Results for modulation

Sinevibes has updated the Drift chaos modulator Audio Unit effect plugin to version 1.2.0.

It is based on a two-dimensional Lorenz attractor generator commonly used in airflow modelling but applied here onto sound level and low-pass filter cutoff frequency. Drift easily makes any static sound come to life – giving it an organic, smooth motion. And its high-contrast, colour-coded interface is a joy to use, too.

Changes in Drift v1.2.0

• Completely new user interface, with new colour scheme and larger controls.
• Re-calibrated level and filter modulation intensity.
• Added required Audio Unit format changes for OS X 10.7 and 10.8.
• Removed support for Power PC processors and OS X 10.5.
• Minor performance optimisations.
• New preset patches.

Drift is available to purchase for $19 USD. The update is free to all existing owners.

More information: Sinevibes / Drift

Patchpool has announced the release of Framedrum, a sound library for Camel Audio Alchemy, containing multisampled framedrum instruments with up to 4 velocity layers and 8 variations per sample (Round Robin).

Played with hands and fingers in the centre and on the rim of the drum, rubbing the skin, playing the drum with mallets and sticks and treating it with various objects and materials like rubber balls, tibetian soundbowl, chopsticks, rice and peanuts (in their shell).

This library also contains many patches made from processed Framedrum sounds, treated with granulators, stretching devices, saturators, distortion units, spectral tools, pitch shifters, convolution reverbs and more exotic FX Plug-Ins resulting in a large variety of beautiful and dramatic soundscapes and textures, dark and massive drones, percussive synths, mysterious noises, rich pads, edgy synth sounds and massive impacts.

As nothing beats a real drumming performance there is also a collection of loops in various time signatures, all synced to host tempo by using Alchemy’s granular mode and temposynced MSEGs and LFOs.

Framedrum features

• 63 patches / 1 variation with 8 Snapshots each in the Remix Pad.
• 1.61 GB of original samples, 35 MB of resynthed files are included.
• 35 sfz-files are included so that you can use the samples and sfzs in other samplers as well.
• All Framedrum samples were recorded with 3 Neumann microphones in L-C-R in 48 Khz/24 Bit – U87 center mic – a stereo set of KM 184 for L-R.
• Extensive use of Alchemy’s complex modulation possibilities and Filters, often intermodulating LFOs/MSEGs/Sequencers with each other and assigning numerous parameters to a single Controller.

Framedrum for Alchemy is available to purchase for 33 EUR. Requires the full version of Alchemy, it does not work with the Alchemy player version.

More information: Patchpool / Framedrum

Tek’it Audio has announced the release of GattR, a sequenced stereo gate effect plug-in for Windows.

Link the sequencers to create the same sequence synced on the tempo of your DAW. Control the speed of the steps, change the play direction of the sequence. Create stereo gate, chop and fade effects on the 32 steps sequencers and mix them with your original sound! Randomly generate your effect with a single click. Undo your changes on all the parameters, just as easily. Assign all the parameters to your MIDI controller easily. Click on “Learn” on the parameter, move the control on your MIDI controller, and that it’s!

Create cutting edge stereo gate, chop, fade effects synchronized to your DAW.

GattR features

• 32 steps stereo modulation sequencer, synced to your host.
• Sequencers can be linked.
• Sequencer play forward or reverse.
• Effect output gain control.
• Wet and dry signal mix.
• Full MIDI automation support.
• Easy MIDI learn on all parameters.
• Use 7-bit MIDI Continuous Controller or High resolution 14-bit MIDI NRPN and RPN.
• Works in mono or stereo.
• Zero-latency processing.
• Preset manager, rename, copy, save, load….
• Undo your changes to initial preset value.
• One click preset randomize.
• 64 factory presets.

GattR for Windows (VST) costs 30 EUR / $39 USD.

More information: Tek’it Audio / GattR

Full Bucket Music has announced the Frequency Shifter effect plug-in, its entry to the KVR Developer Challenge 2012.

The Frequency Shifter is a VST™2.4 software effect for Microsoft Windows® written in native C++ code. It shifts the spectrum of the input signal up or down along the frequency axis.

This effect is also know as “Bode Frequency Shifting” or “Single Sideband Modulation”; IMHO one of the most underrated and ignored effects ever.

Frequency Shifter adds (or subtracts) a constant amount of Hertz to (or from) the input signal.

Frequency Shifter features

• Frequency shifting up to ±5000 Hz.
• Optional LFO with five waveforms.
• Four frequency ranges, three mix modes.
• Linked or individual control for both stereo channels.
• Plug-in comes in 32 bit and 64 bit versions.
• Fully compatible with SM Pro Audio’s V-Machine.

