@@sirvazo1633 hey, whatever works for you! The pitch for Myth highlighted the “resynthesis” aspects and I found them lacking for the reasons I relate in the video. I see there have been some small updates to Myth, but I haven’t explored them much. See also, my follow up video about Myth where is look at its physical modeling capabilities (which are awesome, but perhaps not worth the price of admission: Physical Modeling Synthesis in Dawesome Myth. Grab Your Exciter and Let's Get MODAL! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Jm69svhy43M.html). Thanks for watching!
You sir, are full of shit, I have the same version as you and I don,t idolize free synths because of being free, if you are going to answer to my critique (that you don't know the basics about the sunth) talk about the isues I have mentioned instead of changing the subject because you don't have an answer about what i wrote. There are more wrong things you said about the synth like it's not a proper wavetable synth but instead is only morphing control points, no it's not. Read the manual.
I hate when people talk about things they don't know and invent (lie) things and say idiotic things that are not true. Zebrallette absolutely can import wavetables, go to the folder where you have serum tables and directly drag one into the oscillator wave screen and voila. The other idiocy you said because you haven't either read the manual nor have you spent enough time with it to learn how it works is that it will be almost impossible to write precise waves on the synth screen. When you open the editor either for the oscillator or the mseg you'll find on the left side the tools to design precise waves, there's even an additive grid for overtones and there are spectral tools to design transitions and ultra complex and precise tables and waves. Learn before you speak.
@@Jazzmaster58 hey there! Let me introduce you to a concept called “linear time”! This video is from many months ago where Zebralette 3 was very very very much under-developed. Also, thanks for watching. Also, quit idolizing free plugins as part of your identity, OK? It’s ok to understand shitty stuff as shitty. OK?
You know, I initially created what became the KRC Mathwaves collection of wavetables so that I could create and freely distribute my own modwave patches with sounds that weren't otherwise easily available (e.g., the "polygonal series" waveforms and wavetables), but then I got so caught up in exploring new wavetable creation techniques, that I never got around to creating a great set of patches. I'm sure it'll happen someday! Thanks for watching!
I bought the tee-shirt. It gets a good laugh everynow and then to my surprise, plus a few that agree with the statement. It's a great conversation starter. Thanks as always for the content.
Replied (briefly)! Look for Keith in your inbox. We should chat soon. Look for email from Keith. (Sorry you had to ping me here to get my attention. I’m just that sort of person. 🤷♂️)
9:30. There are actually several morphing options, including simple cross fade - which is what you are looking for in this example, to preserve, the bell-like quality. User guide page 30 🙂
@@howardscarr9518 thanks for watching and for the tip! Note that the manual was VERRRY draft at the time of this recording! I haven’t revisited Zebralette in a while.
Unfortunately, the fact that you can't simply import user-defined waves into the Microwave 1 VST seems very "German" to me (as a native German). They stick strictly to reproducing the original and ignore what could be state of the art today. Another missed opportunity. This is so typical of our country.
@HJPilippi, ha! Perhaps so! I do think they should have just added a menu item that lets you import modern wavetables and just do the same trick I did-it’s hardly any code at all! 🤷♂️ Thanks for watching, as always. Cheers!
On the topic of new synthesizers. You should give Phase Plant a shot. It is far superior to any other software synth. It does everything. VA, FM, and the big selling point of it is it's wavetable capabilities. It's even got wavetable distortion effects with user tables. Lfo wavetables. You name it
@INeedsMoneys, I actually haven’t checked our PhasePlant at all and I should at least do a “how to import” video. I’m sure there are some unique and interesting things to talk about! Thanks for watching! Cheers!
