Ryan PWMA brief tutorial on how to take MP4s and view them in an oscilloscope format. Basically how to make yo stuff green and glowy! I made an entire music video using this technique, and some others over here: youtube.com/watch?v=LraJlgiThF4
How to Draw Any Video On An OscilloscopeRyan PWM2020-10-26 | A brief tutorial on how to take MP4s and view them in an oscilloscope format. Basically how to make yo stuff green and glowy! I made an entire music video using this technique, and some others over here: youtube.com/watch?v=LraJlgiThF4
Processing: processing.org OScilloscope Viewer: github.com/kritzikratzi/Oscilloscope/releases Audacity: audacityteam.org/download Osci Studio: oscilloscopemusic.com/oscistudio.phpRyan PWM - Live Modular TechnoRyan PWM2024-05-08 | A little acid techno on the modularNot Your Grandmas MoogRyan PWM2021-08-20 | Just a fun Moog Matriarch video. Sort of get's on me when people just use these for classic sounds when they have an amazingly diverse range of sounds. This video is just showing off some FM sounds made stable by syncing the FM oscillators.Modular + Synth Live Performance (Ryan PWM for Milkyways E-Fest)Ryan PWM2021-07-13 | Tech-ish House set all performed live with five12 Vector as the brain. This set had to be cut for time since I only had 30 minutes and ended up doing 49. So there's two parts that are shortened in a non-meaningful way. And for the e-show I added a cover at the end since my last piece is like 9 minutes. All in all good festival with 68 artists, 1,515 stream views, and 332 people even joined us directly on Minecraft in total.
TIMELINE: 0:00 Intro 03:30 "Concentrate" 07:24 "Concentrate with Lazers" 09:30 "Mind Control" 12:20 "Vector generated improv sequence" 15:48 "Eric & Fiona" courtesy of the Calling Our Cool Friend podcast 19:52 "Nonsense!" 23:12 "What Nonsense!" 25:55 "Unprepared Arp Improv Ending" 30:00 "Arp Ending, but I know where it should go now" 33:30 "End" 35:35 "Deadmau5 - Strobe (Ryan PWM Re-Make)
Some unreleased stuff at soundcloud.com/ryanpwm Other musical media and services at www.spacepup-sound.com.
Now.. nerd out with me:
The show is run by the Five12 Vector sequencer, which is expanded by a launchpad controller. All melodic sounds are synthesized and transitional effects are triggered by the Genki Wave controller ring. If you notice when I hit things hard or snap with my right hand, a clap impact triggers. Different impacts are chosen by the ipad, which sends offset signals through the mpc and to the eurorack sampler: Assimil8or. Selections are calibrated by velocity input on the sample zones.
The ending is overridden by the Moog Matriarch's sequencer
Drums are sequenced in the MPC. I simply ran out of Assimil8or channels and needed backup. But the MPC brought along with it low latency fx. When I adjust the mixer fader with my left hand, I am adjusting the "wet" mix of mpc run FX.
The Ipad controls not only the impact zone, but also the reverb and delay parameters of the drums and synthesizers.
Sidechain pumping is run by a control voltage sample in assimil8or. Part of the reason why I have very little tempo variation. Electrosmith Daisy has a dynamic one that I wrote myself, but I killed it accidentally. Which was a shame since it also ran a lot of FX and sub mixed some stuff :(
The setup was slightly different and I have some great practice parts (I'll filter some of that on my channel later) that didnt make it into this show due to catastrophic failure of the Electrosmith Daisy unit. It's the dark space in my system above the MPC. It... well I programmed it to do a lot and then I killed it. So the show changed a good bit from what I intended. Another reason why MPC was needed.
