… I was just produced for this world, at that time, and participating at the first party in my family … 15th of August, 1969!
… I was just produced for this world, at that time, and participating at the first party in my family … 15th of August, 1969!
Then with the ‘Organ del Mundo’ you not only tweak the interface but go deep in the bowls of the beast. I know that you might need some electrical engineering and/or computer science in your belly but what the ‘hell’ when you are coming with:
We are not talking of inter-confessional connections but freedom towards the things that can be done for the purpose at hand: remain as much as we can human beings.
For the Reaktor at the end of the food chain you might pay or not a license, but still is a tool like the one that started the damn thing: the computer!
People might wonder why I choose UNIX/Linux, C and Reaktor as my first toys … to get the truth you have to get back to the ‘end’ and restart your karmic cycle!
Linus had his ways and I have mine, cause’ it is called brotherhood … just to stay in the church lingo!
As far as the title, you can add it to your dictionary with the blessing of my poetic license!
Asta este in contextul vorbelor de mai devreme despre ‘Tom Cosm‘…
Pe vremuri a fost unul dintre ‘initiatorii’ mei in Ableton Live dar in discutii am descoperit ca avem ceva chestii diferite in ‘bibilica’ …
… uite ceva din vorbele mele … ‘Mai Tomita (a acceptat porecla) nu ne putem folosi cumva de aparatura si pentru muzica mai clasica, “cause’ this drives my instincts (artistic mind you) in much better ways!”
Aparent a ascultat si uite rezultatul:
Tomita, dupa cum ziceam in trecut, este foarte prolific pe Youtube, probabil cele mai lungi inregistrarii (‘live stream’) pe care le-am vazut pe acolo (2-3 ore fiecare), dar de curind a luat-o ‘razna’ pe ‘hardware’ si ‘hacking’ …
… simt si aici rezultate a vorbelor mele din trecut!
Dupa cum tot spun: ‘Este nevoie doar sa arunci niste seminte de adevar (culturale in cazul asta) si poate, daca ogorul este fertil, vezi crescind ceva pe acolo!’
Pai uite cine ma pus si pe mine la puricat ultimul Kontakt:
Si un “PS, I don’t ‘really’ love you” 🙂 in special pentru al nostru Motoc:
Dupa cum cred ca am mentionat in trecut, vorbim acum de noua generatie de ‘masinute’, pentru noul val de DJ-ing – “finger pushing/taping pads that play pre-recorded digital clips instead of the classical turntables; their dynamics, musically speaking, are obviously far ahead of the old ‘scratch-ing’ systems!”
George tocmai imi zicea ca ar fi necesar sa cumpar niste clape … am vrut si clape si ‘Maschine‘ de la ‘Native Instruments‘ … dar am observat ca ‘Push‘ de la producatorii lui ‘Ableton Live‘ este mult mai bine sincronizat cu clapele (MIDI Keyboard), asa ca am renuntat deocamdata!
Tomita imi sustine chestia asta cind lucreaza in paralel, in timp real, folosing clapele si Push!
Un motiv in plus de nehotarire la chestii de la Ableton este aparitia lui ‘BitWig‘, un ‘offspring‘ de la mama Ableton, care este si pe Linux; este inca pe la inceputuri, dar este scris in Java si cu ceva potential pentru viitor!
Dupa cum vedeti, merge la cantarile lui si asculta la dirijor (utilizator) in timp ce isi face ‘treaba de gestiune pe sub masa ca orice comunist serios’; cind porneste, pina si ultimul Cubase de la maestrii VST, ma pune sa astept minute in sir pina ce termina cu verificarea sistemului pentru noi efecte sau instrumente, si doar mai apoi ma lasa sa fac ceva concret!
Explicatia este simpla, probabil pentru programatorul ce sint … Java urmeaza calea serioasa de multi-treading invatata din Unix/Linux … nu pui mina exclusiv pe resurse, ci astepti cind este un pic loc de lucru, monitorizind ‘the idle moments of CPU load‘!
Uite niste vorbe (review) despre BitWig de la Sound on Sound:
Incep cu un scurt video care sustine ce ziceam mai devreme. Fiind un ‘sampling based instrument‘, ‘Structure‘ nu are in fapt nevoie de biblioteca de setari; sa dovedit cind am instalat si rulat fara sa imi ceara nimic, comparativ cu ‘Strike‘.
Trec in revista un pic si biblioteca extinsa de sunete de la Magix, peste 80 GB dupa ultima verificare, la care apelez pentru noile instrumente; este sortata pe categorii si fisierele (.wav) au informatii integrate despre tempo si alte draciii ce trebuiesc unui muzicant!
