Any news about a major update to Battalion?
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Possibly a bug, I’m having a constant output signal on one particular voice, although nothing is triggered and no sequence is running.
Since I’m new here I’m not allowed to attach, so I uploaded the patch (.uap) to a hoster, here’s the link > https://fileport.io/gNAQSmkWPy8n
The voice is sitting on slot 5, I cleaned up and turned off everything else. Occasionally you can already hear it right after loading the preset. If it’s not already there it will most likely (not to 100% though) appear after running the sequence a short while and then stop it.
The sound is coming from the Synth engine (Reson), turn it off and the signal’s gone, also vice-versa.
It seems that LFO1 modulation of the “Material” parameter is causing it. At least the signal disappears after removing that modulation.
(BTW: it’s kinda hard to find out what you’re modulating with what, a clearer indication or a little overview matrix would be quite useful)
I’ve had cases where it reappeared nevertheless, though that was yesterday and for some reason I can’t reproduce it anymore today lol. But that made me think it might (also) have to do with modulations from within the sequencer. I assumed “Variation” and/or “Probability” might be the guilty parties.
Anyway, just reporting. Maybe I just did something stupid I’m overlooking now lol, that’s why I’m providing the patch.
Great and very inspiring drum machine, by the way!
If Battalion is going to be further developed and improved, I don’t think there’s anything else that could beat it.
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We’re waiting on PA to release 1.0.4 (linked earlier in this thread Unfiltered Audio - Battalion (soft drum synth) - #136 by trickyflemming) to fix the two major crash bugs. After that, 1.0.5 will be a raft of tweaks and bug fixes. Once everything is stable, we’ll start getting the new features in place including the engines that were cut just before release.
Thanks for the report! Just downloaded the patch and will investigate in a moment.
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Thank you for suggesting this - absolutely agree, just haven’t had a moment to raise the issue! 
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Okay so this is fun, and I’ll need to figure out an elegant fix for this. Essentially, Reson is different from the other models in that we can’t calculate when the model is “done” since it uses a pinged filter instead of a stable oscillator (or bank) with an envelope. We could do calculations as to the length of the filter ping, but we would need to frequently recalculate it whenever variables change, so it’s cheaper to use an RMS meter connected to a timer to detect when the filter has been silent for long enough.
In your patch, you’re hitting the filter bank’s frequency spacing parameter (MATERIAL) with an 80 Hz LFO. It doesn’t always keep the filter oscillating, but apparently there is some param combo lineup that hits it just right (I agree with your assessment that Variation is probably the reason that this isn’t consistent).
So, the crux of this fix is that you’re intentionally adding additional oscillation/resonance to the filter bank by hitting it with audio rate modulation (and getting good timbre out of it), but there isn’t a straightforward way to then figure out when it’s “done”. I’ll talk this over with @amusesmile and see if we can figure out an elegant solution for this.
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Is there any chance the randomisation amount might move to a global always visible control rather than hidden in settings? This will sound silly but that would probably make me buy this! I love the randomization but going into settings to adjust the amount all the time kills my vibe
Big up to you, I really appreciate your transperancy and openness here.
I wish other developers would have the bravery & generosity to communicate so clearly and openly with their customer base as you’ve been on here.
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Thanks a lot for the detailed explanation and insights to what’s going on “under the hood” here. Very much appreciated!
Sounds it might be tricky to find a solution for this.
First thing I thought when you said the Reson model “uses a pinged filter … with an envelope” that it might be possible to implement some sort of EOC, end of cycle trigger whenever that “envelope” completes its’ stage(s), in order to determine when the model is “done”.
But that’s just what initially came to my mind, and most likely doesn’t make any sense at all 
After fiddling around some more with this, stopping the LFO in this particular case might make more sense. That’s not very elegant, and of course I got no clue how much effort it would take to do this.
But when creating a new patch with nothing going on except some steps in the sequencer, and one Reson voice with an LFO modulating the Material, then it seems it comes down to this particular modulation.
With a “Smooth Random” LFO there’s no signal anyway, same for the other LFO types when using reset modes “Sample and Hold” and “One Shot”.
