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Comments
The AudioBus forums. Where a landmark release is greeted with a thousand new feature requests...
Congrats on the big release, @Alex fox. You guys are killing it with this app.
Yep, its difficult to resist.
Thanks dude! Yea.. I don't think we'll ever be finished !!
As I said in another thread, KRFT sat unused in my music folder for ages until I realised what it could do, especially now with MIDI out. It's a far more elegant and less stressful solution than Cubasis or Auria for the kind of stuff I wanna do, and you guys should be really proud of what you've made!
Couple of questions; I'm getting a fair amount of crackles and pops running KRFT inside AB3 with Gadget. Would I be better off just running them outside of AB?
Also, when I had Link enabled in both KRFT and Gadget, things got a little screwy. Can anyone else confirm?
Really can't wait to see what the future holds for this. And I've just realised...I can now sequence and play all my Volcas and Boutiques from KRFT. AHHHHHHHHHHHHHHHHH.
I'm only guessing here mind you, but that might be an AB3 problem. Sending midi to multiple Gadget synths without audiobus was the first thing i tried, even in the beta, and i didn't have any issues. Can't comment on the Link thing.
bought this app finally, and wish i would have a long time ago. only thing i wish it had is a wav file editor for setting loop points for imported sample loops.
Just the master key would still be pretty powerful.
As was mentioned in regards to chromatic mode, shifting the number of notes per row would be cool (especially if more/custom scales are added, where you might not have 7 notes per octave). Another, likely easier workaround would be to slightly alter the color of each root note key.
Don't know how many got their projects to a desktop DAW..
Well,, this is some serious stuff..
Tip my hat to the devolpers...
AND THEY ONLY JUST BEGAN...
Quick question.
Can KFFT send program change messages?
No it can't at the moment. Could be added though - useful ?
Absolutely!
Takes it to another realm outside the normal music application...
(I'm thinking installations etc)
Sounds exciting ! We'll look into adding it !
This app is truly something special!
Yes please. Would mean that a surface could automatically recall the presets it needs in external synths like Animoog etc.
Which is a considerable thing.
@Matt_Fletcher_2000 - re : program change messages
Does anyknow know if Animoog supports this ?
Yep. Apparently (according to this forum) it does. It supports program changes within the currently selected patch category. But not preset bank changes.
@Alex fox
Ok this is NOT a feature request, it's just a question for a wonderfully candid developer:
I've noticed that many digitally-controlled envelopes trigger "from zero" -- that is, if you set a slow attack and release, wait for the note to hit full volume, release the note, and hit a new note, the release stage will be cut and the next note will trigger from zero. It's common -- Apple RetroSynth and ES-1, Moog Animoog, Propellerhead Subtractor, most Korg Gadgets, iPolysix, and even the Volcas and Minilogue all do this. It's an option in Thor and Ableton Analog. I don't know what goes into coding an envelope but I can tell that this approach makes sense in a polysynth
When synths allow newly-triggered to pick up from the current release value, it's often advertised as a special feature ("mimics capacitor behaviour" or something similar). Synths that do it this way include Moog Model 15, Korg iMS-20, R3, and MicroKorg, Olympia Noise Chordion, Apple ES-2, etc.
My question is whether capacitor behaviour is particularly difficult to implement. It seems like Moog, Korg, Apple, Ableton, Propellerheads, etc. see value in both approaches but most don't actually offer a choice -- Animoog and iPolysix trigger from zero in both poly and mono mode, Model 15 and ODYSSEi mimic capacitors in both poly and mono mode. Is this something you've ever thought about? You seem very open to discussing development.
Again, NOT a feature request -- KRFT is stunning and the built-in synths are excellent. But I've been wondering about this ever since I read about from-zero envelopes in Sound on Sound.
@jrjulius
This is interesting, and not something I've thought about before...thanks for bringing it up here, I'd say it was a topic that deserved it's own thread
My initial reaction to this is that from zero envelope would be like a hammer action instrument, Piano, Plucked strings, drums where the envelope would be cut off by the new hit (albeit very very briefly)...
and that the pickup envelope would be more akin to a bowed string or woodwind instrument...
Is that your understanding of it ?
That's a good real-world comparison, actually, but I suspect the discrepancy has more to do with electronics vs. code. To get a retrig envelope on an analogue synth, you need an additional component that 'bleeds' the release-stage capacitor on every note trigger. But I suspect that for digital (and digitally-controlled) envelopes, you would need additional lines of code to specify that the starting amplitude value should equal the current amplitude value. On a polysynth, where you have multiple voices each with their own envelopes, I can imagine it being tricky to work out -- but then why would Korg put pickup envelopes into the all-digital R3 but from-zeros into the analogue-hybrid Minilogue?
Since so many developers and manufacturers seem to take both approaches across their product lines, I'm curious what sort of decision making goes into it. Moog made a big deal of the capacitor modelling on the Sub37's DCEs but Animoog has from-zero retrig...
KRFT has a powerful polysynth engine that's laid out in an almost-purely digital fashion under the hood, so I'm especially curious if pickup behaviour was intentionally omitted.
I guess it depends on how the code is written....it can either be made up of code components that mimick the actual electronic components, as in a pieces of code one called Capacitor for example and then a software version of the circuit that is put together in the same way as a physical circuit using those code components (brambos uses this method) or code that mimicks the outside behaviour of the circuit, which is like what you described with the code to specify the pickup value.
Basically what this means is that you have a component, you give it an input, and it gives you an output.....in the former method the component has internals that will process the input signal in the same way as the hardware circuit would to come up with the output value.
In the latter there will me some code that instead of mimicking the entire circuit it says, ok for this input I need to give this output.
In the case of Korg, I dont know if they use both or one of the methods but they tend to emulate the actual behaviour of the realworld synth, so it wouldn't surprise me to find that Polysix does the zero start and MS-20 does the pickup start. Remember with iOdyssei it was so accurately modelled that people thought it was out of tune ? and they had to add a switch to turn of the OSC drift present in the real hardware. iMS-20 doesn't have MIDI clock sync because the actual MS-20 doesn't have it.
In terms of poly vs mono in hardware, on a mono synth adding a capacitor isn't that big a deal, but for poly you would need one per voice, which is not only more expensive but requires a lot more space on the circuits and will increase the amount of heat (not typically things you have to worry about in software) . Perhaps this is why pickup envelope is more prevalent on mono synths ?
Interesting, I guess I never really considered circuit modelling. I really need to learn basic programming, this stuff interests me but I can only approach it from one angle
I'll let @weepy answer this as he's the DSP guy!
KRFT in the midi input slot of AB3, target apps in the outputs = state saving for many apps, and the setup in general. Works most of the time. Unfortunately, there's still a lot of fiddling that needs to be done with the MidiFlow Adapter and stuff to get non AB3 apps to work. Hopefully that will diminish as more apps update.
It can be a lot of work to set up initially, but once you have it down, recall is a breeze.
I try to stick to AUs and AB3 updated target apps as much as possible. Session recall involves opening the session in AB3, waiting for things to load, then picking the right surface in KRFT. Then I'm good to go in under a minute.
@alex fox, it would be great if you could implement AB3 state save so that the surface opened when the AB3 session is saved would open on session load.
Looking for a midi sequencer, got a question about krft - Is it able to hold a note witihin a midi pattern, not retriggering it every time pattern repeats?
I guess this is what you mean.. why won’t they bring back this great program in AU?
BTW..iPadOS picture editor is nice..😁
If I understand your question correctly, the answer is no. And that is true for any sequencer I can think of. By definition, when a note gets triggered in a pattern, it's always going to re-trigger when the pattern repeats.
The screenshot above is showing the behavior of the looping of the pattern, not anything related to what individual notes do.
If you want to hold a note across repeats, you need to make a longer pattern, then copy the notes you want to repeat as many times as you want them to, and then stretch out the one that you want to sustain to the length of the pattern.
@wim
Thank you, that is exactly what i wanted to know. Xynthesizr can do this, but it's very limitted in other aspects, thats why i'm looking for another software.