Steve Reich’s musical etudes are already a kind of self-contained lesson in rhythm. Inspired by drumming traditions, Reich distills in his music essential principles of rhythmic construction, introducing Western Classical musicians to cyclic forms. That makes them a natural for visual scoring – doubly so something interactive, which is what an iPhone can provide. And so one percussion ensemble has made an app that both reveals Reich’s techniques and opens up a toy you can use to make your own musical experiments. Plus – it’s free.
Ableton’s Link, a collaborative jamming platform that lets you sync without wires, without “masters” or “slaves”, and without a whole lot of pain, continues to grow. It’s just shown up in Native Instruments’ iMaschine, as well as Novation’s Blocs Wave. Blocs Wave is notable because it’s pretty new, but seeing Ableton Link in an NI product is itself a breakthrough. NI could have just declared this “not invented here,” but they didn’t. And now the message from users to Ableton is clear: bring this platform to the desktop, so we can use it with everything.
There’s a reason “mobile music” has become synonymous with iOS. Apple has been unmatched in terms of how appealing they make their mobile platform to developers. Today’s announcements are likely to be heavily covered by tech and Apple-focused sites, but we can cover the music angle pretty easily. It’s now possible to buy a new phone or tablet very cheaply with high-end performance capable of running demanding music apps. And that means the platform is likely to continue to attract both users and developers, in a continuous cycle. On the phone side, a 16GB iPhone 6SE starts at US$399, without …
Creating digital music is all about the business of mucking about with sounds. But somehow, the actual sounds themselves have been tangled up in immense grids and spreadsheets and mixers and things called piano rolls and so on. Blocs Wave is the latest attempt to use mobile apps to get back to basics. Here, whether you’re on an iPhone in your hand or the enormous iPad Pro, the sounds are at the center. Touch your way through the waveforms to make music – whether using soundpacks or adding your own.
Apple has apparently been paying attention to the way musicians use their iPhones. If you’re like me, you’ve occasionally used Voice Memos for a quick musical idea or impromptu field recording. Apple is now turning that into an app, called Music Memos.
It’s the same old story: if you love Apple, you better also love carrying around little adapters. In a surprise to no one, latest reports – including one from Fast Company – suggest Apple is about to nix the 3.5mm “minijack” analog headphone jack from its next iPhone. (iPad and presumably laptops, too, would be next in line.) There are two common misunderstandings of the news. One reading (from Apple critics) assumes this locks you into proprietary Apple headphones. It doesn’t. The other (from Apple fans who don’t know that much about audio) assumes higher audio fidelity from “digital” headphones. …
You’re probably so used to sync being broken that the first time you see Link, you might not believe what’s happening. Link began its life as a research project and has turned into a full-fledged product from Ableton. But unlike Push or Live, Link itself isn’t something you buy. Instead, it’ll be built into software you use, and unlock seemingly magical wireless (or wired) sync. The upshot: the electronic jam session is about to get a whole lot easier. And with a beta out today, that’s not some unknown future. It’s right now.
iMaschine, the iOS drum machine, is back in a new version. Now in mini, pocket-able form, you get arrangement and live play features from the desktop edition. For iPhone 6s/6s Plus owners, it also responds to 3D touch. I always keep sketchpads around – literal sketchpads, of the pencil and paper variety. So when software is described as a “sketchpad,” I take that seriously.
touchAble remains the deepest touch controller for Ableton Live – or anything else – on iOS. And now it’s on a bargain sale, withs some new features, too.
The music industry is fantastic at hindsight. We’ve obsessed over the spread of online piracy, the death of the CD, then the impact of streams. But every measure of the business model is somehow framed around acquiring records. And it’s about passive consumption. We have to remember, though, that passive consumption is itself really the outlier. Until the dawn of recording, music only existed when you played it. Our current copyright and licensing system was first structured around sheet music. And that world never went away. Precise recordings can give you the experience of listening, but no technology can give …