At the 2019 Brooklyn Synth Expo, Sensel’s David Abravanel presented an overview and demo of using the Sensel Morph controller with the Buchla Thunder Overlay as an MPE controller.… Read More Using MPE With The Sensel Morph & Buchla Thunder Overlay
At the 2019 Brooklyn Synth Expo, ROLI product expert Ruben Dax gave a presentation on MPE (MIDI Polyphonic Expression) – a new standard for expressive musical performance.… Read More Expressive Performance With MPE Using ROLI Instruments
Instrument designer Roger Linn shares his thoughts on The Importance Of Expressive Touch Control.… Read More Roger Linn On The Importance Of Expressive Touch Control
The combination of the Sensel Morph MIDI controller & the Buchla Thunder Overlay allows for a variety of performance technique, ranging from percussive tapping to expressive MPE pitch bending.… Read More Expressive Performance With The Sensel Morph Buchla Thunder Overlay
The Brooklyn Synth Expo returns next weekend, June 8-9, a free, strictly “in-the-headphones” event at Brooklyn’s Lytehouse Studios. This year, Synth Expo organizers have added an educational component to the show, consisting in a series of presentations and workshops, co-curated with electronic music news website Synthtopia.… Read More Brooklyn Synth Expo Adds Demos, Workshops, Performances
Software and hardware are finally becoming more responsive to expression from more than one finger at a time, via MPE. But how do you get those sounds under your hands? Sensel Morph is one answer. And now it has an appealing layout from one of the people who shaped synthesis – Don Buchla.
Human hands are pretty incredibly sensitive, capable ways of interacting with the world. And your brain – even untrained – has enormous capacity to imagine sound. So why is it that we’re still limited to simple grids of buttons and organ keyboards? (Nothing against those things, of course, they’re fine – but is that all there is?)
The answer to this has always boiled down to some chicken and egg arguments. You don’t have the hardware to control sounds. You don’t have software capable of making sounds for which you’d want more control. There isn’t a standard way of connecting the two. Even if there were, there wouldn’t be enough adoption.
And so the argument continued, in circles. And it was actally true – for a while. But now, software instruments from Sculpture in Apple’s Logic to the Moog and PPG apps on iPad to Softube and Cherry Audio software modulars have MPE (MIDI Polyphonic Expression) support, which allows for more control information between your controller and your sounds. Hardware like Black Corporation Deckard’s Dream and various Eurorack modules do, too, so you can really get your Vangelis fantasies on. And sounds like physical modeling or granular synthesis or even just rich polyphonic patches suddenly make sense when you can intuitively connect all that finger sensitivity to electronic instruments.
That just leaves the missing link – finding a hardware interface you like. ROLI are big advocates, yes, as are some smaller boutique makers. But what if you don’t like those options? (Musicians certainly don’t agree about … anything.)
Sensel’s Morph is a compelling new option now for several reasons. It’s an affordable computer accessory. And while the sensor is a flat rectangle – looking a lot like a mousepad – you can swap overlays to give it different functions. (Joué have taken essentially the same approach.) Sensel in particular have unparalleled support for different third party use cases. There are overlays for various apps – from music production to video editing – so you don’t have to buy this just for the novelty of doing weird things with synths. (Yeah, the fact that you just change overlays and get some edits done in Premiere makes this a lot easier to justify as a purchase and as another thing taking up space on your desk.)
Okay, that handles a lot of rational reasons to consider this device. But to really feel passionate about something as an instrument, you actually need one layout that you stick with, and it has to resonate emotionally.
So here’s the interesting development. Sensel have partnered with Buchla U.S.A. to recreate a classic instrumental interface that might have just been a bit ahead of its time.
Don Buchla conceived the Thunder in 1989. The layout makes loads of sense — diagonal strips give you continuous control, but with guides that match a resting hand position and put controls where your hands would go. It’s a layout that looks like something out of Star Trek – and, well, it also proved to be mostly speculative, because few were made and there wasn’t at the time as much for it to control.
Now times have changed – both hardware and software are far more powerful, meaning they’re capable of generating the sort of real-time nuance that demands this sort of control. And apart from that, whereas for years Buchla’s designs languished because they seemed foreign, now more and more people seem to be ready to make weird and complex sounds.
It seems like the Thunder is poised for a comeback, that is. The Thunder overlay, combined with the Morph sensor, gives you 27 different continuously-sensitive note areas. That’s already useful for conventional MIDI, but with MPE you get independent values for velocity (how hard you initially hit it), how hard you’re pressing down at any given moment, and how quickly you release. You can bend notes by subtly shifting your fingers sideways, or map timbral parameters to position.
