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Exactly! Been using the concept in my ethnomusicology courses, in my own terms (and before really reading much from Small himself). Worked really well in a context where people identified as musicians and others who claimed “not to know a single thing about music” were discussing music together. Some students said that this presumably simple concept was the key thing they took away from class.
My focus tends to be on informal acts of music-making. Yes, things like “Self-Indulgent Noodling”. Or playful remixing. Or “rehearsing” when there’s not really an expectation of performance. One way to put is that “musicking isn’t necessarily about playing music; it’s about playing with music”. Not that it captures much of Small’s work. But nothing can. And the effect in people’s minds is sufficient for my needs.
So, iOS musicking apps could be anything in the App Store’s “Music” category. We all know that a lot of these have nothing to do with creating music. If a hardware manufacturer produces an iOS app in the “Music” category, it’s still interesting, even if that app is about streaming some radio program. But, of course, in the context of this forum, the implicit scope of the list above is “manufacturers of hardware related to music production/creation who also created iOS apps to aid in music production/creation”.
Pretty satisfied with the responses so far. Probably did forget a number of players, but that’s part of the reason the exercise is interesting.
Still, they’re releasing apps under this name. Could collapse the two, but it makes sense to keep them separate.
yes, it makes sense indeed, but the background is important, just as the Steinberg (Cubase) Yamaha thing.
Regarding your comment about virtual guitar amps can sound as good as real ones:
the most common misconception is that people compare apples to oranges.
A 'real' amp played through a real cabinet in a room always sounds highly specific to the player, a simple fact of physics. The ear perceiption system is complex and the whole situation cannot (yet) be faked due to the lack of transmitters (simplified).
A virtual amp mimics a recorded(!) amp/cabinet, using a full range flat response speaker.
But even those speakers DO NOT all react/sound identical.
Try a bunch of monitors all pretending the same frequency response - yet even quality ones sound different to the ear.
PA systems have an even wider spectrum, let alone the individual skills of front of house operators.
Didn’t even realize Yamaha owned Steinberg.
Would be really useful, at some point, to provide background on some of these. Surely, others have gone through rabbitholes of following the patterns of Mergers and Acquisitions in a given industry. Never did it for music production (don’t know enough about them), but it could be a really interesting map.
In fact, just locating some of these corporations on a world map could be interesting. Some are multilocated, some are really based in a given location, some have been moving around... Part of that is just the idea that a pretty significant number of these businesses had some geographic connection.
Very interesting points, which really help me grasp the approach to this part of the gear world. In this case, amps sound much more like acoustic instruments than synths do. Sure, two analog synths of the same model can have their differences and we’ve all heard about calibration and such. But what you describe isn’t just about the gear itself.
It’s also a useful reminder that perception, by its very definition, is subjective in the strongest sense: related to the perceiving subject. Such an important point which is often forgotten in discussions of what is “best”.
That part does apply to software. But we can try out software much more easily than we can try gear.
Thinking about this while trying to make a decision about buying a new instrument. At this point, my mind is set on an Eigenharp Pico. Sounds pretty optimal on paper (despite the fact that it’s tethered to a desktop computer). But it’s really hard to make a decision without trying one. And they don’t allow for returns because of the breath pipe.
My alto saxophone, a Selmer Mark VI from Paris, was made in the last year of the model’s production run. Allegedly, there have been changes in the metalworking for that instrument and some would say those later instruments aren’t as good as previous ones. But, back in 1989, trying this horn with my sax teacher before buying it made it obvious that this was the right choice for me (especially since the price was remarkably low).
So, going back to software: part of the whole emulation thing can be about diversity. Maybe @sinosoidal could make a synth which not only emulates the quirks of an analogue synthesizer model, but could enable each person’s softsynth to have its own quirks?
Didn’t realize they had an iOS app. The “iPad app to control custom hardware” category is pretty interesting.
Dreaming about the Eigenharp, noticed that Eigenlabs did eventually have an iOS app to control a desktop app working with the instrument. But that app disappeared.
So… Not to belabour this thread, but…
Two chapters of the hardware/software story worth consideration.
Chapter 1, Roland gets Propellerhead to stop selling ReBirth (as covered here).
Chapter 2, Ableton makes it easier to use the Push 2 without Live, with some potential for Raspberry Pi and maybe even iOS (according to Peter Kirn).
The thlot pickens.
For the first part, it might be cool if Roland upped their app game. Sure, they do have a bunch of apps. But many of them haven’t been updated in a matter of years. Those which have been updated recently (including Kiyola, which received an update two weeks ago) are really about controlling their hardware. Nothing wrong with that, of course, but the company could have a much more interesting app narrative, as Korg does.
For the second part, been wondering about Ableton’s play in the app sphere, in view of their hardware, their major contribution to iOS through Link, and their recent purchase of Cycling ’74. The Push API may be a way to get others to build apps for their hardware. And, as Kirn has it, it’s a remarkable strategy for a hardware vendor. They do a lot to support the wider community. For instance, they gave voice to the developer of my favourite musicking environment which, being Free Software, is in another sphere completely from Live. But allowing people to do new things to your hardware is an interesting strategy when you’ve created said hardware (in direct collaboration with Akai, it sounds like) specifically to create an integrated hardware/software solution based exclusively on your own products.
We do live in interesting times.
there is no more 'Akai', the company known for MPC groove samplers
it's just the brand name left, which has been sold to an investor
(according to my experience this never improved things, but that's a personal opinion)
Useful to know.
Sorry to make this into a Wiki but some of us are pretty naïve about these things.
So, ok, they’re all part of inMusic Brands…
Quite a bit of branding for a single company. Actually, it explains why my Alesis Vmini controller came with AIR Xpand!2 (which is also bundled with Avid’s Pro Tools).
Still, it kind of surprises me that Akai is so far removed from what it was in the 1990s. After all, they were able to come out with new MPC devices (including the MPC Live). And their EWI 4000s is possibly their best wind controller. But it still makes sense that there would be a discontinuity, given several of their weirder decisions (including the tethered MPCs and the EWI 5000).
There’s a big tendency in most industries to have so much consolidation that you end up with a handful of big companies which buy out parts of one another. In the recording industry, even that handful has been getting smaller. And the beer industry has been interesting to watch, in terms of megabreweries trying to compete with one another by buying microbreweries.
So… Maybe we could start a list of indies. In hardware, there’s quite a few (say, Bastl), but the big ones still dominate. In iOS software, we might be lucky in that the big manufacturers aren’t necessarily preventing independent developers from making a mark. Although, obviously, it can be hard to get much exposure with the way the App Store is setup.