Hit’n’Mix RipX DeepCreate

Hit’n’Mix add recording features to RipX with the new DeepCreate module.

Hit’n’Mix made quite a stir when they rebranded their Infinity software as RipX. Sam Inglis reviewed the initial two RipX modules — DeepRemix and DeepAudio — in the September 2021 issue of SOS and was very impressed by the quality of DeepRemix’s stem separation process, while DeepAudio provided audio repair/editing tools and an intriguing harmonic editing environment. RipX is sold as a tiered product; at the lowest price point is DeepRemix, while the more expensive DeepAudio tier includes the DeepRemix module. However, the subject of this review is a third module Hit’n’Mix have now added to the RipX ecosystem; DeepCreate. In terms of pricing, this provides an additional tier sitting between the two earlier options.

With stem unmixing and audio repair/editing/restoration, DeepRemix and DeepAudio are undoubtedly of interest to musicians, music producers or audio editors, but they could perhaps be considered niche tools for niche tasks. However, Hit’n’Mix have a somewhat broader target in their sights with DeepCreate as the module enables the recording of both audio and MIDI sources. So, is DeepCreate taking RipX in the direction of a DAW? Well, yes... but also no... Let’s explore.

Rip It Up

In RipX terminology, a Rip acts as a project‑level container. Within a Rip, as well as a ‘master’ layer encompassing all the content, each individual sound element — whether a stem from the unmixing process or new content recorded directly into RipX — is held as an individual layer, RipX’s equivalent of an audio or MIDI track in a conventional DAW. There is one significant difference, however: RipX’s layers do not contain conventional audio clips or MIDI sequences but use a proprietary format to capture the nature of a sound. Import and export of a range of familiar audio and MIDI formats is fully supported, though; this propriety format is for internal use only.

It’s the visual representation of this proprietary format that dominates the central portion of RipX’s UI, where the changing pitch/frequency content of each layer is displayed using something akin to Melodyne’s ‘note blobs’, while unpitched elements (formants within vocals, for example) are shown at the base of the of the panel. Usefully, the content for each layer — pitched and unpitched — is colour‑coded, making it easy to identify specific sounds within your project. In addition, if you select a specific layer, its note blobs become highlighted within the display. Content based upon audio or MIDI sources is represented in a similar visual fashion and, interestingly, there is little or no separation of the tool sets used for their editing.

Organised around this central display — and with a layout customisable by the user — are a series of panels, each dedicated to specific functionality. These include both a Rip and a Layer panel. The former provides a list of Rips available (you can group a series of Rips into a list), while the latter shows the layers contained within the currently selected/opened Rip. You can have up to three Rips open at any one time, making it easy to copy content from one Rip to another.

The other panels include an Interactive Help panel (very useful for new users) and existing DeepRemix or DeepAudio panels whose functionality now also has a role in DeepCreate. For example, the Pitch panel and Presets panel already allowed you to apply pitch and effects processing respectively to layers within a ‘ripped’ (unmixed) audio file. These are processing options that can now also be applied to layers you have recorded yourself via DeepCreate.

Get Creative

The primary purpose to the new DeepCreate module is to allow you to record your own sonic elements into RipX, whether to add to a previously ripped recording or by creating a project from scratch. The key functionality added by the module is contained within two panels; Inputs and Sounds. As with all the other panels, the display of these panels can be toggled on/off via the Panels entry in the main menu.

When recording, the Inputs panel lets you configure your input type for any selected layer.The Inputs panel shows the available audio or MIDI devices (including any that support MPE) for recording directly into a Rip project. After selecting a layer within the Layers panel, you can then pick the required input for that layer — audio or MIDI — from the Inputs panel. Incidentally, RipX’s MIDI recording operates in an ‘always on’ fashion; if you noodle on your MIDI keyboard, anything you play is automatically recorded within a special Practice Clip. You can dip into this to retrieve something interesting and copy it to a suitable layer should you wish to use it.

In the Layers panel, the entry for each selected layer now includes a Record button (as does the main transport panel at the top of the UI). For audio recording, you can simply click on this to initiate a one‑bar count‑in and recording will then start via your selected input. When you stop recording, RipX analyses the recorded audio and then displays the resulting ‘note blob’ representation.

After you have selected both the input and layer, MIDI recording requires the additional step of selecting a sound from within the Sounds panel. This panel shows the stock sample‑based sounds of various common instrument types that are supplied with RipX, but there are some interesting options when it comes to adding sounds to this list that I’ll get to in a minute. If you hover over a sound, a slider appears allowing you to adjust the percentage contribution of that sound to be used. As you can select more than one sound, in essence, you have the ability to blend multiple sound types in whatever proportions you might wish. With your sound(s) selected, engaging the Record button on the chosen layer then activates the recording process.

In use, both recording types get the job done, but there is undoubtedly something a little quirky (or perhaps I mean ‘not DAW‑like’?) about the process. Compared to a modern DAW, there are also some limitations. For example, in the v6.0.3 and v6.1.0 releases I used during the review process, there is no support for multi‑channel audio recording; you can only record a single audio track at a time, although you can record both a MIDI source and an audio source simultaneously if required. For a solo musician recording their own projects, this might not be a significant issue, but it obviously means you could not currently see RipX/DeepCreate as a platform for tasks such as a full band or multi‑miked drum kit recording.

