Master your Roland TR-8S drum machine settings with a plug-in editor

Roland’s TR-8S added loads of parameters for shaping drum kits and effects. Now you can get at all of those without diving through menus with this VST/AU plug-in – and keep your drum machine settings stored with your project.

Hardware is great, but it introduces two problems. First, there are inevitably some parameters buried in menus that are hard to reach on the front panel, no matter how many knobs and faders makers add. Second, stuff you do on the hardware is likely to get out of sync with your DAW, leading to that invariable “what the Hell was this supposed to be?” feeling when you power things up. (Okay, sometimes that leads to happy accidents. Sometimes it just leads to misery.)

Momo Miller has been trucking through the full Roland range (plus KORG and Novation Circuit). He’s been adding plug-ins for just this reason. You get more accessible editing and control, and your settings stay inside your DAW projects for easy recall.

Now, first, what this isn’t: it isn’t a full-blown editor for the TR-8S. And it’s a shame, given Roland Cloud, that the manufacturer didn’t provide one. That also means loading custom samples on the TR-8S is a manual affair. This unofficial editor isn’t able to load sample files. And you don’t get full access to all of the TR-8S’ hidden parameters, like the deep settings per kit. So, Roland, if you’re listening – please, give us that.

You do, however, get a lot of access to parameters per sound and kit – basically, anything that has a MIDI CC assignment. And you can still save your changes on the hardware, for anything this controls. Plus you can save parameters separately in software. And there are some useful performance controller mappings.

Here’s what you get:

  • Full access to TR-8S parameters (as accessible via MIDI)
  • Control effects via custom-mapped X/Y performance controllers
  • Automation of parameters inside your DAW
  • Save parameter data with your DAW – including which kit was selected, which is invaluable on its own
  • Interactive visual display
  • 32-bit and 64-bit VST (Windows, Mac) AU (Mac) and standalone (Windows, Mac) versions

Have a look:

Price: 5,90€ / US$6.90

TR-8S editor/controller

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Reloop’s new RP-8000 MK2: instrumental pitch control, Serato integration

Like the relaunched Technics 1200, the new Reloop decks sport digitally controlled motors. But Reloop have gone somewhere very different from Technics: platters that can be controlled at a full range of pitches, and even play scales. And the RP-8000 MK2 is a MIDI controller, too, for Serato and other software.

Oh yeah, and one other thing – Reloop as always is more affordable – a pair of RP-8000 MK2s costs the same as one SL-1200 MK7. (One deck is EUR600 / USD700 / GBP525).

And there’s a trend beyond these decks. Mechanical engineers rejoice – the age of the motor is here.

238668 Reloop RP-8000 MK2

We’re seeing digitally controlled motors for haptic feedback, as on the new Native Instruments S4 DJ controllers. And we’re seeing digital control on motors providing greater reliability, more precision, and broader ranges of speed on conventional turntables.

So digitally controlled motors were what Technics was boasting earlier this week with their SL-1200 MK7, which they say borrows from Blu-Ray drive technology (Technics is a Panasonic brand).

Reloop have gone one step further on the RP-8000 MK2. “Platter Play” rotates the turntable platter at different speeds to produce different pitches – rapidly. You can use the colored pads on the turntable, or connect an external MIDI keyboard.

That gives the pads a new life, as something integral to the turntable instead of just a set of triggers for software. (I’m checking with Reloop to find out if the performance pads require Serato to work, but either way, they do actually impact the platter rotation – it’s a physical result.)

238668 Reloop RP-8000 MK2

Serato and Reloop have built a close relationship with turntablists; this lets them build the vinyl deck into a more versatile instrument. It’s still an analog/mechanical device, but with a greater range of playing options thanks to digital tech under the hook. Call it digital-kinetic-mechanical.

Also digital: the pitch fader Reloop. (Reloop call it “high-resolution.”) Set it to +- 8% (hello Technics-style pitch), or +/- 16% for a wider range (hello, Romanian techno, -16%), or an insane +/- 50%. That’s the actual platter speed we’re talking here. (Makes sense – platters on CDs and Blu-Ray spin far, far faster.)

With quartz lock on, the same mechanism will simply play your records more accurately at a steady pitch (0%).

The pitch fader and motor mechanism are both available on the RP-7000 MK2, for more traditional turntable operation The performance pad melodic control is on the 8000, the one intended for Serato users.

Serato integration

I expect some people want their controller and their deck separate – playing vinyl means bringing actual vinyl records, and playing digital means using a controller and computer, or for many people, just a USB stick and CDJs.

If you want that, you can grab the RP-7000 MK2 for just 500 bucks a deck, minus the controller features.

