The DAW-less experience

[Deleted User]

@fattigman said:
@Dawdles it has a fun factor like the op-1. You need some time with it though. You have to RTFM but it’s nice to get away from the screen and concentrate on physical pads and knobs

Yeah that’s what is missing from the fun of my iOS setup - a nice portable hardware solution to pair it with. Would be ordering now if it wasn’t for moving house at the end of the week (costly)

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[Deleted User]

@Dawdles said:

@Fruitbat1919 said:

@fattigman said:
@Dawdles it has a fun factor like the op-1. You need some time with it though. You have to RTFM but it’s nice to get away from the screen and concentrate on physical pads and knobs

Yeah that’s what is missing from the fun of my iOS setup - a nice portable hardware solution to pair it with. Would be ordering now if it wasn’t for moving house at the end of the week (costly)

3 month waiting list last time I checked, so might be worth ordering now to get your place in the line, depending on the pre-order payment deal and whether 3 months time works out for you... otherwise it might be another 3 months waiting list by time you wanna order Worth dropping them an email maybe.

Yeah by 3 months goes by, something else will gain my attention lol. I’ve been looking for something to go with my iPad for over a year now. I keep changing my mind

KING

@pedro said:
... What apps do you guys suggest to make it happen?

AUM!

King

jrjulius

I’ve got a Tascam 788 in my parents’ basement that I could sell for cheap. It works really well except that the 8-row display occasionally fades to blank.

Also, there’s no USB in or out so the only way to get files off of it is to burn them to disc, and you need to hold the SCSI cable at just the right angle while your CD-R burns. And all editing is done via jogwheel and buttons, some of which need to be “coaxed” before they engage. But that’s half the fun!

Actually though, it was a very satisfying system to use and it exists at the centre of some of my fondest musical memories. There’s a lot to be said for going DAWless. I guess I’m just not quite ready to say it again.

KING

@jrjulius said:
... It works really well except that the 8-row display occasionally fades to blank.
Also, there’s no USB in or out so the only way to get files off of it is to burn them to disc, and you need to hold the SCSI cable at just the right angle while your CD-R burns. And all editing is done via jogwheel and buttons, some of which need to be “coaxed” before they engage...

Wow! ... That sounds nice..

👊🏼

King

DatGood

I'm watching "Hicut cake" on YouTube for inspiration to make kinda simplified-semi-dawless-iOS-esque-version jam sessions. Just need time to kick it off and record for my page, "Dat Good" on iG (@datgoodig).

I use the iPad Air 1 as a fake MPC Live (BM3) to trigger drums and bassline scenes (controlled via the screen and/or wireless AKAI LPD8 for extra live parameter control), my iPhone 6s with the lead (live played) synth in AUM (controlled by MINILAB 2). Both devices are synced by AB3 (beta version) + Link with audio outputs run into a Zoom H2n to record.

No multitrack recording but I definitely can if I wanted to via AUM on each device.

StormJH1

I've thought about this, as this whole world is kind of weird to me coming from a causal guitar background to a casual synth/electronic interest. It's pretty jarring at first to watch a "live" YouTube video where the guy (or gal) basically hits a play button and then just starts waiving his arms around in between messing with the cutoff filter. At first, it didn't feel like music to me. But you realize that it's really no different than people saying that you're not a real musician if you only read tab. Or that The Edge (U2) is bad at guitar because his riffs sound like beginner guitar if you strip away the dotted eighth delay and modulation. I think those are both false assertions, and if the creative process leads to a fulfilling and creative end product, why do we even care how it was created?

Similarly, I don't really buy the idea that capturing a "live" performance in a single run versus sequencing everything in a DAW and just running a music computer program is more "pure". It may be considerably more satisfying for the musician to perform, and I totally get that. But if your sequencing comes from a piece of MIDI hardware instead of a piano roll in Ableton, isn't that still an assist from technology? Isn't that also the point of a drum machine versus an actual drummer, or an arpeggiator versus playing the actual key notes up-down-up-down, etc.? If the automation or technology assist makes things possible that just aren't by a solo performing musician, then you can knock the musicianship if you want, but I think that's just snobbery for the point of being snobbish.

Make music. Have fun. Do it by yourself, or in front of hundreds of people. Do what makes you happy.

DatGood

@StormJH1 +1

[Deleted User]

@StormJH1 yeah totally agree. I can’t often replicate some of the playing I do. Sometimes spontaneity is the only way I can make some decent sounding tunes - mostly when I am not recording! Lol

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wim

@Dawdles said:

Both approaches are cool. Agree that any kind of snobbery or purism from either camp is totally counter productive and ridiculous. Music is too much fun - solo, band, one pass performance, overdubs, combinations....all good!

