Chris Randall ( https://www.youtube.com/user/Cranda11... ) and I spent a whole day recording live improvisational ambient and downtempo. This is the result.
YouTuber Dan Baker marvels at the power available to us in GarageBand. For this video he's taking some time to specifically address the impressive capabilities of GarageBand when run from an iPhone.
At the end of the seventies, a 32-track digital studio cost hundreds of thousands. No-one could have foresaw in 1979 that we'd have incredible song-writing and recording capability on something the size of a pack of cards weighing about the same!
To this end, check out Ry Cooder's album "Bop till you Drop" - it's recorded on one of these early digital machines. Also listen to Donald Fagen's "The Nightfly"...
So far, all of my GaregBand videos have been on an iPad, but here is a demo of the same app but on an iPhone. The layout is a bit different, and there are some menus buried below the surface, but it remains an incredible and totally flexible app, without the need for any additions, third-party software or niggles that plague so many other platforms!
Enjoy, and share with your mates! Click subscribe if you like what you see, and check out my other videos!
Reader Steve Raizen takes us on a pleasant ambulation through a frozen ambient forest!
GRAB YOUR HEADPHONES ! Gestrument Pro and PianoScaper mixed live in AUM. Finished in Mastering. Visualization Wizibel. Hear more Frozen Lonesome music, visit https://frozen-lonesome.bandcamp.com.
YouTuber Andrés Rodríguez Androzguitar used the Dynamic Swell patch in GarageBand for this Rush cover!
Rush Jacobs Ladder Keyboard Solo With Ipad - Arturia Logic Pro X
When Jesper Nordin isn't bringing us music apps, he's an award-winning composer! He was commissioned by the Swedish Radio Symphony and the French Radio Philharmonic Orchestra to work on a piece that combined modern technology with classic instruments. Here's a condensed video of the performance, which includes the use of Microsoft Kinect cameras with Jesper's Gestrument Pro.
"Emerging from Currents and Waves" is a work commissioned by the Swedish Radio Symphony Orchestra, IRCAM and the French Radio Philharmonic Orchestra and was written specially by Jesper Nordin for Martin Fröst and Esa-Pekka Salonen. It was premiered during the Baltic Sea Festival 2018 in Berwaldhallen, Stockholm.
"When you stand very close to something that is transforming, or when you are in the middle of a process, you are rarely able to predict where it will lead. You might be able to imagine some of the implications, but you will not know for sure until afterwards. The emergence of social media, virtual reality and artificial intelligence is changing not only our culture, but our entire society, and those of us who exist in the midst of that process have limited possibilities to predict the outcome.
The amazing thing about art is that you can ask questions and conjure up visions at the same time. Where is art heading? Can the seemingly endless possibilities of technology also be a bridge to the depth of tradition? In what ways will art, artistic expression and the opportunities for practising it, be affected by new technology? Will the potential birth of artificial intelligence be as large an evolutionary leap as life emerging from the oceans?"
This is what Jesper Nordin himself writes about Emerging from Currents and Waves, which is part of a larger collaboration between Nordin, Fröst and Salonen where they explore the interaction between man, music and technology in a variety of contexts.
The innovative composition and improvisation tool, Gestrument, was originally invented by Jesper Nordin for his own composing. When universities and conservatories around the world became interested in it, he developed an app that anyone can download and use. What is particular about the software is that it exists in the boundary between an instrument and a composition, and likewise between what and how much we can control in a digital environment, and what we relinquish once we have established the rules.
The software is pre-set using what Nordin himself calls the “musical DNA”: rhythms, scales, melodies and sounds. Based on those parameters, the Gestrument can then be played, like an instrument. In parts of the piece, the Swedish Radio Symphony Orchestra will be recorded in real time, sampled, and then played back using motion sensors – also controlled from the podium by Esa-Pekka Salonen. In addition to the coupling of acoustic and digital instruments, there is also a profound encounter between different art forms. Martin Fröst’s movements, when he plays the Gestrument, have been developed by a choreographer and with the help of a stage designer and a visual programmer, everything that happens electronically is portrayed in real time in the interactive installation.