best digital modular enviroment?

SuperCollider

if anyone knows of good beginner tutorials for Reaktor, please share

would like to try out a Nord Modular, but figured I'd start with software

I suppose this is a start

http://www.audionetwork.be/tutorials/reaktor/build_a_nord_lead_with_reaktor_4.pdf

although i'm more interested in the arpeggiator

  On 6/6/2010 at 11:15 PM, viscosity said:

if anyone knows of good beginner tutorials for Reaktor, please share

 

would like to try out a Nord Modular, but figured I'd start with software

the demo is free!

http://www.nordkeyboards.com/main.asp?tm=Downloads&cldwn=Nord_Modular_G2&osdwn=osw

but does have its limits

yeah I have that, but I figured i'd go with Reaktor for now as it doesn't have demo limitations, is more future proof, etcetc

Max/MSP looks great also but its environment seems a bit too arbitrary; i'll try it eventually but it seems some limits benefit creativity/productivity

g2 because it has a simple interface and you can quickly make nice sounds and sequences with its modules. Bidule and reaktor are the other two that i use a lot. I like working in bidule more than reaktor, but tend to not use it as a vst or vsti much due to it being unstable.

It was great back in the day. Had a bit of an "old hat" phase. Then it was updated massively in the past few years. I don't use it (the new version) but played with it. It is a wonderful tool and something I need to really spend some time on one day.

Reaktor 5 is the only thing you need

i just got audiomulch from lemonshare and it seems pretty cool. I dunno. I really need an idea going into an environment like that or i accomplish nothing at all.

  On 6/9/2010 at 4:23 PM, slightlydrybeans said:

i just got audiomulch from lemonshare and it seems pretty cool. I dunno. I really need an idea going into an environment like that or i accomplish nothing at all.

This.

It's quite overwhelming. A good way to "get used to it" is grab some familiar loops, stick them in there, and "mulch" away. Total mutation!

Thread needs more ABox love. I've got properly back into using this now, so fucking cool.

I find audiomulch to be a great 'jamming' tool. It's not so in depth for generating synthesizer textures or bringing an idea from your brain into a sound like MSP or Reaktor, but for just stumbling upon a great moment it's really nice. You can easily call up sequencers and sampler drum machines and link them together. The granular samplers on it alone were enough to sell me on it being a valuable tool. It reminds me most of Plogue Bidule but i find Bidule a little more daunting.

never seen Abox live, i shall check it out

i just figured out how insanely useful ableton's "external instrument" device is last night.

step 1: load up reaktor onto a midi track.

step 2: in reaktor insert an instrument wired to output 1/2 listening to midi on channel 1

step 3: insert a new midi track with an "external instrument" routing your midi to reaktor channel 2 and listening for audio on reaktor 3/4

step 4: insert a second instrument into reaktor and route to 3/4 listening to midi on channel 2

you will now be able to simply sequence your midi on each midi track and have the audio for the specific instrument come out on that midi track, the external instrument works exactly like a series of vst plugins when setup like this. you can do this for all the outputs in reaktor. finally i've figured out a way to use both ableton and reaktor together easily enough that i'll actually take the time to do it. fuck i'm excited. this will be good.

and to think it's been there all along but i just took it too literal "external instrument".

  On 6/11/2010 at 2:49 AM, ryanmcallister said:

i just figured out how insanely useful ableton's "external instrument" device is last night.

 

step 1: load up reaktor onto a midi track.

step 2: in reaktor insert an instrument wired to output 1/2 listening to midi on channel 1

step 3: insert a new midi track with an "external instrument" routing your midi to reaktor channel 2 and listening for audio on reaktor 3/4

step 4: insert a second instrument into reaktor and route to 3/4 listening to midi on channel 2

 

you will now be able to simply sequence your midi on each midi track and have the audio for the specific instrument come out on that midi track, the external instrument works exactly like a series of vst plugins when setup like this. you can do this for all the outputs in reaktor. finally i've figured out a way to use both ableton and reaktor together easily enough that i'll actually take the time to do it. fuck i'm excited. this will be good.

