Had a few days with lower activity. I’m re adjusting to the fact that I’m heading in a new direction.
Having a stream of bad confidence in what I’m doing. Doesn’t sound good and it does not diversify as I want. At the same time I know I’m putting in a lot of work. It can’t be all bad.
I’m developing something I have a clear plan for. MRIMeditation 02 (or whatever the name will be) will get a proper score.
I’ve developed Block 02 extensively. Much better than before. Especially with the piano (4,5,8) with PPR (20,00,50) together with Ambient Ripples on position 2.
Thinking of writing the score horizontally instead of vertically as of now. I think it will be easier to follow and every stem has its own place. Feels more a like a stream that way in comparison with a sequential flow chart. Feels more organized and every stem get its own colour. I can divide everything into bars. Maybe I can use Notion? Tried and that is not a great idea.
Writing down Block 02 which contains a solo violin part. Some glass playing and some app plating.
Good move to write the score horizontally. Good pace, but it’s slow compared to how I used to work. I’m happy I’m still able to write music.
The MRI 03 Block pushes my piece further along. Oboe, flute, wind chimes, trumpet, drums and two pianos is my best Gestrument setting so far. How do I write this down? A question for the coming days.
Together with Lynne Formations and MRI Block 02 in SoundScaper it’s magic and beautiful. A challenge to write down and structure.
Block 03 is very different. Fresh Gestrument setting and I’m very pleased with the opportunities. The problem remains to write it down. I realise it will take a good chunk of time. And I have to find some half way station from my black notebook before I actually write it down in my notepad.
Recorded eight minutes two days ago. Wonderful listening to it today. It’s beautiful, varied and dynamic. It tells something about me. The best stuff since The Deamons.
Lately I’ve been busy with Block 03 which is a totally new Gestrument setting. It’s not 100 % yet. But I’m practising, improvising and thinking about it the last week and a half.
Testing the waters with both music and notation. The notation process keeps along more questions than delivering answers. But it’s moving forward under constant change. I have very good use of the work I put in last summer until my stroke in September. I wrote down extensive notes for the glass playing technique and an abundance of notation suggestions. They help me out now.
I question the use of Alchemy of the simple reason it isn’t future proof, not in the App Store any more and thus not available. It makes it hard to include in the basic setting.
Started to use Sunrizer. An oldie but goldie.
Considering a CME Xkey midi controller. BUT, what about my golden rule: NO WIRES!?
The revolution continues. Why not use an iPhone 6 as a sketch pad? I got the iPad just one ago. Before that I had five years with different iPhone models.
So I ditched Alchemy. That means I can upgrade to 8.3 and make use of ScaleGen in combination with Gestrument.
All in all these are big steps for me and I’m pushing myself in new directions.
My idea was to connect Gestrument to Sunrizer. But Sunrizer lacks octave markings. That makes it impossible to record live. I don’t know what octave I’m on when I switch sound. I’m using Eden in NanoStudio again!
As always there are some issues. Eden doesn’t have a hold button. Alchemy is not future proof. Sunrizer lacks octave markings.
Tried out to record in Gestrument and charge a TRG pad in NanoStudio. Works so and so.
Imported a Gestrument recording into Borderland. A step forward at last. It’s the same piece, but it converts into something completely new.
Something definitely happened when I used Bordelands. I listened to the recorded orchestral piece on and on for two hours. That has only happened with The Deamons and Téli estéken 02.
It is something important and fateful with this Bordeland recording. What it is I’m still have find out. I will certainly be more aware in a couple of days. It’s horrifically beautiful. I’ve once again dared to lock inside. It’s real, just like The Deamons.
Gestrument+Borderlands and some AUFX effect in Audiobus. Try things out and record straight into AudioShare. Everything is dependant on a good solid Gestrument setting. Borderlands transforms everything for me. It creates a whole new playable piece. It’s beautiful and totally awesome. Totally unpredictable but controllable.
Borderlands….nothing but a total revolution for me. The implications can’t be overrated. But my “discovery” is as important as Gestrument.
It means I compose in Gestrument and I interpret it with the help of Borderlands. I can support it with any other app if I please. I record into AudioShare which helps me on the road to total freedom to improvise.
Borderland transforms the music into me. Borderlands is making use of Budapest Dream orchestra to the fullest.
But I can’t fully grasp the implications yet. Or how powerful but at the same time ingeniously simple Borderlands looks at first sight. With a well crafted setting in Gestrument the combination with Borderlands are unbeatable.
Working on chamber music with two cello. With the controls in Borderlands I can create such infinitive beautiful music.
I’m redefining my work flow.
I can truly confess that Borderland has profoundly changed my view on what music can be. I (Budapest Dream Orchestra) interpret my own music (made in Gestrument) using Borderland. It’s a technologival extension of myself. It’s a constant development and gives me the privilege to explore totally new music worlds.
Borderlands is magical together with Gestrument. The combination delivers dynamic, beautiful and varied orchestral music. The pre requisite is profound Gestrument settings and recordings.
I’ve been trying out the Gravity function today. Cool. It means another way of remixing my Gestrument works. It comes to life and I have an infinite path to creation. This will have consequences in how I work with Gestrument.
Starting now I should write and record stems. Short recordings I throw on the playing surface in Borderlands. By changing the parameters and use Gravity along with glass playing I can remix the piece indefinitely. My mind can’t really handle the implications of this. And I don’t think I grasped even a tiny bit of what I van use Borderlands for.
But one thing that comes to mind is that I’m now able to create an IMPROVISED ORCHESTRAL PIECE. This sounds absolutely bonkers!!!!! But it’s true!!!!!!!!!!!
I read through my posts this morning. Fascinating process towards Borderlands. I bought it when the new version came out on a recommendation and hunch. But didn’t use it until now. I’m very eager to try out new things now. And I would move faster if I could. But the impact of my stroke gives me a Iimited time of work space. I’m planning and planning to get the most out of my resources.
If I can make orchestral pieces built on pure improvisation 2015, what are the implications of this in ten years time? By then it will be no difference in instrument sound between a physical instrument and it’s digital counterpart. The iPad (or equivalent) will have no restrictions in memory or processing power? I predict that there will be touring iPad orchestras comprising of one person. This person writes orchestral works and performs them as well. No need for a full orchestra. Or a conductor. It will grow into a whole new music genre.
Today I recorded the first part of my orchestral piece Fantasie. It’s 15 minutes and is a remix of my earlier non-published Gestrument recordings. I will make a new recording in the coming days which will be number two.
Recorded music in Borderlands. Trial and error for the most part.
* Just after lunch
* Fantasia no 1
* 2 celli
* Distant memories
The pieces are very different. But everything was recorded live.
Just recorded Fantasia no 2. Beautiful, dramatic, dynamic with reoccurring themes.
And all I’ve done so far is remixing my old Gestrument recordings. There’s so much I’d like to do and so little energy at the moment.