On the RP-8000 MK2, you get a deck that adds digital features you’ve seen on controllers and CDJs directly on the deck. As on the original RP-8000, Reloop are the first to offer Serato integration. And it’s implemented as MIDI, so you can work with third-party software as well. The market is obviously DVS users.

The original RP offered Cue, Loop, Sample and Slicer modes with triggers on the left-hand side. Plus you get a digital readout above the pitch fader.

On the MK2, the numeric display gives you even more feedback: pitch, BPM, deck assignment, scales and notes, elapsed/remaining time of current track, plus firmware settings.

New playback and platter control options on the Reloop RP-8000 MK2.

The pads have new performance modes, too: Cue, Sampler, Saved Loops, Pitch Play, Loop, Loop Roll, Slicer, and two user-assignable modes (for whatever functions you want).

Reloop have also upgraded the tone arm base for greater reliability and more adjustments.

And those performance modes look great – 22 scales and 34 notes, plus up to 9 user-defined scales.

For more integration, Reloop are also offering the Reloop Elite, a DVS-focused mixer with a bunch of I/O, displays that integrate with the software, and more RGB-colored performance triggers and other shortcuts.

https://www.reloop.com/reloop-elite

One of these things is not like the others: the new kit still requires a laptop to run Serato.

If I had any complaint, it’s this: when will Serato do their own standalone embedded hardware in place of the computer? I know many DJs are glad to bring a computer – and Reloop claims the controls on the deck eliminate the need for a standalone controller (plus they have that new mixer with still more Serato integration). But it seems still a bummer to have to buy and maintain a PC or Mac laptop as part of the deal. And if you’re laying out a couple grand on hardware, wouldn’t you be willing to buy an embedded solution that let you work without a computer? (Especially since Serato is an integrated environment, and would run on embedded machines. Why not stick an ARM board in there to run those displays and just read your music off USB?)

As for Reloop, they’re totally killing it with affordable turntables. If you just want some vinyl playback and basic DJing for your home or studio, in December they also unveiled the RP-2000 USB MK2. USB interface (for digitization or DVS control), direct drive control (so you can scratch on it), under 300 bucks.

https://www.reloop.com/

Previously in phonographs:

The Technics SL-1200 is back, and this time for DJs again

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What could make APC Live, MPC cool: Akai’s new software direction

Akai tipped their hand late last year that they were moving more toward live performance. With APC Live hardware leaked and in the wild, maybe it’s time to take another look. MPC software improvements might interest you with or without new hardware.

MPC 2.3 software dropped mid-November. We missed talking about it at the time. But now that we’re (reasonably certain, unofficially) that Akai is releasing new hardware, it puts this update in a new light. Background on that:

APC as standalone hardware? Leaked Akai APC Live

Whether or not the leaked APC Live hardware appeals to you, Akai are clearly moving their software in some new directions – which is relevant whatever hardware you choose. We don’t yet know if the MPC Live hardware will get access to the APC Live’s Matrix Mode, but it seems a reasonable bet some if not all of the APC Live features are bound for MPC Live, too.

And MPC 2.3 added major new live performance features, as well as significant internal synths, to that standalone package. Having that built in means you get it even without a computer.

New in 2.3:

Three synths:

  • A vintage-style, modeled analog polysynth
  • A bass synth
  • A tweakable, physically modeled electric piano

Tubesynth – an analog poly.

Electric’s physically-modeled keys.

Electric inside the MPC Live environment.

As with NI’s Maschine, each of those can be played from chords and scales with the pads mode. But Maschine requires a laptop, of course – MPC Live doesn’t.

A new arpeggiator, with four modes of operation, ranging from traditional vintage-style arp to more modern, advanced pattern playback

And there’s an “auto-sampler.”

That auto-sampler looks even more relevant when you see the APC Live. On MPC Live (and by extension APC Live), you can sample external synths, sample VST plug-ins, and even capture outboard CV patches.

Of course, this is a big deal for live performance. Plug-ins won’t work in standalone mode – and can be CPU hogs, anyway – so you can conveniently capture what you’re doing. Got some big, valuable vintage gear or a modular setup you don’t to take to the gig? Same deal. And then this box gives you the thing modular instruments don’t do terribly well – saving and recalling settings – since you can record and restore those via the control voltage I/O (also found on that new APC Live). The auto-sampler is an all-in-one solution for making your performances more portable.

Full details of the 2.3 update – though I expect we’ve got even more new stuff around the corner:

http://www.akaipro.com/pages/mpc-2.3-desktop-software-and-firmware-update

With or without the APC Live, you get the picture. While Ableton and Native Instruments focus on studio production and leave you dependent on the computer, Akai’s angle is creating an integrated package you can play live with – like, onstage.

