Warning: mysql_get_server_info(): Access denied for user 'indiamee'@'localhost' (using password: NO) in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872

Warning: mysql_get_server_info(): A link to the server could not be established in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872
Indian E-music – The right mix of Indian Vibes… » Windows


FL Studio 20.5 adds free FLEX, a surprisingly powerful preset synth

Delivered... Peter Kirn | Scene | Tue 2 Jul 2019 6:04 pm

So, I hear you like tuned 808s. And strings. And pianos. And wavetables. And FM. And filters. And… okay, let’s just put all of those in one synth but make everything a preset. Meet FL Studio 20.5.

The folks at Image Line are always full of surprises – somehow their always-free-upgrades churn out more and more diverse updates. So, as music tech makers all try to figure out ways to encourage you to get to the sounds you want more quickly, FLEX is both that and – not that.

a

Yes, it’s a “preset-based” interface. So you get lots of sounds to navigate to pre-designed sounds quickly, plus macro controls that let you tweak them to your own purposes. That preset library also includes an in-line store for buying more sounds, which will give Image-Line room to grow later – and to make some money off users in the process, since they give you your FL upgrades for free.

We’ve seen this idea before, everywhere from Arturia’s Analog Lab to Native Instruments’ Komplete Kontrol. It makes sense that not everyone wants to be a sound designer, and even those who do are sometimes up against a deadline or need some fast inspiration. So you want quick access to sounds, but you still want the ability to modify those sounds and make them your own – a little or a lot.

But this is FL Studio, so you know this won’t just work exactly like everything else does. FLEX has a crazy number of possible sound engines under the hood – subtractive, wavetable, multisample, FM, and even amplitude modulation synths. It seems it also consolidates sound presets from elsewhere, including FL’s own Sytrus and Harmless, and could be a front end to sounds in the tool in future.

And then there are the extras. You can opt for lots of visualizations, including a vectorscope, frequency histogram, and nice colored sepctrogram, in addition to the usual waveform oscilloscope view. The envelopes aren’t dumbed down, either – you get full AHDSR envelopes for both amplitude and filter.

Wow – then, also, 22 (I think I counted right) filter types. That includes two comb filters, a vowel filter, notch, and lots of different shapes of shelves, low pass, and high pass – even three different variations of phaser effects. So, uh, what started as a freebie “beginner” synth somehow accidentally morphed into a filter-packed rival to flagship soft synths of late.

You also get effects, which also have tons of variants, including reverb and delay. The Limiter gets alternative distortion models.

It’s like you went in for a plain hamburger Happy Meal on sale for a dollar, and the kitchen went mad and added siracha sauce and replaced the meat with truffles, but … you know, no complaints there.

Also new in this version:

You can use FL as a VST or AU on Mac (Windows already worked as a VST)
Browser audio previewing
Performance monitoring
Tons of plugin updates
Tons of workflow updates

See the full release notes:
https://www.image-line.com/documents/news.php

FLEX manual:
https://www.image-line.com/support/flstudio_online_manual/html/plugins/FLEX.htm

The post FL Studio 20.5 adds free FLEX, a surprisingly powerful preset synth appeared first on CDM Create Digital Music.

MASSIVE X synth arrives; here’s what makes it special

Delivered... Peter Kirn | Scene | Thu 27 Jun 2019 2:12 pm

The last time Native Instruments released a synth called Massive, they accidentally helped define genres (EDM, dubstep). But MASSIVE X returns to the original vision: make it easier to get deep with wavetables and modularity and go wild with sound. And now, the wait is over.

It’s been years in the making. But the original team behind Massive are back with a sequel to one of the most influential software synths ever made.

I was actually the very first press meeting for Massive, back in the day. But what that tells you is, initially they thought they were making something for nerds, not what would become EDM mainstages.

In 2019, MASSIVE X enters a world that’s not only been shaped by the first Massive, but is also far more comfortable with digital sounds and modularity, the staples of the original. Even inside NI, you’ve got REAKTOR and BLOCKS. There are plenty of other wavetable synths, plenty of semi-modular plug-ins. There are semi-modular synths – heck, Moog alone has three just in one line. There are Eurorack modulars in pricey hardware racks that require a screwdriver and modeled in software so you just need a laptop.

I mean, basically, those of us who love synths are all really spoiled. And like any spoiled child, little wonder there are bunches of those people whining and crying and rolling around on the floor like a toddler who ate too much candy. Well… if you read message forums, which I try not to.

So is there a place for MASSIVE X? You’ll hear plenty of talk from Native Instruments and reviewers alike, but let’s boil this story down.

MASSIVE X is a rarity – a kitchen sink digital synth plug-in that keeps its front panel easy to read.

Deep routing lets you path when you want to. But unlike a full-blown modular, that doesn’t stop you from creating sounds (and even modularity) straight away – and your sound design remains within a consistent interface and architecture.

Bigger on the inside than it is on the outside

Basically, the latest MASSIVE gives you this: it makes an argument for a semi-modular design by packing the oscillators with features, and then giving you ways of playing and modulating and inter-connecting all that depth easily. It walks that balance between complexity under the hood and legibility inside a coherent interface. So while other people might easily dismiss adding another semi-modular plug-in when you could just patch, there is a fundamentally different method to constructing sounds based on this architecture:

All about those oscillators. 170 wavetables, 10 oscillator modes, submodes for each of the oscillator modes – Massive focuses you on one architecture and one UI, but then gives you loads of choices once you’re there.

Get weird without even patching. It’s a true semi-modular, so you can make sounds without patching anything – and you can use its phase modulation oscillators to start that modulation just from the oscillator section. (Yeah, you’ll wind up doing some sound designs where you never get past those oscillators. And that’s fun, anyway.)

Route and patch in ways conventional modulars can’t. With a huge routing matrix and a unique approach to insert effects, you can swap all sorts of unique processors inside an individual sound – and recall all of those as presets. Any control output can be connected to any input; audio can go to and from anywhere you like. It’s enormously flexible.

There are plenty of synths out there with deep architectures, but MASSIVE X allows you to then take that depth and work with it:

Trackers give you sophisticated control over how MASSIVE X behaves as an instrument – by designing how it responds as you play.

Make uniquely playable instruments. NI have added a number of tools for tracking input from performance, as in velocity, and then scaling and mapping that where you like. This means you can make sounds like instruments, and ‘play’ a lot of that sonic depth live. (There are four Tracker modules to accomplish this.)

Add variety in performance and modulation. Tracker modules let you play live; Performer modulators let you draw in up to eight bars of modulation patterns and use those without playing. That can mean either unattended modulation in the sound, or can be triggered live with your controller.

You have 9 slots for LFOs, voice randomization, and then a bunch of potential sources and shapes for those variations.

The original MASSIVE isn’t going anywhere. And that’s important, because it’s light on the CPU in a way the new X – and other plug-ins – aren’t.

But MASSIVE X is simply a beast. As a flagship for Native Instruments, it enters some competitive waters – not the least being the fact that NI itself has, effectively, more than one flagship.

Performer envelopes give you the kind of extensive, visual modulation you expect from 2019 flagship software. The Remote Editor lets you trigger those envelopes live, making this a tool for improvisation or onstage.

Inside the Voice

Having said MASSIVE X is all about having a consistent architecture and UI – there is definitely a candy store inside. Just some rough ideas of specs, to give you an idea:

Wavetable modes: Standard, Bend, Mirror, Hardsync, Wrap, Forant Capture, ART, Gorilla, Random, Jitter

Insert Effects: Anima, BitCrusher, Correction Filter & VCA, Fold Wrap, Frequency Shifter, Distortion, Track Delay

Unit FX: Dimension Expander, Flanger, Nonlinear Labs, Phaser, Standard EQ, Stereo Delay, Stereo Expander

The Voice page. You can also find some possibilities messing about with Noise Restart, Oscillator Restart, Spread and Engine Reset – think serious sound design with phasing. Combine that with the various oscillator types and modes and poly/mono/unison modes, and a really wild option called Unisono (for unique, analog-ish drifts and detunes), and you could probably devote a whole month in the studio just on this page and be perfectly satisfied.

Filling a Massive niche?

The thing is, MASSIVE X makes even more sense in 2019 than it did when it first arrived. And if MASSIVE demonstrated that a larger slice of the population was ready for edgy, hyper-modulated experimental sounds, MASSIVE X might demonstrate that more people are ready for experimental sound design..

This isn’t a straight modular workflow. It isn’t a Eurorack. It isn’t REAKTOR. And it shouldn’t be any of those things. Instead, MASSIVE X brings back what made the first MASSIVE compelling – drag and drop routing, easy visual “saturn ring” modulation – and adds more sonic depth, the kinds of organic quality now possible on today’s CPUs, and more visual feedback. We all spend too much time staring at screens, but MASSIVE X gives us a good reason to look back – and is far easier on the eyes (and brain) in the process.

So, sure, we are spoiled for choice, which I’m sure means MASSIVE X will get some significant hostility from the sorts of people who lurk in comment threads instead of make sounds. But I’m happy to have my cake and eat it, and my other five cakes, too.

