Here we build on the low-pass gate that we made in part one, sequencing the pitch of the oscillator and using that sequencer to trigger our LPG. To round things out, I throw in a delay to start helping us imaging where we can go from this next.
0:00 Creating the sequencer macro 1:17 Setting the steps of the sequencer 2:05 Making the clock 2:55 Controlling the oscillator 4:03 Changing the sequence 4:39 Note length with pulse width 5:22 Adding a delay macro 7:24 Recap 8:20 Ambient style 8:50 Next Steps
Reaktor 6 Sequencing Part 2 (of 3) - Creating a Pitch Sequencer, Clock, and Delay | Simon HutchinsonSimon Hutchinson2023-03-06 | Making a sequencer in Reaktor 6 primary.
Here we build on the low-pass gate that we made in part one, sequencing the pitch of the oscillator and using that sequencer to trigger our LPG. To round things out, I throw in a delay to start helping us imaging where we can go from this next.
0:00 Creating the sequencer macro 1:17 Setting the steps of the sequencer 2:05 Making the clock 2:55 Controlling the oscillator 4:03 Changing the sequence 4:39 Note length with pulse width 5:22 Adding a delay macro 7:24 Recap 8:20 Ambient style 8:50 Next Steps
#SoundSynthesis #reaktor #sequencerBugs and Bird Sounds at Iwate Kodomo no Mori (Ichinohe, Iwate) いわて子供の森 #shortsSimon Hutchinson2024-03-20 | Recorded with Zoom H4N (amzn.to/3vaON8n affiliate link)Summer Morning Bird Calls at Kuzumaki Kougen Bokujou (Kuzumaki, Iwate) くずまき高原牧場 #shortsSimon Hutchinson2024-03-14 | Recorded with Zoom H4N (amzn.to/3vaON8n affiliate link)Sending Raw MIDI Data in Max (and Pure Data) | Simon HutchinsonSimon Hutchinson2024-03-04 | Sending out raw MIDI data in Max/MSP with [midiout] for system messages and other live control.
Here, I use the [midiout] object in Max to send individual "note on" and "note off" messages, using our knowledge of the MIDI protocol. We can then expand that to algorithmic MIDI control of sequences in the Arturia DrumBrute Impact, including adjusting the clock and the song position pointer for funky, chaotic beats.
0:00 Intro 0:30 [midiout] 0:59 Basic concept - Note On 3:16 Note Off 4:32 Pitch Bend Change 5:32 Exploring Algorithmic Control 6:47 Controling Sequencers (DrumBrute Impact) 7:09 MIDI Clock Message 9:01 Algorithmic Clock Control 10:03 Start, Stop, and Continue MIDI Messages 11:29 Playing with the Song Position Pointer 13:30 Bringing back the Drunk [metro] 15:00 Closing / Next Steps
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#SoundDesign #ExperimentalMusic #maxmsp #puredata #midiShamisen, Pure Data, and Hikari Ping Filter #shortsSimon Hutchinson2024-02-28 | Live shamisen analyzed in #puredata with [sigmund~], and then converted into MIDI sent to the Hikari Instruments Ping Filter. I'm not sure I can vouch for this pitch tracking. 😅 #eurorack #hikaripingfilterDigital Piano in Eurorack Matrix Mixer Feedback Loops | Simon HutchinsonSimon Hutchinson2024-02-16 | Plunking around on my digital piano which runs into a matrix mixer with sends/receives to ring modulation, tape delay, and the Schlappi Interstellar Radio.
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#SoundSynthesis #SoundDesign #ExperimentalMusicDrumBrute Impact Pd MIDI Controls (Pure Data Vanilla Patch from Scratch)Simon Hutchinson2024-02-14 | Using #puredata vanilla to control the clock, continue, and stop MIDI control for the Arturia Drumbrute Impact. #shorts #drumbruteimpactPure Data Stereo Ring Modulation (Live Processing Drumbrute Impact with Pd Vanilla) #shortsSimon Hutchinson2024-02-07 | Building a stereo ring-modulation in #puredata vanilla to process the Arturia Drumbrute Impact. #shorts #ringmodulationPd Samplecrush Patch from Scratch (Pure Data Vanilla Stereo Downsampling) | Simon HutchinsonSimon Hutchinson2024-02-05 | Doing some "samplecrushing" (downsampling) in Pure Data Vanilla to create dynamic aliasing artifacts.
