kunoichi's Recent Posts
Hey Randy, wow… that really is crazy amazing news and really excited to hear that! I’ve been researching Dolby ATMOS recently (and all related channel associated immersive workflows) but I never anticipated that for Aalto 2! That’s really next level and opens up some wild performance and sound design possibilities - so many thanks for that intriguing insight! :)
Hey Randy, I love the new photo’s on the website! They capture the essence of peacefulness and being lost in sound/nature… (and naturally being a nature lover and often going for sound walks in the wilderness this was instantly appreciated)! Inspiring locations too (wonderful Loci to make mobile electronic music) …also great colors, textures and forms that help capture the unique GUI/qualities of the software tools they represent!
Anyway, I just had a tiny question about the recent newsletter regarding Aalto V.2! When you mention a “…quad version…” as a feature; do you mean Quadrophonic? Being a nerd I’ve read through all the documentation for Aalto, Kaivo and Sumu and I remember somewhere that you might have mentioned it was your future wish to implement the ability to output quadrophonic sound as an option (but I think it was in the context of Sumu when you were discussing the Anechoic chamber)? Forgive me if it was just my mind playing tricks on me (after all, Loki is the Norse god of trickery… and I did inadvertently mention the Deity’s namesake)… lol :)
Thanks Randy, that’s awesome! Wow it’s wonderful that the amplitude and frequency resolution is maxed out for Kaivo’s impulse/exciter signal path! That’s really good to know and interesting as I would imagine that makes a significant difference to Kaivo’s sensory interpretation and response.
Near the end of the era of Akai’s Grey Box hardware sampler world domination I managed to grab a brand new unused Akai Z4 from New York for a fraction of its cost in the UK (it had been purchased for an act on something like the Larry King Show but unused and sold on by the network to moi) and even though we’re stupidly spoiled with software sampling reaching resolutions above the stratosphere now, at the time it was incredible to experience how the definition is retained at 96 KHz as you stretched, shifted and pushed a sample around the audio spectrum!
I can imagine those wonderful rich exuberant frequencies doing wild things to excite the resonator and I will take full advantage of that now with future sampling endeavours! Also 4 layers is awesome, for example I have this lush Spitfire Audio sample library (Violin/Cello @ Studio One, Abbey Road) which uses equal layering and it’s gorgeous and dynamic so clearly there’s so much that can be done with the Granulator (not to mention along with everything else Kaivo provides bedsides it) …I can’t wait!
Many thanks for the additional information anyway and you only have to play around on Kaivo (or Sumu or Aalto) to see how much thought and care has gone it their design. I love them all! It’s just crazy with these wild modular synths as you’re essentially building micro sonic worlds within worlds, and cultivating the Biome round your own sonic curiosities! In this sense modular synthesis is like a kind of sonic Minecraft for audio fiends! :)
Hi I'm kinda new to Modular so still getting used to thinking in terms of CV (as opposed to MIDI per se), but I'm just in the midst of creating a bespoke Dulcimer Patch for Kaivo as a creative project and kinda confused by a patching result that should be straight forward Math but it's producing an unexpected response I can't figure! Its nothing exotic but a little goofy still!
KAIVO-->ENVELOPE 1-->RELEASE
With Release set to 0.01, it's patch input wheel set to Positive MAX, then both MOD and VEL patched to it, I'm observing the following incoherent result when used independently (and together):
Mod Wheel-->Alone
Release Dial Window shows a value of vertical (@127:MIDI)
Velocity-->Alone
Release Dial Window shows a value of vertical (@127:MIDI)
Mod Wheel-->AND-->Velocity
Release Dial Window shows a value of slightly over vertical (@255:MIDI)
Expected Result:
The Release Dial Window should show a value of MAXED (@255:MIDI) as you would assume this would translate to basic Addition and subsequently result in a full Voltage; or there about, but instead its kinda spurious. Its not an exotic dial (just Unipolar) and both MOD and VEL simply output 0-127.
I've checked the Manual, it only mentions ENVELOPE 1-->ATTACK/DECAY using Logarithmic Curves (but nothing is said about 'Release') so I assume its linear?