In the end the set was still too long, so I whipped up some midi into the Vector sequencer and did a post performance of strobe. Unfortunately not on video (I bought a house while all this was getting set :O ), but we'll save that for another special occasion :)
Five12 Vector, Moog Matriarch, Sequential Pro-3, OB-6, Rossum Assimil8or, Intelliejel Rubicon 2, SSF Stereo-Dipole, Joranalogue Generate 3, Xaoc Odessa, Make up the bulk of sound generation.Ryan PWM Milkyways Live Set (Teaser)Ryan PWM2021-07-10 | Just some short cuts from my live set for Shimotsuki Club’s Milkyways digital fest. Whole video to follow after the date. Can check out the stream 5:30pm PDT at https://m.twitch.tv/shimotsukiclub
And other musical stuff at www.spacepup-sound.com.Eurorack Live Peformance for Sunrise (Botched recording)Ryan PWM2021-05-11 | Got together some cool stuff making up performance ideas but I forgot to press record... oh well. Better luck next time.Messing Around With AcidRyan PWM2021-02-15 | ...Daisy Patch: DIY Eurorack Module with Max/Gen~Ryan PWM2021-01-28 | This is a quick video just to spread the word about the Daisy Patch and how anyone who can use Max.Gen~ can program their own digital eurorack module. Hopefully the community will grow and people wont even need to make their own, just choose from a library of user creations.
It's as fast as any digital module, powerful enough to run lots of different applications, and overall just a really cool platform/chameleon module for eurorack.
The whole production is done without a sequencer. It’s all just creative freezing of Marbles and Euclidean circles rhythms on the bass. Pams running drums
And then it’s just up to fate what sound comes next. With some creative bumpers around pure random, things can get pretty groovy. Or also sound like trash. That’s part of fun.
You can hear completed music here:
open.spotify.com/artist/1xP7KwwsME6BjmmDqv1Xiu?si=XKSSrd6tQmSYf6bBwlkCZAEuro Live Jam Session 1Ryan PWM2020-12-28 | ...Assimil8or: Wavetable MasterRyan PWM2020-12-13 | 0:00 Start Skip the Intro 1:19 Phase Modulation 3:14 Shut up! No talking 4:59 That melody gets annoying 9:16 Skip the fiddling 14:56 Bit Reduction 18:31 Final Features and Thoughts 20:23 Dat intro montage tho 00:16
This is by far the most versatile Eurorack. Hopefully you get just a taste of what's possible by seeing this demo. If you have anything you'd like to see, leave a comment :)
A note about the "Aliasing" comment on the bit reduction. Bit reduction does cause aliasing, though that is a traditional result of the process on all iterations of the file.
The specific "Aliasing" function on the Assimil8tor is a different process that causes aliasing at the given bit depth, but only when pitch alterations are made.
From Rossum: "Dave has developed some really amazing pitch shifting technology to allow Assimil8or to transpose sounds up and down over a huge range without artifacts. The Aliasing control lets you progressively disable that technology so that you can introduce those aliasing and imaging artifacts into your sounds (if that’s the sort of thing you’re into).
IMPORTANT NOTE: Aliasing only results when a sampled sound is pitch shifted. Therefore, this parameter will only have an effect on a sound that’s being pitch shifted, allowing the artifacts that are normally eliminated by Dave’s technology to become audible. The more it’s pitch shifted, the greater the potential effect. However, if you’re just playing back a sample at its original pitch (or not pitch shifting very far), the Aliasing parameter will have no effect at all, as there will be no artifacts generated in any case.
Here’s what the various settings of Aliasing do:
From 0% to 25% aliasing, only the aliasing while pitch shifting upward will be affected. What is happening is that we are reducing the degree to which we track the alias reduction filter to the pitch. Higher pitch shifts get more and more aliasing over this range. Beginning at 25%, the pitch will no longer affect the interpolator filter at all.
From 25% to 36% we gradually reduce the steepness of the anti-aliasing filter, gradually allowing more aliases. Somewhere around 31% the quality will be that of the G-chip, as used in all E-mu samplers since Proteus, Emax II, and E3X. At 36%, the quality is similar to what was used in the EMU8000 chip that powered the Sound Blaster AWE32. 46 |
From 36% to 51%, the interpolator transitions from a brick-wall lowpass filter to (at 51%) a linear interpolator.
