Virtual Studio Technology

Yeah.

I mean, I do a lot of stuff with VSTs as well.

Like loads of VSTs.

But sometimes, like if I'm not on a deadline or something, I can just kind of just experiment and just see what happens.

And I would just... start a little sequence on here i mean because of the modular so i've got a big i can't really see it here i've got a bit a little kind of modular system here and that takes a while of just experimenting just to see what happens you know and i did i did a track um or probably a few months ago now where i was lucky enough i had this little sequence here i just got two sequences here and i had the steps kind of controlling um the scale tool here going out to my I got a rings, which is like a physical modeling thing.

And just because on that particular day, I didn't really have a deadline.

So I was able to do that.

But often, yeah, I'll still use loads of VSTs.

And I know exactly on the computer you have endless possibilities.

But a tip, guys, if you're listening, what I used to do to solve that is disciplining yourself to just saying, okay, I have all these VSTs and all that.

Can I make attractors using like only Ableton stock plugins? Of course.

You set your own

I saw on one of my audio pages on Facebook this guy who said, I've got this piece of hardware from the 70s and I managed to find the schematic for it.

And so I threw the schematic at Claude and said, build me a VST plug-in based off this schematic.

And within five minutes, boom, done.

VST version of this hardware...

what's vst stands for bruce we're not nerds

virtual studio technology it's um a format of plug-in that you use in an audio suite just like you have plug-ins in photoshop

...que cualquier otro.

Oye, y, este, y entonces todo es ambiente VST, todo el tema es in the box.

O sea, no, no metes hardware.

Sí, ca-casi, casi VST.

O sea, de repente-- bueno, hay temas-- tengo un tema que, que hice solamente así como con puras armonías de-- no sé si han escuchado el término de happy accident a la hora de producir.

Claro.

And then it got stomped on, um, Roland sued and it got discontinued.

And so somebody has gone and, uh, Looked at the code for that, deconstructed it, and rebuilt VSTs with separate outputs for each of the units in the little screen.

So you can now stick, you know, fab filter on it and high-quality echoes and delays and stuff.

Sounds pretty good and runs pretty fast.

And imagine there are, uh, there are some, uh, business models that are, uh, being, like, ruined at the moment.

For instance, take, uh, take the, uh, VST company who makes-

Mm

... a business, uh, m- model in a way that, uh, we, we sell you a plugin and then, uh, we consider selling, uh, some updates or, uh, some, uh, extra features, for instance.

Wow.

He had, he has zero, he has zero experience in, uh, in coding and in, uh, basically in music technology.

He showed me nicely sounding, uh, VST instrument that, okay, okay, it doesn't have integration with, uh, with large, uh, uh, uh, platforms or so.

So it's an app, but, uh, to integrate it with, uh, with...

You can use it to kind of like build a riser almost.

And as technology has kind of been advancing and I've been getting my feet wet with like Ableton Maps for live devices and being able to create VSTs, that's one I had in my The back of my head that I've always wanted to make, I feel like a lot of producers have probably had like a plug in somewhere in their mind.

They're like, oh, it'd be really cool if they had this.

And now we have so much cool stuff where it's like you can kind of realize that that vision.

And you have the accessibility to explain to something what you want the code to do, and then the code's going to do that.

So that's kind of where I started playing with Max for Live in general.

And then my next thought is like, well, why are we limited to Max for Live devices if we have all these amazing tools? And that's where I started to look into what's possible with creating your own VSTs and plugins.

And it's not as nuanced as you might think.