Digital software instruments give you opportunities to explore new sounds and timbres, so why not add tuning to the list? Kore@CDM contributor and sound designer Eoin Rossney helps us navigate the potentially intimidating world of microtuning. Microtonal sound simply refers, generally, to tunings beyond the now-standard 12-Tone Equal Temperament we find on modern pianos. First off, microtuning doesn’t have to sound dissonant or “out of tune” - like other choices with synthesis, it can simply give you some new sonic abilities. Native Instruments’ synths are well-suited to the task, as many having tuning capabilities built-in. If you’re using plug-ins to assist your microtonal voyage, Kore is a natural with its plug-in hosting capabilities. But the most important thing is just to dive in somewhere and see what happens - with no physical instrument to retune, it’s something anyone can do.

We’ve got a massive set of resources here to get started. It’s a bit stream-of-consciousness, but take a browse; there’s surely something in here to get you started. We’ll follow up with some specific microtuned instrument examples. Enjoy! -PK

Introducing Microtonal Sound

Before we begin, there are one or two things you should know:

Forcing incoming midi to a scale isn’t necessarily microtuning. Ableton Live’s Scale plugin, for example, maps incoming notes to a scale, but that scale will still have only 12 intervals per octave: Microtonal scales have notes between the western 12 note-per-octave pitches.

Microtonal doesn’t necessarily mean dissonant. In fact, in classical music, some ’subtle’ or meantone tunings can sound more “in tune” than conventional tunings. Ed.: That’s because composers in previous centuries didn’t use the 12-Tone Equal Tempered tuning we generally use on pianos today - on the contrary, many of them would likely think your Steinway grand sounds out of tune. -PK Depending on how you play the scale, some harmonies can sound beautifully pure, but hit a wrong note and things get nasty.

Don’t knock it ’til you’ve tried it. Going through some of the available tunings out there, results can vary from making sound almost inaudible to making your instrument sound quite “alive”, with pitches changing depending on what notes are held.

Quick Tip: Instant Microtuning on PC

To get started, here’s a quick hack for trying out microtonal sound. The easiest way by far to retune your Windows synths is to grab Tobybear’s MicroTuner.  This basic VST allows you to load Scala .scl tunings by drag and drop and then imposes them on your synth. (Scala is the standard format for tuning tables.) This is more of a hack than a proper retuning, but it works.

Here’s how it’s done:
Step 1: Download/install the Tobybear Midibag plugins
Step 2: Download/extract the Scala scale library
Step 3: Place Microtuner in front of your instrument
Step 4: Drag the .scl file onto the GUI
Step 4: Olé!

I’ve been using the Winamp-VST Bridge plug-in on PC to browse and preview large collections of sample source material. (Ed.: Winamp is the fantastic music player software for Windows, predating — and arguably, better than — iTunes. -PK) It’s great for testing out how things will sound when run through an effect without having to laboriously convert, slice and import files into a sample map.

Here it is running some audio, which I recorded on a Zoom H4 handheld recorder, into the granular delay we’ve been constructing here at Noisepages. If you’re like me and you have folder after folder of field recordings and vinyl samples, this is a super fast way to sift through them to find those golden moments where a combination of a sample and an effect become something new and exciting. Throw things against the wall and see what sticks, quickly and easily - primarily because of things like right clicking on a folder and choosing “enqueue/play in Winamp”, being able to skip around in a file quickly, navigate a playlist, save a playlist of favorites - all without having to worry about file formats. A “real” host is for later, once you have a goal or direction in mind. You can even browse shoutcast mp3 radio streams through your VST effects.

Reaktor user Joshua Kern has built and uploaded the first third-party instrument made with the Roux sequencer macro we’re discussing and dissecting here at Noisepages. It’s an ambitious drum machine project and eats a fair bit of CPU but he’s working on that. As with most programming, the thing to do is get something working, then worry about efficiency later - as the saying goes, premature optimization is the root of all evil.

