Resolume Avenue 3 Introduction from Bart van der Ploeg on Vimeo.

If you’re interested in audiovisual performance as well as audio, here’s an app to keep an eye on. Resolume “Avenue” 3, announced today, is a ground-up rebuild of a popular VJ app. Now, things like GPU-native video may not mean much to the musical readers of this site. But how about features like this?

• Beat-synced audio triggering alongside video – using the soundtrack inside video clips, or using separate audio files
• VST audio effects, synchronized to visual effects and controls
• MIDI and OpenSoundControl (OSC) support
• Cross-fading of audio and video
• Beat-synced loops

We’ve been playing with an early betas at the live visualist-oriented Create Digital Motion and will have detailed hands-on reports soon. In the meantime, here’s a detailed look at what’s in Resolume Avenue 3:

Resolume “Avenue” 3 Announced: The Audiovisual App to Beat? [Create Digital Motion]

You can see the results above with Missy Elliot, but naturally this could also be used with very different source material as a glitchy audiovisual experimental ambient set, or as a way of triggering videos and audio backing tracks alongside a band.

It’s not without limitations. You can’t yet use VST instruments, so you couldn’t drop a synth or sampler into your visual set and play that – at least not in the first release, due in September.

But it’s clear an audiovisual convergence is happening. You can add this to the recent debut of GrandVJ, a live visual app with a virtual MIDI keyboard in the display and “Synth Mode” for triggering, or, at the opposite end of the spectrum, the addition of VST effects support in the visual patching environment vvvv. And we’ve likewise seen interesting ways of combining Ableton Live and other music apps with live visuals, as in Momo’s tutorial for A/V cutups with Lucifer.

What do you do if Tascam lets you down, and you’re a sound house dependent on their GigaStudio/GigSampler player? For major soundware development house SONiVOX, the answer was: make your own software.

Somerville, Mass-based SONiVOX has announced “announced the existence” of an in-house software development team. Read: the team has been there already, but they haven’t wanted to talk about it until news broke that Tascam’s GigaStudio was going away.

SONiVOX says they have developed “a universally compatible player technology that focus on intelligent MIDI performance, intuitive interfaces, and the highest sonic fidelity.” It will support not only SONiVOX’s own products, but third party-products, as well. SONiVOX points out their experience working with clients like Motorola, Analog Devices, and Google, on sound software.

The press release apparently went out on Friday, but I missed it. Now, with it clear that Giga is dead, the news makes more sense. Peter Alexander at Film Music Magazine, who also broke the GigaStudio discontinuation story, correctly read the signs as early as Monday. He has a long, excellent opinion piece on that site that laments Tascam’s failure to develop their own, long-promised player. He wrote then:

“SONiVOX, an American company substantively smaller than either Tascam or their publicly traded parent, TEAC, has beaten the Giant to market by creating their own dual platform player for both PC and Mac with product ready for shipping by late July early August.”

Memo: To Sample and Software Developers [Film Music Magazine]

Nor is SONiVOX alone. They join EastWest and Spectrasonics, as Peter observes, along with Garritan, whose Steinway-authorized piano instrument runs on the in-house ARIA Player. And that’s to say nothing of developers like Native Instruments, Cakewalk, Steinberg, MOTU, and Apple, all of whom might be considered soundware developers themselves, running on their own virtual instrument products.

Of course, this also illustrates just how tough the market is for any sampler, even one from a company the size of TEAC. In fact, it seems to be the independent companies who are most willing to keep fighting in that climate.

What remains to be seen is how well SONiVOX can support third parties. If they can do so affordably and effectively, you could see serious migration to their sound platform.

SONiVOX’s own virtual instruments, the first for the platform, are scheduled for release at the end of the month:

http://www.sonivoxmi.com/

The current holy grail of sampling seems to be getting at more memory by providing 64-bit memory addressing, as I said this morning. With Tascam’s Giga out of the picture, it’s up to competing sampler products to deliver. Cakewalk’s Dimension Pro is already 64-bit support, as is their host, SONAR. Native Instruments points out that their flagship sampler Kontakt is on track to be 64-bit soon.

Kontakt 3 does support disk streaming now, but it can’t yet do 64-bit memory addressing. With 32-bit memory addressing, you’re limited to around a couple of gigs of available RAM. That should change soon for Kontakt, with a cross-platform release supporting as much RAM as your machine and OS can handle in the works.

