Jan
22
2009
0

Max for Live

This video shows how Max has been integrated into Live 8, and as with most demoes it makes it all look so easy, but the two questions I have are:

1. What are the ongoing stability issues – I have used Pluggos and Max/MSP/Jitter for a bunch of years, and issues can easily arise with keeping plugins developed in Max stable as the host program development progresses… for example Pluggo no longer works in ProTools 7.4 and maybe now we know why; Cycling 74 have been too busy working on integration to another platform, namely ableton LIVE… If things get wiggy with Ableton, their tech support can always say: “please do not use that pluggo you developed etc” but if you have already become dependant on it in a piece of music that isnt the solution you want to hear…

2. Quick someone, develop a 5.1 panning/routing system in Max for Live.

I am sure the advantages far outweigh any concerns. Ableton LIVE has always been a very stable platform with a huge, very active userbase & inevitably there will be a huge growth in the number of people using Max solely due to this development. Even people who say ‘huh? I dont get it/want it’ might well change their minds when someone develops a pluggo for Max for LIVE that they simply need. For me it will first be that 5.1 panner, for some a step sequencer or maybe seamless integration of a new hardware/controller…

Just because you can program with Max for LIVE does not mean you will have to. The same is true of Reaktor & I would suspect a significant part of the market for Reaktor never unlock & edit an ensemble ever, let alone make their own from scratch.

Written by in: SOUND DESIGN: | Tags: |
Jan
20
2009
2

Sub Boom Bass plug

Came across this intriguing Rob Papen plugin on KVR here – keen as hell to check this out…. my neighbours on the otherhand….

click image for larger version…

Written by in: SOUND DESIGN: | Tags: , |
Jan
17
2009
1

Volta

Its very interesting how of all the major companies hyping their products at NAMM, that a little plugin should come along & steal their thunder!

 

 

CDM has a good explanation of it here, so I wont go on about it too much here, other than to say I might just have to remove a few output capacitors from one of my 002s so i can use VOLTA to generate control voltages for my modular synth, check out this video by the plugins author, stretta


Volta First Look from stretta on Vimeo.

Written by in: SOUND DESIGN: | Tags: , , , |
Jan
15
2009
0

Free Piano

No, not some old clunker, good only for kindling but a multi sampled Yamaha C7 Grand Piano by Sonart Audio. The 1.67 Gb 24-bit sample library is available in 7 different formats (EXS24, Kontakt 2.1, Kontakt 1.5, Giga 2, Giga 3, Halion and Wav) & has 20 velocities for 40 seconds plus release and noise layers. Get it here – for free!

CL7

Written by in: SOUND DESIGN: | Tags: , |
Jan
15
2009
0

Online Music Mixing

I am going to state one of my New Year resolutions here, just so its on the record:

I WILL RELEASE MUSIC IN 2009!
In my ‘spare’ time (ie when not working on films or sleeping) I make music via two seperate approaches – one half is beatless textural music (the kind of music to fall asleep to) while the other half is head nodding slow tempo electronic dub… I have at times attempted to totally merge the two styles but was never happy with the results. I think the source of this disatisfaction comes from the fact that when I feel inspired to make music I choose which of the two styles to mess with based on my mood, energy etc.. just as when choosing music to listen to sometimes I dont want to hear beats & other times I do…

Some of the beatless music I make does have an overlap with my film sound design work, in that when a film/scene requires tonal or semi-musical elements I am more than happy to spend time generating material & some of the most successful occurrences of this have occurred when it is in direct collaboration with the composer on the film. This may mean accessing their recordings, or working alongside temp versions of their music cues, and sometimes it occurs via pure accident. Harmonically the latter has occurred with one NZ composer (Victoria Kelly) who I have worked with on three for four projects now. We both created harmonic material for a scene independently & when we had a run through to see how our material was working in context, we discovered we were working in the same key ie my FX and sound design was in tune with her score! A few years ago I wrote an article about this very phenomena – a PDF of which is here – and as Victoria is scoring Under The Mountain & recording with the NZ Symphony Orchestra I am hugely looking forward to exploring this territory further…

So apart from releasing some of my music via the usual means (ie MP3) I have ambitions to also release it in quad or 5.1 formats as well as in some kind of interactive online medium. Accordingly I keep an eye out for any new formats or online platforms that I can either use directly or as an influence… And the best example I have found so far is this one:

Go here to try it yourself, but basically it works like this: each turntable (usually there are 12) is the source of a single sound. If you click the turntable it plays once & stops. If you click the + button Y times before you set it playing, it will loop the sound Y times. The X button sets the loop count to 500. The vertical fader equals volume & the horizontal fader equals pan. Simple huh? But hugely effective, just go try it! and what really intrigues me is imagine if the first time you heard a piece of music was via this means ie as constituent elements… there is no way to play all the elements in sync together at once, so you are forced to ‘compose’ your own version of it… The examples on that site tend to be of a similar musical style, but that doesnt preclude other styles of music or sounds being used…

Oh and credit where credits due! The Loopz site & format/medium was created by French musician & programmer Robert Massé (aka: Batchas / Freq63 / Mydaüs / Trebor Semas / Microscope) and the Loopz site also has some other interesting interactive music mixing formats eg Points – discovering the means of control with each interface is part of the fun so I wont explain how to tweak this one:

For many developers the immediate inclination of the feature set of such things is to do more & more, whereas I think the limits are very important and its why I like the Loopz format so much. Sure you could add pitch control and some FX (delay etc) but the CPU/streaming overhead & potential audio quality compromise makes it less attractive but creatively it also then starts to become more about making entirely new music. The appeal for me is to be able to explore the elements the composer has provided – almost so the composer fills two roles: one of making the music & the other of curating & presenting the elements so the intent is maintained…

If you know of other interesting means of presenting music online in an interactive format, please do let me know via the comments…

Written by in: SOUND DESIGN: | Tags: , |
Page 1 of 212