Continuity by stretta
New modular track.
Wednesday, September 21, 2011
Practical Max 2
A tour of beat factory
beat factory can be downloaded here
Some information on how pattr can be used to morph sets of parameters.
beat factory can be downloaded here
Some information on how pattr can be used to morph sets of parameters.
Saturday, August 13, 2011
moving
I get far better engagement on google plus, and much of my effort that would have been posted here is going in that direction. The only thing this blog allows me to do is interleave content and widgets with text. So, if I absolutely HAVE to tell something in that format, I'll do it here, but if you haven't done so already, I suggest you follow me at google+.
Here is an RSS feed of my google+
feed://plusfeed.appspot.com/101287835307087762724
Here is an RSS feed of my google+
feed://plusfeed.appspot.com/101287835307087762724
Friday, July 22, 2011
morphing control voltage snapshots
mcvs is a 12 output cv source for use with DC coupled audio interfaces. You can define up to eight snapshots per output. Then, with a single MIDI controller (or using the on screen control) you can recall the snapshots or interpolate between them. I made this to give my Cwejman Res-4 the brains to perform a similar function as the Buchla 291e Triple Morphing Filter.
download the patch
download the patch
Thursday, July 21, 2011
practical max episode 1
Cycling 74 debuts a new video series in which I demonstrate some practical uses of Max and share the patches I make. In this first episode, I'm exploring what can be done with some inexpensive piezo mic elements and Tristan Jehan's analyzer~ external. But really, I'm just having an embarrassing amount of fun.
The patch and more information can be found here.
The patch and more information can be found here.
Friday, July 8, 2011
Making music is a process
People seem to spend a lot of time making one synthesizer sound like another synthesizer. While I believe there is some value to be had from comparison videos such as these, I feel the conclusions that are implied overreach. You're supposed to come away thinking that if a virtual instrument can replicate the sound of an expensive vintage piece of gear, then that piece of gear is unnecessary.
It being 2011 and all, I'd kind of expect that we'd be able to emulate a fairly simple subtractive synthesis architecture with a reasonable degree of accuracy. In fact, given enough time and effort, a reasonable emulation of [x] using any number of modern tools could be achieved. That's the point of a dedicated emulation, to make your life easier, to save you time and effort.
While the success on sound accuracy is debatable (and a waste of effort, IMO), the argument places all its emphasis on the end point.
There are two debates conflated into one, and that is the problem. On the surface, they ask, can you hear the difference between a simulation and the actual. A valid question, but this is only one of many aspects of that tool in use, and doesn't tell the whole story of utility, yet many people believe it is the only one that matters.
What is your goal? If your goal is to closely replicate the sound of a Prophet-5 preset inexpensively, I'd imagine the Arturia Prophet V (or others like it) to be a useful product.
I suspect though, the real goal for many customers is music creation. There is a huge difference between recreating something that already exists and the process of original creation. I don't personally care how accurate a simulation is. The only thing I care about is if the tool is useful to me.
…and there is nothing that can be done with a sampler that can't be done by editing little bits of tape together.
Making music is a process. How well you relate to your tools has an enormous impact on the success of achieving your goals. If you look at the endpoint only and ignore the process, you're depriving yourself of an vital component of the act of creation.
It being 2011 and all, I'd kind of expect that we'd be able to emulate a fairly simple subtractive synthesis architecture with a reasonable degree of accuracy. In fact, given enough time and effort, a reasonable emulation of [x] using any number of modern tools could be achieved. That's the point of a dedicated emulation, to make your life easier, to save you time and effort.
While the success on sound accuracy is debatable (and a waste of effort, IMO), the argument places all its emphasis on the end point.
There are two debates conflated into one, and that is the problem. On the surface, they ask, can you hear the difference between a simulation and the actual. A valid question, but this is only one of many aspects of that tool in use, and doesn't tell the whole story of utility, yet many people believe it is the only one that matters.
Thankfully, the modular synth won't challenge/response my ass every time I want to move it to a new room ;)less than a minute ago via TweetDeck 
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Nickstutorials.com
AbletonTutor
What is your goal? If your goal is to closely replicate the sound of a Prophet-5 preset inexpensively, I'd imagine the Arturia Prophet V (or others like it) to be a useful product.
I suspect though, the real goal for many customers is music creation. There is a huge difference between recreating something that already exists and the process of original creation. I don't personally care how accurate a simulation is. The only thing I care about is if the tool is useful to me.