Sure enough, Akai have been picking up large acts to their MPC Live solution, too – John Mayer, Metallica, and Chvrches all got named dropped. Of those, let’s check out Chvrches – 18 minutes in, the MPC Live gets showcased nicely:

It makes sense Akai would come to rely on its own software. When Akai and Novation released their first controllers for Ableton Live, Ableton had no hardware of their own, which changed with Push. But of course even the first APC invoked the legendary MPC legacy – and Akai has for years been working on bringing desktop software functionality to the MPC name. So, while some of us (me included) first suspected a standalone APC Live might mean a collaboration with Ableton, it does make more sense that it’s a fully independent Akai-made, MPC-style tool.

It also makes sense that this means, for now, more internal functionality. (The manual reference to “plugins” in the APC Live manual that leaked probably means those internal instruments and effects.) That has more predictability as far as resource consumption, and means avoiding the licensing issues necessary and the like to run plug-ins in embedded Linux. This could change, by the way – Propellerhead’s Rack Extensions format now is easily portable to ARM processors, for example – but that’s another story. As far as VST, AU, and AAX, portability to embedded hardware is still problematic.

The upshot of this, though, is that InMusic at least has a strategy for hardware that functions on its own – not just as a couple of one-off MPC pieces, but in terms of integrated hardware/software development across a full product line. Native Instruments, Ableton, and others might be working on something like that that lets you untether from the computer, but InMusic is shipping now, and they aren’t.

Now the question is whether InMusic can capitalize on its MPC legacy and the affection for the MPC and APC brands and workflows – and get people to switch from other solutions.

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Hands-on: Complex-1 puts West Coast-inspired modular in Reason

Propellerhead has unveiled a modular instrument add-on for Reason, Complex-1. It puts a patchable, West Coast-inspired synth inside the already patchable Reason environment – and it sounds fabulous.

Complex-1 is a monophonic modular synth delivered as a Rack Extension, available now. What you get is a selection of modules, with a combination of Buchla- and Moog-inspired synths, and some twists from Propellerhead. You can patch these right on the front panel – not the back panel as you normally would in Reason – and combine the results with your existing Reason rack. The ensemble is very West Coast-ish, as in Buchla-inspired, but also with some unique character of its own and modern twists and amenities you would expect now.

Propellerhead have also a lot of design decisions that allow you to easily patch anything to anything, which is great for happy mistakes and unusual sounds – for beginners or advanced users alike. The three oscillators each have ranges large enough to act as modulation sources, and to tune paraphonic setups if you so wish.

Prepare to get lost in this: the recent Quad Note Generator is a perfect pairing with Complex-1.

What’s inside:
Complex Osc This is the most directly Buchla-like module – subsonic to ultrasonic range, FM & AM, and lots of choices for shaping its dual oscillators.

Noise source, OSC 3 Noise sources including red, plus an additional oscillator (OSC 3) with a range large enough to double as a modulation source.

Comb delay If the Complex Osc didn’t get you, the comb delay should – you can use this for string models by tuning the delay with feedback, as well as all the usual comb delay business.

Filter Here’s the East Coast ingredient – a Moog-style ladder filter with drive, plus both high pass and low pass outputs you can use simultaneously.

Low Pass Gates Two LPGs (envelope + filter you can trigger) give you more West Coast-style options, including envelope follower functions.

Shaper Distortion, wavefolding, and whatnot.

More modules: LFO, ADSR envelope, output mixer, plus a really handy Mix unit, Lag, Scale & amp, Clock & LFO + Clock 2. There’s also a useful oscilloscope.

Sequencer plus Quant: You can easily use step sequencers from around Reason, but there’s also a step sequencer in Complex-1 itself, useful for storing integrated patches. Quant also lets you tune to a range of scales.

Function: A lot of the hidden power of Complex-1 is here – there’s a function module with various algorithms.

Yes, you can make complex patches with Complex-1.

The dual advantages of Complex-1: one, it’s an integrated instrument all its own, but two, it can live inside the existing Reason environment.

I’ve had my hands on Complex-1 since I visited Propellerhead HQ last week and walked through a late build last week. Full disclosure: I was not immediately convinced this was something I needed personally. The thing is, we’re spoiled for choice, and software lovers are budget-minded. So while a hundred bucks barely buys you one module in the hardware world, in software, it buys a heck of a lot. That’s the entry price for Softube Modular, for VCV Rack and a couple of nice add-ons, and for Cherry Audio’s Voltage Modular (at least at its current sale price, with a big bundle of extras).

Not to mention, Reason itself is a modular environment.

But there are a few things that make Complex-1 really special.

It’s a complete, integrated modular rig. This is important – VCV Rack, Softube Modular, Voltage Modular, and Reason itself are all fun because you can mix and match modules.

