Osmose Expressive E and the Uncanny Valley

The internet has been buzzing with demos of the Osmose Expressive E since they started arriving to VIPs studios earlier this year. I have been fascinated by it since 3D renders of it showed up in November of 2019. Four years later, I finally have it and now that I’ve had a day or two to allow my brain to reassemble itself I’m ready to say something about it.

There are many directions that artists will steer this machine. One is by leveraging physical modeling to emulate acoustic instruments. Doing this requires developing the techniques and having the knowledge to work the Osmose into matching the range and textures of the target instrument. Secondly it requires expertly designed patches that can translate the subtleties of the player’s expression into the expected nuances. Benn Jordan has a great video here that goes into detail about how this can be done. I do not intend to address the debate regarding “should this be done?” in this article, other than to state that there is an ongoing debate (perhaps since music was electrically amplified) along with far reaching consequences to musicians and the music industry at large of which we all ought to be aware. Continue reading

AudioCookbook Live: November 15, 2022

The COVID-19 pandemic introduced many of us to the comforts of streaming concerts at home, while some of us had already been experiencing concerts this way. As a performer I was thrilled to participate in a handful of streaming events while the pandemic had shuttered venues and driven us indoors. Although by no means over, the recent decline in cases has allowed many music venues to reopen, while others have had to close permanently. I have had the good fortune of performing live several times since cases have begun to decline and I hope that trend continues (both cases declining and performance inclines). However, not since I started performing in my late teens have I played so infrequently, which feels wrong somehow, and makes it more time consuming to prepare for performances when they do arise.

Yet I have resisted organizing and performing my own streaming events. I have several unjustified rationalizations for this; fear of low attendance, fear of technical issues impacting the quality, and a reluctance to get started and learn everything necessary to broadcast. So I have put a date on the calendar to stream a solo concert on Tuesday, November 15, 2022 at 7:30pm. There is a long list of pros and cons for live streaming. The biggest con being no in-person contact with the audience and community. But it is not my intent to replace in-person live shows. My hope is at minimum to increase my opportunities for performing, expand my studio practice, and entertain some people. The streams will be free and open to the public.

Projects on this blog, like One Sound Everyday, One Synthesizer Sound Every Day, and Sound / Simulacra have motivated me to keep making music. I see streaming performances as a vehicle for keeping up with my performance routine. Perhaps it will evolve into a monthly event with guests. I expect brief discussions after each performance, answering questions from the stream chat, sharing my setups, and covering topics within music technology, sound design, electronic music, and improvisation. Stay informed about these events by subscribing to AudioCookbook, or by following AudiocookbookBook on Twitch.TV. The events will always be free with donation to The Link encouraged. The For in-person events (mostly in Minneapolis) I have a separate email list you can join by emailing me directly at keston [ at ] audiocookbook [ dot ] org.

Upcoming Concert at ISSTA September 8, 2017

I’m pleased to announce that I will be performing a version of my piece Vocalise Sintetica at the ISSTA Festival and Conference on Sound. The conference will be held on September 7th and 8th, 2017 at the Dundalk Institute of Technology in Dundalk, Ireland. Please check the website for details.

I have developed new content and features for the AVGM (Audiovisual Grain Machine) which I’ll be using during the performance. I also be triggering samples and playing patches with a hardware synthesizer to accompany the audiovisual content. Here’s a video that demonstrates some of the new media:

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Low Latency Wired MIDI with iPad, Bitstream 3X, and QuNexus

Like many of you I have experimented with MIDI over wifi on the iPad. Mainly so that I can use a proper keyboard to play some of the splendid virtual instruments available on iOS. However, connecting to the iPad this way requires a computer on the same network, or instantiating an ad hoc network for the MIDI I/O. Secondly, although it can be stable it is usually slower and suffers from wireless network traffic congestion, hence more latency than a wired connection.

So what are the options? Over at CDM there’s a really great article from Nicolas Bougaïeff, the creative director at Liine (makers of the Lemur app and LiveControl) that explores a wide range of possibilities. Here my intent is to share what I have found works for me with a minimal investment in iOS specific hardware. Specifically, the Camera Connection Kit (CCK). The CCK essentially provides USB I/O for the iPad allowing class compliant MIDI devices to be connected and used. This works great, if you have such a device and all you want to do is use a hardware controller with the iPad.

