It’s becoming increasingly common to find electronic artists and creatives having a hand in the development of the types of creative tools they themselves want to use. It’s often the case that those questing, idea-filled creatives are used as the originators of concepts that product development teams would never hit upon themselves. In the case of BLEASS Software, working with respected French DJ and producer Canblaster when building the ingenious BLEASS Arpeggiator led them to create a plugin far beyond their initial concept, and one that snapped into Canblaster – aka Cédric Steffens – chance-based workflow perfectly.
We spoke to Cédric to learn more about this collaboration, his upcoming three-part record and how using his regular livestreams helps keep him creatively productive.
1 Firstly, can you give us a bit of an overview of BLEASS Arpeggiator and what it brings to the table for creative producers and artists?
“I think the main idea was to change what arpeggiators are. For me, it was a process of going back and forth with the BLEASS team and put every idea we could put into this. There are so many different ways of playing the arpeggiators that we tried to find by either analysing ways that the players play on the keyboard, or how classic sequencers were used. Then there’s a whole part about the rhythm of the arp which was one of the main focuses for me. One of the main problems I think with most arps is that the rhythm is unchanged. The idea
