Using VDMX as a Step Sequencer and LFO for Euroracks

April 18, 2024

One of the most fun aspect of using Eurorack setups is the ability to quickly reroute control data and sound between different modules. Conversely one of the most limiting parts of using Eurorack setups is the ability to quickly swap out different modules from your rack to get different kinds of control data and sound coming and going from your system. In this tutorial we will look at how the Step Sequencer and LFO plugins in VDMX can be used alongside Eurorack setups to provide a versatile approach to generating CV values.

As Eurorack modules are also often a significant investment of money, it can also sometimes be useful to use software tools like VDMX to simulate their abilities to determine if they are a good fit for your needs before purchasing.

Overivew

This tutorial is broken into three main parts:

Setting up our Eurorack to convert MIDI to CV.
Setting up VDMX to send MIDI to the Eurorack.
Configuring step sequencer and LFOs in VDMX to control parameters on our Eurorack.

Setting Up A Eurorack To Receive MIDI to CV

Univer Iter MIDI to CV and Tiptop Audio Buchla 258t Eurorack modules.

For this initial demonstration of doing MIDI to CV we are using the Noise Engineering Univer Inter along with a Buchla & Tiptop Audio 258t Dual Oscillator module to generate tones.

The Univer Iter has 8 CV out ports along with a USB port which can be directly connected to a computer for receiving incoming MIDI. Within applications like AudioMIDI Setup and VDMX it appears as a standard MIDI output device option. It also can be configured to use a custom MIDI mapping as needed and can be daisy chained with a second module for another 8x outputs.

A variety of different modules are available for taking MIDI data in one form or another and converting it to CV. As always with Eurorack setups it is prudent to spend some time looking at all of the module options and picking the best for your specific needs.

Setting Up VDMX To Send MIDI Output

Most user interface controls in VDMX such as sliders and buttons can be configured to directly send their current value as MIDI output using the “Send” tab of the “UI Inspector” window. When configuring VDMX to drive external devices such as a Eurorack it is often useful to add a “Control Surface” plugin with customized set of UI elements that represent each of our individual CV outputs.

Steps:

Use the “Plugins” tab of the “Workspace Inspector” to add a “Control Surface“ plugin to the project.
Use the sub-inspector to add one or more UI elements (sliders, buttons, pop-up menus, etc). to the control surface interface.
Click on each UI element in the Control Surface main window to inspect it. Use the “Send“ tab of the “UI Inspector” to configure the MIDI mapping and output device.

Configuring Step Sequencer and LFOs in VDMX To Control Eurorack Parameters

Now that our Eurorack is receiving MIDI from VDMX and converting it to CV we can begin to set up our Step Sequencer and LFO plugins to drive individual parameters of our synthesizer.

Steps:

Right-click on sliders and buttons to assign data sources.

Use the “Plugins” tab of the “Workspace Inspector” to add a “Step Sequencer“ plugin and an “LFO” plugin to the project.
Use the sub-inspector to customize Step Sequencer / LFO configurations as needed.
Right click on output UI elements in the Control Surface or use the UI Inspector to route generated control data to our MIDI outputs.
Patch the MIDI module CV output to synthesizer input parameters.
Use the “Clock” plugin to adjust the overall BPM.

Once we’ve created our parameter routings on the Eurorack we can also optionally further customize our Control Surface with appropriate labels and display ranges, or continue to leave them as generic 0-1 values that are commonly re-patched on the fly.

SnapChat filters with VDMX

September 28, 2022

Using SnapChat lenses for video playback and live performance tutorial by ProjectileObjects.

Akai APC40 MK II 2-Channel VJ Mixer template for VDMX

November 26, 2021

Templates are a great way to get started with VDMX and with this template you can take an out of the box APC40 MKII and jump right in!

A few things to note about the APC40 MK II before we get started.

The APC40 MK II has three internal MIDI mapping modes.

Generic Mode (Default)
Ableton Live Mode
Alternate Ableton Live Mode

To use this template correctly, you’ll need your APC40 MK II to be set to the default “stock” Generic Mode. More information about these modes can be found here (PDF) Bottom of Page 10.

