Modulate This! - Electronic & Experimental Music Tech, Technique, & People

My 2012 Go To Virtual Synthesizers

I own a lot of virtual synths :^)  As part of a voluntary simplification exercise I started in January,  I’ve been limiting myself to a smaller number of instruments over the last year so I could go deeper and create more expressive and unique signature sounds for compositions and live performance. The image above (click to go to interactive map and then click branches learn more about these synths) shows a mindmap of synths I’ve been most drawn to over the last year. In other words, these are the instruments that consistantly make into my tracks like “And What do the Trees Hear When the Wind Blows”, “Orbiting Miranda”, and “Now is Now Remix”.

When narrowing down to this list, I worked to find a very complimentary set of instruments with great workflow. The instruments range in character from pure synthesis instruments (Zebra and Predator), to sample-based instruments (Sampler, Iris), to hybrids (Alchemy, ElextraX) to virtual drum machines (utonic). The instruments with green dots in front are ones I’ve been spending 100s of hours with working to create signature "patches” from scratch that I’ll use in future compositions, productions, and live performances. I should also note that I’m also using many of these synths as effects processors allowing me to capitalize on the investment I made learning the synth workflows (here is a post on this notion) .

Demos

For those not familiar with some of these synths checkout some audio samples from past sound design experiments. First is a clip with Alchemy (download MP3) where I use granular synthesis to repurpose the field recording of a fluorescent light bulb.

Here is a little behind-the-scenes video on the creation of this patch.

Here is another example where I use Alchemy (download mp3) to repurpose crowd noise from a CU bastkeball game, a morse code key, and add in something called factalized waveforms.

Next is a Zebrify patch where I slowly pitch up and then process this incoming signal of a Theremin with two comb filters with the pitch of filters being modualted by a step LFO (download mp3)?

Next Steps – Deeper with the Top 3

As I go into the fall I’m going to be spending a lot more time with Zebra and Alchemy. They are both extremely deep and very complimentary. They nicely cover the entire spectrum from pure synthesis to sample mangling. Absynth, which I bought in 2002, is the first virtual synth I ever owned so holds a special place in my rig. I’ll be doing some synth work with it as well but will focus heavily on using it as an effects processor.

Which Should You Pick?

If you have limited funds or time and just want to go deep with one synth, you can't go wrong if you pick one of the three mentioned in the previous paragraph. Again, Zebra is pure synthesis (no samples) and semi-modular. Alchemy is great at resynthesis and sample mangling so if you are into field recordings this is your best bet. Absynth is somewhere between the two and is a great pick if you want to work with extreme multi-segment envelopes and very interesting and unusually effects. I give them all 10/10 and the deeper you go, the more you’ll be rewarded.

If you are looking for a fantastic subtractive that can also be used as an effects processor Predator is fantastic choice. If you want a hybrid with subtractive workflow with visual feedbak, ElectraX is a good bet.

Controllerism with the Top 4

Now that I’ve further narrowed my list, I’m working on templates for various controllers to get even more expressive results with Zebra, Alchemy, Absynth and Predator. I’m using the Alchemy Mobile to control Alchemy on my computer, I’m working on a custom Lemur template for Zebra and Absynth. I’ll also be working on mappings for my Novation Remote SL and refining my AudioCube patches for these synths.

I’ll leave you with a video I did some time ago showing the use of one Percussa AudioCube face in sensor mode to play a note plus send MIDI CC info to control the XY of Alchemy.

Mark Mosher
Electronic Musician, Boulder CO
www.ModulateThis.com
www.MarkMosherMusic.com

Sound Design Experiment with Aalto and AudioCubes

Watch embedded vide in HD

I decided to combine the fluid tangible spatial control of Percussa AudioCubes with the some droning patches I made from INIT with Madrona Labs wonderful Aalto synth.

Aalto has an awesome gate feature which allows you to create interesting drones leaving your hands free to modulate the hell out of parameters to create expressive and unique performances. You can also modulate the gate. Two AudioCubes in Sensor mode allow you to modulate with 8 MIDI CC’s with two hands.

AudioCubes Makes Virtual Synths Tangible

Watch the video above first with annotations on, then a second time with annotations off. On the second pass through watch how fluid the control is and how many parameters I’m managing at the same time. You’ll also see I’m getting visual feedback in the form of light intensity and color. After you perform with AudioCubes for a  while your brain starts to fool you into thinking that there are pressure bubbles around the sensors. In other words, even though the throw is about three inches when using your fingers with cubes, you can become quite accurate with control – especially when you combine visual feedback and audio feedback.

Because you can configure and map cube function differently with each patch, set and instrument, you start also thinking of each combination as an instrument on to itself. Once I set something like this up, I find myself coming back to it again and again getting a little better with the “instrument” with each use. This often results in me wanting to push things further and I learn the synth better plus creating more expressive performances.

