I was trying to figure out how to get it to work in FL Studio and in the end decided to make a video on it :-D ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-9_5t1lEKUqk.html
@@Hainbach Thank you very much, I won't lie it was a good opportunity for visibility on my first video but at the same time I really wanted a make that little tutorial video that I wanted to see myself and now was the best time! Plus you're an inspiration and have helped my kids channel to have happy joyful music! :-) So thank you for all the hard work you're putting into Music in this world!
@@thomasmartin7524 Yes indeed, the first thing I did was track what @Hainback was doing in the application he was using to get the reference names, then I moved to the instructions by the #AudioThing hoping to see usage instructions for the many DAW's but found nothing. We're all on the same page that @Hainback doing a tutorial for each DAW would be crazy :-) But that is the great thing about community, we can all help each other, cover all bases and make awesome sounds!!! :-D
Obviously I love the sound from the plug-in, and I love Sam's real-life take on it, but my absolute favourite sound in this video is your pronunciation of Delia Derbyshire's name!
I dunno why I never thought to apply an LFO tool to a crossfader but this is very cool. Also a beautiful interface that invites exploration! Sometimes Ableton feels like a million identical circles and rectangles.
been using that trick since the amazing Audiomulch software, somewhere around 2002...than in Reason 3.5, Synthedit, Reaktor, Mux Modular, Drambo. Takes seconds to build one in modular software.
Leaving here to go buy it. This plus Wires and plus Texture Thing is going to be an adventure 🖤🖤 Thanks for your work and also for your positive vibes man 😘👍
I just love all of your VST and iOS apps, it's kind of like having Hainbach in a box. Lol The Motor is another wonderful and crazy instrument, great stuff! I really enjoy all of your collaborations, beautiful things happen. Of course Sam is a certified Mad Genius, I'm thrilled. Thanks for letting all of us have the opportunity to get a little taste of your test equipment workshop!
literally the only thing missing for me is the ability to smooth/unsmooth jumps in the waveform. would be so brilliant to go from signals clicking in and out of existence to a smooth wash of them pulsating against each other. but!!! as it stands, it's absolutely lovely and a quick ticket to something that would be such a bore to do manually every time.
Edit: FOR REASON USERS. Took me awhile to figure out but put motor on the track, hit tab to flip the rack, click the dropdown arrow for the CV programmer and connect the DIRECT OUT of the sidechain track to the 3/4 optional audio in for motor. Now the side chain control in motor will work properly and the sidechain track will be muted when not mixed in.
Looks like a very interesting plugin, that could sort of be recreated with multiple plugins same time. But with single plugin, should also save on memory. Great piece for either music or for sound design purposes. Got one. Thank you! 11:00 sounds very cool 13:45 mind blown by the device
Nice! I'm a huge Doctor Who fan, I even named my kids Adric and Tegan! The Radiophonic Workshop did the Doctor theme songs. Good job on the plugin. I also have Wires and I adore it! Also your IOS apps are fantastic too. Keep up the good work!
Oh man... This is such a cool new addition to your portfolio of Amazing Things. Great to hear you have a release coming up on Spitfire Audio too - I'm a massive fan of theirs at the moment also. Keep up the excellent work. Oh, and Sam's working model of it too... Amazing work.
This plugin has been really inspiring for me - especially the examples of using it on vocals. It has also made me think of ways to introduce vocals into my modular setup, and I think I have come up with a patch idea that achieve similar'ish results in the box (requires some vocals gear, and I should say I haven't tried it yet) : - I have a ditto x2 looper which is stereo in/out. I then connect a microphone to each stereo in allowing for two mono tracks in the looper. - I then run each output into their own VCA and then CV the VCA with phase related LFOs (in my case it is the Erica Synths Black Octasource). Then, the rate knob acts like the motor speed control. A similar thing could be achieved by sending an lfo/envelope to one VCA and an inverted version to the other. I know it is just side-chaining, but this plugin and application on vocals made me think more on how to play that as an expressive instrument in itself.
I just got to play with Motor last evening - oh my goodness is this a powerful and unique effect! It works so well as a subtle color change all the way to truly bizarre soundscape. And it seems utterly unique as far as I know - I can see myself using it a lot!!
Saw the video already on the AThing side. Man I humbly must bow to you, as I use Wires ever since in every project. And now this little awesome plugin. What an Irish German marriage. I love what you do and what Audiothing does. Thanks a lot for your passion for making this happen. What Sam shows in his channel is close to genius, wow his contraption is phenomenal. Maybe a plugin version with 8 inputs someday? Keep up the great work and make us a glad small part of a big community which all share those passion. Cheers
What an absolutely beautiful plug in. Purchased, your link shared and subscribed to your channel. Awesome buddy. Going to go and start experimenting with it right now 🙌🏻
The expressions on your face when seeing Sam demo his hardware version, are priceless! :D Great job on the plugin btw :-) would be awesome to see this as a native VCV Rack module as well..