When you first turn on the controller, it will default to the correct button mapping. To reset the template to all defaults, it is recommended that you hit this button when you start the template to eject all clips and set everything to its default.

This button ejects all media, clears all the FX and syncs the LFO view to the LFO slider. (Warning: You’ll lose FX in Layer A and B if you don’t save them as a new FX chain).

Not all buttons are RGB. When clips are ready to be triggered in your media bin, the 40 RGB button grid will light up blue, then yellow when the clip is selected. You can customize these colors yourself in the media bin options:

Screen Shot 2021-09-23 at 10.28.39 AM.png

Image found on page 10, Akai communication protocol manual.

There are two versions of this template. A blank version without FX and a starter version with one layer of FX presets.

This template is structured to be a 2-channel video mixer. Both video layer A and B flow to a Master output (Projector, TV, etc.) The cross fader blends between both layers and each layer has its own FX chain presets.

The Master output FX are turned on and off by the top 8 rotary knobs. The first vertical slider on the right side of the controller labeled “MASTER” controls the master opacity. If it is all the way down, your screen output will be black. You can change this later to preference or disable it entirely.

Selecting clips for both layers A and B:

Both layers use the same 40 RGB button grid to trigger clips. To switch between Layer A and B, when selecting clips — use the first two buttons on the top right side of the grid under the label “SCENE LAUNCH” They will light up when they are selected. Top goes sets destination for Layer A, bottom for Layer B. The two buttons beneath that (Green) are page up / page down buttons for moving through your media bin. They are also linked to your Audio Analysis Filter 3 and will flicker based on your computers mic peaking. Beneath that (Yellow) is a random clip trigger.

To trigger to the next clip in the media or move up and down the media bin, redirect your eyes to the “BANK SELECT” 4 button arrow keys.

The rest of the buttons should be self explanatory based on the image above, or you can read through the “User Notes” built into the template which explains all of this and more.

Template Tip!

If you’re adding new FX to your A and B layer FX chains, make sure to save them as a preset by clicking the + in the top of the FX window. This will save your FX chain and you can assign it to a new FX preset button. You can always disable the FX layers MIDI triggers in your project until you build out the template more to your liking!

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Here’s a brief overview video of this template:

Add custom visuals to Zoom Meetings, Skype, OBS, Whereby, Google Duo, VJing in Zoom

February 15, 2021

How to use VDMX to add custom effects, visuals, and videos to a Zoom Meeting.

Introduction to using Synopsis in VDMX

January 7, 2020

The latest release of VDMX adds support for Synopsis, an exciting new open source project that puts the power of machine learning for video into the hands of media artists...

Project in Apple Motion using ISF generators and effects from VDMX

Using ISF for Motion to create video loops for VDMX and other VJ software

October 24, 2019

For VJs and other visual performers, one of the biggest parts of the job is creating your own original materials for your shows. If you like the workflow of compositing layers, applying effects, and automating values found in VDMX, the interface of Apple Motion offers a similar approach for creating visuals with the intention of exporting as movie files, at an affordable price.

Last month we introduced ISF for Motion, a new plug-in that makes it possible to use the same GLSL shaders supported in VDMX as generators and effects inside of Motion and FCP X. This includes our 200+ standard set of assets, as well as all of the creations shared on https://www.interactiveshaderformat.com/

In this tutorial we will take a look at using these ISF generators and effects in Motion to create short video loops to use in VDMX or other VJ software.

Before beginning, make sure to install both Apple Motion and ISF for Motion from the Mac App Store.

Completed project file for mixing between RGB->XYZ displacement images for the v002 Rutt Etra generator

Advanced v002 Rutt Etra Techniques in VDMX

November 14, 2018

Download the completed project file and media files for this tutorial.

One of the most fun visual effects used in live visuals and VJing dates back to the analog Rutt Etra video synthesizer which had many capabilities that have over the years been translated into digital form. Most notable among the digital versions is the v002 Rutt Etra Quartz Composer plugin which was developed by vade along with Bill Etra, one of the original creators of the Rutt Etra system. We’ve included this plugin as an FX, along with several other v002 creations with VDMX for a while now and, over the years we’ve seen a lot of projects that have made use of them… and in this video tutorial we’re hoping to teach you a few new tricks…

Before beginning this tutorial, make sure to use the v002 installer on the VDMX disk image in the Extra folder.

