The OP-Z may be the hot digital synth of the moment, but it’s also the first consumer music instrument to have dedicated features for live visuals. And that starts with lighting (DMX) and 3D visuals (Unity 3D).
One of various surprises about the OP-Z launch is this: there’s a dedicated track for controlling DMX. That’s the MIDI-like protocol that’s an industry standard for stage lighting, supported by lighting instruments and light boards.
Not a whole lot revealed here, but you get the sense that Teenage Engineering are committed to live visual applications:
There’s also integration with Unity 3D, for 2D and 3D animations you can sequence. This integration relies on MIDI, but they’ve gone as far as developing a framework for MIDI-controlled animations. Since Unity runs happily both on mobile devices and beefy desktop rigs, it’s a good match both for doing fun things with your iOS display (which the OP-Z uses anyway), and desktop machines with serious GPUs for more advanced AV shows.
Check out the framework so far on their GitHub:
We’ll talk to Teenage Engineering to find out more about what they’re planning here, because #createdigitalmotion.
from Create Digital Music http://bit.ly/2JCSbgk
Teenage Engineering’s OP-Z takes everything the mysterious Swedish maker has done in the past years and packs it into a candy bar-sized hunk of awesome. The first feature reveals and videos of the final creation are inbound, showing it doing some weird and wonderful things.
First, what is the OP-Z? (O-P-Zee for Americans, O-P-Zed for the rest of the world.) It’s an ultra-compact digital synth with loads of sequencing and groove features. It feels terrific in the hand – nicely heavy, but with the width of the beloved iPhone 5 so it’s easy to hold. (I don’t have a review unit yet, but I have gotten to try it.)
The main focus of the instrument: sequencing, so you can create elaborate patterns of synthesized sounds, as part of a rig or on its own, for on-the-go and studio creation or live performance.
What it doesn’t have is a screen; you connect a smartphone or tablet for that on the go. And so the basic idea is, it combines some of the compact game-style ideas of TE products like the Pocket Operators with the powerful synth and sequence workflow of the OP-1. It does more than all those past creations combined, though, and the Teenagers are pushing some unique possibilities for visual creation.
The OP-Z ships worldwide for EUR599, and at the moment it’s sold out. That situation may ease as the Teenagers ramp up production.
But the OP-Z seems to have the most attention at the moment of any digital product, in contrast to sought-after analog instruments like the Moog One.
And sure, while some of this is more predictable – sample packs of drum sounds, effects like delay and reverb, – some of it is decidedly more left-field.
The most surprising features so far
The biggest surprises of the OP-Z:
1. It’s polymetric and does automatic melodic analysis. 1-144-step patterns let you create different rhythms on different tracks, and automatic melodic analysis gives you easier transposition.
2. Wireless display. iOS devices – iPhone, iPad – give you wireless displays and multi-touch input, and they’re remarkably responsive, enough so to play live.
3. The microphone is connected to the accelerometer. Yeah, this thing knows if you hold it up to your mouth.
4. Luxe texture. At first I thought this surface was a process applied after manufacture, but TE say they’ve added glass fibers into the body during injection molding. That makes the OP-Z feel expensive and grippy – so you don’t drop it. It’s not quite like anything you’ve touched before, and they’re promising serious durability.
5. It’s a spiritual successor to the Game Boy Camera. This wouldn’t be a TE product without some nod to the weirder side of Nintendo. This time, you get rapid-fire “photomatic” sequences a bit like on the Game Boy’s camera mode, which you can sync to the music. Of course. Or maybe you should think of it as a GIF creator. Either way, back to the 90s.
6. It’s a VJ instrument and immersive audiovisual tool. This is wild enough that we’ll need a separate story on it, this being CDM. But think Unity 3D integration.
This has relevance not just for the OP-Z but anyone interested in MIDI control of 3D visuals in Unity, since they’ve released the entire toolkit on Github:
Plus there’s even a dedicated track for controlling lighting (via the industry standard DMX protocol)? Not sure how you connect this, exactly, but it’s a cool add-on – and someone may want to rig up some DIY solution with light bulbs as in their demo.
7. Tons of expandability is planned. Teenage Engineering are promising new effects, firmware updates, expansion via hardware ports, and more.
YouTube celebrity Andrew Huang has the highest production values of the first OP-Z videos, and gives you a snapshot review.
More depth comes from Cuckoo, who’s don an extensive mega tutorial (and is just getting started, it seems):
Microwavez shows how you’d combine this with an iPad:
Here’s what it looks like making a beat, via Brandon Guerra:
And NomNomChomsky has a review up, as well:
from Create Digital Music http://bit.ly/2QeVjRZ
The continuing die-off of the world’s coral reefs is a depressing reminder of the reality of climate change, but it’s also something we can actively push back on. Conservationists have a new tool to do so with LarvalBot, an underwater robot platform that may greatly accelerate efforts to re-seed old corals with healthy new polyps.
The robot has a history going back to 2015, when a prototype known as COTSbot was introduced, capable of autonomously finding and destroying the destructive crown of thorns starfish (hence the name). It has since been upgraded and revised by the team at the Queensland University of Technology, and in its hunter-killer form is known as the RangerBot.
But the same systems that let it safely navigate and monitor corals for invasive fauna also make it capable of helping these vanishing ecosystems more directly.
Great Barrier Reef coral spawn yearly in a mass event that sees the waters off north Queensland filled with eggs and sperm. Researchers at Southern Cross University have been studying how to reap this harvest and sow a new generation of corals. They collect the eggs and sperm and sequester them in floating enclosures, where they are given a week or so to develop into viable coral babies (not my term, but I like it). These coral babies are then transplanted carefully to endangered reefs.
LarvalBot comes into play in that last step.
“We aim to have two or three robots ready for the November spawn. One will carry about 200,000 larvae and the other about 1.2 million,” explained QUT’s Matthew Dunbabin in a news release. “During operation, the robots will follow preselected paths at constant altitude across the reef and a person monitoring will trigger the release of the larvae to maximise the efficiency of the dispersal.”
It’s something a diver would normally have to do, so the robot acts as a force multiplier — one that doesn’t require food or oxygen, as well. A few of these could do the work of dozens of rangers or volunteers.
“The surviving corals will start to grow and bud and form new colonies which will grow large enough after about three years to become sexually reproductive and complete the life cycle,” said Southern Cross’s Peter Harrison, who has been developing the larval restoration technique.
It’s not a quick fix by any means, but this artificial spreading of corals could vastly improve the chances of a given reef or area surviving the next few years and eventually becoming self-sufficient again.
from TechCrunch https://tcrn.ch/2yNuihz