[mai exact, 12 colectii (DVDs) cu 93,556 fisiere in 1,459 de categorii, luind doar 88.9 GB ;-)]
Totul a pornit de la o scapare ‘drag & drop’ (de mult tot planuiesc sa-l pun la culcare pe iubitul meu soricel metalic, ‘tin boy as I call It’). Incerc sa adaug un sunet din biblioteca pentru multi-sonorizare si el scapa, apuca Loom si il arunca peste Xpand, astfel creind un instrument multiplu. Aproape toate descoperile sint din accident … asa se zice cel putin!
In plus ‘virtual drummers‘ vin cu setari sau clipuri (‘patches‘) care contin si mici secvente MIDI in afara de setarile ce ofera dinamica si timbrul instrumentului; mai mult, implicit, bateriile poat fi considerate ca multi-instrumente, in ciuda faptului ca in general sint in miinile unui singur interpret!
Poate (ca de mult tot evit) pun la comparatie citeva baterii virtuale, pe linga proiectele
de care vorbesc mai jos; potentialii cobai sint: BFD3 (ultima descoperire), EZdrummer,
Superior Drummer, Addictive Drums si bineinteles Strike, toate disponibile pe aici pe la noi.
Am tot pus la urma ‘sampling instruments‘ si asta din cauza ca m-am nascut Reaktionar, fiind mai apropiat de sinteza in crearea de sunete decit in (re)folosirea sunetelor inregistrate. Mai de curind sint un partial convertit, in special cu noile Kontakte disponibile de la NI!
Pina una alta uite ce spun altii:
Si acum ceva ideii de viitor – ‘reviews’ la singe dar pe la extreme; daca DAWs sint posibil undeva la mijloc ca spectru de folosinta, la stinga (comunista/conservatoare) sint programele bazate pe notatie clasica si la dreapta (noul val) utilitarele pentru DJs care nu sint doar pentru lucru ‘live’ in club, dar si pentru creatie de noi ‘so called Remixes’ care au umplut piata in ziua de astazi! DJ-ul serios foloseste totusi un DAW; exemplu este co-nationalul DJ Bolivia (Jonathan Clark) de care am vorbit acum ceva timp.
1. pentru iubitul nostru DJ (George), ca de’ este capitalist, am in plan de pus la test pe acelasi set de cintecele:
2. pentru chitaristul nostru (Sorin), comunist convins, iau in calcul:
* Sibelius (cumparat de Avid)
* Notion (o noua descoperire pentru mine, de la facatorii de Studio One)
* Finale (iesit din uz pentru mine din cauza de Sibelius)
* GuitarPro (eu cu versiunea 6.1.9 b11686, tu cu … ; poate te fortez la ‘upgrade’ 🙂
* Musescore (ca sa fim la par 5 la 5; in plus, mai de curind, este open-source asa ca este un motiv in plus sa dau ceva de lucru programatorului din mine, pe Linux in special)
Ca sa am la lucru chestii serioase, tocmai am ‘cumparat’ MakeMusic Finale v2014.5 b6359; asta fiind ultima repriza cred ca ori compania ori produsul este pe cale de disparitie!
Pentru Sorin, pot anticipa ca PreSonus Notion stie si ‘fretboard notation‘ foarte bine!
Pina una alta, uite ce zic altii despre comunismul muzical:
Ca de’ intotdeauna par sa fie scripturi post si nu pre, nu ca ar fi diferente, acronimic vorbind! Deci, vis a vis de baterii virtuale, sa luam vorbele unui Guru, Rob Papen, considerat pe acolo cu Moog, sa-i fie tarana usoara! Tocmai am luat la puricat ‘Punch‘ si uite ceva vorbe sfinte:
In plus un clasic:
… dar sint ‘Multi-cultural dezvoltat’, ca de’ sint/mis ceausel, asa ca … ceva Finale, ca tot sa facut lumina in sat si i-am dus pe ai mei la aeroport in ‘Banie’:
… dar Strike (‘lovitura’, pentru non-anglofobi) parca totusi loveste mai bine:
… asa numitele ‘Grooves’ in Punch sint secventele MIDI de care vorbeam mai sus, care in Strike sint deja integrate!