Except Disco. That’s fair game.

u0421793

@wim said:

@Dawdles said:

Music is too much fun - solo, band, one pass performance, overdubs, combinations....all good!

Except Disco. That’s fair game.

Disco is the highest art form, in my opinion. For me, it is about the most influential of my formative influences. It actually comes from an interesting back-story. It isn’t all ‘Saturday Night Fever’ either.

Disco was originally a marginalized music form prior to the world experiencing Saturday Night Fever – mainly the preserve of black and gay minorities with nobody outside that world knowing much about it.

Saturday Night Fever itself was one of those films which formed a cultural memory in itself which thereafter permanently affected the way the public ‘remember’ the past (another film is Wall Street, which influenced a generation of misbehaving yuppies thereafter). Saturday Night Fever was written by rock journalist Nick Cohn, as a fabricated story called Tribal Rites of the New Saturday Night, written for an American magazine about the newly emerging disco scene, but actually not researched at all but instead put together based on what he remembered of the Northern Soul scene here in Britain. Hence, the film features a white straight guy John Travolta (yes, Tony Manero, of Italian descent) but that isn’t representative of any true disco frequenter of the early times.

Disco goes back even further, though. One of the essential characteristics of disco is that it deploys new technology ingeniously – the record deck, two in fact, along with a mic near the disco mixer. This was a novel configuration – not a live band or performer, and not a person putting on records for a crowd to dance to, nor a juke box. It was a continuous flow of music, assisted by cross fading and the longer instrumental mixes.

This, though, didn’t actually start in the 70s, or even the 60s. It actually started in the Second World War, in the French Underground clubs. Discotheques were popular among anti-Vichy ‘zazous’ – a youth movement. In Nazi Germany, similarly, anti-Nazi youth ‘the Swing Kids) did the same. In Paris, at the Whisky a Gogo, in 1953, Regine installed a dance floor and instead of a jukebox used two turntables which she operated herself to eliminate any breaks in the music. This was effectively the prototype of the modern post WWII configuration of disco as we know it.

I personally think it is a form of music unafraid to break with the past and be different (in the 70s this meant different to live rock performances) and also be very quick to adopt technological advantage and innovation.

wim

@u0421793 said:

@wim said:

@Dawdles said:

Music is too much fun - solo, band, one pass performance, overdubs, combinations....all good!

Except Disco. That’s fair game.

Disco is the highest art form, in my opinion.

Post flagged.

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ksound

@u0421793 said:

@wim said:

@Dawdles said:

Music is too much fun - solo, band, one pass performance, overdubs, combinations....all good!

Except Disco. That’s fair game.

Disco is the highest art form, in my opinion. For me, it is about the most influential of my formative influences. It actually comes from an interesting back-story. It isn’t all ‘Saturday Night Fever’ either.

Disco was originally a marginalized music form prior to the world experiencing Saturday Night Fever – mainly the preserve of black and gay minorities with nobody outside that world knowing much about it.

Saturday Night Fever itself was one of those films which formed a cultural memory in itself which thereafter permanently affected the way the public ‘remember’ the past (another film is Wall Street, which influenced a generation of misbehaving yuppies thereafter). Saturday Night Fever was written by rock journalist Nick Cohn, as a fabricated story called Tribal Rites of the New Saturday Night, written for an American magazine about the newly emerging disco scene, but actually not researched at all but instead put together based on what he remembered of the Northern Soul scene here in Britain. Hence, the film features a white straight guy John Travolta (yes, Tony Manero, of Italian descent) but that isn’t representative of any true disco frequenter of the early times.

Disco goes back even further, though. One of the essential characteristics of disco is that it deploys new technology ingeniously – the record deck, two in fact, along with a mic near the disco mixer. This was a novel configuration – not a live band or performer, and not a person putting on records for a crowd to dance to, nor a juke box. It was a continuous flow of music, assisted by cross fading and the longer instrumental mixes.

This, though, didn’t actually start in the 70s, or even the 60s. It actually started in the Second World War, in the French Underground clubs. Discotheques were popular among anti-Vichy ‘zazous’ – a youth movement. In Nazi Germany, similarly, anti-Nazi youth ‘the Swing Kids) did the same. In Paris, at the Whisky a Gogo, in 1953, Regine installed a dance floor and instead of a jukebox used two turntables which she operated herself to eliminate any breaks in the music. This was effectively the prototype of the modern post WWII configuration of disco as we know it.

I personally think it is a form of music unafraid to break with the past and be different (in the 70s this meant different to live rock performances) and also be very quick to adopt technological advantage and innovation.

Thank you. Surprised to see people still aboard the Disco Sucks train.

skoptic

Am I right in thinking that it’s either DAW (i.e. Cubasis) or AUM but not both in sync?