It’s also encouraging that Sensel involved Buchla designer/engineer Joel Davel. Joel has unparalleled bona fides on both the engineering and artistic side, having made circuits for Don from 1995 onward, and working as a composer and instrumentalist with ongoing collaborations with Amy X Neuburg and Paul Dresher. The recent history of electronic music is defined by nothing if not the spread of once-esoteric ideas from limited elite contexts to wider groups of curious minds. So even though this may be a piece of rubber you slap on a rectangle on your desk, it also represents the potential of some of those ideas getting in the hands of new people.
And you can do all of this for US$269 – preorders now, shipping in April. (If you’ve already got Sensel, the overlay alone will cost you US$59 – so that overlay scheme is definitely less costly than buying new hardware every time you want to do something a little different.)
Anything that has a USB port will work with this – so computer software is the natural companion, though if you have a USB host device that outputs control voltage, you can also hook it up to a modular. If you want to see it in action and you’re in Anaheim, Sensel are demoing the hardware and overlay at NAMM this year.
So sure, this won’t be for everyone. And yeah, it still looks like you’ve invested in a Klingon gamepad. But for the cost of a plug-in, you can now use this – and add some productivity on the side as you mix or edit in other applications.
I should have one to test. I’ve worked with the Morph – the sensing and physical experience are great – so now I’m just waiting to see what it’s like using this as an instrument. And I look forward to doing some practicing.
Announcing the Buchla Thunder Overlay [Sensel Blog]
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Want some evidence that the future of expressive digital instruments and MPE is bright? Look to Haken’s ContinuuMini, which emerged over last year, bringing greater portability and a US$899 price to the out-there controller.
Forget anything else, and listen to this gorgeous video (using a clever setup with an Onde acoustic resonator*:
Why does the ContinuuMini matter?
Expression really is a combination of sound and physical control. Say what you will about piano keyboards (and some electronic musicians who hate them certainly do) – the reason an acoustic piano is still expressive has to do with the sound of a piano.
So when we talk about MPE, a scheme for allowing polyphonic expression through MIDI, we’re really talking about allow greater depth in the connection of physical gestures and sound.
If this is going to catch on, it’ll require more than one vendor. I think it’s wrong to assume MPE’s future, then, is tied solely to ROLI as a vendor. From the start, MPE was an initiative of a range of people, from major software developers (Apple, Steinberg) to hardware inventors (ROLI, but also Roger Linn and Randy Jones of Madrona Labs, for instance).
And Haken Audio has been a boutique maker pushing new ways of playing for years – including with MPE on their Continuum. The Continuum may look arcane in photos, but feeling it is a unique experience. The ribbon feels luxurious – it’s actually soft fabric. And the degree of control is something special. But it’s also enormous and expensive – and that means a lot of people can’t buy it, or can’t tour with it since it won’t fit in an overhead.
I believe that what makes an instrument is really finding that handful of people to do stuff even the creators didn’t expect, so if you can lower those barriers for even a run of a few hundred units, you could have a small revolution on your hand.
That’s what Haken have done with ContinuuMini, which closed crowd sourcing late last year and has started shipping of the first hardware.
Here’s what sets it apart:
It’s a Continuum. Well, first, nothing else feels like a Continuum. That feeling may not be for everyone, but it’s still significant as a choice.
It’s continuous. Because you aren’t limited by frets or keys, there’s a continuous range of sound. This is a controller you’ll want to practice, finding intonation with muscle memory and your ear. And there are artists who will want that subtlety.
It has internal sound. Like its larger sibling the ContinuuMini has an internal sound engine. That means that it’s not just a controller. Haken have conceived control and sound in a single, unified design. You can play it without connecting other stuff. And the builders have worked on both the physical and aural experience of what they’ve made. I think that’s significant to anyone making an investment, particularly in an age in which abstract controller hardware tends to stack in our closets.
It’s 8-voice polyphonic, as well. The ContinuuMini isn’t just a controller: it’s a complete, gorgeous polysynth and a controller, for this one price.
It connects to other gear, without software. Bidirectional digital control – MIDI, with MPE, MPE+ – and bidirectional control voltage analog (with converter) are possible. That means you can play the ContinuuMini with gear and software (like recording MIDI and MPE in your DAW for playback), and likewise the ContinuuMini can control your software and gear. There are also two pedal inputs so your feet can get in on the action.
It’s only a quarter kilogram. 9 oz. You can tote the bigger ones with a case but – the ContinuuMini is incredibly portable.
It feels like an extraordinary development.
