If you haven’t been following the Kore @ CDM site, we’ve been picking up some great tips from contributors Peter Dines and Eoin Rossney. This video has inspired me personally to dive a little deeper beneath the shrinkwrap on Kontakt 3, particularly with its scripting capabilities:

Creative Abuse of the Kontakt Sampler

Peter Dines’ tutorial on scripting and modulation in Kontakt 3 from Create Digital Media on Vimeo.

Kontakt Tutorial Video: Creative Abuse with Modulation, Scripting

Kontakt 3 users, we’ll be curious to see what you do with that one.

User-Created, Free Modular Reaktor Powers in Kore

Also in the spirit of pushing tools past their usual capabilities, Eoin Rossney talks to Jonathan Adams Leonard, aka sleen, who has built an essential set of modular power tools for Kore, constructed in Reaktor. (He did this entirely for free as a user — nice.) What I especially enjoy about this is that Jonathan is upfront about things he felt like were missing in Kore 2 — but instead of just complaining about it, actually went and built it himself. As he tells the site:

Kore 2 was an ambitious release for any software team, so instead of complaining, I did what any enlightened engineer would do and built something. In some ways, there was no choice. NI created a semi modular matrix into which audio and midi objects can live simultaneously.

… The toolpack represents my preference to communicate where possible with solutions rather than suggestions or complaints.

I like that attitude. Eoin also walks through the toolpack tool by tool, with some tips from him and Jonathan for getting the most out of them, including some very powerful MIDI and audio capabilities. We have some other ideas for how to work with Kore live, and we’re learning from some folks who are using it out in performance, as well, so you can expect more on these issues soon.

Sound Design, Drum Machines, DSP

Also on the site: I find some percussion sound goodies from the So Percussion Ensemble by making use of the Kore Browser’s metadata options, and take a look at a pack full of retro drum machines from Crumar to Linn to Moog and Roland which could be a good use for your free sound pack. Make sure to authorize Kore this week if you have bought it, so you get the Massive synth free.

And lastly, while this is likely to convert even more of my weekends and evenings into sound programming time, I’m especially excited by Peter pointing to this set of tutorials on Core, the DSP geeks-only low-level sound programming engine deep in Reaktor:
She Blinded Me With DSP Science: Learn Core with Reaktor

That’s “Core” with a “C”, part of Reaktor, as opposed to Kore, a separate product. (Hey, I promised you this site wouldn’t just be about Kore.) Reaktor geeks, if anyone wants to join me on this brain-busting journey to the center of Reaktor, say so in comments and we can form an impromptu user group.

Stay tuned, we’ve got plenty more in the hopper for this site. Head over to kore.noisepages.com, or subscribe to the site’s RSS feed. And if you’re not seeing what you want, let us know in comments or contact us directly.

The old CreamWare Scope DSP platform has been given new life… yet again. Things had been suspiciously quiet since Sonic Core acquired CreamWare’s assets early last year, and many long-time users were worried the end was near. It turns out the team was simply hard at work. The company will unveil powerful new Scope hardware and significantly upgraded software at the 2008 Frankfurt Musikmesse (March 12-15).

The big news is the € 2698 ($4200) Scope XITE-1 DSP hardware system. It’s based on Analog Devices SHARC DSP chips, offering 10x more processing power than their previous high-end Scope Professional card. The new hardware is housed in a 19 inch 1U rack case that interfaces to your Mac or Windows box via a PCI-Express (desktop) or ExpressCard (notebook) interface.

Even as software continues to flourish, there’s still a great argument for a hardware box that does what you need — especially when that box has extensive feature sets, MIDI support, comes from Roger Linn, and costs US$375. Roger himself writes to let us know about the release of the AdrenaLinn III:

AndrenaLinn III Product Page

Like the models that came before it, the AdrenaLinn III is a guitar amp modeler with modulation and effects. The effects section is what really sets it apart: delays, filter sequences, and modulation are all synced to either the built-in drum machine or external MIDI. MIDI sync, of course, means you could easily integrate this with a software setup with tools like Ableton Live, Reason, or Cakewalk Project5. But it’s also little wonder that Linn, creator of various breakthrough drum machines, would turn a guitar effects unit into a drum machine.