Configuration Notes

I used the configure button on the Ableton Device holding the Aalto synthesizer select a set of parameters that I then map to faces of two Percussa AudioCubes in sensor mode. I did a video on the this Ableton mapping process a few years back with different devices, but the premise is the same. These cubes were configured via Percussa’s free MIDIBridge app.  I then use spatial movement of my fingers modulate parameters in Aalto. In same cases cubes modulate each other if sensors are facing each other.

Links

• Aalto Synth: http://madronalabs.com  | More Modulate This! posts on Aalto
• AudioCubes: http://www.percussa.com | More Modulate This! posts on AudioCubes

Mark Mosher
Electronic/Experimental Music Artist, Boulder, CO
Synthesist | Composer | Keyboardist | Performer

Synth Geek Blog: http://modulatethis.com/
Artist Site: www.MarkMosherMusic.com

Percussa Updates MIDIBridge App to Support 16 AudioCubes

Percussa continues it's excellent customer support with another free update to MIDIBridge. The big featue in this update is the app now supports up to 16 AudioCubes up from 4 of the original version! Patches from previous versions will load just fine and simply load parameters for the first 4 cubes.

They also implemented one of my requests to add a modal dialog that pops up when you try to shut-down MIDIBridge. This prevents accidentally shut-downs during live performance.

Earlier this year Percussa upgraded the app to support:

• “Solo” buttons on "sensor" cube faces. Soloing allows you to “send the distance info as a MIDI control change only for the selected cube face. This is handy if you want to quickly MIDI-map a cube face to an effect parameter in Ableton Live for example.”
• Fixes which improve cube "state" recognition after patch loads - again speeding up configuration work.
• Cube color is now saved with the preset for relevant modes.

Links

• MIDIBridge2 (Mac OSX) (r39)
• MIDIBridge2 (Windows) (r39)
• Percussa.com
• Modulate This! AudioCubes category

Percussa is Working on a New Generative Music App for AudioCubes Called IMPROVISOR

Percussa has announced on their blog that they are working on a new app called Improvisor.

The idea of IMPROVISOR is that each cube is linked with a groove and a relative note pattern, which is played back in a loop.

You can add and remove loops by adding and removing cubes. By placing the cubes next to each other, their note patterns are added to each other, creating completely new melodies, all in key and in rhythm. These can be sent via MIDI to your favourite software or hardware synth.

You can enter your own grooves and relative note patterns (in semitones) in the software, using the built in editor and you can choose which cubes should be linked to which patterns…

you can let the cubes each play back their sequences of semitone steps, and you can add them to each other when the cubes are placed next to each other, creating completely new melodies. This is called “following”.

Each cube can follow the semitones of the other cubes, which basically means they are added together…

To use IMPROVISOR you just have to have one cube connected to your computer. The other cubes are autodetected as they are added. You can set cubes to have a specific colour using the colour picker.

As an AudioCube user, I appreciate that Percussa continues to explore unique ways to add value through apps that take advantage of the unique features provided by the AudioCubes.

Swing by and read the post on Percussa’s site for even more details using the link below. Percussa has also invited you to leave comments on that post if “you think of any features you would like to have that would make IMPROVISOR the ultimate generative music making application for AudioCubes?”

Link

• Post on Improvisor
• Official Percussa Site
• Percussa on Facebook
• Pecussa on Twitter

Mark Mosher
Electronic Music Artist, Boulder, CO
Synthesist | Composer | Keyboardist | Performer

www.ModualteThis.com
Official Web Site: www.MarkMosherMusic.com
Listen/Download Albums: www.MarkMosherMusic.com/music.html

Percussa Updates MIDIBridge for AudioCubes to R31

Percussa just posted an update to MIDIBridge (r31) to their website.

MIDIBridge is a FREE app from Percussa that allows you “to generate MIDI notes and control changes, which can be sent to any software or hardware supporting MIDI including external synths, effect boxes, etc.”

This is THE app that I use when I perform.

What’s New

• There are now “Solo” buttons on "sensor" cube faces. Soloing allows you to “send the distance info as a MIDI control change only for the selected cube face. This is handy if you want to quickly MIDI-map a cube face to an effect parameter in Ableton Live for example.”
• Fixes which improve cube "state" recognition after patch loads - again speeding up configuration work.
• Cube color is now saved with the preset for relevant modes.

Results
While these are not radical changes, these changes do significantly speed up workflow when it comes to patch changes and MIDI mapping.