For this demonstration, instead of using the Rutt Etra as an FX, we have a Quartz Composer composition that generates video based on two input video streams. In this case we will create sets of hidden layers that will be used for these inputs: the Video Input will provide the colors for each particle and the Displacement Mask will provide RGB color gradients.

The main technique used here will be using an RGB to XYZ displacement map instead of a luma based displacement map. This means that we both have more flexibility for changing the positions of individual pixels, but we are now also responsible for creating the basic gradients that are needed to draw the basic image in a non-distorted way.

To accomplish this, we included special ISF compositions that are RGB color gradient generators. Each of these sketches includes three different gradients that are combined into a single output. One special feature of the gradient generators is the ability to pass in another video feed as a ‘look up table’ for one of the curves, making it possible to use waveforms and FFTs from audio analysis plugins, or any other image, as data that can modulate the output.

Once the basic setup is complete we can group the layers and add a Two Channel Mixer plugin to mix between different gradient outputs to fade the Rutt Etra generator between shapes and apply FX to the gradient images can create all kinds of different variations in the output. Here we use the VVMotionBlur effect to apply temporal smoothing to images and the Bad TV FX to create ripples.

Tips and Notes:

Audio analysis, camera inputs and other images can also be used as lookup tables for the gradients.

The Video Input will provide the colors for each particle and the Displacement Mask will provide RGB color gradients.

Use basic gradients to create outputs without distortion.

Creating a GLSL based “Random Squares Mask” FX using the ISF Editor

Making Custom Masking FX for VDMX with ISF / GLSL

October 12, 2018

Download the completed ISF FX from this tutorial

Update [Sept 28, 2019]: The custom masking effects created in this tutorial can also be used in Motion and Final Cut Pro X using ISF for Motion.

Image masking is one of the most powerful tools for digital visual artists when compositing multiple layers together. Masking makes it possible to partially or completely “remove” parts of an image so that it shows through to layers behind it. Though some media files contain embedded alpha channels for each pixel, this process is often accomplished by applying an FX that adjusts the alpha channel based on some parameters. Some of the more common masks that are used in VDMX for live visuals are:

Luma Key (Layer Mask): Adjusts the alpha channel based on the brightness level of pixels. Can use an optional external stream to provide values and includes controls for adjusting the brightness / contrast of the masking image before it is applied.
Chroma Key (Chroma Mask): Adjusts the alpha channel based on how similar the pixel color is to a specified masking color.
Shape Mask: Masks the image using patterns made from basic shapes such as triangles, rectangles, circles, diamonds.

Completed Checker Mask.fs used as an FX in VDMX

The Layer Mask FX in particular is extremely powerful because it can use a secondary layer as its input. This makes it possible to change the mask between source material, such as still images, movies, live cameras and video generators, as well as apply custom FX to the mask before it is applied.

As all of these FX themselves are written in GLSL in the ISF specification, they can also be easily remixed or used as starting points for creating new masking FX that adjust alpha channels based on different parameters. In this tutorial we’ll look at creating two custom masks: Checker Mask and Random Squares Mask.

Checker Mask

Download the completed ISF FX from this tutorial

We’ll start by using the ISF Editor to create a new shader and saving it. Next, since this is very similar to the Checkerboard.fs generator, we can use that as a starting point – the code portion from this can be copied and pasted into the Checker Mask.fs, along with some of the input variables.

Only a few basic modifications to the code are needed. Here instead of using colors for the different sections of the pattern we’ll include sliders that map to the amount of alpha adjustment. The color information will come from an input of type ‘Image’ which is called ‘inputImage’ to match the FX protocol. Finally, make sure to set the category of the composition to Masking so that it is included with the other similar FX.

