Shouting Grounds

I was driving to a LAN party the other day with a friend and for some reason (no pun intended) we got on the subject of music and why we don’t make it anymore. I felt compelled to express a frustration that I’ve had with music software that essentially prevents me from creating anything these days. Every time I get the desire to open one of these programs I hesitate because of all the bullshit hoops you have to leap through in order to set your canvas and get something accomplished.

One has the power, through software, to accomplish insanely complex tasks that were impossible with prior technologies, but with this power comes an immensity of technical hang-ups that don’t exist when you have a 4-track and a guitar, for instance.

In my mind, workflow is largest barrier between me and my creating. Some people (including me, when I was a student and had time to burn) have no problem with a few set backs or technical glitches. They accept this as par for the course, or use these limitations to their benefit by finding creative workarounds. I really have no time for this kind of “dicking around” anymore. Through the years I’ve come to expect a certain amount of functionality to the applications that I use, and I’ve distilled these findings to the following list.

1. Drum Synthesis
2. Audio Recording
3. Self-reliance (doesn’t require additional software to be used to fullest extent)
4. Plug-in Support
5. Flexible audio routing
6. Backwards compatibility
7. Standardized file formats

I’ve learned that no program is perfect in respect to its workflow/features because not every program is created with the same musician in mind. That brings me to Reason 4 (or 3).

Reason 4 is built from the mindset of someone with an affinity for hardware. All software instruments and virtual “devices” within Reason are modeled from existing or imagined hardware devices. Inputs, outputs, signal flow, patch cables, bypasses, and even drawn-on power cables are featured, and perform as imagined. While this is “cute” and certainly helps those not familiar with abstract computer-based music software get their heads around the concept, it’s impossibly limiting! Wiring up a patch is just as arduous a task in Reason as in real life, but with the added “bonus” (see, handicap) of having to use a mouse to patch everything together. Everything about Reason screams “waste of time”!

For example, I’m a musician who, on occasion, likes to add vocals or a live bass/guitar part to a song. I also tend not to record my parts perfectly on the first try, nor do I set “live” parts in stone for a whole project. I tend to revert back to these recordings and either re-record them or cut them up. Ok fine, now, Reason costs about $400 for the latest version. It’s a bit more if you want all of the bonus content. You’d think that this amount of money will allow you to accomplish the above tasks without spending additional money. You would, of course, be wrong.

If you want to record vocal or other live instrument parts for use in Reason your only “real” choice (see my comments on Rewire below) is to record those tracks in an external audio editor and import them into one of Reason’s two sampler “devices” (three, if you count ReDrum, four if you count Dr. Rex and have deep pockets). Of course, by doing this you’ve “locked-in” that recording, so that if you had to re-record or make changes you’d have to go back into that external application and re-record, edit, export, then import all over again.

Like the Vocoder in Reason? Me too. Too bad you can’t reach the damn thing with a live input. What’s the point of a vocoder without a live input, you ask? Nothing, it’s just a stupid audio effect. Maybe there are tons of people out there that can imagine what their tracks will sound like with a vocoder without having to preview it ahead of time, but I don’t have time to record, export, import, map, then playback while playing another patched instrument as a carrier just to hear if I like a fucking vocoder added to my track!

Ok ok, let’s fucking forget the “live” features of Reason, as there are very few, and honestly it’s not meant to be a multi-track recorder or full-out DAW. Let’s move onto Reason’s bread and butter, namely electronic music production.

Synth drums?! Don’t get me wrong, people can do amazing things with samplers, amazing, but the days where you had to mixdown a software synth track to a sampler bank because you had seriously limited CPU power are quickly coming to an end. I mean, am I the only person that thinks sample-based drums are extremely limiting? What if you want to “create” your own drum sounds? Well, open an instance of Thor, Subtractor, Maelstrom, or what have you and start twisting, right? Well, none of these instruments are intended for drum sounds. Yeah, there are envelope options for it, but a whole device set aside for a single drum sound is pretty wasteful. Plus, if you wanted to add this drum sound from a Reason synth into one of the many sample devices (like ReDrum) there isn’t an easy way of bringing over your creations to these devices (despite the fact that you’re “locked” into a sample instead of being able to tweak a knob and pull a totally different sound into your mix). All I can think of is setting the sequencer to playback only a single note, mute the rest of the tracks, render to disk, then open in an external audio editor, clean up/trim the recording if necessary, then save this to disk and import it into Reason. What a fucking joke! Can it be done, yes. Will I do it, fuck no.

