The Valhalla Delay stands out as a remarkable tool, earning its place as a true masterpiece in the realm of in-the-box sound design. Now, it has been expanded with two new algorithms: Chroma Tape and Analog. Previously, I stated:
“Unless Valhalla DSP programs more algorithms, Darker Trilogy includes everything I have to say about the wonderful Valhalla Delay.”
Clearly, it was only natural to create new presets, right? Now, the Darker Trilogy has evolved into a Quadrology!
Experimental Sound Design Preset Collection for:
Valhalla Delay v3.0.0: Darker 4 – Memoria 32Prestes, 3 Preset categories: Memoria (Chroma Tape & Analog only) Memorium (Chroma Tape & Analog only) Raum der Zeit
For those seeking deeper, more resonant tones, the Darker Trilogy Experimental Sound Design Preset Collection for the Valhalla Delay has always been the perfect solution—and it continues to be, now enhanced with my new preset pack: Darker 4 – Memoria. This carefully curated collection offers a vast range of options for reverbs and delays, enriched with spatial depth, temporal flexibility, and intricate modulation possibilities. The presets *Memoria* and *Memorium* focus exclusively on the two new algorithms, transforming (incoming audio, such as vocals, field recordings or) even a simple chord into something truly exciting. As an add-on, you’ll get creative presets for Supermassive and Vintage Verb.
Darker 4 – Memoria is designed for plucks, pads, and leads (essentially everything). Some presets are crafted to be upfront and prominent, while others evolve slowly over time, as drones typically do.
General advice for using these presets: 1. Patience is key; allow the presets time to evolve and bloom. 2. Use a limiter. 3. Adjust the mix and/or other settings to suit your taste. 4. Most importantly, have fun!
When integrating these presets into your projects, feel free to use them as either insert or send effects. For installation, refer to the guidelines provided in the appendix.
As you might know, I do not do sponsorships. However, if you do not own the Valhalla Delay, I recommend purchasing it to offer your support: valhalladsp.com/shop/delay/valhalladelay
I met Tilman when he sent me a demo of his album, which was set to be released as «SFAIRA» on my label EndTitles under Tilman’s pseudonym Werken at the beginning of 2022. At the time, I was working on the structure for what would later become “Shapes (for a Name)” in Ireland. I listened to Tilman’s demo and promptly called him in Berlin. It was simply good, and I had to tell him personally! The rest is history…
Tilman is versatile as a musician, lecturer, and producer. He also programs many exciting tools with Max/Max for Live (Cycling’74/Ableton). His catalog on Gumroad contains 37 plug-ins in total. These include sequencers, loopers, granular modulators, MIDI tools, synthesizers, and other helpful tools like an ear trainer or a virtual keyboard. All are well-programmed and I highly recommend. Each has its place in music-making or sound design. I will introduce ten of them.
A few weeks ago, Tilman’s latest bundle, the “Max for Live *seq Bundle 3,” was released, from which I will present five interesting sequencers. Following that, I will introduce five more plug-ins that I find very useful for innovative sound design. At the end of the article, I will give away 15 copies of Tilman’s «SFAIRA». Simply follow the link, enter the code on Bandcamp, and download the desired format. First come, first serve.
My selection focuses on tools that I personally use. I could also include Tilman’s synthesizer plug-ins, but that would go beyond the scope of this article. Anyways, they are all available on Gumroad.
As you might know, I do not do sponsorships. However, if you do not own Tilman’s plugins, I highly recommend purchasing them to show your support. They are not expensive, and your support demonstrates appreciation for his work.
*sq01 is a simple monophonic step sequencer with pitch, velocity and note length settings. The frequency of the main pulse can either be defined by an independent clock or synchronized with the DAW host. In this case, a grid-based note value serves as the pulse. Furthermore, the pulse can be split into different subdivisions; the resulting events can be activated individually and additionally assigned a probability.
As the plugin is used as a MIDI FX, multiple devices can be used consecutively in the same track to create polyphony. Further documentation can be found in the Max for Live device if Ableton Live’s Help View is turned on.
*sq05 is an Euclidean sequencer with two individual voices in which up to 16 events can be activated. The events played are selected by distributing them as evenly as possible over the maximum number of steps. Pitch, velocity and length value are assigned to each voice. Alternatively, a sequence can be recorded in advance, the pitch values of which are assigned to the individual events. The velocity values of the individual events can also be randomized.
