charlie's Recent Posts
Is this reasonable?
I am in particular wanting to be able to change the number of touches active, on the fly, without having to go to the laptop to find the client window and Touches dial and click it (plus it's hard to click and drag and land the dial on the desired number without over/undershooting).
Maybe this would be useful/fun for some of the other parameters too.
For folks using the AU version of Kaivo, or Aalto, or any other plugin, here is a Max patch showing ways to get all the numbers for each parameter of the plugin so that you can control the [vst~] correctly. This has made life easier for me. Here you go:
One way is to fill a [coll], shown in yellow in the patch - just move the slider to find the parameter you want. Or just scroll using the number box.
Another way is to fill a [umenu], shown in blue; you can pick the parameter you want from the menu and its number is displayed. Or use the number box.
The patch uses Kaivo but will work for any plugin - just change the argument in the [vst~] to whatever, close your coll textfile, and re-load.
Thank you for the parameters!
I updated that link with a more readable/cleaner patch.
Hi Ginko,
If you're using the AU you'll probably need to use the parameter number rather than the parameter name.
There's a thread about that here:
http://madronalabs.com/topics/3156-aalto-in-max-how-to-manipulate-filter_cutoff-osc_pitch
Sorry - here's a patch showing one way to get that coll:
edit: hours later, uploaded a better patch, in a .zip
I'm with pinklemon! Using the parameter number with the AU is the only way Aalto works for me. Max 6.1.6, OS 10.6.8.
Here's a [coll] for all the Aalto 1.4.1 parameters if folks are interested/makes life easier:
will try to dig up a couple control patches later...
Hi Randy, thanks for talking about this. My post above is not to be construed as feature requests - just wondering what will be possible/how it will work.
Yeah something like a mono switch in a note zone would do the trick.
Doing an OSC split into different ports sounds good; the only thing is, the way I understand it, the messages arriving at whichever port are still going to have a Touch ID (/tch1, /tch2, etc) attached to them, in the order that they happen across the entire Soundplane, so that depending on how you were playing, you could have the same touch ID being sent to different destinations.
I'm thinking in terms of a "multi-phonic" setup with something like the Silent Way/Soundplane plugin where each instance of the plugin is listening for a specific touch ID - things would get jumbled up if you had more than one zone going. I guess this may not be a problem in a polyphonic patch...
But even in Max or whatever other environment, the messages are routed according to their Touch ID number - it seems like it would be best if each zone had their own set of sequential /tch messages.
Last thing on that note: I noticed that when you are using a Controller zone, the controller messages are working fine, but since a controller movement registers as a Touch, the outlet associated with that Touch will also fire at the same time. So again, if the Touch IDs need to be kept in order, this doesn't really work. This is mostly what I meant by items B) and C) in my post above.
Sorry if I'm not communicating ideas very well - my brain feels like a rock today. And I could be misunderstanding how this all works!
'Morning Randy, this has been pretty fun to play with so far!
If we were living in a utopian, feature-complete paradise, would we be able to
A) specify the max. number of touches in each zone? For the note rows anyway?
B) route the note rows separately, so like /t3d/row_one/tch1, etc?
C) exclude any Controller movement from Touches? So that, say, moving a fader doesn't register as a "touch" when we are also playing a note row? (I guess this would be sort of irrelevant if we could set the number of touches in each zone)
D) use different pitch scalings/mappings (and/or other performance parameters) for different note rows?
E) ever leave the house again? Zone mapping is fun.
Randy this looks GREAT! Level up! Thanks very much.
Edit: wow, there's something perversely satisfying about turning a section of an x/y/z controller into an x/y controller.
Wow, I need to relax, or something -
When I clicked on this thread I thought it said "bug my Soundplane?", like you wanted to plant a "wire" in your Soundplane to spy on someone. Or you were afraid the NSA already got to your Soundplane. Now I see, you are just trying to sell it.
Anyway, I checked mine thoroughly for bugs, to be safe - all good here.
Kaivo!! Many congratulations Randy. Having a hard time waiting for this one.
Wonderful name for the new synth too - I'm not even gonna say what my guess was but it was way off.
EDIT: looked up "kaivo" and a few of its anagrams... You win! Probably the best instrument name, ever.
Hey Mack, thanks for talking about this!
One thing I've found, with regards to direct parameter control of the Aalto .au in the vst~ object, is that for some reason you need to use the number of the parameter, rather than the parameter name. So e.g. instead of sending a message "osc_pitch $1" it needs to be "87 $1" - this will give you the full range of control, and allow negative floats etc. This is in Max 6.13 on Snow Leopard btw.
Pretty strange; I don't know if this is the case for all plugins, since Aalto is pretty much the only plug I use :). I will try to investigate some other plugs.
Re: Global Transport, I totally hear ya. Not to mention that IMO Max is kind of an insane/inefficient environment in which to run a tempo-synced plugin :). I do think it (global transport/aalto) would be cool to try out as a process though. I would say on an importance scale for me of 1-10, it's like a "2". But it would be cool!
Re: the Aalto VST: I've never had it just straight up crash, but it doesn't load properly for me in Max 6.13 (UI is all jumbled up among other things), whereas the AU is all good.
Hi Mack, I think people throughout the thread are just referring to Global Transport sync - that was my question anyway.