Mai mult, exista chestii deja clasice de la Arturia (firma lui Moog):
… deci, din punct de vedere operational, daca nu functional, concluziile sint clare cit priveste bateristul virtual! si nici sa nu vorbim de EZdrummer, ca iese scandal! 😉
Chestie draguta … NI are un Spark ca ‘Reaktor instrument’ (iarasi vorbeste Reaktor-ul din mine), si, ne fiind pina la urma un ‘drummer’, este totusi bun la casa omului fiind destul de Reaktiv!
Mea Culpa, din nou, daca gresesc, dar Musiu Papen poate venii oricind sa-mi dea cu firma in cap; si poate ii traduce cineva in latina de balta (franceza) din cea adevarata (romina) si atunci sintem chit …
… BeQ (Bassist erat Demonstrandum)! 🙂
O vorba de la un emigrant ‘patriot’ – fiecare intelege semantica in felul lui/iei:
Hai sa schimbam un pic registrul, sau mai degraba sa ne intoarcem doar un pic la oile noastre; asta dupa ce am fost un tradator ocupindu-ma cu VFX (Video Effects) in loc de AFX (Audio Effects), sau mai pe romaneste chestii muzicale!
De fapt post-ul asta este un fel de S.O.S. pentru oamenii de aici care sint pe WordPress de ani de zile (@Rock in capul lui Motoc).
Pe scurt – cum poti sa ’embed’ aici un document PDF? Pina la o solutie uite revista pe Google Drive:
Norocul nostru este ca (pentru cei care filosesc Chrome) orice link de PDF se duce la un Google reader!
Cel putin uite ca WordPress stie ‘drag & drop’ cu imagini:
(oricum documentul este public si se poate descarca usor; doar ~17MB dupa OCR-ul si editarea mea)
Enjoy the Canadian ‘Noises’!
Following my ‘heart’ – dev/hacking – and the last (re)attachment to visual programming in the musical realm with pd and Max, I’m returning to my real domain … my dear Pingu’!
Aside, it is really nice (apart from Russian that is rusty in my head nowadays) that I see the work of a real programmer – using Total Commander, or maybe, I believe, a Linux clone, how is it called … Midnight Commander perhaps!
It looks like I have to talk to Alex to maybe hack the Android port to higher than 12bit audio – I am mixing with the Transformer both engines, I can hear/feel the difference!
And in process, your really don’t know, but I might induce him to open the damn source – the ‘codes/keys’ might be our common faith (orthodox) and background (communism) 😉
Time to also port/add support to the kernel and user layer in ALSA (Advanced Linux Sound Architecture) for the embedded sound chip of my new All in One ‘gadget’ from ASUS ; and of course I will go on Android … just look at my handle! 🙂
And since we are it, the underground ‘Noise’ guys just come recently with Renoise 3, so I’ll come with a some sonic comparisons of … a bit of ‘backflip‘, with regard of OpenMPT … and why not, a bit of ‘a_day_without_her‘!
for those ‘off’ tracking, here are some hints on the playhood:
* http://www.un4seen.com/ (XMPlay)
* http://aimp.ru/ (from Siberia with love)
– or better get Total Commander Power User v6.2 or … Ultima Prime v5,9
(auf die Deutchen) that come with everything included 😉
(is just a question of what your drag/believe is – either PU or UP 🙂 )
… and for those on the learning ‘tracks’ here is and old ‘backup’ of some 46 theory lessons with embedded sonic ‘flashes’
I am getting back/breaking to pd (Pure Data) and Max/MSP since I’m stuck in a inspirational loop 🙂 (and have I mentioned that pd nowadays is also androidal http://droidparty.net/ !?!)
here are some resources:
* from the ‘master’, original author of Max and latter, of the open-sourced pd: Miller Puckette MUS171 Videos
* his book on EM (electronic music) using pd: The Theory and Technique of Electronic Music
* some other set of videos on pd: Pure Data tutorials by Rafael Hernandez
* a very nice book on Max: Max/MSP/Jitter for Music
a nice demo from the archives: why maxing
and here is a little ‘truth’ in few paragraphs from the preface of the Max book:
An interactive music system is a hardware and/or software configuration that allows an individual to accomplish a musical task, typically in real time, through some interaction. Though commonly associated with composition and performance, the tasks associated with interactive music systems can include analysis, instruction, assessment, rehearsal, research, therapy, synthesis, and more. These systems typically have some set of controls, hardware or software, such as switches, keys, buttons, and sensors by which musical elements like harmony, rhythm, dynamics, and timbre can be manipulated in real time through user interaction.
