Zoë Blade\'s notebook

C-LAB Creator

Atari ST running C-LAB Creator
Atari ST running C-LAB Creator

Creator was a MIDI sequencer for the Atari ST, made by German company C-LAB. The first version was released in 1987, and the last version was released in 1992. It was then replaced by Emagic's Notator Logic, a ground-up rewrite and fully fledged DAW that was eventually bought by Apple and became Logic Pro.

Most sequencers (and, later, DAWs) are based on the concept of tape, emphasising how music consists of several tracks that store sequences of notes. In contrast, Creator is based on digital step sequencers, emphasising how music can be divided into discrete patterns, each consisting of several tracks that store sequences of notes, allowing the user to switch back and forth between patterns, and loop tracks within patterns to build up polymetres. It's arguably an approach more from the point of view of an electronics engineer than a traditional musician, and it lends itself particularly well to repetitive electronic music.

This viewpoint seems to have largely been forgotten between the introduction of rival Cubase, and the much later introduction of Ableton Live, which appears to be influenced by Creator.

Quotes

Because the timing of computers is so precise, a whole generation of musicians is growing up, whose timing expectations are quite different from the days before these advanced sequencers were around. Modern "high-tech" musicians have come to regard quantized timing as the norm, and human timing as somehow below standard, such that even technically-proficient musicians have felt that they needed to quantize their playing via a computer in order to be able to compete. The downside of this searching for perfection is the loss of much of the human feel that went into the original recording of the notes.

— Notator/Creator SL 3.1 owner's manual

We've also been going into a live mute situation on Creator, and recording all the mutes, 'cos that can give you a really weird structure. It can get quite messy, but it has something to offer. You might have written a hi-hat pattern which is quite continuous, and you can just drop-mute it at weird points, which gives it quite a scatty feel, so things are always different through the track.

— Garry Cobain, the Future Sound of London, 1992[1]

I think I might change from C-LAB to Cubase, now. The thing I didn't like was having to go up into a menu to transpose - you know, transpose... how many?... OK... and if you didn't like it, go back up, do it all again - whereas C-LAB always had that little block on the side. But the new version of Cubase has that little block on the other side, so there's nothing to stop us, really.

— Paul Hartnoll, Orbital, 1993[2]

Cubase is much better for arranging: you can get an overall picture so much easier. They tried, with C-LAB, with that block arrangement, but I do like to be able to see an overview.

— Phil Hartnoll, Orbital, 1993[2]

By next year, they seemed to change their mind:

We've used it ever since we had a computer, which is about four years. I've always wanted to try Cubase with its arrange window, 'cos that's how you tend to visualise music — left to right and linear — but now I'm not so sure, because I know this system so well.

— Paul Hartnoll, Orbital, 1994[3]

It looks like track transposition was a dealbreaker for Orbital. Their music has a lot of parts that are always playing major thirds, so it seems likely that those consist of one track ghosting another in Creator, set to four semitones above it. This was probably much easier than playing major thirds manually, and quicker than carefully detuning a second oscillator.

I particularly like the real-time track parameter editing on C-LAB; being able to change things like delay, velocity and transposition in real time is, I think, the main reason why C-LAB gets used so much for dance music.

— Steve Hillage, System 7, 1991[4]

Notable users

See also

References

  1. Past, Present and Future Music Technology, Aug 1992
  2. The Magic Circle Music Technology, Jun 1993
  3. Music of Spheres Sound On Sound, Apr 1994
  4. All Systems Go Music Technology, Oct 1991
  5. What's That Noise? Music Technology, Aug 1990
  6. Classic Tracks: Fatboy Slim "Praise You" Sound On Sound, Jan 2017
  7. Future Talk Music Technology, Jan 1994
  8. Deep Vibrations Music Technology, Aug 1991
  9. @iamclintmansell Twitter, Apr 2020 "Headache music..my rig was MC-303, with AKAI S1000, an Atari 1040 running Creator which would become Logic. As far gear went this was my set up, & a Roland JV 880. I’d had a Nord Lead too but it got burned out when lightning hit our building & I couldn’t afford to get it fixed."
  10. Waxing Lyrical Music Technology, Sep 1991
  11. Tune In, Turn On, Chill Out Music Technology, Jun 1991

Downloads

Software

Documentation

Atari ST software: C-LAB Creator | Dr. T's Tiger Cub | Intelligent Music M | Intelligent Music Realtime | Roni Music Sweet Sixteen | Steinberg Cubase | Steinberg Pro-24

MIDI sequencers: C-LAB Creator | Dr. T's Tiger Cub | Intelligent Music M | Intelligent Music Realtime | Roni Music Sweet Sixteen | Steinberg Cubase | Steinberg Pro-16 | Steinberg Pro-24