0:00 Setting up [samphold~] 0:28 Simple downsampling and aliasing 0:55 Building a sequencer 2:33 Making the samplecrush dynamic 3:13 Making it stereo 3:50 Trying different timings and ranges
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#SoundSynthesis #SoundDesign #puredata #downsamplingMaking Binaural Beats in Pure Data in 30 seconds #shorts #puredata #binauralbeatsSimon Hutchinson2024-01-31 | Making binaural beats in #puredata vanilla. This is not an endorsement of the effectiveness of binaural beats to induce different mental states. #shortsInteractive Neural Net in Eurorack (Doepfer Joystick & Nonlinear Circuits Neuron) | Simon HutchinsonSimon Hutchinson2024-01-19 | Combining human input from a joystick with a two-neuron artificial neural network for chaotic interactive music.
This Eurorack joystick is going into a simple neural network to control multiple dimensions of the timbre of this synth voice. Joystick dimensions X, Y, and Z go into different inputs of the Nonlinear Circuits Dual Neuron, and are mixed together and transformed by a nonlinearity (more here: youtu.be/SblYnu8OzEI?si=QtVaXVgseBdDpK-e). In addition to the output controlling the waveform and filter cutoff of the synth, the outputs of each neuron is fed back into the other, creating a chaotic artificial organism with which to improvise.
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#SoundSynthesis #SoundDesign #ExperimentalMusic #eurorack #artificialneuralnetworkElden Ring Modulation #shorts #synthSimon Hutchinson2024-01-17 | I think this video is too esoteric even for me.
#shorts #eldenring #ringmodulation #soundsynthesisRemoving Subaudio from Audio Samples in a Waveform Editor (Adobe Audition) | Simon HutchinsonSimon Hutchinson2024-01-08 | Finding and removing subaudio from sample files with a waveform editor.
Subaudio are frequencies below the range of human hearing (below 20Hz). These frequencies can sneak into our recordings, and work against us in a number of ways. If we can address subaudio in our samples, we can do ourselves a favor in the later stages of our mixing process.
0:00 Defining Subaudio 0:59 Example 1: Spotting Subaudio 2:04 Example 1: Doing the Math 2:50 Why Did This Happen? 3:11 Removing Subaudio with Parametric EQ 5:53 Example 2: Not Really Subaudio 7:27 Harmonics of Subaudio 8:31 Example 3: Trimming 9:15 Example 4: Bringing It All Together 10:16 Closing. Next Steps
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#SoundSynthesis #SoundDesign #ExperimentalMusicReaktor 6 Primary Samplecrushing #shorts #reaktor #synth #synthesizer | Simon HutchinsonSimon Hutchinson2023-12-27 | Samplecrushing the Arturia Drumbrute Impact using "Sample & Hold" in @NativeInstruments Reaktor.
#reaktor #nativeinstruments #shortsReaktor 6 Primary Arcade Trill #shorts #reaktor #synth #synthesizer | Simon HutchinsonSimon Hutchinson2023-12-20 | Building an "arcade trill", creating that 8-bit sound of rapidly jumping up and down octaves in @NativeInstruments Reaktor.
#reaktor #nativeinstrumentsSampling the Intellivoice Voice Synthesis Module (Intellivision Chiptune) | Simon HutchinsonSimon Hutchinson2023-12-17 | By request, I’m posting a free sample pack of recordings from the Intellivoice Voice Synthesis Module, including a simple Kontakt instrument that plays back these files.
Years ago, I made a synth using an arduino and a chip from an Intellivoice. Recently, I went into the closet and dug it out, and, following a couple repairs, recorded some samples for folks that are interested.
My voice-over gear (affiliate links) Aston Microphones Origin (amazon): amzn.to/40wQ7Og dbx 286s Channel Strip (amazon): amzn.to/3QxZDvN
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#SoundSynthesis #SoundDesign #intellivision #chiptune #samplepackReaktor 6 Primary Comb Filter (Quick and Easy) #shorts #reaktor #synthesizer | Simon HutchinsonSimon Hutchinson2023-12-13 | Building a comb filter for incoming audio (in this case an Arturia #drumbruteimpact) in @NativeInstruments Reaktor.
#reaktor #nativeinstrumentsThe MIDI Protocol: System Messages | Simon HutchinsonSimon Hutchinson2023-12-04 | An overview of MIDI System messages and how they can support MIDI programming and synchronization in your studio.