The effect plug-in is a free download.

More information: Full Bucket Music / Frequency Shifter

D16 Group’s LuSH-101 is probably one of the most anticipated synthesizer plug-in of 2012. Since the initial announcement of the synth (then named Shioiter) over three years ago, it has been a long wait with few progress updates.

With such a long development stage – or rather the general public being in the know so early on – there will always be some hype and (unfounded) high expectations. And sure enough, when LuSH-101 finally arrived the reception was mixed. Some people instantly dismissed it for not emulating the SH-101 faithfully enough, having too many bells and whistles, being a CPU hog, or it just not living up to the “one synth you’ll ever need” tagline. Others have praised LuSH-101′s resemblance to the sounds of the classic Roland synthesizer, or appreciate the additional features included in the plug-in offers.

Though I must admit I have always wanted an MC-202, I am not all that interested in how precise D16 modeled the SH-101. I’ve heard some audio clips comparing the both and it can certainly sound very similar, but LuSH-101 has a lot more to offer than its hardware counterpart.

The multilayer architecture guarantees that both the sound design possibilities and number of unique situations in which LuSH-101 can be used are virtually limitless. Layered sounds can be created simply by assigning the layers to the same MIDI channel; the results can sound as massive as anything imaginable! Assigning the layers to different keyboard zones allows you to create even the most sophisticated splits. Of course, you can always assign the various layers to different MIDI channels for 8-part multitimbral usage. And, virtually any combination of splits, layers, and multitimbrality is possible with just a single instance of LuSH. With each layer working as an independent synthesizer with its own polyphony, parameters, enhanced arpeggiator, and a palette of only the finest insert effects, LuSH-101 can push your creativity to unprecedented levels!

LuSH-101 certainly looks like a vintage hardware synthesizer. Love it or hate it.

Let’s take a quick look at the specs.

LuSH-101 features

• Multi-layer, 8 independent layers (synths) saw, square/PWM, noise oscillators, A sub osc, supersaw, hardsync, multi-mode and passive hipass filters, 2 LFO’s and envelopes, insert effects, mod matrix, and arpeggiator.
• Mixer panel with 11 output busses (8 layers + 3 fx), compressor and EQ for each, and reverb, chorus, and tempo-syncable delay send fx.
• Includes 1,700 presets, with 5 categories (layer, arp, reverb, delay, and global).

First off, let me say that LuSH-101 requires quite a lot of processing power. Even a single layer sound can take up a considerable amount of CPU – especially when using multiple voices – let alone multiple layer sounds. That said, with careful programming and lowering some settings you can still get decent results on older systems like my good old duo core Pentium.

The sound of LuSH-101 starts with the oscillators. These do not necessarily have an “analog” vibe to my ears, but they do have a pleasant high quality sound about them.

Mixing square (pwm), saw, sub and noise oscillators you have a limited palette, but this can actually help you get creative in a “less is more” kind of way.

The hardsync on the square and saw is achieved by using a hidden oscillator. It has its own sound, I quite like it. The saw can also be stacked to create a supersaw. Not my type of thing really, but I hear it’s pretty sweet.

To the right of the source mixer is the filter section, with a multi-mode (lowpass, bandpass, highpass) resonant filter and a passive highpass, which is said to have a characteristic RC analogue filter. The multi-mode filter has two modes:
- Normal: The overall peak volume of the filter output is constant across the Cutoff frequency and Resonance domain and the filter itself is softer in comparison to SH-101 variant.
- SH-101: More unstable and analogue like with faithful emulation of self-oscillations appearing in SH-101.

I have no idea how faithful this emulation is, but the SH-101 mode sounds quite different from the normal one so make sure you give it a try. Note that some filter stepping is audible, and I am not sure if this is intended but it doesn’t bother me to be honest. Two envelopes and two LFO’s are available to control various parameters, including things like pitch, pulse width, and cutoff & resonance of the multi-mode filter.

LuSH-101 offers various trigger modes for its envelopes and LFOs, and a special SH-101 mode can be selected from the options panel. The envelopes are also nice and fast, which is demonstrated by the lovely drum sounds this synth can produce.

Moving a bit further to the right of the interface we find the arpeggiator. This features various modes (up, down, up/down, random, etc), a host of tempo/rates, shuffle, chords, gate and tie sequencer, and more. I tend to do everything in my host, but I have to say an arp like this is easy and fun to use.

To spice things up a bit, LuSH-101 also includes some internal insert effects: Chorus, Flanger, String Ensemble, Phaser, Vowel Filter, Distortion, Decimator, and Tremolo. These are simple, solid effects. I especially like the vowel filter and decimator, and the chorus is great for creating lush sounds. You can currently only select one effect at a time, but note that you can set a different effect for each of the 8 layers.

