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So now we're going to turn our attentionto, to mobile music. mobile music is an incredibly broad fieldof like many of the topics that I'm covering in a singlevideo in this module. It, it's actually the topic of an entirecourse that we teach here at Georgia Tech. but I want to, think not about all areasof mobile music here, but, but, try to focus in on a, on a fewspecifics. and what I'm really interested in, inhere, is not so much about listening and, and consumption of music on mobile devices, which is obviously a incrediblyimportant. After all, you have, you know, the, the iPod was originally made as a musiclistening device. but I do want to talk about what we have been covering in thecourse up to this newpoint. Which is about how mobile devices help us make and create music in different kindsof ways. And so I'm focusing on three specific application areas, because even withinthat constraint, you're still there are kind of tens of thousands of examples we couldpotentially cover. so I want to focus on three specific areashere, mobile DAW's. Since we spent so much time using a DAW inthis course I thought it would be useful to consider howtheir move onto mobile devices effects their design and functionality. And, I wa

nt to look at mobile musicalinterfaces since we just spent a while talking about newmusical interfaces. This is a , a, a big area of focus on mobile devices, and Ialso want to talkabout mobile recording. again, kind of related to work that we'vedone. In that context I'm, I'm going to talkabout a recent project of my own, actually here atGeorgia Tech. so first a, a question is you know, whythis allure of doing music creation tools on on mobile devices tobegin with? what's so important? And I think one of the really importantthings is that it's an ability to deploy somethingon commodity hardware. So if you're developing a new musicalinterface, for example, and you want to be able to mass produce it, to

scale it up. to be able to build your own hardware, atscale is an incredibly difficult thing to do. involves coordinating manufacturing andhaving a significant financial investment. and, and so on and so forth. But if I can just run my new musicalinterface as a software app that runs on a commoditymobile device, that millions and millions ofpeople already have, then I have kind of a distribution of italready figured out. All have to do is put my app up on an appstore. and take advantage of what that what thatmobile device can already do in terms of its sensors andits capabilities. And then and then I all of a sudden hadimmediate mass distribution of my work at, at, at

very little cost. the form factor of mobile devices has also played a role in their applicability tomusic creation. they're they fit in your hand these smartphones do. You can move them around to creategestural input very easily and they're very easy to take with you ofcourse too. Portability is a big key to be able tomake music anywhere at any time with something that doesn'trequire a power source because it's batterypowered. It has a built in speaker if you need touse it, though it's not great, or of course a



headphone jack. It lets you make music kind of whereveryou are, on the subway, walking around town, waiting in line, and so onand so forth. The availability of a sensors on thedevice is also very important. Especially for, for new musical interfaceswhere we have a, a video camera that can be used for a, a computer vision.We have a multi touch surface that's very applicable to, to things like a pianocontroller where you might want to go play play more than one note at thesame time. or a drum machine where you might want,want to be able to play two drums at the sametime. it has an accelerometer, which is greatfor gestural input. there's GPS so it can know where we are in terms of location and use thatinformation. some some mobile devices have compassesand, and, gyroscopes as well that provide other means for gestural. so all of these, since they aren'tcommodity hardware we know what we have and it's the same across a, a large number of, of devicesand with the right software it takes advantageof that. Another important quality is networking. And so because these devices are alwaysconnected to the internet, we have the ability to make music togetherwith other people. Either other people that are local or inthe same place as us or other people that might be inother locations. And that's something that we'll explore in more detail in anoth

er video in thismodule. so the, like I said the first applicationspace I want to look at was a Mobile DAWs. you're taking the basic DAW paradigmthatwe looked at and we looked at within Reeper throughthis whole course. and, and putting onto usually not a smartphone but usually onto atablet. and there's, there's several recentexamples of this. Apple and its' GarageBand software foriPad is one example in Steinberg and it's cubasefor desktop. DAW has come up with Cubasis for the iPad, which is the, the, the tablet version ofthat. and there's a few things that are, that

are kind of common to both of these, I think, to, to mobileDAWs in general. that, that show how their use cases are, are a little bitdifferent from desktop DAWs. and how they've been designed differentlyto kind of accommodate and emphasize that. the first thing is desktop integration so since both of these, these productsintegrate with the, the, the desktop applicationsthat have the, the same names as them. or in the case of Cubasis a similar nameto it. So you can start working on a project on amobile device and then you can import it into the fullfeature DAW on the desktop and continue working on itfrom there. So this points to the you know the kind ofuse case for mobile DAWs or just be able to work on your music where ever you might be or you might not have a laptop with

you. you wouldn't just jot down and exploresome ideas very quickly. And at points, the limitations, DAWs arevery computational intensive, remember with that nondestructive editing they offer and multiple tracks. And we have to be able to render everytime we hit the Play button all these tracks of audio and apply differenteffects and edits to them on the fly as it's playing back. And that can be verydifficult for a, fora for a mobile device, at least today to be ableto handle. So these, these mobile versions lack most



