Too Much Good Stuff - Mac

Aug 1, 2003 12:00 PM, By Gregory D. Moore

Mac Shareware Roundup Share the wares of creative software developers.

By Gregory D. Moore

My search for Mac shareware yielded a number of pleasant surprises. The first was finding programs of such high caliber. Several of these have as many or more features than more expensive commercial programs and offer sound quality that is equally stunning. The second surprise was the range of tools available. While there are many dozens of effects and soft-instrument plug-ins, there are also programs, such as PulsarGenerator from the Center for Research in Electronic Art Technology (CREATE), that offer ways of working with sound that you probably haven't come across before.

Perhaps the biggest surprise is the realization that there is a sharp divide between the Mac OS 9 and OS X worlds. Though many musicians are still working with OS 9, others are well into the brave new world of OS X Core Audio, CoreMIDI, and Audio Unit (AU). In fact, it seemed that each day there was something new appearing in the OS X world, and programs were updating version numbers faster than I could keep track. The Mac is in a wonderful state of evolution, and it's going to be fun to see how things develop (see the sidebar “Mac OS X Freeware and Shareware Links” for some sites to watch).

WHAT WE'RE COVERING

This roundup will include Mac shareware, freeware, and (in one case) donationware. As in the Windows roundup, we're looking primarily at newer programs, many of which are offered by lesser-known manufacturers. Though numerous “hall of fame” shareware and freeware programs are still going strong, they've been well covered in the past (see the sidebar “Mac Shareware Hall of Fame” for an overview of these tools).

Note that several of the freeware programs included here are scaled-back versions of commercial software. Yet far from being just demos or crippled applications, they are fully functional and useful programs in their own right. And if you want to upgrade, there is a clear path to satisfy your appetite for additional features.

Finally, if you don't yet have an OS X AU host, you may want to explore Granted Software's Rax (covered later), which will run all the AU programs mentioned here. Though I hope you'll enjoy reading about these programs, I assure you they are a lot more fun to play with than to read about.

FREEWARE

This category of software is about the best bargain you'll find. Free, no strings attached. What more could you ask for?

Crystal 2.2 (Mac OS 9: VST; OS X: VST, AU; Win)

Green Oak Software's Crystal is an amazing soft synth, with stunning sound quality, that stands up well against any commercial soft synth regardless of price. Yet its creator, Glenn Olander, offers Crystal for free as a labor of love. Moving beyond a simple modular synthesizer, Crystal features subtractive and FM synthesis as well as wave sequencing, granular synthesis, and SoundFont playback.

FIG. 1: The Crystal Modulation page offers extensive signal-routing possibilities.

Crystal is a plug-in for the Mac and the PC that requires a VST host under OS 9.x and OS X or an Audio Unit host under OS X. A G4 (or Pentium II/500 MHz) is the minimum CPU. Even with a fast processor, you may want to record tracks to disk if you plan on using many Crystal tracks.

Crystal's extensive controls are accessed from five different areas: the Modulation page, three Voice pages, and the Mixer page. There is also a utility page that remains visible at all times and that provides extensive editing functions, such as setting voice levels, toggling voices on and off, and copying and pasting voices and patches. A Revert function lets you do A/B comparisons between the original and the edited patch.

Crystal refers to an oscillator sound component as a Voice and allows up to three Voices per patch. You set up parameters for a Voice by selecting its page. This is also where you can select banks and patches. An oscillator can employ any of several waveforms or any SoundFont you have on your system (none are included). You can also combine samples with Crystal's internal sounds to create new timbres. Filter and amplitude envelopes are also available for each Voice.

Each Voice has a dedicated FM and hard-sync oscillator that further expands its sound capability. Various parameter options appear depending on the waveform type that is selected. For example, with SawSquare or WarmSaw, a Mogrify control appears that lets you re-create classic hard-sync sweep sounds. With sampled waveforms, Granular and Wave Density parameters are available for exploring granular synthesis.

The real fun comes on the Modulation page (see Fig. 1), where you have six different multistaged envelope generators with a graphical editor, six LFOs, and a modulation matrix. Envelopes can be one-shot or can be looped for interesting evolving patterns. You can select from more than 90 modulation parameters on the modulation matrix, including any MIDI source, LFO, or envelope generator to target any number of parameters. Such extensive modulation control is what allows Crystal's sound to evolve and be so animated. It also allows for some interesting functions, such as wave sequencing. Crystal lets you use the 8-stage envelope generator to sequence among 8 different predefined sampled waveforms. On any Voice page, you can select the degree of crossfade as the program sequences through the waveforms.

The Mixer page is where you combine Voices and add effects such as chorus, flanger, delay, and reverb. Crystal offers a frequency-band splitter that divides the signal into four frequency bands, each of which can be processed separately.

Overall, Crystal is one of the best-sounding soft synths available. Its ability to combine so many different synthesis types makes it useful for a wide range of interesting and complex evolving sounds. Kudos to Glenn Olander for providing such an amazing free gift to the music community.

Finale NotePad 2003a (Mac OS 9, Classic, Win).

MakeMusic (formerly Coda Music Technology), the maker of Finale, offers a free notation program called Finale NotePad 2003a that is surprisingly useful for simple notation needs (see Fig. 2). It offers many of the features of Finale 2003 and includes a very elegant and nearly foolproof notation-entry feature. A serial number that is required for installation will be sent to you when you download the program.

