mobile universe of sound (the ios world)

the ios universe of applications…is heaven for synthesists and musicians alike.  as a guitarist, I appreciate guitar applications, but my passion is collecting synthesizers…also, real synthesizers were always big ticket items, and I couldn’t afford the nice ones.

for me, ios, and the availability of inexpensive apps that emulate great synths old and new, changed everything.

pre-ios, I had a limited number of hardware and software synths, and the soft synths mostly had to be run inside my DAW, or in some cases, as a standalone application on the PC, but still, I had no access to an almost limitless array of synthesizers – and now, with ios and the amazing developers who populate it, I have more choice than I can deal with!!

HARDWARE SYNTHS

or, how it all started…

imagine if you will, then, a guitarist who has been working on music for many, many years, and during that time, dabbled in synthesizers – in the early days, I had an arp odyssey (a mark I, no less!), surely one of the most difficult to tune synths of all time; I had a wonderful serge modular system, and to my everlasting horror, I foolishly sold them off many years ago…

then, by chance almost, I picked up a couple of classic yamaha hardware synths: a dx7s, and a dx11s, and the dx7 saw service in the live set up of the band bindlestiff, where I played synth on stage as well as ambient loop ebow guitar – and my partner played a korg, so that was a great contrast of two fantastic synths – and if you listen to some of the pieces we did with that combination, yamaha and korg, such as “the wall of ninths” or “pacific gravity” you can hear what two classic synths can do in live performance.

so – during the first thirty five or forty years of my career, I owned at most, five hardware synths, and now, I am down to three – and that was it.  then came pro tools and sonar and soft synths in general, and I have a reasonable selection of those, which made recording much easier – in particular, having a decent grand piano, “true pianos”, was very useful, and I’ve used “true pianos” for a lot of projects, from my own songs to covers of peter hammill and van der graaf generator.  I picked up the wonderful “m-tron pro” mellotron software, which inspired one of my best solo albums, “sky full of stars”, and I also have “BFD2” a dedicated drum program, which allowed me to have professional sounding drum tracks when making the rock / prog / ambient album “gone native” – and if you take your time with it, you can make really great drum tracks with, such as this one, “wettonizer”, from the “gone native” record.

LEARNING SYNTHESIS, ARPEGGIATORS & SEQUENCING

having owned such a limited range of hardware synths, I never really got the chance to expand my knowledge of synthesis by owning and playing a variety of synths, and I certainly never would have been able to afford most of the desirable synths (I remember playing a korg M1 when they came out, and just practically drooling with desire – but I simply could not afford it) – so I never bought a modern synth.  I do love my yamaha dx7s, as eno has noted, it has a few really great sounds, it does certain things very, very well, and there’s nothing quite like it.

but overall, besides a modest collection of standalone and DAW-based soft synths, I really felt like I didn’t have much chance to understand, for example, the differences between additive synthesis and subtractive synthesis, I never really felt like I totally understood the magical relationships between oscillators, filters, modulators, and amplifiers, because I didn’t have examples of the many, many various hardware devices with their wildly differing approaches to synthesis.  arpeggiators and sequencers were largely mysterious to me, but after working with the fairlight app (now called peter vogel cmi) for a year or so, I really “got” how sequencers work – which then meant I could use them with better clarity in many, many other synths that feature them.

THE ARRIVAL

then came ios.  the apple platform, and, when you look at what is available for music – well, that’s what made me decide which tablet to get, when I saw what I could get on ios, at the time, compared to the relatively modest selection of apps on android – it seemed a no-brainer.  I realise that over time, android is catching up, but I still don’t know if they will ever match the range, scope and incredible diversity of synths and near-synths that the apple store boasts – it’s astonishing what is available, and it’s astonishing that you can buy a massive collection of the world’s best synthesizers for a fraction of what the hardware versions cost – a tiny, tiny fraction.

FIRST GENERATION SYNTHS & THE FAIRLIGHT

so I went for the ipad/ios combination (despite not being a huge fan of apple in general!) and it was the wisest choice I ever made.  within minutes, I was beginning to collect that massive set of synths that I could never in a million years have afforded in the hardware world – I started out by buying something that would have normally cost me about 20 grand, the great 80s sampler, the fairlight – and I spent about a year and a half, learning how to build sequences the slow way – and it was a fabulous learning experience, and I came to understand how the fairlight works, and how to arrange the instruments into sets, and create music in a way I never had done before (step by step) – quite inspiring, and very educational – and as I said, I could then transfer my new sequencing skills, to many, many other devices that support sequencing and sequences.

MOOGS & KORGS – GREAT EMULATIONS

another early purchase was moog’s “animoog”, and even now, when I have more app synths than I know what to do with, I am constantly returning to this synth, with it’s ever-expanding library of great sounds.  the korg “iMS-20” soon followed, and that was probably the synth that I truly started to learn from, because it’s so visceral, and so visual, with it’s bright yellow cables in the patch bay, and it’s utterly faithful graphics…  the first generation synthesizers that were first available on ios were already excellent, emulating hardware synths that would have cost me thousands, now mine just for a few quid on ios.  unbelievable – because I never would have owned any of those in my real life, because the hardware versions are so incredibly expensive – well beyond my means.  for example – the fairlight cost about ten thousand dollars more than my annual salary the year it came out.  now – it’s mine for a pittance…

AND ARTURIA TOO…

other early device purchases were my beloved “addictive synth”, the very, very capable “n log pro” – a great sounding little device;  “mini synth pro”, and another real favourite, the arturia “imini” – a mini-moog style synth on an ipad !!

between arturia’s “imini” and moog’s “animoog”, I was set to go for that style of synth. also, synths like the great bismarck “bs-161”, the very capable “sunrizer”, “cassini”, the amazing “alchemy” synth; the list goes on and on and on….