I ran away from an explanation of system messages in my previous video on MIDI Messages (youtu.be/2BccxWkUgaU), instead focusing entirely on channel messages. In this video, though, I'm back to talk about System Exclusive Messages, System Common Messages, and System Realtime Messages, and how you can implement them for additional musical control.
0:00 Introduction 0:22 Quick Review of bits and bytes 0:57 Channel vs. System Messages 1:59 Categories of System Messages 2:36 System Exclusive (SysEx) Messages 4:50 System Common Messages 5:08 Song Select, Song Position Pointer 6:38 MIDI Time Code 7:31 Time Code Quarter Frame Message 9:10 Tune Request Message 9:58 System Real Time Messages 10:41 Active Sensing 11:25 Reset Message 11:56 MIDI Clock, Start, Continue, & Stop 12:39 MIDI Sync Demo in Max 13:06 MIDI Sync Demo in Logic Pro X 13:26 Wrap-up
My voice-over gear (affiliate links) Aston Microphones Origin (amazon): amzn.to/40wQ7Og dbx 286s Channel Strip (amazon): amzn.to/3QxZDvN
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#SoundSynthesis #SoundDesign #ExperimentalMusicReaktor 6 Primary Game Boy Pulse Wave (Chiptune) #shorts #reaktor #synthesizer | Simon HutchinsonSimon Hutchinson2023-11-29 | Building a Game-Boy-like pulse wave for your retro-inspired jams in @NativeInstruments Reaktor.
#reaktor #nativeinstrumentsReaktor 6 Primary Easy Bitcrush in One Minute #shorts #reaktor #synthesizer | Simon HutchinsonSimon Hutchinson2023-11-22 | Using a "compare" module for 1-bit bitcrushing of a sampler in @NativeInstruments Reaktor.
#reaktor #nativeinstrumentsNLC Numberwang in VCV Rack (Nonlinearcircuits Chaos Eurorack) | Simon HutchinsonSimon Hutchinson2023-11-17 | The Nonlinearcircuits Numberwang module is a 4:16 decoder. What does that mean? Well you can send it 4 inputs (clocks), and then based on those inputs, it's 16 outputs will either be on or off.
There are lots of cool things you might do with those gates, but since we're in software land, why not just create 16 oscillators, each with individual ADSRs? (Because I certainly don't have that many modules in my physical Eurorack.)
Tune them into a nice pentatonic scale, and set different pulse widths, and then mix together for fund chiptune-like generative music.
#SoundSynthesis #SoundDesign #ExperimentalMusicReaktor 6 Primary Subtractive Synth in 30 seconds #shorts #reaktor #synthesizer | Simon HutchinsonSimon Hutchinson2023-11-15 | 30 seconds to build a subtractive synth in @NativeInstruments Reaktor.
#reaktor #nativeinstrumentsNonlinear Data-Driven Instruments with Simple Artificial Neural Networks (MaxMSP) | Simon HutchinsonSimon Hutchinson2023-11-06 | Building a simple artificial neural network in Max/MSP for nonlinear, chaotic control of data-driven instruments.
I’ve talked before about data-driven instruments (youtu.be/NHufvylg0Vw?si=w4YJNH1cNHZP5CaB), and I’ve talked before about artificial neurons and artificial neural networks (youtu.be/SblYnu8OzEI), so here I combine the ideas to use a simple neural network to give some chaotic character to incoming data from a mouse and joystick before converting into into MIDI music. The ANN (Artificial Neural Network) reinterprets the data in way that isn't random, but also isn't linear, perhaps giving some interesting "organic" sophistication to our data-driven instrument.
In this video, I work entirely with musical control in MIDI, but these ideas could also apply to OSC or directly to any musical characteristics (like cutoff frequency of a filter, granular density, etc.).
0:00 Intro 1:43 [mousestate] for Data Input 2:58 Mapping a linear data-driven instrument 7:19 Making our Artificial Neuron 15:27 Simple ANN 20:06 Adding Feedback 22:23 Closing Thoughts, Next Steps
Logitech G Extreme 3D Joystick on amazon (affiliate link): amzn.to/3u7rHPb Dr. Jeffrey Stolet’s book on data-driven instruments and electronic music performance (affiliate link): amzn.to/40vGfo1
My VoiceOver gear (affiliate links) Aston Microphones Origin (amazon): amzn.to/40wQ7Og dbx 286s Channel Strip (amazon): amzn.to/3QxZDvN
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#neuralnetworks #maxmsp #datadriveninstruments #SoundSynthesis #sounddesign #ExperimentalMusicPure Data Found Footage 2: Retro Theremin Horror (Generative Spooky Music) | Simon HutchinsonSimon Hutchinson2023-10-22 | Found footage video of creating a1960s theremin-style horror soundtrack in Pure Data.