* Synthtopia has a great, in-depth interview on the Onde and Pyramid, acoustic resonators that make an electronic instrument feel more like an instrument and less like “something disconnected that produces sound through speakers” as with conventional monitors:
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“Expressive control” has largely translated to “wiggly keyboards” and “squishy grids,” with one notable exception – the unique, paddle-like Touché from Expressive E. And while keeping essentially the same design, they’ve gotten the price down to just US$/EUR229, making this potentially a no-brainer.
The result: add this little device to your rig, and play gesturally with a whole bunch of instruments, either using provided examples or creating your own.
Expressive E’s approach has set itself apart in two key ways. First, they’ve gone with a design that’s completely different than anyone else working in expressive control. It’s not a ribbon, not a grid, not an X/Y pad, and not a keyboard, in other words.
The Touché is best described as a paddle, a standalone object that you sit next to your computer or instrument. There’s a patented mechanism in there that responds to mechanical movements, so with the slightest pressure or tap, you can activate it, or push harder for multi-axis control.
And that, in turn, opens this up to lots of different control applications. Expressive E market this mainly for controlling instruments, like synthesizers, but any music or visual performance input could be relevant.
The second clever element in Expressive E’s approach is to bundle a whole bunch of presets. The first Touché had loads of support even for hardware synths. The new one is focused more on software. But together, this means that while you can map your own ideas, you’ve got a load of places to start.
The original Touché is US$/EUR 399.
Touché SE is just $/EUR 229.
Here’s the cool thing about that price break: the only real sacrifice here is the standalone operation with hardware. (The SE works with bus-powered USB only.)
Other than that, it’s the same hardware as before, though with a polycarbonate touch plate.
In fact, otherwise you get more:
- Lié hosting software, with VST hosting so you can use your own plug-ins
- UVI-powered internal sound engine with leads and mallets and loads of other things
- 200 ready-to-play internal sounds, which you can call up using dedicated buttons on the device
- 200+ presets for popular plug-ins (like Native Instruments’ Massive and Prism, Serum, Arturia software, etc.)
So connect this USB bus-powered device (they put a huge four-foot cable in the box), and you get multi-dimensional gestural control.
Standalone, VST, AU, Mac, Windows. (Would love to see a Linux/Raspi version!)
I’ve been playing one for a bit and – it’s hugely powerful, likely of appeal both to plug-in and synth lovers and DIYers alike.
The post Touché now puts expressive control at hand for $229 appeared first on CDM Create Digital Music.
For all the great sounds they can make, software synths eventually fit a repetitive mold: lots of knobs onscreen, simplistic keyboard controls when you actually play. ROLI’s Cypher2 could change that. Lead developer Angus chats with us about why.
Angus Hewlett has been in the plug-in synth game a while, having founded his own FXpansion, maker of various wonderful software instruments and drums. That London company is now part of another London company, fast-paced ROLI, and thus has a unique charge to make instruments that can exploit the additional control potential of ROLI’s controllers. The old MIDI model – note on, note off, and wheels and aftertouch that impact all notes at once – gives way to something that maps more of the synth’s sounds to the gestures you make with your hands.
So let’s nerd out with Angus a bit about what they’ve done with Cypher2, the new instrument. Background:
Peter: Okay, Cypher2 is sounding terrific! Who made the demos and so on?
Angus: Demos – Rafael Szaban, Heen-Wah Wai, Rory Dow. Sound Design – Rory Dow, Mayur Maha, Lawrence King & Rafael Szaban
Can you tell us a little bit about what architecture lies under the hood here?
Sure – think of it as a multi-oscillator subtractive synth. Three oscillators with audio-rate intermodulation (FM, S&H, waveshape modulation and ring mod), each switchable between Saw and Sin cores. Then you’ve got two waveshapers (each with a selection of analogue circuit models and tone controls, and a couple of digital wavefolders), and two filters, each with a choice of five different analogue filter circuit models – two variations on the diode ladder type, OTA ladder, state variable, Sallen-Key – and a digital comb filter. Finally, you’ve got a polyphonic, twin stereo output amp stage which gives you a lot of control over how the signal hits the effects chain – for example, you can send just the attack of every note to the “A” chain and the sustain/release phase to the “B” chain, all manner of possibilities there.
Controlling all of that, you’ve got our most powerful TransMod yet. 16 assignable modulation slots, each with over a hundred possible sources to choose from, everything from basics like Velocity and LFO through to function processors, step sequencers, paraphonic mod sources and other exotics. Then there’s eight fixed-function mod slots to support the five dimensions of MPE control and the three performance macros. So 24 TransMods in total, three times as many as v1.