From my own vantage point, having not been entirely swayed by would-be contenders to the plug-in throne, I think MASSIVE X will be ideal as a complement to open-ended modulars. Having a single oscillator section that does this much means you don’t get lost window-shopping modulars. And that matrix and the depth of Trackers and Performers means MASSIVE X is manageable when other modulars (hardware or software) turn into messes of spaghetti-routing, at least for sounds you want to pack to the brim with subtle shifting transformations over time.

More details of this as I spend more time with the now-finished build. (Sound design, too – just give me some time on that!)

[watch this space, we should have the overview video from NI shortly…]

https://native-instruments.com/

Cost:
USD / EUR 199
USD / EUR 149 upgrade from the previous version
Included in KOMPLETE 12 (and greater editions)

The competition

There’s indeed a lot of competition. Look to:

U-he‘s ZEBRA2, Hive 2. Also deep modulation, but with a single window mode – more like Massive 1 – to MASSIVE X’s various pages and options.

ARTURIA Pigments We’ll be looking more soon at the sound possibilities of this one. It’s perhaps more conservative than MASSIVE X, but its virtual analog/wavetable hybrid is a crowd pleaser, there’s a unique and easy-to-follow interface, and it has a clear high-contrast dark look to the all-gray/beige Massive approach.

Serum of course arguably stole the bass crown from Massive as NI bided their time on an update. It is focused on wavetables (and custom wavetables) compared to MASSIVE X’s fascinating sprawl.

Who else would you want to see up for comparison? Let us know.

To me, at least my initial impression is all this mayhem of choice makes MASSIVE X stand out, but we’ll be interested to dig deeper and get feedback from other sound designers.

The post MASSIVE X synth arrives; here’s what makes it special appeared first on CDM Create Digital Music.

MASSIVE X synth arrives; here’s what makes it special

Delivered... Peter Kirn | Scene | Thu 27 Jun 2019 2:12 pm

The last time Native Instruments released a synth called Massive, they accidentally helped define genres (EDM, dubstep). But MASSIVE X returns to the original vision: make it easier to get deep with wavetables and modularity and go wild with sound. And now, the wait is over.

It’s been years in the making. But the original team behind Massive are back with a sequel to one of the most influential software synths ever made.

I was actually the very first press member scheduled to see Massive, back in the day. But what that tells you is, initially they thought they were making something for nerds, not what would become EDM mainstages. (Presumably they might have asked someone important not only as a nerd, otherwise.)

In 2019, MASSIVE X enters a world that’s not only been shaped by the first Massive, but is also far more comfortable with digital sounds and modularity, the staples of the original. Even inside NI, you’ve got REAKTOR and BLOCKS. There are plenty of other wavetable synths, plenty of semi-modular plug-ins. There are semi-modular synths – heck, Moog alone has three just in one line. There are Eurorack modulars in pricey hardware racks that require a screwdriver and modeled in software so you just need a laptop.

I mean, basically, those of us who love synths are all really spoiled. And like any spoiled child, little wonder there are bunches of those people whining and crying and rolling around on the floor like a toddler who ate too much candy. Well… if you read message forums, which I try not to.

So is there a place for MASSIVE X? You’ll hear plenty of talk from Native Instruments and reviewers alike, but let’s boil this story down.

MASSIVE X is a rarity – a kitchen sink digital synth plug-in that keeps its front panel easy to read.

Deep routing lets you path when you want to. But unlike a full-blown modular, that doesn’t stop you from creating sounds (and even modularity) straight away – and your sound design remains within a consistent interface and architecture.

Bigger on the inside than it is on the outside

Basically, the latest MASSIVE gives you this: it makes an argument for a semi-modular design by packing the oscillators with features, and then giving you ways of playing and modulating and inter-connecting all that depth easily. It walks that balance between complexity under the hood and legibility inside a coherent interface. So while other people might easily dismiss adding another semi-modular plug-in when you could just patch, there is a fundamentally different method to constructing sounds based on this architecture:

All about those oscillators. 170 wavetables, 10 oscillator modes, submodes for each of the oscillator modes – Massive focuses you on one architecture and one UI, but then gives you loads of choices once you’re there.

Get weird without even patching. It’s a true semi-modular, so you can make sounds without patching anything – and you can use its phase modulation oscillators to start that modulation just from the oscillator section. (Yeah, you’ll wind up doing some sound designs where you never get past those oscillators. And that’s fun, anyway.)

Route and patch in ways conventional modulars can’t. With a huge routing matrix and a unique approach to insert effects, you can swap all sorts of unique processors inside an individual sound – and recall all of those as presets. Any control output can be connected to any input; audio can go to and from anywhere you like. It’s enormously flexible.

There are plenty of synths out there with deep architectures, but MASSIVE X allows you to then take that depth and work with it:

Trackers give you sophisticated control over how MASSIVE X behaves as an instrument – by designing how it responds as you play.

Make uniquely playable instruments. NI have added a number of tools for tracking input from performance, as in velocity, and then scaling and mapping that where you like. This means you can make sounds like instruments, and ‘play’ a lot of that sonic depth live. (There are four Tracker modules to accomplish this.)

Add variety in performance and modulation. Tracker modules let you play live; Performer modulators let you draw in up to eight bars of modulation patterns and use those without playing. That can mean either unattended modulation in the sound, or can be triggered live with your controller.

You have 9 slots for LFOs, voice randomization, and then a bunch of potential sources and shapes for those variations.

The original MASSIVE isn’t going anywhere. And that’s important, because it’s light on the CPU in a way the new X – and other plug-ins – aren’t.

But MASSIVE X is simply a beast. As a flagship for Native Instruments, it enters some competitive waters – not the least being the fact that NI itself has, effectively, more than one flagship.

Performer envelopes give you the kind of extensive, visual modulation you expect from 2019 flagship software. The Remote Editor lets you trigger those envelopes live, making this a tool for improvisation or onstage.

Inside the Voice

Having said MASSIVE X is all about having a consistent architecture and UI – there is definitely a candy store inside. Just some rough ideas of specs, to give you an idea:

Wavetable modes: Standard, Bend, Mirror, Hardsync, Wrap, Forant Capture, ART, Gorilla, Random, Jitter

Insert Effects: Anima, BitCrusher, Correction Filter & VCA, Fold Wrap, Frequency Shifter, Distortion, Track Delay

Unit FX: Dimension Expander, Flanger, Nonlinear Labs, Phaser, Standard EQ, Stereo Delay, Stereo Expander

The Voice page. You can also find some possibilities messing about with Noise Restart, Oscillator Restart, Spread and Engine Reset – think serious sound design with phasing. Combine that with the various oscillator types and modes and poly/mono/unison modes, and a really wild option called Unisono (for unique, analog-ish drifts and detunes), and you could probably devote a whole month in the studio just on this page and be perfectly satisfied.

Filling a Massive niche?

The thing is, MASSIVE X makes even more sense in 2019 than it did when it first arrived. And if MASSIVE demonstrated that a larger slice of the population was ready for edgy, hyper-modulated experimental sounds, MASSIVE X might demonstrate that more people are ready for experimental sound design..

This isn’t a straight modular workflow. It isn’t a Eurorack. It isn’t REAKTOR. And it shouldn’t be any of those things. Instead, MASSIVE X brings back what made the first MASSIVE compelling – drag and drop routing, easy visual “saturn ring” modulation – and adds more sonic depth, the kinds of organic quality now possible on today’s CPUs, and more visual feedback. We all spend too much time staring at screens, but MASSIVE X gives us a good reason to look back – and is far easier on the eyes (and brain) in the process.

So, sure, we are spoiled for choice, which I’m sure means MASSIVE X will get some significant hostility from the sorts of people who lurk in comment threads instead of make sounds. But I’m happy to have my cake and eat it, and my other five cakes, too.

From my own vantage point, having not been entirely swayed by would-be contenders to the plug-in throne, I think MASSIVE X will be ideal as a complement to open-ended modulars. Having a single oscillator section that does this much means you don’t get lost window-shopping modulars. And that matrix and the depth of Trackers and Performers means MASSIVE X is manageable when other modulars (hardware or software) turn into messes of spaghetti-routing, at least for sounds you want to pack to the brim with subtle shifting transformations over time.

More details of this as I spend more time with the now-finished build. (Sound design, too – just give me some time on that!)

[watch this space, we should have the overview video from NI shortly…]

https://native-instruments.com/

Cost:
USD / EUR 199
USD / EUR 149 upgrade from the previous version
Included in KOMPLETE 12 (and greater editions)

Video walkthroughs

Our friends at SonicState and NI themselves have now posted walkthrough videos.

Also I’ve been talking to Richard Devine about how much he’s into MASSIVE X. Here’s a video of him enjoying it:

The competition

There’s indeed a lot of competition. Look to:

U-he‘s ZEBRA2, Hive 2. Also deep modulation, but with a single window mode – more like Massive 1 – to MASSIVE X’s various pages and options.

ARTURIA Pigments We’ll be looking more soon at the sound possibilities of this one. It’s perhaps more conservative than MASSIVE X, but its virtual analog/wavetable hybrid is a crowd pleaser, there’s a unique and easy-to-follow interface, and it has a clear high-contrast dark look to the all-gray/beige Massive approach.

Serum of course arguably stole the bass crown from Massive as NI bided their time on an update. It is focused on wavetables (and custom wavetables) compared to MASSIVE X’s fascinating sprawl.

Who else would you want to see up for comparison? Let us know.