Both voices can be set independently of each other in terms of their number of possible steps and events, or linked together so that the same settings are made in both units. Alternatively, it is possible to have the second voice play the initially omitted events as a counter voice. Furthermore, the order of the individual events in the sequences can be influenced by rotating them in different directions or arranging them randomly. In addition, weighted randomness can be used to define whether all activated events are actually played.
By default, the main pulse has the length of a 4/4 beat and runs synchronously with the DAW host. However, the speed of the clock can be changed without being bound to a specific grid. Further documentation can be found in the Max for Live device if Ableton Live’s Help View is turned on.
The concept of this device built in Max/Max for Live (Cycling’74/Ableton) was inspired by a video from the Max Sequencing Tutorials Youtube series by Philip Meyer in which the concept of Euclidean Rhythms is explored and demonstrated. Parts of the patch explained in the video are also used in this Max for Live device.
Requirements: This devices requires Ableton Live (version 11 or later) in combination with Max for Live (version Max 8.3 or later).
*sq08 is a sequencer in which two voices follow different cycles but are still linked to each other. Each voice can be assigned an individual pitch, velocity and length value. The first voice defines the main cycle, which consists of evenly divided events that are continuously triggered and and whose division is in ratio to the set clock.
In the second voice, a subdivision with initially evenly triggered events can also be set, which is maintained for as long as possible. At the end of the main cycle, however, the cycle of the second voice is also forced to reset, so that the last step of the sub cycle is shortened if the two cycle sizes cannot be divided without a remainder. The subdivisions of the two cycles can be set automatically, whereby up to four consecutive sizes can be set, which can change at different intervals.
The events can be emphasized differently in groups of two and can also be provided with different dynamic courses within their cycle. Further documentation can be found in the Max for Live device if Ableton Live’s Help View is turned on.
*sq09 is a random pattern generator whose patterns can contain up to 32 events. After selecting the pitch and velocity range, the pitch and velocity values can now be played in a randomly generated sequence in a loop. New patterns that play the sound material in a different order can be created manually or automatically.
The loop sizes that define the restart of the pattern can be set individually for the pitch and velocity values, so that interesting accentuations with rhythmic shifts can be created. The events can have a variable course in terms of their note length within one or even several cycles.
In addition, a global length and probability value can be set for all events. Further documentation can be found in the Max for Live device if Ableton Live’s Help View is turned on.
*sq10 is a MIDI-based note generator that can play up to eight different notes in individual cycles. All parameters, such as pitch, velocity, length and the probability of playback, can be set, changed and randomized very quickly and intuitively in a graphical user interface.
The loop lengths, which can be set individually for each note, always refer to a clock whose frequency can be synchronized with grid-based note values with the DAW host or can be set independently of this. The start point of each loop and the clock-independent internal speed of each loop can also be easily manipulated in the same way. In addition, each loop can be individually faded in or out. Further documentation can be found in the Max for Live device if Ableton Live’s Help View is turned on.
*4-track is a virtual multitrack tape machine. Four different buffers can be randomly or selectively populated with samples from a folder with an arbitrary number of samples. These samples can be played and looped in full or a selected length.
Within each of the four loop players, the respective sample can be played simultaneously at two different speeds and directions. Randomly chosen loop selections can be constantly generated as part of a smooth transition using fade-ins and fade-outs with no interruption.
Many of the parameters like speed (and thus pitch) or amplitude can be modulated. Furthermore, the level and panning can be modulated in various pair combinations of the sample content, so that new textures, ambiences and soundscapes will be permanently created. Further documentation can be found in the Max for Live device if Ableton Live’s Help View is turned on.
*chill is a spectral sound processing audio effect which freezes small chunks of an audio signal at a chosen time. The incoming audio signal can be recorded (i.e. frozen) at four different points. The frozen and constant held parts can be provided with different gain and panning levels as well as being modulated indivually by amplitude and pitch modulation. Additional spectral gates can be applied to each recording buffer before the freezing process.
The process of spectral analysis and synthesis is realised by a Fast-Fourier-Transform (FFT) algorithm also using some Jitter objects for processing and as storage. Further documentation can be found in the Max for Live device if Ableton Live’s Help View is turned on.
