Ólafur Arnalds Stratus — Available To Pre-order
- Thread starter Spitfire Team
- Start date
khollister
Senior Member
Not clear to me how to do it, unless the UI allows you to assign MIDI CC's to matrix cells (I'll go look in a minute)
UPDATE: Nope - no assignable automation to the matrix cells. You likely know this but there are randomization options that randomize the matrix by time or tempo.
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I think it sounds really beautiful. Congratulations to Spitfire and Olafur.
I own all the other 3 products from Olafur/Spitfire but I'm not sure if I will purchase this because. I'm mostly interested in the software that creates the patterns. It would be great if Olafur one day would release that as a product. Then we would be able to use it on our own sounds.
This video about Olafur and the software he has developed is really interesting/inspirering:
Creating Music With “Ghost Pianos” | Ólafur Arnalds
Following an accident, musician Ólafur Arnalds suffered nerve damage that left him unable to play the piano. That’s when he discovered the power technology granted him in innovating on the classical form. He got to work with a programmer to create a software called Stratus that controls self-playing, semi-generative pianos. It’s all supported by some complex mathematics and a wildly creative vision. While Ólafur plays an electronic keyboard onstage, the two upright ghost pianos accompany him, creating a cascade of complementary notes. It’s an incredible system that fuses the physicality of classical music with the ingenuity of electronic music. In this episode of SOUNDWAVE, Ólafur delves into the creation of his Stratus software and walks us through how he composed the song “unfold” from his latest album “re:member.”
I own all the other 3 products from Olafur/Spitfire but I'm not sure if I will purchase this because. I'm mostly interested in the software that creates the patterns. It would be great if Olafur one day would release that as a product. Then we would be able to use it on our own sounds.
This video about Olafur and the software he has developed is really interesting/inspirering:
Creating Music With “Ghost Pianos” | Ólafur Arnalds
Following an accident, musician Ólafur Arnalds suffered nerve damage that left him unable to play the piano. That’s when he discovered the power technology granted him in innovating on the classical form. He got to work with a programmer to create a software called Stratus that controls self-playing, semi-generative pianos. It’s all supported by some complex mathematics and a wildly creative vision. While Ólafur plays an electronic keyboard onstage, the two upright ghost pianos accompany him, creating a cascade of complementary notes. It’s an incredible system that fuses the physicality of classical music with the ingenuity of electronic music. In this episode of SOUNDWAVE, Ólafur delves into the creation of his Stratus software and walks us through how he composed the song “unfold” from his latest album “re:member.”
BezO
The Artisan
I don't doubt other developers are just as bad. I don't have any of the instruments you listed and haven't experienced this except for Spitfire. I almost grabbed Zebra2 when it went NKS. I'm less disappointed I didn't since you mentioned Diva & Repro.
Looking at the Stratus patch list, the banks could use some work.
Cool instrument from what I hear in vids, but I'm not sure it's enough for me to overlook what I imagine is another poor NKS implementation. I rely heavily on my KK and reach for my mouse as little as possible.
Thanks for the feedback!
SvenE
My neighbors listen to great music :-)
I like what Spitfire did with Stratus. The Piano and Synth Matrix as well as the Warped sounds are fantastic and I do not see a big overlap with Noire. I actually wanted to try them out side by side and came up with a simple piece (only Stratus and Noire used) that I posted in the "Members Composition" forum. Stratus isn't system hungry and I find it very intuitive. I wish that I currently had access to a faster machine to work with more tracks but somtimes limitation inspire creativity. Stay safe!
Harry
Active Member
If you play a "C" - seems that Stratus does not playback any additional notes other than "C" (just "C"s at different octaves and rhythms). From what I understood from Olafur's own original Stratus, that if you play a "C" his pianos would also play back other notes aswell as "C"s in the returned patterns.
See here at 1 min 30 from end --- he plays a "C" and there are other notes triggered. Does Spitfire Status not do this?
See here at 1 min 30 from end --- he plays a "C" and there are other notes triggered. Does Spitfire Status not do this?
Was just watching Christian's video on Composing with Stratus. I just love this, and it would be so perfect for a piece I'm in the middle of.
I also love that it was Christian's swarm concept (at least I think the swarm series was one of Christian's ideas) that in part inspired the aesthetic of Olafur's re:member record, which now comes back as a sample library, which now goes on to inspire futher musics.
It's a lovely metaphor for the dialectic of the technical aspect of sample libraries and the human nature of composing.
Made even more manifest, or perhaps deconstructed even, is the track Olafur talks about above where he asked the string players to play a very robotic staccato, and has this wonderful organic technology driven piano-swarm-esque vibe providing the more expressive human dimension.
I also love that it was Christian's swarm concept (at least I think the swarm series was one of Christian's ideas) that in part inspired the aesthetic of Olafur's re:member record, which now comes back as a sample library, which now goes on to inspire futher musics.
It's a lovely metaphor for the dialectic of the technical aspect of sample libraries and the human nature of composing.
Made even more manifest, or perhaps deconstructed even, is the track Olafur talks about above where he asked the string players to play a very robotic staccato, and has this wonderful organic technology driven piano-swarm-esque vibe providing the more expressive human dimension.
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khollister
Senior Member
Not that I have detected - all patterns in all 4 matrices are the same note in various octaves.
However, in OA's original HW Stratus rig, there was presumably no way to decouple the center/main piano from the 2 ghost pianos, so there may have been modes intended for single voice melody playing on the main piano with more complex responses from the ghost pianos. I believe it was intended for live use.