This is the second video discovered on an unlabeled VHS tape in the computer lab at a local university. It shows building a sine wave oscillator with a whole bunch of vibrato, and running it through a stereo delay (with a filtered sawtooth wave).
0:00 Random Sine Sequence with Vibrato 2:17 Building the Stereo Delay 4:04 Filtered Sawtooth Drone 5:30 Randomizing the [metro] Lengths 6:47 Changing Delay Buffer Lengths 7:27 True Horror
#puredata #foundfootage #SoundSynthesis #SoundDesign #ExperimentalMusicSoft Clipping in Pure Data (Pd Vanilla simple saturation): Clip vs. Tanh | Simon Hutchinson #shortsSimon Hutchinson2023-10-11 | Demonstration of hard and soft clipping with a single object in Pure Data (Pd Vanilla).
#puredata #shorts #SoundSynthesis #SoundDesign #ExperimentalMusicVocal Sample to Oscillator in Symbolic Sound Kyma (Wavetable Synthesis) | Simon HutchinsonSimon Hutchinson2023-10-02 | Turning a single cycle of a recorded sample into a wavetable for Kyma oscillators.
When composing music with samples, it's worthwhile to explore all of the musical opportunities in that sample--reversing it, timestretching it, granulating it, etc. Along those same lines, you can take a wavetable fro a sample and use it in your oscillators, so, instead of using the usual sawtooth, square, or sine waves, you create an oscillator that has a timbral connection to the sampled material.
Here, I show how to take take two vowel sounds from a vocal sample--an "ah" and an "oh"--and cycle them in a Kyma oscillator, creating unique timbres that blend with the original sample and its processing.
0:00 Intro / Why? 0:41 Finding a Single Cycle 3:14 Changing Duration to 4096 Samples 4:16 Cycling the Wavetable in an Oscillator 6:33 Making a Different Oscillator Wavetable 9:21 Implementation Example: Chords 11:49 Adding Vibrato 14:08 SampleCloud Plus Chords
Dr. Jeffrey Stolet’s beginner book on Kyma (affiliate link): amzn.to/3SAhYei The best book on synthesis is still Curtis Roads Computer Music Tutorial (affiliate link): amzn.to/3FZArJG
My VoiceOver gear (affiliate links) Aston Microphones Origin (amazon): amzn.to/40wQ7Og dbx 286s Channel Strip (amazon): amzn.to/3QxZDvN
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#SoundSynthesis #SoundDesign #ExperimentalMusic #kyma #symbolicsoundkymaBass + AI: Improvisation (OSC communication between Python, Unity3D, and Kyma) | Simon HutchinsonSimon Hutchinson2023-09-26 | An improvised duet(?) with a AI agent trained on the "Embodied Musicking Dataset" (linked below).
In this performance, Python listens to live audio input from the bass, and, based on models trained with the dataset, sends out data to Unity3D and @SymbolicSound Kyma. Unity3D creates the visuals (the firework), and Kyma processes the audio from the bass.
First, though, the dataset used for training was collected from several pianists in the US and UK. As pianists played, we recorded multiple aspects of their performance: audio, video of their hands, EEG, skeletal data, and galvanic skin response. After playing, pianists listened to their own performance and were asked to record their state of “flow” over the course of the performance. All of these different dimensions of data, then, were associated over time, and so neural networks can be trained on these different dimensions to make associations.
This demonstration uses the trained models from Craig Vear's Jess+ project (youtu.be/zwkSQaPBQ7w?si=_lTGDY4GNq-i1h8w) to generate X&Y data (from the skeletal data), and “flow”, from the amplitude of the input. These XY coordinates, “flow”, and amplitude are sent out from Python as OSC Data, which is received by both Unity3D (for visuals) and Kyma (for audio).
In Unity, the XY data moves the “firework” around the screen. Flow data affects its color, and amplitude affects its size. Audio in Kyma is a bit more sophisticated, but X position is left/right pan, and the flow data affects the delay, reverb, and live granulation.
