My mixing/mastering DAW of choice, Tracktion, has just added CloudBounce as a feature. This is one of those online mastering services like Landr, centered around a machine-learning algorithm.
I tested Landr also when it launched and the results indicated it was expecting a more conventional kind of track – not the variable dynamics and lack of consistent transients common to electroacoustic improvisation (or “noise” if you’d prefer!) While i’m happy to explore procedural generation as a creative tool for visual art and sound design i’m not entirely convinced it has a place in finalisation of tracks as these choices seem to me to be highly personal.
Having said all the above – while I’ve studied some of the approaches to mastering – I have no specific qualifications. So I thought i’d do a blind test. The playlist below features a track mixed by Joe from an session we did a month ago. I’ve uploaded his raw stereo file to Cloudbounce to see what it could make of it. I’ve also done my own mastered version in the box using only the software I have regular access to. The results can be streamed or downloaded.
My questions to listeners:
Which is the Cloudbounce master and which is my version?
Here is a musical demo combining Push, Madrona Lab’s Kaivo and Zynaptiq’s new Adaptiverb which sounds like it could be an essential tool for us Ambient muso’s who use reverb as an instrument.
I haven’t been super productive over the last fortnight as I’ve been spending most of my spare time with No Man’s Sky, the latest implementation of a thing I very much like, exploring procedurally generated worlds.
Noctis is probably the earliest obsession in this regard though i’ve always played flight simulators and open world RPGs for much the same reason. While there is an overarching story to the universe it is mostly flavour to set atmosphere.
I showed NMS to Joe and he agreed it was “Noctis on ‘Roids”.
What has been slightly depressing is watching the online tantrums among those who were clearly expecting something more like Star Wars. Game elements are minimal and repetitive but comparable to similar titles with a similar focus on exploration and procedural generation. While it is certainly buggy and unoptimised, something that is more glaring is the apparent disparity between what was demonstrated during development, feeding the hype, and reality. This amusing video summarises it quite well.
It’s quite clear to me the first one does not utilise substantial procedural generation as the creatures look realistic… and dull.
I recall the same negative response to Spore – and this excellent article by Soren Johnson thoughtfully explores the chasm between ground-breaking theories and hard truths about game design. I certainly think that NMS is an interesting case. While it didn’t suffer the same amount of interference with a much smaller development team it certainly seems to be copping a similar backlash.
One thing with Procedural Generation is that you can end up with the “Library of Babel” effect – illustrated above by a generated page from one book, on one shelf, on one wall of the section in the virtual library generated by my birthdate in hexadecimal format. A real page-turner!
If the player can bring some of their own imagination to NMS then I feel it is quite an engaging procedural sandbox but placing this in a commercial game is clearly problematic. Noctis IV was a free game as is the more serious / less gamey Space Engine. Artmatic Voyager (from the makers of Metasynth) is a payware title that generates Procedural Worlds but not real time environments; rather it renders attractive backdrops for you to populate with your own sci-fi assets.
Perhaps the most promising procedural worlds generator on the horizon is Ultima Ratio Regum – but that appeals more to the rogue-like obsessed who also worship at the altar of Dwarf Fortress (nothing wrong with that!)
Anyway – that’s my two cents. To return to the more music focused purpose of this blog – Ohmwrld is something I worked on with Joe that is inspired by virtual worlds and features cover art generated by Bryce, one of the earlier strands of Artmatic Voyager.
And here is something that sounds procedurally generated (but is actually improvised) that I made recently with Paul Forbes-Mitchell.
With no specific projects on the horizon it is of course time to make some. As is always the way – I’m refining my current setup. Regular readers may remember this picture from times past…
Well I’ve returned to this idea somewhat and managed to find a neat way to fit everything and maintain a workspace for recording and mixing with room to also work on the educational stuff that pays rent/bills. Having a focused desk makes it easier to focus on improvisation and development without mouse tweakage.
All the hardware runs through the MOTU which is controlled via Push and Ableton. V-Synth is being used as a source and a controller. I discovered the X/Y Pad is great for modulating the System-1m filter. 3 stereo channels out from the MOTU go to the R16 for recording. There is also a Send/Return that goes via the Aira FX, one Send that goes to the Loopstation returning as a stereo feed to the R16 and one that goes to the V-Synth for resampling of material.
