Audiobus: Use your music apps together.
What is Audiobus? — Audiobus is an award-winning music app for iPhone and iPad which lets you use your other music apps together. Chain effects on your favourite synth, run the output of apps or Audio Units into an app like GarageBand or Loopy, or select a different audio interface output for each app. Route MIDI between apps — drive a synth from a MIDI sequencer, or add an arpeggiator to your MIDI keyboard — or sync with your external MIDI gear. And control your entire setup from a MIDI controller.
Download on the App StoreAudiobus is the app that makes the rest of your setup better.
Comments
Thanks. I'd just woken up when I wrote that though, so it's all gibberish.
To answer the topic. No.
Maybe f´em is something for you. Tracktion is apparently readying a new 11-OP FM synth called by this name.
What????? Nooooooooooooooooooooohhhh
not read all the posts, but I think I get what the title is saying.
Compared to other forms of music, electronic music is rather poor in expression. This question has been raised in other music forums lately, and before.
I think it is only a question of time until the tools available will be put into something meaningful.
Music has never been healthier, just requires a lot of digging!
A grave prospect
The similar artists algorithm helps, cheap Spotify and Tidal trials have uncovered plenty of gold here!
We did that already. It was called Acid House, and it was great fun.
I wonder if the audience is in fact the enemy now.
The civilisation/industrial complex that is the music distribution gravy train for those tiny handful of lucky outlets are driven in direction by what – selections from listeners? Uploads from artists? Neither? The outlets themselves would claim they play no part, but perhaps their algorithmic influence, small though it is, is all there is to steer these days, possibly outweighing traditional promotional or marketing effort or plugging. If there was ever a time where it could be said that you’re all being told what to listen to, it’s probably tomorrow.
@u0421793
I don’t think about it too much, too much listening on my to-do playlist.
Check out new album from Katie Gately or the Anna Meredith one from last year if you want to hear the future!
I’d like to throw my hands up and say I don’t understand any of it. I can’t tell where modern music ended, and post-modern music started. I’m tempted to say modern music never ended (unlike other art or literature forms) and any time someone shows me post-modern music it’s the most unlistenable repellent crap imaginable. With the exception of O Superman! / Laurie Anderson.
I’m of the opinion that music just keeps responding not to cultural sensibilities or directions, but to the way we want to dance and wave our hands about. In that, it’s escaping a whole lot of intellectual bullshit, so good on it.
Wendy looks in askance at you.
It seems to me that in my lifetime there have been three categories of innovation breakouts in music: drugs, new technology, and rebellion against the mainstream.
There's no mainstream now, so that kind of leaves that one out.
Drugs? Maybe there will be some development that specifically targets the creative centers or alters the mind in some significantly new way. That seems probable.
Technology? That's a tough one. Sound is sound, and the ways of producing it don't seem likely to undergo any revolution soon. But, that probably seemed to be the case at all those junctures.
The reception/perception of sound could certainly have a leap. I wonder why all the technology advance is focused on the production of music. It seems like we could have a leap in the receiving end. Or, perhaps a leap in the interface for making music. I doubt we will be limited to using our appendages to produce music for long. Who can imagine what will emerge when more direct interfaces to our thoughts arise.
Sorry for actually taking the topic seriously for a moment. It was a lapse. I'll constrain myself once again to smart-ass trollish comments now.
Has this been done yet?
this thread is obsolete
i don’t think there is anything i’ve ever liked that has not been obsolete . most the things i care about musically are things almost everyone i’ve ever met is not familiar with . i like it that way because as i look at society its nice to know that good music isn’t to blame for how terrible things are. but i’d probably like it better if more people thought like an independent organism rather than attaching to a host like a parasite to lead them and feed them. what i’m saying is that music is a powerful influence over us and imo determines a lot about the culture. if this sounds like jibberish that’s because i used a lot of compression to fit it in one paragraph
I’m inclined to agree, very much. I don’t think it’ll be a radical change in the sounds we hear, music over the past several decades has already tried to make as many diverse sounds as possible, and has largely succeeded at one time or another (I still think we’re lacking in architectures, as long as 95% of the synths being released are 2vco subtractive clones of each other).
I think there’ll be reactions against – to fix the deficiencies of – the record industry’s wreckage. Whereas once all you had to do was get lucky and get a record deal, and they’ll exploit you heartlessly for the rest of your productive years (or months), and you’ll (if you’re double lucky) get famous.
When the record industry went the same way as the book industry (disintermediated by websites, devalued by self-publishers doing it for free, thinking they’re jumping straight to the ‘get famous’ bit), this left a scenario where gravitational forces globbed the remnant product distribution outlets together to a relatively limited few, none of which is even as good for you as a record company, they don’t exploit you, they literally do nothing. Everyone competes with everyone else, nothing is visible.
I don’t know what the reactions against this are going to be. At a guess I’d say it’s to do with one-off; experience; not recording; not time-shifting; keeping it arbitrary and uncomposed; and much like twitter, diced and chopped fragments and morsels of short disconnected mouthfuls. One doesn’t resemble the rest. If you liked it, you’ll never find it again, but there’s more.