Once the FX is completed we can use it in VDMX; it shows up in the list under the Masking category and each of the parameters appears as the appropriate UI element that can be automated with control plugins or sync’d to MIDI / OSC / DMX inputs.

Random Squares Mask

Download the completed ISF FX from this tutorial

For the next masking example we will begin is very much the same way. Our new FX is very similar to the Checker Mask we just created and it can be used as the starting point here. The main difference is that we will adjust the logic behind deciding which sections are masked and which are not by using some randomization.

Random value generator functions are not built into GLSL, but we can find an example of a fast pseudo-random function in the Noise.fs example that can be copied and pasted into our new FX. Other types of noise functions can be found in other shaders if you’d prefer to use those instead. Pseudo-random functions are useful here because we can get a unique output by providing the same seed value to the function. This makes it possible for a grouping of pixels that have different coordinates to access the same randomized number.

When including randomized values in shaders there are often two useful parameters to include for them that can be adjusted during live performance: (1) Random Seed (for changing the randomize pattern) and (2) Threshold (for controlling how much of the image is masked).

Here instead of using the checker pattern we will determine the index coordinates of square that contains each pixel, and use that as to generate a pseudo-random value; this value will be the same for every pixel in the same region. If this number is above our threshold, we apply our mask, otherwise, we leave the pixel alone.

Other Masking FX Tips

One of the usual options you can include when making custom masking FX is a setting for how the alpha channel adjustment is applied. Consider these possibilities:

Additive: Adds the new alpha to the existing alpha value of the incoming pixel.
Multiply: Multiplies the new alpha with the existing alpha of the incoming pixel.
Replace: Overwrites the existing alpha of the incoming pixel.
Show Alpha: Useful for creating images that can be used as luma keys, this option sets the RGB of the pixel to the alpha level.

Examples of how these three different modes can be set up can be found in the Layer Mask, Chroma Mask and Basic Shape Mask FX mentioned above.

Another useful input parameter here can be an option to invert the behavior of the mask before it is applied.

Notes:

Install custom FX to the “~/Library/Graphics/ISF” directory

Installed FX appear in their specified categories in VDMX

Visit the ISF sharing site for more starting points for custom masking FX

Creating Minimalist Live Visuals in VDMX

October 4, 2018

In this technique tutorial we’ll be looking at minimalism, one of the most popular styles used by live visual performers and VJs. Like the minimalist movement in painting and photography that was developed in the 1960s, this form is marked by its usage of geometric abstractions, negative space and mostly monochromatic color spaces. For live visuals, particularly when accompanying music, these ideas are often further extended into the dimension of time.

Using the OSCQuery Helper and MIDI OSCQuery Helper tools with Max

September 28, 2018

One of the most powerful tools for working with MIDI and OSC control data is Max, which is widely known for its easy to use interface for “patching” and working with data streams. While Max does not yet support OSCQuery natively, it is a great example of how the free OSCQuery Helper and MIDI OSCQuery Helper tools can be used to publish OSC and MIDI parameters from Max patches so that they can be remotely accessed by other software like VDMX and the OSCQuery Browser.

In this set of tutorials we’ll look at the process for adding basic MIDI and OSC inputs in a simple Max patch and then creating a JSON file that describes the routings. Once those are prepared we can see how to access these parameters using other software in the OSCQuery ecosystem.

How to control an Ableton Live project from a web browser (and other software) in about a minute

September 20, 2018

The OSCQuery Protocol is a new specification that allows live performance tools to automatically communicate its parameters for rapid setup and improvisation between performers. Along with native support within VDMX here at VIDVOX we have developed several useful utilities that make it possible for people to take advantage of these new capabilities with software that support MIDI and OSC.

In this introduction tutorial we’ll be looking at how to use the free (and open source!) MIDI OSCQuery Helper utility to publish parameters from an Ableton Live project so that they can be accessed as browsable OSC parameters from other software such as VDMX. The MIDI OSCQuery Helper also includes its own built in Interactive Web Interface which can be loaded in web browsers on desktops, laptops, smart phones and tablets to remotely control any published controls.

