a mixtikl experience…

i never dreamed i would think or say this:

i believe i like mixtikl better than i like scape…for ambient (and non-ambient) generative music creation.

there – I said it. sacrilege!

don’t get me wrong, I absolutely love scape; it consistently produces truly beautiful, unique, ambient music – but for a musician, it is an odd experience – you draw a picture, and music comes out.  that’s amazing, and it sounds great, but I like to have more…control over what happens in a piece of music that I am creating.

all of the rules are hidden, and as far as how much control the operator actually has over the app – in scape? none, basically. but over in mixtikl…the operator has almost total control – maybe too much control!

I made scapes for months and months until I had over a thousand of them – and then one day, I just stopped.  I will make more at some point – but I’ve never really had time to listen to the ones I’ve made, in the main…so I will do some listening, and eventually, go back to scaping – because it’s fun, it’s a fantastic app…but.

mixtikl…gives me control.  and I have to admit, I like that.  I like the idea that I can select the sample (even create it myself, if I so desire) and that I can mix and match anything with anything…it’s the ultimate in creative flexibility.  you can do ANYTHING! literally, anything.

as I tend to do, my first creations on mixtikl were ambient, mostly.  after a few months, though, drums started creeping in, and then I found myself intentionally creating active pieces – and the results were just as satisfying, and sometimes startling, as the results were with the ambient pieces.

I recently did a new piece (not yet uploaded) comprised on mostly human voices, with a couple of synths added in – dropped it into a nice reverb, and it just sounds fantastic.  then I turned around, made a copy of this very ambient track – added bass, drums and synth – drew the reverb back – and suddenly, I had a loud dance version of the same track – that really rocks – as time goes on, I find that mixtikl can do just about anything, limited only by your imagination.

so right there, that gives mixtikl a second huge advantage over scape: scape makes mainly ambient music.  that’s what it does, and, it does it very well.  but mixtikl – makes ANY kind of music.  and that is freedom.

the first time I used a series of samples that were intended to be used together in mixtikl , I was absolutely amazed at how well it worked, the intelligence built into the samples – astonishingly clever.  a bass, a beat, a guitar, a horn, a voice – all working in tandem, in harmony, in sync.

once you get the hang of the controls, then you can really start to work with mixtikl , in particular, I love the mixer grid, because you can have both repetitive and linear activities, so I can have a bass looping but at the same time, I can have four slightly different drum beats running in a linear sequence – so the bass stays the same, while the drummer changes things up in four different scenarios – brilliant!

I also love the fact that of course, you can insert the same sample many times, and alter the pan position, the time, the effects…so for example, in one track, I had these beautiful guitar harmonics – and I wanted a LOT of them, so I just dropped six or seven of them in, left one mono, made the rest stereo, set them at different levels, etc. – and the results were fantastic.

sure, it takes a bit of work sometimes – and some days, nothing sounds right, I am importing, then deleting, sample after sample – but more times that not, I can simply import a few sounds, get them working together, drop one or two maybe, then, carefully add sounds until the piece builds up to whatever sounds good…and it really does sound good!

I still consider myself to be a beginner at mixtikl, and when I read the mixtikl operator manual, I feel immediately humbled and I realise that there is so much I don’t understand or even begin to understand – but, armed with my tiny bit of knowledge, I just forge ahead creating many, many pieces of music – right now, I have four that were just mastered and uploaded, and another four or five waiting to be mastered, so a small backlog is building up…and whenever that happens, I can tell I am falling in love with yet another brilliant application – and this time, it’s mixtikl.

I find that I like to let mixtikl pieces play out “long” when I record them, and a few of my recent pieces have been approaching, or even over, 30 minutes in length.  this is really a semi-conscious decision to “go long” as in the old days of ambient, in 1995 and 1996, when I was working in the ambient looping band “bindlestiff”, we tended towards longer loops, because for one thing, any repetition becomes quite hypnotic, so that’s one reason why I favour longer pieces, but the main reason is, the loops and samples sound so wonderful when assembled into these generative pieces, that I love to listen to them unfold over a decent period of time.   they sound good if you play them for ten minutes.  they sound GREAT if you play them for 25 minutes…

strange eddies of quiet appear – odd bits of music that you don’t expect, but that create wonderful atmosphere when they suddenly appear from nowhere…and then disappear again – back into the main loop, or whatever it is.

generative music is really good for ambient, because odd things happen in ambient, unexpected things, sure, there are repetitive events that your ear “expects” to hear each time they repeat, but sometimes, other events may intrude that temporarily disturb that flow – and it’s a complete surprise to the ear – which is wonderful – and then, you are back on track before you even know what hit you.  I tend to have a pretty busy “grid”, even on ambient tracks, strangely, sometimes, “more is less” with ambient, because you get different voices coming out of nowhere briefly, and then disappearing for a while, and then eventually returning…

sometimes, having a lot of different events is helpful, because it gives the brain variety and repetition, and I think we as humans like both of those things.  the beauty of it is, though, I just put the samples into the cell, I decide if it’s looped, linear or whatever, I might then add a compressor or eq or some track effects – and that’s about it – the tool does the rest.  mixtikl decides when it will play the sample, based on the tempo and key I’ve told it to, of course.  it does all the work.

it’s been noted before, and I find it to be true, sometimes, some of the most ambient pieces, have a lot of music playing, a lot of events, they are technically a bit “busy” – but the effect when you hear them:  totally ambient.  It’s very strange, but very true – some of the very best ambient pieces actually have a pretty high level of musical “activity” – yet somehow, that distils down to something very pure and clean, and very, very ambient – I think this fact will always be a bit of a mystery, but for me, it’s made me less afraid to add in more, because I find that even with more, the pieces still, often, come out supremely ambient – it’s brilliant.

mixtikl is fast becoming my go-to tool of choice for generative ambient music, and latterly, active music, too – it’s a blast for drum and bass-based pieces, really fun to work with – and that’s something you can’t do in scape, too – play the drums!