To me, at least my initial impression is all this mayhem of choice makes MASSIVE X stand out, but we’ll be interested to dig deeper and get feedback from other sound designers.

The post MASSIVE X synth arrives; here’s what makes it special appeared first on CDM Create Digital Music.

There’s evidence of standalone Maschine hardware in the latest update

Delivered... Peter Kirn | Scene | Fri 21 Jun 2019 10:07 am

What if you could get Maschine and its live performance and sound capabilities – without the computer? One inquisitive user on the Native Instruments forum has found some compelling evidence that that could be what’s next.

Maschine 2.8.3 dropped this week. A post by user moderator D-One points to materials in the scripts folder that seem to suggest standalone Maschine hardware – a device that could switch between a controller for your computer and hardware that works on its own.

This wouldn’t be the first time Native Instruments inadvertently revealed hardware before it was announced. The Maschine MK3 was also located by a user snooping around in the Lua scripts that connect the hardware and software.

The forum thread has been up since Thursday evening Berlin time, though I don’t know if eventually it will get deleted.

2.8.3 And the future of Maschine???

It’s fun reading the whole thread, but here’s the gist:

  • Maschine hardware, apparently designated MH (MH1071)
  • Shutdown, reboot, and recovery routines, suggesting it works on its own
  • Mention of an SD card, USB mode
  • Apparent references to controller and standalone modes

(1071 is a strange number to use as designation, so it seems likely that part is intended as a codename, unless there’s something we don’t know. 1071 buttons. No idea.)

D-One grabbed this image after loading the script on his/her existing hardware. Yeah, this is certainly suggestive.

The appeal of this is pretty clear. AKAI have already staked out hardware that doubles as standalone (without computer) and controller. But despite the storied “MPC” moniker being associated with that company, the overwhelming feedback I’ve seen from readers of this site is that many of you have moved on to workflows in either Maschine or Ableton Live. While the Akai Force was an interesting preview, I think we’re also waiting on a standalone device that has robust sync performance and handles complex sound production without choking its CPU. That is, these things need to be better than a computer when running on their own. So if Native Instruments are working on this, I’ll be keen to check it out.

You should take this with a grain of salt. Part of the reason manufacturers don’t announce gear ahead of time is not so much to keep secrets from competitors – many of whom know what they’re working on – as to manage our expectations. Hardware doesn’t always ship as planned, or when scheduled. So there’s no way to know for sure whether these Lua scripts mean anything about new Maschine hardware coming soon.

But… that is still very possibly what they mean. And that would be awfully nice. Stay tuned.

Because you know, what this all ultimately comes down to is getting to play these wonderful gadgets like instruments without having to worry about OS updates or drivers onstage. Ever again. Heck, it’s summer – grab a roving PA or mobile speaker and let’s head out for a techno picnic.

One reader also points us to this – it looks like the name of the product could be Maschine Plus. (You’ll see that buried in the symbols in the code.)

The post There’s evidence of standalone Maschine hardware in the latest update appeared first on CDM Create Digital Music.

PORTAL from Output lets you navigate granular effect chaos

Delivered... Peter Kirn | Scene | Thu 20 Jun 2019 7:07 pm

PORTAL is a new granular synthesis effect plug-in from Output – and it lets you get into some serious mayhem across pitch, time, and synced tempo.

Output’s stuff has generally delivered deep, cutting-edge, futuristic sounds with pretty, easy UIs, and this is no different. You can dial up presets by category (with names like “vocals,” “stretch & smear,” “drums,” and “glitchy”). Then you can use either macro knobs and faders, plus the signature graphical portal X/Y control, or dive into a more detailed editing interface.

Macro effects and X/Y give you the spaceship control panel overview.

And there’s reason to love this particular package: PORTAL is the stuff of science fiction. Whether you’re just dialing up presets or drawing your own modulation and controls, it lets you mangle space and time the way you dreamed – not just at random, but really warping the heck out of your sounds.

I have no idea how I’d make a demo of this, but – I did wind up mangling a kind of boring groove I’d worked on into this alien world. Pick four tracks, add PORTAL to each, and go. Fun times.

And their demo:

For those not in the know: granular synthesis involves chopping up sound into tiny bits – grains – and then producing new continuous sounds by clustering lots of those pieces together as it plays back. The result can be stretching, smearing, re-pitching, and glitching and distorting sounds, warping and mangling time and frequency in the process. It’s the basic basis of a lot of re-pitch and re-time effects, as well as more specialized (and weird) effects.

Start by navigating the presets – seriously, go ahead and scroll through them, as each category has a pretty broad range.

What makes PORTAL special is a deep granular engine – combining wild-sound granular reprocessing with a built-in grain delay – all wrapped into a powerful interface. At the top level, that interface lets you just modify a couple of parameters for some major sonic effects. But dig in deeper, and you get a few key features:

  • Tempo-synced delay effects (meaning you might even just use this as a grain delay)
  • Tuning that ranges between free and tuned intervals
  • Two modulation sources with editable curves and time sync

That may not seem significant right away. But the ability to run time and pitch free (for mangled special effects) or tune it into specific beat-synced effects and tuned intervals means this can be as chaotic or as tied to the project context as you wish.

The modulation interface is also really clever. Click RNDM to generate curves. Use SYNC to adjust modulation curves to tempo. And then use a HUMANIZE option to add bits of randomization. I’d love this particular modulation editor just about anywhere.

Creating new sound designs this way is intuitive, but this is a case where even the most preset-prone will want to explore some of the presets just to find out what’s possible. Granular effects being as wide-ranging as they are, there is a certain fun to just scrolling through effects presets for happy accidents with whatever source material you have.

I think Output sell short the existing granular effects out there, which they describe as “a method that has previously been out of reach and impractical for many musicians.” There are plenty of great grain effects, and from Reaktor to iPad apps, casual musicians have often found ways of getting creative with them.

The editor interface is where the fun really starts, thanks to the ability to sync to pitch interval and tempo, easily see what you’re doing, and generate/edit your own modulation curves.

But I also mean to say, I think Output are underselling how special PORTAL is even among those other grain options. Integrating the grain delay and making modulation and pitch and time controls intuitive and accessible makes this one of the easiest sound design tools for grains I’ve seen yet. It’s especially useful as a grain delay.

Just don’t be shy trying a lot of the presets – some are way more useful or musical than others. And don’t be afraid of that editor interface: mouse over the labels for descriptions or numerical feedback on settings, and give the modulation a go.

Now you’re playing with PORTALS.

Take a tour:

Learn about how those grain controls work:

Dive into modulation:

Check it out. PORTAL is 149 EUR / USD.

https://output.com/portal

The post PORTAL from Output lets you navigate granular effect chaos appeared first on CDM Create Digital Music.

PORTAL from Output lets you navigate granular effect chaos

Delivered... Peter Kirn | Scene | Thu 20 Jun 2019 7:07 pm

PORTAL is a new granular synthesis effect plug-in from Output – and it lets you get into some serious mayhem across pitch, time, and synced tempo.

Output’s stuff has generally delivered deep, cutting-edge, futuristic sounds with pretty, easy UIs, and this is no different. You can dial up presets by category (with names like “vocals,” “stretch & smear,” “drums,” and “glitchy”). Then you can use either macro knobs and faders, plus the signature graphical portal X/Y control, or dive into a more detailed editing interface.

Macro effects and X/Y give you the spaceship control panel overview.

And there’s reason to love this particular package: PORTAL is the stuff of science fiction. Whether you’re just dialing up presets or drawing your own modulation and controls, it lets you mangle space and time the way you dreamed – not just at random, but really warping the heck out of your sounds.

I have no idea how I’d make a demo of this, but – I did wind up mangling a kind of boring groove I’d worked on into this alien world. Pick four tracks, add PORTAL to each, and go. Fun times.

And their demo:

For those not in the know: granular synthesis involves chopping up sound into tiny bits – grains – and then producing new continuous sounds by clustering lots of those pieces together as it plays back. The result can be stretching, smearing, re-pitching, and glitching and distorting sounds, warping and mangling time and frequency in the process. It’s the basic basis of a lot of re-pitch and re-time effects, as well as more specialized (and weird) effects.

Start by navigating the presets – seriously, go ahead and scroll through them, as each category has a pretty broad range.

What makes PORTAL special is a deep granular engine – combining wild-sound granular reprocessing with a built-in grain delay – all wrapped into a powerful interface. At the top level, that interface lets you just modify a couple of parameters for some major sonic effects. But dig in deeper, and you get a few key features:

  • Tempo-synced delay effects (meaning you might even just use this as a grain delay)
  • Tuning that ranges between free and tuned intervals
  • Two modulation sources with editable curves and time sync

That may not seem significant right away. But the ability to run time and pitch free (for mangled special effects) or tune it into specific beat-synced effects and tuned intervals means this can be as chaotic or as tied to the project context as you wish.

The modulation interface is also really clever. Click RNDM to generate curves. Use SYNC to adjust modulation curves to tempo. And then use a HUMANIZE option to add bits of randomization. I’d love this particular modulation editor just about anywhere.

Creating new sound designs this way is intuitive, but this is a case where even the most preset-prone will want to explore some of the presets just to find out what’s possible. Granular effects being as wide-ranging as they are, there is a certain fun to just scrolling through effects presets for happy accidents with whatever source material you have.