I was just thinking of ways to use this, and just had an idea for using it on some metal guitar. That is definitely something I need to experiment with
Best Part at 14:44 Your "no way" sounds so wholesome! =D Your channel is an absolute highlight on youtube, thank you for all your inspiring work and also for this fantastic plugin :)
Dude!....you wacky guy!!. I love it! Fermented cherries aye??....sold!, downloading now! :-) Your voc example made me think of a voc cue in the movie Arrival........bless you mad scientists!! :-)
I love your personality because after Wires, I was thinking "This guy is a true innovator", and the team collaboration with Audiothing of course! Subscribed and following your journey as I am able to! I have always thought Germans innovate in technology so much too. I notice that brands of plugins, hell even my monitors (Swissonic) are from Germany and I love them haha. Much love, I am from the USA!
I will get this when I get a new pc, my current one is no longer😞 I have your excellent Fundamental and Wires plugins and they’re fantastically creative. Cheers Hainbach👍👊
With Reaper, I think (therefore I am!) that a) you set up two virtual instruments tracks op1, op2 b) insert Motor then a plug in (eg. a Jun-6 V pad); Motor must precede the plugin c) insert a plug in op2 (eg. pianoteq vibe) d) click on op2 routing and drop it on op1's Motor thereby sidechaining op2 on op1 (one of the ways to sidechain in Reaper) e) insert your midi data in op1 and op2 Et voilà, as they say in English. By muting op1 and op2 alternatively, you can check that Motor applies to both. Korrekt, Herr Professor?
Du hast vollkommen Recht: Kein Mensch braucht dieses Plugin - solange er dieses weder kennt noch seine Effekte gehört hat. Werde es mir kaufen müssen. Zu sehr ist wirkt es inspirierend auf mich. Nicht nur für die Musik sondern auch für Hörspielproduktionen. Ist wie schon das Erste ('Wires') von absolut überzeugender Qualität. Freue mich schon darauf. Danke dafür 👌👍
Just bought and playing around. Nice phasing textures using mix knob. It would be great if the phase of the waveforms could be automated as it can really alter the texture. :)
Most original Hammond organs came with a very good vibrato effect (with actual frequency modulation) This was accomplished electro-mechanically using a radial multi-section plate (air) capacitor with the "common" plates connected to a spinning shaft (the "vibrato scanner"). The other sections of the capacitor were connected to sequential nodes of a multi-stage inductor-capacitor (LC) network, into which the dry signal was fed. The scanner output was thereby continuously picking the signal off different points of the LC netwotk. Since each stage of the LC network causes a slight phase shift, which is compounded by each subsequent stage, scanning "back and forth" along that network results in a +/- frequency change, similar to a doppler shift, with an "LFO frequency" equal to the speed of the spinning capacitor, which is 300 RPM on a Hammond. Remarkably simple. Quite clever.
This is a really cool plug-in. I note you only have Windows and Mac versions, but I installed the demo on a Windows machine, copied the DLL, ran the LinVST converter on it and it works in Bitwig on Linux just fine. Well spent $9!
8:35 If you mute the sidechain track in Studio ONE, it cuts off the signal to the sidechain as well because the side chain is tapped after the fader/mute in the signal chain.
Really interested in playing with this as the sample sounds are very inspirational. After watching Sam's video I can't help but wish for more inputs, even though I think exploring the limitations of 2 can keep me busy for some time!
Yeah more inputs were the thing we struggled with - it gets super fiddely across different DAWs and stops being fun. In the end we decided for simple and but good. Hence the price, too.
Especially in the UK, the Crystal Palace is a truly legendary instrument.... I'm perpetually in search of better documentation. If you have any links to historical documents, I'd love to see them. I've had a eternally unfinished DIY synth for years named after the CP. it's great to see someone who can actually get things finished immortalise it.
@@Hainbach Not sure if you’ve seen this book (it’s long out of print), but in case not I’ve transcribed a brief section about the Crystal Palace from “The BBC Radiophonic Workshop: The First 25 Years” (BBC Books, 1983). On p. 46 The Workshop’s co-founder Desmond Briscoe recalls the origins of the Crystal Palace device: “One of David [Young]’s devices was for creating a chorus of sounds. It was a Hammond Organ-type affair which ran off an old gramophone motor which David had found in Portobello Road. Since David liked to case his equipment handsomely, the Chorus Unit was at first housed in a 1930s art-deco radio cabinet. It was such a useful piece of equipment that I asked him to make us another. When we couldn’t find a matching case he used Perspex instead so that we could see what was going on inside. It became known as the Crystal Palace, and the original one was re-cased accordingly. They still exist at the Workshop, though we don’t use them nowadays.”
