Was passiert, wenn man die Open Source Software PD in einen Eurorack-Modular-Synthesizer gießt? Daraus entsteht ein Eurorack-System mit Speichermöglichkeit.
Ich habe mich immer gefragt, wann jemand so eine Art großen Controller bauen würde, der eigentlich ein Modularsystem ist, welches auf PD, Reaktor oder VCV basiert? Das ist jetzt geschehen und es ist noch mehr dem Format und der Idee der Eurorack-Modulars nahe als einfach nur ein Controller.
Raspi vs Module
Wie beim Wavestate reicht ein Raspberry Pi um das komplette System aufzubauen. Alles was man dazu braucht ist Open Source und daher für jeden zu verwenden.
Es gibt 6 Module mit speziellen Funktionen. Das bemerkenswerteste ist dabei sich das „Clone„-Modul, welches faktisch jedes andere Modul nachbildet als weitere Variante und offen und flexibel bleibt bei der Wahl. Es gibt auch „Basismodule„, die einfach eine Reihe Potis und Ein/Ausgänge anbieten und somit „generisch“ aufgebaut sind. Diese gibt es als Allzweckmodul und als MIDI/CV/USB-Interface-Variante. Darüber hinaus gibt es ein Vierfach–ADHSR-Hüllkurvenelement mit Display der Kurvenform und als letzte Option den Sequencer mit einer Matrix-Anordnung von LEDs, die bis zu 64 Steps sich merken kann.
Die Clone Module sind als 8fach-Kopie gedacht oder aber können 8 CVs ausgeben. Damit lässt sich also eine Menge anstellen.
Dies ist ein Crowdfunding Projekt von Alexandros Drymonitis. Das Ergebnis sind 6 Module für 600€, also einem Stückpreis von 100€. Die nicht so frühen Vögel werden dann 50 € drauf legen müssen ,was ein fairer Aufschlag ist.
The open source Ardour digital audio workstation software for Linux, macOS or Windows has been updated to version 6.0. The update comes with many new features and changes, including full latency compensation along any signal pathway, global varispeed, cue monitoring, wet recordoing, Snap and Grid, improved MIDI handling, a comprehensive new “pin management” system which […]
It’s just business as usual for the live coding scene and algorave movement. From every corner of the globe, freely-coded performance is happening for four days straight – now.
They come from Brasilia. They come from Detroit. They come from Indonesia and Antwerp, Ukraine and Mumbai, Rome and Miami and Japan. They’re running free software and browsers and DIY electronic and visuals. You can dance to what they’re doing. You can’t dance to what they’re doing. This is an experiment.
This is not a new idea, either – TOPLAP live coding community is using this event to celebrate their sixteenth anniversary. So while everyone else is suddenly discovering the fragile nature of our world and the distances between us, these are tools with a significant head start. And the tools are not a gimmick, either – because they’re free and open source and run on low-end hardware, they’re uniquely global and agile.
They’re part of the fabric that makes electronic music now dynamic – and durable.
So algorave on! And hi to some friends playing, see you online soon!
Happy March equinox everyone – spring to the northern hemisphere, fall to the southern. Sonic festivities on the Eulerroom Equinox stretch through 1:30 Greenwich Mean Time 23 March.
(Wait, make that Stardate 97813.31 – 97824.25.)
Want some tools to try live coding now? Many are approachable even if you’re a non-coder – don’t be afraid to try stuff out and break things! Check out:
Side note: I know a lot of these artists and developers will need support soon, in this health and economic crisis. I know a lot of them needed it long before things have gotten tougher. Let’s keep that conversation going here on CDM, too, and find out what solutions we can create together. Don’t hesitate to be in touch and let me or other members of this community know how you’re doing and what you need.
Mutable Instruments’ modules seemed poised to live forever, in synth terms. A clever update this week is a good reminder of the coolness of the Marbles random sampler.
Okay, first – what’s Marbles? Well, the name should evoke dropping a cluster of marbles on a hardwood floor from waist height and listening to the cascade of tapping sounds.
And the hardware itself delivers something like that poetic image. The Marbles Eurorack module is a source of random gates (for rhythmic events), and clocked random voltages (for other patterns and random changes). The twist is – apart from copious controls and ins and outs – Marbles is also a random sampler. So you can reuse bits of material, for randomness that repeats a little, or a lot (depending on where you set the knob).
Here is exactly where this week’s update comes in – it “super locks” a chosen section with a long press, letting you subtly play with variation. It’s a small feature, but it expands the musicality of this module as an instrument. From creator pichenettes:
How does it work? A long press on the t or XDEJA VU buttons locks the random generation for this section – which will stop responding to the DEJA VU knob. When a section is in this “super locked” state, the illuminated push-button blinks rapidly. Press it to bring it back to normal.
What is the point? Allow subtle variations or permutations in the melody (by playing with the DEJA VU knob) while the rhythm remains constant… or vice-versa!
More on the details, with download, and discussion, on the Mutable forum:
This is a singular update for the maker in some time, as Mutable Instruments founder/developer Émilie Gillet moves on to some other career areas and leaves this project in “low power” mode. Full support for her in doing that – speaking as someone who has clung to projects, I can also appreciate why there are moments when you might want to let go and do something different. (Despite what you may have read elsewhere, there’s no indication that more is in store after this – but I think this is still a newsworthy and creative update.)