FIG. 2: Finale NotePad makes it easy to enter notesthat look sharp and clean when printed.

Upon startup, a wizard guides you through the setup of a new document, including the title, credit, instruments, key, and time signature. Be sure to select the instruments in the order you want to display them, as altering the setup is not possible later. Once setup is finished, NotePad presents a formatted page of sheet music where you can begin entering notes.

The note-entry process is extremely intuitive: just select a note value and click on the staff where you want the note to appear. Extensive keyboard shortcuts make note and value selections very fast. NotePad keeps track of the note values you enter, so it's impossible to accidentally enter too many or too few notes in a measure. Entering articulation and dynamic markings and correcting mistakes is just as easy. For example, to delete a note, simply place the cursor over it, press the Delete key to select the Eraser tool, and click on the note. Then press a numeric key to select the next note value. A message bar displays helpful information as you roll the cursor over each tool, and you can choose to have notes displayed in concert pitch or transposed.

NotePad 2003a can open any 2003-family file from Finale, Finale Guitar, Allegro, or PrintMusic. What you won't get with NotePad is the ability to save your music as a MIDI file or the ability to enter notes from a MIDI instrument. However, if you simply want to enter and print fast, beautiful music notation, then NotePad is an elegant way to get the job done.

Inspector 1.05 (Mac OS 9: VST; OS X: VST, AU; Win: VST)

Elemental Audio Systems' aptly named Inspector is a powerful spectral analysis, metering, and level-monitoring tool. Inspector comes in two plug-in formats: VST for OS 9 and OS X and Audio Unit for OS X (a Windows VST version should be out by the time you read this). Don't be deceived by the pretty meters and graphics; Inspector is a serious tool that can provide vital information about your audio. It has both peak and RMS meters with programmable caution and warning zones that help you visualize and monitor your recording levels. It monitors level clipping, balance, and headroom and has a Master Alarm that informs you when thresholds you've set have been exceeded.

FIG. 3: Inspector's compact design shows a tremendous amount of information in a single window.

The first thing you'll notice on loading Inspector is the Spectral Display (see Fig. 3). This window is cleverly arranged to provide maximum information in a compact design. It allows you to visualize (on the same screen) what is common to both channels and what is different. The left-channel spectrum is in blue; the right-channel spectrum is in red (areas common to both channels are in purple). A disable button allows you to turn off the display and reduce CPU load.

The peak and RMS meters to the right of the Spectral Display are another example of compact yet informative design. The large peak meters are on the inside and smaller RMS meters are on the outside, with the scale from -96 dB to 0 dB running down the center. Levels of 0 dB will cause the clip meters to remain lit until they are reset (by clicking on either one of them). The meters are divided into three colored zones: green (normal), yellow (caution), and orange (warning). You can customize the range of the caution and warning zones. In addition, a Balance meter indicates the balance between the left and right channels using color codes, which gives you a historical picture over time.

The clipping displays consist of several numeric indicators that keep track of the number of clipping incidents in your audio file. Clip Incidents shows the number of times a group of one or more consecutive samples exceeds 0 dB for each channel, and you can set the Inspector Alarm to notify you when the audio has clipped beyond the threshold you specify. Consecutive Clips and Clipped Samples keep track of the longest run of consecutive clips and the actual number of clipped samples, which could indicate a more audible clipping error.

The Headroom meter displays the remaining headroom for each channel, and when the threshold you set is reached, the alarm goes off. When any of the alarms go off, they will trigger the Master Alarm, which is a large red indicator that is sure to grab your attention. Simply click on the values to reset any alarm.

Spectral Display, in conjunction with the peak and RMS meters, gives you an excellent visual indication of your audio levels. However, the real power of Inspector lies in the level-tracking numbers and the alarms that will warn you if any threshold levels you set have been exceeded. If this were a hardware device, it would cost a fortune. The fact that a tool with this power is being given away for free is astonishing.

MidiPipe 0.5.5 (Mac OS X)

In the early days of MIDI, hardware MIDI patch bays and processors were powerful devices used for keyboard splitting, transposition, message-type conversion, and MIDI effects such as delays and harmonizers. These devices were sometimes complex and cryptic to program and often added significant latency to the signal. Nico Wald's MidiPipe is an intriguing work in progress that in many cases replaces the function of a MIDI processor by making use of the new OS X 10.2 CoreMIDI functions. Most important, this utility adds a great deal of functionality, is much easier to use than its hardware predecessors, and can modify MIDI messages in real time for use both in the studio and onstage.

FIG. 4: MidiPipe 0.5.5 provides an extensive number of powerful MIDI-processing functions, such as the new MicroTuner with visualization.

When you first open MidiPipe, you'll see a list of MIDI processing functions (called Tools) on the left and a column for Pipes on the right (see Fig. 4). The Pipes column is a virtual rack that holds the Tools you select. MidiPipe will work with an external MIDI controller, a software source such as MIDIKeys, or its own virtual keyboard. The keyboard can be used both to send MIDI data and as a monitoring device, as it provides a visual indication of any MIDI signals being received or transmitted.

To add a Tool, double-click on it or drag it over to the Pipes column. Once Tools are loaded, you can rearrange them as needed. Because MidiPipe is still in development, some functions have yet to be implemented, such as the Tool and Pipe menu functions. For example, to delete a Pipe, you must use the Mac's Delete key, as the Delete and Cut options in the Pipe menu aren't currently enabled.

