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Vice versa, adding a lot of complexity just to satisfy a weird constrained, instead of relaxing the constraint can seem overloaded. It's not strictly simple, not everyone can do it freely, but the more complexity, the harder it is to stay within any given constraint. Hence a lot of music is formulaic, but the problem with that is that the formular is predictable on purpose. In effect, that's what's done when creating structures 'organically'. I think it should be more interesting to create a formular that sounds nice. So then I would need to put in this box a device that represents my taste for choosing pieces. You might want some Shostakovich slow-movement-like music to be generated. You could buy a Shostakovich box, or you could buy a Brahms box.

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In the future, you won't buy artists' works you'll buy software that makes original pieces of 'their' works, or that recreates their way of looking at things. But I want to be able to sell systems for making my music as well as selling pieces of music. Q: Why do you want to do that? You have you.Ī: Yes, I have me. I could program this box to be my particular taste and interest in things. I would love to have this machine stand for me. A thing that makes choices about its outputs, and says to itself, This is a good output, reinforce that, or replay it, or feed it back in. Q: If I could give you a black box that could do anything, what would you have it do?Ī: I would love to have a box onto which I could offload choice making. Amongst other things, he talks about lifting himself to the next meta-level of composition, where he doesn't write music, he writes rules for a box which makes music: There was an interview with Eno in Wired in 1995 that i still think about sometimes. (If the tape lengths are L and L+d, for small d, then the repeat time could easily be as long as L*(L/d), and even longer if d does not divide L evenly.) Thus, it is very different from what you get with a Markov chain. This interaction of periods will have long memory. What I mean is they all repeat in cycles that are called incommensurable - they are not likely to come back into sync again.'

The third one every 29 15/16 seconds or something. The next lowest loop repeats every 25 7/8 seconds or something like that.

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It is in fact a long loop running around a series of tubular aluminum chairs in Conny Plank's studio. 'One of the notes repeats every 23 1/2 seconds. As you listen, you can hear phrases that occur nearly together and then later, well-separated in time, as the periods of these loops go in and out of phase: Make sure you read the instructions.I don't disagree with this observation, but I wanted to mention a counterpoint.Įno's 'Music for Airports' famously uses a system of multiple tape loops that produce sequences of different periods.

Vocal Filter (for human voice simulation).

Filter (Low-pass, High-pass, Band-pass, Notch).

SpectraVoice (FFT-based synthesizer for warm atmospheric sounds).

Sampler (supported formats: WAV, XI, AIFF).

MetaModule (use it to build your own synths/effects).

DrumSynth with 120 unique synthetic drum sounds.

If you want to record sound - use the Sampler module (and press REC button under the Sampler controllers). REC button is only for notes and controller recording.

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How to connect one module to another: first touch on source, second touch on destination. Use multitouch to scale/move content of timeline and pattern editor.

The main menu - button with the SunVox icon in the upper left corner of the screen. It is also available for other systems (Windows, Linux, macOS, iOS, etc.).

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XM (FastTracker) and MOD (ProTracker, OctaMED) import.

Real-time recording of any types of sound events.

Support of 16/24/32bit WAV, AIFF and XI samples.

Powerful microtonal (ultra-chromatic) sequencer.

You can read more info about the music trackers here: (music_software) It is a small and fast cross-platform modular synthesizer with pattern based sequencer (tracker). SunVox is the most powerful music creation tool for Android.

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