Sound Expansion

The Sounds panel offers some interesting sound blending options as well as the ability to import sounds from VST instruments for use within RipX.As Sam mentioned in his earlier RipX review, the Sounds panel offers the rather intriguing ability to both drag sounds from a layer to add them to the Sound panel catalogue or to use sounds from within the panel to replace sounds within existing layers. The actual results can vary considerably in quality depending upon both the original and replacement sounds involved, but it’s a process that generates some very interesting sound‑design possibilities.

However, DeepCreate sees a further development in the Sounds panel: the ability to import sounds from a VST instrument plug‑in. This process is triggered via a new button on the Sounds panel’s label strip, which opens up a dialogue box containing four steps. First, you select the required VST plug‑in. This opens the plug‑in’s own UI so you can browse for the required sound preset. Next, you enter a name for RipX to use for the sound once imported. Finally, you specify the import settings in terms of note range and the spacing between sampled notes (which influences how large the imported sound will be).

This is a cool new option, but it is also not without its quirks. For example, you can’t audition sounds within the VST instrument as you browse; you need to have done your preparation in advance to identify the target sounds for import. In addition, while you can influence the quality of the imported sound by opting to sample every note, that still doesn’t deliver the full finesse of the original sound as there are no options for importing velocity‑based dynamics or for adjusting the length of the imported samples (for example, for a sustained pad sound versus a pluck sound). I also experienced a couple of VST instruments that didn’t seem to want to play nicely within RipX. The potential of the process is obvious but, as this stage, it feels like something best suited to sonic experimentation; grab the essence of a virtual sound preset that you like, import it into the RipX ecosystem, and then explore the possibilities. It does not — currently at least — provide RipX with the same degree of functionality as a VST host.

Importing a sound from a VST instrument uses a straightforward resampling approach; it works well but doesn’t currently capture all the dynamic details of the original sound.

Repurposed, New & Not Yet

The arrival of DeepCreate sees some existing RipX features get a new purpose, some other new features arrive, and also highlights some things that, currently at least, RipX doesn’t do (or does in an unconventional fashion). For example, RipX’s effects processing options, including the effects preset system, options for effect combos, and the automation lanes, now take on a refresh role in processing your own recordings. All of these types of features are essential elements in a traditional DAW music production workflow and, while they might operate in a less conventional way here, they are perfectly capable of getting the job done.

DeepRemix’s ripping process now offers the additional option of separating out guitar and piano parts.While also useful with DeepCreate, DeepRemix users will also like the new unmix option that generates separate layers for guitars and pianos when ripping. If the option is selected, it does add to the time required for the ripping process. I tried this on a few commercial tracks and, while this must entail quite a technical challenge, the results were generally impressive. Amongst other things, the current version also brings useful improvements within RipX’s selection tools, zoom options and ability to detect the tempo of imported audio.

However, the addition of DeepCreate doesn’t suddenly transform RipX into a conventional DAW‑like recording and mixing environment; the workflow is markedly different. For example, rather like the Tracktion Waveform DAW in its earliest incarnations, RipX doesn’t contain a dedicated mixer emulation. Yes, you can control and automate layer levels, EQ and pan, and there is a capable effects processing system, but there isn’t a unified representation of a virtual mixer that coordinates all those activities. Equally, while you can import sounds from VST instruments, RipX is not configured as an actual host for the VST instruments themselves or for VST effects.

Alt‑DAW?

Having chatted at length with developer Martin Dawe during the course of this review, it’s obvious that Hit’n’Mix want to offer a fresh approach to music creation. RipX undoubtedly does that in some very interesting ways, but it does mean that those coming to RipX from a more traditional DAW (or a hardware‑based recording system) will find some significant workflow adjustment is required. Right now, could I imagine significant numbers of long‑established users of Logic, Cubase, Pro Tools or other mainstream DAWs currently putting RipX at the heart of their recording system? Well, probably not...

I can, however, see a number of potential (and perhaps overlapping?) user groups who could readily embrace the somewhat alternative functionality and workflow RipX offers with the addition of DeepCreate. First, the remixer community, who received the RipX/DeepRemix combination with plenty of enthusiasm, will welcome the additional options that DeepCreate offers for putting their own stamp on a remix project. Second, those coming new to the wonderful world of multitrack (multi‑layer) recording, and without a history with conventional DAWs, will not experience any sort of workflow dislocation; RipX could become their ‘norm’. Third, I can easily see sound designers with an experimental streak having a lot of fun exploring the DeepRemix/DeepCreate combination. Here, the somewhat unconventional workflow — and consequent unconventional sonic results — can easily be seen as a distinct positive.

From a recording perspective, DeepCreate is fundamentally different from any other software‑based recording environment I’ve ever encountered.

DeepRemix remains the most impressive stem separation tool currently on the market and Hit’n’Mix have pushed that module further with the additional guitar/piano option now offered. However, from a recording perspective, DeepCreate is fundamentally different from any other software‑based recording environment I’ve ever encountered. That’s not necessarily a bad thing — it’s good to have your sense of ‘normal’ challenged — but it is likely to make buying into the RipX ecosystem a more complex decision for some potential users. Sensibly, therefore, Hit’n’Mix offer a free trial of RipX. It may be for you, or it may not, but the trial, which includes the new DeepCreate module, will offer 21 days of very interesting, intriguing and convention‑defying exploration.