 

and to think it's been there all along but i just took it too literal "external instrument".

  On 6/6/2010 at 7:21 PM, Dan C said:

SuperCollider

no question in my mind. i've spent many more hours noodling about with generative supercollider weirdness than i have making any of the tracks i've posted. in terms of expressiveness, nothing comes close. writing in code, it's possible to create incredibly complex systems in seconds (writing an fm synth takes almost no time!) and with little to no bloat. i will say, however, that i come from a background of computer science. it's definitely the most intuitive way to do things from my perspective.

Jeskola Buzz because it's the only one that seems like it wouldn't completely drown out your right brain with all this programming generative system nonsense. g2 looks cool though

  On 7/3/2010 at 4:30 AM, Mesh Gear Fox said:

can you use graphical elements in supercollider like knobs and sliders?

yes.

question about buzz...what does it mean to be a multiple pattern sequence tracker? granted these are not the features really being addressed here I'm curious what this means? i like max although I think a lot of its potential has to do with what you tie it to externally and this can take a lot of work/frustration/is sometimes achieved easier by other means

OK, so everyone's chipped in with some examples of digital modular synths that are technically very good. I'll play devil's advocate and throw in a curveball.

I love Thor right now. I can only assume it's not as featureful as most fully fledged digital modular synths. Someone posted a screenshot of Reaktor, which I've never used myself, and it appears to be much more versatile, offering more sonic capabilities. Unless I'm mistaken, it has a module labelled "/". Being a programmer by day, I'm going to go out on a limb and assume it divides the value of one signal by the value of another. That's a typical example of something made by and for hackers.

These days, I don't care about having unlimited possibilities. I like the idea of working within a fishbowl so I don't get paralysed. (I've written about this after, amongst other things, watching Barry Schwartz's TED talk.)

So what can be more important than having unlimited possibilities, at least for some of us? Stability, and ease of use. My partner uses Logic Express and Komplete, which irk her no end whenever they crash. No one's to blame for this; it's hard for different groups of people to make compatable host and client (parasite?) software. Still, it gets in the way of her creativity.

I'm also increasingly of the opinion that some tools are better off being designed for people, rather than people having to adapt themselves to the tools. This is undoubtedly the result of my day job and reading books like Steve Krug's excellent Don't Make Me Think.

Thor has enough versatility with its assortment of modules to keep me very happy (especially its noise module, which I've had no end of fun with -- it's more thorough than any noise generator I've used on a tangible synthesiser). Because it's software, it has more polyphony than I can ever realistically use, and it has total recall, which makes it extremely easy and convenient to use to actually get the job of music making done. Because it's integrated with the closed system of Reason and Record, it's stable. It's never once crashed on me.

So although it may not be as versatile as other solutions, it's great for me due to its stability and intuitive interface. At the end of the day, it's still breathtakingly more convenient and inspiring to use than the original Moog modulars, as are most modern software modular synthesisers. We've never had it so good, and it's only my laziness and lack of focus that prevent me from making, say, the next Timesteps.

thor aint got a mutator

  On 7/3/2010 at 5:34 AM, Scrambled Ears said:

question about buzz...what does it mean to be a multiple pattern sequence tracker? granted these are not the features really being addressed here I'm curious what this means? i like max although I think a lot of its potential has to do with what you tie it to externally and this can take a lot of work/frustration/is sometimes achieved easier by other means

You know how Renoise has 1 screen of 8 channels or whatever that you write notes etc in?

Imagine having as many of those as you want.

So for instance if you had 1 channel playing a melody, 1 channel playing hi hats you could loop those patterns over and over and not have to copy/paste/retype them etc.

  On 8/10/2010 at 9:35 PM, ZoeB said:

OK, so everyone's chipped in with some examples of digital modular synths that are technically very good. I'll play devil's advocate and throw in a curveball.

 

I love Thor right now. I can only assume it's not as featureful as most fully fledged digital modular synths. Someone posted a screenshot of Reaktor, which I've never used myself, and it appears to be much more versatile, offering more sonic capabilities. Unless I'm mistaken, it has a module labelled "/". Being a programmer by day, I'm going to go out on a limb and assume it divides the value of one signal by the value of another. That's a typical example of something made by and for hackers.