MidiPipe gives you a large number of Tools to work with, including a message-type converter, a delay, Message and Channel Filters, and a Transpose Tool. There's also the Channel Router, Keyboard Split, Randomizer, (virtual) Keyboard, MicroTuner, and Set and Duration Tools. You can combine the Tools into various configurations to create many useful applications, such as making custom keyboard tunings and unusual keyboard splits, rerouting and filtering MIDI channel and system messages, or converting one type of controller to another (such as having a footpedal control Pitch Bend). You can also create multiple processors for a single MIDI input by designating a different MidiPipe number for each MIDI output channel and sending each process to a different synthesizer voice.

Unfortunately, one of the most interesting functions, Delay, didn't work with any of my software or even when I sent data to an external MIDI device. As it turns out, Delay works only with MIDI interface drivers and applications that support scheduled events, such as Propellerhead Reason. Delay could potentially work with both the Transpose and MicroTuner Tools to create some very interesting effects that aren't readily available even from effects processors. Nevertheless, MidiPipe is useful even in its current state of development and offers powerful real-time processing and relatively low latency.

PulsarGenerator 2001 1.0.01b (Mac OS 9)

PulsarGenerator is a real-time interactive sound-synthesis program created by Curtis Roads and Alberto de Campo of the Center for Research in Electronic Art Technology (CREATE) at the University of California, Santa Barbara. It's a computer-music composition tool that's designed to be manipulated in real time using the computer itself as a controller rather than an external device. If your focus is on pop music, this may not be for you. But who's to say the next big hit won't be made of looped pulse trains?

FIG. 5: PulsarGenerator windows show various components of the pulsar, including the waveforms and envelopes that control the sound..

In order to use PulsarGenerator, it is necessary to understand a bit about pulsar synthesis and its associated terminology, some of which can be a little intimidating (the documentation calls panning “spatial trajectory,” for example). Some of the math diagrams might also frighten away certain users, though on close examination, they're not all that complicated. Fortunately, there's a good bit of documentation on both PulsarGenerator and pulsar synthesis, though it is scattered about in various documents, on the Web, and in the onscreen help.

Pulsar synthesis generates a train of sound particles called pulsars. A single pulsar consists of a pulsaret, which is a band-limited pulse followed by a duration of silence. Repetitions of pulsar signals create a pulsar train that can last seconds or minutes. Pulsar synthesis is named after spinning neutron stars that emit periodic signals, coincidentally in the same range of frequencies (0.25 to 642 Hz) that pulsar synthesis uses to generate rhythms and tones. Frequencies below 18 Hz are heard as rhythm. With frequencies between 18 and 30 Hz, pulsar synthesis generates a fluttering sound. Frequencies above 30 Hz are perceived as distinct tones.

PulsarGenerator has several graphic windows that represent various components of the pulsar, including its waveforms and envelopes (see Fig. 5). You can tweak parameters in real time to control the pulse train as it's playing. The fundFreq parameter determines the frequency of the pulse train and whether it is a rhythm or a pitch. Some of the other parameters are analogous to more traditional synthesis parameters, such as formFreq, which acts like an oscillator to determine the pitch of the pulsaret (the pulsaret parameter controls the waveform). PanN and ampN are panning and amplitude controls.

Other controls don't relate to general synthesis parameters as easily; for example, pulseMask, a probability function that determines if and when pulsars are emitted. However, the manual suggests that in a certain range, this parameter causes “an analog-like intermittency, as if there were a loose connection,” which is probably something we can all relate to.

PulsarGenerator's Control Panel offers start and stop commands and mixing controls for up to three different pulse streams, the maximum allowed. There is also a Burst Ratio that sets the ratio of pulsar-to-silent intervals. At the bottom is the Cyclebar, which shows the current position within the pulse train. Here you can also record a pulse to a sound file or play pulse trains in reverse. The Tables Bank is where you store and load wavetable sets (up to 16 wavetables in a bank), and the Scope gives you a visual representation of the pulsars as they play.

Getting to know the extensive keyboard shortcuts seems to be a key element in successfully manipulating PulsarGenerator in real time. The program's greatest strength is also its weakness. PulsarGenerator is designed as a real-time compositional instrument that uses the power of the computer and its own envelope generators to shape the sound and composition. However, by focusing on the computer as the input device, it limits the interactive expression that could be possible with a more dedicated instrument controller. Nevertheless, PulsarGenerator is a complex instrument itself with plenty of sonic and compositional possibilities to explore.

Spark ME 2.8 (Mac OS X)

TC Works' Spark ME is a free stereo audio editor that is meant to be an introductory teaser to TC Works' line of more feature-rich editors, which cost up to $599 depending on the version. This free version has a respectable number of features and is one of the stablest and most robust editors currently available for the Mac OS X platform. As a native application, it has been designed to utilize the new OS X 10.2 Core Audio, which results in low latency and fast response. Spark ME has a large list of features, including playlists, sampling-rate conversion, VST effects hosting, and QuickTime movie import. And most important, Spark ME works with any professional audio interface.

FIG. 6: Spark ME 2.8 is a free editor from TC Works that is packed with useful editing functions and features, such as the ability to view QuickTime movies..