I think Output sell short the existing granular effects out there, which they describe as “a method that has previously been out of reach and impractical for many musicians.” There are plenty of great grain effects, and from Reaktor to iPad apps, casual musicians have often found ways of getting creative with them.

The editor interface is where the fun really starts, thanks to the ability to sync to pitch interval and tempo, easily see what you’re doing, and generate/edit your own modulation curves.

But I also mean to say, I think Output are underselling how special PORTAL is even among those other grain options. Integrating the grain delay and making modulation and pitch and time controls intuitive and accessible makes this one of the easiest sound design tools for grains I’ve seen yet. It’s especially useful as a grain delay.

Just don’t be shy trying a lot of the presets – some are way more useful or musical than others. And don’t be afraid of that editor interface: mouse over the labels for descriptions or numerical feedback on settings, and give the modulation a go.

Now you’re playing with PORTALS.

Take a tour:

Learn about how those grain controls work:

Dive into modulation:

Check it out. PORTAL is 149 EUR / USD.

https://output.com/portal

The post PORTAL from Output lets you navigate granular effect chaos appeared first on CDM Create Digital Music.

VCV Rack hits 1.0; why you need this free modular now

Delivered... Peter Kirn | Scene | Wed 19 Jun 2019 2:25 pm

Software modular VCV Rack just hit a major milestone – it’s now officially version 1.0, with polyphony, full MIDI, module browsing, multi-core support, and more. And since it’s a free and open platform, you don’t want to sleep on this.

VCV and developer Andrew Belt have hit on a new formula. Rack is free and open source on Mac, Windows, and Linux, and it’s free for developers to make their own modules. It also has tons of functionality out of the box – both from VCV and third-party developers. But then to support ongoing development, those developers offer some superb paid modules. Once you’re hooked, spending a little extra seems a good investment – because, well, it is.

All those modules… now seen in the new 1.0 visual browser.

Crucially, it’s a good deal for developers as well as users. Independent software developers, VCV included, are able to communicate directly with users, who in turn feel good about supporting the platform and community by spending some money. And hardware makers have a new way of reaching new audiences, as well as offering up try-before-you-buy versions of some of their modules. (Open source hardware makers like Mutable Instruments and Music thing were early adopters, but I hear some other names are coming.)

Maybe you’ve heard all this. But maybe you weren’t quite ready to take the plunge. With version 1.0, the case is getting pretty strong for adding Rack to your arsenal. Rack was appealing early on to tinkerers who enjoyed messing around with software. But 1.0 is starting to look like something you’d rely on in your music.

And that starts with polyphony, as shown by the developer of the VULT modules, which include many of my own personal favorites:

Rack 1.0

1.0 is really about two things – new functionality for more flexible use in your music, and a stable API for developers underneath that makes you feel like you’re using modules and not just testing them.

Mono- to polyphonic, on demand. Modules that want to support polyphony now can add up to 16 voices. Cables support polyphony. And the built-in modules have added tools for polyphonic use of course, too.

Polyphony, now a thing – and nicely implemented, both in UI and performance under the hood.

Multi-core accelerated engine. Adding polyphony, even on newer machines, means a greater tax on your CPU. There are a number of under-the-hood improvements to enable that in Rack, including multi-core support, threading, and hardware acceleration. This is also partly built into the platform, so third-party modules supporting Rack will get a performance boost “for free,” without developers having to worry about it or reinvent the wheel.

Adjustable performance: From the menu you can now adjust CPU performance based on whether you want lower CPU usage or more modules.

Adjust priority of the CPU based on your needs (more modules with higher CPU usage, or fewer modules but lower CPU).

MIDI out. You could always get MIDI into Rack, but now you can get it out, too – so you can use sequencers and modulation and so on to control other equipment or via inter-app MIDI routing, other software. There are three new modules – CV-GATE, CV-MIDI, and CV-CC. (VCV describes those as being suitable for drum machines, synths, and Eurorack and talks about hardware, but you could find a lot of different applications for this.)

Assign MIDI control easily. Previously, controlling Rack has been a bit of a chore: start with a MIDI input, figure out how to route it into some kind of modulation, assign the modulation. Many software racks work this way, but it feels a bit draconian to users of other software. Now, via the MIDI-MAP module, you can click a parameter onscreen and just move a knob or fader or what have you on your controller – you know, like you can do in other tools.

That will be essential for actually playing your patches. I can’t wait to use this with Sensel Morph and the Buchla Thunder overlay but… yeah, that’s another story. Watch for that in the coming days.

Meet the new MIDI modules, which now support output, mapping, and even MPE.

Numeric pad input as well as revised gamepad support. Now in addition to gamepads (which offer some new improvements), you can hook up numeric keyboards:

MPE support: MPE (MIDI Polyphonic Expression) now works with MIDI-CV. That makes Rack a fascinating new way of controlling MPE instruments.

Enter parameters manually. You can also now right-click a parameter and type in the value you want.

Browse modules visually. All the previous options for navigating your collection of virtual modules textually are still there – type module names, use tags, search by manufacturer or type. But now you also get a pretty visual browser so you can spot the module you want at a glance, and click and drag to drop modules into place. VCV isn’t the first computer modular to offer this – Softube has an awfully pretty browser, for one – but I find the Rack 1.0 browser to be really quick and easy. And it’s especially needed here as you quickly accumulate loads of modules from the Web.

Get new modules by sorting by build. This feature is actually on the VCV website, but it’s so important to how we work in Rack that it’s worth a mention here. Now you can search by build date and find the latest stuff.

Sort by build now on the plugins interface on the Web.

Move and manage modules more easily. You can now disable modules, force-drag them into place, and use a new, more flexible rack. The rack is also now infinite in all four dimensions, which is a bit confusing at first, but in keeping with the open-ended computer software ethos of software modular. (Take that, you Eurorack people who live in … like … normal physical space!)

You can also right-click modules to get quick links to plugin websites, documentation, and even source code. And you can see changelogs before you update, instead of just updating and finding out later.

Undo/redo history. At last, experiment without worry.

Parameter tooltips. No need to guess what that knob or switch is meant to do.

You can check out the new features in detail on the changelog (plus stuff added since 1.0, in case you live in the future and me in the past!):

https://github.com/VCVRack/Rack/blob/v1/CHANGELOG.md

Or for even more explanation, Nik Jewell describes what all those changes are about:

An unofficial guide to the Rack v1 Changelog

Getting started

Rack 1.0 will break compatibility with some modules, while you wait on those developers to update to the new API (hopefully). Andrew tells us we can run the old (0.6.x) and new Rack versions side by side:

To install two versions that don’t clash, simply install Rack v1 to a different folder such as “Program Files/VCV/Rack-v1” on Windows or “/Applications/Rack-v1” on Mac. They will each use their own set of plugins, settings, etc.

You can duplicate your Rack folder, and run the two versions side by side. Then you’re free to try the new features while still opening up your old work. (I found most of my previous patches, even after updating my modules, wound up missing modules. Rack will make the incompatible modules disappear, leaving the compatible ones in place.)

Right from the moment you start up VCV Rack 1.0, you’ll find some things are more approachable, with a new example patch and updated Scope. And for existing users, be prepared that the toolbar is gone, now replaced with menu options.

Here are some useful shortcuts for getting around the new release:

Now you can right-click a plug-in for an updated contextual menu with presets, and links to the developer’s site for documentation and more.

Double-click a parameter: initialize to default value

Right-click a parameter: type to enter a specific value.

Ctrl-click a connected input, and drag: clones the cable connected there to another port. (This way you can quickly route one output to multiple inputs, without having to mouse back to the output.)

Ctrl-E: Disables a module. (You can also choose the context menu.)

Ctrl- / Ctrl+ to zoom, or hold down control and use a scroll wheel.

Ctrl-drag modules. This is actually my favorite new feature, weirdly. If you control drag a module, it shoves other modules along with it into any empty space. It’s easier to see that in an animation than it is to describe it, so I’ll let Andrew show us:

Do check out the Recorder, too:

All the new internal modules to try out:
CV-MIDI
CV-CC
CV-Gate
MIDI-Map
Recorder

And developers, do go check out the migration guide.

Full information:

https://vcvrack.com/

The post VCV Rack hits 1.0; why you need this free modular now appeared first on CDM Create Digital Music.

VCV Rack hits 1.0; why you need this free modular now

Delivered... Peter Kirn | Scene | Wed 19 Jun 2019 2:25 pm

Software modular VCV Rack just hit a major milestone – it’s now officially version 1.0, with polyphony, full MIDI, module browsing, multi-core support, and more. And since it’s a free and open platform, you don’t want to sleep on this.

VCV and developer Andrew Belt have hit on a new formula. Rack is free and open source on Mac, Windows, and Linux, and it’s free for developers to make their own modules. It also has tons of functionality out of the box – both from VCV and third-party developers. But then to support ongoing development, those developers offer some superb paid modules. Once you’re hooked, spending a little extra seems a good investment – because, well, it is.

All those modules… now seen in the new 1.0 visual browser.