TOUCH CONTROL – THE REMARKABLE TC-11 SYNTH

then you get unique and amazing synthesizers like the touch control “tc-11” synthesizer, which takes real advantage of the ipad’s large screen, and delivers a synthesizer-playing experience that is unmatchable – you place your hand or hands on the screen, and by moving your fingers and hands in various ways, you “play” the synth – there’s no keyboard, but this shows you that you don’t necessarily need a keyboard to make beautiful synthesizer music (something I’d learned once before, when I got my first korg kaossilator – amazing hardware device!) – and you can produce truly beautiful music using a non-traditional interface like this – “tc-11” is simply, one of the highest quality, most remarkable devices that’s ever appeared on iosios – I absolutely love it.  one of my very favourites, I do like synths that don’t have keyboards, but out of all of them, this is the most fun, and most creative, to work with and use to produce  startlingly different synth music, often of great beauty – the remarkable “tc-11”.

SECOND GENERATION AND MISCELLANEOUS SYNTHS:

very quickly, I became a true collector of synth applications, and guitar applications, too – but it’s those synths that I keep going back to – and now, the second generation of application-based synthesizers are here, and they are beyond fantastic, with features and sounds that are incredibly complex, mature and amazing: the mighty “thor”; the incredible “nave”, “magellan”, the korg “ipolysix”, arturia’s amazing “isem” – the list just goes on and on and on.

the “dxi”, “epic synth” (1980s style synth), “launchkey” plus “launchpad”, “modular” (similar to my lost serge system, but reliant on in-app purchases to make it truly useful), “performance synth”, “sample tank” (the free version only so far), “spacelab”, “synth”, “synthophone”, “xenon”, “xmod”, and “zmors synth”….the list goes on still…

GENERATIVE DEVICES

then there were the generatives…mostly ambient in nature, and therefore, extremely well suited to the type of music that I generally make, so I happily adopted and became an adherent of “scape”, “mixtikl”, “drone fx”, circuli and so on…I worked with and continue to work with generative synthesis, which is a fascinating branch of synthesis, with it’s own quirks and interesting ways of working.  mixtikl in particular holds my interest very well, sure, anyone can make sounds on it, but if you get into it deeply, you really have an enormous amount of control of how it generates the finished product…which is endlessly changing, never the same, constantly mutating according to the rules and conditions that you control…

“scape” is just purely beautiful, the sounds, courtesy of brian eno and peter chilvers, are simply top-notch, and using art works to create your generative pieces is a stroke of genius – and it’s very simple, just…drag geometric and other shapes onto a canvas, and see and hear your generative piece grow.  more recently, I’ve picked up “drone fx”, which to my mind, is very nearly in the same class as “scape” and “mixtikl” given that you can set it up to create generative pieces, and the results are excellent – it’s a very ambient flavour, which suits me just fine, so I am very happy to add “drone fx” to my arsenal of generative music applications!

then there is “noatikl” (obviously, a spin-off or product related to the great “mixtikl”) – I don’t have much experience with this tool, I would call it a “sound design”-based generative music app, where you create loop-like pieces by connecting different sound generating nodes together – it’s quite odd, but it makes lovely music, and I hope to learn more about it and gain some skill in using it in the future.

THE LAND OF AMBIENT

this category includes most of the generatives, so please see “GENERATIVE DEVICES” above, for details on “scape”, “mixtikl”, “noatikl”, “drone fx”, and “circuli”.  there are other really, truly important synths in this category, in particular, the brian eno-designed “bloom”, which was the predecessor to “scape” – “bloom” is a generative player, you select wonderfully named style and “bloom” then creates them on a grand piano for you – it’s really lovely, I can sit and listen to it for hours.

then there is another from the “mixtikl” family, the lovely ambient music player “tiklbox” – this one is really simple, it has a die in the middle, and you roll the die, and it then randomly selects or creates a piece of music based on the number you roll.  It’s mostly very pleasant, I like the music it makes, but there is very little user interaction possible, you just turn it on, roll the die, and…listen.  but – that’s cool, too.

PHYSICS-BASED SYNTHS

then you have the slightly strange synths, two more in the semi-ambient category being “circuli”, which is literally, circles that grow and collide, and those collisions produce music, and the somewhat similar “musyc” that makes it’s music with bouncing objects – again, virtual objects collide to produce notes, chords or percussion sounds.  “orphinio” presents varying sets of intersecting circles, each set to a different tuning or modality.  both of these “shape-based” synths have truly great potential, but you have to be patient to get the kind of sounds you want out of them.

GRID-BASED SYNTHS

then there are the “grid” devices – visual sequencers with massive grids that scroll past, and you merely “click on” some of the buttons as they pass, and note events begin.  one of the best of these is an old favourite of mine, “beatwave”, which I have used as a background for guitar improvs, because you can very quickly “build” a good quality backing track (it’s very similar to looping, really) and then just let it run, and solo over the top of it for live performance purposes.  a similar and also very enjoyable device, “nodebeat HD”, works in a very similar way, and in fact, there are a good number of these “grid” types of synths out there, most of which sound very good.