But it’s creatively inspiring to work with Complex-1 for the opposite reason. You have a fixed selection of modules, with some basic workflows already in mind. It immediately takes me back to the first vintage Buchla system I worked on for that reason. You still have expansive possibilities, but within something that feels like an instrument – modular patching, but not the added step of choosing which modules. The team at Propellerhead talked about their admiration for the Buchla Music Easel. This isn’t an emulation of that – Arturia have a nice Music Easel in software if that’s what you want – but rather takes that same feeling of focusing on a toolkit and provides a modern, Propellerhead-style take on the concept.

It sounds fantastic. This one’s hard to overstate, so it’s better to just go give the trial a spin. In terms of specs, Propellerhead points to their own DSP and 4X oversampling everywhere. In practice, it means even just a stupidly-simple patch with raw oscillators sounds gorgeous and lush. I love digital sounds and aliasing and so on, but… it’s nice to have this end of the spectrum, too. You get a weird, uncanny feeling of lying in bed with a laptop and some studio headphones and hearing your own music as if it’s a long-lost 1970s electronic classic. It’s almost too easy to sound good. Tell your friends you’ll see them in the spring because for now you want to spend some time along pretending you’re Laurie Spiegel.

It lives inside Reason. The other reality is, it’s really fun having this inside Reason, where you can combine your patches into Combinators and work with all the other pattern sequencers and effects and whatnot. You can also make elaborate polysynths by stacking instances of Complex-1.

There’s basic CV and audio interconnectivity with your rack. This may look meager at first, but I found this in addition to the Combinator opens a lot of possibilities, especially for playing live/improvising.

You get loads of presets, of course, which will appeal to those not wanting to get lost in patching. But I also welcome that Propellerhead included a set of basic templates as starting points for those who do want to explore.

Patching is also really easy, though I miss being able to re-patch from both sides of a cable as in a lot of software modulars. Better is the hide/unhide cables functionality, so you can make the patch cables disappear for easier control of the front panel. (Why don’t all software modulars have this feature, actually?)

You don’t get unlimited patchability between Complex-1 and the rest of Reason. For simplicity, you’re limited to note/MIDI input (from other devices as well as externally), basic CV input and output, and input to the sequencer. There’s also a very useful audio input. That may disappoint some people who wanted more options, though it still provides a lot of power.

Mostly I want to buy a really big touch display for Windows and use that. And with this kind of software out there, I may not be looking at hardware so much. I even expect to use this live.

Some sounds for you (while I work on sharing some of my own):

Complex-1 Rack Extension

Complex-1 in the shop

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Reason 10.3 will improve VST performance – here’s how

VST brings more choice to Reason, but more support demands, too. Here’s an update on how Propellerhead are optimizing Reason to bring plug-in performance in line with what users expect.

For years, Reason was a walled-off garden. Propellerhead resisted supporting third-party plug-ins, and when they did, introduced their own native Rack Extensions technology for supporting them. That enables more integrated workflows, better user experience, greater stability, and easier installation and updates than a format like VST or AU allows.

But hey, we have a lot of VSTs we want to run inside Reason, engineering arguments be damned. And so Propellerhead finally listened to users, delivering support for VST effects and instruments on Mac and Windows in Reason 9.5. (Currently only VST2 plug-ins are supported, not VST3.)

Propellerhead have been working on improving stability and performance continuously since then. Reason 10.3 is a much-anticipated update, because it addresses a significant performance issue with VST plug-ins – without disrupting one of the things that makes Reason’s native devices work well.

The bad news is, 10.3 is delayed.

The good news is, it works really well. It puts Reason on par with other DAWs as far as VST performance. That’s a big deal to Reason users, just because in many other ways Reason is unlike other DAWs.

I met with Propellerhead engineers yesterday in Stockholm, including Mattias Häggström Gerdt (product manager for Reason). We got to discuss the issue, their whole development effort, and get hands-on with their alpha version.

Why this took a while

Okay, first, some technical discussion. “Real time” is actually not a thing in digital hardware and software. The illusion of a system working in real time is created by buffering – using very small windows of time to pass audio information, so small that the results seem instantaneous to the user.

There’s a buffer size you set for your audio interface – this one you may already know about. But software also have internal buffers for processing, hidden to the user. In a modular environment, you really want this buffer to be as small as possible, so that patching and processing feels reponsive – just as it would if you were using analog hardware. Reason accordingly has an internal buffer of 64 frames to do just that. That means without any interruptions to your audio stream, you can patch and repatch and tweak and play to your heart’s content.

