video upload by Emiliano
"One practical note: listen to this on monitors or proper headphones. Most of what the machine does lives in the low end and in the stereo field, and laptop speakers will simply delete it. Loud is not necessary, full range is."
This one was spotted and sent in via Ivan Trajkovic aka deejayiwan. There are 21 videos in the playlist above. They mainly focus on AE Machine as a whole, but video 7 is focused on Oxide. You'll find the full video descriptions for the first and seventh videos further below. You can find full details on AE Machine at https://www.peamarte.it/ae - Oxide in chapter 52 of the user manual.
In short, AE Machine (estimated release date of October 2) consists of:
"Eleven synthesis voices built from scratch at sample level, five samplers, two free-running pads. A sequencer where a 16 × 16 Markov matrix decides which step may follow which, a note sieve that re-orchestrates the pattern when you transpose it, a chaotic modulation matrix reaching 271 parameters, morphing between any two presets, and a stem recorder that writes twenty-six files in one press. It runs in Max/MSP 9 on macOS and Windows, and playing it requires no paid Max license: an unlicensed copy of Max opens and runs the machine in full.
This is not commercial software in the ordinary sense. It is my working method, the environment I built night after night for my own music, packaged so that you can play it. When you get it, you are getting research: the reading, the listening, the failed versions, the decisions. The manual is a hundred pages and it is already here, whole, free to read. Trust your ears over any paragraph in it."
The following is the description for the first video:
"One practical note: listen to this on monitors or proper headphones. Most of what the machine does lives in the low end and in the stereo field, and laptop speakers will simply delete it. Loud is not necessary, full range is.
This video is a lshort session with AE Machine, mostly hands off, and it shows the side of the instrument I care about most.
The machine is built for architectural sound: dense structures where eight computed voices, modal plates, membranes, strings, share one metric grid while a Markov chain decides who speaks and when. Nothing is looped, nothing is sampled from records, everything is physics solved in real time. When you let it run, what emerges is closer to a building than a beat: layers with different lengths holding each other up.
But the timbral character can be pushed to two very different places. Driven hard, with the feedback matrix open and the codec effects biting, it sits firmly in avantgarde territory, percussion as pure gesture and material. Slowed down and worn through the tape return, the same voices start sounding like early electronics and musique concrète, closer to a fifties studio full of oscillators and razor blades than to anything with a drum machine badge on it. Same engine, no presets swapped mid take. The distance between those two worlds is a few knobs.
That range is not an accident. The voices were tuned by ear against decades of this music, and the machine ships with both temperaments inside.
Recorded in one take, no external processing.
AE Machine / out Soon / Manual and details: https://www.peamarte.it/ae"
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The following is the description for video 7 on Oxide:
"What you hear is not a preset and not an effect chain. It is a loop recorded into AE Machine's circular buffer, played back through OXIDE, the machine's tape processor, and left alone while the tape wears out.
OXIDE is unique in one specific way: it models memory. The tape remembers how many times it has been played. With DISINT engaged, every pass costs the recording some top end and some level, and nothing is ever given back. The loss is one process with four symptoms, the way it is on real tape: the highs collapse, dropouts get deeper, the hiss rises to meet the sinking music, and the transport slowly loses its grip. Slow the spool and the pitch, the bandwidth and the flutter all fall together, because on a tape machine they are the same thing. Underneath sits a dispersive spring reverb, two cross-fed tanks, which is where the retro-futuristic colour comes from.
A counter on the panel shows the time left before total degradation. The recording itself is never harmed: switch off and you have threaded a fresh reel.
At slow spool and full disintegration this is early electronics territory, tape music and musique concrete made with physics instead of samples.
Note that at the end of this video I physically adjust the tape speed, so the sudden drop in speed you hear is caused by my manual intervention. If you leave the speed untouched, it will simply sound like a Revox that needs maintenance — the effect is very natural.
Full details in the manual, chapter 52, Oxide: https://www.peamarte.it/ae/_Machine_M...
AE Machine, release October 2: https://emilianopennisi.gumroad.com/l..."
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