As well as my Roux macro, Joshua has leveraged work by Rachmiel, Clist, and RC3, and had help from Sowari (Phil Durrant). As such, I think it’s an excellent example of the kind of code reuse and sense of community that makes the Reaktor user library great.

When I assigned “homework” for readers I don’t know someone would create something this elaborate! It makes me wonder what else is lurking out there. If you’ve cooked up something interesting, let us know here or leave a comment below.

I’m putting together a setup to compose my hockey theme masterpiece (yeah right), and here’s how it’s shaping up; I’m using Reaper as my host, Kore 2 as a sub-host and Koresounds as instruments. Two things I like about Kore for this project - one, it has just about every sound I’d want ready to go, so I won’t spend too much time in the black hole of sound design. Two, my instrument setup is abstracted away from the DAW as a Kore performance so I can easily migrate it to another DAW if need be.

Why Reaper? I’ve used Cubase and other spendier DAWs in the past but I don’t have access to those at the moment, and having created a couple of mini projects in Reaper in the last little while, it looks like it has everything I need. BTW, there’s a beta available for Mac now, so don’t feel frozen out.

I want to keep all my sounds bundled together in a Kore performance so I’ve created just one instance of Kore - the multi-out plugin version that has 8 stereo channels of output. Then my plan was to create 8 separate audio tracks and route the channels to them… I noticed that the Reaper plugin wrapper has a function to do exactly that:

Bam! That was easy. It builds the routing and creates the tracks to send to - no mucking about with the routing dialogs and matrix. So now it’s a simple matter of configuring my sounds in Kore - choosing sounds and setting the MIDI in and plugin-out settings for each one:

Nice and simple - first sound takes input from MIDI channel one and goes to plugin output one, second is on channel two and goes to output two, and so on.

Now, what about MIDI channels routed to Kore? You probably noticed the “Build 16 channels of
MIDI routing to this track” entry in the Reaper plugin wrapper. Guess what? It works. Only thing left to do is set up the MIDI input sources for the MIDI tracks.

Here’s a zip file containing my preliminary Reaper setup and Kore 2 performance if anyone wants to have a look. It’s in a pretty raw stage but the routing works.

So readers, are any of you using Kore 2 in Reaper? Have you learned any interesting tricks or pitfalls doing so? Let me know… in the meantime, I have a theme to compose!

Samplers like Kontakt are capable of streaming from disk, but when it comes to loading from (faster) RAM, standard 32-bit memory addressing on Mac and Windows restricts them to about 2-4 GB of memory. That’s about to change for Kontakt users, with the free update to Kontakt 3.1 with 64-bit support in the works. You’ll need Mac OS X Leopard or 64-bit Windows to run it, but if you choose to put more gigs of RAM, Kontakt will be able to use a lot more memory. In case you missed the announcement, I covered this yesterday for CDM:

Kontakt 3 Free 64-bit Upgrade Soon on Mac, Windows

I’m working on getting some other details. For instance, at the moment, no hosts on Mac support 64-bit, so presumably you’d have to either wait for that to change or run Kontakt standalone. On Windows, you have to boot the 64-bit operating system, you need 64-bit drivers, and you again need a 64-bit host, like Cakewalk’s SONAR.

That said, let me ask it another way — show of hands. Who here wants more RAM? Do you use big sample libraries that require it? Anyone already running 64-bit SONAR / Windows?

I’m also talking to NI and wrapping up a story I’ve been working on regarding 64-bit and memory. Got questions you want answered? Stuff that confuses you? I’m happy to pass it along and share what I learn!

(Geek-only side note: I’m also curious if the Windows emulation that allows Kontakt to run on Linux, as it does on the Muse Receptor, will do 64-bit. The ASIO drivers for the WINE compatibility layer on Linux is presently 32-bit only.)

Ready to inject some more sonic goodness into Kore, Kontakt, and Reaktor? You’ve got nothing if not some choices.

The terrific Rekkerd.org has a couple of reviews, covering two of the more powerful add-ons released of late.

