Elektron-Users

I am interested in reaktor as an audio experiment sandbox, but not as a music-making tool. I used to have an earlier version and I would frequently just lose inspiration while trying to build stuff with it.

In fact, using Reaktor to build things is sure to bring your track writing to a complete standstill!

glaive wrote:
In fact, using Reaktor to build things is sure to bring your track writing to a complete standstill!

Hmmmm....well depends on what level you decide to build. If you start with the new core level in reaktor 5 you can say your music (and social life) goodbye for sure.

But just recently i came up with the idea of actually combining an overdrive and filter ensemble to make the filter run in overdrive the hotter the input signal became. This kind of emulated analog filter behaviour and only took me about 10 minutes.

I don't usually build very complex ensembles myself. I leave that up to the synth theory "nerds". I do however use the tools available to make new things. Currently i am trying to make a software enhancer/exiter. Not as easy as it would seem by the way.....

I'm sure you can keep it to a manageable level, but the really complex ensembles are engineering wonders. Those guys (maybe a woman programs Reaktor, somewhere) must spend many, many hours creating them.

glaive wrote:
(maybe a woman programs Reaktor, somewhere)

Maybe so, but I have a feeling that she used to be a man....

like Wendy carlos? haha :-D

have any of you with Reaktor also tried doing sample manipulations using a V-Synth or K2600 or other hardware sampler and how would those experiences compare in your opinion?

synthy wrote:
have any of you with Reaktor also tried doing sample manipulations using a V-Synth or K2600 or other hardware sampler and how would those experiences compare in your opinion?

A friend of mine has a K2600 and i have been told the sample manipulation options in reaktor are more diverse and extendend.

Cannot confirm myself.

The computerized PC sample editing will always be more powerfull than hardware samplers, thus reaktor will woop anybody samplers ass on part of techniques(although sound wise a hardware sampler may win cous of the AD/DA and other hardware variables.)

I've never seen a hardware sampler do grain tables and that sort of freaky techniques.

I messed with the granular sampling option in Absynth 2 a bit this weekend. It can create some really bizarre textures, but it really lacks the hands-on control of the waveform playback point.

For example, on my Korg ESX, it can not only slap on grain and short delays onto a sample, but also vary the playback location of the sample in realtime. The combination of these can create some otherwordly sounds that in my opinion are much more captivating than what I'm able to get out of Absynth 2. Maybe I need more practice on Absynth's granular sampler... not sure. I just don't see the immediacy of getting where I want in the sound file quickly (i.e. without having to wait for it to play through to that point).

Also this weekend, I found a Roland V-Synth here in town. One thing that the V-Synth does that the ESX doesn't is it can freeze the audio position with the Time Trip Pad as opposed to requiring a retrigger as the ESX does, and while moving through the sound file, the V-Synth does not produce pops and clicks like the ESX retriggering at non-zero crossings. On the other hand, with the V-Synth Time Trip Pad, it was harder to "fast forward" and "rewind" through the sound file like the ESX can in an instant. This is a hinderance if the goal is to jump around in the file very rapidly, but quite an advantage if you want to move through the waveform slowly.

I think that hardware - at least the ESX and V-Synth - provide some interesting, immediate options as far as granular-esque sampling goes. I doubt you could say they are truly "granular" samplers because you don't get control of the grain time, grain size, etc. But the results are similarly captivating and more immediate and satisfying to get to.