@@kcrosleyYou’ll love that synth. Also check out what Joel Blanco Berg did with wavetables to create brilliant orchestral brass and woodwinds sounds for it. Definitely some of the best “instrument modeling” I’ve heard. It’s on Gumroad. You’ll be impressed by those patches too I think. TL;DR Phase Plant is definitely in your wheelhouse
The Microwave hardware was 3000 DM (Deutsche Mark) in 1989 and thus still not very "affordable" to most customers back then. The monstrous Yamaha TG77 was only a a little more expensive and I thought it would be a much better purchase. Well, today I think I was wrong...
Keith, you remind me of some of the few best friends I've had in my life. I appreciate your work here, perspectives and teaching style. I too, passed on the Waldof which surprised me. I really wanted to like it more. I do agree with you on GHOST. I'm keeping a close eye on that one once it develops more. PluginGuru showed it off last week and reached the same conclusions in terms of the development state. With that said, it makes some insane sounds and looks promising, by a sole developer at that.
Hey @toddjbradshaw, well, thanks for the kind comments! We're all synth pals here! Yeah, if Microwave VST had been introduced at less than $100 US, I'd probably have jumped on it (and then probably not really used it much, but ya know, just to have it). I saw Skippy's stream on Ghost too, but forgot to mention that (I should probably link it in the comments). I was like, why isn't he ripping this like he did Myth? And then, after exploring Ghost more -- when it would run for me -- I was like, "ah, OK, there's something here..." If exacoustics gets their promotion sorted, this is ultimately a synth I'll probably have to own just because people will want to use Mathwaves with it. (I've been busy with other stuff so haven't reached out just yet, but will ping them next week.) It could really be one of the best tools to use Mathwaves with, but currently, adding too many wavetables to the User wavetables folder causes a crash with an out-of-memory type error. There's no real reason it should be that way, so prolly an easy fix. Thanks for watching and commenting! Cheers!
@@ryanellis7156 hey there! Floppy Expression Watcher is a lightweight plugin that duplicates a common use case for List Shifter. Often, List Shifter is simply used to evaluate some expression (essentially “watching” it for changes). When the results of that expression changes, it throws an event and optionally outputs the expression to the appropriate output (scalar/single value or list type). Since that’s all it does, it’s much simpler/faster/efficient than using List Shifter for that particular use case. Take a look at the plugin interface itself and the documentation for each field in the interface and that should get you going. Somewhere in one of my Loom videos linked in the Bubble forum, I think I do a very simple demonstration. Try searching “Floppy Expression Watcher” in the Bubble forum and you should be able to find an example or two.
@StephenBlum, thanks for stopping by and for your helpful videos! (Other AI/ML nerds here: Stephen's channel has some very useful videos about ML topics that I find very inspirational!)
Audio-based AI/ML is exciting! I've explored business-focused AI with Anomaly detection, classifications and predictions/projection. Audio is a whole new level 🚀❤
Hi Keith! Very late to the party here, (I believe) I was the one who first asked you on the Vital forums if it would be possible to convert the wavetables so that SurgeXT could read them. Thank you SO much for this! I was messing with a python script that kept the tables as .wav but converted the bit depth etc, it was a total mess. This is much more simple and elegant. Always appreciated! I can't wait to dive into all of the new goodies you have shared! Keep on rockin'.
