TouchOSC has become something of a standard on iOS for touch control, thanks to desktop editor apps for custom layouts and high-contrast, Lemur-style controls. Last Thursday was all about wired MIDI on iPad, so it seems only fair to show what people are doing with wireless and OSC. I’ve got a few good selections from my recent inbox.

DJing with Traktor

Above, the latest version of Traktor Pro templates, for iPhone or iPad, from Milos:

http://androidosc.blogspot.com/

It’s got some extensive functionality, and since Milos used Pure Data (Pd) to translate to MIDI, you can use it with both the Mac and Windows versions of Traktor. Milos doesn’t yet have an iPad, so he’s collecting money to invest in one.

Arovia has their own Traktor layout, aptly titled “nano” as it’s fit into a small area.

From over the summer, here’s a different approach to using Traktor with touch, turning instead to one big wheel.

Ableton Live

Malaventura has assembled a “kitchen sink” approach to working with Ableton Live, with a do-everything Live template.

A touchOSC layout for iPad that contains a step sequencer monosynth & drum machine, a ambient generator, a psychedelic fx unit & operator synth controller. All designed for works in iPad with touchOSC, OSCulator and Ableton Live in your computer. The layout and all the files necessary are zipped in this link:
http://www.archive.org/details/MalaventuraTouchoscSuite

It’s a really involved set of layouts; it’s not quite as sophisticated as something dedicated like Touchable, but then again, since you can run both, you may just give it a try and use it for certain editing workflows.

The one caveat – and this is a catch on a lot of these patches – is that you need Osculator in order to use it. More on that gripe in a moment.

As seen on Synthtopia

Working with Hardware

Last week, I showed my preferred means of editing MIDI devices – using, you know, MIDI cables. But I can see the appeal of wireless control, too, in certain situations. Using The Missing Link wireless hardware adapter (see our detailed look at two wireless solutions last month), you can work with conventional hardware.

Via Matrixsynth, there’s a nice template for the Waldorf Pulse.

Palm Sounds points to a Yamaha DX7 editor, complete with SysEx. (Isn’t there supposed to be an actual link there somewhere, though?)

Some Friendly Criticism of the State of OSC Touch

I do see opportunity for progress in all of this, however. Constructive criticism, for all of us:

• The lack of native OSC means way, way too many kludges. Osculator is a cool little app, but you shouldn’t need it to do OSC; the whole point of OSC is that it’s a simple, universal networking protocol. We either need native support in apps like Ableton Live, or we need to use something else – period. Having to use go-between apps makes it a step backward in these applications from MIDI.
• Why not edit on the device, or even generate layouts automatically? Part of the beauty of touch layouts is on-the-fly controls. There’s plenty to explore here, from layouts that generate automatically after an exchange of information over OSC to on-device editing. One of my criticisms of the original Lemur was having to use a dedicated editing app, and that was more than five years ago.
• Why not use the browser? Wouldn’t it be great for editing and control to move seamlessly between desktop browser and mobile, or between mobile platforms?

I’m burying this in this article just because I’d rather spend time working on those things than complaining them, but it’s worth saying, partly because I’m sure others are thinking the same way. (And developers thinking that way have the chops to do something about it.)

Also, in answer to everyone griping about a good Android solution, I’m personally waiting for a usable Android tablet and not just handhelds. That means I’m seriously bummed that the Motorola Xoom may cost US$800. Sorry, at that point, I spend money on synths instead.

Knobs rock.

All of that said, I do think there are some great solutions here, and they work right now. Looking forward, we can build the next generation even better.

In the meantime, go grab TouchOSC. It’s fantastic software, and supporting it means an increased likelihood of developer hexler getting to continue to iterate on his own great work. (He’s a really nice guy, to boot, as well as a talented developer; I know he isn’t exactly getting rich on this thing, but sales really do support developers working on apps they care about.)

http://hexler.net/software/touchosc

What layouts are you using? Got any you want to share? And what do you want to see in touch controllers?

The NAMM show brought a cluster of new soft synths from some beloved synth makers. The interfaces are noticeably conventional, but there are some tasty sonic features in store. Most of these are promised as “coming soon,” not available now, but here’s a quick look at what to expect.

By the way, if you’re one the people complaining that you’re sick of everyone talking about Ableton and want something else to be excited about, I have one word for you:

D.CAM.

Let me sum it up in one line first:

minimoog V 2.0: Rewired circuitry, automation recording vocal filtering, and weird 3D preset browsing mean if you like minimoog, you’ll like it more.