As you can see, amplitude to XY mapping is limited, with the firework moving along a kind of diagonal. Possible next steps would be to extract more features of the audio (e.g. pitch, spectral complexity, or delta values), and train with those.
Applying this data trained on pianists to a bass performance (in a different genre) does not have the same goals music-generation AI such as MusicGen or MusicLM. Instead of automatically generating music, the AI becomes a partner in performance. Sometimes unpredictable, but not random, since its behavior is based on rules.
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#SoundSynthesis #SoundDesign #ExperimentalMusic #unity3d #symbolicsoundkyma #kymaEurorack Noise Lunchbox: Benjolin & Interstellar Radio #shorts #synthnerdSimon Hutchinson2023-09-23 | A quickie feedback patch on my 54HP Pulp Logic Lunchbox.
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#drumbruteimpact #eurorack #schlappiinterstellarradioPortable Eurorack Feedback #shortsSimon Hutchinson2023-07-12 | Doing some feedback-based patching of my 54HP Eurorack synth at Hanamaki's Regional Park (岩手県立花巻広域公園).
#shorts #eurorack #feedbackDAWless and Dirty (DrumBrute Impact, Korg SQ-1, 54HP Eurorack, Mackie 402-VLZ3, Zoom H4N) #shortsSimon Hutchinson2023-07-01 | DrumBrute Impact and a 54HP Eurorack feedback patch playing together in a harmony of grit.
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#eurorack #shorts #drumbruteimpactPd Machine Learning Fail (Unsuccessful Audio AI in Pure Data Vanilla) | Simon HutchinsonSimon Hutchinson2023-06-12 | A failed attempt at machine learning for real-time sound design in Pure Data Vanilla.
I've previously shown artificial neurons (youtu.be/PdJG5SFmVaw) and neural networks (youtu.be/VAJeJAr3J7I) in Pd, but here I attempted to take things to the next step and make a cybernetic system that demonstrates machine learning. It went good, not great.
This system has a "target" waveform (what we're trying to produce). The neuron takes in several different waveforms, combines them (with a nonlinearity), and then compares the result to the target waveform, and attempts to adjust accordingly.
While it fails to reproduce the waveform in most cases, the resulting audio of a poorly-designed AI failing might still hold expressive possibilities.
0:00 Intro / Concept 1:35 Single-Neuron Patch Explanation 3:23 The "Learning" Part 5:46 A (Moderate) Success! 7:00 Trying with Multiple Inputs 10:07 Neural Network Failure 12:20 Closing Thoughts, Next Steps
#puredata #machinelearning #artificialintelligence #sounddesignDrumBrute Impact & Eurorack Sidechain Compression (with Make Noise Maths) #shorts #drumbruteimpactSimon Hutchinson2023-06-07 | Making some pulsing acid house (?) by side-chaining my Eurorack synth to the kick of my Arturia DrumBrute Impact using Make Noise Maths as an envelope follower and VCA.
Arturia DrumBrute Impact on Amazon (affiliate link): amzn.to/4649jnC
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#shorts #drumbruteimpact #eurorack #sidechaincompressionCan you play the gong in Wo Long? (diegetic music in games) #shortsSimon Hutchinson2023-06-04 | Experiments in diegetic music from my Wo Long run last night.
#shorts #gameaudio #wolongfallendynastyReaktor 6 Envelope Follower (Synth Oscillator Following Drum Envelopes) | Simon HutchinsonSimon Hutchinson2023-05-29 | How to create an envelope follower in Reaktor 6 Primary and set your synth to automatically follow the amplitude of drums.
An envelope follower is a device that converts the amplitude envelope of an audio input into a control signal. Once we have that control signal, we can use it to control whatever we want. We can make the amplitude of an oscillator follow the amplitude of the input, or we could move the cutoff frequency of a filter, panning, etc.
Building the envelope follower is rather straightforward, just two steps: of rectifying and then low-pass filtering. In this video I walk through the process, and then show a few different applications.
0:00 What is an Envelope Follower? 1:02 Checking the Audio In 2:24 Making the Macro 3:09 Rectification 4:04 Low-Pass Filtering 5:07 Using the Control Signal 6:46 Improving the Design with Gain and Freq Controls 10:13 Controlling a Filter Cutoff 13:20 Closing, Next Steps
#Reaktor #nativeinstruments #SynthesisBidirectional OSC with Kyma & Unity3D in Baion 倍音 (Symbolic Sound Kyma) | Simon HutchinsonSimon Hutchinson2023-05-15 | Talking through bidirectional OSC (Open Sound Control) in my 2018 piece Baion (倍音), that I perform on a custom-built interface, "the catalyst".