Links

• MIDIBridge2 (Windows) (r31)
• MIDIBridge2 (Mac OSX) (r31)
• Percussa.com
• Modulate This! AudioCubes category

Mark Mosher
Electronic Music Artist, Boulder, CO
www.ModulateThis.com
www.MarkMosherMusic.com

Notes and Video: Using Percussa AudioCubes in Sensor Mode to Play Melody for “Alone”

I put in some extra rehearsal time this weekend in preparation for the March 17th show at the Art Institute of California/Sunnyvale . I’ll be performing songs from I HEAR YOUR SIGNALS, and some new songs which I’m considering for my next album. I’m also working on getting some songs from my previous album REBOOT to my live set and wanted to share some notes on implementing my song “Alone”.

First off, here is the album version of the track:

Alone by MarkMosher

As you can hear, “Alone” is the emotional bottom of the story in REBOOT and is the only track on the album without a drum groove. This being the case I wanted to come up with some sort performance that would provide contrast to the other songs in the set. Back in September I came up with the idea of attempting to play all the lead melody and ambient noises solely from Percussa AudioCubes. I’ve decided to push-on with this idea and perform the song this way. Here are the behind-the-scenes notes and a rehearsal video.

Goal
I normally configure my AudioCubes so there is 1 “Sensor” cube for controlling effects, 2 “Receiver” cubes for sending MIDI notes to Ableton Live to trigger clips, scenes, parameter settings…, and 1 cube as a “Sender” to trigger to the Receiver cubes.

For “Alone” I wanted to use each cube face to play a different note according to a predefined user scale that matched the notes in the song. AudioCubes can detect objects in one of two ways –Wirelessly (“Sender”/”Receiver” pairs), or through infrared (cube set to Sensor mode). In sensor mode, an object’s (hand, other cube, cat…) proximity to cube face is detected with infrared. Since I want to use my hand to trigger the note Sensor mode is the way to go.

Solution: Using Sensor Mode to Play Notes
While the Sensor mode is normally used to send MIDI Continuous Controller (CC) values from 0-127 to control parameters on synths and your DAW, there are also options to send MIDI Notes based on minimum sensor thresholds.

Implementation: Configuring AudioCube Function in MIDIBridge
Modes and settings for each cube are configured in the free app Percussa MIDIBridge. Click the image below to see a large version of the screenshot which illustrates how I configured individuals notes for Cube 1.

You can also see that even though I’ve set note triggering via the threshold, proximity to each cube face will case the LED intensity to respond according to the normal response curve and with a different color for each face. I continue this method with Cubes 2 & 3 to program the rest of the notes.

Calibration
Like a Theremin, AudioCubes running in Sensor mode need to be calibrated. It’s not because they are analog, but instead to take into account the amount of ambient and infrared signal in the “control zone”. The screen shot above also shows how you can tweak gain to adjust for room – and of course you could experiment with “Threshold” as well. The darker the room the better fro the this particular method.

Virtual Ports, Ableton Live and Novaton Launchpad
In my rig, MIDIBridge talks through virtual MIDI ports (Midi Yoke) to Ableton Live. Live is playing some minimal original background tracks from the original album offering me a frame of reference for my performance. The signals from the AudioCubes are routed to various virtual instruments such as Camel Audio Alchemy, Absynth 5, and Sonic Charge Synplant. I assigned buttons on the Novation Launchpad to select and arm tracks (sometimes multiple tracks) so I can swap instruments out from under the cubes without having to load another MIDIBridge Patch.

The End Result: “Alone” Rehearsal Video
I shot this video back in September when I first figured all this out. I’m now actively rehearsing it and hope to add it to the show soon.  The key to playing this song is to play just behind the pocket to give the notes more emotional tension. The AudioCubes are plenty sensitive enough to achieve this and the visual feedback not only helps the audience connect with the performance, but actually helps me with timing. As a musician, I really like the flow and feeling of the movement as well.

I shot this in 720p so if you have the bandwidth watch full screen at that resolution. I also captured audio right from my sound card so listen with good headphones or on a good sound system :^ ).

Watch embedded video

“Alone” by Mark Mosher Peformed on AudioCubes

Mark Mosher
Electronic Music Artist, Boulder, CO
www.ModulateThis.com
www.MarkMosherMusic.com

Percussa AudioCube Tip To Prevent Cubes from Sliding

If you’ve seen pictures or videos of my live rig in use you’ll know that I when I use Percussa AudioCubes, I tend to not only use them on a table surface, but I also place them on top of other instruments like the Theremin or other keyboards.

When I first started doing this I had a few inadvertent cube drops. This was more true with cubes that were connected to USB as this added a directional pull on to the cube. So for the way I perform I wanted to increase the friction coefficient of the bottom face of the cube.

My simple solution after a little experimentation was to get some rubberized shelf liner, then cut it to be a bit smaller than the dimensions of the cube face and then use double-sided tape to secure the material to the cube.