Brass 2.0: physically-modeled brass stuff you can play more easily with controllers, now with a sax model and fully spatialized and harmonized.

Trilian: Even more of the synth that gives you more bass than you need – and now your Intel Mac can run it in place of Trilogy, for free.

Largo: It’s a Waldorf synthesizer, but it’s software. You can’t afford a Blofeld, but you can afford this, and then use it in a coffee shop.

D.CAM: Synth wishes granted: thick parallel-waveform performance synth plus vintage-style string synth plus big, modern FM plus and environment to put them all together.

(added!) impOSCar 2: Features aren’t confirmed yet, but an early look at the OSCar emulation suggest a very big sequel indeed.

And you can add that to the coming Operator 2 and Collision in Ableton Live (either a la carte or the suite). In fairness, these are exactly the sort of synths that make people wonder why they should pay for Operator – but one look at the clean interface in Operator, and how much it can do in that compact interface, and I think it fits in just perfectly. Collision, meanwhile, gives us physically-modeled percussion, which I really want to see more of.

By the way, in comparison most of the hardware announcements (microKORG XL, new V-Synth OS) at this show were, to my mind, more incremental than the goodness that shows up in the software stuff. True, D.CAM is the one new entry here, but, well, technically it’s four entries on its own, and there’s quite a lot in the upgrades, some of which you get for free.

Certainly, what we have is a ton of sequels to some of the biggest soft synth hits (Arturia minimoog V, Trilogy, and impOSCar in particular).

Arturia minimoog V 2.0

It’s an odd version number – five two? Okay, that’s “two” as in the number, “V” as in virtual, not the Roman Numeral. But for fans of Arturia’s flagship Moog emulation synth, 2.0 brings some interesting new features. Sound MAP is an odd, graphical way of exploring presets, although it strikes me a bit like what would happen if you took a preset browser and dumped all the presets on the floor. (For me, this brings back flashbacks to Apple’s HotSauce, an experimental 3D interface for metadata on the Web. Thanks, Mattbot. Everyone else, don’t ask.)

All of this would be gimmicky and useless, except that you can use this strange, 3D interface to morph between preset ideas. If you could also use it to select interpolate between random parameters, I’d go nuts – I’ll leave that to someone else to implement.

The other features are more likely to please everyone:

• A vocal filter feature with an X/Y morphing interface with different formants (not new to synths, but certainly new to Minimoogs, real or emulated)
• Circuitry and modulation destination improvements
• Automation with real-time recording

Together, it looks like a worthy upgrade for fans, some of whom I know just live inside this synth.

Arturia minimoog V 2.0 [Product Page]

Elsewhere: The folks at Future Music were especially excited about the new features, particularly that browser and the way the Vocal Filter sounds. (I didn’t follow, though, was the uberfeature the Sound Map or the Vocal Filter? We really have seen these sorts of things before, which is not to take away from Arturia’s cool implementation here.)

And it’ll cost $299/EUR229 to upgrade from the current – wait? What’s that?

No, it’ll be completely free for existing users. Now there’s a reason for some customer loyalty.

Arturia Brass 2.0

Arturia also refreshed their physically-modeled brass synth, which now has a saxophone model – the tenor Buffet-Crampon. (Nice choice! And I’m partial to tenors, as I grew up with my father playing tenor in his college pep band.)

Also new: harmonization features, spatialization, MIDI integration features (ideal for, say, the newly-shipping Akai EWI USB wind controller). There are also pre-composed riffs by genre, if you’re feeling lazy, though I heartily recommend doing things the hard way.

The minimoog is slick, but I actually think Brass may be a bigger upgrade – and while you’ll find other moog-y sounds, Brass is a really unique sound source. IRCAM, Paris’ legendary sound research center, is responsible for the sounds inside, meaning you can imagine slightly unshaven, French students in white lab coats every time you use it, which has to be worth something. (I actually wear a lab coat when I’m designing sounds, I know that.)

Brass 2.0

Elsewhere: Sonic State grabbed a video demo of Brass 2.

And it’s also free to upgrade.

Spectrasonics’ All-Bass Trilian

How is it that some readers are more excited about Trilian than any other soft synths when all it does is bass sounds?

Well, perhaps because this is successor to Spectrasonics’ Trilogy is the uber-bass plug-in. Upright ? Check. 5-string? Yep. Roland 303? Why not?

Now, normally instruments based on lots of sampling leave me pretty cold, but the STEAM engine – used in Spectrasonics’ Omnisphere – gives you synth-like controls. And I think Trilian’s narrower focus on just basses might earn it more attention than Omnisphere got. (The latter was hyped like crazy on announcement, only to be oddly forgotten, relatively speaking, by the time it came out – maybe because it’s so huge, none of us can fit it on our hard drives.)

