thawkins

This sounds like a fun book, although I am not super interested in sound design at all. But for sure if I go through all that - maybe skip some parts that don't gel - I will be good at some aspects of Max, which is really good to have since I am already on Live so much.

No pain, no gain.

I haven't bought any gear since last summer I think. I am quietly trying to hype myself up to getting a Studiologic SL88 to have a real hammer action controller though.

TidalCycles is cool, but I found it going incredibly against my OCD mind because it requires SuperCollider and the Haskell compiler infrastructure on your laptop, which I felt was creating an unholy mess of gigabytes of Stuff that I eventually had to clean up when I was running out of space. So it's really cool that all this is now browser based. Seems to also support MIDI too, which is doublenice.

Thanks for sharing the book. Going to put it on my phone so eventually I might actually read it! There is also a list of different languages-tools curated by TOPLAP, might be interesting for those who want to get hands on quickly instead of reading the book:https://github.com/toplap/awesome-livecoding

Now that's what I am docking about!

You can do a practical exercise where you pick your favorite presets and make tracks using only those sounds. Viola, you have a consistent sound now which will tie your stuff together as a whole even if the tracks themselves have a different arrangement or mood. In the old days, you had "bands" where each member was playing a single instrument so it's not even cheating or something. And it's always always OK to break this rule to introduce a new synth or element when your gut feeling says so. But in the end, I think I'll echo some of the stuff others have said in this thread: as you write music and produce more material - be it finished/unfinished - there *will be* something that ties it all together purely because it's all *your* music. And I also think it's OK to theorize and think about your music making, it's nothing special, everyone does it. A normal part of the creative process. The only rule is that in the end you also have to create something as a finished result. ?

I think RNBO is for these cases where you are an audiovisual artist and you are commissioned an installation or a software or something. So you export your Max thing into an application and hand your client a box that does not need for them to buy a Max license in order to keep running. As a Max device designer, you are now also able to sell your Max-based plugins to everyone else using other DAWs and not just Live. Maybe a little like Adobe Flash used to be?

Sorry*, this looks like the remote control for those fancy japanese toilets. * not sorry Edit: on video it seems absolutely unusable for anyone with big fingers, too. I guess I am kind of tired of the fad where they put a computer in a touchscreen thing with some buttons, and viola here is a new product. I think I get it though: making something physical means bigger profit margins than just doing an iPad app or a VST. ?

If you know exactly what you want and can give a really detailed technical spec of the capabilities, then yeah I could imagine this process working. If it's more like you have a rough idea and want to do like iterations of builds where each next build will be more and more refined, it could also work. Problem is that you might imagine your perfect system, pay a lot to have it built and then the first time you play it you hate it. Creative workflow is a super personal thing and probably changes over time quite quickly so the moment you get your system that you paid for, you already want something else. I think this sort of thing works well for fulltime creative people who have their dedicated gear personnel who help them setup their stuff, but then they really push the gear to the limit and its a years long neverending process too. I would never do it because I know myself enough to know that I can have the best gear in the world and still be unhappy. In the end it's super about pushing what you can do with your current gear and constantly learning and fighting with it mentally, and yeah sometimes getting something new and cool to spice things up. There ain't never going to be an ideal perfect Everything System that is also easy to use.

Yeah from what I have heard, Sound Devices are a complete other league compared to Zoom consumer handhelds. I suggest getting the biggest SD card in this approved list https://www.sounddevices.com/mixpre-series-approved-media-list/ And then just remembering to hit record before you start playing. Here's a technical solution I found in the Mix-pre manual though: This part seems to suggest that if you can send timecode to the Sound Devices thing, you can set it to trigger recording from that. The catch is that you probably need some other device to convert MIDI to timecode (if you are using any MIDI sequencer in your setup). Also this part says 10-T only, so not sure if it applies to your model.

Apple moving to ARM is just a poor excuse, things run well under the Rosetta 2 compatibility layer just as the article says. The true reasons are probably more related to diminishing returns maintaining old software. 22 years is a nice run for software, and this plugin will probably be used for a very long time going forward.

