Here’s the release version of Loupe 1.5, with some added features, bugfixes, and a new layout for TouchOSC.

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I was experimenting with TouchOSC‘s new MIDI capabilities and created this layout:

There are four octaves of keys – it was a bit of a pain to go to one after another and adjust the pitches so I figured I’d share the fruits of my labor. The other controls are just X, Y and XY slider controls that send MIDI CC messages. They’re arranged in a “well, let’s use up this space and see what happens” pattern. I figure I’ll fine tune it after playing it for a while.

Download it here.

Because someone asked on a forum, I decided to write a quick note on how to set up the ports and addresses for Reaktor, Konkreet Performer and TouchOSC.

First, get Reaktor set up. This is straightforward:
This is generally as simple as activating Reaktor to receive OSC. Don’t worry about the outgoing OSC setup for now – the goal is to get Reaktor listening. Take note of the IP address and “local port”.
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It’s always been a sore point for me that Reaktor can only receive OSC messages when running stand-alone. Open it as a plugin in a host and the OSC support disappears. Now I can balm my angst somewhat with the latest release of TouchOSC which can  send both OSC and standard MIDI signals.

Feast your eyes on the new editor:

See that new ‘MIDI” tab on the left? Ooooooooooo!

This means I can now use the same interface to control an instrument whether it’s running standalone or in a host. Granted the resolution of MIDI is lower than OSC among other drawbacks, but I’d be using MIDI anyways in a host, and have to break out a box of knobs and get used to a different control surface to use the same instrument. This is definitely an improvement! Not to mention all the other neat tools and toys that I can now address directly with TouchOSC.

Get the 1.7 update in the app store and download the new 1.5 editor version here.

I’ve added some enhancements and fixed some bugs.

• Most notably, there is now a key/slice copy and paste function. If you want to start with a key/slice, copy it to a new key and modify it, here’s what you do: press the key (middle C for example) that contains the settings you want to copy, click the copy button, then press the destination key (C sharp for example) and click the paste button. Then you can make the new copy as subtly or vastly different as you please.
• I’ve nailed down a crash problem that some of you may have been encountering when playing different slices very quickly from a MIDI keyboard (or the computer keyboard for that matter).
• All the parameter IDs have been sorted and compressed to aid VST automation in a host.

The 1.5 beta can be downloaded here. The archive password you received previously will work with this new version. 1.5 should work perfectly but I’m calling it a beta until more people than me have tested it!

For more information and to purchase, click here.

After a few too many pan galactic gargle blasters it’s time to dig out the ol’ Arcturan UltraTheremin and rock out on Squornshellous Zeta until you pass out on a living mattress.

I built this as a learning project to figure out how to map Konkreet Performer’s nodes to voices in Reaktor. If you’re interested, you can download here – you’ll need an iPad and Konkreet Performer to really make use of it. (It also works with TouchOSC – layout included in download – if you don’t mind a slightly less freakish playing experience)

Here’s how it works – set Konkreet up with three nodes and a ribbon. The three nodes control pitch and intensity. Angle from left to right is mapped to pitch, and proximity to the center node controls vibrato depth, rate and filter resonance. As pitch increases, the filter cutoff and pulsewidth also change.

The ribbon at the bottom controls voice fanning – in the center position, all voices are centered. At left and right, the voices fan out so that voices one and three are panned out left and right, respectively. Try it and you’ll see how it works.

There’s also a pitch correction macro so you can select a key and scale type to play in tune with a track. Enjoy, and link me up if you make some interesting noise with it.

And you probably thought the polyphonic theremin was a joke!

BTW, if you’re interested in using Reaktor with this kind of touch surface, please vote on my poll at Reaktor Tips.

Any sound generator in Reaktor can be modified to give MIDI note control over the output level. Here’s how to do it in Spacedrone:

Easy peasy. An ADSR envelope multiplies the signal going to the output. You can also use a selective note gate module instead of a vanilla gate module so only one specific note will trigger output. Adjust the attack, decay, sustain and release to taste.

Download the modded ensemble here.

If you’re looking for an interesting way to manipulate recorded samples of Spacedrone or other audio material, try my sampler pack.