Hey @auedpo, thanks for watching and for having made that suggestion! This is linked in the description, but if you want a simpler script than the tools the Surge XT team supplies, you can find a link to a version of my Python script that converts Serum-style wavetables to the .wt format at the end of this post: www.wavetables.lol/p/how-to-import-wavetables-to-bitwig-for-use-in-bitwig-s-polymer-synth (Obviously, you don't need to run this on KRC Mathwaves wavetables, as I provide them as .wt versions now.) One thing I have learned recently is that it seems like the real issue with Surge XT and the KRC Mathwaves wavetables is that, unlike modwave and Serum (which will handle wavetables where the wave data is either 32-bit PCM/integer or 32-bit floating point), Surge seems to expect *only* 32-bit floating point. All of the Mathwaves wavetables in .wav format are 32-bit PCM (integer), not float. I did this for compatibility reasons with older audio software and software synths that might not understand floating point. (That is, it looks to me like Surge does properly understand a 2048 sample-per-frame .wav format wavetable if it's saved as 32-bit floating-point, at least in some cases.) However, this is not true with Bitwig and -- if you try to import a 2048 sample-per-frame .wav wavetable, regardless of whether its int or floating-point -- Bitwig doesn't understand the frame size properly. It assumes 256 samples-per-frame and so will misread the wavetable. While the wavetable will make a sound, it is not the *correct* sound. Even though this is easily observable, there are certain folks out there on the interweb who insist that this isn't the case. They are sorely mistaken... anyway... in Bitwig, one does need wavetables that are in .wt format which explicitly specifies both the frame length (number of samples per frame) and the number of frames. This ensures that the wavetable is understood correctly.
Hey @potsandjacks, thanks for watching! Yep, I was being a bit derpy there. I appreciate helpful comments like this from you and others who pointed this out. (In my videos about Sumu - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-U4zVIqyCQKM.html - and CrunchCoat - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-s-V-VqBujAs.html - I put simple Bitwig modulations like this to work on plugin parameters that are otherwise not natively modulatable. This is such a great Bitwig feature.)
Hello and thank you! i need wavetables for scifi, robotic, dubstep, machinery, comutation etc. do you have an organization to the files? im disabled now and going thru 120k will be too hard on me. thanks in advance bro keep up the good work!
@@connorharris1900 thanks for watching. In terms of the full collection, the wavetables are mostly organized as subcollections that are based *somewhat* by the type of synthesis used to create them. To get a better idea of this check out this video: Wavetable Synthesis: Basic Mix, Formant, and VOSIM Wavetables. New in KRC Mathwaves ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-OLyKxiz3P64.html That video also describes several categories of wavetables that I specifically designed with an eye toward potentially being useful in various types of bass music and the sorts of ideas that you mention. Note that my wavetables are based on mathematical and sonic concepts and are not designed as emulations of some particular instrument. (That, to me is the realm of sampling, really, and I don’t find wavetables to be interesting as a lo-fi substitute for samples. I should probably discuss that sometime in a future video!)
@@kcrosley I appreciate the hard work you put into this and the detail of your reply. ill check out some more of your videos so i can better understand. As an electronic music producer the most valuable thing to me is finding unique and high quality wavetables. They always need to be 256 “frames” for them to be usable for me. that way we can put a morphology on the sound that creates interest and a sense of luxury into the melodic aspect for listeners. Sometimes ill come accross a great wavetable but its only 24 frames deep. And for us theres really no fixing it because we cant spend all our time on programming wavetables when we need to invest that time into the other aspects of music production. So id like to thank you for being an important part of modern music , an essential part that is often a thankless task. thanks.
@@connorharris1900 I appreciate the comment. Please note that, as I’ve explained in other videos, my wavetables have no more than 64 frames each. This is the de facto standard and makes no difference in most wavetables. You can hear an odd sort of aliasing in things like the Bezier Wavetables but it really makes no concrete difference in actual real world applications. It’s so minimal that I’ve not talked about it though it’s kind of interesting.
great sounds. strangely though wavetables in the last collection seem to have the same name when loaded to modwave. is there a way to prepend a unique index to each for easier management
@@anbanb8787 the issue is that the names are quite long. The unique index is at a position off of the modwave screen. In modwave native you can see the full names in the Play tab. I have no idea why in the Librarian screen we can’t make the name column *just* a bit wider!
Hey @anbanb8787, I understand the frustration. For my own work on these, long-ass filenames really help me understand where/how a given wavetable was constructed, and I'm often revisiting previous creations. But I know this is suboptimal for the distributed versions. Going forward, I'm going to try and limit filenames/wavetable names to 24 characters for display compatibility in modwave (especially the hardware version).