Okay, so Cypher2 is built around MPE, or MIDI Polyphonic Expression. For those readers just joining us, this is a development of the existing MIDI specification that standardizes additional control around polyphonic inputs – that is, instead of adding expression to the whole sound all at once, you can get control under each finger, which makes way more sense and is more fun to play. What does it mean to build a synth around MPE control? How did you think about that in designing it?
It’s all about giving the sound designers maximum possibility to create expressive sound, and to manage how their sound behaves across the instrument’s range. When you’re patching for a conventional synth, you really only need to think about pitch and velocity: does the sound play nicely across the keyboard. With 5D MPE sounds, sound designers start having to think more like a software engineer or a game world designer – there’s so many possibilities for how the player might interact with the sound, and they’ve got to have the tools to make it sound musical and believable across the whole range.
What this translates to in the specific case of Cypher2 is adapting our TransMod system (which is, at its heart, a sophisticated modulation matrix) to make it easy for sound designers to map the various MPE control inputs, via dynamically controllable transfer function curves, on to any and every parameter on the synth.
How does this relate to your past line of instruments?
Clearly, Cypher2 is a successor to the original Cypher which was one of the DCAM Synth Squad synths; it inherits many of the same functional upgrades that Strobe 2 gained over its predecessor a couple of years ago – the extended TransMod system, the effects engine, the Retina-friendly, scalable, skinnable GUI – but goes further, and builds on a lot of user and sound-designer feedback we had from Strobe2. So the modulation system is friendlier, the effects engine is more powerful, and it’s got a brand new and much more powerful step-sequencer and arpeggiator. In terms of its relationship to the original Cypher – the overall layout is similar, but the oscillator section has been upgraded with the sine cores and additional FM paths; the shaper section gains wavefolders and tone controls; the filters have six circuits to chose from, up from two in the original, so there’s a much wider range of tones available there; the envelopes give you more choice of curve responses; the LFOs each have a sub oscillator and quadrature outputs; and obviously there’s MPE as described above.
Of course, ROLI hope that folks will use this with their hardware, naturally. But since part of the beauty is that this is open on MPE, any interesting applications working with some other MPE hardware; have you tried it out on non-ROLI stuff (or with testers, etc.)?
Yes, we’ve tried it (with Linnstrument, mainly), and yes, it very much works – although with one caveat. Namely, MPE, as with MIDI, is a protocol which specifies how devices should talk to one another – but it doesn’t specify, at a higher level, what the interaction between the musician and their sound should feel like.
That’s a problem that I actually first encountered during the development of BFD2 in the mid-2000s: “MIDI Velocity 0-127” is adequate to specify the interaction between a basic keyboard and a sound module, and some of the more sophisticated stage controller boards (Kurzweil, etc.) have had velocity curves at least since the 90s. But as you increase the realism and resolution of the sounds – and BFD2 was the first time we really did so in software to the extent that it became a problem – it becomes apparent that MIDI doesn’t specify how velocity should map on to dB, or foot-pounds-per-second force equivalent, or any real-world units.
That’s tolerable for a keyboard, where a discerning user can set one range for the whole instrument, but when you’re dealing with a V-Drums kit with, potentially, ten or twelve pads, of different types, to set up, and little in the way of a standard curve to aim for, the process becomes cumbersome and off-putting for the end-user. What does “Velocity 72” actually mean from Manufacturer A’s snare drum controller, at a sensitivity setting B, via drum brain C triggering sample D?
Essentially, you run into something of an Uncanny Valley effect (a term from the world of movies / games where, as computer generated graphics moved from obviously artificial 8-bit pixel art to today’s motion-captured, super-sampled cinematic epics, paradoxically audiences would in some cases be less satisfied with the result). So it’s certainly a necessary step to get expressive hardware and software talking to one another – and MPE accomplishes that very nicely indeed – but it’s not sufficient to guarantee that a patch will result in a satisfactory, believable playing experience OOTB.
Some sound-synth-controller-player combinations will be fine, others may not quite live up to expectations, but right now I think it’s natural to expect that it may be a bit hit-and-miss. Feedback on this is something I’d like to actively encourage, we have a great dialogue with the other hardware vendors and are keen for to achieve a high standard of interoperation, but it’s a learning process for all involved.
Thanks, Angus! I’ll be playing with Cypher2 and seeing what I can do with it – but fascinating to hear this take on synths and control mapping. More food for thought.
The post Inside Cypher2, and what could be a more expressive future for synths appeared first on CDM Create Digital Music.
Cypher2 is an analog-modeled synthesizer with an emphasis on advanced sound design and expressive performance. … Read More ROLI Cypher2 Combines Circuit-Modeled Synthesis With MPE