I promise, right now – my next blog will not be about scape or mixtikl 🙂

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the future of generative music – beyond bloom, scape and mixtikl…

as one of our readers recently pointed out, the ios is a fantastic place for generative music to blossom and grow.  already, we have a surprisingly high number of generative music applications available, and I am sure that list will grow over the next couple of years.

I’ve expressed before that I am a late arriver onto the generative music scene, but as with every new music that I discover, I tend to jump in head first, and continue to dive in as time goes on.  my purescapes channel on youtube is one example of this ambition – to eventually, over a number of years, to publish all 1100 scapes (and counting) so that the world can hear what an amazing, ever-changing, ever-surprising generative application brian eno and peter chilvers‘ “scape” is.  I could sit here and wax profound for paragraph after paragraph, trying to describe what a beautiful, generative, ambient sound “scape” has, but I realised early on, that the ONLY way to describe “scape“, would be to simply capture and publish every scape I’ve ever created.

and across those 1100 plus scapes, there is such a huge variance in sound, composition, approach, ambience, melody, dissonance, mood, atmosphere – and I allowed scape to “grow” organically, so I started out with the minimum tools, and allowed the app to “reveal” new sounds as I went along, so for many, many months, every few days, I would “get” another new element, which I would then experiment with, on it’s own, in multiples, with existing elements, through different “mood filters” – until the next new sound arrived.

so the scapes in the 300 range, will have double or more the elements of the first 30, and those in the 700 range, more elements still, until now, in the 1000s, where I have all of the elements and backgrounds exposed and at my disposal.  I had deliberately set scape aside for a few weeks, until last night, when I picked it up, and within 10 minutes, another 30 scapes are added to the ever-growing catalogue, and – the sound of a completed scape, with carefully chosen backgrounds and elements, based on my now many-months of experience – still does not fail to UTTERLY delight me – the sound of scape is mesmerising, I can and do listen to scapes for hours; creating them is a joy, and my only regret is that I cannot produce the next 1090 videos fast enough – I would give anything to be able to push a button and upload all 1100 scapes to youtube, just so the whole world can HEAR this music – it’s like I’ve made 60 new eno albums over the past several months – which in an odd sense, I have, since I am merely assembling, re-assembling, breaking down and building up, a lot of sounds either found or created by eno, and chilvers – so of course, that does make most scapes sound a LOT like…the music of brian eno.

and that, my friends, is a good thing.  I would go out on a limb and say that in some regards, out of some hundred or so music apps I now have (that in itself is gobsmackingly astonishing!), some of them absolutely incredible – that scape is possibly, my single favourite music application, and the one I probably get the most enjoyment out of.  but – I tell you what REALLY excites me – the idea that within a few years, I will have uploaded hopefully at least the first few hundred scapes, so that you can hear this amazing music – I feel like I have this secret cache of eno music, that I really want everyone to hear – so – hence, the purescapes video page – slow going I am afraid, but in time, I hope it will become a point of reference for anyone interested in acquiring and using scape – which I unreservedly encourage and recommend most highly.  if you are even thinking about downloading scape – I urge you – do not hesitate, just do it – you will have hours of fun, and, you will create your own library of “new” eno compositions – to enjoy now and for always.

and scape, of course, led me to it’s predecessor, mixtikl – an application that I am just now becoming familiar with.  and what an application it is!  massive sound libraries of the most astonishing weird and wonderful sounds; create your own sounds (I am dreaming of recording many, many samples of long, long ebow guitar notes, and then assembling them into strange mixtikl creations…) – and then load them either by design, or by using the random generator, into wonderful pieces of generative music.

mixtikl, despite sharing a founding  father figure in mr. brian eno, is the polar opposite of scape in terms of elements being exposed and available.  scape is entirely hidden, the rules are hidden, control of volume, eq, effects is primitive or non-existent, but in mixtikl – well, you have almost TOO much control of what is going on.  every cell, every sound, every effect, can be adjusted, tweaked, and modified to your heart’s content.  while scape creates it’s pieces using a very tightly limited set of elements, mixtikl allows any sound imaginable – and yet, both apps, create wonderful, ambient, generative music.

it’s true, that in mixtikl, you can easily create very noisy, very active pieces, but I am not particularly attracted to that – although I have used it to create a great quasi-ambient drum-driven backing track for ebow guitar – I tend to steer mixtikl down the ambient path, because, to my mind, that is what it does the best.  I am sure active music creators might disagree, and I am sure it’s extremely capable of creating great active music – but that’s just not my interest.  but what mixtikl can achieve in the ambient realm – well, I am just getting started, and so far, the pieces I’ve created do not disappoint – you do have to tweak things quite a bit to get it to sound truly ambient, but it’s worth the effort.

in scape, it’s almost too easy to make a good sounding piece – the samples, and the rules, just automatically add up to a great sounding, eno-sounding, eno-soundalike – almost every time.  very rarely, I produce a scape that is not quite eno-like, but – that is rare indeed.  in mixtikl, it takes much, much longer to assemble and tweak a piece of ambient generative music, but it’s always worthwhile, because once you do get things sounding good (usually, by removing elements and turning elements volume DOWN…) – it sounds REALLY good.