MICROTONAL GRID SYNTHS

then…again…you have the static grid types, such as the classic “mugician” and “cantor”, which use a static grid that you play by putting your finger on the notes you want to play, and “cantor” in particular, has a great “auto octave” function which means that if you want to go up very high, you just swipe a big diagonal line upward – and the device leaps up through four or five octaves – and a reverse diagonal, takes you back down to the lower notes.  “cantor” is more note based, although it does have microtonal attributes, you mostly use real notes, whereas “mugician”  is totally and utterly microtonal, you can “hit” notes, but it’s more about being able to play in a microtonal fashion – something that takes practice to get good at.

early on, I used “mugician”  to play microtonal indian-style melodies over the remarkable “itabla pro” (one of my very, very favourite music apps of all time – I could write an entire blog about “itabla pro”; how good it is; and how much I LOVE it!) and that was great fun – it works really well as a lead instrument in that kind of musical situation.

slightly different in design to the “mugicians” and “cantors” (which while sounding very different, do have very similar interfaces visually at least) is the most excellent “sound prism pro” which features it’s own unique grid design, that is similar but different from the other two apps mentioned.  “sound prism pro” has it’s own unique musical vocabulary, and is a bit more melodic / harmonic, whereas “mugician” and “cantor” are essentially solo instruments – melody only.

VOCAL SYNTHS

then there is the “vocal section”, which on my pad, share a special page with my audio utilities – in this category, we have some great tools for creating vocal harmonies and effects: “harmony voice”, “improvox”, “vio” and “voice synth” – each boasting it’s own slightly different way of achieving vocal harmonies – some very innovative and good sounding tools in this category, a lot of fun to sing into, too.

RECORDING STUDIOS – AUDIO, MIDI, HYBRID

just outside of the land of synthesizers, there are also a broad spectrum of recording studio applications, such as “auria” (professional audio multitrack studio), “cubasis” – professional AUDIO + MIDI studio, “nanostudio” one of the oldest and most respected MIDI studios, and a personal favourite (and it does qualify, because it has a synth in it – a GREAT synth, called “eden synth”, which I absolutely love), “isequence”, “isynpoly” and “synergy studio”, midi studios all; and the unique yamaha “synth and drum pad” which is a bit different from the rest and is a lot of fun to experiment with – some unique sounds there, too.

the most recent entrant to this category is korg’s groundbreaking “gadget” – an incredible studio with fifteen unique korg synthesizers, bass synths and drum synths (yes, fifteen) that you can combine in endless variations to produce some amazing music.  I’m currently working on my first three pieces with gadget – and of course, I feel another eternal album coming on…

STANDALONE ARPEGGIATORS

on the same page as the studios, I also have a couple of standalone arpeggiators, “arpeggiognome pro” and “arpeggio”, which are very useful for driving your other synths, and unusual apps like “lemur”, which I purchased at half price for future development projects.

DIY SAMPLE PLAYERS – NO EXPERIENCE NECESSARY

I also have a few of what I term “idiot synths” (no offense to anyone) because you need know absolutely nothing to run them, they are really just sample players with controls to modify many samples running in parallel.  the “groove maker” series are really quite good, I love the “groove maker rock” version especially.  I also have “session band rock” which is similar, I’ve made a couple of nice “metal” backing tracks with “session band” – the “rock” version, of course!

PIANOS, ELECTRIC PIANOS, ORGANS, MELLOTRONS

then there is the more traditional section of keyboards, which features a variety of grand pianos, regular pianos, upright pianos, electric pianos (“iGrandPiano”, “iElectric Piano”, “EPS”, mellotrons, and a couple of really, really great emulations of organs – “galileo”, “organ+”, and “pocket organ c3b3” – I love all three of these!  I am really pleased in particular to have the organs available, and the work that’s gone into them, right down to the quality of that leslie speaker emulation – I love the “slow to fast” sound and vice versa, and all of these do a good job of that.  the sounds are simply beautiful, and, they are a lot smaller, lighter, and cheaper than real organs 🙂

DRUMS & BASS – AND PERCUSSION, TOO

this section of my ipad has really expanded of late, and there are a lot of great apps available for very little cost.  starting with the basses; we have a large variety of very innovative and interesting-sounding devices, from oddities like “amen break” to more practical devices such as “bass drop hd” and”bassline”. the drums section, by comparison, is massive – old faithful “korg ielectribe”, “dm-1”, “drumatron”, “easybeats”, the unique “impaktor” (which makes a drum kit out of any ordinary surface), propellerhead’s quintessential “rebirth” which of course, handles bass and drums, and is enormous fun just to play…”synth drum”, “virtual drums”, and a million other drum kits and machines too numerous to mention…

my absolute, all time favourite drum app, however, is not any ordinary drum machine or drum kit, rather, it’s the extraordinary “itabla pro” – one of the most excellent applications I own.  full on tabla samples, with several playing styles for each template; and an extremely large range of templates in all time signatures, it’s as much an education as it is a drummer. also featuring tanpura and other supporting instruments, it has two completely tunable tanpuras, the tablas and the two tanpuras are all tuneable within an inch of their life, and it makes outstanding music for interacting with other ipad instruments.  I’ve been working for some time using synthesizers with “itabla pro” as accompaniment, and it works equally well with microtonal synths such as “mugician”, as well as ordinary “western” synths such as animoog – on my ipad right now, I am working on a new piece that features two animoog solo melodies over a tanpura and tabla backing – and it’s sounding very, very good so far.

notably, while not a percussion instrument, there is also an excellent free app, called “samvada” that does tanpura only, it’s beautifully made, sounds great, and is excellent for use either in conjunction with “itabla pro”; or, for situations where you want a tanpura drone but you don’t need tablas.  sometimes, I just gang up the tanpuras on “itabla pro” with “samvada”, for the ultimate in rich, deep drones – fantastic.