When you said about 1/n^2 falloff I was so excited. Finally somebody else found secret waveform that is missing from basically all synths. The one that have triangle harmonic falloff, but spectre of a saw. The one that is easy to build in analog and I have no idea why it is not a staple waveform for any oscillator. But you go a little bit different direction and found its phase-shifted version. Well, I guess the day of rectified sine is not coming today. 😁
This is kind of tangential, but related... I had an epiphany when watching Alex Ball talking about the Roland SH-7, which has an unusual feature: a number of square waves at different octaves that can be mixed via faders. I suddenly realised that the mathematics of the harmonics in that situation mean that there are no frequencies in common between any of the faders because an odd number times 2^n must always be different from any given odd number times 2^m, where n != m (because of prime factorisation). Clever, really, though it's not clear whether it helps the sound to be more musical... perhaps it might.
Yeah, a weird alternative to “additive” synthesis with sine waves, for sure. Interesting, I’ll have to go watch that. For a really crazy exploration of different waveforms that are analogs of the square wave, see this well-illustrated gem!: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Ffka-hPzug0.htmlsi=sfvgCYMy-FQdsw9f
@@kcrosley Ah, I don't think I've seen that one before. Thanks! It's interesting that although we hear according to the spectrum, nonlinear processors like distortion effects can have very different impacts on waves depending on the phases. Someone in the comments of that video was talking about using the alternative version of a triangle wave in order to avoid over-compression of bass sounds, which sounds like a topic that could get very interesting and complex. The sort of thing Dan Worrall would love to discuss, I expect :)
I think maybe a good name for that "other" triangle wave might be "interleaved triangle"? Because every alternate harmonic has been inverted, kind of like clasped hands.
@InsidesAndoutsides, thanks for watching! Not a terrible idea, but do note that it’s the triangle wave where every other odd harmonic undergoes 180 degree phase rotation. In the “first” version all odd harmonics have the same phase (0). BTW, I’ve seen a few analog/Eurorack oscillators where the Sine wave looks a bit more like that guy than a true sine wave. 🤷♂️
@@kcrosley Yes, I realise that. I just thought that you'd need to rotate the rotated harmonics back again in order to get them all to zero :) Maybe it's not the best analogy!
Thanks for this interesting presentation. At 20:24, you express your reservation about having spoken in such technical detail as you did, your expression suggests a feeling of isolation in your intellectual and creative expressions. Is this correct? I empathize with you! But I enjoyed your talk here very much and wish for a more complete description of your processes and techniques. (Like you, I have abilities in music, artistry, mathematics and software development/engineering.) I'm surprised the music you generate from these mathematical relationships sounds as appealing as it does, even allowing for your introduction of limited post-processing. Here's a video concerning Fibonacci sequences extended to negative, real and even to complex fields. You might be inspired watching the author's development of his topic and his graphical representations of his results. Complex Fibonacci Numbers? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ghxQA3vvhsk.html I hope this proves good for you.
Hey there, @lightemam, thanks for watching and for your thoughtful comment! Your question is interesting. Of course, one reason that I stop and pause like that and ask, "Is this interesting to you?" is that positive feedback and engagement is more rare than you might think. (For example, I used to think that the RU-vid trope of asking for likes and subscribes was sort of "cheesy", but it turns out that if you don't do that, you get far fewer likes and subscribes and you're not as visible as you could be! I will never say "smash the button", however. 😏) A lot of experimentation of the type that I do is a lonely pursuit and I think that most creatives feel like they work in isolation from time to time. One thing that's awesome about RU-vid is that you can find a sort of community of like-minded weirdos who are interested in the same sorts of things that you are, regardless of how obscure those things might be. Also, I make no bones about the fact that I am, at the same time, *marketing* a product here and trying to find a market. (And it's super gratifying to me when people try it out or buy it.) Anyway, I appreciate your empathy! One thing that is interesting about this particular video is that it *has* been well received, and one of the top viewed videos in the channel. I'm always trying to find a balance between self-promotion and sharing thoughts about other music tech products, without turning this into the typical "gear tube" channel. I have to feel really strongly (positive or negative) about something to want to talk about it here.
