Random*Source Serge Resonant EQ (ResEQ) & Stereo Processing (Mid/Side)

Exploring some ideas of using mono effects for stereo processing with the Eurorack Random*Source Serge Resonant EQ.

The Serge Resonant EQ is mono, so, usually, if you want to do stereo processing, you would need two of this (expensive) module to process your signal. With just a single module, though, if we mess with the two “comb” outputs, and consider mid/side processing, we can create some compelling stereo outputs.

0:00 Introduction, I/O overview
0:47 Mono signal in, mono signal out
1:10 Using the “comb” outputs to stereoize the signal
2:01 Mid/side processing the “comb” outs of a mono signal
3:14 Processing a stereo signal, side only
5:10 Processing a stereo signal, mid only
6:20 Changing the source material, side-only processing
9:16 Closing, next steps, mid-only processing

More on mid/side processing for synthesis here:

Gear in this video (affiliate links):

Matrix Mixing with Computer and Outboard Gear

Running audio out from the DAW and feeding back through outboard gear.

The main idea here is a feedback loop starting with output from my computer, running into a compressor, then to a reverb, then back to the compressor, then back to the reverb, etc.

0:00 Intro: The Plan
0:39 Digital Setup
1:18 Analog (Outboard) Setup
1:44 Demonstration
3:55 Next Steps and Considerations
4:31 Take 2

Check out more videos on audio cybernetics and feedback:

Artificial Neurons for Music and Sound Design (5-minute lecture video)

Video presentation I made for the 2024 “Explainable AI for the Arts” (XAIxArts) Workshop, part of the ACM Creativity and Cognition Conference 2024.

A lot of these points I’ve discussed elsewhere (see playlist below), but this quickie presentation brings together these ideas, focusing on the aesthetic potential of this approach.

Check out the complete playlist for more hands-on creation of neurons and neural networks:

Reaktor 6 Matrix Mixer

Building a matrix mixer in Reaktor 6 primary, and then exploring its possibilities for sound design.

I’ve been a little obsessed with matrix mixers lately, because they feed my desire for unique sound design applications (and feedback). A matrix mixer is a combiner module that can route multiple inputs to multiple outputs, often allowing you to adjust how much of each input signal goes to each output. While sophisticated, they’re pretty easy to build in Reaktor or other software, and can maybe be useful for some next-level synthesis applications.

0:00 Intro / Why Matrix Mixers?
1:18 Starting the Build, Simple Sine Oscillator
2:50 Matrix Mixer Macro
3:55 Visible Ports for Panel Patching
5:37 First Mixer of the Matrix
9:46 Duplicating It for the Matrix
10:48 Matrix Mixer Basics
12:05 Delay and Feedback
15:29 Adding a Second Delay
18:44 END OF LESSON. Unless…
19:59 Adding Ring Modulation
21:43 Building a Complex Patch
24:45 Other Examples of Implementation
25:58 Final Thoughts, Next Steps

Beginning Reaktor 6 Tutorials:

Mixing Synths: Early Reflections for Added Dimension

Adding some subtle dimension to your synthesized instruments with early reflections.


Synthesized instruments, unlike recorded sounds, have never existed in the acoustic world. This means that these synthesized sounds are 100% direct signal. To add some subtle dimension to these synthesized sounds, then, we can craft some “early reflections” on these tracks.

Here, I demonstrate this concept using ChromaVerb in Logic Pro X.

0:00 Introduction
0:55 Understanding Reverb and Early Reflections
2:18 Creating Early Reflections
3:18 Project Setup
4:26 Early Reflections Aux Track
5:15 ABing on the Synth Track
6:19 Why Separate these from the Main Reverb?
6:40 ABing on the Whole Arrangement

More Logic Pro X videos here.

Compression-Controlled Feedback Loops in Your DAW

Creating DAW-based feedback loops, then using side-chain compression to regulate them.


Here, working on a project with @SpectralEvolver , I show in Logic Pro X how we can use a compressor side-chained to a beat to control a feedback loop for some noisy, industrial sounding music that sounds evocative of the artist Emptyset. I found this was a great way to create a chaotic sound, but keep it under control (and out of the way of the drums).

0:00 Intro
0:29 The audio tracks
1:15 Side-chain compression
2:03 The feedback loop
3:13 Controlling the loop with compression
5:00 Emptset
5:13 Two aux tracks sending to each other
6:23 A note about time-based effects
6:50 Will it blow up?!
8:06 Closing, next steps

Check out Emptyset’s bandcamp here. Here’s Emptyset talking about their ionospheric propagation work, “Signal”:


More Logic Pro Tutorials from me here:

Heart Beat to DrumBrute Impact Tempo with Apple Watch, Holon.ist, & Pure Data

Using Holon.ist, OSC, and Pure Data to send my heart rate from my Apple Watch to the Arturia DrumBrute Impact.

I got an Apple Watch a couple of weeks ago, and, of course, on the very first day I started looking into apps that would allow me to send the data coming from my watch out as OSC messages. After some poking around I found Holon.ist by Holonic Systems, and decided to give it a try.

There’s actually way more in this app than I actually needed (I just wanted to get all the physical data out to my laptop), but it suits the purpose. So in this video, I show a quick demo of getting my heart rate as an OSC message into my laptop running Pd, and then converting it into a MIDI clock for the drumbrute impact.

More on OSC in Pd Vanilla:


More Pure Data tutorials here.

Check prices on the Arturia DrumBrute Impact (affiliate links):
Perfect Circuit
Reverb
Amazon

Sending Raw MIDI Data in Max (and Pure Data)

Sending out raw MIDI data in Max/MSP with [midiout] for system messages and other live control.

Here, I use the [midiout] object in Max to send individual “note on” and “note off” messages, using our knowledge of the MIDI protocol. We can then expand that to algorithmic MIDI control of sequences in the Arturia DrumBrute Impact, including adjusting the clock and the song position pointer for funky, chaotic beats.

0:00 Intro
0:30 [midiout]
0:59 Basic concept – Note On
3:16 Note Off
4:32 Pitch Bend Change
5:32 Exploring Algorithmic Control
6:47 Controling Sequencers (DrumBrute Impact)
7:09 MIDI Clock Message
9:01 Algorithmic Clock Control
10:03 Start, Stop, and Continue MIDI Messages
11:29 Playing with the Song Position Pointer
13:30 Bringing back the Drunk [metro]
15:00 Closing / Next Steps

Click here for more Max/MSP videos: