As a bit of a music freak, I’ve recently started to think about the role of technology and software in the proliferation of electronic music in the past ten years.

Electronic music has always appealed to me due to the way in which even an ‘unmusical’ individual can make good music. With an understanding of rhythm and the ability to find a good groove, anyone can spend some time learning one of the many programs available and make a track. Some of the top producers out there at the moment wouldn’t be able to play a tune on a piano, but what they can do is manipulate sounds into a way that works in a sweaty club at 4am. This doesn’t mean it’s easy in any way, it just removes the old fashioned, and in some ways classist, system of learning your music theory and spending most of your youth forced into piano or violin lessons (yuk, flash back alert).

Punk may have started this in the 70s, but the tools needed for making techno are in pretty much every home – all you need is a half decent PC and a pair of headphones, and you’re off.

In the past 4 years things have become even more accessible, with intuitive programs being launched that have flattened the learning curve.
Ableton is leading the pack currently, with their Ableton Live software (www.ableton.com). A piece of software designed as much for the bedroom set-up as the high spec pro studio, or even the club. Based around one window, this integrates the production process (be it synthesis, sampling or loops) with the performance - allowing a budding producer to write a track, and then ‘perform’ that track with live edits, without having to use another program.

What this program also includes is probably the best ‘Help’ options I’ve ever seen. It can run through mock-ups of each section, meaning a complete beginner can be guided through any process they wish – even on your first session with the software you can be editing loops and creating synth patterns. Programmers should reference this ‘Help’ service, as it seems that this is often an afterthought, a searchable online manual simply isn’t enough anymore. We as web developers should be including this in large online projects– well planned Information Architecture can aid this – as users should be guided through any complex parts of a site.

Apple is also in the running with the new Logic 8 (www.apple.com/logicstudio/logicpro/). A massively powerful piece of software that is close to an industry standard (along with Pro Tools). This new version is both user friendly, but customisable enough for even the most complex projects. It is used by producers writing techno for sweaty Berlin clubs as much as it is by composers for Hollywood film scores.

Apple have made some enemies with Logic though, locking it as a Mac only program, but with the new iMacs dropping in price their gamble may have paid off, with many Windows fans making the big leap over.

There are a number of alternatives, and much cheaper alternatives at that. These are great for playing around, with many using drag-and-drop as a tool to build loops. You can even write tunes on your PlayStation these days…

Digital technology has become widespread in the DJ world also, with a huge number of performers leaving behind the chore of dragging a massive bag of vinyl to gigs, and instead opting for playing CDs or using on the impressive vinyl emulators – check out www.serato.com to be blown away for some digital/analogue integration (http://en.wikipedia.org/wiki/Vinyl_Emulation_Software).

This technology is also adaptable for mixing videos (‘VJing’ – clever eh?) and allows a number of acts (check Diplo and DJ Yoda for some fine examples) to control the music and the visuals at an event – and who says digital technology is killing the DJ?!

On that note, all this digital talk doesn’t mean performance is dead, far from it. There’s a wealth of control surfaces in production, in small runs, that mean the digital performer is no longer sitting behind their laptop, clicking with a mouse (or checking their email).

This technology is allowing producers to be more creative, edit and add to the bones of a track in response to the crowd. It’s a very exciting time in this arena, just check out some of these links:

www.monome.net or http://www.youtube.com/watch?v=cJwxbTKwONc
http://mtg.upf.edu/reactable/ or http://www.youtube.com/watch?v=0h-RhyopUmc (Microsoft Surface anyone?)



And even the big boys are getting involved… http://www.tenori-on.co.uk/



Matt Bachle-Morris, Web Producer

Labels: Design and Usability, Technology, Web Culture and Trends

Well now it is 2008 I thought I would start the year by giving you an update of a few things that are frying my noodle over the last little while.

First is the work by the guys over at Vizoo with their Cheoptics360 video projection system. It doesn’t relate entirely to the online space but I can see it being used with camera detection software to create 3D interactive kiosks etc, and just imagine the art installations you could create, amazing!

Check out one of the most unique fashion shows I’ve seen in a while:
http://www.youtube.com/watch?v=phe82y69hG0&feature=related

The official showreel:
http://www.youtube.com/watch?v=ZId2nywp6HQ&feature=related

For more info check out the official site:
http://www.vizoo.com/main.html

As a post script I would recommend checking out the live motion tracking video installation work by Frieder Weiss & Chunky Moves et al to start to get an idea of what you could do with this technology http://www.frieder-weiss.de/video/projects.htm

Watch this space for more...

Dan Oxnam, Interaction Director

Labels: Technology, Web Culture and Trends

• Patching of fundamental usability problems which could have been avoided by involving the design team in the selection of technology.
  
• Wireframes that have been completed by a non-creative person resulting in a fairly dull overall concept.


• Focus group testing of all the usability issues but no measurement/feedback on the effectiveness of the overall visual communication.
  
  

2. Design involvement throughout the process

This approach involves experienced creative representation from the beginning to the end of the project. This can be perceived as the more expensive approach. Usually it is most at odds with people who see designers as adding value only at a superficial presentation level and haven't experienced the first hand benefits of working collaboratively with a design team.

Some successful example engagements of this approach include:

• Seeking counsel from designers on factors like technology so as to ensure that any limitations are understood and considered as part of the selection process.


• Collaboration with designers on wireframes to establish the information architecture. Rather than just addressing basic usability and requirements, herein lies the opportunity for innovation to explore new and unexpected ways that users will ultimately interact with the interface. The wireframes process is the critical stage for a designer to demonstrate and test the intent of these ideas.


• Consultation with the designers on what types of feedback they need (beyond usability) which might help them refine the effectiveness of the overall emotional response of the UI.

It stands to reason that I would advocate the role of the designers throughout the project every time. And I have seen the benefits of doing so over and over again. I realise the topic is much bigger than this modest post tends to suggest and that there are many different types of projects and roles which might put my simplified argument to the test.

My ultimate observation is that any reluctance to work with designers in a more collaborative way usually stems from a naivety about the importance of the role. Ultimately the project can miss a good opportunity or lead into very real costs as the inevitable question is asked: "Where did we go wrong?"

Tim Kotsiakos, Creative Director

Labels: Design and Usability, Process and Methodology