Hi Randy, did the Cycling people ever say anything about host sync?
Oh, I see. Derp! Sorry - I thought there was another/different way, or would be in the future.
Could be wrong but I feel like he was asking not about tempo sync to the DAW, but how does one use multiple voices without the value spread, e.g. can you have one value for the LFO -> filter freq shared by multiple voices.
But maybe that's what you meant Randy :)
I really like how it looks actually. I like that guy's business and philosophy too - been wanting a Moisturizer for a long time.
Haven't been able to find much in the way of recordings or demos of the Polygamist - have you made any?
Too old of a thread to revive?
There's been this scratchy sound going on when I've been playing - until yesterday I had chalked it up to noisy patches, and a janky VCA. Then I started a mellow-sounding patch and realized my VCAs are fine - what is happening is I'm getting data "zippering" sending OSC through Silent Way and the Expert Sleepers ES-3 module.
It's most apparent in the Z control but is happening with all continuous controls (x, y, z).
At high data rates (OSC rate control in the Client set at 500, or maximum) it sounds like that bad-jack or scratchy-pot kind of sound. At low data rate (OSC rate control at 14, or minimum) it does this rhythmic Alva Noto glitch thing - which is cool but not what I want normally. I will record/post audio examples if need be.
One thing that helps is turning the Lopass control in the Soundplane Client to its minimum, or "1" (no other Lopass setting is effective, not even "2"). But the Soundplane is pretty much unplayable at that setting. I couldn't find any other controls in the Client or in the Silent Way plugs that had any effect (for example "smoothing" in the SW Soundplane plugin had no audible effect).
Is this something that a higher OSC send rate would fix? I wonder if I'm doing something wrong. I will also holler at Andrew Ostler today and see what he thinks.
Update 2: He fixed it! That's what it was: the "smooth" control in the Soundplane plugin code needed a T crossed or something.
Anyone on the fence about Expert Sleepers stuff: I can't recommend it highly enough!
Sweeeeeet
Update: Talked to Andrew, who advised me to inspect the signals on a scope. I did this, and am seeing a jagged/stepped sine kind of waveform.
He told me to use the "Smooth" control in the Soundplane plugin - but this has no effect at any setting, audible or visible. I think there is a problem with that control but I'm waiting to hear back from him.
In the meantime I patched a bit of lag/slew between the control signal and the (insert any receiver here), and the problem instantly disappeared - so this will be my workaround/tactic for now - albeit an expensive one; every (continuous) signal will need some glide control.
But damn - it's really worth it - I'm in modular/Soundplane heaven right now. Thanks.
Is anyone else out there doing this (Soundplane -> ExSleepers -> hardware)? Are you getting this same zippering effect?
Often, I've been playing the Soundplane cross-armed: I'm right-handed, and am sometimes finding it easier to, say, play percussive bass notes with my right hand, and do the melody or some pad-like swells with my left hand.
What I've found is that I would like a firmer action, on the left or bass side of the fingerboard at least. Sometimes, after a really firm touch or sustained note, there is a "release" that happens as the board returns to its resting state. It would be cool to have a little snappier return on the bass side. I also feel like I'm beating the shit out of the left side of the board - so my first goal is probably to improve my playing technique.
But, is it possible for the user to adjust the "action" at all? Or any point in e.g. experimenting with different foam thicknesses or weights under the fretboard (I'm sure you've exhaustively done that already)?
(EDIT: just solved a lot of the issue by playing with the Max Force dial, and a little Z-Curve. I need to play this thing a little softer. The "touches" display really helps in finding good pressure shapes)
OK thanks - yeah Max Force makes a big difference - I had it turned up to maximum value thinking that would yield the greatest dynamic range (which is basically true), but there's a tradeoff on that longer release from the extra force being applied. Even turning it down to 0.85-0.90 made a much better balance.
I did take it apart yesterday (interesting smells in there!) and saw the particular shim I would adjust - in this case make a tiny bit thicker. The warranty is sure nice to have, though - maybe I will save shim intervention as a last-resort tactic.
Like anything else at my house, the Soundplane suffers the occasional abuse of stray kicks, banana peel slips and/or smoke, flying debris, etc.
Somehow my fingerboard already has a little dent in it. It's not a problem - it doesn't affect playing, and you can't even see it unless the Soundplane is held at a certain angle to bright light.
But! It's got me wondering: at some point, will it be possible to acquire replacement parts, even like the entire fretboard? Is this particular case one that could be handled by the Soundplane owner, or something that would require the instrument to be mailed back for proper fit, etc?
@jazztypewriter:
So I tried your patch, and it makes sense, but when I stop the host clock Aalto keeps bleeping out sounds.....?
@sasmir - Your English is a lot better than mine is sometimes :).
Check out this guy's blog:
http://shirovoltagectrlr.tumblr.com/
Not only is there great music, but if you scroll down a couple entries from the top he's got a cool piece called "Inspirational Cats 02" which has some good words about Buchla and other related. I like his take on the idea of a distinct West Coast synthesis "sound" and tradition.
I feel like Aalto is an amazing continuation of this flavor and lineage. Really proud to be West of the I-5 right now.
EDIT: A friend just pointed out to me that half of Seattle or more is actually East of the I-5. Portland too. Sorry.