The problem with the CCK is three fold – integration into more complex MIDI setups, class compliance, and power restrictions. Most USB MIDI devices only have a single USB port, so you can’t have a computer connected to the same controller to record the MIDI, or otherwise interface with iPad apps. As a result, two MIDI interfaces are required – one for the iPad and another for the computer for wired communications between them to be possible.

Secondly, many iOS hardware solutions are costly and impractical especially if you’d rather make use of equipment that most experienced producers have already invested in. Hardware that could work perfectly if only there were drivers available for iOS (I can dream, right?). One of my MIDI keyboard controllers, for example, is not class compliant over USB (an admittedly crappy CME UF7).

Third, beyond Apple’s sandboxing of iOS, even if your device is class compliant, they have set a very low limit on the power draw (10-100mA) often causing an annoying error to come up stating “The connected device requires too much power.” Fortunately there’s a hack/workaround for this problem. Simply attaching an unpowered USB hub between the CCK and your MIDI controller prevents the error from popping up and allows you to use your class compliant hardware. As an added benefit, the USB hub allows you to use multiple devices with your iOS device as long as they are either powered on their own, or they can draw enough power from the iPad/iPod Touch/iPhone. Side note: this works on iOS 6, but I do not know if it works on iOS 7 since I’m still waiting to do the update, so I’d love to hear from someone who has tried this.

Lately I have been researching potential solutions, and digging through my old MIDI hardware to see what kind of setup will work the best for me take to advantage of my favorite iOS music apps. Recently the thought occurred to me that perhaps I could use the Bitstream 3X MIDI controller (BS3X) with the iPad. I bought the BS3X back in the Spring of 2011 specifically to use as a controller for my Roland Super Jupiter MKS-80 analog synth, and therefore it is consistently available in my studio setup.

The BS3X is one of the most flexible and programmable MIDI controllers ever designed. It has traditional MIDI I/O including an in, two outs, and a thru jack. It’s even got a pre-MIDI Sync-24 jack. More importantly to this conversation is that is has class compliant USB MIDI I/O. The BS3X is designed to be an interface and controller in one and works perfectly to bridge my old hardware, iPad, and MacBook Pro together. Since everything is wired there’s little to no noticeable latency when playing a synth app with any MIDI keyboard plugged into the BS3X. Also, thanks to the plethora of I/O options on the BS3X, I can use the iPad and a collection hardware controllers (including my non-class compliant devices) with or without a computer in the chain. Furthermore integrating the iPad into this setup does not interfere with BS3X controlling the Roland MKS-80 because those controls send system exclusive messages (sysex) to the channel I have dedicated to the MKS-80.

In the video I have focused on illustrating how one might use two iPad synthesizer apps and a hardware synthesizer together including Cassini, Sunrizer, and the MKS-80. The BS3X is used as both the iPad interface and MKS-80 controller. No computer is required, but a simple change of cable allows for a computer to be integrated into this setup because the MOTU UltraLite interface and standalone mixer has MIDI I/O. In other words two MIDI interfaces are still necessary with a computer, but prior to this experiment I was only using the BS3X as a controller for the MKS-80 and bypassing the class compliant USB MIDI interface functionality. Since the USB hub was required I also added the QuNexus to the setup. This was dedicated to feeding notes into the arpeggiator in Cassini. The keyboard controller was split so that in the low end I could play the MKS-80 effect then tweak it with the BS3X knobs and sliders as it decayed. In the upper end of the same keyboard I played a lead sound programmed in Sunrizer.

Portable Digital Recorder Resources

After several weeks of research I have finally made a decision and purchased a Sony PCM-D50 digital recorder (without the fancy leather carrying case) to replace my mostly broken Sony PCM-M1 portable DAT.

During my research I came across some excellent resources that helped me make up my mind. I found some of the most thorough information on O’Reilly Digital Media. Their comparison chart was invaluable along with the extensive reviews of all the devices listed there. I consulted other in-depth reviews and another great comparison chart at Transom.org. I also read many of Brad Linder’s reviews including his review of the PCM-D50 and Create Digital Music pointed me to more reviews of just about everything I looked into.

This is by no means a complete list. I read lots of other articles and websites along the way, but these sites certainly helped the process along. I have yet to receive my new toy, but as soon as I do I’ll be posting some first impressions and sample recordings.