Spark ME's main window consists of a File menu, the Playlist menu, and the Wave Editor (see Fig. 6). The Wave Editor offers graphical waveform editing and is split into two parts: an overview and a zoomed-in region. You Option-click to zoom in and Option-Command-click to zoom out. You can even zoom down to the individual sample level and draw the waveform, which might be useful if you need to remove a pop or click.

Editing couldn't be easier: click on the waveform to create an editing point, then Shift-click on another point to make an area selection. Holding the Shift key down while moving over the window allows the start or end points to be adjusted. Pressing Return confirms the selected area, which can then be heard by selecting Play Selection from the Options menu. Selected areas can easily be turned into Regions by pressing Command-R. Regions can then be organized into a playlist for CD preparation and exported as a Roxio Toast playlist.

Spark ME can process audio in a number of ways. It has a well-deserved reputation for its sampling-rate conversion tools, and it supports a variety of rates between 11 and 192 kHz. Other processing options include gain change, reverse, invert, normalize, and find peak. Fade-ins or fade-outs, which include a number of curve options, are especially easy to perform. Files can also be saved at various bit depths from 8 to 24 bits and in several different formats, including AIFF, WAV, SDII, RAW, and Sonic Foundry's W64. The program can import but not save MP3 files. The ability to import QuickTime movies (but not MPEG movies) is a nice touch, but it would be helpful if you could see the frame numbers as well as the time.

Spark ME comes with only one VST EQ plug-in but can access any that you have in your VST folder. (A fun set to try out is mda-vst's VST effects plug-in suite. Note that the VST folder is stored in a different place in OS X than in OS 9.) Spark ME has an extremely nice VST plug-in interface that includes a preview option and the ability to save and load both individual plug-in settings and banks. If you install the Spark XL demo, all of its VST plug-ins will show up in Spark ME as well. Though you can't preview the XL plug-ins, they will process audio.

Also note that the XL plug-ins don't show up in the VST plug-in folder, so they are not easy to remove. Moreover, there's no uninstall for the Spark XL demo, and even trashing the Spark XL demo will not remove these plug-ins.

The documentation included with Spark ME is rather sparse, and there is no online manual (a two-page getting-started guide is available in the Support section of the company's Web site). TC Works should consider allowing the download of the full Spark XL manual to educate users both about Spark ME and about the features of its other versions. As it is, you're basically on your own, and there are many hidden features that the casual user may overlook at first. For example, Command-clicking will start playback immediately from the point on which you click, and in order to play back only a selected area you must turn on Play Selection in the Options menu. Nevertheless, Spark ME is a powerful tool, and its professional quality makes it well worth exploring.

The fish fillets channel insert package 1.1 (Mac OS 9: VST; OS X: VST, AU; Win: VST)

If you're hungry for even more great-sounding plug-ins, we offer you Digitalfishphones.com's The fish fillets channel insert package. This new offering appeared just as this article was being completed. Even if you're not hungry, don't let the name turn you off, as the sounds it makes are delicious!

FIG. 7: The fish fillets channel insert package provides subtle analog-style dynamic processing and saturation. The front panel of BlockFish opens to reveal the circuit controls.

The first course is BlockFish, a compressor with soul. As the developer says, “It likes to bite, but it can be tamed easily once you've learned how to use its potential.” BlockFish offers a versatile range of sounds, which can be clean, smooth, dense, punchy, loud, crunchy, or fat. By smoothing out the dynamic response of your source, it effectively increases the level of the track while adding warmth. BlockFish provides simulations of either VCA or optical circuits. A great deal of effort has been made toward creating an accurate simulation of gentle analog-style compression and saturation that doesn't squash the sound (as do conventional digital compressors). This allows the music to “breathe.”

One of the coolest features is the ability to open the virtual front panel and tweak the circuit-board trim pots to achieve a variety of different sounds (see Fig. 7). What a concept! For those of you old enough to remember messing around with analog effects, you'll have great fun with this.

The second course is SpitFish, a simple de-esser designed to smooth out the harsh sibilant ess sounds from vocals that might otherwise overload the recording. It can also be used to tame other sounds in the upper frequency range, such as crash cymbals. The response of the compression is gentle and effective.

The last dish is FloorFish, an expander/gate that's useful for various applications from slight expansion to noise reduction to gating. It was designed to clean up drum tracks by raising the level of the track only when an amplitude threshold is reached. It is especially useful for eliminating track bleed. What makes this different from a noise gate is that because it's also an expander, you don't have to eliminate the bottom noise floor completely unless you choose to do so. FloorFish also allows you to scan the source frequency and thus adjust the transition curve accordingly.

This unique package of plug-ins is great fun and will add superb analog-style sound to your digital effects rack. And if this free offering sounds a bit fishy to you, it comes with an excellent PDF manual so you can read all about it in great detail.

SHAREWARE

Developers of the next group of programs aren't asking much. They're letting you try out their software before buying to be sure it suits you. Though these applications may be missing a few features, you can still get a good idea of what they are all about.

