Native Instruments has released Global Shake, a new Expansion that celebrates the vitality and excitement of contemporary African music. The expansion includes over 550 construction loops, 64 Battery kits and 52 Maschine kits, and synth presets for Massive, Monark and Reaktor Prism. It comes packed with bouncing rhythms and rich melodic content, featuring exclusive samples […]
Blinksonic° has announced updates to its RUIDOZ, VOZ, AETØNZ and SUBSTANZ instruments for Native Instruments Reaktor. The updates include a new open structure, some fixes and improvements, and additional sounds and banks. Want to customize BLINKSONIC instruments !? I am really happy to announce that « EDIT » mode is back on the 4 ensembles, […]
Native Instruments has announced the release of a powerful new Reaktor instrument that marries classic mixing techniques with innovative sound design, sequencing, and modulation. TRK-01 is designed to inspire creative and exciting kick-bass combinations, offering solid, powerful sound whilst also addressing some of the most common problems encountered when mixing kick and bass, such as […]
Mike Clarke has released version 1.2.4 of Insidious 6581, an accurate emulation of the 6581 SID chip from the Commodore 64. The update includes filter curves based Antti Lankila’s filter graphs for Standard (8580), Average SID, Follin, Galway, Strong and Extreme. The step table is now linked to the clock frequency so you can run […]
Flintpope has announced an update of its FOUR synthesizer instrument for Native Instruments Reaktor. Version 1.5 includes a step sequencer, pitch sequencer/arpeggiator, vinyl crackle effect, noise generator and 10 additional presets using these new add-ons, bringing the snapshot total to 70. A warm analog-sounding synth that uses four different types of oscillator to create rich […]
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 […]
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]
The post Deadbeat’s secret sauce Reaktor picks for “weirdo” production appeared first on CDM Create Digital Music.
Flintpope has announced that its Four synthesizer instrument for Reaktor is now available for only $1 USD. The synth uses four different types of oscillator to create rich sounds from warm basses and pads to metallic leads and lofi soundscapes. 4, the synth for Reaktor, flew off the virtual shelves at a dollar and did […]
West Coast synthesis is yours for a song, by combining a free/donationware download with Reaktor. And now Cloudlab 200t just got a major V2 upgrade.
First, okay – this is not an authorized Buchla product. The Buchla legacy is alive in hardware and software forms. The Buchla Easel got a full-blown remake from Arturia. The Twisted Waveform Generator module has an official remake from Softube – though it’s silly spendy, at US$99. (That’s the price of some actual hardware module kits, or halfway to getting Reaktor!) And of course Buchla the hardware company are back in action with some of the original engineers.
But that’s besides the point: this is in Reaktor. And because it’s in Reaktor, you can pick it apart from the outside in and see how it works. And you can combine it with other Reaktor stuff, and then run the result as a plug-in. That’s something unique – ever wondered what a granular patch would sound like routed through some Buchla effects, for instance?
Does it sound any good? Yes – enough so that colleagues who have spent considerable time on Buchla hardware say they appreciate it. It certainly replicates the control layout and basic ideas of the Buchla, even if it has its own unique sound.
There’s one major downside of Reaktor: all the patching is hidden in the structure. That’s pretty weird if you’re use to patching on the front panel, as on hardware (and software emulations). But it will be familiar to Reaktor users, and it means the control layout on the Buchla is clean – even if there’s some tension behind the way the Buchla was conceived and how it works here.
In version 2, you get some significant updates – starting most importantly with clock sync:
External clock. Any gate in or clock out can be synced to external input, and the 266t Chronikler gets a clock output. Now you can sync to DAWs – or, if you like, stuff like VCV Rack.
Lemur control works both ways. The popular iPad and Android controller app now gets parameters back from Cloudlab, so it responds in realtime.
More noise. Noise sources on the 266t Noise module now include -3 Pink, Flat, and +3 White noise. If this makes you swoon as it does me, then you’re definitely a synth nerd. (Flat is labeled “Buchlesque,” a word I hope to now apply in completely inappropriate situations…)
Easier on the CPU. You’ll still want a hefty processor, but this version promises to be more stable and efficient, says the developer.
More modules. 227t Output interface & 248t Multiple Sequential Generator.
Be sure to make a donation if you like this.
It’s also wonderful to see these ideas spreading. From efforts like this to the rising stardom of people like Kaitlyn Aurelia Smith, it’s now not uncommon to meet aspiring musicians on the street who know the name Buchla. That’s a sea change from a few short years ago, when people might know the name “Moog” (and pronounce in a way that rhymes with a sound a cow makes), and referred to all computer production simply by “Pro Tools.” Now, they’re very likely to start lecturing you on their thoughts on West Coast versus East Coast synthesis or tell you what oscillator module their favorite producer just started raving about.
And that’s relevant here, too. It means Reaktor can help spread the viral interest in esoteric synthesis. And that means Native Instruments customers are likely to want to do more than just dial up presets. And certainly as the Buchla brand and other lesser-known names catch up with the giants like Roland, Moog, and KORG, we’re seeing synth lovers willing to look to hardware and software from a greater variety of models.
I’d say this could be overwhelming, but – I think that ignores the possibilities of sound. Once you dive into the Buchla Way, you may just find yourself … really happy.
Let us know if you make some sounds with this.
Big thanks to the wonderful Synth Anatomy where I saw this first:
The gorgeous GUI comes from David Frappaz
Trevor Gavilan, who designed and programmed the ensemble, has also used it to make some of his own music. Here’s something entirely produced in just one instance:
More information and download at the NI Reaktor User Library:
The post A free download turns Reaktor into a powerful Buchla modular emulation appeared first on CDM Create Digital Music.
Flintpope has released a new synthesizer instrument for Reaktor 6 by Native Instruments. FOUR is a warm analog-sounding synth that uses four different types of oscillator to create rich sounds from warm basses and pads to metallic leads and lofi soundscapes, all via eighties style synth keyboards. OSC 1 is in itself a 4-waveform oscillator […]