The mixing panel lets you mix all your layers in channel strips. Each channel comes with a compressor, equalizer, and 3 send fx controls for the global reverb, delay and chorus effects. These effects also have dedicated channel strips with an EQ.

On the one hand I like this approach of designing a sound pretty much completely within a synth, on the other hand I feel it is a bit silly to be mixing and applying compression, eq, etc. in a plug-in when you could simply do this in your host software. I’m still a bit divided on the whole thing.

LuSH-101 mixing panel with 8 layer channel strips and 3 fx channels.

All parameters of LuSH-101′s individual layers (incl. arp, insert fx, mod matrix, etc) can be stored in a timbre preset. The arpeggiator also has its own presets, and so do the reverb and delay in the mixer panel. All settings within an instance of LuSH-101 are stored within a global preset.

The presets browser feels a bit outdated to me. Preset name, author and rating are stored, yet there is no search option or tagging system available. It is basically plain old hierarchical folder browsing. That said, the presets themselves include many wonderful sounds. Lots of quality presets categorized in bass, drum, fx, mono/lead, poly, and tempo based folders.

Alright, a few more bits and bobs before I round up.

LuSH-101 features a plain and simple (boring?) modulation matrix. Source, destination, and amount in a simple panel. Some useful parameters are missing from the destinations list, but more will be added in a future update. A wider range of modulation values would be useful as well.

Talking about updates, the interface has received a good portion of critique from users who either can’t fit the whole thing on their screens, find the huge keys a waste of space, or simply can’t read a thing with those tiny text labels.

Fortunately, the developers are listening and the option to hide the keyboard – which I also though was waste of space, but would you believe I miss it when it’s hidden… – was implemented already, and additional interface sizes are planned for an upcoming update. At a later stage we should even be able to pick our favorite colors for the GUI, just like the early Shioitor teaser shots suggested.

Lastly, when first trying to automate something within your host you will find LuSH-101 doesn’t send out anything by default. As there are too many parameters to assign within the VST/AU spec of 128, you are left to do your own maps. A bit annoying to have to set up, but it’s probably something you are only going to do once and you can use your custom map as a default for subsequent sessions. And again, it has already been announced that improvements for parameter handling, automation and the modulation matrix are planned. LuSH-101 is only going to get better with time.

Check the demo tracks below to listen to the sounds of LuSH-101.

So what do I think?

Quality comes at a price, and I don’t mean the actual price tag. LuSH-101 requires a lot of processing power. There is no denying that this can be a deal breaker for those with “underpowered” machines.

Looking past this issue (and once again coming to terms with bouncing/freezing in your host), there is also no denying that LuSH-101 is a proper monster synthesizer that is capable of producing high quality sounds. Beyond the SH-101 comparison, LuSH-101 offers so much more than the recreation of a classic. The layering system is really nice, especially for designing dynamic pads.

I am also well impressed with D16 Group’s fast response to user requests/critique. If the first update and the list of upcoming improvements are anything to go by, it looks like LuSH-101 will only get better with time. I hope that there will also be some CPU optimization, or perhaps they could do a lite version with less options, but I will say it again: Quality comes at a price.

Hats off to the D16 team for what they have achieved.

With the version 1.0.1 update, the LuSH-101 demo now allows 30 minutes of testing (and no more annoying pop-up window) so go check it out.

More information: D16 Group / LuSH-101

K-Devices has announced the availability of EXT, a free Max For Live device for modulate anything in Ableton Live, including other devices, any third-party plugins and Live’s user interface.

EXT is very easy to use : click on “select” toggle, then click on a parameter in your Ableton Live set to modulate it. Target’s name is displayed in EXT’s UI, and you can refine modulation scaling outcoming values to a specific range, and applying interpolation time between steps.

It is possible to choose between two play modes : steps and trig. In steps mode, multislider steps are triggered in sync with Live ; in trig mode, steps are manually triggered via MIDI messages.

EXT features

• Quick and easy target selection.
• Two play modes (steps / trig).
• Drunkwalk function for unpredictable results.
• Walker function for never ending variations.

EXT is a free download. It requires Ableton Live 8 or higher, and Max For Live 2.2. No external Max objects are used in this device.

The EXT pack contains a 25% discount code for the K-Devices granulation suite Kflux Bundle for 25% less. In addition to the standard 33% off offer available on the K-Devices shop, the owner can get Kflux Bundle for 14.99 EUR instead of 29.97 EUR. This offer is valid until October 31st, 2012.

More information: K-Devices / ETX