Hey @CrusaderGeneral, no, they essentially sound identical, which makes sense as they are basically running the same software. The only difference would be the output stage. (On the hardware modwave, you have a headphones and a stereo pair of analog outputs. Running on a PC, the quality of the audio out would depend on your audio interface. When running in your DAW and you print the modwave VST track, the actual bits being written there would be theoretically "perfect" and not have anything at all to do with digital-to-analog conversion, etc.) I've had access to the modwave VST from its first beta and I did identify an edge case where -- at least to me -- a certain patch of mine sounded different in the software than in the hardware, but Korg wasn't able to reproduce that and I don't find it to be the case with any of my own patches. I am one of those people that actually *likes* the form factor of the modwave (and wavestate) hardware, so I like both the hardware (as a nice hands-on interface for programming patches on the couch/away from the computer) and the software (as it can have access to a ridiculously huge library of wavetables that you couldn't fit all into a hardware modwave at the same time).
Btw, I have a request 😁 I would love a pack of thousands of wavetables that are based from more analog/subtractive style synth waveforms like saws, supersaws, squares, pulses etc. then have them morph in a more subtle manner. Like for example. A saw that morphs into another saw and in between is a variety of analog goodness such as noise, pitch/phase drift, subtle saturation, subtle filter drift etc. then i could have an lfo go back and forth on the table instead of using an envelope. i guess the new ones are something similar to this, I’ll have to check them out
Hey @INeedsMoneys, I love the way you think and I suppose you won't be surprised that I've actually anticipated your needs. 😁... For glassy/bell-like timbres look no further than the "Pgon 16" wavetables from KRC Mathwaves volume 1. (Also, most of the wavetables in the VAE version 1xx collections. Try the "curve" variations.) See my original introductory video for a bit of guidance: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-lYjwlKiUjK0.html For wavetables that take the basic subtractive synthesis waveforms in new directions, see this video and the wavetables called "KRC Basic": ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ZgNKv2clK3Q.html KRC Mathwaves vol 4 also explores the basic synthesis waveforms in a very novel way, and there's a video about that here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-m0cw9uOeUnE.html For some talk about what is and what is not possible with wavetables (e.g., "pitch variations", which is not possible in the wavetable itself), see the discussion of making "analog sounding" patches with wavetable synths in this video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-mXayzXmD9jk.html I'm sorry that I'm just pointing you to videos, but these are really the best way to understand the evolution of this project and what the various collections represent. (I realize it's time-consuming, but it's easier than writing a thousand-page tome about what I've been up to here.)