Crucially, it’s a good deal for developers as well as users. Independent software developers, VCV included, are able to communicate directly with users, who in turn feel good about supporting the platform and community by spending some money. And hardware makers have a new way of reaching new audiences, as well as offering up try-before-you-buy versions of some of their modules. (Open source hardware makers like Mutable Instruments and Music thing were early adopters, but I hear some other names are coming.)

Maybe you’ve heard all this. But maybe you weren’t quite ready to take the plunge. With version 1.0, the case is getting pretty strong for adding Rack to your arsenal. Rack was appealing early on to tinkerers who enjoyed messing around with software. But 1.0 is starting to look like something you’d rely on in your music.

And that starts with polyphony, as shown by the developer of the VULT modules, which include many of my own personal favorites:

Rack 1.0

1.0 is really about two things – new functionality for more flexible use in your music, and a stable API for developers underneath that makes you feel like you’re using modules and not just testing them.

Mono- to polyphonic, on demand. Modules that want to support polyphony now can add up to 16 voices. Cables support polyphony. And the built-in modules have added tools for polyphonic use of course, too.

Polyphony, now a thing – and nicely implemented, both in UI and performance under the hood.

Multi-core accelerated engine. Adding polyphony, even on newer machines, means a greater tax on your CPU. There are a number of under-the-hood improvements to enable that in Rack, including multi-core support, threading, and hardware acceleration. This is also partly built into the platform, so third-party modules supporting Rack will get a performance boost “for free,” without developers having to worry about it or reinvent the wheel.

Adjustable performance: From the menu you can now adjust CPU performance based on whether you want lower CPU usage or more modules.

Adjust priority of the CPU based on your needs (more modules with higher CPU usage, or fewer modules but lower CPU).

MIDI out. You could always get MIDI into Rack, but now you can get it out, too – so you can use sequencers and modulation and so on to control other equipment or via inter-app MIDI routing, other software. There are three new modules – CV-GATE, CV-MIDI, and CV-CC. (VCV describes those as being suitable for drum machines, synths, and Eurorack and talks about hardware, but you could find a lot of different applications for this.)

Assign MIDI control easily. Previously, controlling Rack has been a bit of a chore: start with a MIDI input, figure out how to route it into some kind of modulation, assign the modulation. Many software racks work this way, but it feels a bit draconian to users of other software. Now, via the MIDI-MAP module, you can click a parameter onscreen and just move a knob or fader or what have you on your controller – you know, like you can do in other tools.

That will be essential for actually playing your patches. I can’t wait to use this with Sensel Morph and the Buchla Thunder overlay but… yeah, that’s another story. Watch for that in the coming days.

Meet the new MIDI modules, which now support output, mapping, and even MPE.

Numeric pad input as well as revised gamepad support. Now in addition to gamepads (which offer some new improvements), you can hook up numeric keyboards:

MPE support: MPE (MIDI Polyphonic Expression) now works with MIDI-CV. That makes Rack a fascinating new way of controlling MPE instruments.

Enter parameters manually. You can also now right-click a parameter and type in the value you want.

Browse modules visually. All the previous options for navigating your collection of virtual modules textually are still there – type module names, use tags, search by manufacturer or type. But now you also get a pretty visual browser so you can spot the module you want at a glance, and click and drag to drop modules into place. VCV isn’t the first computer modular to offer this – Softube has an awfully pretty browser, for one – but I find the Rack 1.0 browser to be really quick and easy. And it’s especially needed here as you quickly accumulate loads of modules from the Web.

Get new modules by sorting by build. This feature is actually on the VCV website, but it’s so important to how we work in Rack that it’s worth a mention here. Now you can search by build date and find the latest stuff.

Sort by build now on the plugins interface on the Web.

Move and manage modules more easily. You can now disable modules, force-drag them into place, and use a new, more flexible rack. The rack is also now infinite in all four dimensions, which is a bit confusing at first, but in keeping with the open-ended computer software ethos of software modular. (Take that, you Eurorack people who live in … like … normal physical space!)

You can also right-click modules to get quick links to plugin websites, documentation, and even source code. And you can see changelogs before you update, instead of just updating and finding out later.

Undo/redo history. At last, experiment without worry.

Parameter tooltips. No need to guess what that knob or switch is meant to do.

You can check out the new features in detail on the changelog (plus stuff added since 1.0, in case you live in the future and me in the past!):

https://github.com/VCVRack/Rack/blob/v1/CHANGELOG.md

Or for even more explanation, Nik Jewell describes what all those changes are about:

An unofficial guide to the Rack v1 Changelog

Getting started

Rack 1.0 will break compatibility with some modules, while you wait on those developers to update to the new API (hopefully). Andrew tells us we can run the old (0.6.x) and new Rack versions side by side:

To install two versions that don’t clash, simply install Rack v1 to a different folder such as “Program Files/VCV/Rack-v1” on Windows or “/Applications/Rack-v1” on Mac. They will each use their own set of plugins, settings, etc.

You can duplicate your Rack folder, and run the two versions side by side. Then you’re free to try the new features while still opening up your old work. (I found most of my previous patches, even after updating my modules, wound up missing modules. Rack will make the incompatible modules disappear, leaving the compatible ones in place.)

Right from the moment you start up VCV Rack 1.0, you’ll find some things are more approachable, with a new example patch and updated Scope. And for existing users, be prepared that the toolbar is gone, now replaced with menu options.

Here are some useful shortcuts for getting around the new release:

Now you can right-click a plug-in for an updated contextual menu with presets, and links to the developer’s site for documentation and more.

Double-click a parameter: initialize to default value

Right-click a parameter: type to enter a specific value.

Ctrl-click a connected input, and drag: clones the cable connected there to another port. (This way you can quickly route one output to multiple inputs, without having to mouse back to the output.)

Ctrl-E: Disables a module. (You can also choose the context menu.)

Ctrl- / Ctrl+ to zoom, or hold down control and use a scroll wheel.

Ctrl-drag modules. This is actually my favorite new feature, weirdly. If you control drag a module, it shoves other modules along with it into any empty space. It’s easier to see that in an animation than it is to describe it, so I’ll let Andrew show us:

Do check out the Recorder, too:

All the new internal modules to try out:
CV-MIDI
CV-CC
CV-Gate
MIDI-Map
Recorder

And developers, do go check out the migration guide.

Full information:

https://vcvrack.com/

The post VCV Rack hits 1.0; why you need this free modular now appeared first on CDM Create Digital Music.

Sonarworks Reference 4.3: more headphones, features for calibrating your mixes

Delivered... Peter Kirn | Scene | Mon 17 Jun 2019 2:56 pm

Sonarworks Reference 4.3 has a bunch of new features – more headphones, better performance, and it won’t blind you in a dark studio. The goal: make sure your mixes sound consistent everywhere. And with both high-end and consumer cans on the supported list, they seem to want everybody to give this a go.

I think the biggest challenge Sonarworks has here is that even I would have imagined calibration was something for engineers, but not necessarily producers. But once you hear the results, anyone can hear what this does. The thing is, headphones and studio monitors really aren’t flat. And especially outside of perfectly tuned studio environments, neither are working environments. Testing and calibration improves that enough that anyone can hear.

I’ve been using Sonarworks Reference religiously since the fall. The biggest challenge has been that there are two modes. One sounds really great, but adds a ton of latency. That’s especially rough if you want to work with calibration switched on all the time. The other is low-latency, but doesn’t sound as good. Those differences are, again, noticeable to anyone.

The big improvement in Reference 4.3 is to let you have both – with a mixed filter mode that operates with minimal latency but still delivers accurate results. That for me makes Reference way more useful. In fact, given this involved a ground-up rewrite, I’m surprised Sonarworks didn’t call this Reference 5. (It’s a free update, though!)

You also get new headphone profiles, which show both some high-end Beyerdynamic models but also the sort of consumer listening cans a lot of us use on the go with our smartphones and such. Those seem to target new users as well as ones traveling.

Beyerdynamic Custom Studio
Beyerdynamic MMX 300
Direct Sound EXTW37 Pro
Direct Sound Serenity Plus
Direct Sound Studio Plus
Marshall Major III
Marshall Major III Bluetooth
Marshall Monitor Bluetooth

More important than the addition of new individual models, though, they’ve added on-demand profile delivery, so you can add support inside the tool. There are already over a couple hundred of these, and they keep adding more.

There are some other improvements, too:

Dark mode – some people hate these; I love them, since I work in a lot of dim / late night environments

A better menu/tray bar, which is critical as you modify settings as you work

Integrated room measurement inside the Systemwide and plugin tools

Better virtual sound device performance (I need to test this across my Mac and Windows machines)

The little tool that gets you up and running when you start I already liked, and wrote about previously, but they’ve enhanced that even more

The new tool for getting started. Before.

After.

Previously, I did some deep dives into this software and answered reader questions:

What it’s like calibrating headphones and monitors with Sonarworks tools

Your questions answered: Sonarworks Reference calibration tools

I need to follow up with them on how Linux support is coming, as CDM was the first to write about that and some of you I know were interested (as am I)!

Also since I last covered Reference, Sonarworks has started offering a bundle with pre-calibrated headphones. These theoretically deliver more precise calibration than what you’d get from any profile, since they’ve tested the actual harder. It’s pricey, because it includes the already-expensive HD650 headphones from Sennheiser.

