What I term workshop tracks get uploaded to the never-ending album, Infinity, at Kamelmaus-soundz.bandcamp.com. This new track didn’t need to be pieced together. It’s a slightly contracted version of a nine minute improv using Xynthesizer as a controller and means for intervention, and, using it then to control (play) the new flocking synthesizer Photophore and Alchemy Mobile Pro. Both are in Audiobus and run through the Crystalline effect (from Holderness Media.) The audio stream was captured in Logic on a laptop, re-panned and lightly mastered using Native Instrument’s new delay Replika, and my go-to reverb, 2C Audio Aether.
Mercy, Whom I Have Never Met is in a minimalist vein I have been spending little slices of free time wandering within, so-to-speak.
Grabbing little moments to do audio experiments means that at the end of 2014, I’ve got two workflow modes I can deploy quickly. The basic Kamelmauz workflow is either in the “A” mode, where both iPad are piped into Logic on the laptop. The most complex array I manage at once involves setting one iPad up to execute a composition translated to MIDI or otherwise programmed into an iPad MIDI controller–such as the superb Xynthesizer–and then this controls one or two synthesizers slotted into Audiobus. The other iPad then is used to be the live, or performance, foil. I usually use Gestrument, my go-to controller for the past two years, to control either an iPad synthesizer or to control a software synthesizer or sampler in Logic (DAW.)
I spent the first half of the year trying to get iConnectMIDI4+, an audio I/O and audio and MIDI router, to consistently work as an aggregate device in Logic, but I have given up. I’m back to charging the iPads to 100% and running the older one through a Behringer UCA-222, and the newer Air through a Line6 Sonic Port, then routing iPad audio with direct 1/4″ stereo connections to a Focusrite Saffire audio I/O,then into Logic.
In A Mode I improvise on one iPad against my own compositions being played via MIDI on the other iPad. This is equal to a live set-up were I playing out.
B Mode is so simple I use it to sometimes play myself to sleep, late at night with the iPad Air on my chest. Here I just take the composer’s set-up in A Mode, and much more actively intervene to play the controller controlling iPad synthesizers in Audiobus, and recording the playing and interventions using Audioshare or Multitrack DAW. Audioshare gives easy access to Inter-App-Audio, so a full chain can look like this, for example,
TC-Data (MIDI controller) –> [AUDIOBUS] Alchemy Pro Mobile->AUFX:Space (reverb)->Audioshare [IAA]->Ultraphaser
Gestrument (MIDI controller) set-up to execute a drone –> [AUDIOBUS] Animoog->AUFX:Space->Audioshare [IAA]->Ultraphaser
Although MIDI routing is crude within CORE MIDI on iPads, all one needs to differentiate controller streams is the ability to designate the different MIDI channels, and, so it is easy enough to do so if you choose capable partners such as TC-Data, Gestrument, Alchemy and Animoog. Xynthesizer makes this easy too, and so it’s also straight-forward to get a composition going while stabbing against it using Gestrument.
In Mode B, all audio is being processed by the iPad. Later, I export it to the laptop. I don’t have any hangups about quality because it is on a par with what my regular Focusrite I/O can render using digital synths as a source.