How OSCiLLOT is the Smartest Way to Put a Modular in AbletonBY PETER KIRN Racks and knob-encrusted modules and wires tangling together to make sound – this is a perfectly lovely thing. But the computer sitting in front of you, the one you probably turn to when it comes time to record and produce, is also capable of vast sonic powers. Why force a choice between the two, when that machine can let you explore the frontiers of sound, too? The recent announcement of OSCiLLOT brought open-ended patching to Ableton Live users. But it’s only getting started. Today, we get to see it evolve, learn to use it to make the sounds we imagine, find out about the development process, and better understand why it matters. And now is the perfect time, because OSCiLLOT’s creators have been busy beefing up the system they just unveiled. For starters, there’s a new tutorial video to teach you how to use it (top). And, you get two new modules: a comb filter, plus a terrific feedback module that lets you route sound back into your modular rig. (I’m especially pleased about that, as I was getting muddled coming from Pure Data/Pd, in which feedback loop routing works differently. Well, and because generally feedback is great fun.) OSCiLLOT versus Max 7. First off, let’s clear up some confusion. Cycling ’74′s Max/MSP recently brought its own modular environment to the table, entitled BEAP – the feature I called one of the best reasons to upgrade to Max 7. And so some readers assumed that this means OSCiLLOT is redundant. It’s not. If you’re using Max directly for patching, BEAP is still a great environment – one that can help you learn modular synthesis techniques, make some great sonic creations, and connect to outboard gear. But OSCiLLOT isn’t BEAP. BEAP is a great learning tool, but it’s not so great when it comes to using Max inside Ableton Live. BEAP is monophonic, for one thing; OSCiLLOT gives you polyphony, which makes more sense on a computer. And – here’s the deal-killer – you can’t patch BEAP live when you’re working with Ableton Live. (You have to enter edit mode – and at that point, you’ve lost a true modular feel.) OSCiLLOT, its creators tell CDM, is really built to be a modular instrument running inside Ableton Live. Not only does it support full polyphony, but you can even re-patch your creations as you play inside Live. That makes this much Not all audio interfaces have that functionality. You’ll find a detailed compatibility list via Expert Sleepers (who make their own fine software for the task): Silent Way: Device Compatibility More discussion available on a MuffWiggler thread. as with any software/modular integration. will various cheaper options.” Nico says. Madeleine also posted a complete module list. “the big challenges were the undo system and GUI performance. just about anything MOTU will work. including Alesis. [BEAP creator] Stretta. as well.closer to the software equivalent of having physical modules and patch cords. “After we had the rough framework working. users like Fernando Carvalho are already off to the races: To integrate OSCiLLOT with your modular rig. “Eventually this was easier than expected. (The Nord was specifically an inspiration for the creation of OSCiLLOT. we’d love to see interoperability here! (Stretta’s talents in the Max and monome communities are incredible. Oscillot modules are a bit more optimized in that regard. If you’re listening.” he says. (Site down as I write this. “[Undo/redo] works automatically in traditional Max devices. connections. “but it took a while to figure it out. A Stretta – Nico – Christian team-up is basically a dream team. published on Madeleine’s site Sonic Bloom: Creating a Modular System for Ableton Live – Exclusive Interview with the Makers of OSCiLLOT (Part 1) [Sonic Bloom] Creating a Modular System for Ableton Live – Exclusive Interview with the Makers of OSCiLLOT (Part 2) (While you’re at it.) Nico adds that the other biggest obstacles were — “getting patch cables to work in a locked patcher / or respectively in Live … saving module data like positions. Nico notes it’d be nice to use BEAP and OSCiLLOT together. architecturally speaking. How to use it with hardware. Max for Cats promise a tutorial film on that. in the end.” And he reiterates that adding undo and redo actions was non-trivial. so if you weren’t planning on investing in a higher-end option at the moment. by the way – search for his name and you’ll see what I mean. I think Oscillot is indeed more tailored to making music. No need to incite a software-versus-hardware modular debate here: OSCiLLOT is something you can combine with a physical setup.” co-creator Christian Kleine tells CDM. too. you still have choices. “I took very long breaks in between. plus the superb RME FireFace and Apogee Symphony.) Co-creator Nico Starke notes that the philosophy of OSCiLLOT is a bit different. You can learn more about how the product was engineered in an extensive interview Max for Cats’ Nico and Christian did with Madeleine Bloom. you need a DC-coupled audio interface so you can wire your audio interface to your gear. which makes it a bit tricky to navigate around in a larger patch. One aspect that is maybe not so obvious at first glance is that many BEAP modules are very large. “but not in scripted patchers as we use in Oscillot. added up to four to five years of work. too. Madeleine has been a collaborator with Max for Cats and contributed to some discussions around OSCiLLOT’s user interface and architecture. and it transforms OSCiLLOT into a spiritual successor of beloved musicians’ instruments like the now-defunct Nord Modular. which gives you a clearer overview of what OSCiLLOT actually includes. but in the meantime.” And polyphony required some effort. but it all started quite some time ago.) Basically. But so. Making OSCiLLOT work this way inside Ableton was a big engineering challenge.” That’s right – you get undo.” All of this. parameters with a Live set / preset — unfortunately we didn’t get that for free as in traditional Max devices. for any of you missing that hardware. By the way.” he concedes. Nico says. . Anything we can do…) How it was built. ) And Nico says. “Reading the Quickstart lesson. trying to understand the examplesm and watching the tutorials seems to me a good start. he tells us.” Check it out: https://www.ableton. sequencers.” But where should you learn more about synthesis? Christian from Max for Cats has some tips for us on that. then add more modulators. For learning this tool specifically. but will make it a bit more convenient when working with Oscillot.com/en/packs/oscillot/ http://maxforcats.” he says. get your hands dirty. too. Other than that.com . Gordon Reid has done a wonderful series on synthesis that Christian endorses: Synth Secrets [Sound on Sound] That’s half a decade of articles you can read there. too.” Nico tells us. some skills stand the test of time. in-depth course in mastering synthesis. “These are just fantastic. “The big fun with modular synths is making happy accidents. MOTU interfaces will usually work fine.“I’d second Christian’s recommendation for Expert Sleepers interfaces.” says Nico.” And the OSCiLLOT team wants to make hardware interfacing still easier. Hey. “We’re just finishing up some new helper devices for working with external synths. These aren’t necessarily required to control external synths. (Ignore the 1999-2004 dates – the stories are just as relevant now. well. “like a CV calibration tool (for proper 1V/Oct scaling) and a multi-channel CV routing tool. “I’d really recommend to just plug stuff together and see what happens. Maybe start with a simple synth or a simple audio effect to understand how the system works (our first tutorial video should cover the basics). a free.” But brushing up on the basics is never a bad idea for any of us. etc.
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