But those are terrific headphones, and headphones are crucial to precise mixing and mastering. I imagine these would be a great investment for a producer or especially studio or engineer wanting to invest in a full calibration package at once. (Feel free to shout about whether Sennheiser or Beyerdynamic are better in comments, though!) In fact, I think if you’re thinking of buying the HD650s, you should spring for the bundle.

The bundle, with Sennheiser HD650.

I have talked to more producers about this tool than engineers (though my mastering engineer collaborator is a believer), so I would be interested to hear about that use case more.

And yes, this is another member of our music tech industry now located in Riga, Latvia, along with Gamechanger, Erica Synths, and others. It’s a surprising new hotbed.

The post Sonarworks Reference 4.3: more headphones, features for calibrating your mixes appeared first on CDM Create Digital Music.

SubLab is an 808 bass synth and more, from makers of Circle

Delivered... Peter Kirn | Scene | Tue 11 Jun 2019 4:36 pm

Hard-hitting sub bass and percussion is the focus of SubLab, a new instrument from Future Audio Workshop. And it puts a ton of sound elements into an uncommonly friendly interface. Let’s get our hands on it.

This begins our Tools of Summer series of selections – stuff you’ll want to use when the nights are long (erm, northern hemisphere) and you need some new inspiration from instruments to actually use.

We hadn’t heard much lately from Future Audio Workshop. Their ground-breaking Circle instrument was uniquely friendly, clean, and easy to use. At a time when nearly all virtual instruments had virtually unreadable, tiny UIs, Circle broke from the norm with displays you could see easily. Beginners could track signal flow and modulation, and experts (erm, many of them, you know, older and with aging eyes) could be more productive and focused.

SubLab takes that same approach – so much so that a couple of quick shots I posted to Instagram got immediate feedback.

And then it’s just chock full of bass – with a whole lot of potential applications.

Sound layers, plus filter, plus distortion, plus compressor – deceptively simple and powerful.

So, sure, FAW talk trap and hip-hop and future bass and sub basslines – you’ll get those, for sure. But I think you’ll start using SubLab all over the place.

If you just want a recipe for 808 bass, this instrument is there for you. You can layer and filter and overdrive and distort sounds into basslines made from punchy drum bits. Then you discover that this produces interesting melodic lines, too. Or that while you have all the elements of various kick drums not only from Roland but sampled from a studio full of drum machines (Vermona to JoMoX), you … might as well make some punchy kicks and toms.

It’s just too fast. And that’s not because the interface is particularly dumbed down – on the contrary, it’s because once all the chrome and tiny controls are out of the way and the designers focused on what this does, you can get at a lot of options more quickly.

The synth has an easy-to-follow structure – sound, distortion, compressor. Sound is divided into a simple multi-oscillator synth, a sample playback engine, and then the trademarked ‘x-sub’ sub-oscillator. You can then mix these separately, and route a percentage of the synth and sampler to a multi-mode filter. (Don’t miss the essential ‘glide’ control lurking just at the bottom, as I did at first.) Pulling it all together, you get a ‘master’ overview that shows you how each element layers in the resulting sound spectrum.

Also in the sound > synth section, you can easily access multiple envelopes with visual feedback. (Arturia, who I’m also writing about this week, have also gone this route, and it makes a big difference being able to see as well as hear.)

The sampler has essential tracking, pitching, and looping features for this application. The x-sub bit is uniquely controllable – you can set individual harmonic levels just by dragging around purple vertical bars. It’s rare to sculpt sub-bass like this so easily, and it’s addictive.

X-sub (trademarked?) means you can sculpt the harmonics inside the sub-oscillator section just by dragging.

The interface is easy enough, but a couple of characteristic additions really complete the package. The sampler section is full of inspiring hardware samples to use as building blocks – great stuff that you might use for your non-melodic kicks, or try out for punchy percussion and melodies even in higher registers. The Distortion also has some compelling modes, like the lovely “darkdrive” and convincing tube and overdrive options.

Tons of hardware samples abound for layering.

There aren’t a lot of presets – it looks like FAW’s plan is to get you hooked, then add more patch packs. But with enough sound design options here, including custom sample loading, you might be fine just making your own.

Really, my only complaint is that I find the filter and compressor a bit vanilla, particularly in this age of so many beautiful modeled options from Native Instruments, Arturia, u-he, and others.

I figured I would be writing this glowing review and telling you, oh yeah, it’s definitely worth $149.

But — damn, this thing is $70, on sale for $40.

Sheesh. Just get it, then. There are lots of deeper and more complex things out there. But this is something else – simple enough that you’ll actually use it to design your own creative sounds. As FAW has shown us before, visual feedback and accessible interfaces combine to make sound design connect with your brain more effectively.

https://futureaudioworkshop.com/sublab

Here’s me messing around with it to prove it can do things other than what it was intended for:

And more hands-on videos from the creators:

The post SubLab is an 808 bass synth and more, from makers of Circle appeared first on CDM Create Digital Music.

Jam like you’re in a Tarkovsky film with this major app update

Delivered... Peter Kirn | Scene | Wed 5 Jun 2019 11:33 pm

Virtual ANS from prolific omni-platform developer Alexander Zolotov brings back spectral synthesis like it’s the mid-century USSR. But it also future-proofs that tech – full Android and iOS (plus desktop) support, and now a version that’s polyphonic and MIDI playable.

Alexander Zolotov can single-handedly make a mobile device useful. On my new Android phone, it was his stuff I grabbed first – and, well, last. Once you’ve got a tracker like SunVox that runs anywhere, what more do you need?

And for anyone bored with the world of knobs and subtractive synthesis (yawn), enter the eerily beautiful alien sound world of the ANS – an alternate timeline of synth history in which sound is painted as well as made electrical. The creation of Russian engineer Evgeny Murzin, the ANS used a unique analog-optical hybrid approach. Borrowing from the graphic scores used in early film audio, waveforms were optically produced. It’s What You See Is What You Get For Sound – the spectrogram is the interface as well as a representation of what you hear. This technique is what creates the gorgeous, otherworldly timbres of Tarkovsky’s Solaris – and now it can be on your phone.

The original ANS – its name drawn from the initials of Alexander Nikolayevich Scriabin, the synesthesia-experiencing esoteric composer – used a series of optical discs. It’s easier to do this in software, of course. Everything works in real time, you can have as many pure tone generators as you like (since you won’t just run out of optical-mechanical wheels), and you can convert to and from digital files of both images and sounds.

Sound from pictures, pictures from sounds.

Now with MIDI support on both Android and iOS (not to mention desktop OSes).

ANS 3.0 is a major update that moves the whole affair from fascinating proof of concept to a full-featured instrument. You can now map polyphony, and you can play your creations via MIDI – including via external MIDI controllers.

Adding MIDI controllers actually makes for a wild instrument:

Oh, and remember how I just said that AUv3 was the way forward on iOS? Well, Sasha is of course supporting AUv# – as he’s supported Audiobus, IAA, JACK, ALSA, OSS, MME, DirectSound, and ASIO in the past. (That long list of formats comes from supporting Mac, Windows, Linux, Android, and iOS all at once.)

And there’s more. On iOS, you get high-res support and MIDI. Android 6+ has MIDI support. Linux gets multitouch support. Files are accessible in the file system of both iOS and Android – including all those project, image, and sound files. There are more audio export options, new brushes, new lighten and darkening layering modes like you’d expect in Photoshop, and lots of shortcuts. Check the full changelog:

http://warmplace.ru/soft/ans/changelog.txt

Of course, because it runs on every platform (well, every modern platform), you can sketch an idea on your Android phone, move to iPad and work some more, then load it onto your PC and drop it into a DAW.

Frankly, I think it’s more exciting than anything from Apple this week, but I am impossibly biased toward this esoterica so … that goes without saying.

Enjoy:

http://warmplace.ru/soft/ans/

The post Jam like you’re in a Tarkovsky film with this major app update appeared first on CDM Create Digital Music.

Get going with MOTU’s DP10 with these videos

Delivered... Peter Kirn | Scene | Mon 3 Jun 2019 5:07 pm

DP10 for Mac and Windows, unveiled this spring, brought breakthrough features to the long-standing favorite DAW called Digital Performer. So now it’s time to dig in and start using the new stuff.

DP has never been short on updates, but some of them certainly felt iterative. And the software had to make the jump from Mac to Windows, which initially got tricky with Windows’ archaic high-density display support and left the screen hard to see.

DP10 is interesting because it brings some genuinely new ideas. There’s a Clip View that looks an awful lot like Ableton’s Session View, but with some new twists – and in a more traditional DAW, with stuff like proper video and cue support which Live so sorely lacks. There are more ways to manipulate audio and pitch without jumping into a plug-in. There’s a substantially beefed-up waveform editor. If you missed it before, I covered this when it debuted in February:

DP10 adds clip launching, improved audio editing to MOTU’s DAW

Or watch Sound on Sound‘s breakdown of the upgrade:

I’m a great fan of written tutorials, but some of this stuff really does benefit from a visual aid. So let’s get started. As it happens, while it’s a bit hidden, you can now download a 30-day demo – enough time to try finishing a project in DP and see if you like it. They’ve got a US$395 upgrade from competing products, so DP fits nicely in a mid-range price point when some competing options have crept up to a grand or more. (Cough, you know who you are.)

http://www.motu.com/download

First, Thomas Foster will hold your hand and walk you through a total-beginner walkthrough of how to get started with DP10. And unlike MOTU’s own videos, this one is also oriented toward in-the-box electronic production – so it’ll be friendly to a lot of the sorts who read this site.

