Madrona Labs Kaivo | MusicRadar
Did some demos in the green room. Will post video soonish” ” madronalabs It was hectic! But good. Plan to ship in wks.
Madrona Labs Kaivo
Did some demos in the green room. Will post video soonish” ” madronalabs It was hectic! But good. Plan to ship in wks. My experience was via the Oasys PCI card. I still have it sitting in a dedicated G4 Mac but haven’t fired it up in at least 3 years, maybe more. Hainbach wrote: I never liked physical modelling, except for resonators. Maybe this may change that.
Noise for Fiction wrote: Physical modelling is synth technique that models behaviour of physical objects,plucking string or hitting drum etc. It is mimicing acoustical instruments so that you can “build” or edit parameters to make weird new instruments and very organic sounding patches. It is not sample based. Still, very curious as its coming from Randy. And Soundplane changes things somewhat, I think. A physical instrument emulation that is still tied so much to the actual physical stimulation of playing an instrument but in the way that wasn’t possible before.
Nelson Baboon wrote: Seems like we agree, yet you are somehow incredulous that someone would post that the notion of ‘physical modeling’ isn’t exciting. Have anybody tried Tassman? I never made enough effort to learn its interface but always felt like I’m missing out on some interesting things because of that. Yep – it’s awesome. But i’ve never been able to get anything good out of it myself. One of the few synths I actually use and like the presets for. It helps if you shell out for Himalaya and Harm Visser libraries as they sound amazing.
Half the problem with Tassman is how sensitive it is to plugging inappropriate values leading to awful overloading. I’m sure that in practice it will be really interesting, as Aalto is That was what I was calling into question, with the disclaimer that despite this conceptual quibble, it will likely be very interesting as a sound generator.
All my synths are physical modelling synths. Although I have never tried to model an actual instrument since most things I like from modular reflect some of the resonant qualities of actual earthly objects – wood, metal, glass, water etc So I await this one with huge interest. Abstract pipes and bodies I could pour granular samples into to create unheard tonalities makes a ton of sense to me Interesting post, but somehow, in my purist, drug addled mind, I think that at best, the notion of creating sound should be more general than the notion of emulating natural objects.
When you make your tracks with the blippoo how is this a physical modeling synth? Granulators are very useful for physical modeling. If you’re modeling something like, say, a maraca or a tambourine, you can use a system like PhISEM, where the grains are triggered by using a stochastic model of how likely a collision is going to happen within a specific time frame.
With a maraca, for example, it would be computationally limiting to model the position of each bean and if they are striking each other or the maraca’s wall. FOFs are another great example, as they bridge a gap between additive synthesis, granulation, and physical modeling they provide a huge advantage over traditional additive synthesis as they can provide noise components.
Granulators are also useful in convolution-based approaches to physical modeling. If you are modeling a percussion instrument like a guiro, you can use grains that act like the sound of the stick hitting the wood, and then convolve it with the instrument’s body’s impulse response.
It’s a great read, as it focuses more on the intuitive process behind each system instead of piles and piles of engineering notation. Anyways, I’m extremely excited for this.
Physical modelling is useful for many non-natural sounds. It provides a very cool basis for sound design, as every sound is related to a real process in some way, which can really grab a listener’s attention But this just isn’t true in any meaningful sense, that “every sound is related to a real process in some way”, unless you are talking about the electronics as being the real process, or something.
That’s an accurate nitpick! I probably shouldn’t have bothered tossing that opinion paragraph at the end. What I meant is that the concept of each sound model is based on a physical process simulated through computational means hence, “related to” a real process, not “created by” a real process , where our more frequently used types of synthesis are based on abstract processes.
Despite my quibbling in this thread, I’m very much looking forward to this instrument, and will buy it immediately if I’m not too financially depleted still by my bugbrand purchase.
I find all synthesis processes to be useful, and didn’t mean to imply that physical modeling is better than any other type. I was trying to point out that the utility of physical modeling is closer to, say, sample manipulation, as the output deals with familiar sounds. Historically, a lot of the activity has been geared towards emulating acoustic instruments.
I would say that this is true generally because of the academic support for the work and the need to have “ground truth” and something publishable. Also, the synths from Yamaha etc. But the underlying equations, as a way to make vibrations, are just about as abstract as you can get, and have no requirement to be tied to emulation at all. The actual methods I’m using are finite difference time domain solutions for partial differential equations in 1 and 2 dimensions.
Now, if I were to put that on the tin, it might possibly be more accurate, but few people would understand it. Thus, “physical modeling,” which ties it to the cultural context and the synthesizers that have come before. But essentially we are just dealing with 2-manifolds, and the dimensions do not even have to be considered as spatial. To surprise and delight seekers of the new and weird.
The term “physical modeling” is probably necessary, but in a way misleading when it comes to describing the kind of synthesis I’m using. As with Aalto, my 1 goal is to help you get sounds that were difficult or impossible to make with your computer before.
Everything is related and nothing is real , but seriously this http:
Hybrid granular/modelling synth plugin
Madrona Labs’ debut plugin synth, Aalto, coupled a striking combination of synthesis techniques to a fuss-free semi-modular architecture to. Download and try Kaivo. Kaivo is a semi-modular software synthesizer that combines two powerful ways of making sound: Kaivo [VST for Windows]. added. Kaivo VST – Kaivo is a semi-modular software synthesizer that combines two powerful ways of making a sound: granular synthesis and physical.
Madrona Labs updates Kaivo synth plugin to v1.2
Shares Our Verdict It may be CPU hungry, but it makes every cycle count with its engaging architecture and dazzling sounds. Pros Totally effective combination of synthesis techniques. Unique sound. Immense modulation.
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VIDEO REVIEW: Kaivo Vst: cremallera
Madrona Labs’ debut plugin synth, Aalto, coupled a striking combination of synthesis techniques to a fuss-free semi-modular architecture to. Madrona Labs – Kaivo (Physical Modeling VST) Kaivo, physical modeling synthesis from Madrona Labs. Sound DesignElectronic MusicMusic. Funciona en Windows y Mac en formato VST y AU. todos los sintes de esta gente espectaculares,.. tengo el kaivo desde hace un tiempo. 2 Abr – 5 min – Subido.