And by the way, talk about earning good will: if you own Trilogy and have an Intel Mac, Spectrasonics will give you Trilian for free (shipping only, in place of the usual US$99 upgrade price). So, sure, Apple burned you by switching CPUs, and Spectrasonics could profit – but they’re not.

This means even as I chide Novation, Spectrasonics earns the “Good Sense Wins Over Accounting” award.

Other specs:

• Big, new library of acoustic, electric, and synth basses
• Arpeggiator
• All the original patches, refreshed
• Gobs of articulations in the design, for live performance or scoring
• Modulation with FM, timbre shifting, and some unique modulation deliciousness
• 64-bit support
• A name that subtly references the Hitchhiker’s Guide to the Galaxy

Too many other things to list, so just check out:

Trilian Announcement

Spectrasonics does some really incredible stuff. It’s mind-boggling overkill in some ways (ridiculous sampling plus ridiculous synth design), but there’s nothing wrong with that – especially when it serves nothing but bass. And there’s just so much control in there, it really is a sound design dream, not just a big pack of sample files.

US$299, due in May.

Waldorf Largo

It’s a Waldorf synthesizer, but it’s software.

I don’t really have to say much else, but suffice to say, it runs on Windows, it runs on Mac (VST and AU), and it’s all that lovely Waldorf-ness in a virtual rack. The software interface gives me deja vu relative to a number of Logic synths, among others, but then I think there’s just one guy who designs all UIs for all software. (Okay, maybe there are … two guys.)

• Voice architecture from the Q / Blofeld
• Three oscillators, two with sub-oscillators, modeling analog waveforms plus PPG, Waldorf Wave
• Ring mod
• Multi-mode Waldorf filter (“Taste the difference” seems to be Waldorf’s message, if you believe them)
• Modulation matrix, fast, syncable LFOs
• One arpeggiator per layer
• Effects

If you’re in synth overload, I’d say move along, but I know there are some folks who have been coveting Waldorf in software, and now you’ve got it.

Largo [Product Page]

I just wish they hadn’t given it a name that makes it sound like a notation product, but I guess that’s forgiveable. Pricing? Availability? No word yet.

Fxpansion D.CAM Synth Squad

D.CAM is a bunch of modeled-analog goodness. Now, the FXpansion boys want you to believe this is all about emulating the goodness of analog, but to me the real story is that you get loads of digital synthesis power that bring together some of the best old stuff with the best new stuff. The products read a bit like a wish list for synths, and then the Fusor product lets you put them all together in semi-modular fashion.

The marketing is a little muddled, and seems to feature evil dystopian overlords with giant red eyes. But who cares? The synths look fantastic. I, for one, welcome our new dystopian overlords.

Strobe is a “super-oscillator” performance synth with parallel waveforms, sub-oscillators, a filter with drive, voice stack/detune – think thick.

Amber is a vintage string synth, which takes classic divide-down string synths and adds new absurd modulation. Delicious!

Cypher has lots of knobs and lots of arrows! Okay, basically the idea here is audio-rate FM with lots of shaping and filtering and still more modulation. FM is back, for sure.

Fusor is an environment in which you can layer your D-CAM synths and modulate them. There’s an arpeggiator and step sequencer. This might seem like overkill given the number of environments out there that do this stuff, but in this case you get a consistent interface and semi-modular capabilities. It’s no Reaktor, but it’s a bit like what I’d imagine a set of one really brilliant person’s Reaktor ensembles might look like.

http://www.synthsquad.com/

Elsewhere: Gearwire has a nice write-up that sums this up with one line: “This trio combines the most sought after features in classic synthesizers with the synthesizers of tomorrow . . . today!”

In other news…

Zebra is now up to 2.3, which I believe is also NAMM news (or announced at the same time). “Point 3” in the crazy, synthtastic world of Urs Heckmann means things like a skinnable UI, sideband modules, MIDI program changes, Mac RTAS, a resizable editor, compressor modes, comb filter, and … okay, I can’t actually list it all. The sideband alone sounds fantastic. Whoever out there has time to program Zebra and reskin it, I salute you.

Other soft synth news I’ve missed? Let us know.

And what has you most psyched?

impOSCar 2

I missed this important preview, as it wasn’t really an official release at NAMM – the features shown aren’t even fully confirmed. But one of the best vintage emulations out there, impOSCar 2, is up for getting some improvements. Interestingly, some of the directions GForce’s Dave Spiers is taking (like more modulation routing, ring modulation, and more particular synth controls) parallels some of the other stuff we’re seeing added to modern soft synths. I do like the sound of chord mode, polyphonic aftertouch, and portamento spread – this could be a very playable synth.

