0 comments on “Why I love bleep!BOX, how I use it, and how I’d like to see it change in the future”

Why I love bleep!BOX, how I use it, and how I’d like to see it change in the future

It struck me the other day that I don’t really do reviews per se, but that I do have quite a lot of opinions about lots of apps and how I use them and how I’d like them to change. So I thought I’d write a few more detailed posts about these apps and see if they’re useful to anyone.

Some background about me and bleep!BOX …

So I thought it would make sense to start off with bleep!BOX as it’s one of the apps that I have found myself using the most over the last few months and probably before that. However, I wasn’t always a big fan of the app. I can remember when it first came out finding it very difficult to use indeed, and I often people say that they don’t get the UI or don’t find it intuitive. I can understand that. I was probably in the same camp when I started using it and as a result I gave up on it for quite some time before finally picking it up again just to prove to myself that I could make it work. I did. I’ve not looked back. Once you’ve got your head around the UI it really is worth it.

So, why do I like it, and how do I use it?

One of the main reasons I like bleep!BOX so much is that you can do pretty much everything in one place. It basically has 10 synths in it. They’re not all the same, they fall into a few categories like drums, snare, hats, and then your regular synths too. Now that might sound a bit limiting. It isn’t, not at all in fact, for a number of reasons, and I’ll go through them.

10 synths or instruments means different things:

In bleep!BOX the first three synths are drum synths, but as these can be tuned they can be used just how you want, so there’s no problem for using them with melody lines or sequences. The next synth is a snare, but it can be adapted to do some quite interesting noises and not just make snare sounds. The next four are straight mono synths, and the last two are hi hat synths which again can be used for far more interesting sounds.

So, you have 10 monosynths for making interesting noises but if you use them all as synths you have no drums. That’s easily fixed with Audiobus of course and my preferred machine for use with bleep!BOX is MoDrum.

Using the two together is a great combination. The two apps compliment each other very well and the MIDI sync is completely rock solid. Of course from there you can use any number of different effects apps in the Audiobus slot.

So, what next?

Well, I’ve been experimenting with using bleep!BOX and MoDrum together with Aurora Sound Studio HD. It’s a different way of creating music, not entirely intuitive, but it works, for me anyway.

But there are a few things I’d like to see in bleep!BOX. Not a massive amount of change, but some things to make it a little easier. So here’s my little wish list:

  • More parameter automation
  • An easier way to see which notes are active in the parameter automation screen
  • Export to individual wave files

Like I said, it isn’t a big list. In fact, after writing it I was convinced I’d missed something, but I haven’t.

Anyway, if you haven’t tried out bleep!BOX then it’s worth a look, in my opinion anyway. I’ve found it a very useful creative tool, and it’s just got better with Audiobus.

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I’m not sure I’ve ever seen anything quite like that before.

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Still keeping a close eye on this indiegogo campaign.

http://www.indiegogo.com/project/519275/widget

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//platform.twitter.com/widgets.js

0 comments on “Music 4.5 brings Smart Radio on the 24th”

Music 4.5 brings Smart Radio on the 24th

I thought that this might be of interest to a few people. Here’s what the event is about:

Over in the US, Pandora has more than 70 million active listeners, and is seen as the market leader of the streaming-radio market, but the competition is fierce from newcomers as well as existing services developing new streaming radio or personalised internet radio products and apps.

Ranging from Apple’s iRadio, Clear Channel’s iHeartRadio, Last.fm, Songza, Sirius XM, Tunein, Last.fm, Slacker Radio, and Spotify using free mobile radio to convert users to its on-demand service, the market is expanding – and confusing.

What engages people? Strip out the tech, what is left?
Without the right content there is no business, no revenue.

Musician and composer Jonathan Segel, formerly with Pandora, says: “So the argument here should be: how much is one spin out on broadcast radio worth, versus how much one spin on internet radio is worth, for the songwriter. The internet stream goes to one person. The radio broadcast goes to many.”

What is the value of radio content? Is there a specific and intrinsic value to radio content? Is ‘traditional radio’ sustainable in the light of the increasing number of digital personal radio services, some amounting to no more than curated playlists?

Is it a case of ‘Drivetime DJ’ and ‘Breakfast DJ’ and forget the rest?
Are digital music services also aiming to entertain, inform and keep company?

How important is content, context and live connection versus distribution, access points and distribution technology?

What are the new content formats developing, and how are they being paid for?
Spot advertising, subscription, partnerships, promotions, and sponsorships – is there a sustainable business model, taking into account the music royalty structure, for the fiercely competitive internet radio? How to monetize the long-tail of internet radio? What do the new generation of branded content and transmedia monetisation models look like?

Full details at the Music 4.5 site:

If you’re interested in going you can get a 10% discount by using the code: PALMSOUNDS

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