I took a bunch of screen shots to illustrate this but I didn't realize you can't upload images here (only refer to them). However, it should be clear enough (hopefully)! I'm sure there's a simple explanation, but my limited Artists knowledge of Math/CV can't solve for this (seems like Fuzzy Logic) but perhaps it's a secret esoteric Modular thingy which I've not leveled up enough yet to fully comprehend! As such, any advice is appreciated! :)
[NOTE*]-----------------------------------------------------------------------------------------------
Also, I just wanted to add (in the absence of a cohesive screenshot) that ENVELOPE 1-->ATTACK-->DECAY are set at 0.001 and 0.01 respectively, and its likely that these have a bearing upon the aforementioned behavior (as they're essentially off). However, seemingly the value of RELEASE is still observably the same +/- and irrational (or non-linear rather) but this might just be to do with the ADSR modelling algorithms intended behavior!
Fortunately, I managed to achieve exactly what I wanted to anyway (by allowing ENVELOPES 1+2 to work together in harmony)! It's so awesome having 2 'reactive' envelopes, and just so loving this synth - incredible!
Hey Randy, thank you for verifying that and my apologies as I really should have realized that before posting but I’ve been experimenting with some exotic routing (well... exotic for moi at least lol :P) so I guess it is easy to overthink it and miss the obvious things when your minds with the fairies!
I realized that in essence the Kaivo Granulator can be treated like a form of ‘multi-sample’ ROMpler as you can import multiple levels of velocity (or Timbrel changes) for an instrument then simply patch Kaivo to switch between the individual sample layers via velocity or expression etc.
I’m not entirely sure how many sample layers you can import though? However as I understand it ‘Wav’ files can have an arbitrary amount of layers in theory but there is no direct mention of this in the Kaivo PDF documentation (e.g. or bit size, resolution, whether Kaivo down-samples it anyway)? As such, any further insight would be very much appreciated!
Kaivo's default library provides example's that utilize at least 4 separate layers (which is enough to capture the timbrel changes of striking say a string with a hammer harder) my current area of fascination! As such it can be used as a novel form of simulation (in the absence of a physical model of say a piano hammer action etc) as in this context the Granulator is then used to define, sculpt and control the impulse (initial human interaction with the instrument) whether that be a pluck, strike, or tap etc! Naturally, there's lots of wonderful useful Default sounds already available that illustrate what’s possible but I’m looking forward to making my own!
Theoretically you could take this even further to include specific instrument techniques (Violin: Long, Short, Plucked driving tone/frequency) or perhaps create say a ‘thwack’ that initiates a Djembe muted rim slap or central palm strike etc)! There's clearly lots to explore and experiment with anyway, and most importantly it’s just an incredible amount of fun discovering things! :)
Hey Randy, thanks for the advice. I tried what you said with the 2D LFO in place of After Touch (on the Linear Resonator input) and it indeed produces smooth results. However, if you plug the 2D LFO into the Logarithmic Resonator input it always produces the ‘click’ artefacts. I also noticed that if you plug After Touch into the Logarithmic Resonator input, After Touch will also produce those weird ‘click’ artefacts too, so it appears like it’s the ‘Logarithmic ’ input! Then it dawned on me to feed the Key Pitch directly into the Linear Resonator input too, and sure enough it can indeed create smooth transitions using the Pitch Wheel (albeit with eccentricities) lol!
For experimentation purposes, I connected the 2D LFO to the Resonators Logarithmic Input using a tiny output ‘Level’ (0.020) and tried it with a variety of rates including fast (3.0), medium (1.0) and slow (0.5). However, regardless how subtle the ‘Pitch’ changes are, (and whether fast or slow) they always result in the phenomenon (rhythmic clicks which then become controllable by the rate setting) which is actually really interesting in itself as you can use it to generate some weird granular sounds (without using the Granulator)! So it definitely seems likely that the ‘Logarithmic’ input of the Resonator is the driving force behind it (but it can be circumvented)!
So the Pitch Bend Wheel can be set up for extreme Pitch warping like I originally wondered (e.g. +/- 24 semitones), but only if its connected to the Linear and not the Logarithmic Input of the Resonator, which does create some weirdness with bend range according to the note frequency and you have to drive the root note frequency using some other means (such as the sequencer) but I’ve certainly learned lots about Kaivo through this enquiry as inadvertently I explored the 2D LFO which is insanely creative/dynamic!