UPDATE: added pitch control too. It doesn’t work the way a normal synth would because the pitches of individual voices have a random factor but you can control the range.

I recently released an updated version of my ParamDrum 3 instrument. I liked the new features and wanted to get it out to people but had some misgivings about the quality of the sample maps and sequences I’d created for it. To be blunt, they were boring… or worse. They say hindsight is 20/20 but sometimes it’s more like waking up with a hangover. If I woke up with my arm under those beats I’d chew it off to get away.

Today I went back to the sample maps that I used in the original ParamDrum, which were taken from the Reaktor factory library instrument Massive. Within minutes, I made a groove and some variations that I was quite pleased with:

Hear how that has a certain… slinkiness? That’s what I’m after. But it just won’t come unless I’m inspired… with the wrong samples it’s like trying to french kiss a cinderblock.

I learned two lessons from this. Number one, trust your instincts – if you think something sucks, chances are there’s a reason for that – modesty isn’t always false. Number two, sample based music is nothing without good samples, and working with bad samples, or samples that just aren’t scratching your itch, is a recipe for tedium.

My next move, drum-wise, is to devise a good way of creating one-shots that aspire to the fun factor of the Massive sample maps. I was working in Maschine last night, importing and slicing field recordings and applying effects, and that looks to me like a decent approach to creating one-shots with zing. What I’m doing now is creating variations on a sample with automation in Maschine, then exporting, then slicing the file into one-shots in Reaper – which has superb beat detection and slicing built right in.

But you, dear reader, probably have some techniques of your own for creating one-shots and I’d like to hear what they are. Do you have favorite effects or effects chains to apply to percussive samples? The wilder the better. Convolution, layering, bitcrushing, flanging? Share if you’re willing.

ParamDrum 3 has arrived.

ParamDrum is a fun and fast way to create unique sounding beats in Reaktor. It’s based on three granular samplers with built in parameter automation and variable length and speed step sequencers. The value of a step gives the probability that the step will trigger as the sequence plays, creating endless variations.

The third edition adds several carefully selected refinements.

• All recordable parameters are now mouse-automatable by clicking and dragging on the indicator, perfect for when you’re stuck with a laptop but no MIDI controller.
• The GUI now matches Frame, Loupe and Mirage with a clearer layout that is easier on the eyes.
• Smooth and swing are now static parameters, making room for envelope decay and sample start as recordable parameters. Try modulating sample start with a melodic sample to build the foundation of a track right in ParamDrum.
• A “Max Vel” switch for each sampler allows full velocity for each step, so step value affects only probability.
• A virtual analogue “sub” kick unit has been added for layering a little extra earthquake with your sampled kicks.

Aside from these improvements the rest of the instrument will be familiar to previous users and retains the ultra fast and fun workflow of earlier editions. The PDF manual still applies, and new users are also advised to watch this video to get an overview of the instrument:

(Yes, I know, the video features an older version – new screencast coming soon!)

ParamDrum 3 is a free upgrade for anyone who’s already purchased a license and can be downloaded here.

If you don’t already have ParamDrum, what are you waiting for? It’s 15 bucks and you can get a license here:

ParamDrum

Requirements: A computer capable of running Reaktor 5.5. ParamDrum is extremely CPU efficient and unless your computer was hewn from flint by neanderthals you should be more than fine. It takes 2.7% CPU on my 2009 3gHz iMac.

Mac users take note: I now recommend SimplyRar for unarchiving password prrotected RAR archives on OS X. Newer versions of The Unarchiver sometimes give error messages when dealing with password protected RAR files.

I’m pleased to release three new granular sampling instruments for Reaktor: Frame 2, Loupe and Mirage.

Each one has its own character and purpose. Frame 2 is a simple looping sampler designed for live control of loop points and other parameters. Here’s the cheat sheet:

Frame is free and you can download it here. This is an update to the original Frame – it adds a nicer GUI, clearer graphical start and end points on the waveform, and some small under the hood enhancements. Here’s a bit of improv to hear how it sounds:

Peter Dines Sampler Pack – Frame 2 by peterdines

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