I'm performing my 2017 piece "Baion" this week, and I thought it was a good chance to revisit some of the mechanics of the piece, specifically the communication between the different elements--the custom interface, the Kyma timeline, and the game built in Unity3D. In this video, I go through how the musical work emerges from the bidirectional OSC communication between software.
My VoiceOver gear (affiliate links) Aston Microphones Origin (amazon): amzn.to/40wQ7Og dbx 286s Channel Strip (amazon): amzn.to/3QxZDvN
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#kyma7 #unity3d #sounddesign #circuitbent #kyma #symboicsoundkymaJames Browns Funky Drummer on Arturia DrumBrute Impact (imitation Clyde Stubblefield) #shortsSimon Hutchinson2023-05-10 | Creating a knock-off of Clyde Stubblefield's famous drum break from James Brown's "Funky Drummer" on the Arturia DrumBrute Impact.
Arturia DrumBrute Impact on Amazon (affiliate link): amzn.to/4649jnC
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#shorts #drumbruteimpact #drummachinesROMplers - Not quite samplers (Roland JV-1010 & M-GS64 Sound Expansion) | Simon HutchinsonSimon Hutchinson2023-05-01 | ROMplers are synthesizer that create sounds through samples stored in ROM (Read-Only Memory). So, unlike "samplers" they are unable to record and manipulate new samples.
My voice-over gear (affiliate links) Aston Microphones Origin (amazon): amzn.to/40wQ7Og dbx 286s Channel Strip (amazon): amzn.to/3QxZDvN
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
0:00 What is a "ROMpler"? 1:54 Roland JV-1010 General MIDI Demo 2:43 Roland M-GS64 General MIDI Demo 3:10 JV-1010 3:30 M-GS64 3:42 Multiple ROMplers, Digital Plugins
#SoundSynthesis #SoundDesign #ExperimentalMusicNo-Input Mixer & Drum Machine (Arturia DrumBrute Impact, Mackie 402-VLZ3, & Boss DD-6) #shortsSimon Hutchinson2023-04-26 | Arturia DrumBrute Impact running into a mixer feeding back through a Boss DD-6 Delay Pedal for noisy, high-energy techno.
I don't think I should call this no-input mixing, since there is an input--the DrumBrute Impact--but the technique of feeding back the mixer to itself is the same (and sounds amazing).
Used in this video: Arturia DrumBrute Impact on Amazon (affiliate link): amzn.to/4649jnC Boss DD-8 Digital Delay on Amazon (affiliate link): amzn.to/3SCqAkJ Mackie VLZ4 on Amazon (affiliate link): amzn.to/3QTioLz
* I provide affiliate links for some products that I use and enjoy. If you end up buying something through these external links, I may earn a small commission (while the price for you remains the same).
#shorts #noinputmixing #drumbruteimpactPd Patch from Scratch Comb Filter (Pure Data Vanilla, No Talking) | Simon HutchinsonSimon Hutchinson2023-04-17 | Building a comb filter in Pure Data Vanilla from scratch.
A comb filter is a filter created by adding a delayed signal to itself, creating constructive and destructive interference of frequencies based on the length of the delay. All we have to do is delay the signal a little bit, feed it back into itself (pre-delay), and we get that pleasing, high-tech robotic resonance effect.
There's no talking on this one, just building the patch, and listening to it go.
0:00 Playing back a recorded file 0:35 Looping the file 1:00 Setting up the delay 2:08 Frequency controls for the filter 2:52 Setting the range 3:48 Automatic random frequency 4:25 Commenting the code 5:39 Playing with settings
#SoundSynthesis #SoundDesign #puredataUnapologetically Analog Eurorack Feedback Loops (Matrix Mixer Feedback) | Simon HutchinsonSimon Hutchinson2023-04-14 | Slow, generative Eurorack jam, where a simple sine wave is fed back through a matrix of reverb, delays, and filters until it becomes something more sophisticated.
#eurorack #experimentalmusic #analogsynthesizer #modularsynthReaktor 6 Sequencing Part 3 (of 3) - Asychronous Sequences & DAW Integration | Simon HutchinsonSimon Hutchinson2023-04-03 | Part 3 of making a sequencer in Reaktor Primary.