My usual caveat on this sort of thing is, I tend to personally shy away from synths that focus primarily on emulation of a previous model, just because that sort of thing doesn’t hold as much appeal for me. But GForce – not unlike Way Out Ware’s emulations, also distributed by M-Audio – certainly manage to be the better in this category.

If you are interested in impOSCar 2, this is the one case in which the folks on the NAMM floor have the definite advantage. Check out SonicState’s video below, and further details from the gang at Computer Music (via MusicRadar):

Computer Music: GForce impOSCar 2! See it, hear it, pull funny faces!

SonicState with the instrument’s creator:

Thanks, michel / bliss! (I had wanted to cover this and … yep, forgot.)

Waldorf’s Zarenbourg electric piano was on display at their NAMM booth. Beholding its grand, future-retro design, you’ll immediately wonder: are there tines and pickups under the Zarenbourg’s hood, or a digital sound engine?

The answer, alas, is the latter, which will be appreciated by keyboardists who value the ability to use multiple built-in sounds and effects along with an editor librarian in VST and Audio Units.

There are also several bold color schemes for the Zarenbourg’s shell, including a huge Union Jack flag, so you can keep your Zarenbourg coordinated with your Mini. The large, flat top also lends itself nicely to holding another keyboard and/or computer setup.

The Zarenbourg is scheduled to ship in May for around $5k MSRP.

Waldorf Music (en)

Ed.: It’s a tough NAMM show for the Zarenbourg: Waldorf’s electric piano has to face up to the real Rhodes moniker. Odds are, I think, the new Waldorf synths may fare better buzz-wise. I see an electromechanical vs. simulated electric piano smackdown in the future. The winners: lovers of electric pianos. The losers: anyone wanting an electric piano with the Canadian flag will need to get a custom paint job. Though I betcha you’ll be one-of-a-kind. -PK

The NAMM of the DJ? Don’t worry, synth lovers: beloved, long-lost synth maker Waldorf are back in a big way with a lineup of new synth hardware products. Drool over them in a gorgeous PDF brochure filled with mock-ups, but here’s the full lineup. (As reported by Sequencer.de and Music thing, but now publicly confirmed by Waldorf; we should have live photos from the show if they’re on display.)

The limited-edition exterior visuals are the work of Axel Hartmann, the talented designer of the (unfortunately failed) Neuron Synth, and Waldorf promises the new products are “handcrafted in Germany.” Here’s the lineup:

Q and Q+ keyboard synths: Virtual analog synths with 58 onboard encoders, up to five oscillators and two multimode filters per voice, and (on the Plus) 16 real analog filters (i.e., not modeled).

micro Q: Rack-mount version of the Q, with the same sound engine.

blofeld: USB 2.0-connected synth module with 1,000 editable sounds; this unit appears to be a smaller take on the more advanced virtual analog synths, but still with some editing.

zarenbourg: Here’s where things start to get really interesting: the Zarenbourg is a modeled electric piano with five EP simulations and effects, built into a 76-key, traditional case, with wooden keys. Optional internal speakers complete the effect. I love the optional “rockstar” paint jobs.

stromberg: Wavetable oscillators, two-way multimode filters, multiple filter types, 100-voice polyphony, and Waldorf Wave, Microwave, and Q sounds — this is the flagship keyboard synth. I had an electronic musician friend named Dirk Stromberg who went off to Europe, but I’m guessing this is not his design / celebrity endorsement.

Waldorf Edition PPG Wave 2.V: For software lovers, a plug-in that emulates 80s PPG synths.

Looks like really good stuff; now we just have to learn pricing and see what they’re like in person. In this competitive age of great soft synths, I especially like anything with something unique — electric pianos with awesome paint jobs, wooden keys, and built-in speakers, and great virtual analog synths with real analog filters are certainly in the running.

Updated: Matrixsynth notes pricing via Novamusik: Q Phoenix US$2299; Micro Q Phoenix $699 — both bundled (nicely enough) with Waldorf Edition plug-ins. That makes a decent deal, though you’ll find more speculation in comments — like the fact that you can get used predecessors of these models for less on a budget. (So what else is new?)

Compatibility: Windows 2000/XP, VST

Pricing/Availability: EUR199; released

CDM Messe Outlook: Superb, if this thing is as good in use as it is on paper. I just hope it’s not too “Komplexer.”