Tracktion Corporation has announced the release of Biotek 2, the latest version of its award-winning synthesizer. This powerful virtual instrument combines organic, natural and environmental samples with a world class synth engine and an inspirational user interface, inviting users to explore in depth the world of digital modular synthesis. Designed from the ground up to […]
Softube has launched Mutable Instruments Clouds for Modular, a software version of the texturizing module for Eurorack systems. Clouds allows you to to divide incoming signals into audio droplets and manipulate those droplets in many different ways. Clouds allows the user to divide incoming signals into audio droplets between 16ms and 1 second long; like […]
VST Buzz has launched a sale on Timedrops by Fluffy Audio, a Kontakt 5 instrument that allows you to take any sound and transform it into something incredible. “Timedrops” is a granular manipulation tool for Kontakt 5, which enables users to import their own samples and features an extensive amount of sound sources and presets. […]
Empty Vessel Sound Design has announced the release of a new sound library for the TAL-Sampler plugin by Togu Audio Line. The Entropy sound library comprises 64 long, evolving, organic textures varying from gently dusty and characterful with slight wonkiness to quite broken, digital, glitchy and disturbing. I usually put ‘hold keys’ in the name […]
Inear Display has updated its Litote granular audio effect plugin which can turn any sound into a dramatic texture. Litote offers four audio engines that can be combined using a XY pad for a wide range of variations. Version 1.1 comes with a new Engine Editor that allows you to make manual adjustments of the […]
Sample Fuel has announced the release of Drop CRE8, a free instrument that offers a dual layer synthesis engine, combining sample playback and granular synthesis. Intuitive and flexible with the focus on quick and easy workflow is the concept behind our CRE8 Engine. DROP has a simple drag n drop synth engine that contains a […]
The free and open VCV Rack software modular platform already is full of a rich selection of open source modules. Now, Rack users get first access to the newest Mutable Instruments modules – and your $20 even goes to charity.
Mutable Instruments is unique among modular makers partly in that its modules are open source – and partly in that they’re really exceptionally creative and sound amazing.
Mutable’s Olivier Gillet was an early adopter of the open source model for music hardware, (along with CDM and our 2010 MeeBlip), starting with the classic Shruthi-1 desktop module (2012). But it’s really been in modular that Mutable has taken off. Even as Eurorack has seen a glut of modules, Olivier’s creations – like Braids, the Macro Oscillator, Clouds, and others – have stood out. And the open source side of this has allowed creative mods, like the Commodore 64 speech synthesis firmware we saw recently.
But Rack, by providing an open software foundation to run modules on, has opened a new frontier for those same modules, even after they’re discontinued. Rack’s ecosystem is a mix of free and open modules and proprietary paid modules. Here, you get a combination of those two ideas.
Mutable’s Plaits, a successor to the original multi-functional Braids oscillator, isn’t out yet. And its source will be delayed a bit after that. But for twenty bucks, you get both Plaits (dubbed Macro Oscillator 2 inside VCV) ahead of release, opening up a wonderful new source for pitched and percussion sounds. Most of your money even goes to charity. (Actually, I’m happy to support these developers, too, but sure!) These are two of the more versatile sound sources anywhere.
The idea is, would-be hardware purchasers get an advance test. And everyone gets a version they can run in software for convenience. Either way, all synth lovers win, pretty much. Synthtopia has a similar take:
Maybe, maybe not but — on another level, even if this is just the model for Mutable’s stuff, it’s already good news modular fans and VCV Rack users.
And let’s not forget what it all sounds like. Here’s a mesmerizing, tranquil sound creation by Leipzig-based artist Synthicat, showing off Plaits / Macro Oscillator 2:
Another bonus of VCV Rack support for studio work – you get multiple instances easily, without buying multiple modules. So I can imagine a lot of people using elaborate modular setups they could never afford in the studio, then buying a smaller Eurorack rig for live performance use, for example. Check out Synthicat’s music at his Bandcamp site:
You’ll find a bunch of sound models available, from more traditional FM and analog oscillations to granular to percussive to, indeed, some of that weird speech synthesis business we mentioned. You also get a new interface with more flexible control and CV modulation, unifying what are in fact many different models of sound production into a single, unified, musical interface.
As for Plaits hardware, here’s some more beautiful music:
The official announcement:
When Mutable Instruments releases a new Eurorack module, its source code is kept closed to limit the proliferation of opportunistic “DIY” clones at a time when there is a lot of demand for the module and to avoid exposing dealers to canceled pre-orders. After several months, a second production run is finished and the source code is released.
In a collaboration between VCV and Mutable Instruments, we allow you to test these new modules before their source code is publicly available with the “Audible Instruments Preview” plugin.
We don’t intend to profit from this collaboration. Instead, 80% of sales are donated to the Direct Relief (https://www.directrelief.org/) Humanitarian Medical Aid charity organization. The price exists to limit widespread distribution until each module is mature enough to be merged into Audible Instruments.
I have no doubt this will get hardware people hooked on the software, software people hooked on the hardware, and everybody synth-y and happy.
Note from VCV deveoper Andrew Belt [Facebook VCV Rack Group]
It seems more ports/previews may be coming, too, even just in the Audible Instruments preview purchase.
That’s not the only Rack news, either. VCV also have a powerful patchable parametric EQ called Parametra:
It’s $30 – so another proprietary offering that then supports development of the Rack platform.