I'm looking at all these demos of the monome, but I'm yet to see it do something I can't already do. Why bother getting one? I don't get it.less than a minute ago via web Favorite Retweet Reply
Rosalind Chia
TheChiaChia
#conclusion You monome people are really weird.less than a minute ago via web Favorite Retweet ReplyRosalind Chia
TheChiaChia
…and there is nothing that can be done with a sampler that can't be done by editing little bits of tape together.
Making music is a process. How well you relate to your tools has an enormous impact on the success of achieving your goals. If you look at the endpoint only and ignore the process, you're depriving yourself of an vital component of the act of creation.
Tuesday, July 5, 2011
We're going to need more patch cords...
I've been slowly building my modular over the last 10 years or so. It started with a 6U Doepfer Basic System I bought used from Germany, with the details of the transaction hashed out via bablefish. Back then, the euro format was supported by three small companies and their presence in the United States was minimal at best. But interest in analog hardware was growing, driven by a new generation of synthesizer enthusiasts, who were rediscovering the lost joy of manipulating sound with physical controls.
At the time, only vintage hardware featured knobs that directly manipulated the sound. All modern instruments were programmed via an LCD menu system. The market for vintage instruments exploded and analog synthesizers became scarce. People discovered these primitive instruments offered a fairly limiting palette of sounds and, for those who sought a combination of hands on control and open ended signal and control path flexibility, modular synthesizers were where it was at. However, modular synthesizers in working condition were scarcest of all, with systems fetching many thousands of dollars. It was under these conditions that a market arose for a new generation of modular synthesizer.
Over the years, my collection of external synthesizer synthesizer hardware like the Roland JV-1080 dwindled and my resources were redirected into my fledgling euro modular. I expanded out of my rack mount chassis to a Doepfer monster case, which I liked tremendously because it consolidated my system into one space. I added a monster base, which gave me more room, but somehow took something away from the integration. Eventually, I outgrew that too. A module at a time over many years will do that. It isn't as though I never sold any modules, either. I'm not sure how much of my original basic system remains.
Today, my modular contains modules from Doepfer, TipTop, The Harvestman, WMD, Make Noise, Analogue Systems, Cwejman, Plan B, Malekko, Elby, Livewire. 4MS, Intellijel, and Analogue Solutions.
I've loved synthesizers since I was very young, but no single synthesizer has held my interest for this long. This is because the synthesizer itself evolves, and I can direct the upgrades and the addition of new functions. A new module doesn't simply add a single function, it changes what I can do with the modules I already have; the interaction is new, refreshing the possibilities of the entire system.
Last year, unsatisfied with the ergonomics of my off-the-shelf enclosures, I asked my brother to design and build a custom case for my modular. My work is entirely in the studio, so portability wasn't a concern, and, I can barely lift a monster case anyway. After many months of painstaking work under very tight tolerances, this is the result.
The basic criteria was to widen the six row monster base/monster case combination another rack width, creating a triple-wide configuration that is easy to reach across. The width of such a configuration is about the same a standard piano keyboard. The curved design brings the top row dow to a more reachable height. The foot print of the system isn't much wider than my previous configuration.
Additional improvements
• Front panel power switch
• Three slide out shelves
• TipTop Zeus power system provides native Analogue Systems power connections and additional fault tolerance. Amazingly, all driven from a tiny power brick. No more huge transformers. I can't say enough good things about this.
• Integrated LED lighting system with dimmer
• The entire unit is height adjustable
• Integrated cable tree doesn't take up any floor space and can be positioned on either side of the modular.
• Way more stable than previous system. The modular doesn't bounce or wobble when I patch
The triple wide boats provide additional flexibility in arranging my modules, for example, I've never been able to have my A-154 and two A-155 sequencers all in a row next to each other. In fact, the most populated row is the sequencer/logic/clocking row. It is very helpful to have all these modules grouped together.
In addition to designing and building the system, my brother and his wife drove up from Texas to personally deliver it. It is impossible to express how thankful I am that they were able to do all this. I hope you're able to appreciate the level of craftsmanship from these pictures. More setup photos at my flickr.
Some of you may be wondering what this thing sounds like. Please check out my all modular release, A Funneled Stone which was created with this exact collection of modules (with the exception of the RS-370 which I was finally able to place in the system). Now that I have my new modular system in place, I plan to embark on a follow up.
Oh, and what do you do with the leftover pieces of wood? You build a micro trebuchet, because that's how my family rolls.
