well, I’ve now been working with scape for a couple of weeks, and I have to say, it’s been an absolutely remarkable experience.
I’ve never had a tool that “grows” as you use it, but scape not only grows but the new backgrounds, palettes, and elements that appear, just get better and better.
scape seems to be getting a very good reception, with some very positive press, such as this item from the guardian.
yesterday’s session was an absolutely mind-blowing one, with a new “spearhead” shaped tool appearing, that makes an incredibly complex synthesizer sound, and with the addition of this new tool, even though I am pretty sure there is quite a bit more to come – now, the scapes I can create, are just astonishing in their complexity.
and speaking of complexity – that’s one of three new “controls” that have recently appeared – “density” – “complexity” – and my personal favourite “mystery”.
I’ve always wanted a slider to control “mystery” – and now I have one.
new tools in the bass register are also a huge hit with me, and I can’t wait, each day, to press the “create new scapes” button and see what the next set of amazing tools will be.
this was already the most innovative ambient music creation tool I’ve ever used even in it’s basic, starting configuration. I could have happily created many, many unique and beautiful scapes, ambient, sinister, active, strange, bizarre – with just the simple controls, backgrounds and sounds that I had during week one. but each time you press the “create a scape” button – the app delivers more, new, and exciting, tools to you to use.
but now, now that I’ve been amazed over and over again at the new sounds and backgrounds that appear, I begin to realise just what a complex and clever creation scape is. this is fast becoming not just my favourite music application to create ambient music with, but in some ways, my favourite music application of ALL time.
using my own imagination, coupled with creating scapes based on eno and chilvers’ suggestions, I have, in two weeks time, created 146 individual scapes and several playlists, that, if recorded and played back in their entirety, represent many, many hours of music, and compositionally, for me, represent in some cases, what would equate to several complete albums of music – and all created in just two weeks of work, 30 to 60 minutes a day maximum.
and when I listen to scapes I’ve created, most of them work very, very well indeed, there are very few that I feel are “substandard”. the scapes made in the last couple of days in particular, are so incredibly rich, complex and beautiful – and it’s not me, it’s the tool, of course – I am just putting the elements together, and then marvelling at the sound that comes out.
also – I find, I am starting to work visually. creating landscapes, and not worrying about the sound until I am done, letting the vision of the elements drive what the sound is – and that’s a new experience for me. I was always in control, I played THAT bass part or that synth or that guitar – with scape, you can just “paint” – just make pictures with mountains and the sun and notes hovering in the air…
I find myself creating scapes that are very…symmetrical, and those are often the most beautiful of all, but, even the most random visual effect can also translate into a piece of incredible beauty. at one point, I created an empty backdrop, and then placed random sound objects in an ugly circle in the “air” – and it sounded really good. so you can spend a long time, creating a beautiful painting, and get good results – or, work very quickly/randomly, and also get…good results.
I will say, I think the more I work on the visual aspect; the “better” the scape, but, even the most randomly created scapes still sound good. sigh…
at this point in time, I am half of a mind to simply record each of my 146 scapes (note: now, over 200 scapes as of blog press time), and start loading them up to sound cloud, because I will never have the time, money or resource to bundle these amazing compositions into traditional albums. and that would now be something like…20 albums.
I want people to hear scape, not so much for my compositions, but just to hear what it is capable of.
I do believe, that the scapes I’ve been creating, are working very, very well for a number of reasons. the first and foremost, is the amazing, intuitive tool itself, and, the fact that you can “draw” a picture, and that then triggers an amazing piece of music…visually created music. secondly, and important in my case – I’ve been creating ambient music myself since about 1989, and I really feel an affinity with this instrument, and it’s strange method of composition – as unique in it’s own way as “looping” was back in 1989. I feel that my experience, makes me the right person to be using a tool like this, and I have worked very hard on my first 146 scapes, building them to the suggestions from the instruments’ creator; building scapes of my own design, but just flying, too, as I did in the looping days – you just push “record” and you go, and you start looping – and sometimes it works amazingly well, other times, you have to try again.
scape is no different, you start out with a blank palette, and you add elements. usually, it works very, very well – occasionally, you have to scrap a scape and start over. very occasionally.
so…in a way…scape is the looper of the “naughties”. or is it the “tens”, now.
if you had asked me 18 months ago if I thought I was a likely candidate to be championing the use of ipad apps to make music with, I might well have laughed. I am not laughing now – scape takes application music-making to a whole new level, and brian eno and peter chilvers, and opal, have done an AMAZING job with this “organically-growing-as-you-work” application.
just the idea that the app gives you oblique strategy-like “instructions”, the idea that, when you go to “create” – you are immediately rewarded with new, raw materials with which to create, that you did not have available the day before – that’s intelligent design, that’s startling – because suddenly, one day, you get, two or three new tools, and that…changes everything.
constantly evolving, constantly becoming more and more capable, and right now, I think I have the world class, the best of breed, the most remarkable, the most creative, the most flexible ambient music creation tool that there ever was – right here in my hands.
I’ve already done some experiments using scape as a “live backing” for live recording with guitar or guitar synth, and I can see a huge future opening up where I can play live…as scapes evolve organically, live, while I am improvising along. it’s really the ability to have “those” sounds, those amazing brian eno borne sounds, that makes scape so addictive and so wonderful to work with.
but – I can also see, in the recording studio, hybrid scape- and traditional- instruments blending really well together, using scape for entire ambient sections of music, overdubbing scapes with looped ebows – unlimited potential for both live performance and studio integration.
