Meet The Makers – Chris Randall of Audio Damage

Published on Jun 8, 2018 sonicstate sonicstate

Plus one on the cactus.

“Chris Randall is a regular character on the scene, hes also an interesting bloke, with previous lives including signed bandmember, touring lighting designer, record label owner and now plug-in developer, with a dash of Eurorack hardware thrown in, he’s done a lot.
We met him at Superbooth and had a chat.”

MIDI Polyphonic Expression is now a thing, with new gear and software

MIDI Polyphonic Expression (MPE) is now an official part of the MIDI standard. And Superbooth Berlin shows it’s catching on everywhere from granular synths to modular gear.

For decades now, it’s been easy enough to add expression to a single, monophonic line, via various additional controls. But humans have more than one finger. And with MIDI, there was until recently no standard way of adding additional expressiveness for multiple notes/fingers at the same time. All of that changed with the adoption of the MPE (MIDI Polyphonic Expression) specification.

“Oh, fine,” naysayers were able to say, “but is that really for very many people?” And sure enough, there haven’t been so many instruments that knew what to do with the MPE data from a controller. So while you can pick up a controller like the ROLI Seaboard (or more boutique items from Roger Linn and Madrona Labs), and see support in major DAWs like Logic, Cubase, Reaper, GarageBand, and Bitwig Studio, mostly what you’d play would be specialized instruments made for them.

But that’s changing. It’s changing fast enough that you could spot the theme even at an analog-focused show like Superbooth.

Here’s a round-up of what was shown just at that show – and that isn’t even a complete list of the hardware and software support available now.

Thanks to Konstantin Hess from ROLI who helped me compile this list and provided some photos.

Polyend/Dreadbox Medusa. This all-in-one sequencer/synth is one I’ll write up separately. That grid has dedicated X/Y/Z movement on it, and it’s terrifically expressive. What’s great is, it uses MPE so you can record and play that data in supported hosts – or presumably use the same to sequence oteher MPE-compatible gear. And that also means:

Polyend SEQ. The Polish builder’s standalone sequencer also works with SEQ. As on the Medusa, you can play that live, or increment through, or step sequence control input.

Tasty Chips GR-1 Granular Synthesizer. Granular instruments have always posed a challenge when it comes to live performance, because they require manipulating multiple parameters at once. That of course makes them a natural for MPE – and sure enough, when Tasty Chips crowd-funded their GR-1 grain synth, they made MPE one of the selling points. Connect something like a Seaboard, and you have a granular instrument at your command. (An ultra-mobile, affordable Seaboard BLOCK was there for the demo in Berlin.)

The singular Gaz Williams recently gave this a go:

Audio Damage Granular. The newest iOS app/desktop plug-in from Audio Damage isn’t ready to use yet, but an early build was already at Superbooth connected to both a Linnstrument and a ROLI Seaboard for control. Set an iPad with your controller, and you have a mobile grain instrument solution.

Expert Sleepers FH-1. The FH-1 is a unique MIDI-to-CV modular interface, with both onboard USB host capabilities and polyphonic support. But what would polyphonic input be if you couldn’t also add polyphonic expression? And sure enough, the FH-1 is adding support for that natively. I’m hopeful that Bastl Instruments will choose to do the same with their own 1983 MIDI module.

Polyend Poly module. Also from Polyend, the Poly is designed around polyphony – note the eight-row matrix of CV out jacks, which makes it a sophisticated gateway from MIDI and USB MIDI to voltage. But this digital-to-analog gateway also has native support for MPE, meaning the moment you connect an MPE-sending controller, you can patch that expression into whatever you like. Shuttle Control. Shuttle Control is both a (high res) 12-bit MIDI-to-CV converter and practically a little computer-in-a-module all its own. It’s got MPE support, and was showing off that capability at Superbooth.

Once you have that MIDI bridge to voltage, of course, MPE gives you additional powers over a modular rig, so this opens up a lot more than just the stuff mentioned here.

I even know some people switching from Ableton Live to Bitwig Studio just for the added convenience of native MPE support. (That’s a niche, for sure, but it’s real.) I guess the key here is, it takes just one instrument or one controller you love to get you hooked – and then sophisticated modular and software environments can connect to still more possibilities.

It’s not something you’re going to need for every bassline or use all the time, but for some instruments, it adds another dimension to sound and playability.

Got some MPE-supporting picks of your own, or your own creations? Do let us know.

The post MIDI Polyphonic Expression is now a thing, with new gear and software appeared first on CDM Create Digital Music.

Audio Damage Quanta @ Superbooth 2018

Published on May 4, 2018 Bedroom Producers Blog

“Audio Damage Quanta granular virtual synthesizer demo at Superbooth 2018. Quanta is a forthcoming granular virtual instrument for Windows, MacOS, and iOS. The expected release date is June 2018.”

See this post for details.

Audio Damage Announces Quanta Granular Synthesizer

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via Audio Damage

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Last call for Easter Sales – Get a good deal on plugins, virtual instruments & sound packs

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Classic 808 Tracks Using TR-08 – Cybotron – Clear

Published on Mar 11, 2018 chisel316

Love that he pointed out what we are hearing at the start. Some Kraftwerk in there.

“In the 4th video of my Classic 808 Tracks series, I cover another classic – Cybotron’s Clear. Hope you enjoy it!

Gear used:

Roland Boutiques
TR-08 – Drums
JU-06 – Sub Bass
SE-02 – Res Bass
JP-08 – Pad
JX-03 – Arp

Yamaha Reface DX – Synth Strings
MFB Kraftzwerg – Sweep