The AdrenaLinn III incorporates myriad improvements over its predecessors, generally making this a more well-rounded unit, with enough effects that it could be an all-in-one solution:

• New effects: Reverb, compression, tuner, enhanced modulation
• New amp models, for a total of 40, Linn Design also says the improved models have better presence/tube saturation/tonal accuracy
• Better MIDI control, now letting you get to nearly all settings from MIDI foot switches and expression pedals, with assignable foot switch functions
• More presets, more drum beats

I look forward to hearing one in person. And this sounds too nice, anyway, to let the guitarists have all the fun — this sounds promising on many other instruments, too. Roger tells us his wife uses her AdrenaLinn with a cello.

Since this really is software running in a box, if you have an existing AdrenaLinn, you can upgrade to the latest model for US$99, which sounds well worth it. We’ve predicted before that more affordable, capable hardware would continue to advance external gear at the same time as computer software develops, and this is another example of how the two can nicely coexist in your setup.

Other gear watching…

I’m more in the AdrenaLinn vein than Line 6 Pods, but if the latter interest you, Music thing gets the scoop on leaked specs on a new model.

Meanwhile, what many are really eager to see from Roger Linn is the collaboration with Dave Smith, the BoomChik. We expect that’s a ways off yet. Okay by me: more time to save the pennies.

Sequential … Korg Wavestation … the original Korg OASYS … Creamware SCOPE … if you don’t know the name John Bowen, you’ll know the instruments he produced. CDM’s James Grahame got to talk to John Bowen on the eve of unveiling the new Solaris synth. (See Matrixsynth’s scoop on the new product, then hear what the creator has to say.)

Perhaps the biggest surprise at the 2007 Frankfurt Musikmesse is the Solaris keyboard synthesizer from industry ‘old timer’ (his words, not mine) John Bowen. The Solaris is set to turn the electronic music world on its ear as the first hardware synth inspired by a softsynth.

Solaris started life as a semi-modular software synthesizer for CreamWare’s Scope DSP cards, and it quickly gained a reputation as an unusually versatile device. I caught up with John a few days before Musikmesse to chat about his new instrument.

German manufacturer CreamWare - best known for their Scope DSP cards and ASB tabletop synthesizers - was declared insolvent on December 18, 2006. Those of you who’ve been following the company for a few years will recall that they hit a similar rough patch in 2004, but re-emerged to release their acclaimed lineup of ASB hardware synthesizers, along with updates to their Scope DSP software.

Luckily, this cloud has a silver lining. The company’s assets have been acquired by two companies with considerable CreamWare experience: SonicCore and InDSP.

SonicCore is a German company run by former Scope developers Holger Drenkelfort and Juergen Kindermann who will continue to develop, support and market Scope DSP boards under the CreamWare name. Drenkelfort made the following statement on the PlanetZ forum this morning: “As we have been deeply involved from the beginning in the development of both SCOPE hard- and software, it’s a very special pleasure for us to provide ongoing support for these great products. Furthermore, we will continue the manufacturing and selling of SCOPE products and devices, as we believe that’s the least this platform deserves. You can be sure there will be some nice offerings to come in the future.”

It appears that rights to the hardware synthesizer technology have been acquired by InDSP, the India-based design company that developed the ASB gear. This arrangement seems ideal, since InDSP is helmed by former CreamWare exec Frank Hund. There’s no word on whether the current ASB lineup will remain in production, but I strongly suspect InDSP will be behind some shiny new hardware at the upcoming Frankfurt Musikmesse.

All in all, this should enable CreamWare technology to live on and flourish.

There are two basic ways to approach computer music making: work with a system that’s already built for you (think traditional sequencers), or build your own, modular, unique way of working. Both approaches can be valid, but for a small but dedicated band of hard-core computer musicians, only the latter will do. The Buzz project for Windows attempted to merge modular capabilities with a tracker-style sequencer. (Buzzmachines.com isn’t working for me at the moment; see also the Buzz Wikipedia entry.)

There’s a new hope, however. Linux-native but build-able on Windows, free, and intensely powerful, early versions of the new Aldrin software for Windows look very promising. Formerly called Mute, Aldrin offers tracker capabilities, modular features, planned “1:1 compatibility with Buzz,” and integration with the Freesound creative commons sample library.

I can do better than a static screenshot here. The developer has just posted a video of the program in action. Let the techno commence:

Heck, you can even use DSP sources directly in your projects. Andy Selby writes with more:

Yes, now not only will Jessica Simpson be able to sing in tune, she’ll be able to be tuned to an Indonesian pelog scale!

