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 GRM Tools Classic Band Pass The 2DController, which is the 'square' in the center of the control window, is a handle that lets you control center fequency and bandwidth of a variable bandpass or bandreject filter. Left to right movement changes the center fequency. Top to bottom movement changes the bandwidth. The bandwidth control is particularly effective because the filters have exceptionally steep slopes, creating sharp cutoffs and dramatic effects. This plug-in appears in a mono or stereo version depending upon whether the track is a mono or stereo track. In the stereo version, as shown above, the two channels can be controlled independently or together. Comb Filters A comb filter, in general, is a filter that resonates a selected frequency and all of the harmonics of that frequency. This plug-in gives you five high-Q in-parallel comb filters, controllable independently or in ensemble, plus five low-pass filters to control the high-frequency content of the output. The sliders numbered 1 - 5 let you control the frequencies of each of the filters, the amount of resonance of each of the filters, and the cutoff frequencies of the low-pass filters. The master sliders give you global control of the comb filters, resonances, and lowpass filters. Delays In the HD OSX optimized version, as shown above, up to 58 delays, controlled in their amplitudes and timing, are distributed within a range of 0 seconds to up to 1486 milliseconds. In the stereo version of this plug-in, the delays are assigned alternatively to the left and right channels. The 2DController lets you set the start time of the first delay and the range within which all the delays will follow. Note the 'nr of delays' slider. If you select 58 delays, for example, with the first delay set at 50 milliseconds and the range set at 1000 milliseconds, the 58 delays will be distributed within the 1000 millisecond range following the first delay at 50 milliseconds. Within that range, you can control the pattern of delays by moving the sliders. You can also set the curve of the amplitude distribution to start loud and get softer, or to start soft and get louder, or to remain equal. You can set the delay distribution to start fast and get slower, or to start slow and get faster, or to remain equal. If you want to introduce a random element in the delay distribution, you can vary the extent of the random deviation and the timing of the random changes. You can add feedback. Doppler In general, a Doppler effect gives you the impression that a sound moving towards you rises in pitch while a sound moving away from you falls in pitch. This plug-in is available in several different versions, including mono, stereo, quad, 5.1, and 7.1. Shown above in the stereo version, this plug-in simulates the Doppler effects of two sounds moving around an axis. The position of the 2DController, which is the larger square in the center of the control window, represents an axis around which the sounds move. The smaller squares on either side of the 2DController represent two sounds as if they were coming from two loudspeakers swinging on ropes suspended from the ceiling. By manipulating the sliders at the right of the control window, you can determine the variation in amplitude and pitch of each sound as it swings, the timing of each of the sounds as it follows the other, the size of the circle in which each sound swings, the speed with which it swings, how far apart they are as they swing through space, and their relative positions in their swing cycles. Equalize Equalize is a bank of 23 fixed frequency filters equally spaced one third of an octave, providing outstanding zero phase distortion characteristics through the use of multi-sampling techniques. The gain of each filter can be set from -? dB to +12 dB to achieve exact correction of a signal's spectral balance. Freeze As a sound passes through the waveform window, click on the 'freeze bar' to freeze the 1.5 second segment of the sound that was in the window at the moment you clicked. The sound is frozen as a number of loops between 2 and 8 or 2 and 32, depending upon the version of the software you're using, as set by the 'nr of loops' slider. The loops can be varied in pitch together by the pitch slider, individually by the pitch offset slider, and randomly by the random pitch slider. The durations of the loops will depend upon their pitch and the setting of the 'random dur' slider. By dragging the 2DController up and down, you control the duration of the looped part of the segment that you actually hear. By dragging the 2DController left and right, you scrub through the segment that is showing in the window. Pitch Accum Two independent and simultaneous transposers are used to transpose the pitch of an input sound. A pitch follower detects the pitch of the input sound and optimizes the transposition. The transposed sounds are then transformed with delays and modulations. The 'transpose', 'delay', and 'gain sliders' control the transpositions and delays. The 'periodic modulation' controls, to the right in the screen shot above, let you choose the shape of the modulator waveform ('sine' is shown) as well as its frequency, amplitude and phase. If the amplitude of the modulator is low and the frequency is about 5 Hz, the effect will be a vibrato. The random modulation sliders let you add randomness to the modulation. The 'feedback' slider adds reverb, the 'mono / st' slider directs the transposed voices to both or each channel, and the 'direct' slider controls the amplitude of the original input signal. The 'cross-fade', 'window', and 'pitch detector' controls affect the functioning of the transposition algorithm. Shuffling A sound is fragmented and the fragments are shuffled in time. You control the durations and attacks of the fragments, their pitches, and their densities. The 'fragment' and 'envelope' sliders let you control the size of the fragments and the sharpness of their attacks, the 'delay' slider lets you control how far apart the fragments will be, the 'initial pitch', 'final pitch', and 'random pitch' sliders let you vary the pitches of the fragments, the 'feedback' slider adds reverb, the 'density' slider determines the number of fragments that will be generated. more info
 Contrast Contrast takes a completely original approach to compression/expansion-type processing technique. Contrast analyzes a user-defined frequency range within the spectrum of an input sound and groups the frequency components within that range according to the strength of their amplitudes. The groups are frequency components with strong amplitudes, frequency components with medium amplitudes, and frequency components with weak amplitudes. The strength of each of the groups can then be modified independently. Why do this? Because this approach allows you to redefine the character of a sound in a powerful and original way. If you decrease the strength of the medium and weak amplitudes, thus emphasizing the strong amplitudes, for example, you'll make a sound more mellow. If you strengthen the medium amplitudes relative to the stronger and weaker amplitudes, you'll add vibrancy, liveliness, and depth to a sound. If you strengthen the weak amplitudes relative to the others, you'll make the sound more metallic, harsh, and percussive. Equalize Equalize is a 31-band graphic equalizer. Each band, controlled by a single slider, is 1/3-octave according to the ISO norm. Intuitive mouse-and-key commands are used to manipulate the slider controls easily and responsively. You can create an equalization curve with simple mouse gestures, for example, or move the curve to higher or lower frequencies, or control any number of sliders as a group. This plug-in turns an equalizer into a performance instrument. FreqShift Shift contains two functions that can be used separately or together. The scale function transposes a sound by multiplying each spectral component by a constant frequency. The shift function is a frequency shifter, sometimes referred to as a single-sideband ring modulator, that adds a constant frequency to each spectral component. When you use a frequency shifter, harmonic sounds become inharmonic. FreqWarp Note in the screenshot above that there is a control window bordered by a horizontal bar beneath it, marked 'input', and a vertical bar to the left, marked 'output'. Note also that there is a diagonal curved line drawn through the window, with segments of the curve marked by 'junction points'. The input bar beneath the control window shows a bar display of the frequency components of an input sound, where low-to-high frequencies are represented left to right and the intensity of the frequency components is represented by color. The output bar to the left of the control window shows a bar display of the output sound, where low-to-high frequencies are represented bottom to top and the intensity of the frequency components is represented by color density. The diagonal line shown in the control window defines the transpositions from input sound to output sound. When the diagonal line is straight from lower left to upper right, the position of any point on the line indicates the same frequency along the input and output bars. When you click on the diagonal line, or anywhere in the control window, you create a junction point at a specific position that represents a source frequency in the input sound and a destination frequency in the output sound. You are, in effect, transferring a frequency from the input sound to a new position in the output sound, and the output sound will contain a rearrangement of the frequency components of the input sound. This can result in a radical change in timbre. more info |