A scientific article entitled “A Tutorial on Spectral Sound Processing Using Max/MSP and Jitter” including some related Max example patches by Jean-François Charles served as main inspiration for this device.
*freeze is a sound processing audio instrument which freezes audio input signal. The processed audio sample will be looped and can be played polyphonically and pitch- and velocity sensitive like a standard sampler instrument.
The incoming audio signal, played back in real time, can be processed (i.e. frozen) on demand. It is possible to exchange the buffer content each time while generating new material or to overdub existing material to be mixed with the continuously incoming audio signal. Alternatively an audio file can be loaded into the buffer in full length to be processed at one go. The frozen and constant held parts can be provided with different gain levels. An additional spectral filter gate can be applied to the recording buffer before the freezing process.
This device is built around an external object entitled [vb.freezer~] developed by Volker Böhm (https://vboehm.net), serving as the core. Further documentation can be found in the Max for Live device if Ableton Live’s Help View is turned on.
*loop is an 8-voice sampler which plays back pre-recorded audio material and creates loops of different structure. The speed of the loop can be set either independently or it refers to the pitch of the corresponding note. The loop can be selected manually or in random position with a fixed loop length. The loop length can also be synchronized to Ableton Live’s tempo settings.
Scrubbing through the sound file is possible without clicks and glitches, as each selected loop is played as a new voice, while the previous loop is allowed to decay in the desired time. The successive loop courses can be crossfaded to smoothen start and end points. Hereby each loop consists of two parts which run in the same or in different directions, which can be detuned individually and which fade times can be varied.
Furthermore, an envelope can shape the individual voices or the polyphonic overall sound. Further documentation can be found in the Max for Live device if Ableton Live’s Help View is turned on.
*trig is a polyphonic granular sampler which processes pre-recorded audio material in the form of synchronous granular synthesis. Various parameters like trigger frequency, grain length, sample position, pitch and panning can be set, individually.
All parameters can be modulated individually by envelopes which can be furthermore linked to the same settings. Eight different window types can be chosen for a windowing function that shapes individual envelopes for the generated grains.
Further documentation can be found in the Max for Live device if Ableton Live’s Help View is turned on. This device contains an external object entitled [cm.indexcloud~] from the Max package ‘petra’ built by Matthias Müller at ‘circuit.music.labs’.
*ring is an instrument whose sound generation is based on amplitude modulation and ring modulation. For the carrier and modulator sections, individual samples can be loaded into the corresponding buffers.The samples in both sections are looped continuously; the lengths and positions of the loops can be randomized permanently or changed manually.
All loop parameters such as ‘loop length’, ‘loop start’ or ‘loop end’ can be mapped and automatized. A switch activates the continuous output of the processed sound. Further documentation can be found in the Max for Live device if Ableton Live’s Help View is turned on.
*speq is a spectral processing audio effect, inspired by a Cycling ´74-tutorial-patch entitled “Forbidden Planet” by Gregory Taylor. It is based on a frequency-domain signal processing technique.The input signal is converted to a frequency-domain signal using the Fast Fourier Transform (FFT) to be processed. The resulting signal is then converted back to a time-domain signal using the inverse FFT (IFFT).
The spectrum to be processed is divided into four sections which can be individually controlled like operating a graphical EQ which also can be randomly modulated by automation. While every section contains the same maximum number of 32 bands or bins, the FFT’s window size differs in each window, as in the low frequency range even small differences can be heard much more clearly than in the high range (e.g. 50 Hz >> 100 Hz = 1 octave | 2000 Hz >> 2050 Hz less than one semitone step).
Further documentation can be found in the Max for Live device if Ableton Live’s Help View is turned on.
Legal: All devices built in Max/Max for Live (Cycling ´74/Ableton) is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Attribution: You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
NonCommercial: You may not use the material for commercial purposes.
ShareAlike: If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original.
Tilman Ehrhorn
BIOGRAPHY
Tilman Ehrhorn works as saxophonist, woodwind player, composer, sound designer, producer and musical supervisor. He also teaches as professor for music design and music theory at the SRH Berlin School of Popular Arts (formerly hdpk) in Berlin.
In addition to his regular work in theatres and on TV, radio and CD productions, he participated in numerous ensembles as a soloist and composer at performances in jazz clubs, festivals and on concert tours in Germany and abroad. During his university studies in the Netherlands and Germany, which he completed with a diploma, he also took lessons with renowned jazz musicians in New York/USA and throughout Europe and toured numerous workshops.