Here’s the catch: some plug-ins developers for design reasons prefer larger buffers (higher latency), in order to reduce CPU consumption even though their plug-in technically work in Reason’s small buffer environment. This is common in plug-ins where ultra-low latency internal processing isn’t as important. But running inside Reason, that approach adds strain to your CPU. Some users won’t notice anything, because they don’t use these plug-ins or use fewer instances of them. But some will see their machine run out of CPU resources faster in Reason than in other DAWs. The result: the same plug-in setup you used in another DAW will make Reason sputter, which is of course not what you want.

Another catch: if you have ever tried adjusting the audio buffer size on your interface to reduce CPU usage, in this case, that won’t help. So users encountering this issue are left frustrated.

This is a fixable problem. You give those plug-ins larger buffers when they demand them, while Reason and its devices continue to work as they always have. It’s just there’s a lot of work going back through all the rest of Reason’s code to adjust for the change. And like a lot of coding work, that takes time. Adding more people doesn’t necessarily even speed this up, either. (Ever tried adding more people to a kitchen to “speed up” cooking dinner? Like that.)

When it’s done, existing Reason users won’t notice anything. But users of the affected plug-ins will see big performance gains.

What to expect when it ships

I sat with the engineers looking at an alpha and we measured CPU usage. The results by plug-in are what you might expect.

We worked with three plug-ins by way of example – charts are here. With Izotope Ozone 7, there’s a massive gain in the new build. That makes sense – a mastering plug-in isn’t so concerned about low latency performance. With Xfer Records Serum, there’s almost none. Native Instruments’ Massive is somewhere in between. These are just typical examples – many other plug-ins will also fall along this range.

Native Instruments’ Massive gets a marginal but significant performance boost. Left: before. Right: after.

iZotope’s Ozone is a more dramatic example. Stack some instances of this mastering-focused plug-in, and you can max out the CPU quickly in Reason. (left) But in Reason 10.3 alpha, you can see the “big batch” approach yields resolves that performance issue. (right)

Those graphs are on the Mac but OS in this case won’t really matter.

The fix is coming to the public. The alpha is not something you want to run; it’s already in the hands of testers who don’t mind working with prerelease softare. A public beta won’t happen in the couple of weeks we have left in 2018, but it is coming soon – as soon as it’s done. And of course 10.3 will be a free upgrade for Reason 10 users.

When it ships, Reason 10.3 will give you performance on par with other DAWs. That is, your performance will depend on your CPU and which plug-ins you’re using, but Reason will be more or less the same as other hosts beyond that.

So this isn’t really exciting stuff, but it will make your life easier. We’ll let you know how it comes and try to test that final version.

Official announcement:

Update on Reason and VST performance

For more on Reason and VST support, see their support section:

Propellerhead Software Rack Extensions, ReFills and VSTs VSTs

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Cherry Audio Voltage Modular: a full synth platform, open to developers

Hey, hardware modular – the computer is back. Cherry Audio’s Voltage Modular is another software modular platform. Its angle: be better for users — and now, easier and more open to developers, with a new free tool.

Voltage Modular was shown at the beginning of the year, but its official release came in September – and now is when it’s really hitting its stride. Cherry Audio’s take certainly isn’t alone; see also, in particular, Softube Modular, the open source VCV Rack, and Reason’s Rack Extensions. Each of these supports live patching of audio and control signal, hardware-style interfaces, and has rich third-party support for modules with a store for add-ons. But they’re all also finding their own particular take on the category. That means now is suddenly a really nice time for people interested in modular on computers, whether for the computer’s flexibility, as a supplement to hardware modular, or even just because physical modular is bulky and/or out of budget.

So, what’s special about Voltage Modular?

Easy patching. Audio and control signals can be freely mixed, and there’s even a six-way pop-up multi on every jack, so each jack has tons of routing options. (This is a computer, after all.)

Each jack can pop up to reveal a multi.

It’s polyphonic. This one’s huge – you get true polyphony via patch cables and poly-equipped modules. Again, you know, like a computer.

It’s open to development. There’s now a free Module Designer app (commercial licenses available), and it’s impressively easy to code for. You write DSP in Java, and Cherry Audio say they’ve made it easy to port existing code. The app also looks like it reduces a lot of friction in this regard.

There’s an online store for modules – and already some strong early contenders. You can buy modules, bundles, and presets right inside the app. The mighty PSP Audioware, as well as Vult (who make some of my favorite VCV stuff) are already available in the store.

There’s an online store for free and paid add-ons – modules and presets. But right now, a hundred bucks gets you started with a bunch of stuff right out of the gate.

Voltage Modular is a VST/AU/AAX plug-in and runs standalone. And it supports 64-bit double-precision math with zero-latency module processes – but, impressively in our tests, isn’t so hard on your CPU as some of its rivals.

Right now, Voltage Modular Core + Electro Drums are on sale for just US$99.

Real knobs and patch cords are fun, but … let’s be honest, this is a hell of a lot of fun, too.