Building off of our sequencer from part 2 ( youtu.be/DGbkv7QEy1U ), here we start sequencing filter cutoff frequency in addition to pitch, synching up everything (including the delay) to one clock, and then make sequences of different lengths between the pitches and the cutoff frequencies for maximum musical variety.
As a final step, I bring it into a DAW (specifically Logic Pro X), and show how we can bring this into a musical context with other instruments.
0:00 Deleting the LPG, Adding a Filter 1:04 "VCA" 1:38 Sequencing Filter Cutoff 2:16 Changing to a Single Clock Source 3:06 Synching Clock to Tempo 4:16 Synching Delay to Tempo 5:30 Portamento (Pitch Glide) 7:31 (Relunctantly) Setting Sequence Length 9:27 Asymmetrical Sequences 10:30 Subdivision Selection for Delay 12:24 DAW Integration
#SoundSynthesis #SoundDesign #ExperimentalMusicSquid Axon Generative Music in VCV Rack (Subtractive Synth & NLC Squid Axon) | Simon HutchinsonSimon Hutchinson2023-03-31 | A simple subtractive synth (square-wave through a low-pass filter) controlled by the Nonlinear Circuits "Squid Axon" module.
I planned to record a different video today, but I lost my voice, so I changed my plans. Alongside the NLC Neuron module (which I am also fond of youtu.be/SblYnu8OzEI ), I'm also fascinated by the Squid Axon, which is based on the Hodgkin–Huxley mathematical model (en.wikipedia.org/wiki/Hodgkin%E2%80%93Huxley_model) of how giant squid axons work.
All that math is too complicated for me, but it's another chaotic, nature-modeled way to create control data, so I'm all for it.
Here, the output of the axon most clearly controls pitch, but also influences, the clock speed, envelope length, and filter. I start with the Squid Axon just working as a simple sample-and-hold, before cranking up the feedback for some generative melodies.
#SoundSynthesis #SoundDesign #ExperimentalMusicAudio Approaches to Artificial Neurons: Nonlinear Mixing and Beyond | Simon HutchinsonSimon Hutchinson2023-03-20 | Talking through the concept of an artificial neuron, the fundamental component of artificial intelligence and machine learning, from an audio perspective.
I've made a few videos recently with "artificial neurons" including in Pure Data (youtu.be/PdJG5SFmVaw & youtu.be/VAJeJAr3J7I) and in Eurorack (youtu.be/NeQYA4SIkGw), and, in this video, I discuss the ideas here in more detail, specifically how an artificial neuron is just a nonlinear mixer.
An artificial neuron takes in multiple inputs, weights them, and then transforms the sum of them using an "activation function", which is just a nonlinear transformation (of some variety).
Of course just making a single neuron does not mean you've made an artificial intelligence or a program capable of "deep learning", but understanding these fundamental building blocks can be a great first step in demystifying the growing number of machine learning programs in the 21st Century.
#vcvrack #machinelearning #experimentalmusic #soundsynthesisVCV Rack Artificial Neural Network (NLC Neurons to Mutable Instruments Rings) | Simon HutchinsonSimon Hutchinson2023-03-17 | An artificial neural network (ANN) of Nonlinearcircuits "Dual Neuron" modules pinging some Mutable Instruments "Rings".
Flow here is left to right. The four LFOs provide some outside stimulus, one running into each of the neurons in the leftmost modules (on input "I"). The other two inputs of each neuron on this initial layer is low-pass filtered feedback from the neural network's final output. I've found that this filtering before feeding back helps a lot to reduce an ultrasonic bouncing back and forth in the signal.
Anyway, the second set of neurons from the left are our "hidden layer"--their only input is from neurons, and their only output goes to other neurons. Most "deep learning" algorithms have one or more of these hidden layers between their input and output.
The final layer of the network--the neurons on the right--goes to the filters, and we can see the result on the oscilloscopes. As mentioned earlier, this filtered signal is fed back to the initial layer of the network, and also used to trigger the four MI Rings modules. When the signal crosses from positive to negative the sound is triggered, and there are different pitches for each of the four final neuron outputs.
Small changes to the neuron's "sensitivity" and "response" lead to big changes in the resulting output in this six-neuron "brain", including often just moving to stasis.
I should probably add a way to weight all of these neuron inputs, though (i.e. ability to attenuate each signal).
I've got a deeper explanation of artificial neurons and nonlinear mixing coming Monday!