ODDS AND SODS SYNTHS

other oddities include “tabletop” which is a sort of…table top, where you can arrange midi synths and drum modules to make music with, with a lot of in-app purchases if you want the really nice tools.  it is possible to make decent music with the free supplied tools, but it is limited unless you are willing to spend a lot on IAPs.

there are so many in this “category” that I cannot possibly list them all: “76 synthesizer”, “moog filtatron”, “catalyst”, “cascadr”, “dr. om”, “noisemusick”, “figure”, “lasertron ultimate”, “samplr”, the list just goes on and on and on…

IN CONCLUSION…

and as time passes, more and more synthesizers will arrive on ios, each more powerful than the last, it just seems like a never-ending process, there are so many excellent developers out there, as well as such a hunger from musicians (myself included, I am not ashamed to admit) for these synths – especially the vintage ones, the ones that emulate the classic keyboards that we all lusted after, but most of us simply could never afford.  ios, and the availability of cheap synth apps – gives us what we could never, ever have in the real world.

armed with this vast array of synthesizing power, I feel like there is no sound that I can’t make, and no requirement I can’t meet – if I need a sound for a project I am building on my ipad – I will, absolutely will, already have a synth – or two – that can make that sound.

I am utterly in my element here, I hope the synths never stop arriving, and as long as developers keep creating them, I will absolutely, absolutely – keep playing them.  rock on.

I will leave guitar applications for another day – suffice to say, they are equally diverse and fascinating, and several of them are putting serious challenges to existing stomp box and other guitar processing hardware items.  I love my guitar apps, and it’s a whole new world of guitar playing – instead of my traditional set up; instead, I have a guitar to ipad to sound card set up – and I can get a whole world of excellent tone just using ios ipad guitar applications…

in the meantime, synthesists unite, and developers, please do not stop working on new and better and more innovative synthesizer apps.   something needs to feed this addiction, and that’s truly what it has become – but in the best possible way, and I get so much enjoyment, hours and hours and hours of enjoyment, from just playing the various synths, to making various recordings using them – it’s created an entirely new application-based world of music that I did not realise I had in myself – and it’s an absolute joy to play these innovative instruments, and to try out new combinations of devices either by using them in a multi-track environment such as “auria”, or, for simpler set ups, the very practical “audiobus” (another game-changing device) and now, we have the new inter-app audio as well, so options for tying synths together via MIDI, or for triggering other devices from within one device, just grow and grow – it is truly amazing.  I feel truly blessed to live in such times, technology at work for good, for the sake of sound, and the sound quality of most of these apps far exceeds expectations.

for that, and for the massive number of free, inexpensive or even expensive synthesizer applications, I am truly grateful, and truly happy, that these exist for me to collect 🙂

happy synth-ing!

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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. 🙂

the new korg ipolysix application – a first look & listen

last night’s project was to create a second piece using the brand new korg ipolysix application, and I am pleased to say that I came up with something quite unique, again (entitled “a warp in time”), like my first effort of a couple days ago (“polysix 17”), again, the track is drumless; this time, using a long delay to create the illusion of looping…I took a stock voice and made some modifications to it, and saved it as a new voice, and then I created five different “dual sequences”, i.e. where I have two sequences playing using the same voice, and then I ordered those five “dual sequences” into a song –  “a warp of time”.

because I smoothed out the sound significantly, by lowering the attack, it creates a sort of cloudy, amorphous mass of notes, that shimmer and fade, rise and fall in a very “loop-like” way – and this reminded me too of another instance where I emulated the sound of looping – in the run up to the central bass solo in the song “wettonizer” from “gone native”, I used faded in guitars to emulate a frippertronics style on-the-fly loop – I’ve now done a very similar thing with the korg.

this piece, “a warp in time”, is very exciting for me, because the presets on the korg are a bit…olde world, you don’t realise immediately what beauty and subtlety it’s capable of – and it did not take much to make a good sounding preset sound really, really, REALLY good – even just subtle changes to attack / decay / sustain / release can make the difference.

having high-quality effects on the device helps, and it has a nice sounding hall reverb that I use generously on this piece.  korg has done a great job on the ipolysix, which goes way beyond what the iMS-2o does – but with similar attention to detail and excellent sound quality.

so a few days in, two pieces done, I’ve learned the basic operation of the ipolysix – and I can heartily recommend it.  like it’s predecessor, the iMS-20, you won’t get drum sounds that will knock you out, however, the way they have emulated the controls of the synth voices, you can create an amazing array of sounds just by adjusting those controls.

my first effort, “polysix 17” was just that, a first effort, I like it well enough, it’s fairly simple, it runs at a very, very slow tempo of 20 (most unusually) but this new piece, “a warp in time”, is already a cut above, a huge improvement over the first piece, because I took the time to really tailor my customised voice to what I needed, and it just works a lot better – whereas the first piece is good, the second piece is quite extraordinary.
I really like having the two sequencers available, too, that’s really useful, because you can quickly “layer” two keyboard parts, so in “polysix 17” one sequence played a “chord”, the other, a “note” using a different voice, combined, they create a certain mood that works nicely.  I then created four variants, each with a different note – incredibly simplistic – so, a minor chord with first an a note, then a g, then an f, then an e – how simple is that – and used those to build up my sequence, along with a couple of other patterns that were created by recording live improvs on the keyboard, first on sequencer a, then on sequencer b, and maybe then doing a little bit of editing in the sequence screens to clean those up – but those parts, which are a bit more “free”, become the middle section of the song.

the onboard mixer with effects is useful too – and as others have noted, the ONLY place where this synth falls down is in the drum sounds, but, that’s actually NOT a valid complaint for this reason: korg is being true to the design, the intent of a synth like this is to NOT use samples, but instead, to create drum sounds using the synthesizer – which of course, only works to a certain degree.  so they have done the right thing, technically, in creating the drum sounds using the synth itself – but, practically speaking, moving away from a purist view – I still wish for beautiful sampled drums as I have in nanostudio etc.  but – y0u can’t really have both – either you stick with the pure concept of creating using “synthesis” – or you don’t, and I do respect korg for taking the synthesizer “purist” stance.