In the Spitfire implementation, the main piano is muted by default (the Piano Overlay control). You can drop in another track of whatever piano you want and achieve a decoupling of the "melody" piano voice from the Stratus patterns triggered by the silent played line. This may be why the Spitfire version operates the way it does.
UPDATE: Of course that kind of blows the "inspirational tool" concept OA is talking about in the video. It would be interesting to hear from Paul or Christian on this as to why they decided to implement it this way. I can see pros and cons with it.
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X-Bassist
Senior Member
Good question. In fact I would argue if you do use the random feature, then you better record your audio because it will sound different every time you play back. A film or record mixer’s nightmare. Print, print, print!And then there's Impact Soundworks' Shreddage 3 Stratus. Not confusing at all
I do wonder, though, what exactly is "groundbreaking innovation" here?
He mentions you can also get a very detailed level of control. Where? Attack and release controls on the ghost piano’s length? Seems like you would at lest need a large selection of patterns and note choices. A way to edit the patterns on each note, then suddenly I realizing it would be faster to just play it in.
And if you feel random notes sound better than playing it in yourself, then you have other issues. This is what make the discussion of machine created music bizzare. As if a machine through algorithms could come up with a smooth emotional piece that connects with humans, and communicates emotion. This is what composers are paid for. As if a random set of notes could compare with a flowing melody or a well made call and response. Really?
I understand why Developers would want to create new ways to inspire composers or try to make the job easier. But why to composer take the bait? Like phrase instruments and construction kits, it doesn’t improve your craft or skills, it just limits your music to the choice of phrase you picked, or had thrust upon you, keeping you from exploring further. Some have difficult deadlines and are just trying to finish on time, I understand, but for the others it seems strange. Like using a machine to shoot hoops at a Lakers game while the team stands on the sidelines, watching to make sure the ball goes in. I want to be IN the game and shoot the ball myself.
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Harry
Active Member
Yes - can anyone from Spitfire comment on this?
Uncle Ox
New Member
styledelk
Senior Member
Thanks! I wasn't familiar with Jon Hassell, so diving in! Those are Tundra airy high brass-- I think-- but I'm running the Dynamics with an LFO1, and an LFO2 running the LFO1 rate.
Uncle Ox
New Member
Thanks for the reply.
Jon H. is making top instrumental records from the 70's till now (always with the same
sleeve designer).
I have Tundra and will try to get/replicate that character brass sound, if you dont mind.
Brasart
Senior Member
So I just got Stratus and started playing with it, love it !
I've tried fitting it into a pre-existing cue I'm working on for a game, which is composed as part of a systemic modular setup within Ableton itself.
I'm not completely satisfied with how it sounds yet, it still sounds pretty busy and obviously wasn't originally made with Stratus in mind.
I'll be working on this track in the coming days, but I thought it was still in a nice enough place to share it here.
But it's fantastic how instantly inspiring it is, you can play with it for hours, and while listening back it brings ideas for new melodies, themes, motifs... It's perfect for what I'll be doing this year!
Track is composed of:
1 Monark bass
6 Wavetable (synth from Live) pads & short plucks randomly controlled by LFOs
2 OA Stratus Synth instances
1 OA Stratus Piano instance
Various vst piano parts played by hand
I've tried fitting it into a pre-existing cue I'm working on for a game, which is composed as part of a systemic modular setup within Ableton itself.
I'm not completely satisfied with how it sounds yet, it still sounds pretty busy and obviously wasn't originally made with Stratus in mind.
I'll be working on this track in the coming days, but I thought it was still in a nice enough place to share it here.
But it's fantastic how instantly inspiring it is, you can play with it for hours, and while listening back it brings ideas for new melodies, themes, motifs... It's perfect for what I'll be doing this year!
Track is composed of:
1 Monark bass
6 Wavetable (synth from Live) pads & short plucks randomly controlled by LFOs
2 OA Stratus Synth instances
1 OA Stratus Piano instance
Various vst piano parts played by hand
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styledelk
Senior Member
I saw that he's played on a lot of records I really enjoy (especially Talking Heads' Remain in Light). Makes total sense.
styledelk
Senior Member
Really like this!
idematoa
Senior Member
01 - Spitfire Audio - Ólafur Arnalds Stratus - Matrix - Swarms
02 - Spitfire Audio - Originals Felt Piano - Ribbon Reverb
03 - Spitfire Audio - Hans Zimmer Strings - 60 Cellos - All In One - Tremolo CS Pont Waves
04 - Sonuscore - The Orchestra Complete - Violin 1 - Staccato - Violin 2 - Staccato - Viola - Staccato - Cello - Staccato - Double Bass - Staccato
05 - Sonuscore - The Orchestra Complete - Violin 1 - Trills Whole Tone - Violin 2 Trills Half Tone - Viola Col Legno - Viola - Sul Pont Spiccato - Cello Sul Pont Sustain
===> Bridge
02 - Spitfire Audio - Originals Felt Piano - Ribbon Reverb
03 - Spitfire Audio - Hans Zimmer Strings - 60 Cellos - All In One - Tremolo CS Pont Waves
04 - Sonuscore - The Orchestra Complete - Violin 1 - Staccato - Violin 2 - Staccato - Viola - Staccato - Cello - Staccato - Double Bass - Staccato
05 - Sonuscore - The Orchestra Complete - Violin 1 - Trills Whole Tone - Violin 2 Trills Half Tone - Viola Col Legno - Viola - Sul Pont Spiccato - Cello Sul Pont Sustain
===> Bridge
Uncle Ox
New Member
