LeTissier Creative Studios

Datamosh is built to be played. This page is the set-up for each way of playing it.

Leave room to push

Everything you play opens the same gate as Mosh Amount, and the gate takes whichever is larger. If Mosh Amount is already at 1, there is nothing left for Trigger, Hold, Auto Mode or audio to add, and they seem dead.

To play the mosh entirely by hand, set Mosh Amount to 0.
To have a constant low mosh that you push further, set it to about 0.2.

Styles never touch Mosh Amount, so whatever you set stays set.

Hold as a key

Hold keeps full mosh on for exactly as long as it is on, so it is the control to play in time with the music.

Set Mosh Amount to 0.
Right-click Hold and assign it to a key or a MIDI note.
In the shortcut, tick Piano. That is what makes it momentary: on while the key is down, off when you let go.

Hold on for 2.5 s, then for 1.2 s (Motion Gain 1.8, Motion Lag 5): the mosh lasts exactly as long as Hold is on, whatever Burst Length says.

Without a mapping there is no way to hold it: on the panel, Hold is a checkbox that stays on until you click it again.

Trigger a burst

Trigger fires full mosh for one Burst Length and then eases back. Map it to a pad for hits that do not need a finger held down. Around 0.5 s reads as a stutter; 2 s as a full dissolve.

The same Trigger press with Burst Length 0.2 s, 1 s and 3 s.

Melt every clip change, hands off

The set-up worth doing first, because it needs nothing from you once it runs.

Put Datamosh on the composition, not on a layer. It needs to see the finished picture to notice clip changes on every layer.
Set Auto Mode to On Cut (Comp).
Leave Mosh Amount at 0. The cut detector fires its own burst.
Set Burst Length to taste.
Pick Melt in Style for the classic look.

Every clip you launch now melts into the last. If a change does not fire, raise Cut Sensitivity (0.8 catches most cuts between clips). If fast camera moves set it off, lower it.

Auto Mode On Cut: each hard cut in the input on the left melts through on the right, then the picture comes back clean when the burst ends.

On a layer, On Cut only sees that layer's own clip changes, which is useful for one layer that cuts on its own.

On the beat

Make sure Resolume's tempo is running (tap it in or sync it).
Set Auto Mode to On Beat.
Set Beat Divisor: 1 Bar for once a bar, 1 Beat for every beat.
Keep Burst Length short, 0.1 to 0.3 s, so it punctuates rather than smothers.

Auto Mode On Beat at 120 BPM with a 0.35 s Burst Length: one burst a bar for five seconds, then Beat Divisor 1 Beat fires on every beat.

Getting out of trouble

The picture has collapsed into mush. Press Reset. It snaps straight back to the clean input. Map it to a pad you can always find.
Hold is stuck on because a key-up got lost (you switched apps mid-hold, a MIDI note-off was dropped). Press Reset: it ends a stuck Hold, and the next press works normally.
A mosh at full never recovers. Add a little Decay, 0.1 to 0.2, so the live picture always bleeds back in eventually.
Everything has stopped moshing. See Troubleshooting.

Before the show

Datamosh 1.0 has been tested thoroughly by machine, but its settings have not yet been tuned against a wide range of real footage. Rehearse with your own clips before you rely on it in front of an audience, and keep Reset mapped.