Serendipity: Sound Variations and Happily Unintended Consequences

I began writing this post to discuss Kore 2’s performance preset system. If you’re not familiar with this, the quick lowdown is: you can store banks of settings and change between them, or automate changing between them, in a master performance. I touched on this in my last post about Reaktor.

A funny thing happened on the way to the blog. I discovered that, when using a given synth and trying to store different patches in performance presets, not all the parameters were stored and changed with the preset. On the other hand, storing patches as Koresounds does save all the parameter settings. I’m thinking this difference is because the performance presets save on the basis of host automation of the controls, so non-automatable controls won’t have their state saved. (will have to doublecheck with the NI programmers on this to be 100% sure!)

Of course I started looking for workarounds. I loaded up Massive (my go-to synth for mad fun these days) and started trying to save different Massive sounds in the sound variation grid.

In retrospect this was a dumb move, because the sound variation grid is meant to hold variations in a sound, not multiple sounds. So like the performance preset, not all parameters save. Wrong level of abstraction. What I ended up with is a single sound with unusual, in some cases meaningless, parameter settings for that sound in eight variations. You might think this would be undesirable, but my goodness, I’ve never heard anything quite like this:


Unwholesome Sound Design from Create Digital Media on Vimeo.

A sound such as this can only be called Quacking Robomultiverse, and I have named it accordingly. Notice the tuning settings of the oscillators on the left - they’re morphing in between settings that made sense in their original sound, but in this mutant superposition of sounds, things have become singularly Lovecraftian; abnormal, non-Euclidean, and loathsomely redolent of spheres and dimensions apart from ours. Incidentally, I’m using the Kore knobs to morph between sound variations here, but a mouse is fine too.

Download kore performance and massive sound

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BB King

That is very intense stuff…

November 19, 2008 @ 8:23 pm
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Peter Dines

It is intense, yes… believe it or not, Massive also does pads. No, really! Soft, hooting, gentle things. :D

November 20, 2008 @ 10:13 am
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BB King

Yes, Massive is good for a lot of things… I love it. But what’s really intense is the way you’re morphing between your sounds. I think I’m going to have an experimental session this week end. Thanks for sharing…

November 20, 2008 @ 4:12 pm
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matt

You assumption about parameters and their relation to automation is correct. Also worth noting is that if a scene is stored and then a parameter added to page, those new paramters are not part of a scene. (how could they be?) Maybe a bug, but like a lot of bugs, can be exploited. A nice loop-hole for ignoring a parameter you want to control but not be hooked to scene changes.

November 20, 2008 @ 4:14 pm
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Peter Dines

Also worth noting is that if a scene is stored and then a parameter added to page, those new paramters are not part of a scene. (how could they be?)

Yes, quite so. It’s good software but it doesn’t do time travel (yet). :D Your loophole is a great idea - it’s a bit like setting a control to ignore snap changes in Reaktor. BTW, if you want to remove a control from morphing / performance presets when it already has values stored, it’s not too late - you can do so in the sound manager by unticking it.

November 20, 2008 @ 5:11 pm
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