It’s all good anyway, as I’m able to perfectly reproduce realistic physical drum pitch bends using the ‘After Touch’ feature alone, (I was just curious where mystical rhythmic clicks were coming from)! Also coincidently ‘After Touch’ is ideal really as it’s also unipolar (positive polarity) which perfectly simulates pulling the side drum tuning pegs that can only increase the pitch and return it to its starting point, so it responds the same too!
I just wanted to say a huge thanks for your insight/advice which helped a lot and I’m excited about creating some intriguing physical modelled sounds as a creative exercise (e.g. Tibetan singing bowls, Aeolian harps and importantly some new unimagined ones) …thanks Randy anyway! :)
Hi Y'all, I'm currently enjoying working my way through the Kaivo PDF Manual (which is awesome BTW) and exploring this brilliant synths inner workings and sound palette which is delicious! Really mind bending sounds and architecture, just so much fun to explore! Anyway, through this process I came across a strange phenomenon that I can't explain but its possible its just a MIDI Protocol thing to do with the way that the Pitch Bend CC is handled, so I thought I'd mention it to try and determine if its a bug or a feature!
Basically, there's this amazing Default patch (Kaivo Percussion --> Slap Tube) that sounds (to me) like Indian Percussion such as a Tabla or Dholak and I thought it would be awesome to be able to subtly (or non-subtly) bend it as a drum I used to own had tuning blocks on the side and you could twist them or pull them to create a pitch modulation (its also possible there's a playing style that creates this phenomenon too); but its an awesome sound regardless and really characteristic of the unique Indian percussion sound!
I'm not using an MPE controller, but a cute little Novation Launch-Key-25 Mk3 instead (which is incredible BTW) and it has Polyphonic After Touch on its drum pad section (fortunately for moi)! This is also perfect for what I wanted to achieve and sounds incredible (e.g. simply route After --> Linear Pitch) on the Resonator for instant sonic gratification! I'm so glad After Touch is a feature as it can add an incredible dimension to sounds, and its a somewhat ideal usage scenario in this particular case!
What this made me wonder is if the Pitch Modulation Wheel thingy could be used as well so you could switch between subtler pitch bends (e.g. a semitone) with After Touch, and perform more adventurous pitch deviations (e.g. Whole Tones++) using the Pitch Wheel! Unfortunately when I tried this, it seemingly creates a strange 'stair stepping' like sound (which traditional MIDI's limited CC resolution of 128 steps is known for, but usually with filter sweeps etc)!
Except, its a little more complicated than that as it sounds like the equivalent of tapping a drum membrane gently with your fingernails in a percussive motion, so its appears perceptually more like adjustments with the Pitch Wheel are somehow creating transient spikes/fluctuations, or somehow forcing the Resonator Module to reinitialize its simulation for each pitch deviation?
Fortunately this Patch makes this really easy to hear as the Modulation Wheel is already setup to control the decay, so merely winding it up to maximum allows you to clearly hear the transient stepping as with a lower register (C0 or C1) you literally get seconds to hear its deliciously lush, growling, resonating decay! What I thought was weird is that 'After' doesn't produce the same artifacts even if you crank its range up high but surely that's still limited to only 128 steps of resolution?
Upon further investigation I established that you can create these artifacts with the After Touch drum pad method too, but only if you alter the value of the Resonators Linear Input Dial whilst you are still modulating it (and its still decaying). Further, if you apply a relatively small pitch deviation with the Pitch Wheel, played on a low register (e.g. C1) it doesn't do it, but the higher the pitch the artifacts begin to appear in case that helps investigate or recreate the issue (or understand its cause/effect etc)!?
As such, I'm just wondering... Is there a way that the 'Pitch Wheel' functions over MIDI that is causing these artifacts, or is it actually a form of software bug in Kaivo? I'm just curious either way as naturally I love this synth (smitten in fact) and want to understand its weirding ways as much as possible! Regardless, its an incredible synth Randy - many thanks! :)
Thanks Randy, that’s awesome news (naturally really excited) and in the mean time it will give me chance to learn everything there is to know and absorb about Aalto; but really enjoying using it with Ableton (it’s a gnarly synth) so full of charm and character!