Ok boomer. (From a fellow boomer.)
Though, now that I’ve listened to it, you might have a point...
What, it’s electronic, innit?
Ah, but I’m not a baby boomer. That’s an american definition, the economic situation in America was the completely unrelated to the economic scenario here in the UK or in Germany or France etc, which were very much impoverished and restrained for several more decades. We still had rationing a few years before I was born. Nobody had central heating or double glazing in their houses except for a few rich people, many households only had an outside toilet. The economic boom of plastic consumer goods which gave the Americans the full go-ahead to freely fuck behind closed doors and have families, vacuum cleaners and televisions without fear of destitution or bailiffs was happening around the time I was born but not over here it wasn’t. Not for quite a few years later. Those generational cohort designations are meaningless as they’re only local to one particular country.
So that concept exists, very good. looks like it has plenty of internal contradictions at that as noted in the 'criticism' paragraph too. That doesn't give you licence to throw at whatever you want, like you know what you're talking about.
Any idea that people ascribe to, however dumb, can be found in a google search if it exists in the wild. A search for "classical music" and "manufactured tradition" returned nothing of any relevance. So it looks like you're on your own with this one.
David Bruce's YouTube channel is a good one for interesting perspectives on classical music and composition. This one covers some of your misapprehensions.
And here is a screenshot, which even by itself renders your assertion meaningless
.
From this I take your thesis to be that using a machine to play a musical instrument that is itself producing the sound is 'authentic', (even if it is an obsolete instrument like a synthesiser), given the analogue sequencer example you give. A midi sequencer is doing this too.
But once you get into the realm of audio being recorded/manipulated, that's inauthentic? So analogue synths (that are now obsolete) were once – and maybe still are – authentic. But samplers never were? Do I represent your assertion correctly? Could a sampler being played by analogue sequencer be authentic? I'd say not, in this thesis.
in this line of reasoning, Musique Concréte was never authentic, nor were any of the studio tape experimentations of the Beatles?
An extension of this idea would be to assert a player piano was playing more authentic music than a recording of a skilled pianist. I would agree that it is more like a performance, but more authentic? Authentic used in this kind of context is way too slippery.
It seems to me that you have some knowledge and an enquiring mind, but you're not harnessing it logically. Or maybe you're just trolling.
Synthesizers are not dead - they just smell funny...,
I love these junctions in life that lead to total meltdowns. In my age I’ve witnessed this repeatedly in every facet of the human condition, personally & vicariously. However, if you have a passion for movement (music), the instrument (sound making thing) is the tool of your expression. Now, getting someone to experience, appreciate, engage or MOVE with you is the real deal right?
I have a tough time attracting an audience because I seriously lack an interest in fashion and “influence”. The noise I smashed out of my jankey rig is 100% mistakes that I didn’t mind listening to twice, but it doesn’t matter because 1 in 300 pairs of ears might go that far. The money I spent, oh god, could have paid for a sexy bedroom instead of music boxes and cables... who isn’t haunted by thoughts like these?
I’d rather not have a brain at all if I couldn’t explore my interest in something and try my hand at it. Feeling regret or failure and turning words on something that isn’t working for you will never make it obsolete, it just means your journey is incomplete. or something
Yes, but is this the right room for an argument?
Also: I lived in’t shoebox in’t middle of the road. In Essex. Top that.
I’ve tried my best to make music with concrete. It just doesn’t work all that well, really.
I prefer Rock music anyway.
Plus, it gets even harder with time.
zing!
this ^^^
Yep
Agreed.
And agreed also.
They all come from a day where the recording, or the ‘capturing as sound’ is the new ethos, and replaying it doesn’t involve re-performing it. This is (was) a revolutionary change in the way it is not only consumed but tinkered with when composed and even thought about before it exists.
I think the modern / enlightenment era has an assumption that ‘the piece’ ‘the opus’ ‘the work’ is the unit, and as modernity collapsed, post-modernity shifted that to ‘the product’, ‘the recording’ (the cylinder, the disc, the 8-track, the cassette, the minidisc, the… oops, we just fell off the distribution format conveyor belt and we don’t know what to do now). The emphasis from ‘the work’ to ‘the record’ is now shifting to something else. I don’t know what it is, something like ‘the performance’ again, but dissolving the artist, and merging the audience. I don’t know. Are subcultures tight or leaky? I’m don’t follow K-pop but I hear of it.
I’d agree that it is more authentic, but yes, this one is hard to pin down. The ethos that created a player piano wasn’t motivated or driven by the surrounding age of recording (or maybe it was, and it was thought of as an ‘alternative cassette’ or something). I’d gauge that it was more an output of the need to make automata out of everything including dead ferrets, and I think that’s a different need (happening to be at the same time very roughly as the invention of recording).
Probably the latter, in that having thought about it, I now agree with myself that the Wavestate is a gigantic step backwards, and that’s from someone who understands iWavestation. Wavestate is incorrect. It shouldn’t exist. It’s satisfying a need from an age that isn’t here any more. It’s so much a product of the 20th century struggle to express within technology. It shouldn’t be here now.