For developers

So what about that development side, if that interests you? Well, Apple-style, there’s a 70/30 split in developers’ favor. And it looks really easy to develop on their platform:

Java may be something of a bad word to developers these days, but I talked to Cherry Audio about why they chose it, and it definitely makes some sense here. Apart from being a reasonably friendly language, and having unparalleled support (particularly on the Internet connectivity side), Java solves some of the pitfalls that might make a modular environment full of third-party code unstable. You don’t have to worry about memory management, for one. I can also imagine some wackier, creative applications using Java libraries. (Want to code a MetaSynth-style image-to-sound module, and even pull those images from online APIs? Java makes it easy.)

Just don’t think of “Java” as in legacy Java applications. Here, DSP code runs on a Hotspot virtual machine, so your DSP is actually running as machine language by the time it’s in an end user patch. It seems Cherry have also thought through GUI: the UI is coded natively in C++, while you can create custom graphics like oscilloscopes (again, using just Java on your side). This is similar to the models chosen by VCV and Propellerhead for their own environments, and it suggests a direction for plug-ins that involves far less extra work and greater portability. It’s no stretch to imagine experienced developers porting for multiple modular platforms reasonably easily. Vult of course is already in that category … and their stuff is so good I might almost buy it twice.

Or to put that in fewer words: the VM can match or even best native environments, while saving developers time and trouble.

Cherry also tell us that iOS, Linux, and Android could theoretically be supported in the future using their architecture.

Of course, the big question here is installed user base and whether it’ll justify effort by developers, but at least by reducing friction and work and getting things rolling fairly aggressively, Cherry Audio have a shot at bypassing the chicken-and-egg dangers of trying to launch your own module store. Plus, while this may sound counterintuitive, I actually think that having multiple players in the market may call more attention to the idea of computers as modular tools. And since porting between platforms isn’t so hard (in comparison to VST and AU plug-in architectures), some interested developers may jump on board.

Well, that and there’s the simple matter than in music, us synth nerds love to toy around with this stuff both as end users and as developers. It’s fun and stuff. On that note:

Modulars gone soft

Stay tuned; I’ve got this for testing and will let you know how it goes.

https://cherryaudio.com/voltage-modular

https://cherryaudio.com/voltage-module-designer

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FL Studio 20.1 arrives, studio-er, loop-ier, better

The just-before-the-holiday-break software updates just keep coming. Next: the evergreen, lifetime-free-updates latest release of the DAW the developer calls FL Studio, and everyone else calls “Fruity Loops.”

FL Studio has given people reason to take it more seriously of late, too. There’s a real native Mac version, so FL is no longer a PC-vs-Mac thing. There’s integrated controller hardware from Akai (the new Fire), and that in turn exploits all those quick-access record and step sequence features that made people love FL in the first place.

AKAI Fire and the Mac version might make lapsed or new users interested anew – but hardcore users, this software release is really for you.

The snapshot view:

Does your DAW have a visualizer built on a game engine inside it? No? FL does. And you thought you were going to just have to make your next music video be a bunch of shaky iPhone footage you ran through some weird black and white filter. No!

Stepsequencer looping is back (previously seen in FL 11), but now has more per-channel controls so you can make polyrhythms – or not, lining everything up instead if you’d rather.

Plus if you’re using FIRE hardware, you get options to set channel loop length and the ability to burn to Patterns.

Audio recording is improved, making it easier to arm and record and get audio and pre/post effects where you want.

And there are 55 new minimal kick drum samples.

And now you can display the GUI FPS.

And you have a great way of making music videos by exporting from the included video game engine visualizer.

Actually, you know, I’m just going to stop -t here’s just a whole bunch of new stuff, and you get it for free. And they’ve made a YouTube video. And as you watch the tutorial, it’s evident that FL really has matured into a serious DAW to stand toe-to-toe with everything else, without losing its personality.

https://www.image-line.com/flstudio/

20.1 update

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Bitwig Studio 2.5 beta arrives with features inspired by the community

We’re coasting to the end of 2019, but Bitwig has managed to squeeze in Studio 2.5, with feature the company says were inspired by or directly requested by users.

The most interesting of these adds some interactive arrangement features to the linear side of the DAW. Traditional DAWs like Cubase have offered interactive features, but they generally take place on the timeline. Or you can loop individual regions in most DAWs, but that’s it.

Bitwig are adding interactive actions to the clips themselves, right in the arrangement. “Clip Blocks” apply Next Action features to individual clips.

Also in this release:

“Audio Slide” lets you slide audio inside clips without leaving the arranger. That’s possible in many other DAWs, but it’s definitely a welcome addition in Bitwig Studio – especially because an audio clip can contain multiple audio events, which isn’t necessarily possible elsewhere.