I love the synths themselves; I love the adaptability of the synth voices; the controls are 10000% authentic and give you a HUGE range of control over every sound parameter; I like having two sequencers instead of one, and I love having a mixer with effects – I will be able to do a lot with this app, and never need to leave it to do what I need to do.

having synthesized rather than sampled drums is a very small price to pay for getting such a great sounding, and authentically designed, synthesizer – and, at a fraction of the cost of the original polysix – that is one thing that cannot be disputed !

happy synthesizing….

new: we’ve created two new dedicated application channels on sound cloud, “purenanostudio” which will [eventually] feature dave stafford compositions created using the nanostudio app, and “pureipolysix” featuring dave stafford compositions created using the korg ipolysix application – and, “a warp in time” is the first piece that’s been uploaded to the new “pureipolysix” sound cloud page.

a milestone is reached – videos past, present, and future

on may 29th, a personal milestone passed, which I noted in passing – this was the one year anniversary of my very first music video – where I recorded an unaccompanied guitar-synth “oboe” solo – “st. alia of the knife”.

 

I then spent a couple of months fighting with the technology of youtube (who are NOT ready for 1080 50i/50p video) and learning my video craft, and eventually, two months after it was filmed, in july, 2011 – that first video, made on may 29th, a year ago as close as dammit, was posted onto the pureambientHD channel.

if you had told me then that in one year, I would have six channels and close to a hundred videos I would have laughed and said “yeah, right” – but, one year has passed, and I do have six channels and around one hundred videos:

pureambientHD – featuring my main ambient music work, plus active music as well

applicationHD – featuring music created with applications on the ipad

synthesizerHD – featuring music created on a full-sized, 88-key synthesizer, playing either MIDI synths (software synths – “softsynths” or VSTs); or driving applications on the ipad; or, using the voices of the actual keyboard – or, combinations thereof

kaossilatorHD – featuring works on the amazing X-Y pad synth, the korg kaossilator – a handheld looping synthesizer

ablackboxHD – the “anything goes” channel – for piano and vocal work, normal songs, strumming the acoustic guitar, covers of songs by the bands I love performed on piano and vocal (including peter hammill, todd rundgren and others), or, performed on electric guitar/guitar synth (some jimi hendrix covers are in the planning stages) – anything and everything that is unsuitable for one of the “official” dave stafford music channels – you will find it here on ablackboxHD – named in honour of the tenth peter hammill solo album (opening June 2012  – any minute now!)

bindlestiffHD – featuring the work of my ambient looping duo (1991 – 1997), “bindlestiff”, bryan helm / dave stafford

at the same time, today, june 2, 2012 – marks my 50th blog post – something else I would not have believed a year ago!!

when I began making music videos in may 2011, I was simply interested in capturing live performances that demonstrate the kind of music that I enjoy producing – so, that’s mostly completely live, using the looper to provide counterpoint, which of course gives me the ability to “play” several guitars or synths at once.  very, very occasionally, I produce a video for a pre-recorded song, but probably well over 95% of the time – what I play is completely, 100% live.

of course, over time, the pureambientHD channel in particular has expanded to include a broad range of music videos, from straightforward live performances such as “st. alia of the knife” ranging on up to old-style loop pieces, or energy-bow loop pieces, or in one case, I actually performed an entire album, “the haunting”, on video, before the album was released late in 2011.

I’ve gone on to make a wide range of videos, most of which are of live performances – of ambient works, animoog and guitar synth duets, active pieces looped using the guitar synth – an endless variety of musical approaches, which will only diversify further as time goes on…

so the original idea of putting up a few music videos has changed, and over time, what I have realised is that, due to some personal, physical limitations that make performing live quite difficult for me – because of that, I’ve only played three gigs in the last 8 years – that I can use youtube as a replacement for live performances – which would allow a broader audience to hear and see me perform my music, while making it possible for me to continue to perform “live”.

this was really a fortuitous accident then, a method whereby I could still bring live performance to an audience, but where I didn’t have to undergo the rigours of the road, travel, equipment setup and teardown, that my physical body struggles with – being free of that – I now have a world stage to work on, so I hope that I will be able to provide a lot of great live performances over the coming years for people to hopefully enjoy.

the other channels evolved out of new instruments and new ways of working that emerged beginning in december, 2011, when both the korg kaossilator and the ipad with it’s endless, amazing music applications, both arrived, and, both soon become part of my sonic arsenal – that then demanded new channels be created to accommodate this new content.  so “kaossilatorHD” and “applicationHD” came into being.

finally, in february, 2012, I replaced my 35 year old yamaha synthesizer with a modern, 88-key m-audio keyboard, and I very quickly realised that I can control my amazing ipad synthesizer apps from the 88-key controller – meaning I can play the larger keyboard, but make sound changes and utilise the mind-warping capabilities of the X-Y pad within each of the synth apps (most of them feature an X-Y pad). this meant then that “synthesizerHD” had to come into being to present these pieces.

