Apple unveiled a multitrack recording feature for Voice Memos at its recent iPhone event, exclusive to the iPhone 16 Pro. The feature allows users to layer vocals over guitar tracks without headphones, utilizing advanced microphone technology and machine learning algorithms to reduce ambient noise.

Engadget argues the feature's exclusivity to the new $1,000+ model is unnecessary, given modern smartphones' processing power far exceeds that of early digital audio workstations. They contend that basic multitrack recording functionality could be implemented on older iPhone models. Apple's decision to limit this feature contradicts its inclusion of GarageBand on all iPhones and the availability of Audio Mix on base iPhone 16 models, which offers similar noise reduction capabilities. The story adds: Why is this particular feature walled behind the iPhone 16 Pro? It's a simple multitrack recording function. From the ad, it looks like the app can't even layer more than two tracks at a time. This can't exactly be taxing that A18 Pro chip, especially when the phone can also handle 4K/120 FPS video recording in Dolby Vision.

rDouglass writes "The Open Goldberg Variations team has launched a new project to make an open source, public domain version of J.S. Bach's Well-Tempered Clavier. The work is significant because of its enormous influence on musicians and composers throughout history. A new studio recording, a new digital MuseScore score (with support for MusicXML and MIDI), as well as all source materials (multitrack WAV, lossless FLAC) will be provided as libre and gratis downloads. New to the project are publisher GRIN Verlag, as well as record label PARMA Recordings. GRIN and PARMA will produce and distribute the physical score and double CD, even though the digital versions are to be widely available and in the public domain. Their enthusiasm for the project runs counter to the general publishing and music industry's fear of digital file sharing, and shows growing momentum for finding new models to make free music commercially sustainable."

eldavojohn writes "Core HTML5 Canvas is a book that focuses on illuminating HTML5 game development for beginning and intermediate developers. While HTML and JavaScript have long been a decent platform for displaying text and images, Geary provides a great programming learning experience that facilitates the canvas element in HTML5. In addition, smatterings of physics engines, performance analysis and mobile platform development give the reader nods to deeper topics in game development." Read below for the rest of eldavojohn's review.

PreacherTom writes "The party line for the music industry has been clear: discourage music downloads at all cost. However, singer Peter Gabriel is taking things in a different direction. In order to promote his own label, he is actually encouraging people to not only download his music, but also adapt it into something more modern. In doing so, he actually posted a sample pack of Shock the Monkey consisting of vocals and other pieces of the original multitrack recording. Some in the music business would call this the commercial equivalent of hiring kidnappers to babysit. In actuality, Gabriel is pleased with the results."

uprightcitizen writes "Good news for the open source audio recording world! Ardour creator Paul Davis has announced a feature-freeze and has set a binary release date for the now-famous GPL multitrack audio recording application. Ardour has recently been featured in Sound on Sound and has been mentioned on Slashdot many times (here(1), here(2), etc..). The feature freeze is effective as of May 4 and the binary release date is set for sometime in July or August. Good Job Paul!"

williwilli asks: "Musicians face a multitude of challenges in this day and age, yet there are a number of musicians also trying to work towards the future. One constant challenge in almost any profession in money. With CPU's continuing to advance at a rapid rate, many musicians are finding computer-based software synthesis to be much more cost effective than traditional hardware synthesizers. While some musicians are using portable systems, the lack of expandibility limits the systems capabilities in terms of synthesis, multitrack recording, etc. While one could always throw more computers at the problem, many users will no doubt find a rackmount system provides much more capability and expandibility. As such, what insights might the Slashdot crowd be able to provide towards building your own rack? Is shockmounting necessary? Are parts readily available, or are there any 'open-source' CAD files out there? Are there music-specific materials, designs, or tips to recommend or avoid?" Would rackmounts for a mobile musician really differ so greatly from rackmounts made for a small server cluster?

Sleen writes: "DeMuDi stands for Debian Music Distribution. This is the first distribution of GNU/Linux whose sole purpose is to create a stable OS for Multimedia. The project is led by Guenter Gieger who is the developer of the Linux low latency driver for the RME Hammerfall 96xx series. Combined with realtime kernel patches, the Hammerfall card in Linux can achieve hardware level latencies. Though many are already using Linux to make music, Guenter has started this project to consolidate the decentralized resources needed for setting up a linux system for multimedia. Drivers, applications, a realtime kernel and many other things are missing from the typical linux distro. If anyone wonders what is available to work with, take a look at the packages page. They include multitrack hard disk recording software, physical modelling and virtual analog synthesizers, beatboxes, midi sequencers, processors, and Advanced Open Architecture Synthesis systems such as Csound. For more information such as project details, a mailing list and contact info visit DeMudi.org."

In our third and final part of the 'Making Music with Linux' trilogy, we try to make sense of the alphabet soup of the Linux sound world by exploring OSS and ALSA, and we investigate musical notation systems and software available for Linux.

CodeShark asks: "I am 99% ready to completely wipe all Windows software from my machines, but the last 1% I need to do so is an effective MIDI system that includes: a multitrack midi sequencer, a sound librarian, and notation software (outputting the midi tracks to sheet music). I've tried searching via the Web with little luck, and am wondering what is out there/in development. I'd even be willing to pick up and/or start an Open Source project in this area myself, but I don't have a lot of knowledge of where to start. Suggestions anyone?" I'm hoping that with all the newfound popularity, someone has already started exploring with Linux in music production.

thal needs help with the following issue: "I just installed the VMWare for Linux demo on my Pentium II 233 with 64 Megs of RAM to make a virtual machine for my Win95 partition. What I'd like to do with it is use the Cakewalk Win95 multitrack music recorder inside of the virtual machine so I don't have to reboot. I know that I'll have to upgrade my processor and memory to do this well, but I want to know for sure it will work well before I put down the cash. With my current setup, giving Windows 32 Megs of RAM, I can't even get an .MP3 file to play without sounding a little bit choppy. Is this an inherent problem with VMWare's interaction with the audio hardware, or is this something I can fix by throwing money at it? Would a Pentium II 450 with 128 RAM suffice? Or should I just scrap the VMWare thing and buy a simple dedicated machine for this task? "