So “Free Run”, “Always Reset” and “Soft Reset” modes on the first three LFO types are leading the signal.
(currently got no screen capture with audio, but you can see the signal)
Just thought it might be a (temporary) fix to stop the LFO(s) along with the sequencer. Only on Reson voices of course, and under the condition that an LFO is modulating the “Material”.
But in the end I don’t really have a clue about it
Just loud thinking 
BTW, how does one manage updates with Unfiltered Audio / Plugin Alliance stuff? the install manager doesn’t seem to offer updates or version information…
Excellent question, and one I don’t have an answer for. I just got a message from PA that 1.0.4 (the above crash fix) is now officially on their installation manager. They publicly announced that they’ll be transitioning everything away from the PA Installation Manager and onto Native Access, but I have zero clue as to the timeline on that.
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loving this plugin so far. very easy to get it into autechre-like territory 
the “glitch” parameter in the delay is super nice, usually i mess around a lot with external modulation and delay plugins to get this kind of sound and it’s great to have it directly built in.
one thing that strikes me as odd is that the maximizer is always after the send fx. i mean it kind of makes sense, but it really blows up those reverb tails.
would be cool to have a way to get it just on the submix of all dry signals. or alternatively route the send fx to separate outs.
then again i do enjoy the sound of blown up reverb tails, especially with the choke feature (brilliant!). there’s a lot to love about this thing, especially if you’re into more experimental electronic/“computer” music .
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Does anyone have both Visco and Battalion (and maybe Triaz too)?
I’m interested in thorough and detailed comparisons by experienced Elektronauts!
I can only afford one of these. It will be to supplement an existing, fairly simple workflow in Ableton (using Simpler/Sampler).
I know you can trial each program etc. I’d like to hear other’s views as well though!
All 3 programs seem amazing, need help deciding!
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great question, I’d also like to hear this feedback/ comparison.
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I don’t have Battalion but have Triaz. Triaz is strictly sample based so there’s that. I also looked into the sequencer comparisons and from what’s on paper for Battalion, Triaz may have a more feature rich sequencer. But that’s my observation from afar
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All three have trials - give 'em a go!
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+1 to what @Claid sad above - just check out the trials
but they’re all quite different in what they do, hard to compare them (apples & oranges etc).
battalion -> totally unhinged drum synthesizer with samples layered on top, crazy performance macros, basically its own experimental groovebox
triaz -> sample playback engine that allows you to layer 3 samples on top of each other, comes with bazillion drum one shots and readymade kits as factory content.
Visco -> you can chuck a few samples in there and mouse around to make them sound kinda… bad? idk, i really didn’t feel this one. super gimmicky but ymmv
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Oh and to add my own experience:
Triaz is great but I don’t need a software sampler so didn’t buy it. Excellent sample library.
Battalion is an incredible do-it-all groovebox of samples and synthesis and thick layers of effects. It sounds like Flying Lotus: Los Angeles with no additional processing. I want it.
Visco is a bit of a sleeper hit with me - I love being able to chuck samples in, have them sound almost exactly the same (including vocals) and then blend them with other samples. I love how the presets take up a fraction of the space of the original sample. I love making kits for it but don’t like the tuning going wonky when blending between sounds. Bought it.
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Nothing very important but I think the popups for sample loading are overly large. With a common 1920x1080 monitor they eat up the entire screen.
Means you need to scroll up and down quite often, when you’re inside folders that contain many samples. Also simply feels a bit awkward.
Quick question: Is it currently possible to unlink the sequencer transport from the transport of the DAW? In a new track I’m using Battalion as a sound source that receives Midi from Logic’s Drummer and every time I open the session Battalion defaults back to starting the sequence when the DAW transport starts. Once I turn it off, it stays off for the duration of the session, but once the sessions is saved and closed, the state returns to playing automatically when the sequence starts.
It’s a small thing, but it would be nice to be able to set the behavior and know it’ll stay that way.
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YES! Please add the ability to turn/unlink sequencer transport from the DAW, its super annoying when opening an existing project and having them all (using more than one instance) playing at the same time!
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