the arrival of the full sized keyboard also means that I can resume playing the piano “songs” that I’ve played all of my adult life, so I am currently re-learning (slowly, painfully in some cases) much of my old repertoire, which includes extensive numbers of songs by peter hammill, both solo and his work with van der graaf generator; as well as songs by genesis, daryl hall, steely dan, split enz, king crimson, and, dave stafford – all of this material, once recorded, will go on the new “ablackboxHD” channel.

this really neatly solves a long-standing problem, OK, primarily, I am an ambient looping guitarist.  so, I have a pureambient channel, “pureambientHD” to present that music – that’s fine.  but what happens when I want to perform a live version of a jimi hendrix song, or sing a peter hammil song sat at the piano, or play a wild synth solo on my korg kaossilator or on the 88-key synth – so these additional channels allow me to perform ALL of the different kinds of music that I perform, not just the most well known, ambient one – so that’s definitely a win-win situation…prior to this, I had no place to go to play hendrix, hammill or rundgren, or any of my non-ambient works.

I think that the next couple of years we will see all of these channels mature, as more content is added to each one, and hopefully, eventually, this will truly represent the many, many styles of music that I can and do play, and hopefully, it will begin to demonstrate the broad range of performance styles I can and do embrace – I don’t know yet, but I am very encouraged by all the positive responses and comments from everyone, and I am looking forward to producing more, not fewer, videos, as time goes on, for your listening and viewing pleasure.

not saying I can absolutely do them, I will try if it’s possible – so – are there any requests?

also on the table – as an adjunct to the broad range of live performance videos on the six dave stafford content channels – inspired by my friend har’s live broadcasts on stillstream, I am considering the idea for myself – starting off slowly, perhaps, a live show once a quarter; if they go well, then I would consider to moving them to something like monthly – I do like the idea of a live streaming show, because while I am very, very happy indeed to create and present all of these live music videos, I do miss the audience, and even if I can’t “see” them, having an audience to work with again would be great, I would really enjoy it.

so – live videos will absolutely continue – possibly, with the added feature of live streaming ambient concerts on something like a quarterly basis.

I think that video is a great medium for live music, because it allows me to present the performance, sure, that’s one aspect, but I can also add in a creative aspect, by making films and integrating not just other footage (usually, that I have filmed myself) but pertinent transitions and effects, I can take an 8 minute music video and (try to, at least!) make it into a piece of art, with both a performance and the ability to tell a visual story to go with it, so I am developing as a filmmaker as well as a musician.

during the last year and a half, an enormous amount of technology has emerged that has really, really changed the way I record, perform and present my music. I am so excited about this, and I am really looking forward to what the next several years has to offer – right now, I am blown away by what is possible, I am barely scratching the surface in terms of really using my tools and applications to their utmost, but – I am learning, and as I learn, I will share the successful experiments here on one of the six dave stafford channels.

at the same time, audio recording continues on several fronts, and we will also of course continue to offer normal albums and tracks at the pureambient store, at the moment, we are featuring a sale on the two newest dave stafford albums, “the haunting” and “sky full of stars” which are normally £5.99, they are on sale until the end of June for just £3.99, so this is your chance to pick up two great ambient albums at a special reduced price.

if you are not sure you are ready to “take the plunge”, you can always check out our two free album downloads; in either ambient or active “flavour” – download either or both completely free, in high quality 320 kbps MP3 format. (please note, to download either or both of these, you do need to enter your details, but they are absolutely not shared with any third party whatsoever, they are strictly kept to identify our customers and for statistical analysis of the store’s performance only – your details will NOT be sold, given away, loaned or otherwise – under any circumstances at any time).

 

meanwhile, I am off to compose post 51 🙂      and play some guitar !

applications-based music – the allguitar / oneguitar / dreamguitar app – cantor is the beginning…

well, last night, I bought an application for £1.49 that I think is a bit of a game-changer; I really like micro-tonal synthesis anyway, and this is from the same developer who created “mugician” – which is a great app to emulate indian music on, and since I really liked “mugician” a lot – when I saw this brand new app, released to the store on may 26th, I did not hesitate – “cantor” was downloaded and installed.

“cantor” is to electric guitar what “mugician” was to mock sitar – so this is an ipad tool for guitarists – and having just had a brief try of it last night, I think it’s going to be fantastic for live performance, useful in the same way mugician is useful when you want to play something microtonal on your ipad, but now, purpose-built for guitarists.

at first look, it’s a fantastic app, you have control over everything: the tone of the instrument, reverb, distortion, etc. as well as being able to configure the playing area (the “strings” as it were) in a number of ways, it even has a looper which I found a bit tricky, but I did get it to work in the end – plus, audio copy and paste (which I couldn’t quite get to work, but never mind, the app is only four days old!).

but for sheer “fun factor” – it’s fabulous, and I think it will rapidly become one of my most loved and most used apps, because while it’s not exactly a guitar, it’s damnably close in terms of it’s sound, it’s playability – I found that you can even press down three or four notes at once and get a pretty convincing “power chord”…brilliant!

the developer has placed a link to a site where you can look at tutorials, and has provided his contact details (this always impresses me) and he seems devoted to making the product be all that it can be – and I really hope he keeps developing this one, and gives it more functionality, more features (MORE distortion please, different distortions – please!) – but, out of the box, I already love it, it’s truly fun to play and I think it could turn out to be an awesome musical tool for myself and many other musicians needing a guitar-like tool on the ipad.