Speaking of open-source hardware, though, Mutable’s contribution to the scene has been both in producing some of the most compelling Eurorack modules and desktop synths of recent years, and in influencing others through open-source licenses. So for instance, on VCV Rack you can try a third-party recreation in software of the Mutable modules as “Audible Instruments” (since Emilie didn’t produce them, the name is changed). Marbles is just called “Random Sampler” there. I’ll be curious to see if this feature gets added.
I’m learning the module and what it can do there, and if I ever get around to making a small skiff, this is one of the modules I expect to drop into it. (Big advantage of VCV Rack, of course, is that you can try before you buy – and then invest carefully in hardware you really know how to play.)
Seems only fitting to mention Emilie in this screwball week we’ve had here, as Mutable Instruments and our conversations about open source technology and change have also been part of the ride CDM and MeeBlip have had to get to where we’re at. And in the end, we’re all mutable instruments.
Instant mastering tool Matchering was updated to version 2.0, bringing big changes to the containerized web application and Python library for audio matching and mastering. Matchering 2.0 is now completely open source. It includes some improvements and is now ready to install using Docker. Changes in Matchering 2.0 Completely rewritten in Python 3, based on […]
Maybe now is a perfect time for a moment of calm contemplation – premiering Jan Wagner’s “Kapitel 36” on the eve of a new album and a spatial planetarium premiere.
Kapitel, out on March 20 on the Quiet Love Label, is “autobiographical” ambient music. These are spontaneous, personal sketches that began as piano improvisations, but have sometimes had those piano imprints removed – a kind of lost wax approach to composition, piano molds for electronic textures.
“Kapitel 36” is an especially poignant, reflective moment in that series. Listen:
Berghain would be probably the last thing you’d expect to associate with this sound, but this sense of space and exploration also comes from an artist who has frequently mixed albums for the well respected Ostgut Ton label attached to that club. And maybe that’s an ideal Berlin connection – piano sentiment, engineering precision, and ambiguous spaces for personal reflection all come together here.
But we’ve had plenty of music in industrial nightclubs. Now, Jan is joining a new wave of artists realizing music for immersive contexts, with fully spatialized sound made for particular architectures. Jan was invited by Spatial Media Lab to collaborate – that’s a recently formed artist/tech collective founded by Andrew Rahman and Timo Bittner. With Jan’s music – and a full-sized acoustic grand piano hauled into the space – they’ll transform the environment of the Zeiss Grossplanetarium Berlin into a unique listening environment.
I got the chance to work with Spatial Media Lab on their first planetarium outing in November 2018. What makes their effort unique is that they’re working to de-mystify the delivery technology for spatializing sound, along artists to be more hands-on and collaborative. That frees them to spend the significant time to finely tune their music material to the space, and play creatively, rather than just wrestle with tech or turn over control to engineers. (You can read up on the collaboration I joined in 2018, Contentious Constant II – and we’re overdue for a check-up here.)
Jan has shared some thoughts with CDM on how this process worked:
What was the process for you, reworking material for a spatial context?
It was a totally new approach for me. The difference between stereo and immersive sound is enormous. I had to rethink the whole album and detach the production from the well-known stereo panorama cage. It wasn’t that simple, because everything was [originally] made in stereo. From the synth to the DAW, it’s all made for a stereo environment. So we had to [mix] the signals into mono, which we later scaled up to ambisonic sound.
After exporting all of the tracks, we imported them into the DAW Reaper … [which is able to] handle up to 64 outputs of each track, needed to play all the signals into the dome. We used the IEM Plugin Suite to build our scene and then mixed the tracks from scratch. [Ed.: SML used this combination before, and it’s great to work with artistically. IEM is free and open-source and easy to manage, and Reaper, of course, has some superb multichannel support and is fast, efficient, free to try, and inexpensive to own.]
Once I realized how far I could go when it comes to the production and writing process, my head almost exploded. There is no longer a stereo cage. You basically can do whatever you want. The signals can start right at the top of your head and fall down to your knees, surrounding you! This changes the whole process of how you create music.
Your musical process I know shifted for this record; can you describe what changed?
I started recording in the same way. The piano improvisation is still the root of it all, but it is no longer necessarily the main part of the production. I didn’t want to be constricted by the piano and often I just muted it after adding some synth layers. The piano is no longer the lead voice.
How did Tobias Preisig get involved in the project – and nowon the same bill?
Last year I produced Tobias Preisig’s solo debut Diver. He wanted to concentrate on the essence of his music and dive deeper into his instrument and discover the real needs of his art. Tobias and I share the same approach to music, and while planning this event I wanted him to be part of it. His music is so immersive by default and it fits perfectly into the planetarium environment.
If you’re in Berlin, you can catch the “Spherea” program with both artists at the Zeiss-Grossplanetarium in Prenzlauer Berg.
A new version of the Surge free synthesizer instrument is now available. Version 1.6.5 includes many changes to the tuning implementation, some fixes and features in the VST3, new content, modulation enhancements, MPE fixes, UI and workflow improvements, bug fixes, and more. We recommend everyone upgrade to 1.6.5; and at this point also encourage you […]
Karoryfer Samples has announced the release of Caveman Cosmonaut, a free open-source virtual instrument featuring samples of a 1980s Unitra B-11 transistor organ with very un-organ-like and modern modulation controls. A totally anachronistic synthesizer made from samples of a Unitra B 11 transistor organ made in Poland in 1983. Unlike most transistor organs which just […]
Elk Audio OS is the award-winning Audio Operating System from Elk (formerly known as MIND Music Labs) that allows you to run existing VST and other plugin formats on hardware instruments and audio devices in real time with ultra low latency. And this using only general purpose ARM and x86 CPUs, opening up for a […]