No Mas(sive X)

As I wrote before, the new Massive X synth by Native Instruments has major issues in its GUI department. First massively delayed and then hastily released, Massive X now has the first larger update to version 1.1.

I think that the best thing to describe graphics issues is to show them. This first image is what Massive X should apparently look like on my DAW:

When I first installed the demo version of Massive X (with same functionality as the full version), it crashed every second time and looked like this:

It’s easy to see that something’s missing. In fact the majority of controls are not there. So how about the 1.1 update? Well, let’s see:

Definitely better, one would say – if it was a demo. But we are talking about a major flagship software release a full year after the original launch. Seriously, what the hell is this? Switching between different skin options render completely different GUI results. With this pace the full GUI will be available in 2024, when the 1.8 version comes out.

I said everything I had to say about Massive X in my earlier post, so I’ll just reiterate this. As long as Native Instruments cannot prove they are able to make a working soft synth GUI without the DAW crashing and completely missing some of the graphs, I will not be buying any of their products, including hardware. If their Kontrol keyboards are designed by the same people as Massive X, the 61-key version only has some 30 actual keys that work.

You don’t have to believe just me. As I write this, it’s Black Friday 2019, and I decided to take a look at what people are talking about at the official NI Massive X discussion forum. Here’s a sneak peek:

 

 

Massive X to Second

I have written previous posts concerning some of the new Native Instruments products and the issues I have had with their GUI. Lately I have discovered that I am not alone in this.

Massive X, the intended modern classic of soft synths, was supposed to come out along with Kontakt 6, but then only some spec images were actually available. After six months of further developing, Massive X was finally released only to be revealed that its GUI problems were the most extensive ones in the NI lineup so far.

Just think about this: on the the bottom of the official NI Massive X website there is currently (October 2019) a link saying “we want to hear from you” that reroutes users to NI support forums. Following the link it soon became evident that I was not the only one with this kind of GUI in my DAW:

 

Just for comparison, below is what the Massive X GUI should apparently look like:

 

Following the NI forum threads one can quickly see that a huge number of Massive X users – myself included –  have most of their GUI completely missing. Also, this has nothing to do with Nvidia drivers or the specific OpenGL version users have on their workstation. The issue is a larger and fundamental one by nature, and it goes right down to NI methods of rendering any graphics in their new products.

None of my other plugins or VST instruments currently give me any kind of trouble – it’s strictly Native Instruments only. As mentioned earlier, I piled up 6-7 random plugins with moving graphics by other vendors literally on top of each other as a test and ran them all: no issues. Also, the new Abbey Road Studio 3 plugin by Waves Audio includes rotating animation of the actual studio as well as camera-guided real-time head movements, and my workstation has no trouble dealing with it.

All this should finally ring the alarm at the NI headquarters, where there seems to be people completely unable to lead software development projects. I mean what kind of an audio product company misses several deadlines and eventually puts out releases with completely flawed and unusable GUI?

Magazines like Computer Music are already releasing their Massive X tutorials and such, but Computer Music actually reviewed Massive X only in their fall 2019 issue. As the review had it, the GUI is still half-baked, and I assume they somehow had themselves the latest, more or less fully working version. Even they could not try out the Massive X standalone version, which seems to be completely shelved at the moment (October 2019).

As I write this, on the NI forums there is a plea for more people to join their beta program in order to get the 1.1 update ready as soon as possible. The reality is however that the upcoming 1.1 version of Massive X should have been the very first public release available for customers. Everything before that has actually been like it’s a beta program. A lot of people have been waiting for a whole year wondering what’s the matter with their workstation when the real reason for their problems is in the actual product. And what is perhaps most alarming is that if NI is still at this point of development looking for feedback through testing, they basically have no clue about the core issue.

As a conclusion, the Massive X botched release is definitely the biggest fuck-up I have ever seen when software synths or virtual instruments are concerned. And as I mentioned, I’ve only seen about one third of it all because of the deeply flawed GUI of Massive X.

The irony of it all? I am yet to read anything negative about the Massive X audio capabilities. It’s just that most of us cannot access them.

Massive X GUI

The latest issue of Computer Music magazine covers extensively the latest Native Instruments synth release Massive X. To get right to the point, the attached image presents the verdict of review the magazine did: 

Earlier I wrote about the problems both NI Native Access and some of the new NI plugins have caused in setups using multiple monitors.

It is probable – as the review implicates – that Massive X, originally meant to launch along with Kontakt 6 but missed the deadline, was eventually rushed. 

However if one takes a look at the new synths in Kontakt 6  – rather unimpressive in visual sense – there’s a bigger pattern here.

First there were GUI issues, after which all following NI products have been releases with heavily limited visual interfaces.

In a sentence, someone responsible for developing NI GUIs has fracked up massively – also with Massive X.

Native Instruments used to put out several high-end software products every year. Nowadays only the sound is still there.