CellSynth 1.7 (Mac OS 9, Classic, $95)

Living Memory's CellSynth is a powerful modular synthesizer for the rest of us, as the “Sync Different” theme on the manufacturer's Web site indicates. The program consists of a monophonic modular software synthesizer, sample player, sequencer, and effects processor, and utilizes a unique matrix interface. CellSynth can be played as a live MIDI performance instrument with its output recorded to disk, or the audio can be routed to your favorite sequencer for recording via ReWire. The synthesizer section of CellSynth is fully operational, but the Automation, Event Sequencers, and ReWire capability are disabled until registered. The $95 shareware fee is a bargain when you hear and see what this monster soft synth can do.

FIG. 8: The CellSynth circular window uses a unique matrix interface. A Filter Cell is shown here open for editing.

CellSynth runs in both OS 9 and with limited functionality in Classic. MIDI control of CellSynth works only in OS 9 with OMS 2.0. CellSynth does not yet support OS X 10.2 CoreMIDI, so MIDI access is not available. A well-designed downloadable PDF manual provides a very thorough introduction to the program and includes numerous diagrams and graphic examples. However, several features and changes have been added to CellSynth since the manual was written, and no update has appeared. CellSynth also has an online Apple guide and a Shortcut tip list. And it makes extensive use of pop-up windows that explain functions as you roll the mouse over them. We wish more programmers made their software this easy to understand.

Due to the expandable nature of its modular structure, CellSynth requires a fair amount of CPU power, particularly for its more complex matrices. I found that some programs bogged down when tested on a Mac G3/400, though I certainly had a lot of fun playing with CellSynth even on this older machine. The manual warns that both reverb and hard-disk recording utilize a lot of processing power and suggests not using reverb on slower machines.

When you first load CellSynth, it looks like a Go game board with its unusual 6 × 6-square Matrix (see Fig. 8). However, it quickly becomes apparent that the Matrix is an extremely powerful concept. Underneath its lean surface is a deep and flexible interface. Within each Matrix square, you place what the program calls Cells. Each Cell is a complete modular component that can be moved around in the Matrix and connected to other modules in the same way modular-synthesizer components are patched with cables.

You assign Cells by selecting them from the two palettes of seven Cells each that appear at the top and bottom of the Matrix. The top palette offers seven different Generator Cells, including waveforms, noise, a harmonic generator, and a sample player that supports AIFF, WAV, and MP3 files. At the bottom are the DSP Cells from which you select various effects processors, including filters, a phaser, a delay, a reverb, and a vocoder. The DSP Cells can be combined in various configurations to create any number of more complex effects. Clicking on a Cell opens up an editing window where you can view and edit parameters. To employ a Cell, select it and drag it onto the Matrix.

Each Cell has small grayed-out red and green arrows on its sides that, when selected, allow connection from an adjacent component either as a modulation control (red arrow) or as an audio connection (green arrow). This makes simple experimentation easy but also allows advanced users to construct complex patches with extensive parameter control. In fact, the sounds from CellSynth are uncannily reminiscent of the rich, fat sounds from a real modular synthesizer.

CellSynth goes beyond the modular-synthesizer analogy, however, to include digital effects and samples. The included digital effects can be greatly expanded by combining modules. For example, to create a flanger, simply modulate the comb filter with a slow-moving oscillator. CellSynth can also work as a sample player with editing functions and key ranges for each sample. Loops can be synced to bars, and samples can be automatically tuned and stretched to fit bars and also processed with DSP Cells.

CellSynth has an extensive range of MIDI-controlled parameters that allow real-time control via a MIDI controller or sequencer (registered users can use the built-in Automation Sequencer to perform mix and effects automation). There is also a Step Sequencer that can be used to perform sample-and-hold-style modulation. The one notable limitation of CellSynth is its lack of response to MIDI Velocity (you can use MIDI controllers for expressive control). We hope that future releases of the program will address this shortcoming. Overall, though, CellSynth is an audio treat that really is different. This is one download you don't want to miss.

More Feedback Machine 1.0 (Mac OS 9: VST; OS X: VST, AU; Win, $20)

If you enjoy effects programming, Urs Heckmann's More Feedback Machine (MFM) is the Holy Grail of software digital-delay processors. This incredible beast has more knobs and features than most software synthesizers (see Fig. 9). MFM offers four delay lines that can be fed back into each other using a 4×4 feedback matrix. Each delay has filters that can be applied to either the input or the delay feedback. To control unruly feedback, each delay line has a limiter/compressor/saturator, and to modulate the delay lines and filters, there are two LFOs and a step sequencer that allows sample-and-hold-type modulation.

FIG. 9:More Feedback Machine is the ultimate virtual delay device. It should satisfy even the most extreme desire for control.

MFM is sure to satisfy your lust for control. In addition to the features just mentioned, each delay has a delay time of up to 2,000 ms; a lowpass, highpass, bandpass, or notch filter with filter cutoff and resonance; a dual-polarity feedback matrix; and output-level and pan controls. The LFOs and step sequencer can modulate most of these parameters. You can use the delay lines in various configurations, including two stereo delays, two independent stereo filters, and four independent mono effects. Using any of these configurations and the numerous modulation, filter, and feedback parameters, you can create an extraordinary number of sound effects.

Even with the processing demands of MFM, the CPU overhead is relatively low on a G4. However, further optimization for the G4 is planned and will be available to registered users. The program has no manual, but the developer maintains an extensive online manual at his Web site that includes detailed information, diagrams, and tips. This is by far the ultimate software digital delay.