From the absolute beginning, here’s a look at actually creating something, using the Model12 and the BassLine instruments:

(If you want to get more advanced with BassLine, check the MOTU videos below.)

And also at the 101-level, importing audio and applying audio effects to vocals:

VCA Faders are one of the more unique new features – here’s a walkthrough focused on that:

Lastly, round about March MOTU posted a huge trove of demos and tutorials from seminars at NAMM. It’s maybe doubly interesting for including some industry heavyweights – Family Guy composer Walter Murphy, LA producer/composer David Das, Mike McKnight who programs and plays keyboards for Roger Waters, music tech legend Craig Anderton, and more.

It’s easier to navigate what’s available from MOTU’s blog than in the distracting maze that is YouTube, so have a look here:

MOTU demos from NAMM 2019

I expect some CDM readers out there are DP users, so I’d love to hear from you about how you feel about this update and how you use the software in your work.

And as always, if there’s a tool you want to see featured, don’t hesitate to write.

The post Get going with MOTU’s DP10 with these videos appeared first on CDM Create Digital Music.

The ABCs of Live 10.1: 2 minutes of shortcuts will help you work faster

Delivered... Peter Kirn | Scene | Wed 29 May 2019 1:21 pm

A is for Ableton Live – and Madeleine Bloom can get you up and running with a bunch of 10.1 shortcuts in just over two minutes.

Madeleine of Sonic Bloom is one of the world’s top experts for staying productive in Live (to say nothing of helping us re-skin the thing so the colors are the way we want).

Live 10.1 actually added a lot of shortcuts to save you time – it’s what 10 promised, but implemented in a way that makes more sense. And she plows through them in a hurry:

via SonicBloom, which has loads more

F lets you get at fades right away.

H makes everything fill space vertically in the Arrangement so you don’t have to squit.

My personal favorite – Z, which zooms right to what’s selected and fills the Arrangement so you can focus and see easily.

And more…

This is all so much better than hunting around.

Z is so much my favorite that it just earned this:

For more on Live 10.1 and how to get started:

Ableton Live 10.1 is out now; here are the first things you should try

The post The ABCs of Live 10.1: 2 minutes of shortcuts will help you work faster appeared first on CDM Create Digital Music.

No, Beatport’s subscription will not kill music – here’s how it really works

Delivered... Peter Kirn | Labels,Scene | Fri 17 May 2019 7:18 pm

Pioneer and Beatport this week announced new streaming offerings for DJs. And then lots of people kind of freaked out. Let’s see what’s actually going on, if any of it is useful to DJs and music lovers, and what we should or shouldn’t worry about.

Artists, labels, and DJs are understandably on edge about digital music subscriptions – and thoughtless DJing. Independent music makers tend not to see any useful revenue or fan acquisition from streaming. So the fear is that a move to the kinds of pricing on Spotify, Amazon, and Apple services would be devastating.

And, well – that’s totally right, you obviously should be afraid of those things if you’re making music. Forget even getting rich – if big services take over, just getting heard could become an expensive endeavor, a trend we’ve already begun to see.

So I talked to Beatport to get some clarity on what they’re doing. We’re fortunate now that the person doing artist and label relations for Beatport is Heiko Hoffmann, who has an enormous resume in the trenches of the German electronic underground, including some 17 years under his belt as editor of Groove, which has had about as much a reputation as any German-language rag when it comes to credibility.

TL:DR

The skinny:

Beatport LINK: fifteen bucks a month, but aimed at beginners – 128k only. Use it for previews if you’re a serious Beatport user, recommend it to your friends bugging you about how they should start DJing, and otherwise don’t worry about it.

Beatport CLOUD: five bucks a month, gives you sync for your Beatport collection. Included in the other stuff here and – saves you losing your Beatport purchases and gives you previews. 128k only. Will work with Rekordbox in the fall, but you’ll want to pay extra for extra features (or stick with your existing download approach).

Beatport LINK PRO: the real news – but it’s not here yet. Works with Rekordbox, costs 40-60 bucks, but isn’t entirely unlimited. Won’t destroy music (uh, not saying something else won’t, but this won’t). The first sign of real streaming DJs – but the companies catering to serious DJs aren’t going to give away the farm the way Apple and Spotify have. In fact, if there’s any problem here, it’s that no one will buy this – but that’s Beatport’s problem, not yours (as it should be).

WeDJ streaming is for beginners, not Pioneer pros

This first point is probably the most important. Beatport (and SoundCloud) have each created a subscription offering that works exclusively with Pioneer’s WeDJ mobile DJ tool. That is, neither of these works with Rekordbox – not yet.

Just in case there’s any doubt, Pioneer has literally made the dominant product image photo some people DJing in their kitchen. So there you go: Rekordbox and and CDJ and TORAIZ equals nightclub, WeDJ equals countertop next to a pan of fajitas.

So yeah, SoundCloud streaming is now in a DJ app. And Beatport is offering its catalog of tracks for US$14.99 a month for the beta, which is a pretty phenomenally low price – and one that would rightfully scare labels and artists.

But it’s important this is in WeDJ as far as DJing. Pioneer aren’t planning on endangering their business ecosystem in Rekordbox, higher-end controllers, and standalone hardware like the CDJ. They’re trying to attract the beginners in the hopes that some of those people will expand the high end market down the road.

By the same token, it’d be incredibly short-sighted if Beatport were to give up on customers paying a hundred bucks a month or so on downloads just to chase growth. Instead, Beatport will split its offerings into a consumer/beginner product (LINK for WeDJ) and two products for serious DJs (LINK Pro and Beatport CLOUD).

And there’s reason to believe that what disrupts the consumer/beginner side might not make ripples when it comes to pros – as we’ve been there already. Spotify is in Algoriddim’s djay. It’s actually a really solid product. But the djay user base doesn’t impact what people use in the clubs, where the CDJ (or sometimes Serato or TRAKTOR) reign supreme. So if streaming in DJ software were going to crash the download market, you could argue it would have happened already.

That’s still a precarious situation, so let’s break down the different Beatport options, both to see how they’ll impact music makers’ business – and whether they’re something you might want to use yourself.

Ce n’est pas un CDJ.

Beatport LINK – the beginner one

First, that consumer service – yeah, it’s fifteen bucks a month and includes the Beatport catalog. But it’s quality-limited and works only in the WeDJ app (and with the fairly toy-like new DDJ-200 controller, which I’ll look at separately).

Who’s it for? “The Beginner DJs that are just starting out will have millions of tracks to practice and play with,” says Heiko. “Previously, a lot of this market would have been lost to piracy. The bit rate is 128kbs AAC and is not meant for public performance.”

But us serious Beatport users might want to mess around with it, too – it’s a place you can audition new tracks for a fairly low monthly fee. “It’s like having a record shop in your home,” says Heiko.

Just don’t think Beatport are making this their new subscription offering. If you think fifteen bucks a month for everything Beatport is a terrible business idea, don’t worry – Beatport agree. “This is the first of our Beatport LINK products,” says Heiko. “This is not a ‘Spotify for dance music.’ It’s a streaming service for DJs and makes Beatport’s extensive electronic music catalog available to stream audio into the WeDJ app.” And yeah, Spotify want more money for that, which is good – because you want more money charged for that as a producer or label. But before we get to that, let’s talk about the locker, the other thing available now:

WeDJ – a mobile gateway drug for DJs, or so Pioneer hopes. (NI and Algoriddim did it first; let’s see who does it better.)

Beatport CLOUD – the locker/sync one

Okay, so streaming may be destroying music but … you’ve probably still sometimes wanted to have access to digital downloads you’ve bought without having to worry about hard drive management or drive and laptop failures. And there’s the “locker” concept.

Some folks will remember that Beatport bought the major “locker” service for digital music – when it acquired Pulselocker. [link to our friends at DJ TechTools]

Beatport CLOUD is the sync/locker making a comeback, with €/$ 4.99 a month fee and no obligation or contract. It’s also included free in LINK – so for me, for instance, since I hate promos and like to dig for my own music even as press and DJ, I’m seriously thinking of the fifteen bucks to get full streaming previews, mixing in WeDJ, and CLOUD.

There are some other features here, too:

Re-download anything, unlimited. I heard from a friend – let’s call him Pietro Kerning – that maybe a stupid amount of music he’d (uh, or “she’d”) bought on Beatport was now scattered across a random assortment of hard drives. I would never do such a thing, because I organize everything immaculately in all aspects of my life in a manner becoming a true professional, but now this “friend” will easily be able to grab music anywhere in the event of that last-minute DJ gig.

By the same token you can:

Filter all your existing music in a cloud library. Not that I need to, perfectly organized individual, but you slobs need this, of course.

Needle-drop full previews. Hear 120 seconds from anywhere in a track – for better informed purchases. (Frankly, this makes me calmer as a label owner, even – I would totally rather you hear more of our music.)

There should be some obvious bad news here – this only works with Beatport purchased music. You can’t upload music the way some sync/locker services have worked in the past. But I think given the current legal landscape, if you want that, set up your own backup server.