So you like to cut-up drum loops, eh? Well bend over, douche-neck. Reason 4 (as in Reason 3) features a phrase-sampler, Dr. Rex, that sounds great on paper. It allows you to playback cut up loops and re-sequence them at any tempo. Too bad the format that the “Rex Player” accepts (the .rex format) is only able to be exported from one particular application. If you guessed that this program is called Reason, then you owe me $200 bucks. Actually, you have to purchase ReCycle from propellerheads for $200 bucks to attain the capability of exporting Rex files from your own loop content. Kinda defeats the utility of such a “device” when you need to buy more software to use it properly, IMHO. And what is so special about ReCycle? Well not so goddamn much, at least not anymore, or not special to the degree that they couldn’t include the app’s functionality into Reason. The program is practically unchanged from when it was originally released in 1994. (we’re only on version 2.1, 15 years later, guys? …guys?) I’ve never wanted to buy the software because it seems so rarely supported or updated, that I figured that it would eventually be dropped due to lack of interest. I’d then have a dead-app that I couldn’t guarantee would function on any later OS X or Windows versions, so what’s the point?

I thought I could work around these plainly noted limitations but as I’ve tried to use the software I always, and I mean “always”, hit these walls one time or another in a project. Yes, I can add a lot of this functionality by tying Reason to a full DAW via Rewire, but if you’ve tried this out yourself you’d understand why this isn’t even a fucking option in my book. Using Rewire to connect Reason to Logic or another app is no different in my book than going back to using hardware instruments.

Using Rewire, you now have to make sure that your apps are opened and initialized in the right order (just like using a hardware synth where you have to load the correct bank before playback). You also have to worry about having two project files to save, manage, and backup, just like when you have to worry about saving a bank from a hardware synth to make sure you have a copy for future use, or for when you run out of internal memory. When I was using Reason in Rewire mode in Logic 7 there was a limitation where Reason would only play through as a single stereo track, not individual outputs. Which, even if this was a setup issue on my part, or a limitation that was resolved by the release of version 4 (I was using version 3 at the time) it’s still a pain in the ass to setup.

If they want to encourage the use of Rewire then they should build in a series of presets for outputting multi-channel to outside DAW’s, otherwise fuck off.

Would it be too much to ask to add your existing virtual instruments into Reason, like the modules from Rebirth? Why even have a software connection to Rebirth from Reason on OS X if ReBirth isn’t a OS X native application? That’s like a casket with a satellite dish. Foist your abortion-ware on someone else.

Like I said, I thought I could ignore these limitations, but in following the virtualization of hardware model they virtualized almost all of the limitations of hardware as well (minus the most important, instantiation). There is so much promise to an app like Reason, but I fear this promise will never be realized unless they dump some of the “hardware baggage” and think about the totality of service that’s expected by their customers. Make it easy for musicians to create music with this technology not in spite of it.

Okay, normally these fan made jobs come out looking like flame broiled asshole but this is actually pretty fuckin good. According to the creators…

Originally envisioned as a project to test out numerous post production techniques, as well as a spec commercial, it ballooned into a multi-part series. Filmed guerilla style with no money, no time, no crew, no script, the first two episodes were made from beginning to end on a budget of $500.

I suppose a live action Half-Life film, if done right, could be a good thing. I’m nominating Guy Pearce as Gordon Freeman.

Toss some specs on him, trim that hair up, and put him in one of those EV suits and he’s a dead fuckin ringer!

Amirite?

I took some screen shots of the disaster as it was unfolding. Kinda sucks that the definitive source for live Apple news from within Macworld was harrassed in such a manner. As of 11:40am CST macrumors.com is still down.

After this last screenshot the site was pulled, most likely by macrumors’ staff to deal with the security issue and prevent any further malicious disinformation.

So…Was I expecting more? I guess I was. After all, two awesome fucking games worth of story built the legend of Max Payne…how hard should it be to take just some of that and slap it on the big screen? Apparently too hard. While there were a few small alterations that I thought were forgivable, this movie was a giant turd sandwich. The worst part to me was it didn’t even bother to accurately follow the story from the first Payne, which could have EASILY been a great movie given the right director/writer combo to put it up. Instead, as usual, some shitstain has to “make the story his own” by changing things around. Either that or they didn’t think that the American movie audience would be able to follow the original plots.

Something else that made me upset, you had the fucking cast to do it! Max, Mona, BB, Lupino, Bravura…the bitch head of Aesir! The movie looked right too! The only thing missing was story story story. Fuck it…it’s not worth anymore of my time.

L to the fuckin O to the muthafuckin L!

Original article here. I cherry picked what I thought to be the best ones.

I LOL’d hard.

The Angry Video Game Nerd from Screwattack reviews a series of video games from the Batman franchise.

Fucking awesome!

The drum solo, and when miyamoto comes out makes me want to cut my ears out….but it might be fun…

Tags: wii, wii music, games

By running Apple Software Update you should see iTunes version 7.7 now available for download.  Even though the App Store doesn’t seem to have a direct link on the iTunes storefront.  A simple search for Super Monkey Ball will let you get to the App Store tab. 