I feel as if I’ve been short-changing bloom this entire time, but for some reason, I always felt like bloom was a prototype for scape (which in many ways, it was), and while bloom can make some really lovely sounds, it just doesn’t seem like an instrument to me – it plays back some really beautiful eno-esque sounds, but when scape came along, with it’s infinitely more varied sound palette, plus the ability to capture scapes very, very quickly as finished pieces of generative music…it kinda knocked poor old bloom off the charts.  which is a shame, because bloom is a really lovely app, well worth spending time with.

I tended to just create a track in bloom, and listen to it, rather than capture it – so even though I’ve created many, many bloom tracks – I’ve never recorded one – which is a real shame, as some of them were downright beautiful.  I think though that eno went back to the drawing board, and came up with scape – which is a million times more capable – I just like the sound of scape a little bit more than I like the sound of bloom.

even though I am singularly unqualified to say, since I really have only had experience with a few of the many, many generative music creation tools that have come along over the past decade or so, I really believe that the next few years may be a real game-changer for generative music.  if I just take the toolsets of  the two generative music applications that I am personally most familiar with, scape and mixtikl, and I think about the power and choice on offer to create beautiful, or dissonant, generative music, it’s difficult to imagine where things might go next.

the change from bloom to scape was like a quantam leap, and the strange, secret complexity of scape’s hidden “rules” is most impressive.  since it’s been expressed out loud that folk would like a version of scape where they are able to, a) load in their own samples and b) create their own not-hidden “rules”…to which chilvers basically replied that it was very unlikely that eno and chilvers would produce such a thing, simply down to the way the programming had to be done, it’s not readily adaptable to either the use of user-created samples OR users being permitted to set and manipulate “the rules”…so knowing that eno and chilvers won’t do it, it’s my hope that some other enterprising application writer will.

the future: imagine then, if you will, a sort of open-source app that is like scape in design, but with one staggeringly different difference – the samples are created entirely by the user; the rules are written and set by the user, the coloured filters/effects are set by the users – like scape with a mixtikl-like level of control.  that would really be something, and I would imagine too, that the visualisation, regardless if it mirrored the scape “screen” or the mixtikl “visualisation” screen – probably this new super-generative app would allow for either approach – and all the VISUAL content would be user-generated.

this would mean, for example, instead of assembling a scape using the “shapes” the eno and chilvers created and related to a musical event, that multi-media artist/musicians could create entirely unique, and utterly personal, multi-media artworks, where each musical background, and each musical element, relates to a user-created music sample, and all aspects, from the visual design of the artwork, to the relating of the artworks’ elements to sound events, to the final EQ, mixing and filtering – the application of effects – all completely controlled by the user.

sort of an amalgam of mixtikl, bloom and scape, but with complete user control.  maybe no one will build it, but, because somebody asked chilvers the question, and he said no, scape isn’t going that way – then maybe, just maybe someone will pick up the fallen standard and carry it forward to a brave new world of generative music that right now, I can barely imagine, but then, three years ago, I would never have dreamed I would have 100 amazing sound creation applications on a tiny tablet from which I can produce world-class music of not just ambient, but of any time, that I would be able to play my guitar through virtual amps, cabinets and effects in an application such as ampkit+, and that audiobus would revolutionise recording of synths and other sound sources in the ios.

so the whole thing is impossible, so a future with super-generative applications that are far, far, beyond koan, mixtikl (and all it’s “-tikl” brethren, too many to mention!), bloom and scape – is totally and entirely possible – and I will actually be surprised if it DOESN’T happen.

I am continually astonished by what happens in the ios – someone conceives and then invents audiobus – and suddenly, every music app creator worth it’s salt, immediately adds audiobus capability to their apps (the latest entrant, addictive synth – that make me so, so happy, because that is one of my top three favourite ipad synthesizers of all time!) meaning that a huge number of sound producing apps can now be used together under audiobus – which, if you have something like auria or cubasis installed, makes professional multi-track recording a reality, not just for synths and MIDI devices, but also for guitar apps – that is astonishing.  I would never have dreamed, a year ago, that something as clever as audiobus would free us to make recording on the iPad very simple indeed.

a few weeks ago, there were at most, a dozen apps on the input side of audiobus.  today – there are 25, and more being added every day. some music apps have taken audiobus support so seriously, that they have configured their sound-generating app to work in all three audiobus positions – input, effects, output.  that’s dedication!

so when I see growth like that, I can readily imagine that generative music apps might go through similar startling adaptations, and great leaps forward, audiobus-style, which might eventually make the very, very complex and capable mixtikl and scape, seem simple by comparison.  I do not know – I could be wrong – but the ipad’s ios is clearly the place where developers come up with startling, innovative concepts like audiobus, not to mention several miraculously life-like and sound-perfect recreations of classic hardware synthesizers, or incredibly high quality amplifier, speaker, microphone, and effects modelling in a product like ampkit+ or stomp box (my absolute two favourite ipad guitar apps – hands down).

to me, all of that is magic, magic of a high order – and what it’s done for me, since I never had the money to invest in a lot of music hardware, I never could afford a moog of any kind, or a korg, and I absolutely would never have had the money to buy a hardware fairlight! – yet now, I “own” all of those instruments in the incredibly low cost application version – and more importantly, I can now have the experience of creating music with those tools that were always beyond my reach – because I can afford to pay twenty quid for a fairlight, but twenty grand – no 🙂

I think that music making on the ios has already exceeded our collective expectations, but I shiver to think what the future might hold, not just for amazing, super-generative music apps, but for all music-making, not wanting to particularly paraphrase the carpenters here, but I have no choice: we’ve clearly, only just begun.

