![]() We’re making this in order to help people gain access to the music production process, but also make things smoother for seasoned professionals.” OW: “When I’m doing live shows I work with two Cmpsrs, it’s a better way to interact with the plugins that I use than other tools out there. We wanted to slowly release these things as user understanding increases.” But we figured slow and steady wins the race. It can even run ambisonic rigs for spatial audio mixes. ![]() We’re going to be drip-feeding new elements. “What’s actually programmed onto Cmpsr at the minute is about 5% of what we’ve already designed and tested, so we’ve got a long feature roadmap ahead. We’ve got people using AV setups with it, via software like Resolume. The flip side of using it as an instrument is running your Ableton Live rig with it, or running Bitwig. ST: “Yes, it could either be among real instruments or sit within a full electronic set-up. Can you imagine it onstage, being used alongside other more traditional instruments? You’ve mentioned that you envisage Cmpsr as potentially a live performance instrument. With a traditional instrument you’ve got to put a lot of time into it.” If you want to dig under the hood as an advanced musician, then Cmpsr will scale with you. Anyone can pick it up and play it straight away. OW: “Just to add, that it has all those abilities but it’s also simple and inviting for people to use. We want it to feel like an instrument in its own right.” You can also use it as a massive X/Y pad, which works nicely in a live environment. You can basically run entire Ableton Live sets, and really get expressive with MPE/SWAM-based instruments. Then we’ve built in lots of CC options for control. You can also access notes outside the scale if you want to get more technical. People can simply move around and play chords. There’s no key-fixing on a software layer, it’s all done inside the instrument. “It’s worth noting as well that there’s no necessity for a software layer between Cmpsr and whatever you’re using if you’re running it on an iPhone or with a Mac, whatever you’re using comes in and out as MIDI. The tuning is automatically done on the device. The way that we describe it is taking the power of a full keyboard – and the knowledge and music theory of someone who knows how to get the best out of that keyboard – distilled into a device you can play with one finger. ST: “It’s gaming technology with musical capabilities, essentially. ![]() If you experience any issues with the Splice mobile app, please reach out to our team at here.Could you give our readers a top-down overview of Cmpsr’s abilities? Tap the "play" button in the bottom-left corner to play back your creation. There's also a "clear pattern" button here if you want to start over. To change the tempo, just click the settings icon in the bottom-right corner. Just tap on a square next to the sample you want, to add it to your sequence. Once you're in the Sequencer, you can draw in a unique pattern for up to 8 different samples to create a custom beat. To switch from Pads mode to Sequencer mode, just tap "sequencer" at the bottom of the Beatmaker screen: Our new Sequencer instrument takes the original Beatmaker a step further by allowing you to draw in custom sequences, using the samples you've assigned to the 8 available pads. It's a great tool for hearing how different samples sound together, for building drum kits, and for creating sketches to flesh out later! To assign a sample to a Beatmaker pad, simply tap the Beatmaker icon to the left of the 3 small dots on a sample while browsing for sounds, and then select a pad. Pad mode lets you to assign Splice samples to 8 playable pads for real-time playback. To launch Beatmaker, tap the middle icon on the bottom navigation bar:īeatmaker consists of two different modes: Pads and Sequencer.
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