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Sure. Incoming MIDI and even incoming AU Parameters. It's really a programmable AUv3 MIDI plugin, where the entire boilerplate plugin is already set up and running for you, including the UI, AU parameters, host transport and state information, etc. You're also free to not use any of that and just write a simple filter that sends notes to different channels depending on their velocity or something. Sky's the limit and stuff
If you have suggestions for things you'd like to see, let me know. I'm looking for useful examples I can prepare for tutorial and factory preset purposes
I do wonder if it will be possible to 'simulate' the Retrokits RK-002 cable to play some chords on the Volca Bass?
(ie. root note plays the main note and the remaining notes get converted to CC's for the other 2 oscillators).
Guess it will take some crazy scripting to make it work with table-lookup for the CC note values on the Volca based on how far away they are from the first note or something...
Ha - that's obviously me
To be fair 90% of the enjoyment I get from making music is in the writing/composing, and I don't want to delegate that to an algorithm. Hey, it's my choice, don't judge me.
I make an exception for drums, because the GarageBand Drummers are pretty good, but even then I still prefer to write my own drum parts if I have time (it takes a lot of time to write a drum track anywhere near as good as the GB Drummers though). But other than that it's just not for me - I don't even like using arpeggiators.
This isn't snobbery though, I don't judge others who use generative methods, and I'm a fan of many electronic and experimental artists. It's simply down to the fact that I enjoy composing and arranging music, so why let the machine do it for me? Another factor that makes it less compelling for me is that it would feel like there was less of me in the music, compared to something I have created completely from scratch myself.
It's not like there's a shortage of others exploring this avenue anyway, not around here anyway. I'm genuinely curious to see if a new and exciting genre could emerge out of this trend.
Depends. If all you want to do is say that C2 is CC1, C#2 is CC2, D2 is CC3 - then no, it would be really straightforwad to do that (you can do that in Streambyter already).
Yeah I want to like it, but ultimately I find I actively dislike using it. A real shame indeed.
The sampler is really good. If they made it into an auv3 sampler I would guess that they'd potentially sell more copies of that than they have of BM3.
I think a lot of people on iOS could use a Battery style pad sampler with slicing.
I'd (probably) buy it ;-)
Oh cool... I will definitely take a look when I get a chance :-)
This is a valid choice, but I wonder if it this is partly due to a misunderstanding of what you can do with generative methods. I also like writing/composing, but generative methods allow me to explore musical ideas that I couldn't do easily (or at all). And I tend to think of music theory as just another form of algorithm, so there's that as well.
But to give an example. Let's say I program in an interesting little melody. It's fine, but what if I now add some CCs for filter cut off and distortion to the synth so that the timbre can easily be modified. I can now control filter and distortion with a different sequencer and have those on a different polyrhythm (let's say the melody is two bars, but my timbre sequence is 5 beats). Or maybe I can have two sequencers, one controlling the distortion, the other cut off, and have those on different polyrhythms. Suddenly my little two bar melody is sonically more interesting. I'm still composing, but I'm able to develop my idea in ways that I probably wouldn't do otherwise. And I can quickly experiment until I get something that I like.
Or it can be as simple as just automating things that you would do anyway. I can write arpeggios out by hand, but I'd rather use an arpeggiator. Speeds things up.
I don't want to make generative music either. But what I do like the idea of is writing lots of little sequences and then triggering them with other sequencers (or keyboard or whatever) transposing along the way and just having fun. I don't mind a bit of randomness in the drums as you also mentioned; Having some of the parts being generated to add a bit of spice is cool.
I like the idea of the modular setup as a musical playground. I just want to be able to pick up the iPad whilst my wife is watching something on TV, stick on some headphones or even AirPods and have a little play with no ulterior motive.
As soon as I'm in a linear DAW I can't help feeling like I need to write a finished track. I like the idea of just messing about where the process is potentially as much fun as the results. As long as my interest is piqued and I'm being creative, I'm happy. But mainly, as I think I've said in posts on other threads in the past, all of this modular stuff looks really interesting to me and I want to play too :-)
I've been fairly productive of late but nothing I'm happy sharing (Including the track I shared a few posts ago!) but I'm coming to terms with that being completely fine.
But I do think I'll be able to make lots of little idea-starters I can use to collaborate with my old bandmate. It's been way too long since we made music as a band and one day I'd like to get back to that.
Well never say never, but for one thing I never program a melody, I always perform it somehow, either on the on-screen keyboard or with an external controller or instrument. That aspect of performance is what is central to my enjoyment of composing, because it's in those performances that (for me) the magic and the happy accidents happen.
That's the thing I really love about music: you can mess around on the guitar for ten minutes and suddenly a tune emerges out of that. I find it eternally surprising and fulfilling. For many people there is a similar satisfaction to be found in experimenting with apps and generative methods, but for me the music has to come from within, otherwise I don't take any pleasure in its creation. YMMV (and in many cases it does, and that's cool).
All I know is that each oscillator has its own +/-12 'relative to note pitch'(CC#44,CC#45 & CC#46).
The display on the VolcaBass indicates semitones after +/- 100 cents. hat makes this tricky is that the VolcaBass does not transmit any mid...
The Taipei Gadget in Gadget has a preset for VolcaBass so it's quite easy to automate I guess...
Absolutely, I think anything is fair game in art, and if exploring this helps to generate new ideas and break out of stale routines all the better
BTW the link you posted earlier doesn't work for me.