I can’t wait, I am so, so looking forward to the next five, ten years of music development on the ios.  the sky is the limit!

🙂

generative music applications – mixtikl and scape

today I am giving some thought to generative music, which is a kind of music that I don’t have enormous personal experience with (save, perhaps, with “scape”), but at the same time, I feel a close affinity to generative music because it seems to resonate with me in a similar way to the way that looping and ambient do.

a lot of generative music is ambient, so that may be why, but it can also be quite active, so that can’t really be it.  maybe it’s the fact that you have limited control over the elements – well, depending on what you are using I suppose.

ABOUT KOAN

the first generative app I used, was an early version of koan, that I must have had in sometime in the mid to late 1990s, and I remember finding it to be most strange, but also, quite wonderful, because you could literally set off several odd sounding music generators and the pieces would “make themselves”.  I did create a few pieces using koan, but I am not aware of any that ever got mastered, released or even survive.  I may eventually find some of my koan pieces somewhere, when I finally sit down to go through all of my reels and cassettes (when I retire!) – maybe.  of course, it might also be better if I don’t find them, because I doubt they could compete with the generative music apps of the present!

ABOUT MIXTIKL

starting with the one I am least familiar with, “mixtikl” – I had long wanted to purchase this, and when the price was lowered recently, I did.  I immediately kicked myself for not buying it sooner, despite some vaguely negative feedback I’d heard and read, I personally find mixtikl quite easy to use, and the quality of the sounds is extremely high – a lot of great, great sounds, which of course makes it very easy to make some great sounding music.  in fact, just a couple of days ago, mixtikl put three of it’s sound packs up for free download, so I absolutely took advantage of that.

the addition of that rather massive library of super high quality sounds put “mixtikl” into a realm of it’s own, I was trialling some of the sounds and I found them to be exquisitely beautiful, or odd, or weird – which suits me just fine – and I feel very impressed by mixtikl – they have worked very, very hard to make an app that just lets you create.

I’ve completed a few tracks in “mixtikl” (see below), but have yet to publish any – that’s simply down to my schedule.  I have two or three that are probably in their final mix state, so I do need to try and finish up some of those tracks so I can publish them.  tracks completed so far are:

 

20121217 almost waking – a super ambient, shivering bundle of ambient nervousness (two versions, the completed one, and a prototype)

20121218 embellishment – very, very ambient piece made with modified bells (hence the title – get it?)

20121220 pulsating – a slightly more active piece, waves of ambient sound crashing on an ambient beach…

20121220 pulsating wisdom – an active track in the style of bill nelson, built on the ashes of “pulsating” (and sounding nothing like it – so titles will change)

20121220 pulsating wisdom – drum version – same as above, but with a drum track added – making it even more in the style of bill nelson

 

ABOUT THE NEW VIRTUAL ALBUMS (FORTHCOMING 2013 – 2015) – MUSIC FOR APPS series:

speaking of publishing music made with applications, I am planning on setting up a number of new “ongoing” albums up on my bandcamp account, to contain tracks made with mixtikl, scape, fairlight, nanostudio, korg ipolysix, korg iMS-20, animoog, iMini, and so on.  so once mixed, the tracks above would be added to the never-ending-ongoing-mixtikl- virtual album, and then, as I create, I will upload more and more tracks, until eventually, these albums become large free-form bodies of dave stafford application-based music.

for my normal guitar based music, I will probably continue to record and release “albums” in the normal way.  but I am finding that making music with apps, it’s so prolific, and at any time, I have a number of tracks “on the go” in many, many different apps – that the idea of gathering them together into “albums” just doesn’t make sense any more.

so I’ve designed this new, virtual album – it won’t have an album “price”, because the tracks will be added over time, ad infinitum.  in this way, too, customers can pick and choose – they can listen to each track, and only buy the tracks they like, instead of having to buy an entire album, it will just be an endless series of tracks…

so, if over time, say that over the next 20 years, I end up making…245 tracks using “mixtikl“, then, the virtual mixtikl album will start out in 2013 with one track, and end up in 2033 with 245 tracks.

one virtual album per application.

MORE ABOUT MIXTIKL

but I digress.  getting back to mixtikl for a moment, I find the way you construct your pieces to be quite excellent, it’s so easy to add content into your composition, and the mix tools are excellent as well, I think that given the complexity available, they have done a great job with the GUI, I love that you can have track effects OR cell effects, I love how easy it is to insert sounds (and now that I have those three new, free sound packs (or tiklpaks as they are called)…my hardest decision will be WHICH of these amazing sounds to use…) it’s a really well thought out tool.