KONTAKT

From May, Ronnie covered Soniccouture’s Scriptorium, a collection of powerful scripts for the script engine in Kontakt 3:

Review: Soniccouture Scriptorium [Rekkerd.org]

Some of his favorite gems: helpful sample instruments, faux analog drift, melody generators, and digital glitching and randomization (similar to what Peter Dines did in a video tutorial here).

KORE

Perhaps of still greater interest to readers here, Ronnie offers a frank look at NI’s new Deep Transformations soundpack for Kore, with a nice sound sample of a modified beat loop. It wouldn’t be an exaggeration to say it’s the Kore pack we’ve been most excited by – even if we long for still more sonic mangling via Reaktor – but let’s see what Ronnie says:

Deep Transformations can do things I haven’t heard in any other plug-in before, and I’ve seen many. I’d say it’s perfectly suitable for anyone who is looking for something more than a simple effect.

Review: Native Instruments Deep Transformations [Rekkerd.org]

Previously on kore@noisepages: New Soundpacks: Multi Effects, FM8 Synth Sounds

REAKTOR:

Musicrow, the boutique maker of Reaktor ensembles, have another massive pack of stuff with some 38 ensembles. Included in the pack:

• Full-blown synths, from the virtual analog subtractive to sample loop synthesis and an Oberheim emulations (and one with a big cobra on it, which is pretty badass)
• Various instruments, including a piano-synth hybrid and a virtual Theremin
• Effects, including filters, a tape delay, plate reverb, tube compressor, and some tasty-looking delays
• Granular goodies, with a delay and effects/synth unit

We’ll have a short review here of what’s in there. I’ll have to finish my own grain delay before I take a look at theirs!

US$159 / EUR119, but if you have the first version, an upgrade is just $25/€20.

Golden Ensembles II Product Page

Before we go any further in Reaktor construction, I’d be remiss in my tutorial duties if I didn’t point people towards Chris List’s event watcher. Ed.: Chris is here in NYC, too, so we’ll have to catch up with him in person soon!

Jonathan Adams Leonard has been hard at work preparing Interpol for their Kore-powered tour, but he’s still managed to get out yet another update to his must-have, free set of power tools for Kore, built in Reaktor:

Hi guys, I updated the toolpack to include Midi FilterX8. This provides dynamic recall of 8 midi filters per instance for each performance preset, with 8 user pages.

Now we’re talking — that gives you some seriously powerful MIDI assignments for presets. See our previous run-down on the toolpack if you haven’t already:

Free, Modular Power Tools for Kore 2: A Guide to the Reaktor Toolpack

As we’ve noted previously, you do need to own Reaktor to take advantage of these, though I think the combination of Reaktor and Kore is powerful enough that it could be a more-than-worthy upgrade for existing Kore users. Stay tuned — I’ve got some of my own crazy setups using Jonathan’s work and some patches of my own. And we’ll be talking more to Jonathan about what he’s doing and how that Interpol setup came together — we had to postpone a little bit so he could finish working with the setup and the band!

Nils Liberg maintains a fantastic resource of Kontakt scripts, a tutorial and even a free/donationware programmer-oriented script editor that comes in Windows and OS X flavors.

Nils is behind the script that powers the Scarbee Black Bass instrument, and his scripts are mainly geared towards creating realistic instrument emulations. If that’s not your cup of tea, a few of the scripts look ripe for experimentation, like the MIDI filter and the FX morph.

These were written for Kontakt 2 - I haven’t tested them all but the MIDI filter and FX morph load up fine in K3. I think they’d be great starting points for taking things even further… hmmm, I wonder if I could hack the FX morph to use four instead of two presets and fade between them with a 2D control surface…

The the two soundpacks I’ve been most excited about became available today. FM8 Transient Attacks is a new set of 200 synth sounds for FM8 and Kore’s morphing powers, and Deep Transformations is a multi-effects sound shaper. I’ve been looking forward to Deep Transformations in particular, as it takes the soundpack series in a new direction – not only to instrument presets, but with an eye toward making Kore an effects workstation.