I could dream this thing into something really amazing – now he’s already got the basic guitar functionality (and I could do trills, I could do “tapping”, it works really well!) going, I would really love to see some enhancements – such as, what if…I think it would be fantastic if you could run this thing in tandem with one of the better guitar effects apps, such as ampkit+ – so we would need a way to feed the audio output of cantor to the input of ampkit+.

or – conversely, build a “better ampkit” – guitar effects, and lots of them – and none of this “you have to buy this pedal, then this pedal, then this pedal” crap – that’s nonsense – charge more for the app, sure, but don’t rape the customer once he’s bought it) – just one massive playground of effects boxes. and later, a rack mount section too.

it’s strange, we’ve had a lot of effect-based apps, but not too much in the way of input devices except for plugging a real guitar into these effects.  now that cantor gives us, effectively, “a virtual guitar”, I’d love to see it coupled with the effects apps somehow – either externally by being able to route the output of cantor to the input of ampkit+ – or by building an entire effects module right into it…one way or the other. after some initial discussions with the developer, I think this needs to be more about apps working together rather than building one giant guitar app that does it all – but either way – I can still dream, right??

once I’ve played with the app for a couple weeks I am sure I will have some SENSIBLE suggestions, but right  now, I am more excited about this app than I’ve been excited about any app since fairlight pro.

I would say, even some simple effects, chorus, flanger, phaser, wah, would be a good place to start – they don’t have to be super fancy, but just so we can alter the tone quite a bit more – nothing like a bit of chorus on a clean sine wave guitar; or a bit of flanger on a very distorted rhythm guitar…

or you could just go insane and build in a complete guitar synthesizer, something like my roland gr-55 but for the ipad – call it my dream cantor-55. please do!!

OK, I have to go there: here is what I would absolutely dream it would do:  full on guitar synth, with as many presets as possible (and configurable sounds), including all of the “classical” instruments; full on guitar modelling so your basic guitar can be a strat or a les paul or a 12-string (plus the ability to blend/combine/shut off synth/guitar models/amp models); full on amp modelling so you can have a fender twin or a marshall or a line 6 or whatever; and finally, a complete effects family, in two sections; one, a full on stomp box (similar to ampkit+) and two, a rack mount as well, with more complex effects devices, especially a big, beautiful reverb with some massive rooms in it – no one builds decent reverbs!

call it “allguitar” or something like that – everything you need, no actual guitar required (although it would be good if you COULD play your real guitar through the synth, guitar models, amp models, and stomp box/rack mounts too) – that would be way cool.  you would never need another app – everything could be done with the one app.  maybe “oneguitar” is better, I don’t know – don’t care about the name, just want the app that does it all….

so I see it sort of like this:

cantor (or, real guitar or synth, plugged in to input)> imaginary cantor added-in guitar synth > imaginary cantor guitar modelling > imaginary cantor amplifier modelling>

note – all are switch-able, so you can have:

guitar synth only

guitar modeller only

cantor unprocessed

any 2 of the above

all 3 of the above

then, from any of these stereo chains into…

two parallel effects chains

imaginary cantor stomp box wonderland, like ampkit+ but better and NO “in-app” purchases please! >

imaginary cantor rack mount wonderland, like guitar rig for ipad, but better and NO “in-app purchases please!>

note – these are switch-able, so you can have:

stomp box effects only

rack mount effects only

both

none

then, from any of these three stereo chains > summed back into one rich stereo output > noise gate + reverbs **

** all stomps and rack effects can be “pre”, “mid” or “post” – so:

immediately after cantor (or real guitar or synth input)

immediately after the guitar synth but before the guitar models

immediately after the guitar models but before the guitar synth

immediately after the guitar models but before the amp models

immediately after the guitar synth but before the amp models

immediately after the amp models

immediately after the final output of stomp box or rack mount or both

you know, I don’t have the time to ever do or learn something like developing apps, I also don’t have the patience or the temperament unfortunately, but sometimes, I wish I were a developer. I would love to design apps (but not have to build or maintain them!) – all the glory, none of the pain!  of course, I realise that what I’ve just described would probably be far too large and clunky for one app, and it would probably be best to do this with two or more apps, but hey – I can dream (and I am dreaming, with THIS description….).

maybe it should be called “dreamguitar”…but whatever they call it, I want someone to build it, so that ***I*** can play it…sigh.

note to all developers: please ignore this, I realise that it’s absolute fantasy but who knows, maybe some day…

🙂

the music of the moment (and the music of the past)

work on the backlog of audio continues, I’ve actually made some pretty good progress on several different fronts, unfortunately, not so much progress on others, but there is a lot of music beginning to emerge:

from january 2nd, 2012 session, I’ve now mastered the final version of “signs of winter” and after a lot of trials and tribulations, the video has been rendered and uploaded and is available for your watching/listening pleasure now.  this is one of the longest version of this improv, and it’s really a good one, it has a really long and very cool animoog intro, and a great looped and live strings session following – this might be my favourite of all the versions of this song so far.  I’m also happy that this session is now complete, because that means I can move on to assessing newer sessions – so that is exciting, too!