I believe that one of the main reasons that mixtikl appeals to me is…that in mixtikl, unlike in scape, you have a modicum of control.  you have control over what sound sources you select, what level they play at, what effects they have, you have control over tempo, key and EQ.  there are global effects as well – which is important to me, because often with ambient musicyou may wish to drop the entire track into a bit of reverb, to further the ambient feel of a piece.

it’s interesting, because I bought scape first, and used that for many months, and then when I finally picked up mixtikl, it was such a shock – the level of  control you have in “mixtikl” is really freeing, you can take any number of sound sources, drop them into your mix, and adjust the level, eq, and effects of each one – treat the whole piece with effects, make alternate copies and add or subtract sounds (as I did with “pulsating wisdom” last december) – so much control !!  so with mixtikl, I can make a lot of decisions that I cannot in scape, I can decide if a piece will be very, very ambient or very, very active – I can decide if it will be very present, or drenched in reverb.

and with the number of awesome sounds now available to me, that means an endless variety of percussive, keyboard, sound effects, bells, god only knows what, is available as sonic building blocks to build generative masterpieces.  I hope to find time in the near future to create new works of generative music, using this most excellent of tools, the mixtikl application.

and lest I forget, it also comes with a really well thought out visualiser, that creates truly beautiful graphics to accompany your mixtikl compositions, including a word generator that you can put your own words into (or use the default sets).  even though it serves no real purpose, it’s inclusion I think is excellent, because it provides a beautiful visual representation of the music that you have created.  an excellent visual addition to an excellent music creation tool.

ABOUT SCAPE

…and then there was scape.

scape is…the odd man out of generative music.  unlike mixtikl, in scape, you have almost NO control.  yes, you can select sound generating objects and add them to a mix that is purely visual…yes, you can pick a filter to run the track through…yes, you can add different background tracks to provide different ambient backings to your pieces.

but that’s about it – you don’t have any control over the parameters that you do have control over in mixtikl, so the design of scape is so, so different.

it’s almost ridiculously easy to use.  basically, there are menus of sounds represented by shapes, which you drag onto a palette that “is” your scape.   there are several different categories of sound generators: backgrounds, bass parts, synth parts, sound effects, and other quite difficult to explain sounds.  since the entire tool is visual, as you use it, you begin to make up names for the different elements, like the blue spikey shapes, which sound like nothing on earth, very odd and atonal, or the pyramids which  are like keyboards, descending luminous arrowheads make a beautiful, swooshing synth sound, bass parts are represented by squares turned on their sides and so on.

so learning scape is very easy, you just drag out backgrounds or objects onto the palette, and listen.  if you don’t like the sound of the element you brought out, you can just drag it back off the palette and try another element.  the placement on the palette also makes a difference, and the objects change size depending on the position they are placed in on the palette.  you can lay objects on top of each other, but they will change size as you do – it’s very odd.

you might add four bass parts in, three of them would be pretty large, but if you place your fourth bass part on top of a pyramid, the bass part will shrink to a tiny size depending on how much it overlaps another object.   there is also a feature that prevents you from adding too many objects to any one scape…if you reach the maximum number of objects (I don’t know exactly what number that is, perhaps 50 or 60 objects in total) – something very odd happens – you add an object – and scape removes a DIFFERENT object! I assume that feature has been built in to prevent scape from clipping, so it does make sense.

but this is the first instrument I’ve ever used where you, as the “player” of the scape, really cannot control anything except the background, the elements, and the filter that the track runs through  – and that is about it.  you can’t name your tracks, they are auto-numbered for you.  you can play back any scape, you can also make “playlists” allowing you to play back several scapes in a row.

at first, I really had quite a time adjusting to scape, and how very, very much it’s a closed system, and how very little actual control you have over the music – you can drag shapes onto the palette, you can drag shapes off of the palette, and you can move existing shapes around on the palette to effect change, but that is it – there is not a dial in sight, volume, tone, eq, reverb – nothing.  it bothered me that I couldn’t name the pieces, I couldn’t do anything to them – except change backgrounds, elements, filters.

so, the totality of your control over scape:

three actions; change backgrounds, elements, filters.

plus three  sliders marked “density”, “complexity” and “mystery”.

 

ABOUT MIXTIKL & SCAPE

so scape really is the odd man out, a totally different animal when compared to mixtikl, the design approach almost polar opposite: scape, where the magic rules are hidden, in fact, almost everything is hidden, versus mixtikl where almost everything is exposed to the operator.

because scape is so very easy to learn, I found that I could create many, many very different and very wonderful pieces of ambient music with it.  mixtikl is still new to me, but I know that over time, I will be using it more and more, for the simple reason that I want a generative music tool that I control, as well as the sort of “eno preset magic” that scape offers.

it is interesting too, the difference in output – scapes tend to sound a certain way, because of the backgrounds, elements, and filters chosen by brian eno and peter chilvers, plus the hidden “rules” – whereas the output of mixtikl, because you can add any number of randomly selected elements into any mix – sounds widely varied and wildly different from track to track.

CONCLUSION

while I have recorded well over one thousand scapes to date, I am only just beginning to work with mixtikl, so I have a long way to go there…hopefully, over the next year, I will find more time to create with mixtikl, and I look forward to releasing mixtikl tracks as they are created, alongside the scapes which already exist – those will also be released over time.  but I must say – I am more than pleased with both tools; despite their polar opposite design philosophies, I am equally happy creating with either, because generative music is still an under-explored area of music – and I hope to change that 🙂

 

 

to hear the existing collection of dave stafford scapes, please visit the purescapes channel on YouTube.

audio only versions of the first 17 scapes also available on soundcloud.

animoog – jam up pro – loopy hd – riding the audiobus :-)

well, I finally had a chance to do a “proper recording” using audiobus – and I am not disappointed in any way.

I made it simple – I just used one synth, albeit a synth with a huge vocabulary of amazing sounds – the recently expanded animoog.

