Bring me anything to draw music with...

Philippe

... with a palette of fractions and frequencies.
My only wish to you builders of tools.

oat_phipps

If you quit that hippie poetry stuff and focused on building tools, you could do it yourself, hippie

I’m being facetious; I feel it was my only avenue of response.

CracklePot

Kinda sounds like Wilsonic.

1nsomniak

iKaossilator kinda as well. I really like that interface actually, would be nice if more apps could be controlled that way.

Wrlds2ndBstGeoshredr

The Chordflow app is the best for drawing music.

BlueGreenSpiral

@Wrlds2ndBstGeoshredr said:
The Chordflow app is the best for drawing music.

I was just about to mention this one, sounds like it's exactly what you need!

AnimalHeadSpirit

It's not microtonal but I just picked up SoundBow , which can be fun in a pinch for drawing musical patterns. Inexpensive too. Also HarmonyWiz will let you "paint" notes

Not exactly "drawing" .. but the following apps might tick a few boxes for you via their unique generative sound
techniques:

Refraktions , Musyc Pro, Monovista, TC-11, ScaleGen, Gestrument
I love toying around with alternative music playgrounds & generative apps like these...

brice

wasn’t half bad.

[Deleted User]

Animoog...

skoptic

Surely FluXpad?

aquasloth

Virtual ANS? I’ve derived hours of entertainment from that app, incredibly underrated.

u0421793

I don’t think there’s enough of a correlation between drawing and painting, and music. I’d like there to be, and there is to some extent, but not what we think and not in the way we want to be useful for creation. This is the exact topic I did my art college thesis back in 1980-81 at West Sussex College of Design – the visual analogy of music. It was brought about because at the time I was stifled by not being able to describe or convey the particular aspects of sound from complex synthesis. Music composition had already arrived at this tadpoles on telegraph wires notation, but that doesn’t describe any particular sound, only the pitch, duration, loudness variability. Modern (ie, 1970s) synthesisers had far more variable axes, as did natural sounds and everyday found sounds.

Also, this was the very start of the age of the “video clip” which would accompany a single on a popular television programme such as “Top Of The Pops” in the UK, or “Countdown” in Australia (where I’d been living and just returned from). I was perturbed at the quantity of videos that accompanied new compositions in the pop sphere, which had no apparent correlation to the music or the composition of the music. I wanted to propose that we make the video at the same time as we make the music, so that they are tightly bound and are effectively the same art. That was the premise of my thesis. I got good marks for it but didn’t feel I conveyed it too well (I was only about 20 at the time and got carried away cutting up and re-repro-ing my typewritten bits on photocopiers – an early precursor to the kind of art I’d be doing later in my career with a process camera and PMT paper).

There’s many aspects to the visual analogy of music. There’s visual interpretation of already existing music, or there’s creation of music from visual mark-making. The two are quite different.

Then there’s the situation where visual art is parallel and sonics are serial. Apart from that, the assignment of the visual mode or style to a particular sonic affectation is variable across different people. For example, I’ve always heard phasing or flanging as if I’m seeing a sort of white tape or ribbon gently and loosely twisting in front of me and across the field of view. This might not be universal enough to be a notation where I draw or animate a white ribbon flowing in the wind and you get to hear a phased guitar thrash out the other end.

There have been some interesting steps in the direction of visual interpretation of music (which is not the same as visual composition of music). Len Lye, for example, and John Whitney, but both of those were animators, and it turns out that the only real way of doing this (making visual representation for a serial medium such as sound) is to serialise the visual (ie, animate). I can’t just paint a song. I have to animate the painting of a song.

Len Lye – Extract from Free Radicals

John Whitney “Catalog” 1961

John Whitney demonstrates his analog computer

Oh, and why not include me (a bit of self promotion, I like that):
Ian Tindale, Part Of A Ring

Philippe

@oat_phipps said:
If you quit that hippie poetry stuff and focused on building tools, you could do it yourself, hippie

I’m being facetious; I feel it was my only avenue of response.