The post A life cycle for open modules, as Mutable Instruments joins VCV Rack appeared first on CDM Create Digital Music.
ADSR Sounds has announced a sale on Cycles & Spots Software, offering a 30% discount on its Kontakt and Reaktor packs until Monday May 28th. The following products are all discounted: Reaktor Cycles: NI Reaktor Instrument for musical genres ranging from Ambient to Deep Tech. This one creates rhythmical arpeggio-like sequences based on hundreds of […]
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.
Endorphin.es 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.
It’s time for another trip into the strange and wonderful world of artist-created Reaktor ensembles. This time, our guide is dub techno maestro Deadbeat.
The Canadian-born, Berlin-based Scott Monteith is an artist whose chops are at peak maturity, from timbre to rhythm, recording to mix. And Scott’s latest, Wax Poetic For This Our Great Resolve, is both more personal — pulling from inspirational texts from friends — and more sonically intimate. The entire album sounds open and airy and organic, thanks to using acoustic re-recording of electronic elements. Every percussion hit, every synth line was either recorded in real space in the studio or recorded out of the box and into that open space and then miked.
Scott and I got to spend a pleasurably leisurely interview talking about the record, which I wrote up for Native Instruments’ blog:
Deadbeat on a return to hope, sound in real space
With all this focus on acoustic recoridng and re-recording, you’d think there wouldn’t be much to say about software – but you’d be wrong. There’s yet more shade and color around these sounds that’s produced by synthetic processing, a whole lot of it in Reaktor.
“There’s tons and tons of extra stuff that you would normally delete in vocal takes or guitar takes or whatever that ended up as sauce for feeding vocoders or feeding [Reaktor ensemble] grainstates,” says Scott, “or even some of the real classic [ensembles].” You’re hearing some of that in the hyperreal, clear color of the arrangements and mix.
“I think it’s nice to treat that stuff completely independently,” Scott says, “and then you end up with this bank of stuff that you know is going to be in key. And it’s somehow relatable, whether it be melodically or aesthetically – because you’ve fed it this stuff from a particular track. And then you go back to arrangement mode, because then I can take off my sound designer’s hat and put on my arrangers’ hat.”
Scott is confident enough in his skills to give that secret sauce away, so here’s a tour. Some of these are some long-lost gems of the library, too, so don’t expect to find them just by sorting for the latest or most popular ensembles. Some of these were used on this particular record, others represent a related techniques but have been used on other productions.
“I’m using that just to add color to things. I love vocoders, period.
It’s like taking the vocals of Gudrun talking or Fatima talking, and using that as the modulator and the carrier signal being the chords in the track. Or it could also be the extra recording of the high hats in the room, and vocoding the vocals with that. So, then you have something rhythmic that’s the same, and in the same air, but then can be free as its own track. Or taking the guitar or the bass…”
GRIP Grain Cloud Synth
Uwe G. Hoenig
Polyphonic granular synth
“This is a playable one – this is one you can play with the keyboard. And you can load the oscillator is whatever you load into it.”
Denis Gökdag / zynaptiq, Native Instruments
KOMPLETE effect; available à la carte or in KOMPLETE ULTIMATE
“It’s fantastic. It’s beautiful. It’s a beautiful combination of super, super simple granular synth process combined with lovely lush reverb. And it’s just amazing.”
Random sound generator
“There goes a few hours of time,” says Scott. “This whole frequency modulation and detune and weird shit that’s going on in these guys is amazing.”
“There’s this preset – ‘Coming Up From Hell.’ I use that a lot – I’ve been using that for years. If you’re rolling along, and you want to create density, it’s like, okay, flip this into the Ultimate Reverb, and all of a sudden you’ve got this underlying loud of ffffoooooosssssh. You’ve made things thick without adding another element.
And that with some sort of distortion, and some sort of sidechain compression to make sure that it doesn’t get in the way of anything — all of a sudden, you’ve created raging hell.”
Granular effect processor
Don’t forget the granular Reaktor ensemble that started the craze. Martin’s landmark granular processor has had an influence even outside the Reaktor community on imagining how grain processing effects can be used as instruments.
Hacking together custom ensembles
The biggest advantage of using Reaktor as a modular environment is, you can hack together what you need if a particular tool doesn’t do exactly what you want. Scott long ago made his name as a Reaktor patcher, but don’t feel obligated to achieve mastery — even he doesn’t necessarily go that route now. “The last one that I did … this thing [Deadbeats] 13 years ago.”
The aforementioned Grain Cloud synth, for instance, he used to substitute oscillators inside a drum machine. Or with granular processors, he’s swapped a sample player with a live input, as on The Swarm. These aren’t complicated hacks – you barely need to know how to operate Reaktor to pull them off. But they then open worlds of new performance and sound design possibilities.
In another instance, Scott had a happy accident hacking mmmd1, the “morphing minimal drum machine” by grainstates creator Martin Brinkmann. That ensemble includes a series of assignable X/Y controllers which can modulate the filter, bitcrush, and so on, with step-based sequencing.
Scott tried applying a child ensemble with a crossfader for interpolating between presets – and that’s when he was surprised. “Because this is step-based, morphing between presets on this thing, as you would go across, it would go thththththththththt …. and you would get these totally twisted, glitchy crossfade things.”
Thanks, Scott! Got more favorite Reaktor ensembles, other granular tools, or the like? Let us know in comments.
Deadbeat Wax Poetic For This Our Great Resolve [Review: XLR8R]
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