With this single move you can download and purchase a shit tonne of goddamn applications.  Free apps include (finally) AIM, Facebook App, MySpace Mobile App, eBay App, IGN Game reviews, NetNewsWire, Evernote, and all sorts of little games and productivity applications. 

Pay software includes, Bejeweled, Super Monkey Ball, OmniFocus, Band, and christ there’s too much to name.  Seriously, tomorrow is going to kick all forms of ass when the 2.0 software is avaiable.

Or you could just download the 2.0 iPhone update yourself, right now.

Of couse, I can’t guarantee that that update will work properly, and it is known that updating your iPhone or iPod touch with 2.0 software will wipe the phone and attempt to restore from a backup created just before the wipe.  The backup checks what is available and authorized in your iTunes library for the restore so make sure (if you do this) to update using your main iTunes library.

This program is an example of why the App store and iPhone combo is going to be awesome.

Tags: iPhone, iPod, iPod touch, iTunes, Apple, App Store, iPhone 2.0

HOLY SHIT

KORG will finally come through on a product that I’ve searched for but have never been able to find from any vendor. Congratz Korg, bully!

There’s no information on pricing or when these things will be in my possession. (at least the keyboard, and maybe the drumpads, whoo hoo). Click image for original article.

Update!!

They should be out around christmas time at about 100 bones each!

WARNING – Though it sounds at the beginning of the video that the amplitude of the recording will surely blow your fucking ears in, it’s, in reality, just a poor compression on the video. It will play at a reasonable level when it does get started. NO NOT FEAR!

I am totally fucking excited to see this come out. First the DS-10 virtual synth from Korg, then this home brew sample scratcher. Awesome! Definitely check out that video.

The interface reminds me of a mini-version of the JazzMutant Lemur or Dexter. So as long as you can overcome the smaller screen realestate, you can have a similar touch-based music interface box, though it’s not multi-touch, and probably not very customizable. So scratch that (pun intended), I guess the only real comparison between this and the JazzMutant offerings is they both deal with music controls and both sport similar-looking interfaces. Still very exciting.

Original project web page

UPDATE

After doing a bit more research on this project, it seems that there’s more here than meets the eye! Along with the scratching and loop triggering, there’s MIDI output via the Nintendo DS’s wifi radio, as well as the ability to utilize the DS’s built-in microphone to live-record audio clips for use in the software! Shit, if I had this little thing on the train, I’d probably miss my stops, for fuck’s sake!

The ProjectMix I/O is M-Audio’s answer to the more expensive Digidesign (despite being part of the same company, AVID), Tascam, and Mackie control surfaces. It gives you a flexible audio interface and motorized fader-based control-surface. I’ve debated making the leap in purchasing this thing on several occasions. I don’t have any need for it now, but seeing how M-Audio likes to drop driver support for certain products, I’m glad I didn’t pick it up.

It’s safe to assume that the ProjectMix I/O is one of (if not) the flagship devices M-Audio makes currently. OS X Leopard (10.5 to be exact) was released October of 2007 and M-Audio still has not provided support for the operating system. It seems odd to me that a company that has such a partnership with a software manufacturer could be “caught with it’s pants down” when it’s new, much publicized, operating system is released. No doubt M-Audio was given advance access to the pre-release copies of Leopard as to allow them to release updates to their product lines. Why a company as prolific as M-audio is in the Mac Pro-Audio field would not be able to write a driver update for their flagship hardware devices after over a year is beyond my sphere of understanding.

I’ve already come to grips that I won’t be able to use my much-beloved Omnistudio Pro USB anymore, since they’ve stated they have “no plans” to support it into OS X Leopard. Fine. It’s an older device; gone discontinued since 2005, I believe. Sucks, but I can take it. How the hell is anyone to have any confidence with this company when you can’t be guaranteed to have drivers prepared for your $1500 recording device a YEAR after an operating system is released. For fuck’s sake, point-releases are coming through (already 10.5.2 and 10.5.3 on the way) and nothing. I don’t envy ProjectMix owners.

Currently, I’ve been experiencing problems with my FastTrack Pro USB interface that I purchased to replace the OmniStudio (I believe in second chances). The audio will drop out after functioning normally for an arbitrary amount of time. I don’t know if it’s a problem with the device or with the driver software that M-Audio dutifully provided, several months after OS X Leopard was released. I like to know if there’s a company out their more trust worthy than M-audio to fill the void on reliable audio interfaces. I hear bad stuff about everyone else’s products like Tascam, Lexicon, Focusrite, etc, (minus Pro Tools rigs, but I hear issues regarding the software required to run them, plus I want be able to use software other than ProTools), maybe this is all their is? All I can do is tune in and wait.