There’s something pretty deep about the act of patching which includes sound design as well as interactivity: how will you interact with the patch in performance or composition? Which aspects are “generated” (e.g. LFOs, Euclidian Rhythms…) and which parts are about routing controls (MIDI/CV/OSC…)?
So… What’s patching all about?
Also, while it may sound like a pun, it’s actually intriguing: “patching” is also the term used for programming a synth by twisting some knobs and such. It’s some kind of historical relic, most likely. It’s still interesting to question what “a patch” is. People often use “preset” for any synth patch and there’s the notion that it’d be better to patch things yourself than rely on somebody else’s patching.
Then: what’s missing from all of those systems? Why do we still need text-based coding, for instance?
Another part is: how come we have so many patching systems? Do we really need Puredata, Max, Reaktor, VCV Rack, Reason Rack, Cherry Audio Voltage Modular, Softube Modular, Bitwig Studio Grid, Eurorack, Buchla, Serge, Afrorack… (Feels like that xkcd comic about standards…)
One part is: what makes patching systems so popular in electronic music? Why is it such an important *paradigm* in EM? Is it mostly about avoiding code?
Relatedly: why is patching less prominent outside of EM?
In some ways, spending hours auditioning samples feels unproductive. But it can also be really inspiring, stimulating, fun… All important things for “musicking” in the Christopher Small version of the concept.
For instance, had a pretty nice experience with the “loops” catalog in #LogicProX. Lots of cool stuff in there and they’re rather easy to use.
Which all makes me want to explore samples more deeply, broadly, creatively. Which, in turn, makes me want to accumulate my own massive amounts of cool samples, counterproductively enough. As a #DigitalHoarder, there’s something neat about this abundance. And, no, the overwhelming number of samples doesn’t prevent me from #musicking with them.
Haven’t done that much with #sampling, until this point. Feels like there really is a lot to it. In a way, #SonicPi helped me find that out for myself. Much of it is obvious, like the effect of chopping up a sample and looping it. Had some #PierreSchaeffer moments while exploring some sounds. Knew these things conceptually but they started to gel, in my mind.
Part of what gets me is that this is clearly a space in which search and browse functionalities haven’t been working. Same with people’s own libraries. Finding the “needle in the haystack” doesn’t get easier with unlimited haystacks. Especially when all of that hay is so indistinguishable and it’s not very obvious that there’s any needle in there (except the one which scratched all of those vinyls).
Which is a good reason to start it here. ;-)
Sounds to me like samples/loops/clips are part of a trend. Native Instruments just launched Sounds.com after Noiiz.com ramped up its own service. LoopMasters will update Loopcloud soon and Splice is being discussed a fair deal.
But they’re all about massive amounts of very similar samples.
Tooted about #Ableton, earlier this week. Strikes me that their “Live” flagship is less about live performance or jamming, as this Disqus comment has it:
Makes me think of parallels between Ableton and #Apple. There’s even an æsthetic similarity between the too, at least in terms of iconography. Young, good-looking creatives working in well-lit clean studios. Ethnically diverse but following similar fashion trends. “Cleanly messy.” We’re far from Funky Town.
Neat way to introduce #ModularSynths: https://www.youtube.com/watch?v=oFadopWxKjw
The list of #Softsynth solutions is pretty good:
Audulus (desktop and mobile)
VCV Rack (desktop)
Model 15 (mobile)
Pure Data (desktop and mobile)
SunVox (desktop and mobile)
Softube Modular (desktop)
So we now know what #Ableton Live 10 will do. Colour me unimpressed. Maybe #AbleTen isn’t the major milestone one might expect. Certainly not a rethink in the era of mobile and IoT. http://cdm.link/2017/11/ableton-live-10-depth-hands-impressions-whats-new/
Was never so interested in #DAWs, but using #AbletonLive Lite did help me grasp a few things as to ways others have been musicking, recently. Since moved on to 8-Track, the restricted version of #Bitwig Studio. Fits more of my needs. But, basically, these things convince me to stay #DAWfree.
#Musicking #ArtWithOpenSource #ArtWithFreeSoftware
The #pisound HAT from Blokas (Vilnius) is a specialised soundcard for the +RaspberryPi. BuIlt for it is MODEP (MOD Emulation on Pi) a “virtual pedalboard” based on the MOD Duo hardware. Both are built around LV2 plugins.
Software used: MOD UI, TAL Noize Mak3r, Loopor, TAP Reverberator, MDA subsynth, and Jack Capture, all running on Raspbian Lite (controlled via a local web interface).
This conversation between #AphexTwin and former #Korg engineer Tatsuya Takahashi has been making the rounds. For good reason.
To me, the whole #microtuning part is not only interesting but useful and even important. A large effect of #pianocentrism is the (in)famous 12TET at 440Hz standard. A blip in human musicking, but a destructive one.
Part of my interest in #musicking comes from the contrast with the #commodification of musical recordings. Even had the rare opportunity to discuss this with @rms in a Montréal resto. Talk about privilege.
Sounds to me like the “delayed failure” Peter Kirn describes is quite literally a Sign of the Times. Ten years ago, the businesses which were making money off music were still in crisis mode.
Bilingual (French/English) technopedagogue, ethnographer, anthropologist, musicker, sax player, Maker/dabbler. he/him https://soundcloud.com/enkerli/
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