Native Instruments Crash Course

There are well-documented discussions online about the new Native Access registration tool by Native Instruments. Many of them concern the fact that Native Access without exception crashes on systems with multiple monitors. I have experienced this myself, and so far the only workaround has been to disconnect all external screens when Native Access is in use. This is of course highly impractical and leaves users with problems solely created by Native Instruments.

But this is not all.

Recently Native Instruments has released two new plugin packs: Mod and Crush. The reasonably-priced packs include effects often used in modern EDM productions, when they are going for a more edgy analog feel. This idea is applied also in the plugin GUI as one can see. It is no accident that they have been given a look resembling guitar pedals:

The problem is however that what I see instead of GUI is a blue screen: both plugin packs crash my Win 7 64-bit multiple-monitor systems instantly when launched. 

On one monitor – laptop only – the plugins work as soon as I don’t try to mess with the controls. They are almost unresponsive from the start, but any attempt trying to move the knobs results in BSOD, as it is called.

In comparison I loaded eight random plugins by other vendors with heavy GUI load on top of each other and activated them all: no problemo.

Considering the earlier Native Access example, it looks like Native Instruments design department is in serious crash course with many people’s setup. It doesn’t matter if a registration tool or a plugin looks cool if it is unusable. These are audio tools, not 3D animation demos.

What I look for in audio setup primarily is stability. As long as Native Instruments follows a different path, I will access other alternatives.

The Light Organs That Say NI

Native Instruments recently went deeper into hardware business by releasing three new MIDI keyboards called Komplete Kontrol S-Series. Here are some of my first impressions about the lineup.

First take a look at those circles I added to that promo photo above. What are they? Apparently just empty space. Now if that is not Kompletely Klumsy Kontrol design I don’t know what is.

The second thing I noticed were the light organ capabilities, meaning the coloured lights meant to enhance your playing experience. Were I a five-year-old, that might actually happen.

Thirdly, launching three different (by size) keyboards meant to be used with one software seems inconsistent to me. I don’t believe someone going for one of these would not leave a 61-key controller on the store shelf because he or she really wanted a 49-key one.

Lastly, my M-Audio Axiom 61-key controller has eight mixer sliders. The new NI controllers apparently have none according to information I have. Also, no specific TouchOSC/iPAD integration as third-party touchscreen controller exists – something a 2014 hardware release should. Just check out any live gig setup by current pop/electronica artists.

The Komplete Kontrollers will hit the stores is three weeks or so. It seems to me that the infamously chunky Maschine Studio just got company when in comes to Kompletely Awkward NI Gear.

Percussion: Spitfire bombs NI

Percussion library #1:
“HZ01 ships in November as over 160GB of compressed content (from over 600GB of mixed and edited WAV data) and the initial release has material from Hans Zimmer, Alan Meyerson, and Geoff Foster. Two free updates are following with Steve Lipson and Junkie XL’s material. The final library will be north of 200GB of compressed content (from over 700GB of mixed and edited WAV data).”

Price: £299 (with early bird discount).

Percussion library #2:
3,2GB to “freely combine 105 time-tested rhythms to develop your own arrangements – each features five variations per ensemble section for countless rhythmic possibilities. You also get 65 single instruments with 32 playable rhythms and 12 playable sets of single hits.”

Price: £250.

I know I have been a bit harsh when it comes to their releases lately, but this fits the picture seamlessly. Library #2 – the NI Action Strikes – clearly loses when it comes to Library #1, namely the Spitfire Audio HZ01, and given the difference in price, those really in need (i.e. pros) for vast orchestral percussion library know what to do.

I hold my opinion about Native Instruments currently not knowing that.

Maschine Studio: Homer’s Car

This is a short follow-up piece for my earlier post on Maschine Studio, and it includes one small scoop.

A couple of weeks back I had problems with Maschine Mikro, during which I contacted the NI customer support. I got excellent assistance and, by accident, on epiece of news. I will suggest putting the Audiobus support back on the agenda, the support person responded to my off-topic comment on iMaschine not having one not speaking of an iPad edition of the app (that’s the small scoop).

Only days after iOS 7 was released, and NI put out one of the most peculiar software updates ever: a Traktor DJ app update for iOS 6.

And finally yesterday the Maschine Studio was released.

All the three releases are basically examples of the same phenomenon – being out of touch. Literally this goes for Maschine Studio. I write this entry on my iPad, and I would have loved a solution where I could have used iPad wirelessly via TouchOSC to control Maschine as a sort of external x/y touch controller.

However NI introduced a built-in jog dial. So did Apple – a decade ago.

What about the fact that I am writing this wirelessly on my bed? Maschine Studio has improved onboard screens and controls which don’t require a mouse or a keyboard.

So you can use Maschine Studio without them? Great. But do I still need a computer? Yes.

Thus Maschine Mikro is very confusing a concept. It has some capabilities of a standalone device, but in the end it is an expensive and space-consuming centerpiece for your workstation table. On the same table people already have their keyboard for playing, and they do need mouse and a writing keyboard for other things.

