2CAudio Kaleidoscope | It's A Trip | Latest Update 1.1

[jtenney]

Haha, for my Master's thesis, I wrote and had performed a piece for orchestra and electronics--it was inspired by Ligeti's Atmospheres. I remember getting the question "why would you want us to do that?" among other things. Funny how much of a hassle it can be to have musicians play something that isn't traditionally melodic (to be fair to them, they were pretty open-minded and good sports about the whole thing).

Maybe I was a bit harsh in my judgement maybe, and many orchestral musicians nowadays are much more open-minded and interested in something different. It also depends a lot on how you notate the music, less graphically fancy and more precise can save much hassle and time.

Still there is always a group of traditionalists in every orchestra which can make things difficult
Dedicated ensembles for new music are our best friends here.

Speaking as a retired orchestral (among other genres) musician, I think that what bothers a lot of orchestra players is the degree of "control freak-edness" some composers display. That is usually coupled with the often pathetically-short amount of rehearsal time available ahead of a concert. Some music is just "fussy" in its micromanaged attention to the smallest detail. That is nothing new; in the era of "classic" post-WWII music, it was present in the music of Boulez and many others. It's frustrating for musicians to feel that they are doomed to failure as performers, because the majority of them really DO WANT to do well; otherwise they would not be professional musicians. Another related issue is how well the composers are writing for the instruments. This has become a serious problem in modern orchestral writing, unfortunately, partly because many composers are weak in their orchestration abilities, compose at a keyboard, and just write what they write without consideration of whether the music "lies well" for a particular instrument. I have played recording sessions, for example, where there are frequent cases of parts going out of instruments' ranges, though that is an extreme example. Anyway, the relationship between old and new in producing musical sound is ever-changing...

[rustman]

Ah...GU. Didn't know what you meant. I've got a GU that I've listened to about a thousand times. Has "Standing on the corner watching cars go by" on it. But, my old asp thinks Yes, Rush, ELP, etc. when I hear Prog too.

[Sampleconstruct]

Something more calm for the night, the involved waveform for tuning the resonators was made with Metasynth using a pythagorean scale, pics made with ArtMatic, some Molekular and B2 on a Bus:

http://soundcloud.com/sampleconstruct/pythagoras-organ

[Phorous]

Ah...GU. Didn't know what you meant. I've got a GU that I've listened to about a thousand times. Has "Standing on the corner watching cars go by" on it. But, my old asp thinks Yes, Rush, ELP, etc. when I hear Prog too.

For the record I also like old timer progressive rock. Give me some Rush, Yes and King Crimson

Well, according to some, the new progressive house thats on beatport, really is progressive house. They know about what you call prog-house (and I still do too) but their narrative is that, this what we have today, is what progressive house progressed to. Thing is progressive house as it was, is still around so? I think beatport screwed that up and a lot of people don't seem to know any better.

That GU40 sounds ace.

Yeah, the problem with Beatport is it lumps everything under the sun under progressive house.

Most people who listened to early - late 90s and early 2000s progressive house and trance spun by the likes of Sasha, John Digweed, Nick Warren, etc refer to it these days as "prog" just so they don't have to say "progressive house and progressive trance" which is rather cumbersome as well as not just saying "progressive" because it may be mistaken for the new styles of "progressive" music.

People for sometime now have considered progressive to be a lower BPM more gradually layered sound that gradually builds in energy over time compared to EDM which is all about the drop. I wouldn't disagree with that definition of progressive because it directly descended from the "prog" we are talking about. Back in the day though you also had a large number producers really pushing the envelope of what was possible in dance music combined with the former definition. It wasn't a fully established genre like it is today. You had people like Charlie May, BT, Way out West, Hybrid, Oliver Lieb, Slacker, Nick Muir, James Holden really doing some crazy stuff in addition to having that layered building proggy sound. IMO, It was progressive in more ways than one.

/nostalgia off

[Andrew Souter]

Amen to everything Voice303 just said...

KS gives some new tools to explore these kind of interesting sound structures and transformations... it is perfectly suited for this kind of stuff, as well as new various new forms...

just say no to snare rolls! take some chances....

I might be tempted myself to make some new dance music.

GU, really did a great job bringing this music to a larger audience. I think I owned every one of those releases up to the most recent one(s). Very cool to see GU 40 is still awesome!

These are dance/electronic music artists that actually care about sound and creativity. people who did it purely for the love of it before there were private jets etc involved...

[RunBeerRun]

I'm interested in hearing what this is-just found out about it-still getting the demo to work! Don't worry I'll figure it out tomorrow. It seems like so far the images aren't found in any default place, not sure tho.

[Phorous]

I might be tempted myself to make some new dance music.

You should sometime!

One of my eventual goals is to make dance music inspired by the 90s progressive scene but not bound to it in any way but a spiritual sense. 9 months into my producing career and quite a long ways to go before I can make anything of that caliber but even if I make just one awesome track it will all be worth it

[jc_vt]

No, I was referring to the 3 dice near the bottom of AM. The middle one randomized everything within the tree structure

There is a series of videos online by some artist in London I think, basic but some good tips. Don't overlook the "random all" function for some good serendipity

Do you mean the Folder Random in the Preset Browser??? Thanks.

[jc_vt]

Audacity (free) can extract to mono and export at 64-bit.

Are you sure? On the Mac version I only see 32-bit

[jtenney]

That's what I saw also on Audacity for Mac...

[tonkatodd]

I can't confirm Mac but Windows Audacity can export as 64bit Wav and Aiff. Export - save as type "other uncompressed files" - Options -64bit etc.

[jtenney]

Ah. I went back to Audacity, found "64 bit float." Is that what KS would require??

[jtenney]

And can you make a sample-accurate edit? You can zoom in really far, but it doesn't look like you can change the horizontal scale from seconds to samples...

[Valery_Kondakoff]

Can not find this info on a web-site: what are the Kaleidoscope trial restrictions? Are they time based (say, trial is working for 15 days) or feature based (say, saving is disabled). What are the differences between Kaleidoscope trial and full version?
Thank you!

[Andrew Souter]

Can not find this info on a web-site: what are the Kaleidoscope trial restrictions? Are they time based (say, trial is working for 15 days) or feature based (say, saving is disabled). What are the differences between Kaleidoscope trial and full version?
Thank you!

Demo Restrictions are listed in the Demo readme file.

regarding content:

The Kaleidoscope Demo contains: • 747 Total Files • 250 Presets • 347 Images • 115 Scales • 35 Waveforms

Kaleidoscope Retail contains: • 2,477 Total Files • 1,166 Presets • 945 Images • 254 Scales • 92 Waveforms

Architecture Volume 01 KS contains: • 14,059 Total Files • 7,696 Images • 4,545 Scales • 1,818 Waveforms

Architecture Waveforms 2010 contains: • 25,724 Waveforms


We are going to post 1.0.1 tonight. (we fixed the other issue that was holding back the past day or two.)