Buy my new album: $5 for 1.2 hours of abstract, ambient, chilled-out, laid-back, space lounge greatness:Elsewhere (1:16:39 total time) — available for purchase on Bandcamp.
Immediate download of 6-track album in your choice of 320k mp3, FLAC, or just about any other format you could possibly desire.
I’ve been working more with polyrhythms and patterns of different length multiples, e.g. a bass pattern that’s nine beats long, a synth line five beats long and a drum beat three beats long. This leads to some interesting tensions and recombinations, which can be heard on recent tracks such as Theoretician v.01, Dark Lord v.01 and Papa Ghede v.02. This is a different direction from the hypnotic repetition and lush spaces of Elsewhere, and I’m interested in hearing where these sketches lead.
I’m releasing Papa Ghede v.02 (9:36 min, 18.2 MB MP3), a recent generative composition as a free bonus track in anticipation of my upcoming album release. In terms of style and tone, this one has a lot in common with my recent single Antipode v.02.
I’m releasing Dark Lord v.01 (8:42 min, 16.5 MB MP3), a recent generative composition as a free bonus track in anticipation of my upcoming album release.
I’m releasing Theoretician v.01 (13:36 min, 22.3 MB MP3), a recent generative composition made using Nodal and Ableton Suite with Max for Live, as a free bonus track in anticipation of my upcoming album release.
I have posted a full preview of the new nofi album, Elsewhere, which will be released on March 4, 2010. It is a return to a more abstract, ambient, chilled-out, laid-back, space lounge sound and features six extended pieces—most of which have been posted as works-in-progress here. Check it out; more details to come.
UPDATE: SoundCloud has been kind of flaky in the past few days, so a full preview of Elsewhere is also available on Last.fm.
I have started a repository for clippings that I find interesting, inspiring or whatever. Check it out.
New single released: Antipode v.02 (16:38)
Thick, deep bass (x2!), crisp rhythms and swirling, saturated space. A new and improved version of Antipode v.01 (free download). Check it out.
Since posting my first impressions of the Apple iPad, I’ve been thinking a lot about its possibilities. Given the din of naysayers and doubters (which does seem like Future Shock), I wanted to post some thoughts on mobile musicmaking:
This DIY interface (YouTube) is impressive, but it just seems like buttons and sliders replicated on a touchscreen. I’d like to see such devices make use of true multi-touch gestures, such as pinch/expand, twist/rotate, 2/3/4-finger swipes and so on to control sound. Instead of yet another controller app (e.g. a bigger version of TouchOSC or an affordable Lemur-clone), I’ve been wanting to use musicmaking apps optimized for the mobile experience—perhaps a basic version of Live (incl. Impulse, Simpler and Analog instruments with a handful of essential midi and audio effects) or Propellerheads Rebirth for writing tracks. Something that could work as a standalone audio sketch pad, with the ability to transfer projects to the desktop version for further work. I started putting together a mock-up using screen grabs from Live before coming to a realization:
Rather than merely porting existing software to mobile versions, it’s important to examine the mental models that dominate the desktop. Most of the more popular audio suites are based on the recording studio-in-a box model, where the signals (midi info, audio from guitar, voice, synth, drums, whatever) are fed through a virtual mixing desk, using inline and outboard effects and processors, to be recorded in loops or longer segments before being placed in an arrangement to mix-down and master. Apple’s Logic Studio, Propellerhead’s Reason, Steinberg’s Cubase Studio and others are variations on this mental model.
Ableton Suite is my weapon-of-choice because of its flexible, on-the-fly, semi-modular approach that can be adapted to varying needs: looseness vs. precision, improvisation vs. control, performance vs. planning. Plugins and updates bring new instruments and effects, and endless routing and importing options make Live an audio ourobouros. Max for Live builds on this, with new resources for generating, shaping and routing signals, but Live’s clips>tracks>session>arrangement>mixdown>master>render model is still a largely traditional structure (albeit for me the best-of-all-possible-worlds for composing, performing and recording). Max is another side of this spectrum, where building blocks can be created, changed and arranged as needed in a virtual instrument/studio.
Most of the mobile musicmaking apps I’ve used so far (BeatMaker, 8Bitone, technoBox) shrink this virtual studio to the smaller screen of the iPhone and iPod Touch. They use virtual buttons and sliders for controls, sometimes spanning multiple screens. Several apps, though, show promise for emerging mental models, including SynthPond and Brian Eno’s Bloom and Trope. SynthPond’s affecters, reactors and orbits lend themselves to non-linear, interactive compositions. I imagine it would be a lot of fun to use on the iPad’s larger screen, esp. with new objects for generating, reacting, processing and moving sounds. Eno’s dynamic, generative pieces work well as apps, because they change and evolve rather than remain fixed to a certain textural arrangement on CD or MP3. These apps are systems for composing and generating music/sounds/spaces/moods and point the way for the possibilities of the iPad and beyond. Artists/composers/developers/companies/organizations that rethink the mental models with which we create and experience music will lead the way on these new and future devices.
My first impression of the Apple iPad is: I like it. It’s pretty much what I imagined might be announced, and it would work nicely around our home for its intended purposes: browsing the web, checking emails, reading news and weather, viewing photos, videos and movies. I can even see myself reading some PDFs and eBooks with it that I just can’t get into on my iPod Touch and MacBook Pro.
The reimagined iWork gives a hint of how apps can be optimized for both mobility and multitouch. It would be great to see Boxee develop something for streaming content, from both online channels and via UPnP devices. I’m sure our son would love watching YouTube on it as well.
Initially, I thought the 3G-capable models would appeal only to those who work and travel, but then it occurred to me maybe I wouldn’t need to shell out the big bucks for FiOS at home if we had such a wireless connection, esp. since it’s unlocked and pay-as-you-go. Just a thought.
What I’m most excited about, though, is using an iPad to make music: I can already imagine running iPad-enhanced versions of BeatMaker, 8Bitone, synthPond, technoBox and especially TouchOSC as a multitouch controller. And, dare we dream of a mobile Ableton Live? With the iPad’s larger surface and faster processor, a lite version with virtual instruments Impulse, Simpler, Analog, Tension and a handful of basic effects would make a great audio sketch pad.
Reading lots of Ballard; mixing down some tracks for commercial release; needing a news/social media fast; otherwise rudderless.
The website of Jeffrey Melton, artist, designer, composer, creative contrarian and post-punk provocateur.
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