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Pentambience
Recently purchased Koala and have been messing around with it for a little while now aspiring to be like some of the other users on the forum - thanks.
This is my first finished ambient project which uses just one sample - a rising C Major Pentatonic scale played on Pure Piano, heard at the very beginning. All other samples were re-sampled from this one and manipulated in some way to create the final piece.
In another thread @rottencat said:
I sometimes wonder how much I am the “composer” of such a piece.🙂
I get the same feeling. I did choose the modulations and stretched the samples and placed them to (hopefully) make interesting rhythms, but the end result was created by itself. It's alive!
Comments
Cool you opened that door, so much fun waiting. Sounds good already... 😃
A very pleasurable piece you set in motion there.🙂
Sometimes simplicity is the best way.
That was really beautiful!
If you need any tips about Koala, just let me know. But it seems you have a good grasp on how to use it @pbelgium . ❤️
If you’re not the composer then who is? Using random or happy accidents has always fueled musical creativity, at least since john cage, probably much earlier
If I use generative methods and random in a composition and tune it to my liking am I not the creator?
And it’s a lovely piece, except now after listening I don’t feel like working for the rest of the day, I just want to crawl into a warm cozy slumber, specially given the specific weather conditions here
Thanks. I enjoyed the process and would like to do more, but my guitar is not happy.
Thanks for listening @rottencat @jwmmakerofmusic. I was not entirely happy with Koala, didn't get on with the sequencer very well. The problem is that I use 'hold' on the samples and draw the parts in the sequencer as one continuous line to repeat, as opposed to drawing lots of small segments for each repeated part. That's very good, but every time I changed something in the sequence, to check it I would have to play back from the very beginning each time. Is Koala as good as it gets or should I look at Polaris or something else? Any suggestions?
You probably haven't used Koala to its fullest potential. There are rare occasions I utilize the sequencer in Koala, mostly when I want to program a sequence with chance involved. Most times I don't use Koala's internal sequencer. However, I usually turn on and off loops manually, assign them to busses so I can slowly fade them in and out, etc when live recording. Using the sequencer seems counterintuitive for drone work for me personally, but your mileage may vary.
Also for drone work, I make use of crossfade loops. I have hold mode on, and I adjust a loop to be as almost seamless as possible. Then I turn up the crossfade. Works a treat.
If you have any other questions about Koala, let me know. Don't hesitate to ask.
This is lovely. I love how the 2 (or 3?) piano parts weave and come together in complex ways to form chords. I dig the subtle pacing shift around 2:20 and how the energy slowly builds throughout the tune.
Thanks for listening and trying to convince me that I am the creator. I really want to be the creator, but, as @ecamburn (also, thanks for listening) points out, the middle 3 voices created some very nice chords / melodies, which were completely unintentional on my part, i.e. I had no preconceived notion of these interactions. Perhaps, I'm more of the 'curator' of the piece, as I selected the parts, tried a few iterations and finally chose the outcome that was most interesting from my perspective. Interesting topic, especially in light of the artistic capabilities now available to one and all through AI apps.
Lovely little piano based piece! It’s good to hear you trying some new things!
Koala is fun no doubt! Once you’re comfortable enough with it, try some guitar samples the same way. @pbelgium
Any way you get there.
For a long time, I composed by playing melodic riffs that I thought would fit together. Every now and then notes from different parts would sound at the same time. I learned many years afterwards that these are actually chords, and that is called contrapuntal. 
Now I'm more purposeful about harmonization, but for a long time it was happy accidents.
The end result, however achieved, is a lovely piece of music 👌
Thanks very much Edward, sounds like a good idea.
That’s all that matters. Thanks for listening.
Whether it’s accidental, counterpoint or chords, we are all indebted to the master of fugue, Johann Sebastian Bach. Thanks again for listening.
If, as some believe, that all art is theft, then the means of its production becomes insignificant. Discuss 😊.
Perhaps claiming to have created a work with chance elements is more about how you feel about attaching your name to it? Does it meet the quality standards of brand @pbelgium?
Pentambiance (wish I’d thought of that title) leaves me relaxed and even humming that pentatonic line. For me, you’ve nailed the difficult ‘undemanding as background / deep enough for active listening’ balance. Five minutes passed in a blink.
Interesting comments Andy. I don’t feel like I stole anything. The initial sample is just an ascending C major pentatonic scale with no particular rhythm at 70 bpm. I suppose my manipulations of the sample were influenced by other forum members which could be connected to Eno/Fripp or go way back to counterpoint. (Okay, I probably stole something, rhythmic/transpositional canons, crab canon, etc.) But, I still feel detached from the outcome as musically it wasn’t derived or built from anyone else’s composition. Does that make it an original or unique creation? No, it doesn’t appear to have a creator and fits the genre well, as you pointed out. The ‘curator’ title does seem more fitting and I’m very happy to put my name on it. I’ve listened to it several times for relaxation - I did surreptitiously add an underlying isochronic reverb modulating around the alpha frequency (~8 Hz) which should make you feel good whether you can hear it or not. Thanks for listening.