@@kcrosley for sure. I believe I've seen most of the videos already but understand only half of it. You sure pitch can't be modulated within a wavetable? My understanding is that if you have a wave. Say a basic saw. And modulate the phase of that saw within a wavetable you will hear pitch variation. If phase of saw is moving left you hear pitch go up. And to the right pitch goes down. No? 🤔
I bought the whole pack some weeks ago but was sooo overwhelmed by all of the waves and the lack of organization of them. Could you please create a document that describes the different folders and what to expect from them 😅 thanks. Because the way you have labeled everything makes zero sense to me as a musician. The new ones sound amazing by the way
Another thing you might find interesting is, when i extracted everything from the .zip files, some of them probably around 5 to 10% of them could not be extracted because windows said the file destination had a too long name. Basically the folder structure and with everything having such long names windows refused to unpack the .zip 😂
@@INeedsMoneys thanks for your patronage! Yeah, unfortunately, the Windows file naming convention (and length limit) makes it such that if you unzip some of these files into a deeply-nested folder, you'll get errors. I'm a Windows user as well and understand the frustration. The only real solution to this is to unzip these files into a top-level directory like C:\waves (keep it short!). Note also that this doesn't so much happen with the wavetable files, but the deeply nested single-cycle waveform files in KRC Mathwaves vol. 1 that, frankly, it seems no one cares about. So, essentially, don't worry about that too much. (If you ARE interested in the single-cycle waveform files, I could provide you with a "flattened" folder of those.) I've tried to keep these collections format-agnostic, but for best results, I would recommend using Korg modwave native, which is really the only wavetable synth that supports large libraries. It greatly simplifies things as the .mwbundle files are monoliths that you can just import (and then delete whole categories that you find uninteresting). Note however, that there is a limit to the number of wavetables that modwave native can have in its library, and I think the entirety of the KRC Mathwaves collection now exceeds that limit (it's around 256,000 wavetables, but it seems to depend on the number of wavetable frames). It's sort of frustrating that all existing wavetable synth products don't optimally support large libraries. It's sort of like nobody imagined that you could have large libraries of useful wavetables with a size on the order of a couple of modern orchestral sample libraries. (Obviously things like Kontakt and Soundpaint don't have this sort of issue, but they have a different design goal.) It's not like the data size of KRC Mathwaves is terribly huge by modern computing standards (it's maybe 11 Gigabytes or so in total?), but there's nothing that supports that well. As far as documentation, it's true that it exists mostly as video, which isn't ideal. KRC Mathwaves volume 1 is organized by the specific type of algorithm used to create the original waveforms, plus things like the RAIM collection (my own weird interpolation technique), Mband collections (going between 2 randomly-selected waveforms) and the other "explore" variations. After that, the types are mostly very large collections created with "meta" techniques that (for better or worse), result in, well, large collections of wavetables where the content is unpredictable/stochastic. KRC Mathwaves vol 4 is more structured and is described in this video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-m0cw9uOeUnE.htmlsi=N3x69m3lD0xZErJX All of the "VAE" wavetables collections are grouped by type (e.g., Bez, Curve, Linear, Multilinear, etc.) and the number in the collection name indicates the version number of the model used (which doesn't map in any strongly meaningful way to the qualities of the generated waveforms, just that each is useful and interesting in its own way). I realize this is a weird product and am continually working to improve the experience. I didn't imagine that it would ever reach the scope that it has. I think about things like a script or small app that might serve up more manageable collections of randomly-selected wavetables, but haven't quite gotten there yet.
@@kcrosley I really appreciate the response. Makes sense. You do you, I'll work with it as is. No problem. I will just have to accept to be surprised every time I pull one up I guess 😆 like a lottery, but you can't really loose
@@INeedsMoneys I swear that someday I’ll do a “Best of” collection or two to sort of help new users orient themselves, but I’ll have to stop continually adding new Wavetables for a hot second!
Super gratified by so many downloads of KRC Mathwaves sampler in the last day or so. I formally apologize to your spouse for all the weird noises coming from “the studio”. Be well.
Thin? Perhaps you mean that these wavetables seem to lack a massive bottom end? Indeed, Keith tends to play the higher notes... In any case, they work well in arrangements where the bass comes from other sounds and I absolutely love the vocal/formant touch many of those wavetables have. Perfect for my purposes! 😊
@@HJPhilippi I should do a whole video about bass. There’s actually a lot of interesting stuff to say about that vis-a-vis wavetables. (For example, if you shift a waveform with a lot of zero-crossings very low, the fundamental will essentially disappear and high-frequency stuff that is usually above Nyquist will become audible and this can be very interesting. The polygonal series waveforms and things like the Bell series - both found in Math Vol. 1 - are good for exploring this effect.) I do in fact tend to stay away from playing much in the bass in my videos as my recording environment is cramped and what you never see is that there’s usually just a hardware modwave or wavestate to my right as my controller (so just 3 octaves of keys). Also, my left hand skills are laughably weak 😜.