I don't know a device that does what you want, but I am thinking maybe there is a thing that keeps only the last 1h or something, so that you can keep it running all the time, and only save the take if it came out good? That said, if your box takes SD cards, then sky's the limit as you can really leave it running for the whole day to record a lot of material and later just cut out the silent parts.

How is anyone supposed to know what all the buttons do now?!

It's also incrementing numbers too.

In my experience, you can't really exactly plan for whatever really happens on a live gig. Because stuff happens, you get inspired and do something else cool instead of what you planned. On the other hand, things can go wrong, gear malfunctions and you'll be screwed if you don't have a solid backup plan. So in the end I'd keep my produced and nice sounding stems in the background and then have some fun with some live hardware stuff. Four Tet explains it nicely here Hope it's inspiring to you as well!

I think this is a chicken-egg type situation: you will only be able to figure out a standard method/workflow if you try out a bunch of approaches first (preferably in front of a live audience). One practical solution I see here is to go on youtube, and search for "my live rig walkthrough", and then see if something inspires you or not. I think one thing tends to be true in general: the more complicated your setup is - more devices, cables, whatever - the bigger is the chance that something breaks. Personally I think the ideal live set up would be with a 4-channel DJ mixer that's hooked up to a laptop, with a hardware knobby synth for solos and live tweaking. I have seen a lot of artists do a simplification where you have essentially 3 elements - drums, bass, and the rest. This makes it easier to set up some sidechaining and global effects for the 3 elements so that no matter how complex your material really is, you can always fall back on "making it interesting" by way of muting the drums and piping the melody parts to a delay or something. (Disclaimer: I have only played my music live electronically a total of 3 times, I don't know shit about anything really.)

I think its like... 1. Are you having fun playing your music in front of a live audience? Do you get that nice rush and excitement? 2. Is the audience enjoying your performance? Do they get that something special out of it? If you answer yes to both of these questions, then no matter what the technical details were, you played live (and played well).

You've heard of the Voltage Controlled Amplifier, now let's get ready for ACV which is of course Asshole Controlled Voltage, and I am not only talking about annoying modular synthesis fans.

Anyhow, I am very sorry for making this post.

Even if it's not impressive, would you say that AI music is better or worse than some random beginner who posts crude jams on the internet? I don't mean to disparage people just starting out making and sharing their music: it's an interesting point of comparison because hey now we have an AI that can make music, even though if it is bad/unlistenable (which is anyway a subjective thing). And you know, generative music does not have to be super technical - a LFO hooked to a filter cutoff is also generative and I bet people could listen to that for hours, given an interesting sound.

As a person who has never gotten into listening Autechre, I will interpret this post in a specific way. ?

I second what Nil said. A bit off topic but there's also the legal aspect: remember some folks tried to copyright all the chords or something. Here https://hackaday.com/2020/03/05/brute-forced-copyrighting-liberating-all-the-melodies/ This is a kind of generative music. The catch though is that I recall some court ruling - about AI art - that said this kind of stuff is not copyrightable. Turns out it was the US Copyright Office that said only people can be authors of things. What I conclude here is that if you go 100% generative and admit that you did not do any creative work with your music, then whoops you can't copyright it. So there always has to be a human element of putting creativity or some sort of work to get the result. Basically music a from a fully perfect generative music tool can not be copyrighted. Might be important to people who want to make money from their stuff. ?

Sorry this was not aimed as an insult to you at all. I think people who use the acronym IDM un-ironically (instead of EDM) are kind of low-key full of themselves - the connotation being that "IDM is for smart people, if you don't get it then it means your dumb". IMO the point is to enjoy the music, it's not important at all to be able to play galaxy brain 4D chess while rotating cubes in your mind in order to truly uNdErStAnD it. I do think it's funny that often you can have EDM artists do a word play on some fancy sounding technical terminology and it's like yeah congrats guys you got to page 10 of the Calculus 101 textbook in your quest to sound deep. It kind of cheapens the art itself too, but I try to ignore it since in the end it should be all about the music.

Wait, is that just a Markov Chain in a trenchcoat and mustache? Just goes to show that IDM may be intelligent dance music, but its fans don't seem very smart at all.