I totally appreciate your kind gesture too (but also happy to contribute in any way I can regardless) as naturally I sincerely understand the energy, time and effort it takes as you and the team work your enchantments and auditory magic!
A huge thanks for the heads up anyway which is very much appreciated! :)
Hi all, just wanted to add my own momentum to this thread! I recently purchased Aalto unaware it was VST2 (along with Kaivo which is next on my acquisition list)! It’s no longer officially supported on my primary DAW (Cubase) as Steinberg locked that down a long time ago! I noticed it’s unsupported on JUCE Plugin Host too (and definitely unsupported by Sound Particles 3) which is still in Beta, likely for the foreseeable future.
However, I’ve recently started finally learning Ableton (in part due to everyone’s show of love for it in this forum) and I immediately dug it (being ultra cool, intuitive and unique). Fortunately, it doesn’t appear to have any issue with VST2 (…yay); so currently just exploring its weirding ways!
Naturally, after discovering this thread I’m super relieved to hear that adaptation to VST3 (and other exciting new features seemingly) are already under development! As such, I just wondered is there any further news on its current state of progress (or any potential future roadmap available)?
I totally appreciate if nothing can be discussed at this stage but I just wanted to mention as a brand new user of Aalto that I instantly loved it from the 1st note! It’s really got some serious West Coast vibe and soul and it’s so musical and alive (actually feels like a physical synth instrument) and I’ve really enjoyed playing it like I would a guitar or a didgeridoo!
Seriously loving its unique sound palette, style and character anyway, and naturally can’t wait to see/hear how it develops further (in time) via V.2! :)
Wow Randy, my mind is blown! In just a few simple steps I now have exactly what I wanted (a super clean simple to use VST UI without any unnecessary clutter and overhead)! Further, Sumu looks just incredible gigantic/full screen complete with huge scopes and a massive patch bay area! It’s like having a humongous physical modular rack in front of me!
It also seems to run just fine now importantly. Very cool and so happy! :)
Hey Randy, thanks for your helpful advice, and no worries I totally understand! I think it can be difficult for end users like myself to fully appreciate just how much is entailed behind the scenes of plugin creation, but also as you say if not many users request it either; prioritising things they do lust after makes way more sense!
However, it’s been a really interesting thought journey too as initially contemplating; I figured that a standalone version would be something akin to a VST embedded within some kind of executable wrapper (so to speak)!? This made me wonder if there was already such a thing anyway (essentially a test environment that’s not a DAW but will still run a VST windowed, bare bones with no unnecessary RAM/CPU overhead)!?
Remarkably the thing you suggested (JUCE library) sounds ideal (and useful for any VST you want to run in isolation for that matter) so many thanks for the insight! The only reason I even know JUCE exists is because I’m intrigued by the dark art of audio programming myself (purely for fun/experimentation mind)! But I understand JUCE is used widely across the plugin industry so it sounds a perfect way to get acquainted!
There’s actually only a few synths that I own that are particularly heavy that being Generate (New Fangled Audio), Mariana (Moog), SkyDust3D (Sound Particles) and my current obsession Sumu (courtesy of Madrona Labs)! I think it’s actually more to do with some rather problematic ASIO drivers from Steinberg however running on old kit (and I hope to update my sound card in due course which should make the issue NULL anyway).
A lite VST environment to test things sounds really useful regardless, and actually due to your recent user feedback survey I was inspired to start learning Ableton and I found it really wonderful (just so immediate, intuitive and hands on)! As such, you can see it’s been quite the inspiration for me discovering Madrona Labs and marks a shift into new creative territory! Thanks for your help anyway which is always appreciated! :)
In case its useful to anyone else in the forum with similar needs:
JUCE LIBRARY - Plug-in Host
Windows - MS Visual Studio IDE (Community Edition):
VISUAL STUDIO IDE - Win Compiler
Mac - Apple Xcode IDE (Developer):
XCODE IDE - Mac Compiler
BTW: I just wondered is there a specific thread to make feature requests in future regarding individual software products (so you can see if they’ve already been asked for etc)?