of the features of their of the desktopequivalents. In terms of the number of tracks andeffects and have what, how much you can dosimultaneously. And so moving to the desktop is a naturalway to to kind of make up for that. So that you can you can start with yourbasic ideas in the mobile space and then move it to the desktop when youneed the full power of a, of a full DAW. the other thing is both of these programs emphasize built in controllersand sound modules. So they have a number of mini sound modules built into them anda number of different controllers like adrum machine, a piano. Apple's garage band has a ton of differentcontrollers built into it. guitars and string instruments anddifferent ones that are intended for people with different abilitylevels as well. this points to the fact that if you'retrying on you're, you're iPad. you probably don't have a lot of externalgear that you're carrying around with you so you probablydon't have an external MIDI keyboard that that's ready to plug inOr external sound modules or, or, or plugins that you might be able to use likeyou would on a desktop DAW. and so this is a greater need for kind of a everything being self contained, in asingle program. Because if you were carrying keyboard withyou, you'd probably be able to carry your laptop withyou as well, then you wouldn't really need to

be doing this on a tablet in the first place. There's a traditionally not been astandard plugin format, on mobile operating systemseither. That that's starting to change with some inner-application audio and midiarchitectures that have emerged audio bus a, and jackare third party solutions. And beginning with IOS seven apple has itsown solution on IOS for enabling programs to exchangeaudio MIDI information with each other. it's a simulate kind of what we do with, with plugins a bit on desktopapplications. finally they both have a lot of live soundprocessing functionality within as well. particularly geared towards plugging aguitar directly into the mobile device. and this I think is, also speaks to thisnotion that if you're using a, a tablet as your

DAW, you probably don't want to be luggingaround a giant amplifier with you, a you know, guitar ampwith you. And so having an amp simulator, we have itplugged straight into a, into the tablet, has a lot of, has a lot of appeal. Because again if you're, if you'reschlepping around this, this giant guitar amp, you could probably just bring yourlaptop with you as well. So I'm going to move to another area of Ofof kind of mobile mobile music making andthat's mobile interfaces. and again a lot of the, the most interesting mobile interfacestake advantage of the various sensors that mobile devicesprovide. often in unusual ways to be able to play an interface at scale without

having tomake new hardware. and one of the classic examples of thiscomes from a company called Smule and it was on eof their firstapps called Ocarina. And with the Ocarina it takes advantage ofthe multi-touch capabilities of of the iPhone for which itwas designed. by letting you obviously use the screen as if it'sdifferent tone holes of, of an Ocarina, a windinstrument. And so, you can push down more than one ata time and take advantage of the multitouch, to do that. But it also takes advantage, of, of, kind



of the fact that that's not just a multi touch sensor butit's also a screen. So it can actually help, teach you how toplay different songs by animating and showing you what fingerings you'resupposed to be using, to play those songs. Then it also uses the breath controller. I'm sorry, robophones don't have breathcontrollers on them so it uses the microphone to simulate abreath controller. So you blow into the microphone toactually make the music and it uses some simple MIR kinds of techniques to analyze theaudio components here and figure out how you'reblowing [INAUDIBLE] or not. It also takes advantage of the networkingcapabilities of mobile devices by letting you share thesongs that you create through a global kind of socialnetwork of all the people that are using the app. The final example that I needto cover inthis video is mobile recording and there are a lot of apps out there that turn amobile device into an audio recorder. kind of replacing a dedicated device thatwould just do all your recording. you can plug in an exported microphone,you can you can record your audio and then export it toyour computer later. I want to talk about a project of ourswhich, which, again along the lines we've beendiscussing along here takes advantage of some of the uniquecapabilities of, of mobile devices, to make a kind of uniquerecording application. Is a project I've worked on over the last

several years. Two of my colleagues here at Georgia Tech,Carl DiSalvo and Michael Nitsche, and a bunch of our students over the years.it's called UrbanRemix. and the mobile app, for IOS and Android,lets you record sound. But then it attaches the GPS location ofwhere you recorded it, to the sound. It also lets you take a photo that you canassociate with the sounds. Since there's a, a built in camera. Then it will upload it to our server. and once it gets to our server, uh,it, it,collects all these sounds into different projects thatare organized by geographic community. And it provides some online webinterfaces, to let you explore these sounds, based ontheir GPS locations, and so you can look at them on a map find sounds that, that you'reinterested in. And you can also create kind of remixes on

the map by, by drawing kind of a virtual trips on the map, thatgo from one point to another. And then it creates this whole sound scaperepresenting all the sounds that were recorded alongthat route. the, the larger goals of this project tie back to acousticecology and sound scape composition. [UNKNOWN] to the very, very beginning of the course. This notion that we can become more awareof, of the sounds around us and, and of our, ofour sound environments of by by going out andrecording them, and, and re-purposing the sounds in ourcommunities for musical uh,intent. So what were doing here with UrbanRemix istrying to provide a very easy set of mobile andweb-based tools. To enable anyone to do that, to go out and make a field recording, of sounds they find

interesting. To share the sounds with other people intheir community, and then to work together to create music outof those sounds. So, what we've covered in this in this,video are some of the motivations for pursuing,mobile music. And three particular application spaces,out of the many that are out there. Mobile DAWs, mobile new musicalinterfaces, mobile recording applications. we're going to explore these kinds ofnetwork capabilities we talked about a couple times in this video, quitea bit more. in the next video, we'll talk about the,the field of networked music.

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