Oh sorry about that.
This should work:
https://precisionwebsites.co.uk/music/
The second track is an example of me not being good at structure when left to my own devices. I need a writing partner/collaborator to help me cut out the crap.
Don't worry Richard I wasn't judging you.
But the point I was making when we discussed Rozeta in the Auria thread much like the points I was covering in this thread is that modular music tools aren't just for generative and algorithmic music techniques.
Only two out of the nine tools in Rozeta are generative.
1.) It has a mono-sequencer and the thing that this does that is more difficult with a linear sequencing is that it makes it easier to program pitch bends, which are used often with synth bass lines.
2.) An x0x style drum sequencer. Perfect for quickly programming any drums not just electronic drums.
3.) 3x LFO's. These are essential for programming all manner of modulations not least to provide movement to static FX plugins
4.) A Euclidean sequencer. I think Euclidean sequencers are often misunderstood. Even if you don't make electronic music, a Euclidean sequencer is a great tool for programming non 4/4 drums, particularly the drum rhythms of South America, Africa and Asia.
5.) A MIDI Particle Generator. I won't explain this one as it's generative.
6.) A polyphonic step sequencer. This is the hidden gem of Rozeta IMO as it enables you assign notes or chords to an individual cell and then either allow those note or chords to play back either sequentially or randomly. The gate time provides plenty of metric flexibility so it's as suitable to sequences of held chords as it is to shorter staccato sequences.
7.) Rozeta Collider. Another generative one, so nothing to see here.
8.) A pair of configurable X/Y expression pads, no need to explain this one as it does what it says on the tin.
9.) A simple arpeggiator for use with any synth which is often for more apt to requirements compared to other excellent but often more complex arpeggiation options
7 out out 9 of these tools are valuable to any musical style even pure acoustic music, where the iOS device is used as nothing more than a recording and mixing device.
It's all too easy to judge a family of musical utilities as somehow only being suitable for particular musical styles.
But Richard, none of that is to say you or anybody for that matter are wrong with regard to making the choices you do ref the tools you prefer.
I've said it before and I'll say it a thousand times more - Vive La Différence!
Yes there's obviously more to Rosetta than I was aware of, I might well check it out someday. I do actually also produce electronic as well as more acoustic music so I definitely have nothing against electronic genres. And I love artists that merge the two, such Air or Emancipator, but I'm also a fan of many electronic genres such as contemporary ambient stuff such as BT and old school techno and drum and bass
To be fair @richardyot made his own iPad as well..
Mmmm, not sure if that's a fair analogy
FWIW, I find Rozeta Bassline to be a great tool for programming basslines and only letting it use small degrees of randomness to humanize the feel rather than to come up with the actual part -- in the way that I program a beat into Soft Drummer and use the jam intensity to humanize things.
I haven't used the more generational Rozeta plugs in an actual track, but I do find that every once in a while it is interesting to me to turn on collider or particles and see if they do something that I find interesting and surprising that I'll pursue by playing something similar. In the way that a bandmate's noodling (back when I played in bands) might give me an idea for a part.
This is not to say that you should do the same thing -- and no criticism at all implied about how you go about things. Just thought I'd mention these possible non-generational uses of some of Rozeta's.
As an fyi: I have a very split personality (in many directions) when it comes to how I like to music: from solo acoustic guitar to jazz-influenced funk/fusion to abstract atonal synthscapes and lots more.
That's a cool tip, I didn't realise Rosetta could add variation to an existing part, thanks for that.
Me too, all over the place, from cheesy to experimental and everything in between.
That and some sound sources are really all you need. Learn to route Rozeta's various apps' MIDI outputs into each other and into your synths, and you have a very powerful generative system right there. You really don't need much else.
Really informative thread. For a simple setup, to drive synths with Rozeta to record in GarageBand (rather than for live jamming), which would be the best host, AUM, apematrix, or AB?
Audiobus is best because it can convert GarageBand midi clock to Link and sync Rozeta. You can then host synths in AB and record audio in GB, or record midi in GB if Rozeta is routed to AB Virtual midi:
And AB has app switching which is better with GB. AUM can be used too if hosted by AB which will do the syncing. Or you can use Midi Link Sync instead of AB. ApeMatrix can be used as IAA in GB and will be synced, but there is no latency compensation... yet.
Ha ha, no, just a gentle teasing around the idea of "every note comes from me". I know you didn't say that exactly but that's the gist I got from it.
It's a good discussion and I enjoy hearing how other people work. For me I often either play on a keyboard, physical or virtual, or work out the notes with an instrument and then draw them in to either a piano roll or tracker. I see it as being similar to scoring, because I haven't had enough practice in writing directly to a score.
But even so, I like to then mix things up with either randomizers or conflicting delays to achieve different effects. In this way I think many of use some kind effects to provide harmony (or dis-harmony) to our 'written' or 'performed' music. I see it as another way to generate content and to provide sometimes surprising new avenues for the music.
What is this 'Audiobus App Switching' that I hear bandied about these parts?
Ah ok. Was being dim, thinking it was referring to something else. Thanks
There's all this interesting conversation about modular approaches to music and truly fascinating discourse on generative algorithms. My brain loves these things and our lovely forum produces numerous delights. But at the end of a tough day I do sometimes thirst for someone to convey to me in song what it means to be a human making a path through a complex world. In that regard @richardyot wins the thread.