I quickly gave myself a refresher in loopy hd, I re-taught myself how to use it, because I hadn’t really “got it” before (I had used it exactly once, a couple weeks back), and now have a degree of competence in it’s use. 

then…I fired up audiobus, loaded and “woke up” my input (animoog) my effects (jam up pro xt) and my output (loopyhd) – and then, switching to animoog, recorded my first loop in no time. elapsed time: less than two minutes.

then I began to record overdubs on other loop channels in loopy hd, and within perhaps seven or eight minutes, I had all six loops populated and playing a very jolly little tune in the key of c major – bright and beautiful.  five melodies, and one sort-of bass part/slidy thing.

I used five or six different voices from animoog, some from the standard menu, some from the metallic set, some from the richard devine library – all, very, very beautiful indeed – animoog is the secret synth weapon on my ipad, without a doubt.

another minute adjusting final volume levels.

another minute adjusting pan to get some nice stereo going on.

result, in less than 10 minutes, a beautiful stereo multi-track loop of the highest quality.

a final mix in audition, adjust it’s levels, and maybe a tiny spot of reverb (it already has some nice reverb and delay courtesy of the jam up pro xt, but maybe it would like a tiny bit of reverb – maybe).  it’s quite, quite lovely the way it is, to be honest, so I may just leave it as is.

(note: in the end, I left it as-is – nothing added – no additives or preservatives used 🙂

based on my experience here, and thinking about all those inputs that are already compatible with audiobus, I am imagining using six different input devices, and recording six loops – each totally different, one with a bass line, one with a drum machine, and then four different synthesizers – to get four utterly distinctive melodic sounds…but that’s just in the world of loopy.  when auria comes on line (note – it since has!)….then the sky’s the limit.

or, of course, guitar could be one or two of them, so maybe…bassline, drum machine, synth 1, synth 2, guitar 1, guitar 2.  and of course, you can have more than six loops in loopy, so there is no limit – and the quality recording that came together so quickly by just using one synth…is brilliant, so I can see almost no limits to what can be done with this device.

the beauty of using loopy hd is that in this case, it actually brings the record button from loopy onto the animoog page, so I never had to leave animoog – I could trigger, stop and start loops without ever going to loopy !!.  I did go there – to clear loops and try again, but mostly, I just stayed in animoog; trialled different sounds, found the one I wanted, hit record, recorded another good loop…what a great experience, and such a different experience to the last time I tried recording with several different apps (the synthraga orchestra sessions).  much simpler, much easier, and – it just WORKS!  brilliant.

in fact, I am kinda…stunned by how well it does work, and how quickly I adapt to using it – as if I’d had it all along.  it just becomes natural – switch to the looper.  do what you need to do.  now back to the synth.  play another melody.  now play a harmonising part.  back to the looper, adjust the levels.  back to the synth – new voice, new part – and so on.  smooth, beautiful, easy – and the results are stunning – a really, really nice piece came out of my ten minute six loop audiobus experiment – and that is perhaps, the most impressive thing of all – from this new technology – music has emerged.

and – even better – it’s quite beautiful music, too – always a plus.  I have posted the piece on sound cloud just now, it’s entitled “the sixth sense” – six animoog loops working together to create a mini-symphony of looping synthesizers – all thanks to the miraculous and very, very clever idea that is audiobus.

 

creating this piece using audiobus, and realising just how quickly, easily, and painlessly I was able to build up a really nice piece of music, I feel very excited about the future – and about being able to just endlessly layer different sounds from different instruments, in such a fluid and live atmosphere – that is just brilliant.  now that auria has come on line, over the past couple of days, I’ve been working on a new multi-track master – and it’s been an even better experience than my first try with loopy HD.

using audiobus, with auria as my recording device – I was quickly able to lay down a full length drum part using korg ielectribe, and then I set out to build a bass part – but, I wanted to build it in sections, using many different sounds – so I set up several tracks in auria in my 24 track master, and then, calling up different synthesizers, one by one, and adding, bit by bit, my “composite” bass part (which for the record, is comprised of magellan, animoog and korg ims-20 synths).  a couple of hours work, at the most, over a few days, and I have now completed the bass part from end to end – and it all worked so well, so flawlessly – and now I have a great basic track, over which I can overdub guitars, synths, you name it.

I had a great time playing with loopy HD, which, after all, is a brilliant live looping device, really well designed, so there is no harm in learning the best looper I have on the ipad.  but I am even more excited after having used audiobus to create a full on proper recording session in auria – that is just brilliant.

drums, bass synths, hell, real basses via jam up pro xt, stompbox and eventually, ampkit + (once it’s compatible), real guitars via same, any number of synths and synth-like applications, you name it – kaoss pad in the form of the ikaossilator –  anything that a) makes sound and b) has been made compatible with audiobus.  and now I’m even happier, because one of my very, very favourite guitar applications, stomp box – is now audiobus compatible!  so I am looking forward now, to setting up some awesome guitar sounds in stomp box, and overdubbing my new drum and bass part with real guitars.  I am waiting for ampkit plus, to give me that third set of guitar set-up possibilities – but I am well set up now with stompbox and jam up pro – that’s a great start.