AutoTune, the ubiquitous and now pretty ridiculously powerful tuning software, has some major new improvements in AutoTune 5. Central to the upgrade is a graphical mode that lets you draw pitch envelopes over a representation of the detected pitch. Here’s where things start to get interesting: the developers at AutoTune have added pen tablet input, so you can hook up your Wacom tablet, polish off your drawing skills, and perform either subtle tweaks or expressive, experimental pitch changes to an audio source.

Microtonal and alternative guru Carl Lumma, a veteran of Keyboard Magazine, writes to point out that the upgrade now no longer limits you to conventional major and minor modes: 26 historical and microtonal scales are included in the new release. That’s great, but they don’t seem to support Scala tuning files, which would be even better. There’s also new sync-to-host support, so you could do some crazy beat-synced pitch distortion with this.

It’s too bad AutoTune isn’t a little more affordable, because it sounds like just the kind of software a lot of us would love to abuse. The adjustment speed and vibrato controls are all designed to be expressive and closely controlled, so I think there’s likely a wide range of sonic effects you could coax out of this very powerful software. Go find a friend with a plug-in-laden Pro Tools setup and ask if you can borrow it late at night.

Antares AutoTune 5 Preview [Antares, via]

Hardware synthesizers are wonderful, especially when they’re homebuilt. Jarek Ziembicki’s AVRSYN started life as an experiment to see if it was possible to cram a complete virtual analog synth into an affordable off-the-shelf microcontroller chip. He succeeded in creating a dual oscillator MIDI-compatible synth that even includes a knob-based user interface. Paul Maddox quickly saw the potential of this little device, ported the design to the more powerful Atmel ATMEGA16 processor and created a ready-to-build circuit board. These days, the project is helmed by Australian Laurie Biddoph who offers AUS$18 PC boards and AUS$86 component kits.

The AVRSYN is impressive because of its incredibly low cost and complete reprogrammability. In essence, it’s a user-programmable synthesizer experimenter’s kit. Even the digital to analog circuitry is unusual. Rather than using an off-the-shelf DAC chip, Ziembicki implemented a 16-bit discrete resistor network using precision resistors. This approach is inexpensive and introduces a little bit of uncertainty, since every unit will sound unique because of manufacturing differences. The project is slowly taking on a life of its own: AVRSYN enthusiast Daniel Kruszyna has updated the software with full ADSR envelopes and additional waveforms and I recently managed to get rudimentary PWM oscillator modulation working on my test rig.

AVRSYN Monophonic Virtual Analog Synth Kits

Matrixsynth and sequencer.de have blown the cover on an upcoming series of rackmount ASB synth modules from Creamware. Apparently, €444 will get you a 1U rack unit that contains the heart and soul (well, just the electronic bits…) of either the Minimax, Pro12, or Prodyssey virtual analog synths. Each device features a power switch, blue LED power light, and MIDI/USB connectors on its backside. Presumably, they’ll be programmed using a softsynth-like interface running on your PC or Mac.

I think Creamware might be missing the boat with these — after all, the ASB series is wonderful because each box provides a tactile control surface to tweak sounds the moment inspiration strikes. And, quite honestly, second hand Creamware Scope DSP boards are now so inexpensive that I’d prefer to run the PC-based version of these instruments instead. Still, they could be useful for live performance. There’s no “official” confirmation of these products on the Creamware ASB site yet.

Creamware Klangboxes

We’re pleased to welcome James Grahame to CDM; James is the editor of the fantastic Retro Thing blog as well as the owner of the music electronics company Reflex Audio. James is a master of finding value in vintage gear, even recently pre-owned equipment. Here, he tells us how to get some DSP muscle in our music systems for a lot less money. -Ed.

There comes a point in every electronic musician’s life when they run out of computing power. It usually happens while adding the last track to an earth-shattering magnum opus. Most of us respond by dreaming of shiny new multi-core machines, but there is a clever alternative: Add an affordable second-hand Digital Signal Processing (DSP) card to share the workload.

There are several top-notch DSP audio cards on the market including the TC Electronic Powercore series, the Universal Audio UAD-1e and the Creamware Scope series. Each card offers from one to 14 dedicated DSP chips to generate real-time effects and virtual instruments without taxing your computer’s processor. The only problem is the price – expect to pay at least $1000 for a reasonable combination of hardware and software plug-ins.

Luckily, there are some great second-hand bargains out there.