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Indian E-music – The right mix of Indian Vibes… » 2020 » April » 08


Spin abstract geometries from your music, with Ableton Live visualizers by artist Arash Azadi

Delivered... Peter Kirn | Scene | Wed 8 Apr 2020 5:22 pm

Many of us imagine visuals when we close our eyes and listen to music. Here are two devices you can drop directly into Ableton Live to make that happen – from an artist whose work weaves together visual and sonic realms.

Iranian-born, Armenia-based composer and music and media artist Arash Azadi has built his own body of evocative work that explores imagined topographies of sound and image. (We put out one on our Establishment project – see below.)

What’s special about these devices is you can connect to his imagination – and let these inventions interpret your music live, too. One works with generative visuals, and one with a camera.

Sonic Geometry is a reactive visual generator that spits out gorgeous abstract imagery in response to your sound input. It’s a minimalistic mathematical sacred sonic geometrical trip.

It’s also a great example of Max’s power to allow people to build on one another’s work and create variations. Sonic Geometry began its life as Sound Particles by Kevin Kripper, and Arash took it in another direction. That’s long been a part of music composition (see cantus firmus tradition for one example); patches and code in these environments make it easier in the medium of software.

https://gum.co/sonicgeometryv1

Here’s how to use it, step by step:

If camera input is more your speed, look to Body Glitch, which uses live video as input instead of sound.

https://gum.co/bodyglitchv1

Arash’s music

Come for the Max for Live Devices, stay for the experimental releases? Arash has been prolific lately across a variety of great projects; here are some of the most recent.

His new Structure Experience serves as a platform for artists around Armenia, across the full electroacoustic and electronic spectrum, through-composed and improvised.

https://www.structuredexperience.com/label

That includes Totem and the Fears:

The EP is a sonic pilgrimage of the soul liberating itself from the mind. Through repetitive phrases and circular rhythms, Azadi and Marutian create hypnotic soundscapes to open the windows of listener’s subconscious. The recording is the outcome of a fully improvised set at Azadi’s studio. This is the first time that Arash Azadi appears as the pianist on a record.

Marut Marutian: electric guitar and pedals.
Video by: Karen Khachaturov Photography

https://structuredexperience.bandcamp.com/album/totem-and-the-fears

There’s the side project Marginal Twilight, which marked the occasion of the Persian new year already disrupted by quarantine and lockdowns – a solitary new beginning:

In these times that we all are separated from each other and in fear of death, it’s good to realize that nature is becoming new and spring is bringing life to earth. Even now we can choose to celebrate life and Nowruz the Persian New Year (the New Day) through music and dance.

It’s earlier work, but I’m still quite fond of Arash’s Geosonic Journeys for us – and people slowly keep discovering its aural landscapes:

All the best to all our readers and my friends in Iran and Armenia and around the world. We’re listening. And I miss a lot of you.

The post Spin abstract geometries from your music, with Ableton Live visualizers by artist Arash Azadi appeared first on CDM Create Digital Music.

Not in C: transform pitch with Scale-O-Mat for Ableton Live [M4L/Suite]

Delivered... Peter Kirn | Scene | Wed 8 Apr 2020 4:48 pm

120 bpm. 4/4. C major. Yawn. What if you could use those same Ableton Live project defaults to do something different? A new Max for Live devices dares you to do just that.

It all started with an idea from the mighty composer/artist Tyondai Braxton. Developer Tim Charlemagne wove that notion into Scale-O-Mat – an all-in-one pitch transformer device for Max for Live (so compatible with any copy of Ableton Live Suite).

You can start simple – the devices let you change a scale over the whole project. You can filter out notes that don’t fit the scale, or constrain notes to the scale you want. That could mean basic transpositions, too – for instance, if needed by instrumentalists or vocalists.

But Scale-O-Mat goes deeper, too, with multiple devices that talk to one another, up to four different groups, a chord feature, presets, and of course, a ton of scales.

Ableton’s own Push hardware comes with a decent selection of scales and modes, from “church” modes like Dorian to Indonesian and Japanese selections. Tobias Hunke has added to those selections, which you should check out both for use with this device and outside it. Check those here:

https://www.ableton.com/de/blog/explore-new-scales-40-free-presets/

https://abletonkurse.wordpress.com

Scale-O-Mat works in tandem with Tim’s other Max for Live creations, so you can work with his chord device and elaborate modular sequencer.

It’s great stuff, both for people who have had some theory and those who didn’t but want to spice up their lives a bit.

Download for 10 € / US$12 (includes VAT).

https://www.soundmanufacture.net/scaleomat/

The post Not in C: transform pitch with Scale-O-Mat for Ableton Live [M4L/Suite] appeared first on CDM Create Digital Music.

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