I can’t believe that in the space of 13 months (the time I’ve used ipad applications), I’ve gone from having two synths, the fairlight pro and korg ims-20, to having a full on recording studio with more instruments than I have time to learn…the growth of music apps on the ipad has to be one of the most exponentially staggering growths of technology ever to have occurred.  during this last year, we’ve been given things like ipolysix from korg; the amazing auria multi-track recorder, like jam up pro, like audiobus – and each one, in it’s own way, a game-changer…

first, it was multi-track recording.  now, it’s being able to near-seamlessly move between inputs, effects and outputs during live performance or live recording via audiobus…not to mention the two amazing generative music tools, mixtikl and scape, as well as the super educational and extremely useful and beautiful itabla pro, which gives me tablas in a large palette of very real and very realistic presets and modes – and the drones, those beautiful, beautiful tanpuras…

and then I step back and realise, this huge, huge palette of instruments, effects, processing, recording, drums, tablas, bass lines, and synthesizers galore can now be ADDED to all of the other “normal” instruments I have available, so the combinations that are available to me, as a creative musician, haven’t doubled or trebled or quadrupled or quintupled, they have…seventeenified.  I’ve seen the tip of this iceberg in my most recent studio set up, the “all instruments” set up, which demonstrated to me, during the last couple of sessions – that just about anything is possible now.

choices to the seventeenth !

or, to the thirty-fourth…

 

I used to be a bit skeptical about technology, but when I see what they have done with it at audiobus, for example, I just fall in love with it, it’s brilliant, clever, amazing. part of me thinks I am dreaming – I keep asking myself, how can a £7.99 synthesizer on a tablet sound so fucking GOOD?  the answer is: it can.  it does.  it will.

In just over a year, I’ve gone from technophobe to technophile, and there is no looking back, take no prisoners, I can play hard rock/metal detuned guitar through a tablet – I don’t need that marshall stack I could never afford anyway – I can rock with a tablet – and now that I have two guitar apps, soon to be three –stomp box and jam up pro XT, hopefully followed soon by ampkit plus, please…I know I keep saying this, but…the sky’s the limit for guitar sounds.

so the old set ups are out, the new, in, guitar to ipad to auria, via audiobus – hit record.

I am also so, so pleased to announce the return of an old, old friend, adobe recently made version 3 of adobe audition available for free on their website, so how could I say no – after all, this is the direct successor to “cool edit pro” – the first audio multi-track I ever owned, and upon which I remastered all my analogue tape albums with – so as well as having the most tricked out ipad around, I also have my favourite audio multi-track recorder back, for free – a good price.

now I will be using adobe audition for pop and click removal, and also, removal of clipped audio, and especially for it’s FFT style noise reduction, which is a beautiful and very effective “old” technology.  so – hats off to adobe for their very, very thoughtful free gift to us all.  an old adobe program is probably better than a lot of very expensive NEW products…and for me, it’s like getting back an old friend – a friend named “CoolEditPro”.

I am so, so pleased !  🙂

and recording with audiobus, using loopyHD or auria as the recorder – could not be easier or more fun – it’s absolutely brilliant.

audiobus rules, and if you haven’t tried it, I can heartily recommend it.  it’s not perfect, very occasionally, auria will stall or crash, but I am running it on an ipad2, so some exceptions have to be made – and the code will only get better – they’ve just had an upgrade giving us buffering options in case of stuttering, so they clearly care about the user experience.

it works so well already, in it’s infancy, that I really look forward to using it when it’a a mature and robust application – I cannot wait!

music making has changed forever with the ipad, but the innovation of audiobus has now propelled both live performance and on-ipad multitrack or loop recording  – into the distant future…right now.  the future of ipad music making has arrived…and it’s called “audiobus”.

or so it seems to me. 🙂

update: synthraga orchestra…continued

I am writing once again about the “synthraga orchestra” process, this is an update to my last post…because I’ve just set up the fifth video in the series, which bears the somewhat unlikely title of “thousands of leaves fly into the air borne upwards on rising thermals”, which is rendering as we speak…and hearing the audio for the track, well, I am just feeling excited all over again about this remarkable music, how the unlikely trio of itabla pro + n log synth pro + mini synth pro could create this strange, beautiful music.

I rendered the fourth piece, “rustling of leaves, turns to rattling, back to rustling, then silence”, a few days ago as I am desperately trying to break through the bottleneck of unfinished video caused by the delays of “gone native” and take four is very interesting, but I could see and hear myself still struggling with both the technology and the performance.

bearing in mind this was the first time I had ever stacked that many synths, and take four was only the second time I’d added a second melody synth to the mix, so there were bound to be some very minor teething glitches…

not so take five – I can remember, I readjusted the levels, trying to make the entrance and exit of the second synth app, the mini-synth pro,  a bit less jarring than it had seemed during takes three and four – so this version is…right…it is evened out, and that also helped my confidence in the performance – I can tell I am more relaxed, I am into what is being played, I am fully engaged with the piece rather than, as on take four (not yet released), mostly engaged with the piece and partially engaged with trying to remember what buttons to push and when!  this time, on take five, penultimate take…it just flows.

I could not be more pleased with this series of pieces, and take five ticks all the boxes for me, so far, anyway, because it’s been many, many months since I played these pieces, and an equally long time since I first mixed the audio tracks, so really, when I go to put together the video (six months later in this case, to the day) it’s like the first time I’ve heard the audio track, and this one was a really pleasant surprise – I knew there were some pretty acceptable takes here, but this is better than acceptable.

so while setting the video up, I watched the performance and listened to the audio for the first time in six months – and I was so, so surprised – whereas in take four, I saw a musician struggling and winning, but in take five, suddenly, all the pieces fall into place: I am calm, I know exactly which buttons to push when, so this leaves me completely free to just…improvise a melody.  now, I am a guitarist, who happens to have played piano and then keyboards for many many years…but I am not accustomed to the idea of being able to play just a melody – that’s a new experience.  I’ve always had to play two handed, never as a soloist using just one hand.

itabla takes the place of me needing to use both hands when playing the piano, leaving me completely free to concentrate on melody – a melody that works appropriately with the beautiful tabla and drone tanpura produced by itabla.  so for the first time in my life, I can solo with complete and utter freedom with my right hand only, using the left hand sparingly to play the odd bass notes, or, bend my lonely eastern melody in the strangest ways possible using the pitch bend wheel…and when I watched the film, what I saw was a melody being created, from a quiet but creative  place, in a wholly unplanned and unscripted way – it just happened, and I was the guy who happened to be sitting there in front of the keyboard when it appeared.