I can take looping, which I’ve been doing for so, so long, and blend it with this brand new ambient music creation tool – and I think the amount of flexibility that will give me, is going to be a game-changer. I can imagine the kinds of hybrid music that will be available to me now, with tools like this…the mind reels at the nearly endless possibilities…
for me, one of the most exciting exercises was when I was given the instruction to “create a scape that works with another application”. this was way back during scape week 1, when I barely knew what I was doing, but of course, I chose “itabla” – my other favourite music application, and I was quickly able to “tune” “itabla” down to c natural so it would work with scape, and I created a “tabla/tanpura” piece first, and then a scape to go with it.
when I play them back together…it’s bliss, pure, ambient, tabla, raga, ambient, bliss. like no music I have ever heard. this is a piece that I will be recording and presenting somewhere, because it’s just an astonishing piece of music – and, created by following the instructions/suggestions made by eno and chilvers. I continue to use the instructions, even if they repeat, and as time goes on, my efforts to “create a storm” or “create confusion” or “work with colour” or “create contrasting textures” or “use only one type of element” – get better and better as the days go on.
some of the playlists I’ve developed, I’ve let play on repeat for many hours, and they sound like (funnily enough)…eno albums. which is not surprising, given that the music within scape is mostly played by eno. but – by intent or not – he has given us the actual DNA of his style of ambient music.
If I had designed a “dave stafford” version of scape, it would be all about ebows, ebows, and more ebows – you folk could construct “dave stafford”-sounding scapes out of recorded pieces of – energy bow guitar. in fact, I’d love to do that, and I’d love it if you could get different “versions” of scape with different sample libraries – like the robert fripp version, which would have two modes: “frippertronics” and “soundscapes” – and you could “build your own” fripp soundalike pieces. or the “ravi shankar” version, where you can create your own ragas, using real pieces of music from the master himself…
sometimes, I wish I were a developer – because I keep imagining these apps, but I can’t build them…
I don’t mean to, in any way, downplay this one, because the samples in this one are beautiful, really, really beautiful – but just imagine, a whole range of creation tools featuring sound bytes from all of the master musicians of the day – you could even do one based on jimi hendrix, so rock guitarists, who are not usually that much into ambient, could have a version to work with. luckily, I happen to embrace both disciplines, being a rock guitarist turned ambient guitarist turned back to a rock guitarist – so I would be equally happy with the eno version and/or the hendrix version.
“scape” is like having a selection of the best sounds from “music for airports”, “thursday afternoon”, “neroli”, and any other classic eno ambient record you care to name, available for you to reconfigure into your own eno-like yet *not* eno-like pieces.
in fact, despite the fact that the samples are all played by eno or chilvers, it’s very easy to add in your own influence, by creating artistic, visual designs that they didn’t think of (or didn’t happen upon, is maybe a better way to put it) – and I’ve done some very, very strange visuals which created some very, very unique scapes – that I feel, in some cases, say more about my personality (I hope), rather than all sounding just like eno-soundalikes. if you work at it, you can inject your own personality into the resulting sonic compositions.
I guess what I am saying is, if you just throw a few shapes onto the page, and push play – you will get eno and chilvers; chilvers and eno; eno and chilvers. but if you take time to learn what each element does, and how the backgrounds and filters affect each scape, you can manipulate events, usually visually, to impart your own personality into the pieces.
by trusting in their suggestions, I’ve found that those suggestions often reward me greatly – they would know – and some of the best scapes are scapes based on the inbuilt suggestions. equally though, I find I can manipulate the visual palette to realise my own musical ideas – because I know, or at least I am learning – what to expect from the backgrounds, elements, and filters, so I can forge a “dave stafford” sound using “brian eno” elements – and further to that, if I then play live improvs along with a “dave stafford-ised” scape, or use same in studio works – I think the sky is the limit.
of course, I can, and have, and always will, build my own ambient pieces using the normal methods – synths, ebows, for me, mellotrons (reference: sky full of stars, an ambient album made entirely with the m-tron pro mellotron) – that goes without saying really. however, having this sort of…purpose-built ambient music making machine, that can create lush, beautiful, enoesque tracks very, very quickly indeed, on the fly, live, or studio – well, that just is the icing on the cake, it gives me an amazing new vocabulary of ambient sounds to incorporate into my music, live or studio…OK, the method of creating the sound is visual, which is a change – but I learned to make music without keys or strings when I got my first kaoss pad – now, I can make music by creating visual works of art in the scape creation window – so that’s just the latest way to create music – I just add it to all the rest – nothing surprises me now, in fact, this visual method of creation, I think, is fabulous, and kudos to eno and chilvers for making it work so very, very well.
did I mention that I ***love***this application? scape is “the” ambient music application, and maybe, just maybe, my very favourite music application of all…we shall see.
I can’t believe how quickly you can conceive, execute, and complete new pieces, I can’t believe I’ve created 146 long form, ambient masterpieces in two weeks flat, the speed at which one can work with scape is incredible, and the results, sonically, are equally astonishing – words don’t do it justice, you have to hear it, see it, use it – and especially, use it – to experience the “growth”.
it looks great, it **sounds** great, and the way it “grows” as you work with it is undeniably an addictive and fantastic feature – wow. each day – you get new tools with which to make ever-better, evolving, music. because of this evolution – the pieces I made yesterday, are light-years, musically, beyond the pieces I made ten days ago.
and then… there was today’s session, the most productive of all, taking my total number of “scapes created” to over 200 – so about 50 created just today – and again, some, made to suggestions, some, made completely randomly, or based on newly-appearing elements – but, 200 + amazing pieces of ambient music, probably something like 20 full ambient albums made in just two weeks – that’s astonishing.
I love it.