Here is the source and core of Metamusical philosophy since originally conceived in 2001. After Electric, Hume, and Marx releases for 2012 August subscribers in the last quarter, Yofiel is moving beyond Reaktor, to provide Windows music and 3D visualization products which need no purchase from Native Instruments, reducing cost to a range comparable to that available from other vendors for equivalent functionality
Electric, Hume, and Marx were updated for the current version of Reaktor in August 2012. The other versions are designed for Reaktor 5.1.
The Metamusic instruments, of which Husserl is a premiere example, blend ideas of digital logic with analog audio processing and unique user interfaces to transcend conventional paradigms. This is part of the reason that the instruments are named after philosophers. But Metamusic is far more than that....
Perhaps the most unique facet of Husserl is its built-in intermodulation. The design is intuitive and flexible; generally, when you set a modulation, it occurs where you expect. Conversely, if you don’t want a modulation, you can stop it from happening.
A member of the metamusic series, the Husserl metasequencer is a polyphonic step sequencer with 16 intermodulating sequencer channels. This section introduces Husserl 1.0's architecture, environment, and presets.
Each of the 16 sequencers can play interactively in four main modes (clock, step, layer, and fugue), as described below.
In clock mode, all sequencers divide down the main clock by their individual tempos, so they can advance to the next step in their patterns at different times. All sequencers can also modulate each other. In the following example, two sequencer channels are in loop mode. The two loops are clocked and synchronous on the left. On the right, the loops have different tempos, and the second also has shuffle. When channel 2 modulates channel 1's pitch, then channel 2's pitch is sampled on each of channel 1's clock edges and added to channel 1's pitch at its output. The diagram shows the resulting pitch waveforms.
Each sequencer channel has its own pattern panel with 16 steps, each of which can have separate pitch, velocity, and note duration. The controls to the left of the tables set the base values for all steps. The pitch table transposes pitch by semitones, and the other tables scale the default value.
Each channel has an additional bar sequencer. When enabled, the bar sequencer advances each time the pattern cycles past its last step. This allows the pattern (or 'phrase') to modify itself on each cycle.
The bar sequencer can change the pitch, velocity, duration, and tempo for each cycle of the pattern sequencer. Each step in the bar sequencer can also repeat.
Each sequencer channel has its own step filter (also called a beat filter). In normal operation, the step filter stops notes from being played when triggers are received from the trigger section. When so configured, the step filter can instead control which notes are passed through the note filter.
Each sequencer channel has its own note filter panel. Pitch and velocity filters can thin dense trigger clusters, or restrict the range of notes that trigger a particular sequencer channel (for example, to implement keyboard splits).
The actual controls change depending on whether the channel is set to filter, clip, wrap, mirror, translate, or shape pitch and velocity data. The following picture shows a filter which has been selected to translate pitch output.
In the A panels, each sequencer channel has its own matrix panel. The matrix provides pitch (P), Velocity (Vel) and Duration (Dur) modulation from other sequencers, as well as triggers (TRG) if the sequencer channel trigger TYPE is MATRIX (see the Trigger help for information on trigger TYPE).
The following picture shows the matrix for sequencer channel 1; the first row is empty, because the sequencer channel modulates itself via the bar sequencer, not the modulation matrix. In this example, channels 2, 3, 5, and 7 are triggers for sequencer 1. Of the trigger channels, only channel 3 modulates channel 1's pitch; channel 6 also modulates channel 1's pitch, but does not trigger it.
The snap panel enables storing, recalling, and reverting of snapshots from within the instrument, as well as bank switch and snap auto-change. The snap panel is shared across all sequencer channels, and does not change when the sequencer channel changes.
Each sequencer channel has its own record panel. You can use the step recorder to input a sequence into a channel from the instrument's own mouse keyboard, from the computer QWERTY keyboard, or from an external MIDI keyboard (the channel must be configured to receive the note input, via the setup panel).
Each sequencer channel has its own controller panel. The panel lets each channel send MIDI controller messages, MIDI pitch bend, MIDI channel aftertouch, or Reaktor SEND values to other instruments. In most cases, you would mute the note output from the channels, although you can also send a note and a controller value from the same channel simultaneously. The controller modulatoins may optionally be smoothed.
In the A panel set, each sequencer channel has a strip of output pins at its lowest left. These are copies of the full MIDI output matrix pins for the currently displayed sequencer channel. Changes to a sequencer channel in the A panelset appear immediately in the big output matrix in the B panelset, and vice versa.
The B panelset lets you view and edit settings for all channels at once. It also includes preferences and configuration panels.