Rax 0.3.3b (Mac OS X, no fee)

Granted Software's Rax (in late beta) is a virtual synth/effects rack and a live performance Audio Unit host. It's one of the first AU hosts that makes good use of the new OS X 10.2 Core Audio and CoreMIDI functions and is an excellent choice for hosting some of the many AU instruments and effects featured in this article (see Fig. 10). The release notes make it clear that Rax is only a preliminary release and is not intended for “real” applications. However, anyone exploring the new world of OS X and Audio Unit will find this an invaluable tool even in its current state.

FIG. 10: Rax hosts AU music devices and effects. You can stack as many effects and create as many racks as your computer can handle.

For those new to Audio Unit, both effects and synthesizers go into the User/Library/Audio/Plug-ins/Component folder. Once there, Rax and other AU programs will recognize them. Regardless of what MIDI source you choose, whether it is an external MIDI device, a sequencer with CoreMIDI support, or a software MIDI keyboard such as MIDIKeys, be sure to make it active before loading Rax. Otherwise, it won't be recognized.

When you first load Rax, you will need to select a synthesizer from the Music Device list. I suggest exploring the built-in Apple DLSMusicDevice, Crystal AU, or Urs Heckmann's new Zoyd monophonic synth. You then add effects to the rack from the Effect menu. To open an effect for editing, click on the white sphere next to its name, and an editing panel for the synthesizer or effect will appear. Rax processes the signal from the top down, and you can move effects around in the rack once they've been loaded.

In addition to AU effects you add to the Library, there are several great AU effects built into the new OS X 10.2 Core Audio. These include Matrix Reverb, Digital Delay, Parametric EQ, Peak Limiter, and a number of filters, all freely accessible from within Rax. You can stack as many effects onto the rack as your CPU power will allow, and on my Mac G3/400, I was able to stack three or four simple effects on a synth without any problem. You can create as many racks as you want and have each one respond to a single MIDI channel or to different channels. You can also save and load a virtual rack with its synthesizer and effects for reuse.

Rax is a fun and useful tool for exploring OS X Audio Unit devices as well as for live performance applications. Keep your eyes on the Granted Software Web site for future developments.

ReMIDI 0.4b (Mac OS X, no fee)

ReMIDI (pronounced “remedy”) from Granted Software is a performance assistant consisting of an arpeggiator and a MIDI chord tool that is still in beta development. When you first run the program, there's not much to look at. But don't let that fool you: there's a lot of fun to be had with this software.

FIG. 11: ReMIDI allows you to play chords using the notes as the root of the chords. You can also add the Arpeggiator to play chord sequences.

ReMIDI is designed for use between your MIDI triggering device and a MIDI application. It allows you to create simple arpeggios or arpeggiated chordal sequences, and supports transposition, looping, and retriggering. You can use the computer keyboard to trigger arpeggios, which gives a number of useful performance options such as octave-shifting and transpositions.

Clicking on the Edit box will open the Arpeggiator, where you enter notes using a piano-roll interface (see Fig. 11). You can specify Tempo, Interval (note value), Length (note sustain duration, that is, legato or staccato), and Notes (number of notes in the sequence). Rests are created by Control-clicking in the piano roll (rests are indicated in red). You can also save and load sequences in ReMIDI's ARP format, but not as Standard MIDI Files.

I ran into trouble when I set the length of notes to a value longer than the time interval: the program hung, and I was unable to stop playback even by turning the Arpeggiator off. A reset button would be a welcome addition. I'd also like to have the ability to create polyphonic arpeggios (though polyphony could get out of hand if used with the Chord tool).

ReMIDI's Chord function lets you select chords that will be played when a single note is pressed (the triggering note becomes the root note of the chord). This is a fun little tool by itself (try using some of your favorite synth pads), but it can also be used in conjunction with the Arpeggiator. Possible applications include live performance, composition, or recording MIDI arpeggios and chords for use by a MIDI sequencing application. Though there are 29 chords to choose from, it would be nice if you could use different inversions or create your own chords. An intelligent chord function, where chords are determined by the notes on a scale, would also be useful. These additions would make ReMIDI an even more powerful tool.

Transcribe 6 (Mac OS 9, OS X, Win, $40)

Seventh String Software's Transcribe 6 is an unusual spectral-analysis program given that its function is to assist in music transcription. By extracting pitch and harmonic information from the spectral analysis of a section of an audio wave, it helps you determine the notes that are being played. The program doesn't perform the transcription for you, but displays spectral peaks across a keyboard indicating the notes and harmonics in the audio segment (see Fig. 12). Transcribe can also slow the music down without altering its pitch when playing back, which makes it much easier to hear individual notes within a fast passage of music.

FIG. 12: Transcribe assists transcription by using spectral analysis to extract pitches from an audio file segment.

Transcribe can open files in AIFF, WAV, and MP3 format or extract audio directly from a CD under OS X and newer Windows versions. You can play back a passage at any speed between one-twentieth and double the normal speed, or add processing such as EQ. When you locate a phrase you want to analyze, highlight it with the cursor, and the notes in the spectral analysis are immediately displayed on a virtual keyboard with the waveform shown above each note. The process is extremely easy and very fast. Because the extracted pitches are highly accurate, it's very easy to determine the notes being played. Though Transcribe is pretty much a one-trick pony, it sure beats transcribing audio by ear!