I start the piece, with the perfectly timed simultaneous entry of the tanpura and the first note of my melody…from that moment, the piece flies by, and I very, very nearly catch it as it does.  I watch in amazement as I tackle the “central solo” the one where the second synth comes in – I dive in as if I had it planned, and my inner roger powell just takes over – I play the solo, and then, even more surprising, at the end of the solo, I then take it down to a super low note, hold it “just so”, so that the arpeggiator pattern can cycle through a couple times, then hit the stop button (going back from two synths to one at this point) with perfect precision…and then carried on with the rest of the piece  as if nothing had happened.

OK, so I got lucky – the middle section came out pretty well.  surely, I will mess up the ending…but no; once again, things go surprisingly well; I play the outro of the piece, and come to a conclusion – I stop the tabla, I stop playing my melody, letting off that same very low note – leaving the tanpura running.  I sit for a moment, listening to the tanpura drone for a couple of moments…then suddenly, I reach up, play three notes, pause, play three more notes, then simultaneously hit a single, very high note and stop the drone on a dime – all is if rehearsed.  which is it absolutely was not.

in a way, I don’t mind if this is the best piece of the six, or if takes five and six are even better than take five – I’ve been pleased with all the tracks, even the slightly unsteady take three, but take five is the kind of take that makes it all worthwhile, the one that didn’t get away…the one that worked!

I can’t remember a time when I enjoyed making half a dozen videos as much as I’ve enjoyed making the “synthraga” series of videos, with just one more to go…and at the same time, I’ve had ongoing, the remarkable experience of creating videos for scapes 16, 17 and 18 (not yet released), in between the synthraga recordings – and that has been a really interesting experience as well, particularly because those videos, actually, all 18 of the scape videos, have the remarkable attribute of having for their “video master” be a single still image – with the challenge for me, to try to animate and bring that still image to life…I’ve now done this 18 times, I’ve taken a still screenshot of each scape, and made it into a video…somehow.  I’m getting the hang of this video thing.

but it’s also nice to have a straightforward video to work on, and this new track has been a really exciting experience, I can’t wait to upload this (it will be going up sometime in the next week or so) but even more exciting, I still have take 6 to look forward to…as well as about 982 scapes requiring…animation.

guess I better get back to work then.

a new dave stafford genre – “synthraga orchestra” revisited

today I am going to talk about a new kind of music that I’ve been working with now since may, 2012 – or rather, I am just getting caught up with a new kind of music that I invented in may, 2012 – and I’ve dubbed this new process the “synthraga orchestra”, and the music that is output, “synthraga”.  I’ve talked about this before, the reason I am thinking about it now is that I’ve just produced and uploaded the first video from the session, which has turned out really, really well.

on may 19th of this year I did my some of my first experiments using more than one ipad application in a live setting, specifically, a set-up where I use itabla pro for drone and percussion, in the form of tanpura and tabla, and on top of that, I play a melody on my 88 key MIDI keyboard, driving another ipad application, a really nice synth named “nlog synth pro” – and that’s the basic set-up – but, wanting to push this “how many apps can I drive at once, realistically” question a little harder, a couple of the improvs include an additional application as well, another nice synth called “mini synth pro” – so two melody synths on top of tabla and tanpura – and that turned out to be the answer for now – two seems to be the maximum at the moment with no special set-up.

I did try adding a third synth, but the output got really, really confused – so I need to read up on how to best layer applications – I know you can do more than two, but I am very lazy when it comes to details like setting MIDI channels and so on – so I managed to get a great sounding basic set up, with minimum effort – which just allowed me to play – and this first video really encourages me, because it shows on film that the ipad is not in any way shape or form a “toy” – it’s capable of making serious music – but without the kind of serious set up that I would have to do say in SONAR, to accomplish this.

in fact, while the set-up is a little bit tricky, on film, it looks easy – I am tapping away with authority as the piece progresses – first, I start off playing the melody with no accompaniment from the itabla pro application.  then I reach down and switch over to the itabla app, and a moment later (all the while, playing the melody synth using nlog synth pro) I switch on the tanpura.

I continue to play with nlog pro synth melody and now, underlying tanpura, for another minute or so; then I reach down and enable the tabla.  I then play the main body of the song, for another couple of minutes, and then, reverse the process: the tabla come out, the tanpura continue, then – everything stops.

it works beautifully, and I am looking forward to producing the next five “synthraga orchestra” videos over the coming weeks, and I hope you will give them a listen – I really think this might be a genre of music that I would, over time, record quite a lot of – it’s quite, quite relaxing, and I really put the pitch bend wheel on the synth to great use too – which makes sense when you are playing what is essentially, a modified raga – I was pleasantly surprised how useful the pitch bend wheel was in creating these pieces, which sound pretty much like the label on the tin: “synthraga” – playing now on the synthesizerHD channel on YouTube.

see you there!