From 51% to 89%, the interpolator transitions from a linear interpolator to (at 89%) a drop sample interpolator. Linear interpolation is used by most sample playback engines; drop sample was used by instruments from the PPG, through the Ensoniq Mirage, to the SP1200.
Beyond 89%, the “extreme alias” regime is entered. The interpolation filter no longer remains lowpass, and aliases are emphasized. At 100%, the filter has a highpass characteristic, so the aliases are louder than the fundamental sound.
Aliasing can be modulated by any of the CV inputs with the modulation gain set by the associated attenuverter.
The gain range is from -100% per volt to +100% per volt."Assimil8or: Copy Pasta Pt.1 (Eurorack Sampling)Ryan PWM2020-12-03 | Pt. 2, Wavetables: youtu.be/YPjgaW5h-l4
Oscillator copying and live looping. More to come. Especially wavetables.
A note on zero crossing since I made it slightly confusing in the video. the grey midpoint line is the zero crossing. I mixed up the words a little around wave amplitude matching and zero point crossings.
This is by far the most versatile Eurorack. Hopefully you get just a taste of what's possible by seeing this basic demo. If you have anything you'd like to see, leave a comment :)Rubicon 2 Phase modulating Generate 3Ryan PWM2020-10-29 | Intellijel Rubicon 2 saw wave phase modulating Generate 3. Generate 3 - Mutable Shelves high pass - Antimatter Crossfold wavefolder, Dopefer 103 303 filter - intellijel quad vca out.
Intellijel dual adsr on 303 filter and vca. Joranalogue contour 1 (A) on phase modulation amount (set by VCAM vca). WMD SPO attenuverter fine tuning amount and offsetting the VCA.
Countour 1 (B) on high pass filter. (Or I think I just did it with my hand for this recording)Ableton Performance Issues vs Studio One vs BitwigRyan PWM2020-10-16 | I want to love ableton, but my god it makes things difficult in professional productions. At least on Windows. I've since made a complete switch to Bitwig and could never go back, even if Ableton fixed this issue. The only reason why I want to make a deal out of this is because of what we miss out on by ableton not being great. But others imo have already surpassed it and they just have a lot of work to do....
I have an i9900k processor and 64GB of ram. I'm also a 10 year veteran of Ableton and have released professionally with it. I want to love it. I really do. But after seeing how much better other software's work, I just have a tough time using it anymore.Ryan PWM - Freak Show EP (Incursion)Ryan PWM2020-09-10 | Incursion Recordings PromoAbleton Midi Jitter and Clock Instability :( (Broken Engine)Ryan PWM2020-09-10 | Since I've originally posted I'm really glad people who have had this underlying like paranoid suspicion that things are off can be vindicated here. It seems I might be the only one publicizing these core stability issues. Ableton won't acknowledge it at all, yet it really is off and it really is an issue.
Video demonstrating the shortcomings of Live's engine.Eurorack Synths With Guitar Pedals (Rat, Fuzz Factory, and More!)Ryan PWM2020-08-13 | Guitar pedal distortion FTW.
A basic video showing the impact guitar pedal distortions have on aggressive synthesizer type sounds made with my eurorack modular synths. From my experience, there is likely no better distortion pedal for synthesizers than a rat and it's variations.
Some extra info:
*Most of these samples were made the Synthesis Technology E352 Cloud Terrarium Eurorack module, Doepfer A-103 VCF6 TB303 clone filter, Intellijel Quad VCA, and Mutable Instruments Shelves. Mutable Instrument's Clouds and SOMA Lyra8 FX make their way to some sounds too. Finally out through a Happy Nerding Isolator. Post processing through a Pigtronix Keymaster guitar pedal interface.