On the left side of all panels in the B Panelset are some shared controls, available in all B panels. At the top left, there is the selection list to choose which B panel to show in the right-hand area.
This is a simpler early version of the Husserl architecture, with the table display rendered entirely in core logic.It is freely available as a component in the Lenin design. If you've got Reaktor, have a look inside. It's much, much simpler than Husserl, but you're probably in for quite a bit of a shock if you believe this is a straightforward thing to build...
The beat generator is an alternate source for triggers sent to the main arpeggiator and transposers. It filters the SONGPOS train so that some of the triggers are skipped. When steps are turned off in the step grid, the sequencer skips a pattern step, or delays the pattern step until a future beat.
A production quality modular workbench for real-time performance, complex sequences, and audio exploration. It contains dozens of full-featured units, essentially cramming three complete polyphonic synthesizers into one instrument. An extremely flexible design provides access to virtually every audio and event modulation possible. Even so, the control panel is small enough to display completely, even on small 1024x768 monitors.
To set up an event route, select a source (from the “from” list), a destination (from the “to” list), and set the amount of modulation. To make it more readable the amount of modulation is shows as a percentage (0% to 100%).
Welcome to Leviathan, a fourth generation Reaktor instrument. Here is the user manual, describing the features and behavior of the default Leviathan configuration. Leviathan is member of the Metamusic series, which are instruments for Reaktor and Reaktor Session.
Kafka is not your Sesame Street Yamaho playdho. Uh oh. You wake up in the morning and find yourself suddenly transformed into a giant insect. You can wave an antenna feebly, wondering what's for breakfast. Oh my god, your fiancee is at the door. What are you going to do...
Lenin is a complete modular system that you can played both via MIDI and by its internal sequencers (or both at the same time, if desired). Essentially it contains three complete multitimbral synths in one instrument, all the components of which can linked in pretty well any way imaginable.The instrument is freely available to NI customers in the Native Instruments library. Here is its user's manual.
If you've ever tried building your own modular synthesizer, you know that triggers and gates are often the limiting factors in the design. Lenin Modular has perhaps the most flexible trigger/gate routing available anywhere, but all the complexity is hidden behind simple list panels, letting you set up complex paths with just a few mouse clicks.
The oscillators are designed to use the lowest possible CPU while providing every possible mode. For FM and SYNC oscillators, internal logic automatically switches the oscillator module for the lowest possible CPU usage. The lowest CPU utilization is for "F" mode oscillators without FM or SYNC enabled.
Intermediate pan positions provide linear downscaling of osc1 modulations (to the right) or osc2 modulations (to the left). For example, if the modulation amount is 12 semitones, then a setting at 3 o'clock sends 6 semitones to osc1, and all 12 semitones to osc2.
The sequencers can be triggered by MIDI, or they can trigger each other, or they can loop in time with each other. The simplest way to use a sequencer is to set its MODE to LOOP, then set one of the envelopes to use its output. But even with that there are many possibilities...
With about 8,000 downloads, Marx was the second most popular ensemble in the Metamusic series for Reaktor. It is currently available in Reaktor 5.6.2 format as a bonus for active subscribers. Here is a brief video.
You may expand the video player for a high-definition video (1280x704 pixels):
The envelopes and sequencers in Marx are perhaps its most notable innovation.
If you've ever tried building your own modular synthesizer, you know that triggers and gates are often the limiting factors in the design. Marx Modular has perhaps the most flexible trigger/gate routing available anywhere, but all the complexity is hidden behind simple list panels, letting you set up complex paths with just a few mouse clicks.
The switchless matrix lets 30 different event sources modulate 120 different sound parameters. The matrix is a full butterfly implementation, which means different amounts of multiple modulations can affect the same parameter. For example, any number of envelopes, LFOs, sequencer values, and MIDI controllers can all modulate filter frequency by a different amount for each source.
Husserl is a multifunction, polyphonic step sequencer that provides more possibilities in a single, integrated instrument than available anywhere else. Built as a Reaktor 5.0 ensemble, Husserl provides the same power as a modular system in a unified instrument. Sequences have many different trigger modes, can modulates each other in every way possible, and can respond to user interaction in any way possible.
Under the name Heavens*onEarth, Yofiel released Reaktor ensembles created between 2002 and 2010. Clients included professional musicians for E! Entertainment, TV series (30 Rock, Kings. and The Philanthropist) , Sony Movie Classics, and bands including Younger Brother and Shpongle.
The metamusic design Husserl is the only independent Reaktor ensemble ever to be reviewed in Sound on Sound Magazine.