In this book, we use the programming language Max/MSP/Jitter to write custom software for musical interaction. We discuss the concepts needed to complete your project, complete many projects in a step-by-step style guide, and look at examples of working systems. Emphasis is placed on the pedagogical implications of software creation to accomplish these tasks. Whether you want to create a program for composers that explores relationships between two modes or an exercise for beginners that helps improve finger dexterity, you will soon learn how writing customized software can supplement and complement your instructional objectives. We also discuss ways to interact with the software beyond just the mouse and keyboard through use of camera tracking, pitch tracking, videogame controllers, sensors, mobile devices, and more.
Why Design Custom Software?
Today, there are software applications for just about everything, but to what extent do we allow music software to dictate how we teach musical concepts? After installing a software application, it’s normal to look at the program and ask “what does it do,” “how can I perform with this,” and “how can I make a demonstration or instructional activity out of this for my class?” There’s certainly nothing wrong with this, but you may already have some musical ideas in mind and are looking for a way to express them using the efficiency and interactivity of technology. However, existing software may not be able to address the particular concepts you want to address from the angle you prefer.
Imagine teaching harmony with the aid of a specialized program that showed common tones between the chords and scales, or a program that used the fi rst seven number keys to play the seven diatonic chords of a key. Imagine composing a piece of music with a program that showed how chord functions tend to resolve in a given key.
Software developers typically design a program’s layout to be accessible and intuitive, but in doing so, they are bound to show certain biases toward the visibility of what are considered the more common features. In an instructional setting, if the feature that is going to help the instructor explain concepts of rhythm or harmony is somewhat buried in the program’s menus, he or she may be less inclined to teach those musical concepts right away because there is too much requisite knowledge of the soft ware involved just to get to the desired menu. Instructors would have to teach a number of soft ware concepts just to get to the place where they could teach the musical concept they wanted to address in the fi rst place. It’s not the soft ware company’s fault; aft er all, they don’t know what and how you teach. However, it’s a common case of technology dictating the instruction instead of instruction dictating the use of technology.
This problem is not unique to technology. Even the conventions of traditional notation using staff paper can dictate how we’re going to teach; if we don’t enjoy counting notes on ledger lines, we just stick to writing notes on the staff . In the same way, it’s just as easy for soft ware to confi ne us. If we want to teach some musical concept in an interactive way using the effi ciency of technology but can’t fi nd the technology to support it, the notion of an interesting approach to teaching the concept likely gets dropped.
At the same time, teaching with technology can be seen as trendy and gimmicky. Suppose you decide to write a program that plays diatonic chords in a key by using the buttons of a videogame controller. Th e activity in a classroom setting can be fun, but at the same time, it can be pretty pointless if the program doesn’t address some musical concept and the activity isn’t accompanied by solid teaching. However, if these things are in place, the student is then able to accomplish some musical task using a controller that is easy to use—and probably more familiar than that one-octave xylophone he’s hated using all year. It’s easy to worship technology because of its “ooh wow” factor, especially in a classroom setting. However, aft er the novelty of the technology wears off , we’re still music educators fi rst and technologists second. A good interactive system should allow a user to do musical things with effi ciency, greater control, and clarity; it should not just exist for the sake of having technology in the classroom.
Technology in the Classroom
Having an arsenal of customized soft ware to explain specifi c musical concepts can make your teaching life so much easier. How many times do you really need to write out the whole step and half step patterns of a major scale on the chalkboard? What if you had an application that showed the pitches, and steps for a scale, any scale, starting on any pitch? Not only will using such an app save you time, but it’s a program that you could allow your students to download and interact with on their own.
Many teachers are terrifi ed of teaching “technology lessons” because they don’t want to be in the situation where some little kid knows more about technology than they do, when the reality is that having a kid like that in class can be an incredible benefi t! Th at kid already understands the technology, so fi rst, he’ll be the cheapest and most accessible tech support you’ll ever fi nd when something goes wrong in the classroom—let him troubleshoot for you and his peers when things stop working. Second, and more important, since he already understands the technological side of things, it helps you to conceptually explain to him the musical side of things, which I guarantee he doesn’t understand nearly as well as you. Musical concepts, as you’ll recall, are the sorts of things you went to school to learn about.
These days, you can’t walk into a convenience store without seeing seven or eight computers being actively used for a specific intended outcome — why should the music classroom be any diff erent? Even band classrooms! Technology truly can help facilitate our teaching objects. However, students don’t just need teachers to show them new tech toys or cool soft ware; they can fi nd that on YouTube, from their friends, and in their local music store. What they need is for a trained musician to help them make sense of the musical world around them — the use of interactive music systems can make this process richer and more palatable. That’s knowledge students can’t find just anywhere.