I am continuing to work on recovering a set of animoog audio-only recordings that fell prey to the overloaded IRQ-created pops and clicks, and I de-clicked and de-popped the first seven of twenty tracks, and it looks like at least two of those seven are “takes” – and just hearing these again, and hearing them without pops, the animoog is a very, very capable synth with some great, great presets, but it’s ability to customise that I am looking forward to – creating variants of presets that sound even better/stranger, it’s hugely fun to play with, and then of course full x-y pad capability, so I can alter as I play too…love that instrument!  so – fourteen more to clean up, using adobe audition, I don’t quite know what I am going to “do” with these tracks, perhaps some of them might be suitable for the orsi-stafford album, and/or, part of yet-another-unplanned-but-there-it-is album of synth music by yours truly.  the last track I did, which happened to be track 19, had the most amazing tone, it sounded kind of like a modified, textured motorcycle, but the resulting track just sounds fantastic – I love the sound of the animoog, it’s such a nice synth!

I also mastered a 45-minute session by holding stafford & corriere, from 1977, and it was fascinating to look back at this session, made when prog rock was at it’s height, and hearing myself as a 19-year old prog guitarist wannabe is a strange experience now.  when I hear those three 19 year old men play, I see a big prog future for them, but the reality was even stranger, ted holding went on to play in pop / top 40 bands, I went into prog briefly but then took a sharp detour to crafty acoustic/ambient/ebow/looping and never really got back into prog until the last ten years or so… and I have no idea where our drummer, rick, ended up – the last time I saw him was at an allan holdsworth concert in san diego.

it’s exciting hearing these improvised pieces again, I really enjoyed mastering this tape, especially because I had the very powerful hum, hiss and noise reduction capabilities of adobe audition to help me – something you will always need with a tape of this age.  I was able to make the performances sound as good as they can, I am very thankful indeed that ted holding did such a great job of miking up the session, with his carefully-placed stereo drum mikes on rick’s kit – everything sounded great, but with the help of the clean up audio tools in audition, and the mixing tools in SONAR, I think this is one of the best efforts so far as far as cleaning audio for the pureambient blog audio companion page.

the tracks went up this past saturday, a week ago today, so I hope you’ll have a chance to download and listen to this improvised session, it’s forty minutes plus of great prog rock, performed live in the studio by yours truly and my two best junior high school pals – it’s a fun session, but it’s also a serious stab at playing in the style of the day – and it succeeds on a number of levels – including a 17-minute plus prog opus that I really enjoy, complete with almost ambient creepy organ break and tony banks-style warped organ sound at the beginning, entitled “resolution” – not to be missed.

there are four songs, six tracks: three takes of the first piece, “propulsion”, each of which has improvements and alterations over the previous one, we are clearly trying to work out the piece – and by take three (which interestingly, is twice as long as take 1 or 2 – they are about 3 minutes plus each, while take 3 runs a full seven and a half minutes), it has taken a pretty decent form; then there are three unique tracks: “revolution” – which has a kind of heavy guitar bit in it that I quite like, it’s a nice little jam – followed by the remaining two pieces…

“resolution” is the aforementioned super-long prog rock extravaganza, and for my money, it’s the most interesting thing here musically.  it begins with something planned, and then the rest is just made up – but that start – I have something really detuned going on (despite the absence of a whammy bar, somehow I do this) while ted is turning the power of the hammond off and on to get this weird, warped sound (and what a sound it is!!) that hammmonds famously make when you shut them off and on while playing – and it sounds amazing, a totally beautiful effect from the organ and guitar, and rick is furiously playing something akin to freestyle jazz on the drums, which gradually resolves into a rock beat – so the song starts like a staggering drunk man, who gradually gets up and starts to walk a nearly straight line. I can say without reserve that this is probably the best single “beginning” of a song that I’ve ever been involved in, I remember cooking it up with ted, and it just worked phenomenally well – excellent work.

I think it’s remarkable to realise that, the beginning of this song was “planned” literally seconds before we did it, we would discuss the upcoming piece just prior to starting it, and I can remember this surreal conversation – “let’s start this one out really strangely and then move into the piece…” – and that is exactly what we did!  but then – how did it evolve into a more than seventeen minute long prog masterpiece?  that was not planned – but, we just kept playing.

it then transforms from that strange, detuned beginning into a really nice long jam – with lots and lots and LOTS of guitar solos and organ solos, and a beautiful “quiet” section from ted too, that I really like – just a nice piece of work, considering that only the beginning is planned, and the next 16 minutes are totally conjured up out of nothing, on the spot, by the band!

to close the set, the final piece “evolution”, is quite unique in that it was built to a strange concept that I came up with:  I could see that the cassette was nearly full, with just a few minutes left, so I said “ok guys, let’s play in E major just as FAST as we possibly can” – so we start off at a furious pace, and indeed, play until (and beyond, no doubt) the tape runs out – and we manage, somehow, to keep that relentless pace (I can audibly hear rick struggling to keep the drum beat going at this tempo!) up for a full three minutes – a really nice way to end the set I think.

so much more music is appearing that I find that I don’t have time to document it all, however, suffice to say that I did four different recording sessions today, that went something like this: five experiments involving running soundprism pro from the sono 88; eight tracks working with the itabla pro application and one or more application synths playing along with it; nine tracks involving the korg electribe drum machine (this thing is genius!) and various other synth apps; and finally, ten tracks made using “pinkie” – the original korg kaossilator.  That was a good day of recording, and I look forward to hearing some of this material back…especially the kaossilator session, which was completely unplanned, and an enormous amount of fun – what a brilliant device!!!

I learned a lot about just how much you can get away with in layering synth apps and drum apps when triggering from the 88 key keyboard, and I think that among all that was recorded today, that there will be a number of releasable items – I am sure of it.

I now return to the land of removing clicks and pops…