Receiving NDI® Audio/Video Streams in VDMX

September 4, 2018

The NDI® protocol from NewTek is a way to publish and receive audio / video streams over a network as a way to share live feeds between systems. From within VDMX, any number of video streams can be both output to the network and input from other applications.

In this tutorial we'll looking at capturing NDI® video streams that are published from other applications on the network and use them as the source for a layer. More information can be found in the VDMX manual in the section on video inputs.

Introduction To Using OSCQuery Protocol in VDMX

September 4, 2018

The OSCQuery Protocol is an extension to the OSC specification designed to make setup of communication between applications easier. Within VDMX this new protocol can be used in severals ways that we'll be covering in this tutorial. You can also read more about OSCQuery in the blog post announcing its official release.

Using OSCQuery In The Control Surface Plugin

September 4, 2018

The Control Surface is one of the most widely versatile plugins in VDMX, making it possible to create sets of custom interface elements that can be used to control nearly any aspect of your workspace or send MIDI / OSC / DMX to other systems. The Control Surface plugin also has the ability to publish its list of parameters over a local area network using the OSCQuery protocol so that other software can remotely browse and control almost any aspect of your VDMX project.

In this video tutorial we'll be looking at the basics of using OSCQuery protocol from within the Control Surface, and three ways that those parameters can be accessed from software running on other devices: using our free OSCQuery Browser utility, another copy of VDMX and a web browser running on an iPhone.

Using the Built-In VDMX OSCQuery Browser

September 4, 2018

The OSCQuery protocol makes it easy for software that supports OSC to access each others parameters for remote control, without a lengthy setup process. Within VDMX there are a few ways to take advantage of this and in this tutorial we will focus on using the built-in OSCQuery Browser window which can be used to browse the address space of a server, send OSC messages and add OSC sending elements to our workspace.

The built-in OSCQuery Browser Window can be opened from the Window menu or by using the cmd+5 keyboard shortcut. From this panel you can access, browse and search the namespaces of other applications. For each of the listed OSC address destinations at the remote server you can:

Use the provided interface control to quickly send test data.
Dragged the listed item on to UI elements in VDMX (such as sliders, buttons, and color wheels – this also works with the list of variables in the Cue List plugin inspector) to automatically configure OSC sending to the remote hosts.

Creating a 'Falling' audio level data-source using number FX chains in VDMX

September 2, 2018

Along with the basic controls of inverting values and applying basic math equations, number FX chains can used to adjust the values of data-sources before they are applied to sliders. In this example the 'Fall' FX will be applied to an audio analysis level to create a falling style before being applied to a VU meter generator.

Using VDMX to create online profile pictures

May 24, 2018

In this quick video tutorial we'll be demonstrating how to create a hacker visual style that can be used to create still images or short video loops as source material for animated gifs to use for profile pics online in situations where you want to apply some digital processing on your face for privacy or for fun.

Using VDMX to generate images that are published to Twitter by Processing.

Posting Images to Twitter Using Processing and VDMX

April 11, 2018

Expanding on our previous look into using Processing along with VDMX, in this tutorial we will look at how to use Processing to post images received from VDMX to Twitter. This technique can be used at live events, as part of video installations, or to create simple bots.

Animating Properties of GLSL Shaders in VDMX

March 9, 2018

When writing GLSL shaders that run as generators or are used as image filters, one of the most fun parts of the process is playing with different control functions to animate all of the various variables that you've created in the composition. Using the ISF specification, GLSL shaders can publish their uniform variables so that host applications can provide user interface controls that can be connected to MIDI, OSC, DMX or other data-sources for automation.

In this tutorial we will look at adapting an existing GLSL shader into ISF, publishing some of its variables as uniforms, and loading the composition into VDMX where we will animate its properties using a variety of different plugins and MIDI input.

How To Create A Classic Music Video “Zooming Feedback” Style Effect With VDMX

February 20, 2018

One of the classic analog techniques for creating amazing visuals was to create video feedback loops. In previous tutorials we have covered the basic idea of how to reproduce this idea within VDMX by using groups and layer taps. In this lesson we'll look at how to take this idea to the next level by introducing composition with alpha channels and masking.