 

This simple solution keeps the cubes where I want them, but also allows me to slide them around on a table – they are just a little more “sticky” than designed.

Mark Mosher
Electronic Music Artist, Boulder, CO
www.ModulateThis.com

Using Green Oak Crystal Synthesizer with Percussa AudioCubes

Experiments with Green Oak’s desktop version of Crystal continue. It’s been a while since I’ve used this synth as I’ve been focusing most of my energy on using commercial synths. It’s a pretty amazing synth and competes feature wise against many commercial synths.

Here is a cool feature. The MIDI Modulate matrix supports direct mapping of MIDI CC’s. This means you can map controllers directly without having to do it through your DAW. Click the image below to see a close-up of the screen shot which illustrates how I’ve used Percussa’s free MIDI Bridge app to configure AudioCubes to send CCs, and then I configure Crystal to listen for spatial control from cube faces.

Mark Mosher
Electronic Music Artist, Boulder CO
www.modulatethis.com

Free Music Friday: "Control Zone" Electronica Track and Video by Mark Mosher Performed on Theremin and AudioCube

Watch embedded video

One Man, One Theremin, One AudioCube :^) In this video I perform the original instrumental electronic music song "Control Zone" off of my album I HEAR YOUR SIGNALS which you can download name your price (enter $0 for FREE) on
http://markmosher.bandcamp.com/album/i-hear-your-signals. You can of course also buy my songs/albums on iTunes, Amazon MP3, LastFM, ReverbNation, Zune, and as Physical CDs.

Listener/Viewer Notes

This video is in HD and I captured the audio full fidelity right from my sound card so listen with some good headphones or on a good system and select HD for full-screen viewing. The video and audio were captured in one continuous take with no content edits.

Composer Notes
To fit the back-story of my album, I set out to compose a song that sounded a bit alien in origin. To liberate myself from my typical compositional instrument of the keyboard, I decided to compose and perform the textures and melodies using only spatial controllers. I this case I used a Moog Etherwave Theremin, and a Percussa AudioCube. Once I got going with this notion I really got using 6 dimension of spatial control to go “Hendrix” with the Theremin. The title of the song has many meanings, one of which should be obvious to Theremin fans.

Producer Notes 
I'm routing the Theremin analog signal into Ableton Live and then I convert the the signal from pitch-to-MIDI in real-time. This signal is routed to various virtual instruments hosted in Live. I then use a Percussa AudioCube in Sensor mode to add 4 additional dimensions of modulate in real-time. So 6 dimensions of spatial control. I'm changing the signal routing of the Theremin to route MIDI to different virtual instruments on the fly using the Novation Launchpad.

Mark Mosher
Electronic Musician, Boulder, CO
www.ModulateThis.com
www.MarkMosherMusic.com

Modulate This Code for 10% off Percussa Audio Cubes Throughout the Month of October

10% OFF AUDIOCUBES FOR MONTH OF OCTOBER
In response to my “Modulate This Turns 5…” post, Bert from Percussa just sent along a nice birthday gift. Throughout the month of October, anyone who enters coupon code MODULATE5 (must all be uppercase!) at checkout will get a 10% discount on a set of AudioCubes. Thanks Bert!

CLICK HERE to visit the Percussa store.

Percussa offers FREE shipping worldwide and according to the shop page If you don't like AudioCubes they’ll refund your money including all shipping costs.

Full disclosure – I’m not affiliated with Percussa, and I don’t benefit financially if you buy AudioCubes. I’m just a big fan.

REVIEW
If you are not familiar with AudioCubes, I did a detailed review here.

USE CASE FOR 1 AUDIOCUBE
I’m using 4 cubes currently and I wanted to mention that if you can’t swing 4 cubes financial, there are use cases for starting with a single cube which I’ll outline below. Think of it as a way to get an spatial controller that you can throw into your backpack. A controller with visual feedback for use in sound design or performance.

If you have one cube, you’d want to use the free MIDIBridge app to configure a cube “Sensor” mode and could use it in the following ways:

1) Configure each cube face to send a different MIDI Continuous Controller to your DAW thereby allowing you* to modulate 4 parameters at the same time. The video below illustrates this idea. I’m mostly using one cube in the video. The second cube just adds 4 more parameters.

Watch embedded video

2) Configure each cube to send a different MIDI note. I’m using 3 cubes here but the concept would work with one cube. Of course, you could also map the note to do other things in programs like Ableton Live to launch next scene and such.

Watch embedded video

3) Map a cube face to send both a MIDI note and continuous controller information. Here is a rough video of this concept in action to modulate parameters of Camel Audio Alchemy running in Ableton Live.

Watch embedded video

Mark Mosher

Electronic Musician, Boulder, CO
www.ModulateThis.com
www.MarkMosherMusic.com