What I like about this, at least, is that this store isn’t losing stuff you’ve bought from them. I think other download sites should consider something similar. (Bandcamp does a nice job in this respect – and of course it’s the store I use the most when not using Beatport.)

The new Beatport cloud.

Beatport LINK Pro – what’s coming

There are very few cases where someone says, “hey, good news – this will be expensive.” But music right now is a special case. And it’s good news that Beatport is launching a more expensive service.

For labels and artists, it means a serious chance to stay alive. (I mean, even for a label doing a tiny amount of download sales, this can mean that little bit of cash to pay the mastering engineer and the person who did the design for the cover, or to host a showcase in your local club.)

For serious users using that service, it means a higher quality way of getting music than other subscription services – and that you support the people who make the music you love, so they keep using it.

Or, at least, that’s the hope.

What Beatport is offering at the “pro” tiers does more and costs more. Just like Pioneer doesn’t want you to stop buying CDJs just because they have a cheap controller and app, Beatport doesn’t want you to stop spending money for music just because they have a subscription for that controller and app. Heiko explains:

With the upcoming Pioneer rekordbox integration, Beatport will roll out two new plans – Beatport LINK Pro and Beatport LINK Pro+ – with an offline locker and 256kbps AAC audio quality (which is equivalent to 320kbps MP3, but you’re the expert here). This will be club ready, but will be aimed at DJs who take their laptops to clubs, for now. They will cost €39,99/month and €59,99/month depending on how many tracks you can put in the offline locker (50 and 100 respectively).

You’ll get streaming inside Rekordbox with the basic LINK, too – but only at 128k. So it’ll work for previewing and trying out mixes, but the idea is you’ll still pay more for higher quality. (And of course that also still means paying more to work with CDJs, which is also a big deal.)

And yeah, Beatport agree with me. “We think streaming for professional DJ use should be priced higher,” says Heiko. “And we also need to be sure that this is not biting into the indie labels and artists (and therefore also Beatport’s own) revenues,” he says.

What Heiko doesn’t say is that this could increase spending, but I think it actually could. Looking at my own purchase habits and talking to others, a lot of times you look back and spend $100 for a big gig, but then lapse a few months. A subscription fee might actually encourage you to spend more and keep your catalog up to date gig to gig.

It’s also fair to hope this could be good for under-the-radar labels and artists even relative to the status quo. If serious DJs are locked into subscription plans, they might well take a chance on lesser known labels and artists since they’re already paying. I don’t want to be overly optimistic, though – a lot of this will be down to how Beatport handles its editorial offerings and UX on the site as this subscription grows. That means it’s good someone like Heiko is handling relations, though, as I expect he’ll be hearing from us.

Really, one very plausible scenario is that streaming DJing doesn’t catch on initially because it’s more expensive – and people in the DJ world may stick to downloads. A lot of that in turn depends on things like how 5G rolls out worldwide (which right now involves a major battle between the US government and Chinese hardware vendor Huawei, among other things), plus how Pioneer deals with a “Streaming CDJ.”

The point is, you shouldn’t have to worry about any of that. And there’s no rush – smart companies like Beatport will charge sustainable amounts of money for subscriptions and move slowly. The thing to be afraid of is if Apple or Spotify rush out a DJ product and, like, destroy independent music. If they try it, we should fight back.

Will labels and artists benefit?

If it sounds like I’m trying to be a cheerleader for Beatport, I’m really not. If you look at the top charts in genres, a lot of Beatport is, frankly, dreck – even with great editorial teams trying to guide consumers to good stuff. And centralization in general has a poor track record when it comes to underground music.

No, what I am biased toward is products that are real, shipping, and based on serious economics. So much as I’m interested in radical ideas for decentralizing music distribution, I think those services have yet to prove their feasibility.

And I think it’s fair to give Beatport some credit for being a business that’s real, based on actual revenue that’s shared between labels and artists. It may mean little to your speedcore goth neo-Baroque label (BLACK HYPERACID LEIPZIG INDUSTRIES, obviously – please let’s make that). But Beatport really is a cornerstone for a lot of the people making dance music now, on a unique scale.

The vision for LINK seems to be solid when it comes to revenue. Heiko again:

LINK will provide an additional revenue source to the labels and artists. The people who are buying downloads on Beatport are doing so because they want to DJ/perform with them. LINK is not there to replace that.

But I think for the reason I’ve already repeated – that the “serious” and “amateur”/wedding/beginner DJ gulf is real and not just a thing snobs talk about – LINK and WeDJ probably won’t disrupt label business, even that much to the positive. Look ahead to Rekordbox integration and the higher tiers. And yeah, I’m happy to spend the money, because I never get tired of listening to music – really.

And what if you don’t like this? Talk to your label and distributor. And really, you should be doing that anyway. Heiko explains:

Unlike other DSP’s, Beatport LINK has been conceived and developed in close cooperation with the labels and distributors on Beatport. Over the past year, new contracts were signed and all music used for LINK has been licensed by the right holders. However, if labels whose distributors have signed the new contract don’t want their catalog to be available for LINK they can opt out. But again: LINK is meant to provide an additional revenue source to the labels and artists.

Have a good weekend, and let us know if you have questions or comments. I’ll be looking at this for sure, as I think there isn’t enough perspective coming from serious producers who care about the details of technology.

https://www.beatport.com/get-link

The post No, Beatport’s subscription will not kill music – here’s how it really works appeared first on CDM Create Digital Music.

Your music software goes modular: builder-friendly Bitwig 3 beta is here

Delivered... Peter Kirn | Scene | Fri 10 May 2019 11:14 pm

It may have been in the temple of wires and racks, but Berlin’s Bitwig chose this weekend’s Superbooth to launch a public beta of their all-modular DAW, Bitwig Studio 3. It lets you wire together with hardware, or just inside software, or as a combination.

It’s called The Grid – and it’s all about patching inside your music workflow, so you can construct stuff you want instead of dialing up big monolithic tools and presets. And that sounds great to builders, I’m sure.

Going modular was really the promise of Bitwig Studio from the start – something to rocket the software from “oh, hey, I can run something kinda like Ableton on Linux” to … “wow, this is something really special.”

The idea is, get a music making tool that not only behaves like a set of tracks and channels, or a bank of patterns and samples, and more like a toybox that lets you built whatever you want from various blocks. And before anyone tries to launch another of those “hardware versus software” debates (yawn), a friendly reminder that computers used a modular generator model for digital audio in the late 1950s – years before any recognizable hardware modular was even a thing. (Okay, granted, you needed a stack of punch cards and access to an IBM mainframe or two and the user base was something like ‘people who happen to know Max Mathews,’ but still…)

Bitwig Studio 3 is in beta now, so you can toy around with it and see what you think. (Bitwig are very clear about not putting important projects in there.)

I wrote about this at the start of this year.

Bitwig Studio is about to deliver on a fully modular core in a DAW

But now there’s a friendly video to walk you through how it all works:

Basically, think friendly musical blocks for pattern and timbre, pre-cords so things are patched easily, and powerful features with phase.

With Beta 1, we also see some specifics – you can produce your own stereo synths and effects with the two Grid devices:

Patching may be a nerdy endeavor, but Bitwig’s design makes it much friendlier – and there’s already great tutorial documentation even in the beta.

Poly Grid: “for creating synthesizers, sequenced patches (like a beatbox), droning sounds, etc.”

FX Grid for effects

Signal/modulation I/O – including pressure, CV (like from hardware)

Visualization (labels, VU, readouts)

Phase – loads of stuff here, as promised: Phasor, Ø Bend, Ø Reset, Ø Scaler, Ø Reverse, Ø Wrap, Ø Counter, Ø Formant, Ø Lag, Ø Mirror, Ø Shift, Ø Sinemod, Ø Skew, Ø Sync

Oscillators (including Swarm, Sampler)

Random

LFO

Envelope / follower

Shaper (ooh, Chebyshev, Distortion, Quantizer, Rectifier, Wavefolder)

Filter (Low-pass LD, Low-pass SK, SVF, High-pass, Low-pass, Comb)

Delay types – need to dig into these; they look promising

Mix – Blend, Mixer, LR Mix, Select, Toggle, Merge, Split, Stereo Merge, Stereo Split, Stereo Width

Level – Level, Value, Attenuate, Bias, Drive, Gain, AM/RM, Average, Bend, Clip, Hold, Lag, Sample / Hold, Level Scaler, Bi→Uni, Uni→Bi

Pitch scalers and tools

Math operators

Logic operators

— all in all, it’s a really nice selection of tools, and a balance of low-level signal tools/operators and easy convenience tools that are higher level. And it’s also not an overwhelming number – which is good; it’s clear this should be its own tool and not try to replicate the likes of Max, SuperCollider, and Reaktor.

More improvements

Also in this build:

Reworked audio backends for every OS (good)

UI overhaul

Ableton Link 3 support with transport start/stop sync

And – a little thing, but you can view the timeline with actual time (minutes, ms) …

More on this soon.

Beta users will find a really nice, complete tutorial so – you can start practicing building. Have fun!

BITWIG STUDIO 3: NOW IN BETA

The post Your music software goes modular: builder-friendly Bitwig 3 beta is here appeared first on CDM Create Digital Music.

Next Page »
TunePlus Wordpress Theme