#vcvrack #artificialneuralnetwork #experimentalmusic #eurorackSimple Generative Synth with VCV Rack Nonlinear Circuits Neuron #shortsSimon Hutchinson2023-03-15 | Using the Nonlinear Circuits "Dual Neuron" to drive a simple generative subtractive synthesis patch in VCV Rack. It's a two-neuron music brain.
Three slow LFOs are fed into the neuron (and transformed outputs are fed back into it). One neuron output triggers an AR envelope and a sample-and-hold when it crosses to positive. The other output is rectified, sampled, and quantized to control the pitch of the VCO. The VCF also takes a transformed neuron output from the diff-rectifier section of the Dual Neuron to control its cutoff frequency. Finally, I add a bit of delay for flavor.
#vcvrack #eurorack #shorts #artificialneuralnetworkGenerative Music from a Two-Neuron Neural Net (NLC Neuron) #shorts #eurorack #experimentalmusicSimon Hutchinson2023-03-01 | Networking two Nonlinearcircuits (NLC) Neurons to create a Eurorack artificial neural network. Neurons are fed different CVs (and fed back into each other), and the outputs control pitch (quantized), and the clock triggering the envelopes of the notes.
Audio from a 2HP VCO running through a Noise Engineering Sinclastic Empulatrix envelope, with delay from T-Rex Replicator and reverb from Noise Reap BTDR-H2.
#SoundSynthesis #ExperimentalMusic #shorts #eurorackReaktor 6 Low-Pass Gate (LPG) / Sequencing in Reaktor Primary Part 1 (of 3) | Simon HutchinsonSimon Hutchinson2023-02-20 | I set out to make a tutorial about making a simple sequencer in Reaktor 6 Primary, and got way too long-winded, so this first part is just about making a low-pass gate (LPG).
A low-pass gate is a low-pass filter that is functioning as a VCA. When it isn't triggered, the filter's cutoff frequency is subaudio, not letting any audio pass. When triggered, though, the cutoff frequency goes up, letting all frequencies through. In analog, too, this motion of the cutoff frequency is performed by vactrols, adding a quick attack and release that some compare to the sound of bongo.
In this video, I make a digital LPG, talking through the best numbers for an effective result.
0:00 Let's make a sequencer! 0:54 Making our usual sawtooth synth 1:24 Explaining a low-pass gate (LPG) 2:06 Starting with a low-pass filter 2:35 AR envelope 3:01 Modifying the envelope 4:25 Multiplication 5:14 Subtraction 6:12 Switching to 1-pole filter 7:26 Resonance (not usual for an LPG) 8:21 Talking through the macro
#SoundSynthesis #SoundDesign #ExperimentalMusicEurorack No-Input Mixer (DE-5 Shakti, T-Rex Replicator, & Schlappi Interstellar Radio) #shortsSimon Hutchinson2023-02-15 | Testing out my build of the DE-5 Shakti kit, which is a no-input mixer for Eurorack.
There are two internal feedback loops and a send/receive. In this patch, I've got the send going to the Schlappi Interstellar Radio and then the T-Rex replicator for a delay.
#ExperimentalMusic #eurorack #noinputmixing #feedbackloopsInternet-Based Audio Feedback Loops (Zoomscapes Pecha Kucha) | Simon HutchinsonSimon Hutchinson2023-02-06 | A "pecha kucha" (short talk) that I presented at the Ammerman Center for Arts & Technology 2022 biennial conference on @SpectralEvolver and my internet-based feedback project, Zoomscapes.
During the pandemic, conferencing software quickly became a required part of work and education culture.
Of course, this technology’s ability to keep us connected has been and important part of keeping people safe, but we’ve also discovered the quirks of this mode of communication. Being bound to this remote interaction inspires curiosity about its potential for collaborative creativity. Musicians have know for a while about the issues of internet latency in coordinating remote ensembles, but what if, instead of attempting to recreate the conditions of a traditional performance in this new medium, we embraced the “space” created by this conferencing software?
In this performance, two analog synthesizers are put into contact via conference software. The audio signal is sent between the two synthesizers, and a feedback loop is created between the two instruments.
Feedback loops, such as when we put a microphone close to a speaker, emphasize the resonant frequencies—the imperfections—of a system. As we know, the audio of conferencing software is an imperfect connection, with latency, filtering, and audio compression artifacts.
This conferencing-software feedback loop, then, emphasizes these imperfections, bringing out the character of this communication medium as an emergent soundscape.