The official announcement was made back in January; I think I missed it amidst the NAMM hoopla. It’ll be a free update for existing Kontakt 3 users. NI’s forum admin Thomas wrote then:

I want to bring you the good news that NI has started development on a Kontakt version that supports 64-bit memory addressing for Mac OS X 10.5 and Windows Vista 64.
This will be a free update for Kontakt 3, and will allow to go beyond the 32-bit memory addressing limit and utilize as much RAM as your operating system or host makes available.
This version of Kontakt 3 will also run as a VST plugin under 64-bit hosts in Windows Vista 64 (Windows XP 64 will likely not be supported; standalone and 32-bit plugin operation under Vista 64bit are already possible with Kontakt 3.0.1).
No specific info on the release date yet, but you can expect it sometime in the second half of 2008. It is a substantial development effort and requires a lot of testing and optimization.

Details of the update and a thread you can follow for further news is available on the NI forum:

Official update status - Kontakt 3

I expect, with the release of greater 64-bit support in Mac OS X Leopard, other cross-platform sampling solutions are likely to go 64-bit, too; any vendors with news, we’re happy to run it.

See also:

Cakewalk has a 64-bit Computing for Musicians site that talks more about what 64-bit means; their SONAR host would also provide access to 128GB of RAM for Kontakt 3.1 for 64-bit Windows, when it becomes available, so this is information that’s important across vendors.

Disclosure: CDM writes about Kontakt on our Kore minisite, which is sponsored by Native Instruments.

Two modular patching software packages for programming multimedia software visually, Pure Data (Pd) and Max/MSP/Jitter have long had a friendly relationship. The tools share code, are reasonably compatible in patches and external objects (sometimes with some adjustment), and are basically open source (Pd) and commercial (Max) cousins of one another. The user bases are likewise friendly with one another. But a certain rivalry hid behind the surface – until now.

Now, it’s personal.

Enough of the diplomacy. A group of dedicated patchers in Toronto have decided to dispense with this “we’re all winners” nonsense and decide which tool is superior. I’ll let them the organizers describe it in their own colorful way:

You’ve heard the Theremin as a sound-making instrument. But it can be a MIDI controller, as well – an extremely sensitive and expressive one. Continuing our DIY round-up, here are the details in case you’d like to try it yourself.

When we last heard from Sarah Angliss and Spacedog, we were introduced to their creepy Theremin-playing doll Clara 2.0. Now, they’re using the Theremin as an audiovisual controller, triggering audio and video samples from the 1968 film The Devil Rides Out and my personal favorite, a parakeet training record. The result is a new version of the ballad “Willow’s Song” cult classic The Wicker Man (1973). (Wikipedia understands if you don’t.) Here’s a live performance of the result:

I figured readers might want to know more about how to use the Theremin as a controller, so I asked Sarah for more details.

Building and Using a Reaktor Grain Delay in Kore 2 from Create Digital Media on Vimeo.

Let’s cut straight to the reason we use this stuff: we want crazy-sounding delays we can play with. Reaktor guru Peter Dines shows just how you’d build such a thing in Reaktor from the ground up for CDM’s Kore site. He also takes it one step further by creating not only the Reaktor ensemble, but also a Kore performance preset to match. The advantage of going this route: Kore provides a way of organizing parameters for control, performance, and automation.

This is another all-free download, so have at it. Now I feel like I’m in a patching race with Peter, because I’ve got some ideas of my own for how you might modify this basic idea; let’s see if I can actually make that happen.

Making sense of Kore

The other side of the minisite is we’re further exploring what Kore is for and how to make it work. We asked readers of the minisite to tell us their thoughts on how Kore is going and how they use it, which has yielded an interesting comment thread:

How Do You Kore?

Our main focus, of course, is simply teaching people how to use the tool effectively – from there, you can decide whether it’s for you and how you want to use it. To that end, I’ve got the first half of a tutorial up that explains what for me was the biggest draw and the most initially confusing, which is the control pages Kore uses to assign automation and physical control. I walk through why you’d want this, how it works, and how you manage different levels of the control pages:

Demystifying Kore Control Pages for Automation and Performance, Pt. I: Different Page Types

We also have some important basics, like Kontakt automation, how to get a normal mixer view, and external MIDI control.

Coming soon: I’m planning some short features on each of NI’s instruments. We’ll have to call it the “get it out of the shrinkwrap” series, especially for people who got the overwhelming set of instruments that comes with Komplete.

We live and die by hard drives for music. There’s no substitute for redundancy and backups (hey, you could be Matthew Dear and have a drive stolen during your set). But it is helpful to know whether a drive is healthy or not. S.M.A.R.T. monitoring features built into drives can help.

