Taking time out recently has allowed me to spend a bit more time experimenting, and today I discovered another amazing feature Apple has added in Logic Pro.

@GuitarSith @muz4now Yes, but…

After fooling with it, I came back around to, just like with the session drummer and bassist, it’s more fun and fulfilling to be me and play* it warts and all.

(* For the drum tracks, program.)

@pomCountyIrregs @muz4now
I know what you’re saying, but there are certain aspects of this AI stuff that could be beneficial for us. Found a video online that explained better how to use the synth audio track to better sync control of the session drummer, bass player & keyboard player tracks. Then playing with the complexity & intensity levels in each to create a pretty tight groove. This is still early days for this too, over time it’s going to get interesting, imo.

@pomCountyIrregs @muz4now
I know what you’re saying, but there are certain aspects of this AI stuff that could be beneficial for us. Found a video online that explained better how to use the synth audio track to better sync control of the session drummer, bass player & keyboard player tracks. Then playing with the complexity & intensity levels in each to create a pretty tight groove. This is still early days for this too, over time it’s going to get interesting, imo.

@pomCountyIrregs @GuitarSith I understand that LLM could be useful. However, its draconian birth means I will avoid it whenever I can. The dangers of “creating AI music” are too much of a slippery slope for me at this point.

@GuitarSith @muz4now Where it gets less gray is when the producer is making choices to override the automated elements.

Slipping to a more Econ/widget point of view, if one relies on automatic elements that anyone could replicate, then the profitable marketing of the widget is based on a) being first or b) competing on price and c) lowering margins as advertising costs rise for being later.

For emotional and business reasons, I suggest use for development, not production.

@muz4now @pomCountyIrregs
I am totally against generating music, as Spotify did with Velvet Sundown. That's just completely wrong and the antithesis of everything that music should be.

For idea generation though I find that some of these tools can be really helpful, for example the generated keyboard part I sent you for Really Did It This Time was a great starting point in that collaboration I think. Over time these tools will get better I think, and we can certainly use them to our advantage.

@GuitarSith @muz4now @pomCountyIrregs Like Stan, I think this is a slippery slope.

After reading someone else's experience, I tried putting some of my older, unreleased songs into suno.ai, then writing prompts that didn't change the song itself but cleaned up the performance in specific ways. The results were so fantastic they scared me.

They scared me because I could see that, taken to its natural conclusion, my involvement in this process would ultimately be at best irrelevant.

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@GuitarSith @muz4now @pomCountyIrregs I certainly use tools that some people =think= are artificial intelligence even though they're not.

A recent example that's come up in conversation here is SynthesizerV. It's just a database of phonemes recorded at semitone intervals across three octaves, with an editor that lets the user assemble a vocal line from these snippets; despite frequent insistence that it's "AI", it's just a mechanical tool.

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@pomCountyIrregs @muz4now
These tools are still in their infancy, and I'm sure that over the next while they'll improve exponentially. I'm not opposed to using tools where they still hold or contain the artists intent. Back in the 80's when I was recording, a synth was a wall of boxes with knobs and cables going everywhere. MIDI came out, then Roland released the Jupiter 8. This changed everything, and I remember a lot of musicians complaining that music was dead. Could this be similar?

@GuitarSith @muz4now I’ll add a random recollection. The musician’s union local that represented Broadway orchestra members in the 50s wanted the Hammond B3 contractually excluded from the pits because of worries one player could replace many musicians.

At least that’s what I recall hearing years ago.

@GuitarSith @muz4now I’ll add a random recollection. The musician’s union local that represented Broadway orchestra members in the 50s wanted the Hammond B3 contractually excluded from the pits because of worries one player could replace many musicians.

At least that’s what I recall hearing years ago.

@pomCountyIrregs @muz4now
I remember a lot of musicians at the time that MIDI and digital synths started to gain traction complaining that it was going to replace them artistically & they'd be out of a job. What really has killed us all is the downloading & streaming services sneaking up through the back door.