As it is, mine is likely a more general one (that applies to all your VST instruments) but it would be really wonderful to have standalone versions of your apps (especially Sumu as it’s pretty heavy being additive) so it would be invaluable to run it as lightly as possible and in full screen)!
Sorry if the above has already been requested previously! However, I also just wanted to mention, that after my 1st few days with Sumu I’m really enjoying exploring it as I love programming and sound design too, so I’m smitten (the documentation is also the best I’ve encountered) …I’m just learning so much and I really like the laid back, humorous chill prose! :)
Sure thing! :)
Hi Randy, thank you for your super helpful reply! Typically the 1st sample I threw at it was exactly 60 seconds long (e.g. torrential rain beating down on the roof of my car making lots of weird transient percussive pings and k’twangs) …so I wouldn’t have noticed the 60 sec limit! Weirdly it later became an infinitely shorter preset called “Alien asking a question?’ lol…
If humanoids haven’t already asked it’s probably because I’m likely the most painfully pedantic user you now have (and I feel sorry for you all @ML already) ha ha, …but I do hope it helps or is useful regardless!?
Speaking of documentation, I noticed a few typographic errors and an illustration disparity that doesn’t match the supporting text. Would it be helpful to annotate any errors I discovered in the PDF (with bright pretty colours and intriguing doodles) as I devour it then email it back to you?
My brain always flags things like this since I contributed to developing beta documentation for a 3D company that makes intriguing UVW unwrapping software, so if it’s a useful contribution to the ML cause, it certainly isn’t a problem (e.g. …to at least say thanks for the brilliant help and support)! :)
VUTU —> SUMU:
Hi Randy, I just had some questions as I devour all there is to know about Vutu/Sumu and I just wondered, based on your knowledge of how Vutu digests samples: Are their best practices for optimal preparation of samples for Vutu?
- Does Vutu process stereo or mono samples (or both)?
E.G. If you feed Vutu stereo samples does it collapse them to mono?
-
Is there a difference that affects translation regarding sample rate or bit depth into Vutu (or is it open to just whatever you throw at it)?
-
Is there a limit to the shortest time or longest time Vutu can process a sample (or is it open to just whatever you throw at it)??
E.G. Single cycle, drum transient to a 60 sec passage of time?
- Do samples benefit from being normalised prior to import (does this drive Vutu’s engine more optimally)?
My apologies if any of this is already apparent elsewhere but I read the documentation for Vutu 1st, scoured the forum for posts relating to Vutu (which brought me here); and I’m now working my way through the PDF body concerning Sumu (but still a little unsure about the above)…
However, from what I can understand so far, you can seemingly feed Vutu diverse sample material (which it loves the taste of as it isn’t picky) then using the GUI, fixate on a suitable Point Of Interest (POI) using the scope area and provided there’s a maximum of 64 partials …it’s good to go?
Sumu/Vutu are super cool tools anyway and with having very little previous experience with modular, naturally I’m having lot’s of fun exploring the GUI and discovering the crazy sonic worlds that Sumu unleashes …this is certainly one exotic specimen! Many thanks! :)
One thing that immediately sprung to mind (AaltoVerb style) lol, is that your all your apps are already seemingly designed to adapt and function intuitively on iOS (iPad) considering the aspect ratio is already close to 4:3 with Aalto and Virta. The exception being Sumo and Kaivo that could feature blade style MPE keyboards beneath them (with the others having to reply on pop up keyboards instead) etc.
Additionally all of your GUI architecture and design share a similar layout, look, feel and functionality. Clean, simple touch and drag dials, hold to select menus and finger drag patch cables, tap to switch/toggle etc. The hit areas of anything tiny like patch nodes might pose issues, but these factors should surely help with the translation between platforms!