An important collaboration resulted with clients such as the Goethe Institute, the German Foreign Office, the Landesmusikrat Niedersachsen (Music Council of Lower Saxony), Thalia Theater, Berliner Ensemble and Hamburger Kammerspiele, ensembles such as NDR Bigband, Hamburger Sinfoniker, L’Atelier d’Orchestre and musicians such as Wayne Shorter, Brian Blade, Nils Wogram, Albert Mangelsdorff, Roger Cicero, Barry Finnerty, Wolfgang Haffner, Maria Schneider, Django Bates, Gitte Haenning and many others.
In addition, his activities extend to the field of electronic music. Besides the release of several CDs of a solo project, which received international attention, he creates remixes for various artists, produces demo songs, programs sounds and develops music software.
Furthermore, he is active as a producer, composer and music director of audio book, radio play and TV music. He has worked together with clients such as NDR, rbb, Deutschlandradio Kultur, arte, Der Hörverlag, Random House Audio, Der Aufbau-Verlag, Berliner Synchron and speakers such as Oliver Rohrbeck, Uwe Friedrichsen, Helmut Krauss, Andreas Fröhlich and many more.
Give-away
As promised, I will give away 15 copies of Tilman’s «SFAIRA». Simply follow the link, enter the code on Bandcamp, and download the desired format. First come, first serve.
It is accomplished – Darker turned into a trilogy! After Darker and Darker 2 here comes the third and final part of the Darker Trilogy. Unless Valhalla DSP programs more algorithms, Darker Trilogy includes everything I have to say about the wonderful delay.
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The Valhalla Delay stands out as a remarkable tool, earning its place as a masterpiece in the realm of sound design. It consistently ranks among my top go-to delays, especially when I need to add depth and experimental texture to my projects on the computer. This versatile plugin shines with its ability to perform ducking, pitch shifting, and tape emulation, offering a broad spectrum of features that cater to an extensive range of sound design needs. Its sound quality is nothing short of spectacular, delivering exceptional clarity and richness that can transform any audio piece.
For those seeking a deeper, more resonant tone, the ‘Darker Trilogy’ Experimental Sound Design Preset Collection for the Valhalla Delay is the perfect solution. This carefully curated collection provides a vast array of options for both reverbs and delays, enriched with spatial depth, temporal flexibility, and intricate modulation possibilities. I have personally recreated some of my favorite presets from the Meris LVX, as well as from another beloved delay of mine, the Strymon El Capistan, with the intention of taking a step forward in sound innovation. These two pedals are essentials in my toolkit, indispensable for my work.
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Darker 29 Prestes, 5 Preset categories: Art von Realismus Geisterwelt Schattenwelt Schauplatz SOS 666
My general advice is to operate at a low volume level and use a limiter since some presets (Void & Rückkopplung) are extremely experimental.
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The ‘Darker Trilogy’ is designed for Plucks, Pads, and Leads (essentially everything), comprising three sets of 29 presets each. Some presets are crafted to be upfront and prominent, while others evolve slowly over time. This is especially true for the Schattenwelt, SOS (Sound on Sound), and Void presets, which are designed for layered, evolving sounds. Patience is key with these presets; give them time to evolve and bloom.
Darker 3 introduces three new segments: Gratifikation, which is great for diffused reverbs and delays; Im Zwielicht (Darker 2 Artefakte has been taken a step forward), which is ideal for experimental works; and Rückkopplung, which is perfect for feedback effects. No trigger is needed, as the presets are self-oscillating. My general advice is to operate at a low volume level and use a limiter. Have fun!
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When integrating these presets into your projects, feel free to use them as either an insert or a send effect. Dial in the right amount of mix and adjust the settings to suit your taste. For easy installation, refer to the guidelines provided in the appendix (Bandcamp).
Owners of Darker & Darker 2 get the upgrade for free. My Bandcamp supporters, as always, get everything for free. Thank you for your support. Please refer to the guidelines provided in the appendix (Bandcamp).
As you might know, I do not do sponsorships. However, if you do not own the Valhalla Delay, I recommend purchasing it to offer your support: valhalladsp.com/shop/delay/valhalladelay
An Moku 