*The delay pedal was run through the behringer heavy distortion... I think. Not actually 100% sure.
* Guitar pedals have no high end aliasing, and therefore will almost always have crisper, more detailed highs.
*You can use guitar pedals in multi-band by routing them out of your daw with crossover filters. Or buy an analog crossover for $70.
*For most guitar pedals you will need to deal with impedance mismatches to line level. A reamp & direct box will work. Or a dedicated line to guitar (or euro to guitar) interface can be convenient too. Some interfaces take guitar level. Few to no interfaces output guitar level.Ryan PWM - 465 (Oscilloscope Drawing Music Video)Ryan PWM2020-07-29 | A little music video I made with an oscilloscope controlled by many euro-rack oscillators and an expert sleepers ES-3.
Song lives here: soundcloud.com/ryanpwm/465aWMD Trshmstr & Blue Lantern Millipede Resonant Drive Patch DemoRyan PWM2019-08-15 | A video demonstrating the main patch for my song Nice Personality. I also made a music video here! youtu.be/LraJlgiThF4
You can see how brutally sensitive involved patches get! I only felt comfortable doing this as the song had been recorded already lol. Just a mm here or there and the sound just isn't quite right. About 5 layers of this made it into the final song, released on the Freak Show EP (Incursion Recordings). open.spotify.com/album/718dmmDWwcP1sw8a8le18c?si=lajaH1n1Q4yyFkWFKwoHuA
Some explanations. The EQ is a four band EQ with high shelf, parametric band 1, parametric band 2, low shelf. The Q drive just overdrives the Q circuit The compressor X-Form circuit adds bass presence. The compressor is also driven into saturation/overdrive.
The final lead was layered 5 times in the box with slightly difference cutoff and eq settings. One for body and one for a more piercing lead and another for texture. and two others are there for some reason.Intellijel Rubicon2 Bass House JamRyan PWM2019-08-13 | Jamming out with my new modular gear. Thanks to the rubicon2, trshmastr, Millipede, Jellysquasher, and Shelves. Really pushing that saturation on the Jellysquasher!
:D :DParallel Compression in 5 Minutes!Ryan PWM2019-07-24 | Just a quick tutorial on parallel/NY compression.Mastering EDM for Loudness BasicsRyan PWM2019-05-02 | So this is a simple tutorial for mastering your tracks for loudness. I touch on some bass mixing elements, explain what's happening in some example tracks and show you what's going on at the ground level with my own track.
EDIT: By "sacrificing kick volume" in the song analysis part, I mean volume EQ-wise. As in they most likely high passed the kick to allow room for the sub to come through (Or chose an appropriately EQ'd sample). I did not mean they sacrifice in overall kick volume. Similarly, by saying lower volume to raise the overall volume, I mean reducing certain frequencies' volumes.
Let me know if I missed anything important or if you'd like to see anything else.
Oh P.S. to you who listen carefully, yes I did bounce my kick sample to audio :P
You can also see what I'm up to at my soundcloud here: soundcloud.com/calltheoperatorMetroboomins Interesting Delay Feedback EffectRyan PWM2019-04-25 | So this is a simple tutorial for metroboomin's intro in Metropolis. Just a quick and dirty delay feedback tutorial. You will need a delay that can feedback or almost feedback. Live's native delay may not quite cut it.
You can also see what I'm up to at my soundcloud here: soundcloud.com/calltheoperatorMulti-Band Saturation Live Rack Tutorial - Native PluginsRyan PWM2019-04-21 | This video will show you how to make a multiband Saturation rack in Ableton live 9 and 10.
These techniques are also applicable for other multi-band or wet and dry processing. I have included a download for the rack as well as a multiband tube rack as it has its own subtler uses. Live lite users can download the Lite rack and those who are worried about CPU usage can download the EQ3 version. I think the crossover in multiband is more musical that eq3s 24db crossover, but you really cant tell the difference besides MB goes down to 30hz while eq3 stops at 50hz.