Lifehacker today points to a free Windows utility for the job called CrystalDiskInfo:

CrystalDiskInfo Monitors Hard Drive Health and Uptime [via gHacks]

But that got me thinking about other tools. There’s quite a range of choices for Mac, Windows, Linux, and even some obscure operating systems. The only bad news: generally you’ll only be able to monitor internal drives, unless your external drive is eSATA rather than USB or FireWire. (eSATA is where I’d like to go generally – it’s quite a lot faster, and frees up your USB and FireWire buses for other things — but that’s a discussion for another day.)

Yesterday marked the official phase-out of Windows XP. That in itself isn’t terribly big news; it’s easy enough to get XP systems for the foreseeable future, and custom builders can even put together an XP machine for you. Heck, you can even boot XP on an Intel Mac. But it seems like the perfect time to talk again about Vista. As with any OS, the branding (“we’ve got a new thing called Vista”) masks the more complex reality evolution of software and drivers. In other words, Vista today isn’t what it was the day it shipped. (That’s a relief.) And personally, I’d like to start talking about real-world performance and dispense with the kind of schoolyard rivalry the platforms have had over the years. I think it’s a safe bet to say none of us is excited about operating systems. We’re excited about actually making music. The good news is, Vista is finally looking like an OS on which you can do that.

The OS Generation Gap

It’s a funny time for operating systems and music applications, in that the most recent generational changes in Windows and Mac were unusually significant. On Windows, XP and Windows 2000 improved both audio and hardware support, and finally saw Windows NT really mature for music. On the Mac side, albeit slightly later, the bumpy transition to Mac OS X finally paid off as Tiger and Panther brought major audio improvements and reliability and performance enhancements. And Tiger got musicians onto Intel x86 CPUs, which helped unleash the live use of laptops we see today. Each of these updates came with compatibility hurdles, but there was a clear payoff. They’re must-have upgrades for music. Many music and audio apps won’t even work with earlier versions.

A new version of Rock Band (for Wii) means still more ways to turn these game controllers into musical or visual performance instruments. Jordan Balagot writes with some hands-on experience using junXion, a wonderful tool for adapting game controllers to MIDI or OpenSoundControl. (junXion also works with Wiimotes and nunchucks, audio inputs and pitch sensors, joysticks and standard USB devices, and much more, so even if this bores you, you’ve probably got some use for it.)

Jordan says:

I tried plugging in the Rockband for Wii guitar and drums into my mac and Junxion recognized them perfectly. This seems to be the easiest solution for turning the rockband instruments into real instruments because it has low latency and the Wii instruments are already USB.

Full instructions at his blog:
Turn Wii Rock Band Instruments into Real Instruments with Junxion

junXion is wonderful, though that EUR75 stings here thanks to the weak US dollar and the fact that we have fewer grants and have to pay for health insurance and hospital visits and whatnot. (Especially any Wii-related injuries.) There are other ways of getting at this data, as it’s USB HID — try Osculator on Mac or GlovePIE on Windows, not to mention HID input in Max/MSP and Pd. That said, junXion remains a very powerful option and worth a look.

Other Rock Band controller tips?

We’re still anxiously awaiting what our friend David Lublin of VJ app developer vidvox does with his — as pictured below. (He was searching through createdigitalmusic looking for tips, so, erm, I’ll be sure to update the site with whatever he finds!) Expect some drum kits triggering videos. (Photo by Todd Thille.)

DP6 is here (or will be here soon, say commenters), with a badly-needed UI update and a number of new features. The results still look like DP – in the way that should appeal to current users, that is – but enhancements demonstrate that the ongoing DAW battles carry on.

DP6 New Features

In the usability category:

• Updated UI with vertical track resizing (about time, jeez!) and better zooming and resizing
• Window tabs, which are a pretty cool way of switching between windows and tabbing views a la Firefox, Safari, et al (I’m surprised we haven’t seen more tabs in music software, given their popularity in browsing)
• Inspector palettes
• Build comps by selecting from different takes, which would be exciting if we hadn’t just seen similar features elsewhere

New Effects

As welcome as these features will be, most of the buzz I’ve heard from DP users centers around the new effects plug-ins. The MasterWorks Leveler models the “Teletronix LA-2A optical leveling amplifier.” Translated into plain English, it’s an automatic gain adjustment that can have some of the dynamic-smoothing qualities of compression without their soul-sucking quality – it’s an arguably better way of adjusting dynamics. I know at least one very prominent Ableton Live and Logic lover who wants DP6 just to run this plug-in. See the full description on MOTU’s site.