 

These days, I don't care about having unlimited possibilities. I like the idea of working within a fishbowl so I don't get paralysed. (I've written about this after, amongst other things, watching Barry Schwartz's TED talk.)

 

So what can be more important than having unlimited possibilities, at least for some of us? Stability, and ease of use. My partner uses Logic Express and Komplete, which irk her no end whenever they crash. No one's to blame for this; it's hard for different groups of people to make compatable host and client (parasite?) software. Still, it gets in the way of her creativity.

 

I'm also increasingly of the opinion that some tools are better off being designed for people, rather than people having to adapt themselves to the tools. This is undoubtedly the result of my day job and reading books like Steve Krug's excellent Don't Make Me Think.

 

Thor has enough versatility with its assortment of modules to keep me very happy (especially its noise module, which I've had no end of fun with -- it's more thorough than any noise generator I've used on a tangible synthesiser). Because it's software, it has more polyphony than I can ever realistically use, and it has total recall, which makes it extremely easy and convenient to use to actually get the job of music making done. Because it's integrated with the closed system of Reason and Record, it's stable. It's never once crashed on me.

 

So although it may not be as versatile as other solutions, it's great for me due to its stability and intuitive interface. At the end of the day, it's still breathtakingly more convenient and inspiring to use than the original Moog modulars, as are most modern software modular synthesisers. We've never had it so good, and it's only my laziness and lack of focus that prevent me from making, say, the next Timesteps.

Besides the underlying Reason fan-boyism, you bring up some good points, and there are infact benefits to working in closed isolated areas. I've done albums in the past where I forced myself to only use a mic or to only use hardware. These result in very well thought out compositions that usually get done in breakneck times because you don't have to play the "i'm looking for the perfect #{fill_in_the_gap} to make this track perfect"

I'd retort to you, that you can still use modular design to make things that go along with your isolated systems. For instance I almost use Live primarily, yet I still made a Max patch to streamline my APC40 to interact with me better. Having modular synthesis doesn't force you to ad lib design. Ff you have a good idea ahead of time, it can help you become even more focus'd.

  On 8/10/2010 at 9:41 PM, soundwave said:

thor aint got a mutator

Ooh, the Mutronics MIDI Mutator? I hadn't heard of that one. It sounds like it runs an input through an envelope follower... Scream 4 has a CV output which does the same thing. So I could use that to take any sound and, say, run it through Thor's low pass ladder filter with its cutoff point dictated by the lazily-followed envelope generated by Scream 4. Is that the sort of thing the Mutator does? I'm curious now...

Sorry about the fanaticism. (By the way, I'm not a boy. :P ) I tend to get quite excited when talking about music making, and I'm not used to having people to talk to about it who understand what the hell I'm on about and maybe even care. :) For what it's worth, this fanaticism is partly due to an effort on my part to want what I have and get on with using it, rather than pining after various music making equipment that I don't have the space for, and don't have the time to learn. I could just as easily talk excitedly about other things I've used to make music, such as Impulse Tracker (now there's a closed system I used to have fun with) or the Roland SH-101 (so tactile! Everything at your fingertips! I still miss it).

In terms of most versatile equipment, Csound's probably the least limited tool I've used, but I'd never call it the "best" in practical terms -- it took me hours of fiddling to make each patch, and it wasn't even worth using it to output enough notes to load the results into NN19, let alone to use it to actually render out whole tracks.

  On 8/10/2010 at 10:04 PM, ZoeB said:

  On 8/10/2010 at 9:41 PM, soundwave said:

thor aint got a mutator

 

Ooh, the Mutronics MIDI Mutator? I hadn't heard of that one. It sounds like it runs an input through an envelope follower... Scream 4 has a CV output which does the same thing. So I could use that to take any sound and, say, run it through Thor's low pass ladder filter with its cutoff point dictated by the lazily-followed envelope generated by Scream 4. Is that the sort of thing the Mutator does? I'm curious now...

a healthy guess but no

G2 patch mutator