DONATIONWARE

Here's a deal you can't pass up. If you like the program, just send a few dollars to the developer, and everyone will be happy.

Ambience 1.0 (Mac OS 9: VST; OS X: VST, AU; Win)

Ambience is a dedicated high-end reverb plug-in that rivals many commercial reverbs in both the scope of its controls and the quality of its sound. It is an extraordinary offering from Magnus Jonsson of Smartelectronix, who spent two years developing the underlying algorithm. When you first hear Ambience you immediately realize that it has a distinctive character, adding both ambience and depth that go beyond your typical reverb plug-in. It can create sounds from cupboards to cathedrals and everything in between. The AU version I tested didn't come with any presets, but those are planned for release soon.

FIG. .13: Ambience 1.0 allows control of numerous reverb parameters usually found only on higher-end hardware reverberators.

The real power of Ambience lies in its wide range of parameters, which allow you to precisely tailor its sound to the source material and the virtual space you are creating. Aside from the ubiquitous wet/dry, room size, and reverb-time controls, Ambience offers low- and high-frequency crossover filters and separate control of the low and high reverb times (see Fig. 13). It also offers low- and high-shelf filters that allow you to effectively emulate realistic frequency falloff of acoustic spaces. There is also a variation parameter that changes the resonance and echoes of the algorithm. This setting provides numerous sound variations, some subtle and others more distinct. Special effects such as hold and gating are also possible. Overall, there's tremendous control in shaping the sound to emulate various ambient spaces.

Ambience gives you the ability to adjust the CPU load, albeit at the expense of real-time performance. It doesn't make use of AltiVec acceleration on the Mac, and you can often hear a very slight looping in the reverb tail with certain sounds (this is also occasionally true of hardware reverbs). You can overcome this somewhat (particularly with slow-attack sounds) by combining Ambience with other plug-ins, such as chorus and delay, effectively increasing the density and smoothness of the overall sound.

Ambience is an extremely high-quality reverb, but it is not free, so don't forget to make a donation if you choose to use this gem.

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Gregory D. Moore programmed many of the effects heard on the Sony DSP series effects processor. He also created audio demos and animation for Sony and can be reached at synergy543@aol.com.

SHORT TAKES

Here are a number of other programs that are worth a look. Some are excellent tools for OS X testing and setup, while others are just great-sounding and good fun.

Amazing Slow Downer 2.5.7 (Mac OS 9, OS X, Win; shareware)
Web www.ronimusic.com
Learn a musical passage by slowing the music down without changing its pitch. You can tweak a variety of parameters to optimize the sound.

Audacity 1.1.3 (Mac OS 9, OS X, Win; freeware)
Web http://audacity.sourceforge.net
An open-source multitrack audio editor that has numerous built-in effects, frequency analysis, and support for VST plug-ins.

Frequency 1.0 (Mac OS X; freeware)
Pandaa, Jonas Åström
Web http://home3.swipnet.se/~w-34826
A graphical spectral editor that lets you brush harmonic content to create unusual effects.

iMIDI 0.2b (Mac OS X; freeware beta)
Web www.grantedsw.com/imidi/index.shtml
IMIDI uses Rendezvous and TCP/IP to provide MIDI ports between computers on a LAN. The ability to set up a MIDI network opens up some intriguing possibilities.

MadShifta 1.0 (Mac OS 9, OS X, Win; donationware)
Web www.smartelectronix.com/~bram
This VST effects plug-in is a pitch-shifter with an unusual interface and powerful capabilities.

mda VST Effects Plug-ins (Mac OS 9: VST; OS X: VST, AU; Win: VST; freeware)
Web www.mda-vst.com
A suite of 30 VST effects that range from a Leslie simulator to a talk box. Some have been ported as AU effects.

MidiClock 1.2 (Mac OS X; freeware)
Web www.grantedsw.com/midiclock/index.shtml
A MIDI clock source for synchronizing MIDI applications, even between two computers. It can also transmit MIDI clock signals to additional MIDI end points.

MIDIKeys 1.6b2 (Mac OS X; freeware)
Web www.versiontracker.com/dyn/moreinfo/macosx/16702
This soft MIDI keyboard lets you play notes with the computer keyboard. It also allows you to view incoming MIDI notes as they play on the keyboard. A great setup and test tool.

MIDIMonitor 1.1.4 (Mac OS X; freeware)
Web www.snoize.com/MIDIMonitor
MIDIMonitor presents a useful window on all incoming MIDI messages and includes a filtering capability for selective viewing of specific MIDI data.

SimpleSynth 0.7 (Mac OS X; donationware)
Web http://pete.yandell.com/software
A simple soft synth for OS X that uses Apple's QuickTime Instruments or SoundFonts.

Sonasphere 0.7 (Mac OS X; freeware beta)

Web www.dropcontrol.com/~naotokui/sonasphere
A live performance tool that offers one of the most interesting musical 3-D-graphic interfaces. 3-D spheres represent sound processors, and the interaction of the spheres creates intriguing musical effects.

SupaPhaser 2.0 (Mac OS X; donationware)
Web www.smartelectronix.com/~bram
This 23-stage phaser with saturation can be used to create incredibly deep phasing effects.

SynthTest 1.2.1 (Mac OS X; freeware)
Web www.versiontracker.com/dyn/moreinfo/macosx/17038
An OS X application that lets you select a MIDI input, an AU MusicDevice synth, and an AU effect. You can open and edit the synth and the effect.