I’m going to try and keep this arrangement for a while as it seems pretty comprehensive and useful. With the upcoming Live 9.7 features, especially the ability to select ins and outs, will make this setup even more viable. Here is an ambient improvisation I recorded.
Today my mother gave me a Cedar book stand that my grandfather made.
I tried setting it up with the Push – it was pretty interesting but not as useful as it looks – mainly because the angle means it can’t stand in front of the synth rack.
So I’ve found a more interesting use for it. I’ve got the old Ikea stand back for the Push and now I have a front facing mixing desk.
Unconference Showcase went pretty well. PFM sounded fabulous, Feet Teeth filled the auditorium with menacing neo-kraut-rock and the Sonic Manipulator was… well…
…undescribable? He made everyone happy. My intro performance with just Shnth and Loop-Station went down well also. With the new firmware I can add compression and EQ to make it sound better in the room.
Some very exciting stuff to see / hear / talk about and I’ve been tasked with organising the Unconference at The Edge. Amongst the guests we are blessed with DJ Sniff and the Sonic Manipulator demonstrating their approaches to performance and composition.
Joe Musgrove, Adam Sussman and I provide audiovisual support to the closing night party of Ali Bezer’s Noise Wall. Was pretty chaotic and we ended up losing the audience war to a nearby coast music band (think somewhere between RHCP and Led Zeppelin) but overall a fun night and some unique sounds. Here is an excerpt.
In my period of catching up I’ve been getting back to Reaktor 6, particularly messing with the Blocks now that the user library is presenting some very mature options. Michael Hetrick’s Euro Reakt Blocks are essential as is the Instrument Browser for drag / drop time saving.
One thing I have found kinda irritating is the Push knobs not being available for Blocks. Despite PrEditor making them available for most ensembles the controls aren’t always consistently added which makes sense when you consider these are discrete modules to be connected as you wish in a more temporary fashion.
The best solution i’ve found is to add a M4L CC sender patch like ControlChange8 from Robert Henke and use Reaktor’s MIDI learn. Saves the messing around for making crazy sounds.
Last bit of news – a surprise firmware update for the RC505 which has been crying quietly in my cupboard for the last few months. The key changes for me are the ability to have up to three simultaneous effects on both in and out though I’d like it more if there was a way to route certain tracks through certain effects. There are also a bunch of additional CCs to allow external assignment (which makes the guitar players happy) and a useful ALL CLEAR function.
Most disappointing addition has to be the monitoring function. The phone jack used to just output headphone sounds – now you can choose which track to hear but sadly it is post-gain for each looper which makes it kinda useless for monitoring in my opinion. Would be nice to have the phones monitor the input or pre on individual tracks before making them live. Oh well – a missed opportunity. Overall there’s enough goodness to get it out again though – I bashed out a track with it in celebration of Roland’s surprise continuing support of a device I’d assumed they’d forgotten about.
Black Mercury is now available on Google Play, Amazon and iTunes. You’re still better off getting it from Bandcamp however.
Perhaps more important for the majority of potential ears it is available now on Spotify and Apple Music.
I’ve had lots of positive comments regarding this one – think it is some of my best work and appreciate any listeners.
Moving into the future I’ve no specific plans beyond the gig this Friday. I just spent a grey rainy weekend programming parameters into PrEditor for a variety of plugins in order that they show up appropriately on the Push.
It certainly helps with navigating – particularly with devices that seem to randomly sort their parameters like Expert Sleepers Augustus Loops – still my favourite tape loop emulation.
As part of this process I couldn’t resist recording some audio: here is a spaced-out little jam for late-night bedroom chill-out. It’s a one take stereo brap using the Big Kalimba (Tension) preset from Ableton Suite with Sugar Bytes Turnado and AH Effekthascher in Reaktor 6.
For this performance I’m going Push-less! Thought I’d get some preparation in.
Joe has composed some superb concrète for the exhibition so it’s worth checking out during regular gallery hours: Wed to Sat 11-4.
Response to Black Mercury so far has been very encouraging. It will be heading to regular distribution (iTunes, Google) and streams (Apple Music, Spotify) in a week or so but Bandcamp remains the best deal for all.