Long Form Sample Playback
Adding a bit of ambience -- bird chirps, street noise, airport chatter, ocean waves -- is a rather underrated and effective method for adding interest to sparse music without having to add additional parts or unnecessary variation. It’s just tedious enough to set up an independently pitched and stretched looping long sample in Live to not even bother, but that’s not the case anymore: Scenery is purpose-built for playing “background sound” in your Live project as quickly as possible, transporting yourself and your music to new inspirational environments with a mouse click.
Long Form Sample Playback
Adding a bit of ambience -- bird chirps, street noise, airport chatter, ocean waves -- is a rather underrated and effective method for adding interest to sparse music without having to add additional parts or unnecessary variation. It’s just tedious enough to set up an independently pitched and stretched looping long sample in Live to not even bother, but that’s not the case anymore: Scenery is purpose-built for playing “background sound” in your Live project as quickly as possible, transporting yourself and your music to new inspirational environments with a mouse click.
Long Form Sample Playback
Adding a bit of ambience -- bird chirps, street noise, airport chatter, ocean waves -- is a rather underrated and effective method for adding interest to sparse music without having to add additional parts or unnecessary variation. It’s just tedious enough to set up an independently pitched and stretched looping long sample in Live to not even bother, but that’s not the case anymore: Scenery is purpose-built for playing “background sound” in your Live project as quickly as possible, transporting yourself and your music to new inspirational environments with a mouse click.
Scenery
Max for Live Device
Scenery
Max for Live Device
Multiply Your Preset Library
I started to really enjoy playing and listening to ambient music when I got into the Eurorack modular world. The only module that never left my case and was used in nearly every session was the Radio Music sample player. In fact, I had two pretty much always plugged into a mixer: 1 for voices/dialogue, 1 for atmospheric texture. It made a big difference in allowing me to play simpler, repeating patterns and sparser arrangements while still drawing the ear with evocative, transportive soundscapes.
I found it rather tedious to find the same immediacy in Live. Of course, it’s pretty straightforward technically to play those kinds of samples, but it takes a demotivating amount of clicks and compromises to set up. Even then, samples aren’t designed to continue to play while the transport is stopped, or remain unwarped and looped, or arbitrarily repitched. All this happens with next to no set up with Scenery.
This playlist showcases ambient music generated by Brian Eno’s Bloom app paired with some atmospheric textures provided by Scenery.
Multiply Your Preset Library
I started to really enjoy playing and listening to ambient music when I got into the Eurorack modular world. The only module that never left my case and was used in nearly every session was the Radio Music sample player. In fact, I had two pretty much always plugged into a mixer: 1 for voices/dialogue, 1 for atmospheric texture. It made a big difference in allowing me to play simpler, repeating patterns and sparser arrangements while still drawing the ear with evocative, transportive soundscapes.
I found it rather tedious to find the same immediacy in Live. Of course, it’s pretty straightforward technically to play those kinds of samples, but it takes a demotivating amount of clicks and compromises to set up. Even then, samples aren’t designed to continue to play while the transport is stopped, or remain unwarped and looped, or arbitrarily repitched. All this happens with next to no set up with Scenery.
This playlist showcases ambient music generated by Brian Eno’s Bloom app paired with some atmospheric textures provided by Scenery.
Multiply Your Preset Library
I started to really enjoy playing and listening to ambient music when I got into the Eurorack modular world. The only module that never left my case and was used in nearly every session was the Radio Music sample player. In fact, I had two pretty much always plugged into a mixer: 1 for voices/dialogue, 1 for atmospheric texture. It made a big difference in allowing me to play simpler, repeating patterns and sparser arrangements while still drawing the ear with evocative, transportive soundscapes.
I found it rather tedious to find the same immediacy in Live. Of course, it’s pretty straightforward technically to play those kinds of samples, but it takes a demotivating amount of clicks and compromises to set up. Even then, samples aren’t designed to continue to play while the transport is stopped, or remain unwarped and looped, or arbitrarily repitched. All this happens with next to no set up with Scenery.
This playlist showcases ambient music generated by Brian Eno’s Bloom app paired with some atmospheric textures provided by Scenery.
Return to the Present
Scenery is designed to require as little input from you as possible so you can get settled into an environment and stay focused on your music. Once a folder is set, use can be as simple as randomizing the sample and setting low/high pass filters, though you have plenty of configuration at your fingertips for how this process works in the Settings panel.
A walkthrough of Gradient's feature set.
Return to the Present
Scenery is designed to require as little input from you as possible so you can get settled into an environment and stay focused on your music. Once a folder is set, use can be as simple as randomizing the sample and setting low/high pass filters, though you have plenty of configuration at your fingertips for how this process works in the Settings panel.
A walkthrough of Gradient's feature set.
Return to the Present
Scenery is designed to require as little input from you as possible so you can get settled into an environment and stay focused on your music. Once a folder is set, use can be as simple as randomizing the sample and setting low/high pass filters, though you have plenty of configuration at your fingertips for how this process works in the Settings panel.
A walkthrough of Gradient's feature set.
Set the Scene
To get the most out of Scenery, you need quality, long-form atmospheric samples, though these aren’t as common to come across as a standard kick drum or piano loop. I’ve recorded samples with the RODE NT-FS1 ambisonic microphone for maximum realism and immersion and edited them to loop seamlessly inside of Scenery.
The Scenes packs are free to download — check them out and enjoy!
For the Experimentalist
While this device is intended for playback of long-form textural samples, meaning it doesn't have the typical music-oriented controls found in other samplers like 12-tone pitch and rhythmic quantization.
That may not be ideal when you have a specific idea in mind, but it does open the possibility for some unique playback techniques and creative sound design outside of Scenery intended use. Playing around with a folder of samples and recording the output might just uncover a bit of inspirational gold you can warp to a groove or resample in an instrument.
In this example, Scenery rapidly plays through all the short samples in a folder.
For the Experimentalist
While this device is intended for playback of long-form textural samples, meaning it doesn't have the typical music-oriented controls found in other samplers like 12-tone pitch and rhythmic quantization.
That may not be ideal when you have a specific idea in mind, but it does open the possibility for some unique playback techniques and creative sound design outside of Scenery intended use. Playing around with a folder of samples and recording the output might just uncover a bit of inspirational gold you can warp to a groove or resample in an instrument.
In this example, Scenery rapidly plays through all the short samples in a folder.
For the Experimentalist
While this device is intended for playback of long-form textural samples, meaning it doesn't have the typical music-oriented controls found in other samplers like 12-tone pitch and rhythmic quantization.
That may not be ideal when you have a specific idea in mind, but it does open the possibility for some unique playback techniques and creative sound design outside of Scenery intended use. Playing around with a folder of samples and recording the output might just uncover a bit of inspirational gold you can warp to a groove or resample in an instrument.
In this example, Scenery rapidly plays through all the short samples in a folder.
Scenery is a unique sample player that is specifically designed to be unsync’d from rhythmic-based systems other samplers in Live adhere to. To learn more about the device, check out the user manual or drop me a line at contact@patches.zone.
Scenery is a unique sample player that is specifically designed to be unsync’d from rhythmic-based systems other samplers in Live adhere to. To learn more about the device, check out the user manual or drop me a line at contact@patches.zone.
Scenery is a unique sample player that is specifically designed to be unsync’d from rhythmic-based systems other samplers in Live adhere to. To learn more about the device, check out the user manual or drop me a line at contact@patches.zone.
pATCHES © 2024
pATCHES © 2024
