again for using Youtube themselves (as opposed to this U2inSL who are a tribute act). However I still always manage to get U2inSL into any explanation of what this is all about.
There are several reasons for this.
1. Most people know who U2 are they are both part of the establishment and known innovators.
2. People listen to music all the time on the Radio, Ipods etc.
3. Bono is particularly known for charity work too.
Each of those have a way to reach people who don’t yet understand why we are all harping on about virtual worlds. Love or hate U2 it acts as personal conversation rather than a business one.
What happens at the concerts (as you can see from the video) is effectively a tribute act puppet show/impersonation. Yet it also has a crowd of people willing to watch listen and feel part of it. They are all passionate U2 fans, and they have gathered together to raise some real money for charity by collectively listening to their favourite tunes together.
Underlying all that we of course end up with copyright and image rights conversations, but in the case of U2inSL this really is a passionate fan base enjoying feel connected rather than someone making fake gucci bags for a quick buck.
As many of us keep pointing out, engaging and supporting these passionate fans whether you are a band, an author, a manufacturer of widgets is the key to the world today. Where those people happen to be and the way they are choosing to interact with one another is where you need to be joining in. Not a huge capital investment, not masses of PR and spin but just good old fashioned human to human conversation. Twitter, SL, Facebook…. whatever comes next, you just have to be there.