I noodle without a DAW using Rozeta and Envolver in AUM but I would really rather play alongside Cubasis, but as far as I can see there is no way to sync Cubasis with AUM or Audiobus?

pedro

Thanks guys, this thread gave me more than I bargained for

@Fruitbat1919 thanks for the screen shots I’m working on a similar setup and I’m sure it’ll be hours worth of fun

@palm I guess I’ll have to buy geoshred, I know it’s a blast and now at discount price I might not resist

@brambos you’re such a nice guy I just buy your apps whenever you put something out

@fattigman I’m not buying a deluge but looks way cool. What is it about midi editing you like so much?

@everyoneelse thanks for being such a great supportive community

This is why I haven’t given up on iOS yet

realdawei

@wim said:

@u0421793 said:

@wim said:

@Dawdles said:

Music is too much fun - solo, band, one pass performance, overdubs, combinations....all good!

Except Disco. That’s fair game.

Disco is the highest art form, in my opinion.

Post flagged.

😂😂😂😂😂

Telstar5

I ha e a Korg Kross 2.. Works beautifully w iOS

pedro

My x-station still works...

wim

@ksound said:
Thank you. Surprised to see people still aboard the Disco Sucks train.

‘twas a joke.

John Travolta on the other hand...

Mayo

Like others - when AUM allows individual midi stem recording + audio tracks (at the same time), I will happily stop 70% of my DAW use, until then my DAW rulez

brambos

@wim said:

@ksound said:
Thank you. Surprised to see people still aboard the Disco Sucks train.

‘twas a joke.

John Travolta on the other hand...

Implying he’s not a joke?

fattigman

@pedro editing midi on a tablet is rather clumsy. You have to scroll and pinch and your finger is always in the way for the screen. I think maybe 10-30% of the time I add/edit wrong notes because of this. The physical interface of Deluge is much easier and faster.

reasOne

@Fruitbat1919 said:
@StormJH1 yeah totally agree. I can’t often replicate some of the playing I do. Sometimes spontaneity is the only way I can make some decent sounding tunes - mostly when I am not recording! Lol

Haha I feel that, the best jams are always when I didn't hit record !!

And +1 @StormJH1 couldn't agree more

YZJustDatGuy

@Dawdles said:

@StormJH1 said:
I've thought about this, as this whole world is kind of weird to me coming from a causal guitar background to a casual synth/electronic interest. It's pretty jarring at first to watch a "live" YouTube video where the guy (or gal) basically hits a play button and then just starts waiving his arms around in between messing with the cutoff filter. At first, it didn't feel like music to me. But you realize that it's really no different than people saying that you're not a real musician if you only read tab. Or that The Edge (U2) is bad at guitar because his riffs sound like beginner guitar if you strip away the dotted eighth delay and modulation. I think those are both false assertions, and if the creative process leads to a fulfilling and creative end product, why do we even care how it was created?

Similarly, I don't really buy the idea that capturing a "live" performance in a single run versus sequencing everything in a DAW and just running a music computer program is more "pure". It may be considerably more satisfying for the musician to perform, and I totally get that. But if your sequencing comes from a piece of MIDI hardware instead of a piano roll in Ableton, isn't that still an assist from technology? Isn't that also the point of a drum machine versus an actual drummer, or an arpeggiator versus playing the actual key notes up-down-up-down, etc.? If the automation or technology assist makes things possible that just aren't by a solo performing musician, then you can knock the musicianship if you want, but I think that's just snobbery for the point of being snobbish.

Make music. Have fun. Do it by yourself, or in front of hundreds of people. Do what makes you happy.

+1 I rarely find solo modular performances that I want to listen to repeatedly. Like probably 5 out of every 50 modular artists I see at shows or in videos. I can totally appreciate it in the moment and it’s usually interesting to watch it once, but it’s rarely something I go back to. Just my taste I guess. There are obviously a lot of exceptions, some of my favourite Lps are solo modular performances, but in terms of a percentage of how many artists in that field I heavily dig for repeated listening, it’s very, very few. But it’s a lot of fun to jam solo in those kind of ways...

Whereas most of my favourite records involve overdubs or multiple musicians.

Both approaches are cool. Agree that any kind of snobbery or purism from either camp is totally counter productive and ridiculous. Music is too much fun - solo, band, one pass performance, overdubs, combinations....all good!

I find a lot of the ambient stuff really enjoyable. It’s actually the kind of music I want to start making myself and has also made me try out this whole dawless thing on my iPad. It’s not the same as with hardware synths and such but it’ll do. rBenny, Jogging House, Amulets, RemixSample, Perplex On, and Cooleurves are some for example. All of them can be found on YouTube. Very inspiring stuff.

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