I'm sure my brother will be reading the comments here, so let him know what you think of his work.
EDIT: 1512 around the web
muffwiggler
flickr
make
trash audio
matrixsynth
monome
reddit
At the time, only vintage hardware featured knobs that directly manipulated the sound. All modern instruments were programmed via an LCD menu system. The market for vintage instruments exploded and analog synthesizers became scarce. People discovered these primitive instruments offered a fairly limiting palette of sounds and, for those who sought a combination of hands on control and open ended signal and control path flexibility, modular synthesizers were where it was at. However, modular synthesizers in working condition were scarcest of all, with systems fetching many thousands of dollars. It was under these conditions that a market arose for a new generation of modular synthesizer.
Over the years, my collection of external synthesizer synthesizer hardware like the Roland JV-1080 dwindled and my resources were redirected into my fledgling euro modular. I expanded out of my rack mount chassis to a Doepfer monster case, which I liked tremendously because it consolidated my system into one space. I added a monster base, which gave me more room, but somehow took something away from the integration. Eventually, I outgrew that too. A module at a time over many years will do that. It isn't as though I never sold any modules, either. I'm not sure how much of my original basic system remains.
Today, my modular contains modules from Doepfer, TipTop, The Harvestman, WMD, Make Noise, Analogue Systems, Cwejman, Plan B, Malekko, Elby, Livewire. 4MS, Intellijel, and Analogue Solutions.
I've loved synthesizers since I was very young, but no single synthesizer has held my interest for this long. This is because the synthesizer itself evolves, and I can direct the upgrades and the addition of new functions. A new module doesn't simply add a single function, it changes what I can do with the modules I already have; the interaction is new, refreshing the possibilities of the entire system.
Last year, unsatisfied with the ergonomics of my off-the-shelf enclosures, I asked my brother to design and build a custom case for my modular. My work is entirely in the studio, so portability wasn't a concern, and, I can barely lift a monster case anyway. After many months of painstaking work under very tight tolerances, this is the result.
The basic criteria was to widen the six row monster base/monster case combination another rack width, creating a triple-wide configuration that is easy to reach across. The width of such a configuration is about the same a standard piano keyboard. The curved design brings the top row dow to a more reachable height. The foot print of the system isn't much wider than my previous configuration.
Additional improvements
• Front panel power switch
• Three slide out shelves
• TipTop Zeus power system provides native Analogue Systems power connections and additional fault tolerance. Amazingly, all driven from a tiny power brick. No more huge transformers. I can't say enough good things about this.
• Integrated LED lighting system with dimmer
• The entire unit is height adjustable
• Integrated cable tree doesn't take up any floor space and can be positioned on either side of the modular.
• Way more stable than previous system. The modular doesn't bounce or wobble when I patch
The triple wide boats provide additional flexibility in arranging my modules, for example, I've never been able to have my A-154 and two A-155 sequencers all in a row next to each other. In fact, the most populated row is the sequencer/logic/clocking row. It is very helpful to have all these modules grouped together.
In addition to designing and building the system, my brother and his wife drove up from Texas to personally deliver it. It is impossible to express how thankful I am that they were able to do all this. I hope you're able to appreciate the level of craftsmanship from these pictures. More setup photos at my flickr.
Some of you may be wondering what this thing sounds like. Please check out my all modular release, A Funneled Stone which was created with this exact collection of modules (with the exception of the RS-370 which I was finally able to place in the system). Now that I have my new modular system in place, I plan to embark on a follow up.
Oh, and what do you do with the leftover pieces of wood? You build a micro trebuchet, because that's how my family rolls.
I'm sure my brother will be reading the comments here, so let him know what you think of his work.
EDIT: 1512 around the web
muffwiggler
flickr
make
trash audio
matrixsynth
monome
Saturday, July 2, 2011
portamentos
The arc and grid make ideal companions. The grid is discrete, with edges, the arc is infinite, borderless. They complement each other beautifully. The grid is good at things the arc is poor at and vice versa. The grid buttons make dealing with high resolution data problematic. One technique I wanted to explore with the pair was to abstract high resolution data onto the grid.
Portamentos does just that. The grid displays several parameters (pitch, amplitude level, attack, decay, portamento time and filter cutoff) per step. Instead of using the grid to enter in data, which would be fairly coarse, the grid is used to indicate parameter value and to select which parameter and step is in focus. The parameter value is abstracted twice, both on the grid and arc ring. Once any parameter is selected on the grid, the value for all visible steps are displayed.
download here
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