Note FX Selector lets you sweep through multiple layers of MIDI effects. We’ve seen something like this before, too, but this implementation is really nice.

There’s also a new set of 60 Sampler presets with hundreds of full-frequency waveforms – looks great for building up instruments. (This makes me ready to boot into Linux with Bitwig, too, where I don’t necessarily have my full plug-in library at my disposal.)

Other improvements:

  • Browser results by relevance
  • Faster plug-in scanning
  • 50 more functions accessible as user-definable key commands

To me, the thing that makes this newsworthy, and the one to test, is really this notion of an interactive arrangement view.

Ableton pioneered Follow Actions in their Session View years back in Ableton Live, but they’ve failed to apply that concept even inside Session View to scenes. (Some Max for Live hacks fill in the gap, but that only proves that people are looking for this feature.)

Making the arrangement itself interactive at the clip level – that’s really something new.

Now, that said, let’s play with Clip Blocks in Bitwig 2.5 and see if this is helpful or just confusing or superfluous in arrangements. (Presumably you can toy with different arrangement possibilities and then bounce out whatever you’ve chosen? I have to test this myself.) And there’s also the question of whether this much interactivity actually just has you messing around instead of making decisions, but that’s another story.

Go check out the release, and if you’re a Bitwig user, you can immediately try out the beta. Let us know what you think and how those Clip Blocks impact your creative process. (Or share what you make!)

Just please – no EDM tabla. (I think that moment sent a chill of terror down my spine in the demo video.)

https://www.bitwig.com/en/18/bitwig-studio-2_5.html

The post Bitwig Studio 2.5 beta arrives with features inspired by the community appeared first on CDM Create Digital Music.

You can now add VST support to VCV Rack, the virtual modular

VCV Rack is already a powerful, free modular platform that synth and modular fans will want. But a $30 add-on makes it more powerful when integrating with your current hardware and software – VST plug-in support.

Watch:

It’s called Host, and for $30, it adds full support for VST2 instruments and effects, including the ability to route control, gate, audio, and MIDI to the appropriate places. This is a big deal, because it means you can integrate VST plug-ins with your virtual modular environment, for additional software instruments and effects. And it also means you can work with hardware more easily, because you can add in VST MIDI controller plug-ins. For instance, without our urging, someone just made a MIDI controller plug-in for our own MeeBlip hardware synth (currently not in stock, new hardware coming soon).

You already are able to integrate VCV’s virtual modular with hardware modular using audio and a compatible audio interface (one with DC coupling, like the MOTU range). Now you can also easily integrate outboard MIDI hardware, without having to manually select CC numbers and so on as previously.

Hell, you could go totally crazy and run Softube Modular inside VCV Rack. (Yo dawg, I heard you like modular, so I put a modular inside your modular so you can modulate the modular modular modules. Uh… kids, ask your parents who Xzibit was? Or what MTV was, even?)

What you need to know

Is this part of the free VCV Rack? No. Rack itself is free, but you have to buy “Host” as a US$30 add-on. Still, that means the modular environment and a whole bunch of amazing modules are totally free, so that thirty bucks is pretty easy to swallow!

What plug-ins will work? Plug-ins need to be 64-bit, they need to be VST 2.x (that’s most plugs, but not some recent VST3-only models), and you can run on Windows and Mac.

What can you route? Modular is no fun without patching! So here we go:

There’s Host for instruments – 1v/octave CV for controlling pitch, and gate input for controlling note events. (Forget MIDI and start thinking in voltages for a second here: VCV notes that “When the gate voltages rises, a MIDI note is triggered according to the current 1V/oct signal, rounded to the nearest note. This note is held until the gate falls to 0V.”)

Right now there’s only monophonic input. But you do also get easy access to note velocity and pitch wheel mappings.

Host-FX handles effects, pedals, and processors. Input stereo audio (or mono mapped to stereo), get stereo output. It doesn’t sound like multichannel plug-ins are supported yet.

Both Host and Host-FX let you choose plug-in parameters and map them to CV – just be careful mapping fast modulation signals, as plug-ins aren’t normally built for audio-rate modulation. (We’ll have to play with this and report back on some approaches.)

Will I need a fast computer? Not for MIDI integration, no. But I find the happiness level of VCV Rack – like a lot of recent synth and modular efforts – is directly proportional to people having fast CPUs. (The Windows platform has some affordable options there if Apple is too rich for your blood.)

What platforms? Mac and Windows, it seems. VCV also supports Linux, but there your best bet is probably to add the optional installation of JACK, and … this is really the subject for a different article.

How to record your work

I actually was just pondering this. I’ve been using ReaRoute with Reaper to record VCV Rack on Windows, which for me was the most stable option. But it also makes sense to have a recorder inside the modular environment.