Hehe, right on 😎!
Homo Habilis to the bone, you bet I do!
I happen to have grown with screens and buttons, but did not dig to put them to my hand. (Does that even make sense in english (pita emoji).)

If I could team up with some devs I know I would bring this touch screen thing thing to a place.

The hippie is into arts and science, and has a lot of imagination.

Philippe

All good suggestions, thanks, I have most of these and will revisit.

lately me was into step sequencing
Digitakt, synthstrom deluge,
Patterning 2 looks very promising...
Perforator is scratching the surface...

It is as if so many tools(apps) are unfinished, not exploiting the strength and weeknesses of a touch interface...

Quick access to Layers over layers of step sequencers
Differents time signature, permutation of destinations
Pattern pages...

Well, writing this makes me realize that hundreds of app just do that,
The software world with its infinite potential is just so much frustration for the non coder homo habilis that has evolved with the power to transform his surronding to his desire.

I’ll stick to pen, brushes, woodworking, guitars, drums, synths, and to hardware and software for what they are and not what I wish they would become.

Philippe

@u0421793 said:
I don’t think there’s enough of a correlation between drawing and painting, and music. I’d like there to be, and there is to some extent, but not what we think and not in the way we want to be useful for creation. This is the exact topic I did my art college thesis back in 1980-81 at West Sussex College of Design – the visual analogy of music. It was brought about because at the time I was stifled by not being able to describe or convey the particular aspects of sound from complex synthesis. Music composition had already arrived at this tadpoles on telegraph wires notation, but that doesn’t describe any particular sound, only the pitch, duration, loudness variability. Modern (ie, 1970s) synthesisers had far more variable axes, as did natural sounds and everyday found sounds.

Also, this was the very start of the age of the “video clip” which would accompany a single on a popular television programme such as “Top Of The Pops” in the UK, or “Countdown” in Australia (where I’d been living and just returned from). I was perturbed at the quantity of videos that accompanied new compositions in the pop sphere, which had no apparent correlation to the music or the composition of the music. I wanted to propose that we make the video at the same time as we make the music, so that they are tightly bound and are effectively the same art. That was the premise of my thesis. I got good marks for it but didn’t feel I conveyed it too well (I was only about 20 at the time and got carried away cutting up and re-repro-ing my typewritten bits on photocopiers – an early precursor to the kind of art I’d be doing later in my career with a process camera and PMT paper).

There’s many aspects to the visual analogy of music. There’s visual interpretation of already existing music, or there’s creation of music from visual mark-making. The two are quite different.

Then there’s the situation where visual art is parallel and sonics are serial. Apart from that, the assignment of the visual mode or style to a particular sonic affectation is variable across different people. For example, I’ve always heard phasing or flanging as if I’m seeing a sort of white tape or ribbon gently and loosely twisting in front of me and across the field of view. This might not be universal enough to be a notation where I draw or animate a white ribbon flowing in the wind and you get to hear a phased guitar thrash out the other end.

There have been some interesting steps in the direction of visual interpretation of music (which is not the same as visual composition of music). Len Lye, for example, and John Whitney, but both of those were animators, and it turns out that the only real way of doing this (making visual representation for a serial medium such as sound) is to serialise the visual (ie, animate). I can’t just paint a song. I have to animate the painting of a song.

Len Lye – Extract from Free Radicals

John Whitney “Catalog” 1961

John Whitney demonstrates his analog computer

Oh, and why not include me (a bit of self promotion, I like that):
Ian Tindale, Part Of A Ring

Very interesting, especially from a biology and neuroscience perspective. Fascinating how technology can be crafted to create pieces of art.

Thanks for the links, trippy.

Not enough of a lifetime to learn all those languages opening doors to mediums yet to be discovered.

This guy machine reminds me of the first mechanical computers.
I binged watch the whole computer science crash course last week 😎.
I love this Youtube channel.

CracklePot

This one is kind of cool.

MusicPaint by Benjamin Outram
https://itunes.apple.com/us/app/musicpaint/id1092932799?mt=8