Anyway, I’m sorry to take your news feed hostage, but I noticed that over the years the iOS question has come to light (in your forum), and it’s been interesting seeing the trajectory of big and small developers alike gradually embrace the platform over the years. Of course it helps the platform now uses desktop class processors with the incredible progress of Apple Silicon (which I’ve been waiting for since the start)! I just feel so incredibly lucky to have access to such amazing technologies regardless! :)
Hey no worries, I’m just glad it helped! I figured one way to break the ice (so to speak) could be start with an ML supporting app (like Vutu) as kind of an iOS ‘hello world’! However I’d charge for it regardless of it being free on desktop as it’s a way for the community to show their love for the idea of ML breaking out on iOS, and will give you a chance to explore the workflow etc!
It’s not unusual, Audio Damage just charged a tiny fee for an iOS version (although the desktop version is free) but they charge peanuts for their apps so I buy them even if I’m not really bothered about the thing itself (to support them) and same for legends like Bram Bos et al!
Personally, iOS is my central hub for all things visual as my iPad Pro M5 has the nicest screen I own (super useful for an external monitor for DaVinci Resolve being colour accurate etc) and it’s teeming with design apps and a juicy fractal engine too (yum)! :P So I figured most users entire visual world likely ends up on the iPad (photo experiments, visual reference material etc) so it makes sense (at least to moi) with Vutu acting as a bridge between our digital/visual iOS worlds into the audio domain via Sumu)!
NOTE: Actually I only just realised that Vutu’s specifically for sound (and it’s img2utu that extends its base functionality into the visual domain) so my apologies as I’m still discovering the world of ML currently! Although sound mangling and transfer is just as useful considering there’s a mic, and a tonne of sound creation tools people already own!
Hi Randy, thanks for your amazing coding! Yeah the iOS platform is very cool! I just love it’s stealth and agility (via AUM particularly) to provide mass accessibility and freedom to explore and lose yourself wherever you are: on a train, …up a mountain, …on the beach etc! It’s really democratised sound/music creation.
What’s made it so special for me is that since its humble beginnings circa 2010 it’s just been such a profound sandbox for indie creativity and allowed developers to really get their freak on (and I soooo have a will to get sonically weird) lol! I still can’t believe Moog made incredible iOS apps (like Animoog and Model 15) and still haven’t released them on desktop yet (drool)!
I too would love for ML to release things on iOS but also fail to understand how it would be financially viable. The only realistic ‘strange attractor’ I can think of would be to do what Modartt (PianoTeq) do and provide access to it with the purchase of a desktop licence (only).
Naturally that’s extra work for nothing but a gateway also as been able to design patches on the move or perform super lite is enticing and undeniable diverse value for money (as a further selling point for desktop acquisition).
It’s just whether the codebase can easily be migrated as part of the regular desktop builds (naturally from Mac to iOS has to be the easiest route) but it’s additional heart ache all the same!
I’m just happy I discovered ML and really dig your software whichever form it comes in! :)
Really interesting metrics… I only discovered ML after so I didn’t get to take part sadly, but I’m just learning about your portfolio of sonic indulgence currently (extremely groovy BTW)!
It’s really interesting to get a feel for the user base too (hi y’all)! I’m not surprised there’s such strong support for Ableton (as it’s incredibly performance orientated). I think my love of iOS has got me much more interested in learning it’s weirding ways (being a Cubase user) …this has inspired me to give my lite copy some love!
Hi guys/girls, my 1st post but I just wanted to say I’m so happy to have discovered Madrona Labs as your products are really wild and I can’t wait to explore them all in time! This reminds me a little of the ANS and the creative experiments of Alexander Zolotov (an iOS developer mainly as a phone has both a camera and a mic so it’s open possibilities for transcoding between visual and the auditory):
https://warmplace.ru/soft/ans/#about
I would imagine you likely know way more about the original Russian hardware concept behind the ANS than me but it’s really out there and innovative and I know Zolotov has other iOS apps; Nature Osc that converts a real-time camera feed into frequencies and PhonoPaper that converts audio samples to printable patterns then back to audio again! With both experiments being based around the original ANS hardware theory/architecture.
Your article above is really interesting and creative and I can’t wait to get my paws on it! I would sure love to throw some Julia Sets and Mandelbrots at it, to hear what kind of weird and wonderful soundscapes they produce! I think it’s wonderful anyway that you create instruments that explore and expand sonic boundaries so kudos for the brilliant portfolio!