Poly Performance Controller

[utdgrant]

I'm delighted to announce the release of the Poly Performance Controller Module from Dome Music Technologies.

FrontPanelFullSize.jpg (132.05 KiB) Viewed 131806 times

This is based on an idea I've had kicking around for years - how to derive polyphonic aftertouch expression from a monophonic-aftertouch keyboard. It can also let you apply Mod-Wheel and Pitch-Bend actions to specific notes (First, Last, All Held Notes). It provides lovely, natural-sounding smoothing via an independent RC slewing filter model for every active voice channel.

It's now available to buy in the CA Store for $4.20, or as part of the Ultimate Collection for $18. If you are an existing Ultimate Collection owner, then it will download into your library automatically, free-of-charge. There is also a small Preset Pack to demonstrate its operation (VM Core is a bit of a pre-requisite, I'm afraid).

There is a free 30-day demo period to let you play with it in your own system before deciding it it fits your needs or not.

A comprehensive User Guide is available, which explains how the module works under the hood, and also describes the functionality of every knob and switch in detail.

Here is a quick YouTube Demo, featuring some segments inspired by a certain Greek synth player (and his fave poly-aftertouch synth).

[utdgrant]

Added a YouTube talkthrough video which explores my motivations behind creating the Poly Performance Controller module (first half), and how to use it to derive (pseudo-) polyphonic aftertouch from a mono-aftertouch keyboard (17:00 onwards).

https://www.youtube.com/watch?v=u9IIcQ2j75U

[Steve W]

Looks amazingly complete based on the front panel. I did some real time channelizing of midi data ages ago (when sequencing software didn't do audio) and am interested to see how you handle open/free channels v. channels in use, dynamic assignment of voices, etc. if you do anything like that.

[utdgrant]

Looks amazingly complete based on the front panel. I did some real time channelizing of midi data ages ago (when sequencing software didn't do audio) and am interested to see how you handle open/free channels v. channels in use, dynamic assignment of voices, etc. if you do anything like that.

Hi Steve,

I took the easy way out, and avoided using MIDI processing entirely.

The module only processes Poly CV signals (and the Mono CV signal of the selected real-time performance control). Thankfully, CA have already done the hard work of transforming incoming MIDI messages into 'analogue' CVs, then presenting them for use on the "CV SOURCES" and "POLY SOURCES" panels at the top of the Voltage Modular 'rack'.

All of the voice-assignment and keyboard priority logic has already been performed by the time you pick up these signals. I think CA did a great job on the voice-cycling algorithm. If you keep playing the same note on your MIDI keyboard, it will always get assigned to the same voice channel. This lets you 'ride the envelope' on sounds with a long release time, in a similar way to monophonic patches.

Different hardware synths do this in different ways. The Prophet 5 will cycle round all free voices if you keep playing the same key, whereas the Jupiter 8 will reassign the same voice (and pick up the envelopes from their release phases). I'm totally obsessive about this behaviour; I believe Roland and Cherry Audio got it RIGHT, whereas Sequential Circuits got it WRONG. This is a hill I'm willing to die on!

[Steve W]

I took the easy way out, and avoided using MIDI processing entirely.

Understandable. I'll just continue working on planning and developing my suite of MIDI modules based on my own ideas.

The module only processes Poly CV signals (and the Mono CV signal of the selected real-time performance control). Thankfully, CA have already done the hard work of transforming incoming MIDI messages into 'analogue' CVs, then presenting them for use on the "CV SOURCES" and "POLY SOURCES" panels at the top of the Voltage Modular 'rack'.

All of the voice-assignment and keyboard priority logic has already been performed by the time you pick up these signals. I think CA did a great job on the voice-cycling algorithm. If you keep playing the same note on your MIDI keyboard, it will always get assigned to the same voice channel. This lets you 'ride the envelope' on sounds with a long release time, in a similar way to monophonic patches.

Different hardware synths do this in different ways. The Prophet 5 will cycle round all free voices if you keep playing the same key, whereas the Jupiter 8 will reassign the same voice (and pick up the envelopes from their release phases). I'm totally obsessive about this behaviour; I believe Roland and Cherry Audio got it RIGHT, whereas Sequential Circuits got it WRONG. This is a hill I'm willing to die on!

Thanks for these details, your insights, and the hardware implementation comparisons. I previously looked at how some VM audio poly splitters I have seem to work to try to intuit what they might be doing inside. Your description fits with what I have observed so far.

I am used to how my hardware sound modules work from a users perspective in terms of polyphony. In fact, having spent a few years exploring the possible use of software synths for my own music, I have come to realize how spoiled I was by my hardware, at least 95% of which is multitimbral. By contract, at least 95% of my software synths aren't multitimbral.

Thanks for the new module and for your reply!

[UrbanCyborg]

You can also do it the way the MemoryMoog does it, which is to give the user the choice.

Reid

[utdgrant]

You can also do it the way the MemoryMoog does it, which is to give the user the choice.

Poly Mode 1 - Cyclic: This the standard polyphonic mode. Notes played are assigned to Memorymode's internal voices one after the other. For example, if Num Of Voices is set to 4 Voices, notes played are assigned to voice 1-2-3-4-1-2-3-4, etc.

Poly Mode 2 - Cyclic with Memory: Similar to Poly Mode 1, but if a note or notes are repeated, they retain their voice assignment. For example, if a three-note chord was played, and its notes were assigned to voices 1-2-3, repeatedly playing the same chord would trigger voices 1-2-3; voice assignment wouldn't change to the next voices until different notes were played. If glide was being used, this means the pitches of the chord would "stay in place" (not glide) when repeatedly struck.

Poly Mode 3 - Reset To Voice 1: When all notes are released, voice assignment is "reset" so that new notes are assigned to voice 1. When playing single-note lines, this mode mimics the glide behavior of a monophonic synth.

Poly Mode 4 - Reset To Voice 1 with Memory: This mode is a combination of Poly Mode 2 and Poly Mode 3: repeatedly striking the same notes retains voice assignments (i.e. repeated notes won't glide), but releasing all notes assigns the next note to voice 1.

Anything other than Poly Mode 2 is a crime against nature!

[utdgrant]

I've recorded some tutorial videos about the Poly Performance Controller and uploaded them to YouTube:

Pseudo-Poly Aftertouch with the Poly Performance Controller

"Poly Aftertouch" from a non-aftertouch-equipped MIDI keyboard. (a bit quiet - sorry!)

Selective Pitch Bend with the Poly Performance Controller

Using the VCA Inputs and Output of the Poly Performance Controller

Using the Poly Performance Controller with an External MIDI CC (Expression Pedal).