SysEx Librarian 1.04 (Mac OS X; freeware)
Web www.snoize.com/SysExLibrarian
As its name implies, this program lets you back up and restore patches to and from your MIDI synths.

USB Monitor 1.1 (Mac OS X; freeware)
Web www.grantedsw.com/usb-monitor/index.shtml
A simple tool that shows the name of a USB device as it is being plugged in or removed.

The Virtual Theremin (Mac OS 9, OS X, Win; freeware)
Web www.bbc.co.uk/science/playground/theremin1.shtml
This virtual simulation of the theremin is more of a toy than a tool. Good silly fun.

VoiceBox 1.3 (Mac OS X; shareware)
Web www.realmacsoftware.com/voicebox.html
Type in a sentence, and a Mac voice reads it back with the option to save to disk.

Zoyd (Mac OS X; freeware)
Web www.u-he.com/zoyd/index.html
Four waveshapers, a noise generator, more than a dozen filters, and some very unique oscillators make this hot new modular synth worth watching.

MAC SHAREWARE HALL OF FAME
These are time-tested freeware and shareware gems that have earned a place in our select Hall of Fame. You'll find a few very deep programs among the other, more utilitarian offerings.

Csound 4.23 (Mac OS 9, OS X, Win; freeware)
Web www.csounds.com
The famous sound-programming language. Csound has a rich history and is the basis for numerous other programs.

Delay Lama 1.1 (Mac OS 9, Win; freeware)
Web www.audionerdz.com
The famous singing-monk VST Instrument that offers vocal synthesis from within a 3-D animated interface.

iTunes 4 (Mac OS X; freeware)
Web www.apple.com/itunes
Apple's audio player now features AAC audio compression as well as access to the iTunes Music Store, where you can try and buy songs for 99 cents.

Pro Tools Free 5.01 (Mac OS 9, Win; freeware)
Web www.digidesign.com
This version of Digidesign's workhorse audio editor offers up to 8 tracks of audio, 48 tracks of MIDI, real-time plug-ins, and many other pro features. An OS X version has been announced but has yet to be released.

QuickTime 6.3 (Mac OS 9, OS X; freeware)
Web www.apple.com/quicktime
Apple's free multimedia player now offers MP4 with AAC audio compression that is more efficient than the MP3 codec. The full version of QuickTime ($30) allows sampling- and bit-rate conversion and a wide selection of audio formats and video codecs.

SoundApp 2.7.3 (Mac OS 9; freeware)
Web www.spies.com/~franke/SoundApp
A sound player and conversion utility that supports an extensive list of formats and bit rates.

SoundHack 0.892 (Mac OS 9, OS X; freeware)
Web www.soundhack.com
Tom Erbe's sound-processing program offers numerous esoteric processing functions, many of which are not found elsewhere. A must-have in every musician's toolbox.

SuperCollider 3 d5.1 (Mac OS 9; freeware)
Web www.audiosynth.com
A music programming language for real-time audio synthesis with extensive support for I/O devices. It is currently being ported to OS X. Even the included examples sound great.

thonk_0+2 (Mac OS 9; freeware)
Web www.audioease.com/Pages/Free/FreeMain.html
An offering from Audioease that uses granular synthesis to mangle and enrich your sounds.

CONTACT INFORMATION

Many of these programs are available from multiple locations. Where possible, we've listed the program's home page.

Center for Research in Electronic Art Technology (CREATE) at the University of California, Santa Barbara e-mail info@create.ucsb.edu or clang@create.ucsb.edu; Web www.create.ucsb.edu/PulsarGenerator

Digitalfishphones.com e-mail sascha@digitalfishphones.com; Web www.digitalfishphones.com/main.php?item=2&subItem=5

Elemental Audio Systems tel. (919) 462-3351; e-mail customerservice@elementalaudio.com; Web www.elementalaudio.com/products/inspector/index.html

Granted Software e-mail info@grantedsw.com; Web www.grantedsw.com/products.shtml

Green Oak Software e-mail glenn@greenoak.com; Web www.greenoak.com/crystal

Living Memory e-mail CellSynth-subscribe@yahoogroups.com; Web www.cellsynth.co.uk/index.htm

MakeMusic, Inc. e-mail macsupport@makemusic.com; Web www.codamusic.com/coda/products.asp

Nico Wald e-mail nicowald@mac.com; Web http://homepage.mac.com/nicowald/SubtleSoft

Seventh String Software e-mail andy@seventhstring.demon.co.uk; Web www.seventhstring.demon.co.uk/xscribe/index.html

Smartelectronix/Magnus Jonsson e-mail magnus@smartelectronix.com; Web www.smartelectronix.com/~magnus

TC Works/TC Electronic (distributor) tel. (805) 373-1828; e-mail us@tcworks.de; Web www.tcworks.de

Urs Heckmann e-mail mfm@u-he.com; Web www.u-he.com/mfm

MAC OS X FREEWARE AND SHAREWARE LINKS

Here are a few Web sites to watch for new shareware and freeware releases.

http://shareware.cnet.com
www.apple.com/downloads/macosx/audio
www.hitsquad.com/smm/mac
www.macmusic.org/home/?lang=EN
www.osxaudio.com
www.versiontracker.com