Hence my conclusion. On this ‘Simpsons’ episode Homer gets to design a car and puts in it everything possible. Maschine Studio even looks like that car: it seems to me like two different devices forced as one.

Homer’s car did not sell that well.

Maschine Studio: first thoughts

First of all, it is useless to copypaste all the facts this blog post concerns. For them please refer to either the official NI site or the Sonic State site briefing.

The topic: the NI Maschine Studio and the Maschine 2.0 software.

The first thing for me to look was the price. The new Maschine Studio will take either a thousand dollars or euros out of your pocket. As a bit of a downer, also the Maschine 2.0 software update will charge your credit card for a hundred – well 99 – bucks or euros.

Are they worth it? The actual release is still a month away so what I have seen are the videos and fact sheets. You’re still hooked on your computer with Maschine Studio although the two onboard screens basically enable working without looking at your workstation screen. Well one needs the processor power as well as the disc space for libraries that’s true. But have I imagined myself building beat tracks with a Maschine-styled device on my lap wireless except for the power chord? Yes.

As for the software update, 99 dollars/euros is a lot of money for one. And if the update features – as it would be natural – are mostly designed for the new hardware, then for example current Maschine Mikro owners such as myself will probably think once or twice before making any decisions on purchases.

One question on my mind after watching the presentations was the emphasis on deep integration. I have a bunch of third-party kits designed for Maschine – are they 100-percent compatible with the new environment?

To put is short, Maschine Studio still not an audio source itself although the name hints otherwise. There is no audio interface in it to use apart from workstation. Yes, you can do more things without mouse and keyboard, but what’s the point if you still need a computer? Finally, the new features seem to have an iPhone-styled emphasis for improving the workflow, not redesigning it. And all the 2001-style jog dial aesthetics do come with a size addition. How about inserting a touchscreen with menus and x/y effects control instead?

My very first emotional reaction: an initiative for something great but definitely not worth a thousand bucks.

Ok, as an ominous sign this WordPress app keeps crashing so I will leave this subject for now. When more material emerges, I will probably return to this later.

Traktor DJ: Playing the Waveform

Recently I have been watching quite a number of videos explaining the use of the Native Instruments Traktor DJ app on iPad. What makes my interest perhaps little odd is that I have no interest whatsoever in being a DJ.

What makes the app so compelling to me is that it enables the live playing of two separate synchronized tracks – as one might expect from a DJ app. However I am more interested in the idea of playing the waveform live. Instead of DJ activity, I would like to use the app in creating a remix for example by loading a vocal track with a drum track and live-mixing those two together. After recording a nice take I would render that take on one track and keep adding bass, keys, and other things by using the other track available.

So far this procedure is apparently quite hard to achieve, since the Traktor DJ app is dependent on iTunes library when it comes to importing and exporting audio files. This is of course a mistake – I have zero audio files in my iPad library since I use original files only and transfer them via Dropbox.

Besides the import/export difficulties, Traktor DJ currently lacks Audiobus support. With Audiobus it would be possible to record one’s mix directly on iPad DAW, which would open a whole new world for using the app.

Otherwise I have read very positive comments on Traktor DJ. Hopefully Native Instruments has abandoned its policy of not updating their apps so that Traktor DJ gets new features soon. The app is a potential game changer: hopefully the work started well will also be finished.

VST: the quest for original

Lately the VST instruments and effects market has been quiet indeed. This is not to say that new releases were somehow nonexistent: lots of new stuff is coming out every week. Lots of new old stuff, that is.

Let’s take a few examples. The Darklight II sampler , or rather its paragon Fairlight, was some thirty years ago a rarity: only established people like Kate Bush and Peter Gabriel could afford one. Now the same sounds are available for everyone with a fraction of the original price.

Yes – the same sounds. So what is really going on here is that a sampler is being sampled in order to make a ‘new’ product. The result is some sort of paradox: a loyal rendition of an original instrument, which in fact was not an original instrument but a collection of some of the early samples.

Another good example is the Scarbee Rickenbacker bass offered by Native Instruments. The goal – an impressive one for sure – has been to faithfully create similar sounds to the original instrument.

What makes this goal questionable is that the simulation perspective misses a lot of possibilities offered by digital environment. For example, as far as I know the Scarbee rendition has no ‘strum key’ for fast playing. I am aware that the original instrument lacks one too, but this is no excuse to leave one out. After all coming up with something ‘better than the real thing’ should be the mission when making VST instruments out of ‘originals’.

If this sounds odd, try the following. Think about building an instrument as coding: creating a framework for ‘software’, which in this case would be the player. So called ‘real’ instruments were once the state of the art items built by the latest knowledge, skills, and materials.

This same attitude should be present when imagining VST instruments: coming up with completely new sounds and concepts instead of repeating the past. After all this was the attitude for example the Beatles pretty much had in their time.

Also Les Paul – the guitarist responsible for coining the idea of multi-track recording – once said in this documentary that his primary motive as a musician was to make something no one else had done before. These guys didn’t just sample the past – why should VST vendors?