Our friend Chaircrusher recommends the NYSTHI modules for VCV Rack. It’s a huge collection but there’s both a 2-channel and 4-/8-track recorder in there, among many others – see pic:

NYSTHI modules for VCV Rack (free):
https://vcvrack.com/plugins.html#nysthi
https://github.com/nysthi/nysthi/blob/master/README.md

And have fun with the latest Rack updates.

Just remember when adding Host, plug-ins inside a host can cause… stability issues.

But it’s definitely a good excuse to crack open VCV Rack again! And also nice to have this when traveling… a modular studio in your hotel room, without needing a carry-on allowance. Or hide from your family over the holiday and make modular patches. Whatever.

https://vcvrack.com/Host.html

The post You can now add VST support to VCV Rack, the virtual modular appeared first on CDM Create Digital Music.

You can now add VST support to VCV Rack, the virtual modular

VCV Rack is already a powerful, free modular platform that synth and modular fans will want. But a $30 add-on makes it more powerful when integrating with your current hardware and software – VST plug-in support.

Watch:

It’s called Host, and for $30, it adds full support for VST2 instruments and effects, including the ability to route control, gate, audio, and MIDI to the appropriate places. This is a big deal, because it means you can integrate VST plug-ins with your virtual modular environment, for additional software instruments and effects. And it also means you can work with hardware more easily, because you can add in VST MIDI controller plug-ins. For instance, without our urging, someone just made a MIDI controller plug-in for our own MeeBlip hardware synth (currently not in stock, new hardware coming soon).

You already are able to integrate VCV’s virtual modular with hardware modular using audio and a compatible audio interface (one with DC coupling, like the MOTU range). Now you can also easily integrate outboard MIDI hardware, without having to manually select CC numbers and so on as previously.

Hell, you could go totally crazy and run Softube Modular inside VCV Rack. (Yo dawg, I heard you like modular, so I put a modular inside your modular so you can modulate the modular modular modules. Uh… kids, ask your parents who Xzibit was? Or what MTV was, even?)

What you need to know

Is this part of the free VCV Rack? No. Rack itself is free, but you have to buy “Host” as a US$30 add-on. Still, that means the modular environment and a whole bunch of amazing modules are totally free, so that thirty bucks is pretty easy to swallow!

What plug-ins will work? Plug-ins need to be 64-bit, they need to be VST 2.x (that’s most plugs, but not some recent VST3-only models), and you can run on Windows and Mac.

What can you route? Modular is no fun without patching! So here we go:

There’s Host for instruments – 1v/octave CV for controlling pitch, and gate input for controlling note events. (Forget MIDI and start thinking in voltages for a second here: VCV notes that “When the gate voltages rises, a MIDI note is triggered according to the current 1V/oct signal, rounded to the nearest note. This note is held until the gate falls to 0V.”)

Right now there’s only monophonic input. But you do also get easy access to note velocity and pitch wheel mappings.

Host-FX handles effects, pedals, and processors. Input stereo audio (or mono mapped to stereo), get stereo output. It doesn’t sound like multichannel plug-ins are supported yet.

Both Host and Host-FX let you choose plug-in parameters and map them to CV – just be careful mapping fast modulation signals, as plug-ins aren’t normally built for audio-rate modulation. (We’ll have to play with this and report back on some approaches.)

Will I need a fast computer? Not for MIDI integration, no. But I find the happiness level of VCV Rack – like a lot of recent synth and modular efforts – is directly proportional to people having fast CPUs. (The Windows platform has some affordable options there if Apple is too rich for your blood.)

What platforms? Mac and Windows, it seems. VCV also supports Linux, but there your best bet is probably to add the optional installation of JACK, and … this is really the subject for a different article.

How to record your work

I actually was just pondering this. I’ve been using ReaRoute with Reaper to record VCV Rack on Windows, which for me was the most stable option. But it also makes sense to have a recorder inside the modular environment.

Our friend Chaircrusher recommends the NYSTHI modules for VCV Rack. It’s a huge collection but there’s both a 2-channel and 4-/8-track recorder in there, among many others – see pic:

NYSTHI modules for VCV Rack (free):
https://vcvrack.com/plugins.html#nysthi
https://github.com/nysthi/nysthi/blob/master/README.md

And have fun with the latest Rack updates.

Just remember when adding Host, plug-ins inside a host can cause… stability issues.

But it’s definitely a good excuse to crack open VCV Rack again! And also nice to have this when traveling… a modular studio in your hotel room, without needing a carry-on allowance. Or hide from your family over the holiday and make modular patches. Whatever.

https://vcvrack.com/Host.html

The post You can now add VST support to VCV Rack, the virtual modular appeared first on CDM Create Digital Music.